[Jens-DroesslerParticipant]

I did not bitch about the price. I’m just disappointed by the number of features. I also did not ask for a full control or full replacement of a surface or the editor, just for SOME more features like control over the effects (something even Behringer recently added to their free iPad app. and I’m mentioning that it’s free not because of the price of the MixApp, but to make the point that even FREE apps will be expanded, and this one already has some features MixApp doesn’t have, which is bad if you need to get people to buy it).

Yes, maybe the information about what the app can do is freely available, but the things that I’m missing are so basic I expected them to be there, not even thinking they could be missing. Who’d expect a car to be missing a steering wheel?

[Jens-DroesslerParticipant]

Ok, I bought it for the full price. I wasn’t waiting for a cheaper price, but if anyone had known something to take off some bucks, it would have been nice.

Anyway, I’m a bit disappointed. There is NO WAY using just the iPad, and that sucks. After reading so much good I maybe was expecting too much. I never thought that it was impossible to access the effects settings (which is critical with dynEQ and multiband compression at least), storing and recalling scenes (which are now saved including name inside the iDR) or changing the physical input on a channel or the output patching. I understand that those features could be messy if a surface is attached to the system and somebody is working there. Changing a scene for example would be desastrous. But why not make such functionality dependend on an online surface? If there is a surface, no such features.If not, full fledged control on iPad.
Also, a “double tap to reset GEQ band” would be nice. Or maybe tripple tap, just to be sure it’s not by accident.
Yes, I agree there is more functionality than with other apps, but not THAT much more. All in all, I’m disappointed for what it can do for that price. I never thought those things mentioned could be missing…

[Jens-DroesslerParticipant]

I know what it can do, I used it on a friends iPad and also tried the offline version. No argument here. I’m willing to pay for it, but if someone knows about a way to get it 10 or 20 bucks off, I’d appreciate it. Yes, it seems a bit odd that we have to pay for it at all, since all apps from other manufacturers are free, even if they aren’t as good as the MixApp is, but I don’t mind. Also, there are certian ways to get it “for free”, I stumbled upon them by accident while looking for coupons or similar on the web, but still, I’m willing to pay.

[Jens-DroesslerParticipant]

If you want to use the external loop, why not use the SPDIF in/out? No ADC/DAC roundtrip there…

But it’s hard to understand why you can send groups to auxes but not to FX sends. It’s basically the same…

[Jens-DroesslerParticipant]

I’d like to see that feature too on the FX sends. It would partly make up for having only one encoder for the screen. Maybe another parameter via alt view. Thinking about it, I wish this could be done for ANY parameter of ANY block on ANY channel for alt view etc. –> As said before, more encoders for the screen would have been very nice, like eight or something.

[Jens-DroesslerParticipant]

So maybe in the next update, the lowest GEQ band could be removeable by a setting in the preferences (could still be on screen, though). Wouldn’t that be nice?

[Jens-DroesslerParticipant]

Just out of interest:
So on a modular surface I can replace ACE with Dante? Does this work with fixed racks with Dante in port B, too? Also, do I need another network connection for controlling the mixrack from the surface? Can this be doen over the same ethernet cable as Dante is running on?

[Jens-DroesslerParticipant]

quote:

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Originally posted by dshriver

Narrower Q widths on the PEQ bands would be nice. 1/9 octave is sometimes just too wide when trying to notch out a ring.

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Second!

Also, could we have adjustable order on the per channel highpass? Up to 18 or even 24dB/Oct. would be very very nice.

A scroll function would make sense to me, if the fader banks would be virtually wider than they are physically. So on right bank on a T112 every layer could have 16 virtual faders, which could be scrolled left or right per bank on the actual faders. Scrolling from one layer to another doesn’t make sense to me. Why would I scroll if I can get there with one press of a button in any case and condition?

[Jens-DroesslerParticipant]

quote:

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Originally posted by woutert
If that is so, then why is there a sub level control per channel when using an LRsub set-up?

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Because people going for “subs off aux” are used to it. Most of them never think about the implications and consequences. If A&H just put a button for “sub on/off” for this matter, a lot of people would ask “how can we set a level?”. They are a manufacturer and not responsible for you to use the equipment properly.

Also, we have a adjustable highpass on each input, and if that’s not enough, we can switch the lowest EQ band to a highpass too. You can work a lot more precise with those controls than with a “per channel highpass set by the PA manufacturer/the system operator” (cause that’s what “subs off aux” actually is). Subs off aux is completely unnecessary and a waste of busses on a full fledged digital mixer. It was an idea in the old days to overcome shortcomings of cheaper mixing desks, and some people took this “technique” along on their way to the top.

[Jens-DroesslerParticipant]

You should also gang level. Having different levels on the main outs and the sub out from the inputs will vary the crossover frequency between main system and subwoofers on a per channel base. You will get overlap or gaps in the response, both undesirable. The only thing you can do with a dedicated sub out is turning channels on and off, but not change the level.

[Jens-DroesslerParticipant]

What did some of you smoke? WiFi integrated? I can’t imagine any good from that! Next thing people will argue about the WiFi quality. Why not integrate a UPS both for surface and mixrack? These are things best left to the people using the system, not for the system builder. IP stuff is not hard to do!
I agree on USB on the surface front, audio recorder (possibly multitrack), more buttons etc. Faster hardware will come anyways.

What I would really like to see:
1. Drop ACE, go for Dante natively
2. More encoders for the display. One encoder alone is a pain in the ass, especially on the R72. Selectable as hard assigned (setting the value of a specific parameter no matter what’s on screen, showing that value as a pop up) or soft assigned (touch the parameter to change and the next knob to turn will be the one for that parameter or similar)
3. Selectable order for channels high pass
4. Effect block with basic speaker management (high pass, low pass in the known flavours, delays for the outputs). Not replace full blown controllers, but enough to drive a drum monitor stack or have something if everything else goes wrong.
5. Again, ONE band of dynEQ on every channel.
6. More effects blocks, since they are used more and more for stuff other than effects (a DSP update would allow that), or instead, an additional multipurpose block for multiband compression, speaker management, etc.
7. Dust proof cooling!

If A&H is doing a completely new system, I have some more possibly interesting ideas never done before.

[Jens-DroesslerParticipant]

As far as I know the sub FX only uses the lowest frequency it gets on the input for its processing. So routing bassdrum and bass to it won’t work that well. If the bass plays lower notes than the content of the bassdrum, the bass will be processed, if the bass is above the bassdrum, the bassdrum will be processed. That’s at least my experience with this effect. This is not an octaver!

[Jens-DroesslerParticipant]

quote:

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Originally posted by Biggsounds

but in 3 years they’ve only had to consider 2 hardware variations, and a couple of OS changes.

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So why is it that the app has problems with every new iPad and every new iOS version, like many many other apps too, while there is a buttload of Android apps from the Android v1.5 days still running on Android v4.1? If you do your homework on Android, one version of an app will run on most devices and on new Android versions.

[Jens-DroesslerParticipant]

First of all, I’ll say again: I have no use for four bands of DynEQ on the same channel. One would be sufficient, two would be nice in very very few situations. More channels to apply the DynEQ would be much more useful (read: More simultaneuous inputs/outputs or as said before, make the limiter/deesser optionally switchable to DynEQ).

So what to use ’em for:
Basically the DynEQ can be used for every signal containing a frequency range that gets “strong” when the level rises. Like said singer, but also a guitar with unbalanced sound chanels. If the lead sound is too much of a saw, yet the clean chanel is rather muffled, you turn up the highs in the EQ and set the DynEQ to get active on those highs. It’ll catch them only when there is too much of them.
You could use them on the vocals subgroup where the lowmids can get heavy when four or five singers are singing, but are just fine when only one of them is singing. So set the DynEQ for catching the too much lowmids only.
The multiband compressor can be used to circumvent some of the problems of regular compressors, like the need for a deesser on higher compression. Specialised presets for vocals can work wonders on them.
Also, you can get out a lot of energy out of single chanels or groups. Or you can use it to keep a certain level on a channel/group without getting that process noticeable.

[Jens-DroesslerParticipant]

This could also mean that they want to improve sales. With all the features v1.9 will bring, the improved iDRs with AES outs and the developement of new DSP boards for the modular system I don’t think they’ll introduce a completely new line soon. If they’d bring a new system shortly after such upgrades, customers will get seriously pissed. They wouldn’t buy a new A&H system even at half the price.

[Author]

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