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  • #101888
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    andrewyager
    Participant

    I think for all of us we exactly agree with this sentiment. We love our dLive’s and the ability to create beautiful sound for us and our clients. We know that many of the rumoured features (e.g. Sennheiser support) will make our lives better, and we keen to design and work faster, better and more creatively.

    It’s not like our dLive’s don’t work. It’s not like we can’t do amazing things – but we are all champing at the bit to do it well.

    #101805
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    andrewyager
    Participant

    As we’re once again prepping the dLive to head out to gigs, it felt prudent to ask if there is any new hope raising estimates for the 1.9 release given 1.8.8 is out this month…

    #88440
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    andrewyager
    Participant

    For anyone else… Reboot the MixRack

    #87623
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    andrewyager
    Participant

    You could put a compressor on the output with a really heaving shelf, effectively preventing them from lifting above 0db. It will sound like crap if they dial it up, but it should stop the distortion. 40:1 or infinity should cause it to hard shelf. You can set this at whatever level you need it to kick in to stop overdriving the output.

    Training your musicians is always the best.

    #87622
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    andrewyager
    Participant

    Yep, I just tested this. Works fine. Create a gang group and only select the mute parameter. Then when you mute channel A, it will also mute channel B.

    #87621
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    andrewyager
    Participant

    I don’t have director open, but couldn’t you do this by ganging the mute control on the two inputs?

    #87376
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    andrewyager
    Participant

    I solved a similar, but slightly different issue. What I would do is:

    • Assign each character/mic pac combination a channel strip
    • Gang the parameters you want to be consistent (e.g. EQ/Compressor) between these faders
    • Assign each fader to the scenes based on who is actually in the scene

    The thing that did break me is that input patches are not part of the channel strip input. They are seperate – part of the input patch setup. So if you change your mind about a patch, you need to update it in every scene, or safe your input patch list. In your case, you could just not make the input patch part of your global safe list, and then patch the correct character/combination per scene and the desk will recall them happily for you. Whatever you do it does require a bit of work, but it is possible.

    #87163
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    andrewyager
    Participant

    Mixing and matching fibre transmitters is fine for short distances, but when you do you get light loss, and run the risk of burning out your transceivers if you do it the wrong way around. As a general rule, don’t!

    I’ve been trialling running GigaACE and Dante across a network segment. GigaACE is basically pulling a full 1Gbps of bandwidth, and has basically no room for error. If you need to do this, you basically need 2x 1Gbps links (e.g. a LACP bundle) or a 10Gbps uplink. If you’re going with the former, you may as well not (which is what we’ve decided to do).

    It looks like (to me) that GigaACE basically does not filtering of the Layer 2 frames that run across it as well, which is why running L3 protocols (and even L2 protocols, like STP or LACP) can cause audio glitches and surface/mixrack freezes. Essentially, it relies on believing that every packet that moves across the wire is audio or meant for the devices. You’ll also see in a wireshark capture that the GigaACE protocol sends almost every frame as broadcast, which means that every device on the network segment gets it. While it runs over Ethernet, gotta say it’s not a very friendly protocol.

    (Side note; network engineering is my day job; audio is my night job :). Or more correctly, Network Engineering is my 24×7 job and audio is the job I get to do for fun)

    #87162
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    andrewyager
    Participant

    This literally just saved me too. Thanks!

Viewing 9 posts - 1 through 9 (of 9 total)