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I’ve been recruited to run sound for a show this weekend and it will be the first time I’ve used my GLD80 for anyone other than my own band.
They have asked me to incorporate their Hearback Monitoring System into the setup, along with some wedges and IEM’s. I have the M-Dante card installed on my GLD80, but after reading up on it, it appears I would need the M-MMO card for Cat5 connectivity to the Hearback system. So my guess is the alternative is to run the analogue fan out adapter that connects to the DA-88 multipin plug on the back of the Hearback unit.
I’d like to hear any recommendations from you seasoned veterans on which path you would suggest. And here’s a link to the Hearback User Guide: https://www.heartechnologies.com/downloads/UsersGuide_HearBack.pdf
Also, another question……
Below I’ve pasted the channel plot they just sent me listing their needs. You’ll see at the very end they want a stereo feed to ‘the camera guy’, so I assume that’s where I would use a matrix and patch it to the back of the GLD80? I’ve never used the matrix feature so I’m in the dark of proper use of it.Anyway, I’m would be grateful for any tips and suggestions that would help this rookie out.
Thanks,
Joequote:
CHANNEL PLOT VALLEY ONE SEPT 29 2013CHANNEL INSTRUMENT MIC COMP/ GATE REV DELAY
1- Kick (sub) Joe’s Mic x x
2- Kick (attack) Joe’s Mic x x
3- Snare (Top) Joe’s Mic x x x
4- Snare (Bottom) Joe’s Mic x x
5- Floor Tom Joe’s Mic x x x
6- OH L Joe’s Mic x x
7- OH R Joe’s Mic x x
8- BASS DIRECT/or D4 x
9- KEYS L STEREO DI x x
10- KEYS R STEREO DI x x
11- E GUITAR 1 (L) SM 57 x x
12- E GUITAR 1 (R) SM 57 x x
13- E GUITAR 2 (M) SM 57 x x
14- ACOUSTIC 1 DI x
15- ACOUSTIC 2 (L) DI x
16- ACOUSTIC 2 (R) DI x
17- LEAD VOX -JOSH ? Josh’s mic x x x x
18- LEAD VOX -JUSTIN KSM9 or Beta 58A x x x x
19- LEAD VOX -MORGAN KSM9 or Beta 58A x x x x
20- BGV VOX -ALLAN SM 58 x x x
21-
22- HANDHELD (WIRELESS)
23- COMPUTER PLAYBACK (L)
24- COMPUTER PLAYBACK (R)****It would be cool to run 2 crowd mics if we can? Let me know. I’ll bring my Rode NT 5’s or AKG 214’s just in case
AUX
JUSTIN -Hear Back + Other Option (I’ll bring my own wireless IEM again if I need to)
JOSH-Hear Back
JAMES-Hear Back
DAVID (Drums) -will need just a line out into his personal mixer which will be on stage with him where he can control volume
ALLAN-Hear Back
MORGAN-Hear Back
MIKE-Hear Back
Also, we’ll need a stereo feed into the camera guys rigThanks,
JoeGLD-80 w/M-DANTE, GLD-AR2412, MacBook Pro, Studio One 2
quote:
Originally posted by americanmadesoundJoe:
Yes, brilliant idea. There are 6 musicians requesting HB and drummer wants a line feed. So looks like 7 auxes + stereo (FOH?) + wedges??? Should work fine.
Now how to get the auxes into the HB system..HB hub will probably need to be on stage, so that means you have 12 returns for HB aux’s, wedge and FOH. Should work.
Most likely the feed to video will come from FOH GLD console as it will be closer to the video camera (maybe).
Good luck and have fun!BTW I describe the ME-1 as an Aviom on steriods. Love them.
Rick
GLD80, AR2412, AR84, MMO, GLD Remote, KR202 arrayRick, you’ve got me salivating for those ME-1’s.
I just got off the phone with the talent at this show and I ran the Hearback idea by him and he was completely in agreement. So I’m thinking we’ll be fine. Thanks so much for the vote of confidence. I was getting that sinking feeling earlier on. [
]
Thanks again!Thanks,
JoeGLD-80 w/M-DANTE, GLD-AR2412, MacBook Pro, Studio One 2
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
quote:
Originally posted by Chris93In 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
GLD-80 w/M-DANTE, GLD-AR2412, MacBook Pro, Studio One 2quote:
Originally posted by Joe HinkensChris,
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?Thanks,
JoeWhat 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.
https://artproaudio.com/artcessories/audio_solutions/product/dti/
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’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. [
]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]
Chris
quote:
Originally posted by Chris93quote:
Originally posted by Joe HinkensChris,
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?Thanks,
JoeWhat 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. [
] That sounds smart. That’s the way we’ll do it. I’ll be dishing off the wav files to them and let them run with the as they wish.
quote:
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.I have a pair of NT5’s so I’ll bring those. I’ve never heard of the 214’s. You’ll notice I’m down for only one audience mic unless I connect the other one to the GLD surface. I’m out of inputs on the AR2412. There’s some uncertainty on the keyboard requirements to that may open up a couple more channels if he doesn’t bring his pads.
quote:
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.https://artproaudio.com/artcessories/audio_solutions/product/dti/
I just checked the isolator you suggested and there only $60 bucks so I’ll get one coming. Makes sense.
quote:
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’d put IEM Tx (1 or 2) too rather than “wireless”, if that’s what it is.
That’s funny! I thought I was the only one that picky. [
] I’m on it. Revisions in process…quote:
Why is there only one tom mic? Input count limit?I asked the same thing. Turns out he’s only got one tom!
quote:
Computer audio is coming from FOH, this is what the band intend, yes?Yes, I think they plan on running some videos on a big screen that need audio.
quote:
Either way, this looks very organised. []
Thanks!
quote:
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]
Chris
Another super clever idea. I’d have never thought of that in a million years. I’m gonna give that a try just to see if I can make it work. Fun stuff.
One other question…..
As I understand it, there’s no way to get an email notification when a response is posted to a thread on this forum. So if not, how do you stay on top of threads, topics, etc?Many thanks,
JoeThanks,
JoeGLD-80 w/M-DANTE, GLD-AR2412, MacBook Pro, Studio One 2
quote:
Originally posted by Joe HinkensOne other question…..
As I understand it, there’s no way to get an email notification when a response is posted to a thread on this forum. So if not, how do you stay on top of threads, topics, etc?Many thanks,
JoeI have a link to the forum in the chrome bookmarks bar just under the URL bar, no fancy system, I just check it every so often if I’m on the computer. [
] The most recently posted-in thread goes to the top of the page too, I think, so that helps to see if somethings changed.Chris
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