[ThatComplicatedMidiGuyParticipant]

I think the point is that it’s noticeable if I go, quickly mid-song, say in a bridge part, from a 1/4 note tap to a 1/2 note tap, there’s quite a bit of time difference between the two, so you will get an audible shift. I’m definitely not talking about small shifts in tempo, those are tolerable. Even then, song to song isn’t as much of an issue, it’s just when the band does things like, need a big reverb-y half-time moment in the middle of a song and then I have to quickly snap back out of it – that’s where it becomes problematic.

Already on the Midi mapping functions! Thanks for the heads-up. I have a shortcut set up that lets me use an entire bank of faders/buttons as contextual controllers for outboard Multi-rack processing. I’m using Live Professor as opposed to SoundGrid, but same idea. I *think* Live Prof is slightly more flexible in show controls/mapping/custom cues than Soundgrid, but I could be wrong? At any rate, the midi functionality of this thing is off the hook. (Sans no custom labels on the custom rotaries.)

[ThatComplicatedMidiGuyParticipant]

Yessir, and in those contexts I want that audible shift; but I do not want them when I’m trying to have a tempo-locked tap delay that is as dummy-resistant as possible for volunteers, while trying to maintain a high level of mix quality across the board. In that situation I don’t want any remote possibility of audible shift.

I will say: it’s funny you should mention H-Delay. I actually use that in a current Pro Tools rig for a couple of live streaming situations. I use H-Delay because the tap is midi-mappable, unlike Fab Filter’s Timeless 2, wherein TIME is mappable, but not tap. (How weird is that?) I didn’t realize Echo Boy was also mappable in the same way, or I’d have bought that one instead. At any rate: I had the same issue with the audible shift in H-delay when switching taps, so I built an automation layer using Ableton as a time-based parameter controller: LPD 8 is mapped to have a “TAP,” button that corresponds with Ableton’s internal tempo tap, second LPD8 “Go” button is mapped to a clip launch that has two layers of automation parameters: 1) cc that smoothly/quickly turns DOWN the output of the H-Delay, 2) 4 midi notes mapped to H-Delay TAP, 3) CC that then smoothly returns the H-Delay OUTPUT to unity. That series of steps, in a triggerable midi clip, works incredibly well as a workaround. Not an ideal solution, but it does the job!

[ThatComplicatedMidiGuyParticipant]

Bummer, thanks for the info! I have enough channels I’ll just burn a few to send things the way I want to the performers. I thought about using tie lines, but I’ve got them mostly occupied passing DANTE. (DM48 FOH–>Dante Tie Lines –>Cdm32 Live Stream desk inputs –> CDM32 Tie Lines ->Dante Outputs to Reaper.) We could shift it a bit, but then I’d need to rely on more multicast than I’m comfortable with.

[ThatComplicatedMidiGuyParticipant]

Makes sense, thanks guys!

[ThatComplicatedMidiGuyParticipant]

Oh absolutely. It happens in every delay, and the easiest workaround is to mute/reduce the thing while tapping. I guess I’ve just been spoiled on systems that have a ducking mechanism built in to the tap function. (IE VENUE.) Try tapping any of the delays on an avid desk while the fader is up – you won’t hear the pitch shift at all. I noticed this one pretty clearly when moving from a 1/4 to 1/2 time tap on the Allen and Heath, which is something I do with a fair amount of frequency. In that sense, I would consider it a bug for a high-end digital console designed for live sound support to not have a ducking mechanism tied to the tap. I mean, I could burn an fx slot and have one on a half time, one on qtr, but that seems silly. …and really, I can think of about four additional work-arounds for that audible shift, but it would be nice if it was just a feature of the dLive.

Thanks for the insight though sir!

[ThatComplicatedMidiGuyParticipant]

Heyooo!! Answered my own question: You have to set up each iPad individually, you can’t set up all the individual users on a single iPad while logged in as admin. Good thing to know! (And good thing I had two iPads laying around! This has been driving me batty all night. A little odd, but I’ll roll with it! It makes perfect sense if you have the perspective that each individual will bring their own phone-thing to rehearsal/gigs, a little funky though that an admin can’t set up each of those devices remotely/virtually ahead of time.

[ThatComplicatedMidiGuyParticipant]

Thanks so much! It’ll be super hard/confusing to use these things live otherwise. (Especially if you’re building contextual midi maps.)

[ThatComplicatedMidiGuyParticipant]

Definitely, I’ll have scenes whose only job is just that: Heavily filtered for very specific console commands/look changes. However, I’ve searched every bit of the dLive editor and I don’t see an option for actually naming the “custom,” encoders for the midi strips. Am I blind or just overlooking it somewhere? …or does that not exist?

[Author]

Posts