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Originally posted by Joe Hinkens

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?

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?


What I’d suggested with that routing was to give you a way to mix them into the camera matrix without getting them through FOH, the subgroup was only involved because inputs can’t be routed direct to a matrix.

The live mix might sound better (more “live”) with a bit of audience and room sound in it. If you can easily add this later that would be preferable, rather than trying to judge it on headphones during the show. [:)]

NT5’s are nice mics, quite wide polar pattern and fairly flat response so should be good for ambience. I haven’t used the 214’s.

Something like this would let you isolate the camera from your GLD, but if he’s plugged into the same FOH power as you are you shouldn’t have any problems.


The only thing I’d change if I was massively nitpicky would be in the AR2412 destination table where there are two entries for the same thing “justin/josh wireless” and I’d say which was left and right. It’s really obvious anyway but I’d still do it. [:I] I’d put IEM Tx (1 or 2) too rather than “wireless”, if that’s what it is.

Why is there only one tom mic? Input count limit?

Computer audio is coming from FOH, this is what the band intend, yes?

Either way, this looks very organised. [:D]

It’s just occurred to me now and may not even be a good idea, but if you did a hilarious amount of compression on the room mics they would be very low in the mix during songs (due to gain reduction) but quite present for applause and audience comments.

Very… slow… release… time…

If you try that it’s at your own risk. [:p]