[Pit LenzParticipant]

quote:

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Originally posted by jammiejammie

Don’t forget to turn on DHCP on the GLD (Setup -> Network).
The GLD uses a static IP by default.

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That`s not neccessary. (I´ve tried both)
DHCP and static addresses work together simultaneously.
The reason A&H recommends DHCP in a range between .100 and .199 is that any new ipad (or laptop with an iLive) is automatically given a new IP that wouldn`t conflict with the GLD`s (static) address of 192.168.1.50 (or the iLive`s given static addresses)

pit

[Pit LenzParticipant]

George,
The fader resolution can be much higher if you won’t move your finger right over the fader itself but go sideways first and then go up or down.
The further away sideways you are, the finer will be the fader reaction compared to your finger movement.
Check it out!

[Pit LenzParticipant]

Thank you, guys at A&H!
Without making too much noise about it, in firmware V1.1 you have solved the group latency issue described above!

that`s great news, now we can freely combine and (more important) add L/R and Groups to an output matrix without running into phasing problems.
I use it for example to mix to L/R, send that to a MTX for PA and to another MTX for nearfill. Those nearfills get some additional vocals from a vocal GRP to compensate the band volume coming from the stage.
This was not possible without phase cancellation issues in V1.02.
Now it works!

Thanks again…
Greetings from Germany
Pit
[]

[Pit LenzParticipant]

Hi Jonny,
the global source for direct out can be selected on the routing page as a pull-up menu at the bottom.
There you can select the direct out point.
You might want to choose Post-Preamp ot (one step further) Post-HPF.
The Dir. out can be at a different point in the chain than the Insert, which itself is fixed between Gate and Eq.

this is described on page 15 of the screen reference guide.
You`ll find it as document #8 under:
https://www.allen-heath.com/UK/Products/pages/ProductDetails.aspx?catId=GLDSeries&SubCatId=&ProductId=GLD80#tabset-tab-4

For playback (virtual soundcheck) I´d propose this:
connect logic’s 32 tracks to Dante 1-32 output channels and then
choose the same channels from i/O as your inputs on the GLD.
Make sure to switch off logic’s direct monitoring or you`ll get a feedback as you stop the playback.
You might even make scenes where everything is recall safe exept this patch, so you can quickly jump back and forth from virtual to real inputs.

Not in front of my GLD at the moment, but I think we did it like this before.
Greetings
Pit

[Pit LenzParticipant]

Just found this here:
https://www.facebook.com/photo.php?pid=1669317&l=3776c4f0c2&id=112696882086203

ALLEN & HEATH (official)
Also launching at NAMM today….

ALLEN & HEATH ANNOUNCES IPAD APP FOR GLD MIXING SYSTEM

Allen & Heath adds to its range of iPad apps with the new GLD digital mixing system controller, GLD Rem…ote, providing a comprehensive suite of mixing controls for remote wireless applications using the iPad or the iPad Mini.

GLD Remote connects to the GLD-80 mixer on a wireless network and gives the user instant access to any of the mixers channel faders and mutes, DCA faders and mutes, image controls, aux sends and assignments as well as channel input and output processing, mic-pre control and full metering. Whereas most other apps on the market offer limited control over the channel processing, GLD Remote gives control of high pass filters, gates, parametric and graphic EQ, compressors and input/output delays.

Other unique features for system setup include a real time analyser (RTA) to ring out monitors and EQ the PA, the facility to name and colour channel strips, custom layers with drag ‘n drop strip setup to suit any application, and a mix view where monitor engineers can keep both master levels and contributions under control in a single screen. Additionally, GLD Remote provides channel PFL control to enable the engineer to remotely listen to feeds using a wireless monitor system.

R&D director, Rob Clark, commented: “GLD Remote unlocks comprehensive wireless control of processing and mixes resident in the GLD-80, ranging from monitor mix stage setup, venue roaming and PA tweaking, and secondary control applications for fixed installs. During set up, engineers can walk around a venue and individually mute or apply level, processing and delay changes to the PA, and discreetly mix from anywhere in the venue during the show, whilst monitor engineers will appreciate being able to balance monitors from the musician’s position on the stage.”

GLD Remote will be available soon as a free download.

[Pit LenzParticipant]

Hola iortxtriton,
if you want to record through the waves IO-card, you have to install the soundgrid driver from the waves website (free).
It will connect to the card via ethernet and act like a 64In/64out (ASIO or AU) soundcard.

Nada mas.

Here`s how:
https://www.allen-heath.com/uk/products/pages/productdetails.aspx?catid=iLiveSeries&subcatid=AudioNetworkingOptions&productid=MWAVES

check the PDFs.

greetings
Pit

[Pit LenzParticipant]

quote:

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Originally posted by clarocque

Two things I wish it had or two things I can not seem to figure out. If it is me, someone please point me in the right direction…

1. An ability to clear all PAFLs

2. Option to assign one of the custom encoder buttons to the selected FX/AUX send. This would allow for a send on encoder option (dynamically).

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#1:You can use a softkey for that.
Set a key (position #10 is very convenient, cause its just above your right hand) to “Sel/Mix/PAFL/Combo”, choose Main(L/R) and Sel/Mix/PAFL from below.

If you click it, main mix is activated, selected and PFLd, if you click it again, Sel and PAFL are deactivated, but mix is still active for L/R.

This means: with a quick doubleclick you`ll get back home to your main mix from wherever you are, even if your main mix is buried somewhere, and disable all PFLs, if they´re visible or not.
That makes a nice emergency exit….

#2: Yes, that would be nice…[]

[Pit LenzParticipant]

Press the setup button (with that little sun printed next to it) for two seconds.
This will change the illumination level, affecting the LCD contrast in a way, too…

[Pit LenzParticipant]

I did some latency tests and found out a strange behavior of the groups:
I found out that monoGroups 1/2 and Grps 17/18 (in a 18-monoGrp-setup) and stereoGrps 1 and 9 (in a 9-stereoGrp-Setup) seem to have a delay of 4 samples.

Here`s the test setup:
GLD V1.02, Rev. 5638
I started with a default FOH show and put up 9 stereoGroups in one show, 19 monoGrps in another show.
Both shows can be downloaded to check for yourselves at http://www.pitlenz.de/public/AllenHeathGLD.zip

Now I hooked up a white noise generator (from AudioTools) on channel 45/46, because small sample delay differences can be easily detected with white noise. If there is a delay, you`ll clearly hear a coloration in the sound.

Now let`s take scene #1 of the “9StereoGrps” show. (allGrps straight, no delay).
WhiteNoise at Input45/46 is sent to all Grps, all Grps are routed to L/R. Everything`s straight, no EQ, nothing delayed. We listen to L/R in the headphones and active speakers.

Let`s turn up Grp1: WhiteNoise is clear. Grp1 stays up, we add Grp2 : Noise gets fuzzy. Now check all the Grp combinations. Any Grps from 2 to 8 are OK with each other, the sound is just alike to one single open Grp, just louder. Good! But if we combine any of Grp 2-8 with either Grp1 or Grp9, the noise gets fuzzy!

Now let`s turn up Grps 1 and 2, select Grp2 and go to Processing/Delay. Start turning up the delay time of Grp2 and at 4 samples the noise is clear just as it is between G2-8. Let`s set a delay of 4 samples ro Grps 2-8.
Now ALL of the groups are time aligned, but 4samples late (This is stored in scene #2).
That`s OK, as long as we mix ONLY through groups and nothing is routed directly to L/R. (This option is shown in scenes #3 and #4).

In scene #3 ( Direct to L/R AND to un-delayed Grps) we can combine Grps 2-8 with the direct signal without coloration, bus as we put up Grp1 or 9 WITH the direct signal, the white noise gets fuzzy again.

In the second show (18monoGrps), the four Grps 1/2, and 17/18 behave just as their stereo combined versions in the StereoGrp-show. Any of these can be combined with each other but not with Grps 3-16, as thery are late by 4samples again. Delay them (scenes #2) and they are aligned with each other, but not with the direct signal (see scene #4).

Now comes the FUNNY PART:
PFL signals behave differently, but ONLY on monoGrps 1/2 oe stereoGrp1, NOT on StereoGrp9 or MonoGrps 17/18!
If nothing`s delayed (scene #1) and the combination of stereoGrps 1 and 2 sound fuzzy, their PFL signal combined sounds OK.
If we delay Grp2 to timealign to Grp1, our mix sound OK but PFLing both sounds fuzzy now!
This is not the case with stereoGrp9 (or monoGrps17/18 in the other show). Here PFL gives the same result as the mixed output.

This is quite confusing, maybe someone from A&H wants to chime ine to shed a little light on this….
If you want to listen to this for yourself, check out the files, use a WhiteNoise generator hooked to Input 15/16 and report your results.

Greeitngs from Germany
Pit

[Pit LenzParticipant]

That’s what I was hopin’ for,
but thank you, Anthony, for making that clear….

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