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2023/05/05 at 4:32 pm #112720
Ahh YES! Thank you! I did not realize there was a UI that could be accessed directly on the ME-U for channel naming, and manually configuring isn’t that big of a problem considering we’re building this out with A&H SQ in mind when we have our own space. Sorry about the confusion with the AB168. It’s the snake I’m familiar with, but the one that we’re using here is the Yamaha equivalent (only it does have Dante.)
2023/05/05 at 1:58 am #112714So there’s no way, but there’s a way?
As I understand, if I use the Dante interface in the ME-U, that will allow me to route audio to the ME-1’s?
2020/12/19 at 12:40 am #97458OMG I’m a tool. Slap me. Tap tap tap and there’s the rest of the channels.
2020/12/17 at 7:01 am #97396The subs are in fact powered, so I just need to get the signal to them, and since we’ll have one dSnake remaining inside, and the other being used in the outdoor area, it made sense to route it via the dSnake architecture to reduce the number of cables I have to make, or buy.
So, where I get stuck is how to route the tie lines. I’m not certain how to make, let’s say, dSnake input #9 re-route directly to the output #7 on the same dSnake. The Tieline routing screen all refers to slink…I’m wondering if this is purely an slink protocol function or if I can still make it happen.
2020/12/17 at 3:27 am #97390Hmm…let’s see…
I have the iMac feeding the SQ via Dante which is patched to a given input. Since we don’t have a stereo configuration, I run a mono signal to the board.
If I send L/R Main to MTX1 and then route MTX1 to the lobby 70v amp, then I have the entire mix including the iMac feed going to the lobby.
But, if I wanted to send the iMac feed ONLY and subtract everything from the stage, I would need to use something like AUX1 sent to MTX2, then control the lobby level from MTX2 which I could drop into layer A alongside everything else.
So I burn two of the three matrix mixes just for this function. Does that sound about right?
2020/12/15 at 5:09 am #97295Yes, very careful. I was only able to do it by adding the sub output from the DSP to one of the inputs on the dSnake, then routing one of the Aux mixes to the output, making sure to keep the L/R Main fader at zero to prevent a loop.
It doesn’t seem ideal, but it will work for this situation.
The distance from the DSP to where the subs will be rolled to for the event is about 100’…and with that, I’m just going to wire up some 16/4 temporarily and run it straight out of the DSP to avoid any unwanted destruction.
2020/12/09 at 6:13 pm #97117So, I’m not sure if this is how it’s supposed to work, but…
What I’m seeing is that while the Aux Mix 1 controls a given fader’s output to that mix, the only way to send FX to the FX rack is through the faders on the L/R Main mix. Then and only then will the FX make its way to the Aux Mixes. Is this a configurable option? Perhaps a post fader issue or something?
2020/10/06 at 11:04 pm #95526Hmm…maybe I’ve found a bug.
I just selected channel 40 in the Monitor output routing for the Talkback channel and the channel number header turned dark gray. So, I checked the IP Direct Outputs button and although all of the channels we need patched are patched, none of the tabs are dark…
…unless I unpatch and re-patch them.
So then I shut the board down just to see what would happen.
When I go to I/O -> Outputs -> IP Direct Outputs -> ME again I see all of the patching squares, but none of them are dark gray. They’re all gray. Then, if I switch to Monitor Out they’re all still light gray, so there’s no indication that any are already reserved (which is what I’m assuming the dark gray is for.)
When I move to any of the other destinations long the top, Local, etc., they’re all dark gray. I’m probably missing something.
2020/09/11 at 4:17 pm #94813@mike C, that’s exactly what I did.
The stereo output of the ME-1 feeds the transmitter.
With both the transmitter and receiver enabled, I added a pair of in ears to the output on the ME-1, the moved them to the receiver. I set the receiver pack to about 60%, then adjusted the limiter on the transmitter until there was little or no audible difference between the outputs.
I suppose it would be nicer if the receiver’s power wasn’t also a potentiometer so the unit could be turned on and off without affecting the output.
Either way, I got the levels to match to my ear, which means they should match to someone else’s ear (albeit the overall level may be perceived differently due to … ya know, loud concerts in one’s past.)
2020/09/10 at 10:50 pm #94790Yep. Premolded. All sends are pre-fade. Not sure about stereo. Mains are mono…I’ll look into that.
I think it’s going to come down to the Guitarists habits. ;).
2020/09/10 at 6:17 pm #94774@SteffenR
Thanks! It’s the direction I’m heading. There are two reasons we added Dante to the console. 1. Future infrastructure. 2. Remote mixing in a box for live stream. To be able to mix the live set in an isolated control booth that’s too far from the main control booth (which is in the performance space) makes life easier, but USB only goes so far, so now we not only have the ability to mix remotely (on campus), we can also move towards using additional Dante equipment as we grow.
Not sure what the network bridge feature’s purpose is in our situation. Would it benefit us? It’s currently turned off.
My impetus for the original question was a problem I was having with Dante Controller on our iMac. It was reporting something about conflicting subnets. I believe it is related to two adapters (Ethernet and WIFI) being enabled on this computer simultaneously, which we need in order to use Airdrop at times.
FOLLOWUP QUESTION: If I run two network adapters on the same subnet on the same computer (which usually doesn’t cause any problems with anything) is there something I need to do in consideration of Dante traffic?
Thanks guys…super helpful.
2020/08/30 at 8:24 pm #94511What in the world. Okay, so today it’s working as expected.
To be safe, I cleared out ALL MIDI settings in Ableton Live and started from scratch.
I have DAW control set to Channel 1, QU Series, CC.
In Ableton Live, I have two MIDI routings for both input and output labeled CC Translator Inputs and CC Translater Outputs.
I select Track ON and Remote ON for
CC Translater Inputs, draw a curve in a MIDI clip for CC value 1, and sure enough, fader 1 is following that setting.Derp.
Attachments:
You must be logged in to view attached files.2020/08/28 at 7:17 pm #94454All other MIDI applications are in order. It’s a MAC. There’s minimal if any driver maintenance. Just the DAW translator by A&H.
2020/08/28 at 4:53 pm #94450Yep. I’ve been through it over and over again and I can’t make sense of the settings, and I know how to use MIDI. (you might think…do you…really?) Yep.
Here’s what I’ve experienced. When I run the DAW translator and I select CC mode as the translator, Ableton Live offers me two input and two output options. According to the manual, the Input options are what need to be selected.
Now, if I set a channel in Ableton Live to output MIDI to channel 2 (Default DAW control on the QU) on the resulting Daw Control remote MIDI output selection, and then I draw a curve on one of the CC values, the only fader that moves is the 7th fader in on the board.
It doesn’t matter which CC value I send, it’s always the 7th fader. Additionally, if I draw a curve on two different CC values in the same MIDI clip, where I would expect each CC value to map to a different fader, those two values conflict with each other and fader 7 goes haywire trying to keep up with the most recent message.
When I switch the translator to Mackie mode, and I select the appropriate outputs for MIDI in Ableton, I can effectively control the faders but only on the custom layer, which results in a neat show of mechanics, but if I map any custom layer to any function other than MIDI, of course, they don’t respond.
Definitely going out of my mind.
2020/08/23 at 11:46 pm #94327Yes, PEQ, primarily, but would also apply to Gate and Compression.
Okay, so let’s say do the following:
– Open our default saved scene.
– Save it as a new scene so the original is preserved. Let the operator make any changes. If changes should be adopted into the default scene, we would have to first overwrite the PEQ library setting, then open the default scene and load the new settings, then save the default scene?Is there another workflow that will help us?
Ideally, we would tell the scene to always re-load a given library’s settings from the most recently saved library setting, so any scene that is “linked” to that setting would experience the updated library setting upon loading.
Does that make sense?
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