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#34974
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Joe Hinkens
Participant

quote:


Originally posted by Chris93

In addition to what you’re doing for the monitoring, I’d set it up with 2 stereo matrixes (sp?) and a stereo group.

St Mtx 1: “FOH”

Send your LR mix to this, then feed the PA from it. This will let you EQ for the PA / room without affecting the mix going to the camera.

St Mtx 2: “Camera”

Send your LR mix to this, and feed the camera from it. Gives you volume control, compression and EQ (if you want it) independant of anything going to the PA. Set up a group with audience mics and you can feed this into the matrix if desired. Unassign audience mic inputs and the group from the LR mix. :) Ext. In on the Mtx would work instead of the group but wouldn’t offer as much control.

This might leave you a bit tight on mixes but it’s something to think about.

Is this the size of gig where the FOH mix will be similar to what you’d want on a recording? What sort of connections will video be wanting? Some sort of isolation between your gear and his might be useful too.

Chris


Chris,
That’s a really clever solution, but I don’t want to make a fuss over the camera requirements. I’m already going to be recording everything for them via the Dante card to Studio One DAW. So how ’bout I just send them a feed from the stereo matrix?

If I read you right, your tip on the audience mics is so the audience can be recorded but not end up in the mains feed? That’s pretty cool, but again, I’m not concerned with recording the audience mics. I just want to put a bit of the room in the IEM’s mix.

On your final couple of questions… This event is taking place at an old veteran’s hall. I mixed it last year (on my old desk) and it drew about 500 people. So yea, the FOH mix is very much like what I want to record.

On the video needs, I have know idea. My contact just said, “He’ll have all the cables”. [:)]
I’m clueless on the isolation you mentioned. What would be a typical scenario?

Below are the channel assignments I’ve come up with. The main reason I’ve organized the inputs the way I have is because I have two stage boxes, 12 inputs each, that connect to my rack via multipin connectors. So it keeps things simpler if I route things in relation to the stage boxes. Please shoot it full of holes if there’s a better way without getting too complicated. ;-)

Thanks very much for all the info. Your posts have been extremely helpful to me.

Thanks,
Joe
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GLD-80 w/M-DANTE, GLD-AR2412, MacBook Pro, Studio One 2