Reply To: GLD-80 Monitor Best Practices

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Looking at the block diagram, a post-delay tap point means anything your FOH engineer does to the processing before the delay (which on the GLD includes the hpf, gate, insert, peq and comp) will affect the sound in the monitors. This would account for some of the sound changing. There are two ways around this. One is to set an earlier tap point. The other is to do a virtual (or physical) y-split of channels (if you’ve got enough spare) and use (eg) ch1-22 exclusively for FOH and ch23-44 exclusively for monitors.

If you have fx returns routed to the monitors then the way they sound will be affected by the fx sends. By default the mix-return FX are post fader. This means that even if a channel is down in the monitors, but it’s still up in FOH, it’s still going to be sent to the FX engine, the FX engine will still process it, it’ll still be returned, and you’ll still hear it in the IEMs.

The Qu series isn’t Dante-compatible, so it won’t interface with a GLD unless you go via another converter, eg a DAW (Mics-AR2412-GLD-Dante out to DAW-DAW returning to Qu inputs via USB-B, Qu XLR outputs to monitors.) This requires the DAW to be capable of taking inputs from one interface (Dante,) routing them directly to its outputs, and feeding those outputs to a separate interface (Qu.) I’m not sure how many, if an DAWs can do that. Even if they could, I’m not sure the latency would be acceptable for monitors, especially if they’re IEMs.

An easier solution would be Dante+a separate monitor console that is compatible with Dante (eg another GLD.) A less costly solution would be having someone with a laptop running Editor doing monitors. Further to that, if you can run multiple instances of GLD Editor connected to the same console, the ME could run a separate instance of Editor for each monitor mix, which might be easier. Of course you’d have to figure out PAFL and TB with FOH.