[ThatComplicatedMidiGuyParticipant]

@ Tpaulding, why not just use a scoped scene for DSP kill? I do that for everything going to live professor. Literally just two softkeys mapped to scenes that either bypass the routing, or make that routing active for the desired channels.

[ThatComplicatedMidiGuyParticipant]

…and pitch correction.

I prefer Dante, but you’ve got to invest in a Dante PCIE card to keep latency to 0.2ms on the i/o side, which gives you a bit more wiggle room with the computer hosting. I use Live Professor with both Native plugs and UA DSP, Mac Mini as a host, w/ thunderbolt chassis carrying a Dante Pcie card. I map DSP Kill to soft keys, just in case, but haven’t had a crash in over a year of running plugs this way. I think I’m at a total of 7ms round trip with a slightly higher buffer on that particular machine (running 8gB ram.) My MacBook Pro can handle lower buffer settings and I can keep it about 4ms round-trip if I’m using my personal machine.

[ThatComplicatedMidiGuyParticipant]

+1

[ThatComplicatedMidiGuyParticipant]

CHALLENGE ACCEPTED!!!

[ThatComplicatedMidiGuyParticipant]

I do believe source selector is for the IP1 in an installation-type dLive environment.

[ThatComplicatedMidiGuyParticipant]

Yeah, the only real advantage to using FX sends is that it’s quick and dirty. Auxes are really the way to go. If you use FX returns, as Wolfgang mentioned, you can still see the FX units quickly/simply by selecting the return channels.

I prefer to use aux paths on sends and input channels on returns. The drawback there is that you *have* to go to your FX rack to see/tweak your FX units. The big, big advantage there though is having all the processing options of both a full mix buss, and an input channel in the signal path. (Plus two inserts for each return!)

[ThatComplicatedMidiGuyParticipant]

…and to head this one off at the pass: I do *not* want a global safe for the group, as I would like to still be able to create additional cues that may have more filter options available for that particular buss, and global will be problematic in that regard.

[ThatComplicatedMidiGuyParticipant]

Yeah, cue list is the way to go.

Re: faders jumping instead of fading – it makes complete sense on this desk because you can change your fader assignment per cue. IE, if you had faders moving while changing desk layout, that’s a heck of a lot of data to have to track. I could see that causing a hangup/crash. Coming from a VENUE desk, it took me a minute to get used to, but I can’t say it really bothers me ever.

[ThatComplicatedMidiGuyParticipant]

@ RS: Hahahahaha, ouch.

[ThatComplicatedMidiGuyParticipant]

I’ve had that happen once on a boot sequence. I’ve noticed that since one of the more recent firmware updates, (forget which, specifically) The login screen needs to pop up twice before you can actually touch the screen. IE – login screen pops up, then it sits for a second w/ the little mouse X thing, goes grey for a moment, then pops up to the login screen. If you get hasty and try to interact with the screen on that very first time it shows up, I’ve had the surface hang there.

…outside of that particular circumstance? Never.

[ThatComplicatedMidiGuyParticipant]

I would be careful about having *no* filter. You don’t want to blow out all your settings unintentionally with a scene recall during a show. The best way to scope just what you want is to go to your scene filter, block all, then un-block only the things you want to recall with that scene.

[ThatComplicatedMidiGuyParticipant]

I agree, routing input sockets directly is the way to go for sure. …but if you do feel compelled to use direct output for some reason:

On dLive, Direct Output pickoff can only be changed globally: pick a channel, go to Routing, hit setup and touch the screen to access.

[ThatComplicatedMidiGuyParticipant]

Just make a scene with your desired crossfade time and assign that to a button.

For what it’s worth, this is why I always have a VFX DCA, and always use a quick fade as opposed to using mutes.

[ThatComplicatedMidiGuyParticipant]

Tie Lines take an input source and feed it to an output just after the preamp, meaning, nothing after the preamp affects output on a tie-line.

For instance, we have a DM48 and c2500 @ FOH, cdm32 and c1500 @ broadcast.

FOH DM48 takes all the stage inputs and 1:1 patches them to tie-line outputs over DANTE (in your case it would be MADI.)

Web Broadcast Desk receives all inputs from DANTE, then also patches them, via Tie Line OUT to the Mac Pro running DAW (over DANTE.) While it is an extra step, splitting tie lines between the two desks in this way also saves us having to have 48ch of multicast, which would be hugely problematic.

[ThatComplicatedMidiGuyParticipant]

More information would be helpful:

Where is your pickoff point for the digital output to GLD80?

If you use Tie Lines for input channels that won’t happen.

If you are doing something like using DCA’s to mute/control mixes, and sending mix outputs, or direct outputs to GLD80, just bring the DCA’s down to -inf instead of muting. (There isn’t any way around that as far as I’m aware.)

Hope this helps!

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