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Viewing 15 posts - 1 through 15 (of 18 total)
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  • #92344
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    Runepune
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    According to the AH Knowledgebase:

    Inserting a Dyn8 adds 4 samples on input / bus processing (42us)
    Inserting a De-esser, Transient Controller, DynEQ or Doubler from the FX Rack adds 27 samples on input / bus processing (281us)

    #88706
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    Runepune
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    3. Make a soft key to sends on faders WITH PAFL active. Can get either/or on a key, but not BOTH.

    Use “Sel Mix PAFL Scene” as function for the button. In the “type” dropdown below, chose what to include.

    #88357
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    Runepune
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    Do you really have to adjust gain after soundcheck though? I’d just gain conservatively and use trim.

    So direct out is pre digital trim? What if you set direct out to post HPF?

    #88211
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    Runepune
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    You could hear that parts of the song were missing again and again. As if they had been cut out in between.

    Had the exact same thing happen the one time I tried USB-recording. Could very well be the stick was too slow, but I would’ve thought most any new ones were able to record a stereo track…No buffer on the dLive?

    #87356
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    Runepune
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    You can route one input to as many channels as you want. No need to change i/o. But I may misunderstand the problem…

    #85792
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    Runepune
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    Create a digital split and gang the channels? Except mute and sends, obviously 🙂

    #84921
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    Runepune
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    I set up my gains so that no input signal will ever reach 0dBFS. On an analog desk I’d shoot for faders at unity. Not so on a digital desk. If I want faders to sit in a particular spot, I’d use trim.

    I wouldn’t use RMS metering on input channels myself, but if you really want that, try setting dLive’s metering ballistics to 300ms attack/release.

    #83432
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    Runepune
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    Actually, Dyn8 adds 4 samples latency.

    On dLive, we compensate the bus processing latency so that no matter the internal routing, all signals are phase aligned on the mix outputs.

    For example:

    Input to Group to Mains is aligned with Input to Mains
    Group to Aux to Matrix is aligned with Group to Matrix
    Input to Group to Matrix is aligned with Input to Matrix
    In the analogue days this would have been irrelevant as processing latency was basically zero, but with most digital consoles, routing paths as the ones above will result in comb filtering producing cancellation at certain frequencies.

    The delay compensation on dLive allows for the signals on the mix bus to be always phase aligned down to the sample – even in cases of parallel processing – resulting in a clear and accurate sum. And all within 0.7ms of overall system latency, analogue in to analogue out!

    All channel processing (DEEP) is also compensated i.e. channel processing including DEEP preamp, compressor and GEQ models does not add any extra latency.

    Dyn8 engines, external inserts, and inserted FX are NOT delay compensated. In some critical applications, you might want to manually compensate for this latency by adding delay to correlated, unprocessed channels. If this is the case, you will find these values helpful:

    Inserting a Dyn8 adds 4 samples on input / bus processing (42us)
    Inserting a De-esser, Transient Controller, DynEQ or Doubler from the FX Rack adds 27 samples on input / bus processing (281us)
    Also, latency is NOT compensated when routing a bus to a bus of the same type, or when routing a bus back to an input (both of these options are enabled in firmware V1.7 and higher).

    For example:

    Group 1 to Group 2 to Mains is NOT aligned with Group 1 to Mains
    Group 1 to Input to Mains is NOT aligned with Group 1 to Mains

    Source: AH Knowledgebase

    #83385
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    Runepune
    Participant

    Groups send to auxes just like inputs…Or is that not what you mean?

    #83333
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    Runepune
    Participant

    I prefer using a group for additional compression myself. Using the fader to push more or less into the group compressor, and avoiding too severe compression in stage monitors.

    #83237
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    Runepune
    Participant

    select the rack fx output in the input channel source select window

    🤓👍

    #83232
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    Runepune
    Participant

    Stop using FX returns, use input channels instead. You’ll find a *lot* more processing flexibility using inputs vs returns, generally speaking.

    You can route FX outputs to input channels? I’m sitting here with Director and can’t figure that one out. I can’t even unassign outputs on the back panel of the FX slots.

    #81863
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    Runepune
    Participant

    Basically, a surface is just a computer with imbedded software. There is no reason why you shouldn’t be able to pre-program a show without the mixrack connected to the surface.

    The dLive surface is just a control surface. All processing is done in the mixrack.

    #81699
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    Runepune
    Participant

    For me the new compressor and the Dante cards are biggest news.

    Ah, a new Dante card for dLive is confirmed?

    #81659
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    Runepune
    Participant

    My concern is the metallic sounding tail (I wouldn’t file this under reverb “character”), as if it’s lacking in discrete delay/diffusion processing and rather just repeating identical portions. And there’s no way around it. Very obvious on percussive sources. My thought was that dedicating more processing power may help. Or it may just be a programming issue, I don’t know.

    So, the feature request may be something like SMR+ dual or quad-processing reverbs. I’ll gladly sacrifice 4 FX slots for one good reverb 🙂

Viewing 15 posts - 1 through 15 (of 18 total)