Automating Avolites Titan Playbacks from Live Audio

Where Titan Actually Lives

Titan shows up disproportionately on corporate and touring work — rooms where the same content runs several times, the crew changes between cities, and the schedule is the thing most likely to break.

That context matters, because it changes what automation is for. On a club show automation buys spectacle. On a keynote that runs four times in a day, it buys consistency: the fourth run should look exactly like the first, and the reason it usually does not is that no human is perfectly repeatable after eight hours in a windowless room.

The Control Surface

Titan exposes OSC directly — no middleware between the music and the desk. Four things are worth mapping:

Playbacks and cues. Fire a playback, step a cue. The console owns the look; the trigger decides the instant.

Fader levels. Continuous values, suited to an energy envelope or a frequency band.

Macros. The one people underuse. If a moment requires the operator to do three things in quick succession, that is a macro — and firing the macro from a trigger is far more reliable than hoping the sequence is performed correctly at the end of a long day.

The absence of middleware is not a minor point on touring work. Every additional box is something to pack, power, patch, and explain to a venue crew who did not build the rig and will only be in that room with you once.

What to Automate, and What Not To

The instinct is to automate the spectacular moments. On corporate work the better instinct is the opposite: automate the repetitive, keep the variable manual.

The point is not that automation is better than the operator. It is that the operator's attention is a finite resource, and spending it on the parts that never change means it is unavailable for the parts that do.

Beat Phase Where It Applies

On music-driven segments — an awards show, a product reveal, a band in the middle of a conference — cue timing matters in the same way it does on a club show. CueSync locks to beat phase rather than tempo alone, so a cue mapped to a downbeat lands on the downbeat.

On the talking-head portions of a corporate day, none of this is relevant, and pretending otherwise is how automation gets a bad reputation in a sector that mostly needs reliability.

Setup

1. Enable OSC on Titan and note the IP and port.
2. Add a Titan OSC output in CueSync pointed at that address.
3. Map segment changes to playbacks, and multi-step moments to macros.
4. Map a continuous parameter to one or two faders for music-driven segments.
5. Save the routing as a venue profile — on touring work this is the part that pays back, because the next room is a recall rather than a rebuild.
6. Validate on Titan Mobile, Titan Go or the PC Suite before load-in. The OSC surface is identical.

Compatible systems: Avolites Sapphire Touch, Quartz, Tiger Touch II, Diamond 9, Titan Mobile, Titan Go, Titan PC Suite.

The Honest Boundary

Every playback fired here was programmed by someone on the desk. Automation decides when, not what — and because Titan is receiving ordinary OSC rather than being controlled at a lower level, the operator's hands always win.

On corporate work in particular, keep manual override live and visible. The schedule changes more often than the show file does.

Further Reading

• How to Trigger ETC Eos Cues from Live Audio — the same pattern on Eos
• Audio-Triggered Playbacks on ChamSys MagicQ — MagicQ, including the free tier
• Where Should Your Show's Timecode Come From? — for timeline-driven corporate work
• Avolites Titan Integration — protocols, compatibility, setup