[jcarterParticipant]

$6500 just gets you a MixRack (no surface)… the C1500 surface adds another $8500. At least that’s how Full Compass has it up on their site at the moment.

Happy to be proven wrong, though!

[jcarterParticipant]

Just took a look at list prices for dLive… C-Series console/mixrack combos list in the $13k -> $21.5k range depending on what models you get.

That’s a little steep for anything meant as a GLD replacement, and more in line with the iLive T-Series.

[jcarterParticipant]

Don’t have a GLD in front of me, but in the offline editor what I needed to do to get the FX engine sends and returns back on faders after assigning to an insert was:

1) select Mix->Return (not unassigned or insert) in the listbox on the left side of the FX engine back panel.
2) select the FX bus option in the “patch from” listbox in the middle of the FX engine back panel.

Insert and send/return both have their uses. I would say in general if I’m using an FX engine to add something to the mix (like reverb, or layering on a delay) I patch it as a send/return, but if I’m using FX to alter the sound of an input or bus (de-esser, multiband compressor, transient control) then I patch it as an insert.

[jcarterParticipant]

I know I’ve done it without any problems (other than the process of mapping the USB drive taking a little while to figure out), but unfortunately that was on my old laptop and a couple of years ago so I don’t have exact version numbers handy.

Some version of Ubuntu LTS (could have been 12.04 or 14.04, don’t remember) and I used the Play on Linux GUI to set up Wine and launch the installer exe. Not sure what version of Wine but it definitely wouldn’t have been anything right on the bleeding edge, even for the time.

Does it need to be Ubuntu 16.04 LTS in particular or is switching to a different distro an option?

[jcarterParticipant]

Bear in mind as well that the GLD Mk2, whenever it ultimately ships, may well be lacking a lot of functionality in the v1.0 firmware. The GLD offline editor, for example, wasn’t released until v1.3 in September 2013, over a year after the console started shipping.

It’s never a good idea to buy a digital console and hope for updates later, no matter where it is in the product cycle (just search this forum for ducker requests, starting from firmware v1.00…), but if the GLD, in its current form, fits your application and budget better than any alternative, then you kind of need to go ahead. After all, it’s not suddenly going to lose anything (other than possibly resale value) whenever the Mk2 eventually does come around.

[jcarterParticipant]

I don’t know if my 15″ laptop touch screen qualifies as large or not–but whenever my church lets me out of the FOH booth to play bass I’ll generally mix my own wedge running Editor on the laptop.

In general I’d say the slider controls on the iPad apps are more touch-friendly than the rotaries on Editor; I almost always end up tweaking with the touchpad on my laptop rather than the screen. Plus the iPad’s a lot easier to bring out in front of the wedges during rehearsal to quickly tweak as you can hear your changes.

Be aware as well, that if you’re thinking of a high-resolution display, that the Editor window cannot be resized or maximized–so you could end up needing to crank your monitor resolution way down to fill a decent portion of the screen with the Editor.

In short, unless you’re in a really hostile environment for WiFi or absolutely need feature access that can’t be done on the iPad apps (such as FX engines) I think you’d be better off with iPad.

[jcarterParticipant]

It’s helpful to distinguish between a “socket” (the connector, preamp, and A/D converter) and a “channel” (all the digital processing such as trim, PEQ, dynamics). I like to use the term “processing channel” to make it even clearer.

When you set up a monitor split (say, dSnake port 1 into channels 1 and 2), what happens is that channel 2 now gets its signal from socket 1 rather than socket 2. (One socket can go into many channels, but each channel only receives signal from one socket). So unless you’ve set up another processing channel somewhere else to receive signal from socket 2, it won’t be connected to any processing channels and shows up on the I/O map as “I/O port 2”.

[jcarterParticipant]

The (analog) preamp gain will be shared between the two channels in the split, but each has its own digital “trim” right after the analog-digital converter. So you can adjust that a little in one (or both) of your channels if needed to get faders and aux sends in the sweet spot.

[jcarterParticipant]

Only admin can edit the other user profiles.

And if you lose the admin password–I’ll quote from page 62 of the most recent (v1.51) touchscreen guide, on system resets:

To clear User Profiles and Passwords
This requires a hard reset by setting a jumper within the
GLD. Disassembly is required.
Contact the Allen & Heath service agent or distributor in
your territory for further information.

[jcarterParticipant]

@mrvoltz: The recall filter in the scene manager tab is saved per-scene. There are global scene safes in addition to that. So the recall filters in the “record” and “playback” scenes can be totally different from any scenes you’re using to do dynamics.

Or are you safing individual channels as part of your workflow, and wondering how to get around that? You’d need to un-safe the I/O and preamp assignments in that case, which should be OK unless your operators do some really convoluted routing as part of their dynamics setups.

[jcarterParticipant]

The “expander” port is there for more local I/O if needed (though it’s AR84-only, so just an extra 8×4). I prefer the flexibility of that approach rather than adding to the size and cost of the desk with local I/O that may not be useful in all applications.

For the GLD mk2, I’d like to see A&H turn the expander into a full-fledged dSnake port rather than limiting it to 8×4.

[jcarterParticipant]

If you’re not tight on mixes, you may want to think about configuring the mains as LR + Msum and using the Msum as your PA feed, so that panning a mono input won’t change its level in the PA. The nice thing about that approach is that your stereo inputs will automatically sum to mono as well.

If you’re not tight on inputs, you could keep whatever bus configuration you run now and assign two mono input processing channels to your R/L RCA pair.

[jcarterParticipant]

The GLD remote app definitely has pad and phantom power buttons, located on the same “Preamp” tab of the input processing screen as the gain slider. You do need to hold the phantom button for a couple of seconds to change its state.

I’ve never used the Qu-pad app, but just looked at a YouTube demo that definitely showed preamp gain control on an input channel when it was routed to a preamp (as opposed to USB). So I don’t agree with your assertion that the Qu-pad app lacks gain control either.

[jcarterParticipant]

Thanks, Nicola.

Guess I should have specified that the “10” in my earlier answer was in hexadecimal format. But then I guess it should have been 0x10 so I’m still not correct. 🙂

[jcarterParticipant]

Just remember that any connected instances of the Editor software (Mac or PC) or the Remote iPad app also count against the 10-connection limit.

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