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2013/10/29 at 7:51 pm #35717
This has been something that has been requested for the iLive since the system was first released.
2013/10/25 at 12:26 pm #35625Funny thing on the multi-band compressor. Its a really useful tool but one I rarely use. In post-production I’m a huge fan of a multi-band compressor. In a live setting I find it hard to get the compressor dialed in right. If I was working with the same band repeatedly I’m sure I’d use it more but with one offs I seldom use the dyn-eq or multi-band comp.
-d
2013/10/24 at 7:45 pm #35610Jack,
Connect a USB keyboard and a USB mouse to your surface. Once the surface has completed its boot process, press the “F1” key on your keyboard. This will make the mouse cursor appear on the screen.
-d
2013/10/24 at 7:41 pm #35609I just checked this on my iLive (v1.91 iDR-32/T-112/xDR-16). If I set the Direct Out level to follow the fader then the level does change with fader moves. However the Direct Out level does NOT follow the DCA if that channel is part of a DCA. I agree with you that it should. I think this was an oversight and I’d like to see A&H correct it.
-d
2013/10/24 at 5:18 pm #35606More metering modes would be very nice. I’d love to be able to adjust the point in the chain that the meter reads, too. For instance, I’d find it more useful to see the gain post-preamp instead of post-compressor.
-d
2013/10/24 at 5:17 pm #35605That’s an interesting idea, but the problem I see is that the gain adjusts everything downstream of it. So just moving the faders isn’t going to keep things the same. You’d also have to adjust aux send levels, comp/gate threshholds, FX send levels, FX parameters (especially on the DEQ and Multi-Comp).
I always try to give myself some extra headroom in sound check so when the show goes live and everyone has more energy my levels are still good.
-d
2013/10/24 at 5:12 pm #35604As I recall you have to hit a key to make the mouse cursor appear. Once the console is booted hit F1 on your USB keyboard and the cursor will appear. You’ll have to do this everytime you boot the system though.
-d
2013/10/24 at 5:10 pm #35603You can’t connect two consoles to one mix rack. If you want two consoles you have to have 2 mix racks. You can connect the consoles via ACE (or Dante or MADI or Ethersound) using the PortB card slot.
If your show is small enough you can run monitors via a laptop (or use the console for monitors and run FoH from the laptop). To do this double patch all the pre-amps and use the first 32 channels for FoH and the second 32 for Monitors. You have to share the 8 FX engines of course. Doing Monitors on the laptop I find to be rather cumbersome but its doable.
-d
2013/10/21 at 4:01 pm #35405I see your point on linking the outputs. With 16 DCAs I’ve always had plenty to burn one for my main outs. I suppose the work around for you is that you could use 2 mono mtx for the L/R or you could run your sub mtx in stereo. I agree though that it would be nice to be able to link stereo and mono faders.
Feeding 4 sends to SMAART would be really handy. I’m using SMAART 5 though and only have a stereo interface. Someday I’m going to upgrade… someday…
Of course, it would be really nice if A&H incorporated some of the SMAART functionality into the iLive2.
GEQs on IP seems archaic I know. However, I do get visiting BEs in who are used to having GEQs or request GEQs be patched to inputs. Also, when doing corporate work with lots of lavs on stage having GEQs would be nice. When it happens now I route them through a group, then return that group (via patch cable) to an IP so it can still be sent to an FX. I don’t like doing it that way. Groups should be assignable to FX and GEQs should be something that I can insert wherever. The easy fix is to add GEQ as an FX type. It would seldom get used, but it seems like it would be an easy feature to add.
The iPAD app is really great. I use it nearly every show. But it lacks lots of key features for me. I need pre-amp control of my xDR, FX parameters, PAFL selection, softkey emulations, and some basic scene functions (update and recall would do it for me).
-d
2013/10/18 at 9:23 pm #35345Hi Duncan,
Instead of ganging your multiple outputs together just put them all on the same DCA. That’s the way I do it and it works like a charm.
I’d LOVE to be able to send a group to an FX. This is the big reason I don’t bother with groups. I did experiment with routing the groups out of the outputs on my T-112 and looping them back in to the inputs on the T-112. That does work, but it adds latency, and eats up IO needlessly.
For FX I’d like to get the new goodies that the GLD recently got.
I totally agree about the de-esser
The DO pick off point should be selectable per channel. I would seldom use it, but it would be nice to have.
I do the same thing with my PFL and SMAART. I feed a reference mic and my PFL feed to SMAART. I find the built in RTA rather useless because of the gain issue you described.
Adding on…
Scene management needs an overhaul.
We need more ganging
I’d like to have GEQ insert-able on IPs
Fix pre-amp control of the xDR via MixPad (this is my number one issue)
Add FX controls on the MixPad
The editor needs an overhaul to work better with touch screens
I’d love to see the PEQ count go up to 6 and I’d like narrower Q
Adjustable filter slopes for HPF2013/10/16 at 1:28 pm #35191I totally agree. I don’t understand why its such an issue.
I use my xDR for every show. Instead of setting the pre-amp gains from the iPad while working out the monitor mix I have to be at the board, or have someone at the board to make those adjustments.
This seems like it would be an easy fix!
-d
_________________________
David Shriver
Director of Technical Operations
Email: david@rockportmusic.orgShalin Liu Performance Center
37 Main Street
Rockport, MA 01966
http://www.rockportmusic.org2013/10/11 at 1:29 pm #35132I’d check your master clock settings. I’d try setting the master for everything to the Dante card in your PortB.
_________________________
David Shriver
Director of Technical Operations
Email: david@rockportmusic.orgShalin Liu Performance Center
37 Main Street
Rockport, MA 01966
http://www.rockportmusic.org2013/10/09 at 7:43 pm #35113Hello Koen,
Does this happen when you disconnect either cable or is it just one of them?
_________________________
David Shriver
Director of Technical Operations
Email: david@rockportmusic.orgShalin Liu Performance Center
37 Main Street
Rockport, MA 01966
http://www.rockportmusic.org2013/10/04 at 5:31 pm #35090Hi Bob,
It sounds to me like you have your Dante routing messed up.
In ProTools/Reaper make sure all your track inputs are set to your Dante channels. Also make sure that your track outputs are set to your Dante channels.
Using the Dante controller you’ll need to set the maxium number of channels. This will also have to be set in Reaper. I typically set the latency to the 6ms setting since it is the most tolerant.
Set your clock source for your computer and your iLive to the Dante card.
There are two pieces of software you need for Dante. You need the DVS(Dante Virtual Sound Card) and you need the Dante Controller. You use the Controller to setup routing, clock source, etc.
-d
_________________________
David Shriver
Director of Technical Operations
Email: david@rockportmusic.orgShalin Liu Performance Center
37 Main Street
Rockport, MA 01966
http://www.rockportmusic.org2013/10/04 at 5:18 pm #35089Hello Bob,
For your outputs to Dante your best bet is to set the Dante channels to be “mix rack sockets”. This picks off the audio post pre-amp but before the trim (and anything else). You can also send auxs, matrixes, mains, groups, etc to Dante. I find it useful to also record the Mains, and sometimes submixes. Also, set your master clock to the Dante card.
For recording and virtual sound check what I do is to create three scenes. First I make a master scene that saves all settings except the input patchbay. Then I create two more scenes that just include the patchbay. On the first of these two scenes I set all my IP sources to be the sockets on my iDR rack (or surface, or where ever). This scene is my “Recording” scene. Then on the second scene I set all the IP sources to be from Dante (typically in the PortB in your iDR rack). This scene is my “Playback” scene.
When I’m ready to start a show I recall the master scene. Then I recall the “recording” scene. I set all my dynamics, levels, fx, etc etc. Then I update the Master scene with any changes. I record to my laptop in Reaper. When I’m ready for a sound check, I recall my “playback scene” and playback my tracks from Reaper.
On Reaper make sure that you have the tracks inputs set from your Dante channels and the track outputs set to your Dante channels.
For your other questions….
1. Yes I’ve done many shows with just an iPad and Laptop. I prefer to stay with a wired connection to my laptop for stability but you can do it wireless.
2. I’ve not tried a touch screen for the editor, however, it has been discussed here before. The editor doesn’t support multi-touch so you are limited to making one change at a time. Also most of the display is sized in such a way that its very hard to use a touch screen
3. When I mix on an iLive outside I usually build a makeshift hood for the screen out of cardboard and gaff tape. It works, but is annoying.
4. I’ve never tried to setup a redundant wireless network. I’m not sure that it would really be possible. Even if you could get two wireless routers to work on the iLive you’d have to have two wireless radios in your laptop. That’s possible with the use of the internal radio and a PC card 802.11 wifi card. However, you couldn’t connect an editor session through both wifi connections at the same time._________________________
David Shriver
Director of Technical Operations
Email: david@rockportmusic.orgShalin Liu Performance Center
37 Main Street
Rockport, MA 01966
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