[robcParticipant]

other tools to bare in mind for comms applications:

You can send any input mic signal direct to an output socket or an ACE channel without assigning to a input channel. For example its already your talkback mic source just patch out onto the outputs going to the other mix rack. So you can patch this mic signal direct to the other console without blowing a mix or input channel.

Each mix has an external input if you wish to plumb a comm line to a mix permanently.
Obviously any source can go into the external PAFL input too. So you can talk direct to the engineer if he has ear buds in or is wedged.

[robcParticipant]

Cool idea, this is easier to do on the touch screen RTA only. Freezing the RTA meters on the surface is harder.

Is this what you are asking for ? freezing the RTA on the touch screen not the surface meters in Graphic EQ view ?

cheers
robc
A&H

[robcParticipant]

R72 colour scheme

any comments…..

[robcParticipant]

you can send an external input to a matrix (patchbay an input source).
If you want to send multiple input channels you would have to use a mix.

hope this helps
robc

[robcParticipant]

excellent feedback the shopping list is getting longer.

BTW the soft knee is another area where we modelled the classic analogue knee. Most digital compressors curve fit below and above the threshold, like a maths exercise.
The classic ‘easy’ analogue knee is more progressive.

you can see it on the comrpessor gain curve on the screen. its more progressive. it sounds different too, especially at high ratios.

cheers
robc
A&H

[robcParticipant]

Walter, your comment about the limiter.

It wasnt designed as a brick wall limiter.
A brick wall limiter will attempt to eliminate any overshoot above the threshold, using fast attack release times. This will introduce HF distortion. Or you can use look-ahead delay allowing the limiter to attack with gain reduction prior to the overshoot – at the expense of increasing signal latency through the mixer.

Our brief from customers was an efficient limiter stage as well as a compressor. The limiter should protect level say for in ears on mixes or a source on an input channel. It should not introduce audible distortion when it limits but ensure that suitable level protection for the ear is performed. It is not suited to protecting speaker drivers from instant excursion etc. Thats for speaker processor limiters or for later processing options.

Customers also wanted the limiter at lower thresholds to tend towards AGC. So if you set the threshold low say -10dB if will have the effect of reducing the fader for programme passages above there, and not clip the audio signal at -10dB – creating continuous distortion.
Its designed to do these things.

I would interested in how you want it to work and whether you use it for more severe limiter protection for speakers for future development.

much thanks
RobC

[robcParticipant]

Yes the auto modes disable the fixed manual attack release settings and the ballistics of the compressor are set purely by a programme dependant algorithm. The attack and release parameters are not simply set fixed to the value of attack and release user settings from manual mode. This would introduce distortion, modulation and/or pumping.
The automodes provided have styles, changing the way the algorithm works. Vocal catches transients keeps distortion low for vocal range and attempts to prevent pumping. Tight rms speeds things up at the expense of distortion. But you can create tight fatter sounds on bass and percussion.

Manual mode does also employ a distortion smoother too in the background, like most analog compressors. The goal as i explained was a smooth manual mode with minimal distortion that still catches transients. Not a particular musical sound. The auto modes do have character and we can extend these in future.

Selecting an auto mode does NOT change the makeup gain or ratio or threshold it simple changes the way the compressor deals with attack and release.

We have not thrown extended R&D so far at more models. The goal was to get the manual mode working as i described a transparent low distortion compressor thats still reacts quickly when needed.
We did some auto modes to suit programme. We plan to develop this to emulate compressors you like in the future.
Please try the auto modes and give us feedback.
Also the screen histogram of the GR may help explain the ballistics.

Also we are investigating the sc source selection for the future.

thanks
RobC

[robcParticipant]

I am sorry Graham isnt happy with the compressor in manual mode.

In manual mode we have designed an efficent compressor with minimal distortion and pumping as requested. Its designed to react quickly to large gain reduction changes but not generate pumping and HF distortion like some digital compressors do. It should enable the engineer to create gain reduction and then wind in make up gain without artifacts or colouration – ‘default manual mode’ like an Amek RupertNeve 9098 and the dbx 286. This was the brief for the default manual mode, not a 160 sound or a bomb factory. We seem to have had a lot of positive feedback for this so far.

Then in auto mode we have created some models (not enough i agree!)
If you want an rms based sound similar to ‘160’ sound try the auto mode ‘tight rms’. If you want a compressor suited to vocal try the auto mode ‘vocal’.
We have had some engineers not find the auto modes on the interface. maybe we need to change the interface for this ?

Graham is right we need to create more models… and maybe some live guys want 160’s everywhere – certainly useful on percusion and bass.

160 has been requested very regularly and although our tight rms is similar there are differences which I can look at for future software release.
We are also interested in parallel compression to add some transient HF back into a heavy thick compressed sound.

We will introduce more emulations in future, meanwhile please be patient and tell us what compressors you like.
All feedback welcome.

cheers
robc

[robcParticipant]

i think you are very right.
Isolating 2k4 and 2k8 with a mult band split is very hard and associated problems with high sloped band gain changes will sound phasy i think !

dynamic eq would be the way.

Tuejo, dont your country men use a 6dB as well ? if so how do you find that.

[robcParticipant]

thanks thats useful stuff.
The band splitting is another area of interest, in that what slope filter is needed between bands ?
some smoother slope multiband comps sound smooth and pleasant, (danish ones) ! But you may not get the isolation between 2k and 4 kHz.

[robcParticipant]

Its on the wish list.

robc

[robcParticipant]

think about using a template configuration, check the bus config/ structure is right for you and plan your io and stereo inputs and any gangs.
you dont want to be changing the mix config or input stereos just before the important service that happens to be your first time on the mixer!
Maybe download the editor, it may get you thinking about config and setup.
millst is right watch what mix you are on.

Also watch accidently assigning a fx return to its send, if you dont watch what mix you are on.

[robcParticipant]

I used to have issues with the touch screen, but I started using the tip of my finger nail not my soft finger pad and after a few hours found it works really well.
Also remember screen calibration, if may help some users if they are the main user, if they calibrate the screen it will learn where they touch !
No-one here uses a stylus, so we have not got into the mode of recommending one.

Maybe some other iLive users have got some to recommend.

cheers
rob
A&H

[robcParticipant]

More LF bands has been requested before, we have it on the list!

[robcParticipant]

Well spotted Andy and sorry for the confusion.
Web guy has been disciplined.

[Author]

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