[benniferjParticipant]

Hey Nicola

Thanks for your reply… although I can’t get my head around the GLD being around for so long now and those permissions just not doing anything (apart from simply authenticate access to allow an iPad or not…)

I’m not really sure what my client is going to say about this. Seems like a short sighted implementation. I take it that this wont be fixed?

Ben

[benniferjParticipant]

I dont own a GLD.
Even if there was a brand new mixer about to be released in September [speculation on my part]
You would probably still have to wait 6 months for stock?
I’m contemplating a GLD 112.. however the app is holding me back.
You know the QU32 has 32 faders on the top layer
and stereo channels instanly accessible from an iPad or other device.
That’s not far away from 40 channels you were wanting. 😐
5 cents worth of food for thought.

In honestly the QU feels like an absolutely pony desk in comparison to a GLD. I’ve tried both, I’ve had to use both, and the GLD is a proper mid-high end piece of kit that holds itself well against other high end desks, whereas the QU feels like a budget entry level option, which it is. I appreciate there are lots of faders on the QU32 but they are rubbish, cheap faders that do not feel like those of a high end desk. I would be very disappointed to have a QU turn up on any show to be honest.

A GLD will do exactly what it does now. So if that satisfies what you need it to do – go ahead, it’s totally great. You can’t buy a desk based on what may/may not change. If it is right now, it is. Same with buying a laptop, phone, etc, if it is originally fit for purpose, then it is good enough.

[benniferjParticipant]

Do the tracks record with static and distortion? Or is this something that is being heard just on playback through the Dante network?
This is an important thing to work out! Record something, experience the pops and crackles. Then unplug the machine from Dante and use your built in sound card with some headphones or speakers plugged in directly on a Minijack and see if you still have pops and crackles. This identifies a little whether it is involved with the PT playback engine, or something being recorded with errors.

I still reckon it is a PT clocking issue.. I appreciate this is for PT LE 7.4 but should be similar now – i don’t have PT to hand

Have you set both sections up? It is possible to have the hardware set up to an external clock, in that case DVS at 48k, but the project setting is at 44.1 or some 88/96 type rate. It may record OK but play back all kinds of wrong.

[benniferjParticipant]

What specific errors does Logic give you? I did mention to ensure that the project’s clock is set to the same as your system. Logic defaults to 44.1 for a new project – it will just stumble and freak out during recording. If you set the project to 48k you should be fine. Same process in ‘tools.

[benniferjParticipant]

Okay… I haven’t got Pro Tools to hand but you want to try something like this for your routing…

GLD80 Dante card linked to Macbook pro
Macbook Pro running Dante Virtual sound card and Dante controller. In Dante controller set the matrix grid to show the GLD80 transmitting the first 44 Inputs to the Macbook Pro on the first 44 channels Then on the Macbook Pro transmitter page route the first 12 returns of Macbook pro to some spare Dante lines, say 45 and upwards. This should make the Dante sound card’s outputs 1 and 2 return on Dante line 45 and 46

In protools, set your active sound card to be Dante Virtual Soundcard, and on your output routing set your main stereo mix for example, to route to Dante Soundcard 1-2. Get some audio playing so your mix is outputting on those channels.

Now on the GLD80 on an input channel, on the preamp page set the source to be from the appropriate Dante return channel. You should get audio coming back through the desk.

I haven’t got all of this in front of me, but that process should basically work.
You may need to ensure that Pro Tools is set to the same clock as the desk, sound card etc. – 48k i’d be assuming. You can confirm your hardware clock speed over Dante by looking on the ‘clock status’ tab of Dante Controller.

EDIT – Oh and for the output to your Streaming box. If you have a spare bus or aux out, just send the return faders from Pro Tools/Dante to the spare aux or bus… and on your GLD80s patch window, set some spare outputs to come from this Aux or Bus output. This could be on the surface’s outs or an AR Rack’s outs on whatever format you have spare – most likely XLR pairs. If you get nothing on those outputs, check that the channel is sending them pre-fade to the aux, and that the aux or bus master is unmuted, etc.

[benniferjParticipant]

Letting us know what country you’re in might be crucial here.

[benniferjParticipant]

I would sack off the aggregate device asap. I would question do you have the Audiobox set to a 48k clock as well as the desk running clock from the Dante card?

But i’m not sure what the need for the aggregate device is. You can route Dante returns from PT straight back through the desk and if needed just direct out them to a pair of spare outputs… Unless your racks and surface outputs are completely full already? If you have spare outputs this is a no brainer to streamline the setup. I have never heard of anyone trying to aggregate device the Dante system let alone need to.

[benniferjParticipant]

Just felt the pain of assuming that this was built in and I just hadn’t used it. How wrong could I be. Do I really need to cart along a rack unit to do this for the odd corporate job where there is playback all day and they want to occasionally interject using a switched SM58 somewhere or a wireless mic with a mute button?

I can’t believe I wish i’d taken my 01v96 with me instead of the GLD! :/

[benniferjParticipant]

Quite tacky looking nobs… I like the original design of the GLD more to be honest. At least the hardware is still the same 🙂

[benniferjParticipant]

Fair enough… The AR2412 has definitely never been used with another mixer or anything other than Cat5. I’ve been on this exact setup for around a year with absolutely no change in cable or connection at all during that time. It must have happened within 5 mins of the console being on, indeed.

Just to rest my mind, if the rack was to firmware update mid gig, does this reboot the rack causing a loss of audio? Which may explain a strange dropout I heard during a soundcheck…

[benniferjParticipant]

Volum… I think the empty rack has it’s place. I’m often prepping my GLD for hires for people that need SOME of its great features, but it’s more dangerous to have a full effects rack, say, for corporate, where they may accidentally find it and use it, than to make the effects racks empty so they can’t accidentally do something unexpected with an aux!

I’m assuming removing unused effects racks reduces DSP load so less heat etc, even if sitting there processing no audio being fed to it, which can’t be a bad thing.

[benniferjParticipant]

John, I haven’t seen these price drops, not in £UK anyway, does anyone know a retailer that has updated their price? But it is exactly the same in any technology based world… cars… IT… You have to purchase a device at a price point and spec that works for you. That never changes, your £7k package still works exactly the same as what you intended it to when you bought it… items depreciate.

[benniferjParticipant]

Not sure what you’re reading about price changes… or is it discontinued or what… can you post the article you’re referring to?

[benniferjParticipant]

You could also assign a DCA to a batch of channels so you can mute them all with 1 common mute.

[benniferjParticipant]

I actually use matrixes to feed all of my main PA outs across my desk.

My Main Mix L-R feed is sent at unity to…
St Matrix 1 – I assign my stage box outs 11 and 12 to take this matrix to amp rack processor inputs LR for my main FOH PA
St Matrix 2 – House Feed – This is normally hooked up to inputs for another amp rack for delay speakers/balcony fills etc in venues and theatres
My main C feed is sent at unity to…
Mono Matrix 1 – Centre fill cluster which is often front fill lining the front of a large stage.

The benefits of all of this?

Rather than graphic EQ’ing my actual main mix, I EQ the matrixes. So if I need drastically different EQ for say, front fill compared to main PA mix, I can do this really easily. Just EQ the necessary matrix. Same with delay times, if front fill is slightly forward or behind times of main PA I can align that, and same with house balcony feeds where it will often be radically different.
If I want to create an additional main mix copy, EG for broadcast truck, I can just pull another matrix from the main mix LR. My system EQ doesn’t effect their feed at all.
The inbuilt GLD USB desk recorder now records the mix without, say, a parametric EQ dip at 100hz in main PA because of a severe room response. This would sound odd listened back to on a recording, even though it is correctional EQ that sounds great on that matrix.
I can also simply solo AFL matrixes to see what they are doing.

The question is: why not matrix!?!

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