[jcarterParticipant]

quote:

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Originally posted by Barrettq

We’ve got the AR2416 and 2) AR84 installed, but they’re all in the rack room near the stage, not in the sound booth.

I’ll have to experiment further with assigning the stereo channels, I guess I missed the option to assign to 2 mono channels. If I can do that, problem is solved.

Barrett

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You’re completely free to assign any input socket (be that mic preamp, RCA connector, USB audio playback, or I/O card) to any input processing channel.

One hitch–you’ve got the maximum number of stage racks so there are 44 mic preamps in your system and only 44 mono input processing channels. So if you take two of those mono channels and assign them to the RCA inputs you’ll only have 42 mono processing channels available for your preamps–though you may be able to put two mic preamps into the stereo input processing channel you’re freeing up if you’ve got any stereo sources on stage.

[jcarterParticipant]

By default the stereo RCA pairs are patched to the two stereo input processing channels but if you go into the I/O patch menu you can assign an RCA pair to two mono input processing channels instead.

Are there free mono input processing channels available in this install? (How many I/O racks are installed)?

[jcarterParticipant]

Noticed that as well. Haven’t tried re-calibrating the screen, yet.

[jcarterParticipant]

I’ve never measured boot time but seems like about a minute or so. No audio passes while the boot-up is in progress.

[jcarterParticipant]

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Originally posted by prophetsquirrel

We need 16 separate output aux channels though, because it is a personal mixer system where each person creates their own mix.

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I think the idea is that the Aviom output module essentially gives you another 16 output sockets.

The way it works if I understand correctly is that you take the 16 direct outs (or auxes or any combination of the two) you want available in your IEMs and route them out of your monitor cat5 port. The Aviom output module then breaks them out into 16 analog signals that plug into the Behringer system.

In principle there’s probably some sort of Dante-to-analog converter that would do something similar, though that’s purely a guess on my part.

[jcarterParticipant]

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Is there a way to select an output point on an aux send like there is for the direct outs? For example, to send a channel to an aux with EQ, but without compression?

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I’ve done it before… now to remember how. []

In the menu of the aux bus you want to play with, try the “routing” tab. I think in there you have the option of changing the send point of any pre-fade sends to that aux. You can pick it off at any point in the signal chain I think.

One caveat: I believe all pre-fade sends to a given aux get picked off at the same point–you can’t have one channel sending post-preamp and another post-EQ to the same aux as far as I can tell.

[jcarterParticipant]

I don’t think there’s any way to save one layer of fader assignments, no.

All of the fader assignments get saved with each scene. I’m not sure what you’re trying to do here, but why won’t setting up a few scenes with different layouts of the faders work?

[jcarterParticipant]

It’s possible to change the label of the scene-save slot without actually saving the scene settings to that slot… (bit of a bad user interface, IMO). They’re two completely separate actions, and I’ve labeled the slot without saving the scene more than once.

What I do now to prevent this:
First hit “store”, THEN type in the scene name.

[jcarterParticipant]

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Originally posted by Nik@UPG

I’m unsure if A&H says anywhere that the cables need to be to shielded, or is it just a recommendation?
I ask this cause I recall seeing somewhere that Aviom requires unshielded Cat5e, so I just want to make sure I purchase the right stuff the first time.

Thanks!

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A&H recommends shielded:

https://www.allen-heath.com/uk/Products/Pages/SubLinkDetails.aspx?CatId=GLDSeries&SID=46

[jcarterParticipant]

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Originally posted by GSLC-Tech

>You can’t route through a DCA, it is not a bus.
Sorry really green here – subgroups are buses?

>You assign Channels to the DCA, select the DCA, click processing, and >then routing, add the channels you want. You can also do it starting >with the channel.
We did the assignment by selecting mix on the DCA, pressed and held the assign button and then the mix on the channel desired. I don’t have the board infront of me – are you suggesting something different?

>Note that a channel can be assigned to more than one DCA.
So you cannot assign more than channel to a subgroup?

Appreciate the help.

Rick Kohrs
Good Shepherd Lutheran Church – West Campus
Verona, WI

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groups, auxes, matrix, and L/R are all different forms of buses, each a little different. DCA acts more like an extra, remotely controlled fader on whatever channels it’s assigned to.

To expand a bit on Carl’s directions:
-push the “select” button on the DCA to bring it up on-screen (you need to be in “processing” mode, that button is to the right of the screen).
-Go to the “routing” tab on the screen.
-Assign inputs and whatever else you’d like to the DCA from screen.

It’s possible to do it with the mix buttons as you’ve attempted but the screen is waaay more intuitive (plus you can see all the inputs at once that way).

You can assign as many inputs to a group (or aux) as you’d like.

[jcarterParticipant]

quote:

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Originally posted by GSLC-Tech
Side question, why would you ever use groups instead of DCAs?

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If you want to do any processing (EQ, dynamics, or an insert of some sort) on your subgroup you need to sum the signals in a bus (group or aux) rather than use a DCA.

With my church’s old analog board, with only four channels of compression in the rack, I tended to throw compression on subgroups fairly frequently, just to get compression on all the channels where I wanted it. I’ve never actually used groups or auxes for subgroups on the GLD since the dynamics on the input channels and DCAs for level controls have done everything I want… so far anyway.

[jcarterParticipant]

quote:

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Originally posted by plevrier

quote:

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Originally posted by Chris93

The only way to really do this currently is to gang pairs of channels as you said.

The good part is that you do not have to have something displayed on the GLD fader strips for it to remain working. Eg. gang channels 1 and 2 and take channel 2 off strip assign. It will still work but you will only have to deal with one fader.

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True, but what do I have to do if I would like to change pan during show (which is done a lot during 1 of my shows). Then I have to get back to both channelstrips to change pan to the right way. If pan could be relative, that would be a good solution…

GLD80

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One other issue… at least as of v1.02, gain control can’t be ganged (I think).

[jcarterParticipant]

You can use the bottom PEQ band as a low-pass filter, and the top band as a high-pass. There’s no way to change the slope of the filter as far as I know.

Personally, I’d prefer to use a separate speaker processing unit if at all possible.

[jcarterParticipant]

quote:

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Originally posted by Chris93

TO clarify, I’ve always used the channel processing to patch inputs and the I/O page to patch outputs. Are there better ways to do these? In particular I’d like to patch outputs from the mix processing screen.

I patch inputs from the channel processing partly so that I don’t need to remember which DSP channel is which if I’ve strip-assigned things around.

Chris

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I think patching inputs from channel processing is the only way to do double-patching.

On the other hand, I don’t believe I’ve seen any way to patch outputs from the mix processing screen… admittedly I’m in a fixed-install (church) environment where we do our best to never, ever, change our output patching.

[jcarterParticipant]

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Originally posted by kmoor

That didn’t seem to work last night. The new channel grabbed the input socket, but the replaced the original channel with something else. Looked like a montor socket.

GLD 80
AR2412
AR84

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Now I’m confused… were you trying to do this in the I/O patch menu, or in channel processing?

[Author]

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