[mjpruzinParticipant]

@guitarman,

It is not advisable to Y a microphone. You should be using a microphone splitter that isolates the the splits from one another.

[mjpruzinParticipant]

Ok this is really strange, but I think I’ve finally sorted this out. In a FOH/Monitor split system it appears that the redundant links need to be “on” at both Port A and Port B of the slave (FOH) system to tunnel the Master’s (Monitor) inputs above 32 and for the PAFL headphone out to work. Maybe it’s not so much strange, but I believe this is a change from a previous firmware version where for tunneling the redundant link needed to be off. Sorry to confuse the issue and take up bandwidth-hopefully this will help out someone like me that has been a user for a while and got twisted around a little through the combination of steady upgrades along with my own constant re-configurations.

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

To follow up I finally just recalled a show that pre-dates any attempts at using iLive’s templates. Something seems to be wonky in the templates as they have caused me to lose the PAFL and now screwed up my dual mic splits. Users be warned that if you have a system that functions as you like I recommend just taking the hassle of reseting from there instead of trying the templates until A&H can look at them.

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

This would be wonderful for theatre applications as well

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

This is indeed the logic I used, but was unable to make it work. I did get a warning that redundant link was enabled but when I checked it was not, and I tried enabling and disabling to see if that would help. Wonder if there might be a bug. Now that one production is down I’ll reset the console and try again.

quote:

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Originally posted by benmannell

Yes, in my understanding this should be possible. I myself have a T112 and iDR-32, and am planning to get another rack in the future and want to do exactly this, so I’m interested to hear other’s explanations too!

Firstly, I assume the two racks are connected by ACE and you’ve set up Dual Rack mode correctly. I can’t tell you the exact steps as I can’t seem to reproduce this setup in the iLive editor (the subject of another post), so I’ll explain the concept.

Signals plugged into the slave rack must be patched to mixer channels 65 thru 128. Assuming you’ve patched 1-1, input 1 will be channel 65.

Go to the I/O patch page for the slave rack, select the Port A: ACE tab. I think you’ll find slots 1-32 are not available as they’re used for sending mix busses etc to the master rack? Select the first available one, say 33, select “Input – Direct Out” as the output source, and choose the correct channel number (It may be 1 or 65?). Your first signal is now appearing at the Master rack on port B ACE channel 33.

Go to the I/O patch page for the Master rack. Select the output you want the signal to be recorded to come out of, then assign to it the corresponding signal coming in to the Port B ACE card.

So, to summarise, send:
Input 1 of iDR-10 to Port A: ACE ch33 (on the iDR-10)
Port B: ACE ch33 on the iDR-32 to Output 1 on iDR-32

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[mjpruzinParticipant]

To follow up-I realize that one option would be to get outputs from the slave rack, but most of my inputs are located FOH from a wireless rack an that is also the location my recording setup. I’d rather be able to digitally return 10 input direct outs from slave to master than move the recording rig backstage, although for this project the easiest solution may be running a mult.

[mjpruzinParticipant]

External Input on the IP FX channels

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

To follow up, it turns out that digital split does not function properly if redundant link is turned off at the monitor rack. Not sure what the implication for expander use, that is my follow up question to support.

Regards,

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

I was under the impression that they already were…is there an option to select the input meter behavior?

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

I’ve used SCS and had a positive experience while guest designing for a local university (although it’s been a few years now). It certainly is an excellent and reasonably priced solution. I would recommend considering SFX or Qlab over it mostly because it would be preferable to expose students to these programs as they are the more widely used options in the professional theatre world. If it’s a matter of using a PC and not being able to go SFX I would certainly use SCS but also try to find an old mac to have Qlab on as an alternative (but I’d try not to go older than the early intel based ones-I do have a G4 powerbook running Qlab 1 flawlessly, but it can be tempermental with ver 2). Best of luck.

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

I think this has been mentioned before, but as a theatre user I’d like to see the fx packages expanded. The two that I’m surprised are missing, and see as useful to all live sound applications are pitch and distortion. Next I would love to see things like rotary and modulations. I understand that development is going on to some more amazing expansion and it looks like this Dante networking thing will open up lots of new possibilities, but I am curious to know if fx development is continuing and if there is a time table for new additions?

Thanks,

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

Richard,

That is awesome! I’m relatively new to Logic having recently made the switch from Pro Tools so I can see that I have a lot to learn about not only its music creation capabilities but also show control potential! Two quick questions:

Do you know if Logic Pro 9 for Mac has the features to accomplish this (It seems that the 8 release changed a lot about the program)?
Is it possible to still acquire an old Logic 5.5 or later for the PC, and can you direct me to a source?

I bet if you posted your environments online with a donation box you would see some return.

Thanks!

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

I achieved this via the direct out method. I work in theatre and setup our orchestra pit in a remote location (or fully covered pit). Currently I use an IDR32 in the pit and setup the preamps locally and send the direct outs immediately post pre-amp to my IDR10 via the Port B link using ACE cards (your IDR10 will definitely need a RAB2 card, and you will need the M-ES-V1-BASE as previously mentioned. The swap is easy, anyone who’s ever replaced a PCI card or RAM in a computer should be comfortable doing it). I set pre-amps and all monitors with the band via editor as we do not use a monitor surface (or engineer) and then move to FOH to set up my house mix. I keep a laptop running editor over the network at FOH in case I need to make a pre-amp adjustment during technical rehearsals. Of course the FOH surface has its own trim control, but I keep the editor open just in case we discover that the drummer’s foot on the kick wasn’t quite as strong during the initial sound check or the base player decides that he’s not slapping hard enough. This has worked for me on our current production, although our system is fairly new and I’m still learning so whether this is the best method I cannot say, but I can say it works great for me. I’m with you…these systems are great!

Regards,
Jason

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

Hello,

Was a solution to this issue found that a user can implement himself? I had this problem, the board went in for service but I believe when the console arrived at the shop there were no problems. In any case all connections were checked for security and the board was run for several hours to be sure the problem did not reoccur. I received the console and finished the run of my show with no issues (great support in terms of getting me a replacement and then returning mine on dark days). Just moved the console to the house for tech and sadly the problem is back. I assure you there was no major jostling that would have caused cables to become disconnected unless they were already loose or prone to disconnect. Is there access to a manual that can tell me which of the many screws to remove so I can get into the board to check the cables to the SBC (without removing every single one)? How might one check the power harness? I’m competent with a volt meter so I can do it if I know where to check. I’ll be calling tech support tomorrow as well, but if any friends across the lakes have some suggestions they would be most appreciated.

Regards,
Jason

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[mjpruzinParticipant]

For those who may be interested, it turned out the problem was that the iDR-32 rack was running firmware v1.43 and I was trying to connect with v1.5x (I tried them all). A&H reported to me that in the future to avoid confusion all racks will ship with a sticker over the network port indicating what version of firmware is loaded. In any case if you are purchasing a rack without a surface it may be best to be sure you have editor versions going back to v1.43, although I’m not sure how you would upgrade without a surface since you can’t upgrade via editor until v1.5x. I guess you’d have to request that your supplier take care of this before shipping the unit. For now my Dell 750m is actually running the rack beautifully so it doesn’t even require a super new and fast PC (although it hasn’t really been put to the test quite yet, and its normal control will be via an Intel Core 2 duo iMac). Unfortunately I can’t say the same for my Powerbook G4 (but it’s a known issue that these machines don’t work unless connecting to a full system).

M. Jason Pruzin
Sound Designer/Engineer
Arkansas Repertory Theatre

[Author]

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