[pete.jParticipant]

I don’t know, if I get you right:

time is mapable, also you can sent “song tempo” (BPM). So if you control via ableton, why don’t you simply send midi tempo and set H-Delay to BPM/Midi-Tempo. So also there I don’t really see the weirdness, as tap is more seen as a “on the fly” thing. You can define a MIDI-Controller via MRRCEditor btw. to be assigned to Tap, but therefore the H-Delay has to be open in MultiRack.
In MultiRack you can also define a “session” tempo to have all delay-based FX set at once.

But sorry again: I don’t see, why I should have an Tap-Delay opened while drastically changing it’s tempo? If you “re-tap” because the band is slightly varying in tempo, the shift won’t be that audible. In any other case (drastic tempo change in the song) I’d kill the delay-input anyways, because it will give me some trashy information (not only the shift, but rhythmic information, that’s nonsense in context of the song).

But saying short: because the dLive behaves in this case like every Delay I know and every used, I don’t feel it’s an issue and rather appreciate to see A&H to implement some more common and useful features (like DCA-to-Monitor function or so). But only my thoughts …

Regards Peter

[pete.jParticipant]

yapp, Steffen is right. Only the simple Digidesign Delay (short, meduim, long) don’t do pitch-shift I think. But for me I more often use EchoFarm or H-Delay on Profile and there it happens two. It also happens in my DAWs (ProTools, Logic) if I use these plugins. So as already said – it’s not typical to dLive, it’s typical to “analog” Delays – or let’s say “continuous” Delays.

Just keep in mind: Chorus, Flanger, classic PitchShift are also done by varying the delay time in a short frame! There you working explicit with this “artifact” of changing time in a delay.

Regards Peter

[pete.jParticipant]

Hi Bernd,

the answer is “ask Audinate”. DANTE-Cards of every brand always have to use the same DANTE-Chip from Audinate. At the moment they only have a 64×64 Chip. So as long Audinate doesn’t design a chip with more channels, there will be no A&H Card or Card from any other brand.
With SoundGrid, MADI, GigaACE this cards already exist, so it’s not about A&H in this case.

Best Peter

[pete.jParticipant]

Hi,

but this is kind of a normal behavior in most delays. And – as a lot of my colleagues at least do – Delay send is altered so in a scene change the delay is “off” anyways.

Also: if you just “re-tap” the delay during a song (because the band are changing the tempo slightly) it is the better thing, that there’s NO mute on the delay as the altering in tempo (and therefore artifacts) are minimal. But a “dropout” in the delay would be more obvious.

Did you ever use a “real” delay machine, like RE-201, DRV-2000 or such? The real things do the same, so I won’t call it a “bug” as it’s how delays act in tempo change.

Cheers Peter

[pete.jParticipant]

Hi Hisen,

preview is defintive a must nowadays. But scenes will be redone anyways, so maybe we’ll get it with 1.5.

Regarding Point 5:

As monitor engineer I totally get it. But you have two “masterfaders” for the wedge and IEM, I use them to match the “felt” level.

Also on iLive one could define on each channel/master on which CUE it should appear (Wedge or InEar or both), but I’m not shure if it’s already implemented on dLive (have to check it).

Cheers pete.j

[pete.jParticipant]

– the ganging L&R is kind of obsolete, as you can now have a “real” stereo LR. But yes, I got also used to it on iLive (even I remember times in iLive where ganging wasn’t available at all and Stereo Matrix had to do the trick).

[pete.jParticipant]

+1 – SSL4000 Busscompressor would be nice.

But, dLive has Master-Bus Compressor – the Opto is modeled with LA-2A in mind, which is an Masterbus Compressor. Also the RMS-Compressor is a Master-Compressor.

Third try this: use the VU, RMS or Opto Model, then switch on Parallel-Mode. Turn Dry up to 100%, Wet totally of. Make the compressor working really hard (like 8-12dB compression). Then bring up the Wet. This really rocks, is a trick widely used by top dog studio engineers and is one of the things that is special to iLive/dLive – because parallel compression needs to be phase coherent, which this one is!

Cheers pete.j

[pete.jParticipant]

+1

[pete.jParticipant]

Hi Steffen is right.

Maybe to clarify a bit:

Pressing the green “Pre” button on the surface shows you the current state of every channel dependent on the mix you chose (f.e. Aux 1).

Holding Pre and pressing Sel on a channel changes Pre/Post on the channel, holding Pre and pressing Sel on a Mix-Master chancels Pre/Post for the complete Mix (Aux).

It’s simple and fast and it’s there since early iLive-days (also on GLD and dLive).

Cheers

[pete.jParticipant]

Hi,

don’t know if it works but maybe this is a workaround:

If you setup the dLive (Surface>Audio>PAFL) to “Mix Follows Mix PAFL”, then I guess you can activate MIX indirectly? I may be wrong, didn’t check it, just an idea.

Cheers

[pete.jParticipant]

Hi Ray,

Short and clear: Mac works with A&H Driver, Windows doesn’t. No driver so far from A&H and rtpMIDI and so on didn’t work – or at least I couldn’t make it work.

As it’s a touring setup from a band it has to be totally fool-safe and independent of my personal stuff, so using my own Mac as “midi-translator” is no option. When I’m not there, it won’t work then.

Cheers Peter

[pete.jParticipant]

But what do you copy? If you work in spill mode I assume you have the DCA on top? So if you press “Copy” and “Mix” you’re copying the DCA not the actual mix. Or am I missing something?

[pete.jParticipant]

Tor,

All machines are bought and paid. So spending another 1000,- Euro (MacMini, Rackmount, TouchBase driver) is no option.

[pete.jParticipant]

Hi all,

@steffen:
did you manage to make it work? I tried rtpMIDI with no success. Documentation of GLD and iLive says, that they use Port 51325 for connection, so I tried to make a connection with the dLive Surface (192.168.1.71:51325) and Mixrack (192.168.1.70:51325) but both failed, rtpMIDI could’t establish a connection.

@stix: nepp I found Midi-Ox after I posted here. But till know I couldn’t manage to convert the Data. I see incoming Data in the Midi-Monitor, but if I move Faders from Channels it seems if I get the same data (a Note on, off which seems to be the Fader-sense, then Pitchbend with different Data-Bytes regarding Fadermovemaent, then again a Note on/off, but the Note is always the same. I’d expect different Notes for different Faders).

If I make a Midi-Fader in dLive (where you can program custom Midi-Data) it’s not seen in Windows as the DAW-Driver seems only passing Data regarding HUI or Mackie Control, nothing else,

thanx for your input!

[pete.jParticipant]

but isn’t it obsolete with Cue-Lists? Just consider Scences as “container” for all songs that ever may appear on a setlist. For the daily (changing) setlist just drag&drop the needed scenes into the Cuelist. Easy as could be.

Only the Midi PGM-Changes will be in the order of the scenes.

[Author]

Posts