[CMattEParticipant]

Thanks for the confirmation. I was thinking that, but hoping I could route the network input to it and get names. Not a deal breaker. However I found the Digital Audio Labs Livemix system. Looks like it’s definitely a contender. It has Dante capabilites, EQ and comp on every channel, and a seemingly reasonable price. Thanks again.

[CMattEParticipant]

Thanks for the tip Stix. Looks like I will need to set up some saved scenes with just the inputs. Any tips on that? I’m about to play around and see what I can figure out. I can’t do the quick change because I have the inputs “out of order”. We have several 8 channel stage boxes. I matched those up 1 to 1 to the inputs. In other words box a1-a8 goes to rack inputs 1-a8. Same for the other boxes. But I don’t use every input in every box. Anyway

I’m guessing what I need to do is, save a scene “dante inputs” with everything routed as necessary, and make it save inputs only. Then save another “Normal inputs” likewise. And then I can recall my normal scene. And then recall “dante inputs”. Make changes. Recall the “normal inputs” and then “save all” to my normal scene. Something like that?

Thanks again.

[CMattEParticipant]

Thanks for the tips. I will try it out and see what I can figure out. I forgot to mention one other detail. We actually have two main scenes we use. One for morning services and one for evening. We have a few different members playing for each service. And this shouldn’t be a problem. I guess I might just need four scenes. I have been planning on making a new “master scene” that has everybody. Guess it would be a good time to look into that also.

Thanks again. And if I have any questions I’ll be back. Until then if someone wants to add something I definitely don’t mind.

[CMattEParticipant]

Cool. I just checked and I have the same version of Java. Weird thing is when I was looking in the Java control panel (under system preferences) it shows version 1.8. I won’t get to see if mine is any better until the weekend, but looks like it probably won’t be.

[CMattEParticipant]

How do you figure out what version? I went to the Java Verify webpage and get V8. Thanks

[CMattEParticipant]

I would like to say, that Editor has been sluggish for me. It takes longer for my laptop to connect to the system and meters and the response to me changing things ahs a lag. I only use it for minor in-ear monitor changes and have been able to live with it, but am also anxiously awaiting an update that is truly Yosemite compatible.

Have those of you with it running in Yosemite noticed any issues?

[CMattEParticipant]

Anymore details on how you installed java? All I can find that installed for me is version 8 from oracle. And this version doesn’t seem to work with iLive editor.

edit: Your version 1.6 was the clue. https://support.apple.com/kb/dl1572 This download got it working again.

Thanks

[CMattEParticipant]

Our church bought an M-Dante card just as they were released. I think we paid a little less, but they may have had a price increase since then. But that price doesn’t seem unreasonable.

I don’t use it for virtual soundcheck, but to multi-track record. And there’s a global option in the iLive setup for whether that send is pre or post processing. And when we started it defaulted to post processing. This may have changed by now, but I had a surprise the first time I listened back. Nothing major, I just prefer to record dry and use my DAW to process it.

I also run separate networks for Dante and ACE, and then connect to editor with a Macbook Pro over wi-fi hooked to the surface. I have a Mac Mini at FOH by the board for recording and ran two cables for each network. So I can’t help with running them over the same network. Plus I now have a back-up cable if something happens to the ACE connection. I will probably run another cable or two one of these days.

You should get another license with the card. So you’ll have spare. But I bought a couple also just in case I want to add some other computers later for other things. And you can’t beat that price. There’s actually two parts to the software. There’s a controller software that controls the routing, latency, and other details. And then Dante Virtual Soundcard. It’s what passes the audio to the DAW. I believe the license is actually for DVS. The other is free to use.

As far as recording, I record to a Firewire 800 drive without issues. I use Reaper to record and Pro Tools and Harrison Mixbus to edit/mix. However the times I forgot the drive, I’ve recorded to the internal 5400 rpm drive without issue. Even up to 64-tracks. So I would think USB 2.0 should work. I’d make sure it had a 7200 rpm drive or even better an SSD.

And my recordings are normally around 20-25 GB. That’s for around 24 channels and 1.5-2 hours. So 3 hours could hit 35-40 GB in my guesstimation. However after editing out the silence, and I have a pretty good chunk with nothing but the pastor preaching, I can get it down to 5-8 GB.

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

You guys realize there is already the m-waves and m-Dante cards? So waves is already feasible and so are a lot of other plugs via Dante. For best results with Dante you’ll probably need a solid tower with one of the Dante PCIe cards. Focusrite released the first one, but I believe yamaha has one out now also.

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

This may be old news, but have you made sure your wi-fi is off? That can sometimes cause issues. And what app are you using to record?

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

I’m a pro tools user, and while I’ve not confirmed it, I think your dealer is right. The only way to get more than 32 channels of I/O in any version of pro tools is to use HD hardware and software. And to get Dante into a format that HD hardware uses would be expensive (not counting the already expensive HD hardware) and possibly problematic. So I record into reaper then import the audio files into pro tools for mixing.

However I’ve never actually tested it. And I do have the CPTK. I guess I should just to see what happens. There was a bug in early pro tools mp that allowed for more channels than it was suppose to. One possible bright point is pro tools 11. I’ve not seen it mentioned that HD11 will be limited to 32 channels, but I’ve not seen it confirmed to have more than 32. Current thinking is it will still be limited at 32. But they’ve also released a new S3L live console rig that can record 64 channels via Ethernet AVB into pro tools 11. So here’s to hoping avid throws us a 64 channel bone in pt11.

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

Okay. I hadn’t thought about it that way. I was assuming I’d have to line them up on the video editor. I’ve been sending out ltc (audio) into one audio channel of the camera. The problem may be the camera we have doesn’t have an actual ltc input. It’s the consumer version and not the “pro” version. Which does have ltc inputs and word clock inputs also, if I remember correctly. Knowing what I know now, I’ll try and make sure any additional cameras we may get have those features. Anywho I’ll keep playing around and see what I can figure out.

Thanks

Matt

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

I appreciate the replies and will look into that box. And yes I realize I am talking about two different things. My understanding is you can use smpte position (for my purposes ltc) and there is also the sampling clocks of the video and audio recorders. If either can be linked it should be usable, but doing both makes it the best possible. And maybe far beyond necessary for our purposes. The problem I’m having with ltc, is what do I use to sync them back together in the end? I’ve found a video showing how it’s done with avid media composer. But selling the powers that be on $2500 editing software is another task. if I could sync sample clocks, at least from what I’ve read, once you bring the two files together and “nudge” the audio into place it should stay synced throughout. But adding a madi card or dante interface just to clock with seems overkill also. In the end the app plural eyes may be our best bet.

However if anyone else can explain something better I’m all ears. And thanks again for the help thus far.

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

Okay I’m getting some things figured out. In all likely hood we’ll probably go with plural eyes and sync later. However I’m still looking at options. And most have us syncing the converter clocks of the camera and Dante/iLive. The biggest issue here is we’d have to use the camera’s clock as it has absolutely no means of syncing to an external clock. Which has led me to realize, what would be the best way to sync an ilive to an external clock? It doesn’t appear that spdif is an option? It appears the motu HDX-SDI could sync to the camera and then output a clock signal, but how do I get that into the iLive? Any suggestions would be greatly appreciated.

Matt

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[CMattEParticipant]

Yes please. What DAW and at what buffer? I’m a pro tools guy, but record into reaper, due to PT’s stupid 32 channel limit. I figure I’ll use reaper to host the plugs. Just seeing what others are using.

Thanks.

T112/48, MacBook Pro, D-link DIR-815, iPad 1 w/mixpad, Dante card feeding a Mac Mini w/DVS.

[Author]

Posts