[pete.jParticipant]

I’d say no as it’s a networksession you have to start.

[pete.jParticipant]

tpaulding:

With 1.5 you can do this:

safe a scene with recall-filter blocking all but Others>Patchy and Input>Name&Colour (for all channels).

You can have it on 2 different scenes, so you have one for Patching one for Names.

Then you can Import the scenes from USB-Stick. It in two steps, but it does the job.

Cheers

[pete.jParticipant]

Steffen, you’re absolutely right.

I do it this way (Comp ratio 20 or unlimited), but in some cases I did parallel compression and limiting (just to prevent from extreme hits or events). Because I had this option on the iLive I got used to it. And seeing dLive as a successor I miss this feature, even I can live without. But in times of 7-12 InEar-Mixes (or 5-7 from FOH) it’s just the little helper, that made life so easy.

And yes – Dyn8 is good an I use it a lot (for base or grand piano f.e.), but it’s – as you said – also a beast. So I tend to keep it simple. So a De-Esser is enough for me for De-Essing 😉 And it was there – again, I got used to it, so I’m missing it

Cheers

[pete.jParticipant]

@Tor: they made a few things better in the dLive and so they could have upgraded the limiter instead of skipping it.
It was always a life safer in monitors for drummers or keyboard players going nuts (as they always do somewhere in the set.

And read my post:” I know Dyn8 can do the job …” as De-Esser. But it does it different and for me not always better!

cheers

[pete.jParticipant]

Yapp, I also prefer channelnames than numbers, because most engineers think in names not numbers 😉

Was the same on the recall-filter but they implemented it in 1.5 ….

[pete.jParticipant]

Hello CeDoMain,

I don’t know if I understood you right:

In general there are some options how you can configure the “main-bus” for your show.

There is 2 Mono (then they will be named “Main 1” and “Main 2” which is L/R or you can combine them. Also you can have a LCR Master, then you’ll have L/R as “Main” and C as “Main”, but L/R will be labeled with ST.
But you always can change the names.
And there is no “true” main it simply depends how you configured your show.

Cheers

[pete.jParticipant]

dLive sends PGM Change with every scene. So make a corresponding scene in MR. There’s a Mac-Driver for MIDI over TCP. Add a Bridge cable from dLive Network to Waves-Card, install driver and chose this MIDI-Port as Input for MR, then every scene-recall will recall MR scene.
Not working on Win right now. Solutions should be on the way, didn’t check 1.5, they say it’ll work, but they don’t say with which standard. I guess rtpMIDI on Windows (didn’t try it), but Mac with A&H Mac MIDI-TCP Driver works fine!

[pete.jParticipant]

@ben: yes I saw it, thank you!

Regards Peter

[pete.jParticipant]

@ben:

regarding the recall-filter:

Here’s my every day scenario as a professional touring Monitor-Engineer:

The band uses InEar, lot of complicated Instruments and changes, so I have to carefully decide which parameters on which channels I recall and which not.
Normally I have a “soundcheck” scene, where I have everything in (Patching, Gains, EQ, Comps, etc.).

In the “song-based” scenes I normally recall monitor send levels, FX settings and levels on most instruments and vocals. I do not automate global stuff like TB, audience-mica (whom I also do by hand) and so on. I don’t do “basic” chandnel-processesing because the drummer my be changing the snare during the show, a microphone will break and has to be changed on the fly and so on, I may have to adapt Gain, EQ and Dynamics. So if I recall this in every scene, it will revert my necessary changes during the show (also maybe the drummer may be playing harder at one day, a singer will be ill, so I have to change Gains, EQ etc. in general).

BUT: then I have the show, the tour is running, and one musician thinks it’ll be cool to have an additional acoustic guitar or another keyboard or whatsoever – then I have to change the Recall-Filter on all my (lets say 30 Songscence) because there’s another channel coming in. That’s what happens every time, that granted. So I have to invest like 20 minutes where I can concentrade an put it in every single scene by hand – and you don’t have 20 minutes on tour on your own to do that without being disturbed and then making mistakes.

So this is why it’s heavily important to change the recall filter for many scenes at once!

Also preview is essential:

I have a 7 pcs band, they don’t want to do long soundchecks on tour (because they know I’m fast) – so during they check one song, they come to me and wanna have few changes in maybe 3-4 songs (while they are playing a different song) – 7×4 is 28 songs with at least 2-3 changes per songs makes more than 60 things to remember – because I CANNOT f***ing do preview – this is the job safer bevor every nice Master-Comp, MIDI-Implemantation and so on. Preview is one of the most used feature for touring monitor engineers.

Don’t get me wrong, I also used a lot the iLive and made the band to buy a dLive – I like the board in general. But starting with 1.3 the scene-management wasn’t as good as in iLive (it’s getting way better know, and yes iLive didn’t have a preview too, why many of my colleagues refused to use it!). But in 2016/2017 preview is kind of a basic thing – even the cheap japan crap has it …

Cheers Peter

[pete.jParticipant]

+1 – could make things easier

[pete.jParticipant]

well done!

[pete.jParticipant]

jf,

yes – MultiRack was implemented in SD consoles, but also they where behind the “original” version everytime, because updates to MultiRack (and therefore implementation of new Waves PlugIns) came very seldom. F.e. I missed Sheps Parallel Particles on SD for month, why I stopped using internal MultiRack.

But what would be clever – and A&H is working on it – that there is a MIDI-Tcp driver (as on Mac) to handle MultiRack scenes.

Also the SD won’t support “internal” MultiRack anymore, so in future you also have to use an external MR computer there.

Anyways – with DEEP Processing we slowly get to a point, where MultiRack get’s obsolete – ok, there are some Plugs that still are more interesting on MR, but A&H is getting pretty close with many things!

At the end there now more shows I do with dLive, where I don’t carry an extra SoundGrid Server than I do with.

Regards Peter

[pete.jParticipant]

+1 – working half of my live analog the other digital – VCA (analog) and DCA (digital) Mute alawys muted the assigned channel (therefore the pre-aux and post-aux). Pulling down VCA is like pulling down fader, pressing mute on VCA is like pressing mute on corresponding channel, and it was one all brands I used (Soundcraft, Crest, Midas, Yamaha, DiGiCo, A&H, Innovation, ….).

So, it might be a nice feature to have the choice (even useless for me), but it’s more common as it is now in the dLive. If moving DCA fader will alter a pre-fader send, then it’ll be a bug, but I never experienced this so far.

BUT: As a feature request (and that’s special to digital consoles, but also already implemented in Soundcraft Vi and DigiCo) for doing Monitors I’d love to see the “DCA-to-Mon” feature, so I could f.e. pull down Drums in a InEar mix with the DCA rather than pulling down 8-12 faders.

Cheers

[pete.jParticipant]

… the limitations to MultiRack are there, you’re right. At the other hand it’s quite simple and straight forward, what is what many engineers need for using as “virtual” FX- and/or Insert-Rack with a simple yet (for most cases) satisfying Snapshot system. But for more sophisticated use, you’re absolutely right there are other things (I never use LiveProfessor but used forte which may be similar). But when it comes to heavy usage of PlugIns with real low-latency MultiRack SoundGrid is hard to beat at the moment.

But anyways this wasn’t the root of this discussion. And yes, there are uses, where you change from 1/2 to 1/4 or other. As a touring and studio engineers I have lot of use of this too. That’s why I always have in my templates at least 2 Delays setup (also for altering between heavily filtered delay to more standard one ore so).
And – this is where in my understanding it’s bit different – it’s kind of unmusical having an “outringing” delay whilst changing timing (be it 1/4 to 1/2 or changing some beats) – for a smooth transition I’d then use a second delay OR bring it down anyways before the tempo change.
Also – not saying you didn’t find a really interesting and well thought solution for this application – as I do lot of lecturing and sound engineering workshops I typically more tend to teach people thinking about what they’re doing. So if your volunteers are into “really good sounding mixes” – or least in such a detail that they change the tempo of a delay during a song for more sophisticated art of mixing – I’d rather would talk about when it makes sense to ride a delay on send and when on return and how a transition can be done smooth or what happens in the box.
I more tend to give them the craftsmanship than the “voodoo-tools” (“voodoo” on this case, because the tools do things they don’t realize and understand and therefore in case of error they can not control or fix or transfer it to a similar situation but with just basic tools).

So: I really think you’re did some quite tricky and clever workarounds that not many people would’ve done so easy. But – also in my view as an touring engineer – I also tend to keep things simple or break it down, because there is always possibility of failure when I’m not there and then nobody’s able to fix it and run the show, because I made the system too sophisticated.

So at this point you’re absolutely right – different perspectives and/or needs and therefore slightly different approach (even I think you might be doing pretty similar sounding things with the delay as I do 😉 ).

Regards Peter

[pete.jParticipant]

Audinate DANTE Brooklyn II is 64 Channels, Boadway is 16 Channels and Ultimo is 4 Channels and these are the chips (as far as I know) for 3rd party developers.

The DANTE PCIe cards from yamaha and focusrite are the same in my knowledge and OEM.

But that’s only what I heard/know from the market …

Regards Peter

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