[ThatComplicatedMidiGuyParticipant]

It’s been a feature request in the past unless I’m mistaken. What Scott said, but also you can burn an input channel, set the input of that channel to be the output of the desired inception group, then send that input channel to a group. …effectively giving you a group within a group.

[ThatComplicatedMidiGuyParticipant]

Should be in the “dLive-Firmware-Reference-Guide-V1.8,” in the documents section of the Allen Heath website…

[ThatComplicatedMidiGuyParticipant]

@ Mark, I was out of town, hadn’t had a chance to test, but yeah: just confirmed it’s only the actual Mode menu that appears to affect the pickoff, not the width percentage.

@ Mr. X – Since we are running a Dante network and need to tie multiple systems redundantly together it made a lot more sense to use Tie Lines as opposed to VSC. (For one, it protects against some idiot just hitting a button and bodging up all the routing suddenly.) The pickoff point is the same regardless of which approach is used.

[ThatComplicatedMidiGuyParticipant]

+1

[ThatComplicatedMidiGuyParticipant]

Yes, exactly.

Copy/Paste + Sel copies/pastes all channel parameters (Sans Dyn8 if on insert.)

Copy/Paste + Mix copies/pastes all mix parameters/assignments for that channel.

[ThatComplicatedMidiGuyParticipant]

You could add a bluetooth interface to inputs @ mixrack, or take input from an i/o slot if you’ve got a dante card or something like that. I run Spotify via dante inputs, and occasionally run audio cue playback via Live Professor this way as well. I’d be hesitant to rely on a bluetooth connection though, and would absolutely favor just adding some playback via i/o card on the DSP host. (Mine is a new mac mini i7 running Live Professor, Reaper, and Spotify simultaneously.)

[ThatComplicatedMidiGuyParticipant]

Ditto to what they said. Computer settings for sure. If you’re on a Mac, there’s an easy shortcut for this. Make sure you “Show volume in the menu bar,” under sound prefs. Then in the little sound icon in the upper right part of the screen, you can click it and you will see what outputs are currently available/selected. (If you option + click, you can also change input settings through that little menu.)

[ThatComplicatedMidiGuyParticipant]

@ Steffen – yes, another potential failure point for an unskilled user, or someone not paying attention. It could be made an optional feature by way of setup button to avoid that issue. IE, you’d have to be really intentional about turning it on in the first place.

@ MFK – dual mono matrices would still reflect the stereo image if L and R are patched directly in to them as opposed to summing each side via send.

It’s a waste of limited buss resources though, so I would still argue adding the option for split delays @ ST auxes would be incredibly useful for a limited number of scenarios.

[ThatComplicatedMidiGuyParticipant]

It’s 10 user logins, period. Users are stored on the console, so however you dole that out, you get 10.

So in my case, I have: admin, band, non-redzone volunteer, Pack 1-5 (5x IEM user logins for Custom Control,) and two spares.

[ThatComplicatedMidiGuyParticipant]

@ Nicola – I dig what you did with the chromatic meters instead of the full standard meters, it’s a nice touch. I presume you’re using the row of send-assign buttons to effectively mute/unmute sends to that mix? I was hesitant to add that in my layouts, because turning the fader all the way down effectively does the same thing, and I was worried band folk would accidentally hit those. (…and then I’d have whiny band folk wondering why they couldn’t hear something.)

[ThatComplicatedMidiGuyParticipant]

Hi Nicole, as indicated in my original post, I did submit a support ticket. ID RGD-479-80236. This has been logged as a bug. Per Ben Morgan a fix is being worked on for future firmware updates.

[ThatComplicatedMidiGuyParticipant]

@ Devan, I put my latest custom control file back here:

https://www.dropbox.com/s/7btkzpo721bk9uh/190610_AH_Custom_V5.xml?dl=0

Here’s my default (primary campus) dLive show as well so it will make sense:

https://www.dropbox.com/s/gtas42awci1bq4f/190707%20Mish%20FOH.tar.gz?dl=0

I’ve changed a few things in there since then, but it’s more or less the same. Load Scene #497 for the full default show state. I’ll leave both files up there for a month or two and then pull em.

Band gets ipads that are designated to control StAux 4-8. I haven’t made an iPhone version yet, though it’d be something similar, probably sans meters. Hope this helps!

[ThatComplicatedMidiGuyParticipant]

@ Steve… having done that very thing for a few years (several years ago,) I can safely tell you using DAW to run live stream is a bad, bad idea. The biggest downfall is that there are no snapshots in a DAW, so if your op does something foolish accidentally with the mix, you’re basically hosed. Nofoolin, I’ve got the scars to prove it lol. The *one* exception that I’m aware of, is Live Professor. (Or, alternatively qLab, but that’s a pricey way to go.) You could theoretically run “miksebord” process/mix everything through LP, (or just mix in LP and use post-processing pickoff for the DAW send,) and then use cue lists in LP to manage. The big advantage of that is that you can then also use dLive snapshots as a cue trigger for Live Professor via TCP midi.

…but honestly, you’re better off allocating a couple busses and doing a sub-mix on the dLive, or allocating duplicate channels for a remote op and giving them an ipad or something. (Maybe even an iPad running custom control + a BCF5000 for physical faders and a bome box or something to translate; I’m assuming cost is a factor.) I have a broadcast desk set up and a broadcast sub-mix on my FOH desk for when an op isn’t available. Basically the board mix is the in-house TV mix, but I have an extra matrix on the output side to have a brickwall limiting compressor and some additional tonal shaping before it hits the internet. IE: FOH Channels—Post-fade send—TV Mix (StAux)—TV Master (StMtx)—Out.

Good luck with the stream sir!

[ThatComplicatedMidiGuyParticipant]

I typically like to record with the tie Lines; mostly because it keeps gain-staging/processing in check on what you’re burning to disk. (IE Preamp—Dante, as opposed to Preamp—someGarbageIthoughtSoundedGood–Dante) …which is super helpful if you’re using that content for virtual sound check, and/or don’t want to accidentally record some stupid thing you did with a compressor or something. If you want processing burned to disk, then yes: grab a direct output instead and change the pickoff point to the desired location.

The one other thing I’ve noticed when recording tie lines: Phase is *also* captured. IE if I have mid-side mics and have one side inverted, or a snare bottom that’s inverted, it will be recorded as inverted. Just be aware of that when doing any playback, you’ll have to un-invert your inversions.

[ThatComplicatedMidiGuyParticipant]

I dig the tube preamp on a few vocalists and things I need to saturate or subtly distort. I really dig the mighty on snare and bass, depending on the context. I go back and forth between the 16t and the 1176 on guitars, kind of depends on who’s playing what. (And sometimes I’ll swap them per song in my recall scope.) The “optotronik,” model is fantastic for all kinds of stuff. I particularly like it as vocal buss glue, it’s nice on toms, and I’ve had good luck using it on piano/keys, although the opto is good there too. On keys/tracks I also like to use dyn8 on an insert sidechained to vocal buss to help keep things like synth strings in check. I dig the 16vu on overheads, and/or things I want to squash a bit. Enjoy the new toy!

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