[smorgan223Participant]

I’m going to think outside the box a little. I would think this might be possible when utilizing an ACE option card since the ARXXXX stage boxes talk the ACE language. Just a thought. I however do not have a way to test this as I don’t have a console.

[smorgan223Participant]

quote:

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You can accomplish the same thing by using an aux send for recording

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Yea…I don’t know why I didn’t think of that too. That is definitely another possible, and less complicated, way to do it.

[smorgan223Participant]

Here is an option for you to run both a mono out and stereo recording feed. Since the console is digital, you have the ability to run the inputs to more than one channel strip provided your channel count is less than half of the 48 available processing channels. With this split-console situation, you can route the first set of your channels to the Mono (“M”) buss and the second set (the copys) to the LR buss. You would send the Mono out to your PA and the LR out to your recording device. Now, it does complicate things a little by keeping up with two mixes, but since you are getting a digital mixer, I am assuming you are ready for the added complexity. Hope this helps!

Thanks,
Scott

[smorgan223Participant]

quote:

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What do I set the outputs under the I/O Port OUT tab to if I want to record from the AR2412 / AR804 / GLD80 for the first 32 channels on the desk in a live gig scenario (As far as I think it is Input Direct out)

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It seems like the best place to pull from would be directly off the input socket for each of the inputs. However, it is also possible to pull off the direct outs from each channel as well. You will just need to make sure the direct out pick point is set to Post-PreAmp.

quote:

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How Do I make sure I am recording the Post-Preamp but Pre-EQ/Dynamics/effects Signal – Its really important that i am recording post preamp pre-dynamics

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This can be done on the Routing page via the DIR OUT SRC pull-up tab at the bottom of the screen.

quote:

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What do I set the inputs under the I/O Port IN tab to if I want to Playback the audio from Logic 9 to the first 32 channels on the desk

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Assuming you have all of the outputs patched correctly in Logic and the Dante Contol Software, you would simply choose the appropriate Channel Name associated with each of the inputs.

Hope this helps!

Thanks,
Scott Morgan

[smorgan223Participant]

Unfortunately, since the monitor connection does not speak the “language” of the P-16M, the way your doing it is the best way. The only other thing I know to do would be condense the amount of channels you are sending to the personal monitors by grouping things together.

[smorgan223Participant]

Chris,

You can daisy chain effects. Just make the input of one effect the output of another in the rack.

Thanks,
Scott

[smorgan223Participant]

There are a couple of ways that I can see you accomplishing your goal here. The first is to insert an FX unit directly on the Aux(s) you want to have FX on. That way you can dial in different settings depending on what the artist likes in their mix. Since I don’t own a console, I don’t know if you can multi-insert one FX unit. You could also set up a couple of FX units just for Auxes, and mix them much in the same manner you would mix the FX for FOH. The FX short returns can be included in each of the Aux mixes just like individual channels therefore giving you the ability to have separate FOH and Monitor FX mixes.

Hope this helps!

Thanks,
Scott

[smorgan223Participant]

I have used this source as well. I use it mainly for practicing my mixing skills, but I have learned a good deal about how to make really good sounding recordings just by messing around with different things. I have even used some of the same things live with good results.

Scott

[smorgan223Participant]

Yea, doesn’t seem like it would be a difficult thing to accomplish.

If any GLD developers are monitoring this post, this might be something to look at adding to the functionality of both the iLive an GLD.

Thanks,
Scott Morgan

[smorgan223Participant]

From just a couple of minutes in the iLive editor, it doesn’t seem like this is possible, and to be quite honest, I’m not sure of a situation where one would want to do this.

Of course the work around is to assign one user key to the left side and one to the right. Then just tap them separately and save that setting to a scene. Another way to do it is to link both sides of the delay, tap it out during rehearsal, then go back into the FX, unlink the two sides and adjust the right side manually until you have double the required amount. I would then save that to a scene that just scopes the FX change.

I know this seems like an arduous process, but I think it’s the only way to do it for now. This might be something for the iLive/GLD developers to look at possibly doing.

Scott

[smorgan223Participant]

First, I will refer you to the iLive T-112 Getting Started Guide (https://www.allen-heath.com/UK/Products/Pages/ProductDetails.aspx?catId=iLiveSeries&ProductId=iLiveT112&SubCatId=iLiveSurfaces) Pg 22 for how to configure mix buses. Once you are on that screen, you can tell the iLive how many Subgroups (ST or Mono) you need. Once you have saved the settings, you should see, or be able to drag onto the surface, the different subgroups. From there, you would select the mix button of the Subgroup you wish to assign channels to, and while holding down the “Assign” button, press the “Mix” button of the input channels you wish to assign to the Subgroup. To assign that subgroup to the main LR bus, you would press the mix button on the LR bus, hold down assign, and press the Subgroup’s “Mix” button.

For any and all future iLive questions, I will refer you to the iLive Discussions section of this forum. This section is for GLD-80 questions and discussions.

Hopefully I was able to answer your question. I don’t really have much, if any, experience with the iLive desks, but I’ve played around in the editor software quite a bit. I was looking through the Getting Started Guide for your desk, and it’s really informative just from what I’ve seen.

Thanks,
Scott Morgan

[smorgan223Participant]

You are right that you can use the T80 in the iLive editor. I would use the iDR-10 Mix Rack and throw 3 8-channel input cards and 2 8-channel output cards (realizing that you only have 12 of the 16 outputs available to you).

You will need to leave 12 Mix Outputs because the iLive has a total of 32, and the GLD only has 20 (both numbers include the LR stereo bus).

We used a keytar for David Crowder’s “Oh Happiness” which we havn’t done in a long time. Let me know if you have any more questions, and feel free to share your iLive Editor file with me at scott.morgan82@gmail.com.

Scott

[smorgan223Participant]

Regarding your talk-back Mic. If you need it for talking to your Overflow, then you could feed it to the Room Mic Group. You will also need to feed your Room Mic Group into the T-Loop and Overflow Matricies along with your LR Buss. This way they both get your main mix as well as the ambience from your room mic. In our main sanctuary we use a stereo pair of room mics for ambience for our video, CD, and Hearing Assistance, and these get mixed in with everything else.

There are several ways to go about the Overflow and T-Loop situation. You could set up the 25-44 channels to mix separate mixes for the hearing assistance and overflow rooms and send that mix to a Mono Aux or Mono Sub-Group then to the Overflow and T-Loop Matricies. This is just a suggestion. This means you can mix separately from your FOH mix with different channel processing.

Sorry about the rambling…Things just keep coming to me.

Scott

[smorgan223Participant]

The ADT is a vocal doubler. Currently we use an MX200 (Dual FX Processor) from Lexicon for our FX processing with our Allen and Heath GL3 (REALLY OLD CONSOLE!!). I have it set up with a Plate on Processor One and a Chorus on Processor Two. This helps get the vocals out over the band. We have a really loud drummer, so the rest of the band has to be brought up to the level of the drummer.

We won’t have to worry about sending to another room in the situation we will be in. We will be getting Dante with this console so we can multi-track record and playback for virtual soundcheck.

I’m not sure what kind of instruments you have, but here is how I would Sub-Group in your situation.

ST Sub-Groups 1-4 would be for the band (Drums, Guitars, Keys, Vocals perhaps)
Mono Groups 1-2 would be for the Room Mic and for Speech if you desire.

I would use a ST Matrix for your PA, and 2 Mono Matricies for your T-Loop and Overflow Room. The two Mono Matricies would receive a summed mix from your main Left/Right Buss since I can only assume these are both mono systems.

I would personally send your speech and whatever doesn’t need to be grouped straight to LR. This keeps the complexity out of the system. Digital Consoles are complex enough in their own right, so the more basic the setup the better.

Just my 2 pennies worth!

Scott

[smorgan223Participant]

No problem about the editor tip. Glad to help a fellow Church Audio Engineer.

I have a learned a basic rule of thumb when it comes to sub-grouping things on the iLive or GLD. Because you only have so many mix outputs, I have bent to just grouping things that you would process as a group like drums, guitars or vocals. Here is kind of the setup I have planned for my console when we get it for our new youth worship room.

INPUTS LIST:
1-6 – Drum Kit
7 – Drum Loop
8-10 – Percussion
11 – Bass
12-13 – Electrics
14-15 – Acoustics
16-17 – Keys
18 – Keytar
19 – Lead Vocal
20-21 – BGVs
22 – Speaker
23 – Wireless HH
45-46 – CD
47-18 – PC

I have exact duplicates (Shared Pre-Amps) of channels 1-16, 18-21, & 23 on channels 24-44 to set the monitors with so I can have separate channel processing for the monitors.

ST SUB-GROUPS:
1 – Drums
2 – Electrics
3 – Acoustics
4 – Vocals

Everything else gets assigned directly to LR.

MONO AUXS (All Wedges):
1 – Vocal 1
2 – Vocal 2
3 – Lead Gtr 1
4 – Lead Gtr 2
5 – Bass
6 – Drums
7 – Perc
8 – Subs

ST MATRIX:
1 – LR (Fed from the Left/Right Main Buss)

DCAS:
1 – Drums
2 – Perc
3 – Bass
4 – Electrics
5 – Acoustics
6 – Keys
7 – Lead Vocal
8 – BGVs
9 – LR/Sub (To control the LR Matrix and Sub Aux on one fader)

FX RACK:
1 – Plate Vocal (Returned to IP FX 1)
2 – ADT (Returned to IP FX 2)
3 – ST Delay (Returned to IP FX 3)
5 – Room Live Drums (Inserted on the Drums ST Group)
8 – Beware Sub Harmonics (Dual Mono Inserted on the Kick (1) and Bass (11) channels)

I got a good bit of the ideas for this setup from Robert Scovill of Avid. He has some really good live audio webinars on the Avid website about setting up FOH, FOH/MON, and MON show files. Of course he is using the Avid D-Show console, but some of the same things can apply to whatever console you are using. Just google Avid Live Audio Webinar Archive. You will have to sign up to be a member of the site, but you can say no to anyone contacting you.

Let me know what you think of the setup.

Scott

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