Matrix Mixing – sub mixing

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This topic contains 7 replies, has 5 voices, and was last updated by Profile photo of Chris93 Chris93 7 years, 11 months ago.

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  • #23758
    Profile photo of KWB
    KWB
    Participant

    Hi all
    Looking for assistance with a small matter. I wanted to use my DCAs as volume control for my sub-mix to the USB recording. That way I could set up a mini-desk within a desk. Unfortunately the DCAs remain routed to the FOH – Main L/R….

    This got me onto the use of matrix mixing for the stereo recording USB. I just can not get it to work and would appreciate any link to matrix recording on the GLD that would be of assistance. Preferrably not Youtube (limited bandwidth at the moment).

    #33935
    Profile photo of gkhewitt
    gkhewitt
    Participant

    DCAs do not carry audio so aren’t actually relevant for routing. DCAs control the level of inputs and it’s then up to the inputs as to where the routing goes.

    I suspect you want a Matrix configured for your USB recording, you can then have a single fader for this on your surface.

    Matrices are just a mix of outputs – just press the “mix” button on the matrix and adjust the level of the outputs you wish to send to the matrix (e.g. Groups or Auxes, or the main LR bus). In the IO screen you can then configure the USB recording source to be that matrix.

    We do this on our setup: we have separate groups for speaking mics, singers and the band. These are then routed to the LR, so no channels go directly to the LR bus. The USB recording matrix is then a mix of the speaking mics, singers and band (and another group for the ambient microphones).

    Hope that helps.

    #33936
    Profile photo of KWB
    KWB
    Participant

    Thanks for the quick reply. That does help! So the Matrix works just like Auxes from an assignment perspective.

    I’ll go back to the Config scene and add back the Matrix options

    #33938
    Profile photo of Chris93
    Chris93
    Participant

    I have 2 mono and 1 stereo matrix.

    PA LR

    USB

    OvFlw

    All these receive the LR mix at unity send level.

    I don’t use any processing on the LR bus unless it’s an aesthetic thing. Any correction for the PA is done on the stereo “PA LR” matrix. This way the LR mix stays “pristine”. I can route the pristine LR mix to the matricies and do any processing that is necessary for that speaker system on the appropriate matrix.

    I can pull frequencies that cause problems in the main room without affecting the mix heard anywhere else. I have PA LR at about -15 normally because of the “discrepancy” between the capability of the PA and the normally required SPL. [:D] Using the mtx allows me to do this without feeding a low level to the USB recording or the overflow room.

    I use a mono matrix to sum left and right to one channel of the USB recording. This generally stays at unity. The other channel gets a direct out from a room mic.

    OvFlw is for an overflow room, it goes through TV speakers so this is high and low passed. This generally stays at unity. This get’s an ext in from the room mic.

    Chris

    #33945
    Profile photo of John-S
    John-S
    Participant

    Chris93,

    That is brilliant use of the matrices. I will try to set up mine that way as I have to feed a camera my main mix. Your way is so much better.

    Thank you.

    John

    #34037
    Profile photo of KWB
    KWB
    Participant

    Thank you very mcuh for the ideas. Am off to implement this tonight.

    Brilliant use for a HOW.

    #34044
    Profile photo of BobWitte
    BobWitte
    Participant

    How do you handle the delay of the room mic sound compared to the console LR mix?

    quote:


    Originally posted by Chris93

    I have 2 mono and 1 stereo matrix.

    PA LR

    USB

    OvFlw

    All these receive the LR mix at unity send level.

    I don’t use any processing on the LR bus unless it’s an aesthetic thing. Any correction for the PA is done on the stereo “PA LR” matrix. This way the LR mix stays “pristine”. I can route the pristine LR mix to the matricies and do any processing that is necessary for that speaker system on the appropriate matrix.

    I can pull frequencies that cause problems in the main room without affecting the mix heard anywhere else. I have PA LR at about -15 normally because of the “discrepancy” between the capability of the PA and the normally required SPL. [:D] Using the mtx allows me to do this without feeding a low level to the USB recording or the overflow room.

    I use a mono matrix to sum left and right to one channel of the USB recording. This generally stays at unity. The other channel gets a direct out from a room mic.

    OvFlw is for an overflow room, it goes through TV speakers so this is high and low passed. This generally stays at unity. This get’s an ext in from the room mic.

    Chris


    Bob

    GLD80, AR2412, 2xAR84, Dante

    #34048
    Profile photo of Chris93
    Chris93
    Participant

    quote:


    Originally posted by BobWitte

    How do you handle the delay of the room mic sound compared to the console LR mix?

    Bob

    GLD80, AR2412, 2xAR84, Dante


    I haven’t actually done anything about the delay as yet. [:I]

    The mic is on stage pointing back out towards the congregation. It’s mainly for the recording to pick up their singing, but I use a bit of it as ambience during speaking parts of the recording too, maybe -15db from the main mix.

    I should probably look at some time alignment for it in the feed to the overflow room…

    What I might set up is a DCA for any music and assign the room mic to this DCA too so it’s only heard in the overflow during music. I’d still want to have it recorded though. I’ll have to think about this some more.

    How are other people doing this?

    Chris

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