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It would be very clunky and would only work for 5 of the FX inserts, but could you set up scenes where the only things which have changed are the assign and/or mix control settings on the FX and scene safe everything else? For each FX insert you’d need a softkey for ON and a softkey for OFF.
Not a particularly good way of doing this really but it’s what I can come up with and it might work
Chris
quote:
Originally posted by KJREngineeringDigital clip is another matter, and really not to be induced, if you like your job at FOH…
BKool
And then you have the wonderful fun of preamp sharing when one engineer wants to clip and one doesn’t. [
]I’ll try recording the open mic with different gain settings and see how it goes. I haven’t found it to make any difference to overall gain before feedback though, which seems like the same scenario.
Chris
quote:
Originally posted by KJREngineeringThis method also matches the output of the source to the system better allowing for less bleed and leaving the mic focused on it’s source instead of entire ensemble or band…
Proper (input) gain structure matches the output of the source to the system, absolutely. [
]The setting of the input gain has no effect on what the mic picks up, only how much that signal is amplified. An unplugged SM58 rolling around on the stage is “on” and is producing signal at it’s XLR connector (assuming there is sound present at the mic).
Any isolation of sound sources happens because of microphone polar patterns (point it at what you want to hear, don’t point it at other stuff) and relative proximity (put it a lot closer to the source you want to hear than to other stuff).
Both of these result in the intended source providing the majority contribution to movement of the mic diapragm, and happen well before any preamps. (I suppose frequency response plays a part too, a darker mic would pick up less overall hi-hat than a brighter mic).
Try recalling scenes that turn down the preamp and turn up the channel fader the same amount.
Chris
Thanks for taking the time to do that Scott. [
] At a quick glance it seems pretty good. I’m heading out soon so I’ll take a better look at it later on.Chris
I don’t really need to do it that way, but I’d like to if possible. The main reason is so that I could set up compressors on the groups to keep the mix together a bit more easily. Everything but the lead vocal would be compressed in sub groups, keeping the vocal on top. I could take a bit of high mid out of the INSTR group for vocal clarity etc.
I don’t think I’m trying to route a group to a group, but I may have worded it so that it looked like I am. I actually tried that earlier tonight and came up with the above post as an alternative. “BAND” is actually LR, but renamed.
I was planning on using DCA’s for level control on “groups” of inputs but I’d like to be able to do the compression thing. eg. more aggressive threshold on instruments than vox. It’s not at all an issue if I can’t but it may make it a bit easier to mix if I have to leave someone else to mix a music service. (or it may have the opposite effect [
])I also need to do mixes for 4 monitor wedges, an overflow room and the USB recording. The overflow and recording could be fed from the same mix bus as the PA so that shouldn’t really be an issue.
I’m only planning on using 3 mono FX sends buses and inserting anything else. eg reverb on BGV group. Which reminds me, I haven’t actually tried that, can you insert an FX processor on a group?
To put all this in perspective less than 6 months ago we were using an 8 input analog console with no outboard, and it sort of worked. [
]
We wern’t really doing any music though, so no wedges, and not feeding the overflow room.[
]Thanks,
Chris
It depends if you’re talking about hardware or software updates. Given how new it is I doubt there will be an updated version of the hardware available any time soon, if at all.
At least not until all stock of the current model has been sold… [
]If it’s software updates you’re talking about those can be updated on the console when they are released.
Chris
Meters would be handy, but you can check that you are sending signal to the flash drive by (p)AFL’ing the mix you have set the USB record to source it’s signal from (I/O, Surface) . It doesn’t check that it’s actually being recorded but if Matrix 1 has signal and the USB is set to record from Matrix 1 …
My main issue is with having to mentally subtract 18 from all the meters. Getting good at it though. [
]Chris
Thanks Nicola, I’ll not be able to check for a few days but that sounds like the issue. [
]Would it be an idea to grey out the FX1 send in the strip assign window when it is not active or would this cause other problems?
Chris
