[KJREngineeringParticipant]

The iPad app is really a must have. The computer editor is also so desirable. We do a lot of digital console installs in theatre and HOW venues and being able to set up templates for the client to immediately use and work off of with all of their the routing for the venue’s system is really cool and much faster to do on a computer. Also the ability of being able to build new or re-build templates and email them to the client when they are having routing issues for shows is really nice too…

BKool

[KJREngineeringParticipant]

Let me add to my last post, PLEEEEEASE give us an update that allows us to configure three soft keys as previous scene, next scene and GO! These GLD’s are perfect for High School theatre except for the lack of these features

BKool

[KJREngineeringParticipant]

Ditto for me a confirmation would be nice, even nicer an “undo” button like the the tuning fork folks have on all their consoles…

BKool

[KJREngineeringParticipant]

Chris93, while I agree with the electrical engineering theory of what you posted. Try this experiment, take a mic in a fairly live room, open the gain all the way, record it, then halve the gain, record it, then halve it again, record it. You should find wide open you will hear the whole room, at each halving of gain your “world” will shrink making sources father away fainter less prominent in the recorded “mix” making the mic “sound” intimate and selective to the source to the source.

To all running a pre-amp hot is wonderful if you are looking for a harmonically rich content, many pres can even be clipped slightly red lights and all and you will not hear the distortion, only a warming, this is very true when the slew rate of the pre exceeds the psycho-acoustics of the human ear and allows it to recover before your ear can detect the hard part of the clip. This was an 70/80’s trick to massive sounding rack/floor toms. I saw an interesting demo of this way back maybe 30 years ago when chipsets got faster and have used it to good advantage many times! That said harmonically rich is not always the proper mode for all music and instruments

Digital clip is another matter, and really not to be induced, if you like your job at FOH…

BKool

[KJREngineeringParticipant]

Here is an easy to use gain structure for most consoles digital or analog. Works best with a split mix for the monitors. Most of the touring guys I work with use a simple setup to ensure enough headroom for the pres and the channel strip as a whole, leaving room for EQ boost and dynamics make up gain. Start with the input trim fully attenuated, channel fader to unity, main fader to unity, then turn up the input gain until the desired SPL foer the source is reached. When you have a group of like instruments say drums do this one channel at a time setting each channels volume in the mix with the input gain, once done with the group, eq them all, set your dynamics and “re-mix” them with the input gains. This leaves all you channel faders at unity where they are the most responsive within the audio taper of the fader allowing you to mix using very small fader movements. This method also matches the output of the source to the system better allowing for less bleed and leaving the mic focused on it’s source instead of entire ensemble or band… Give it a try! In analog world this method will give you an excellent signal to noise ratio as an added benefit!

BKool

[Author]

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