[SteffenRParticipant]

The on/off is available.

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[SteffenRParticipant]

More latency makes it a me too product.

The very low latency sets it apart from many other systems.
It’s a real bummer for high-end monitoring solutions.

In the end, it all depends on the implementation.
I would love to see a more flexible processing chain, but would not sacrifice the very low latency of the system.

[SteffenRParticipant]

Remember, the system is latency compensated and mixes to phase coherent signals on the outputs or busses.
And the overall latency is around 0.7ms.
Per channel definable direct out points will lead to out of sync signals at the destination.
Additional plugins will stretch the latency if they need to get compensated.
These two points are significant for the superior sound achievable with the dLive systems.
Changing this, in the suggested manner, will change the sound quality to the worst.

Not sure why we don’t have options for “Post Filter”, “Post Gate”, “Post Ins B Ret”, or “Post Comp”.

Aux send points are similar for inputs, fx returns and groups.
Groups have no gate and no insert B.

– An emulation of the Empirical Labs Distressor compressor.

The Distressor is an emulation of classic compressors. We have emulations of the origins already.

Agreed. A way to select any given channel or bus, without needing to have it on the surface, would be nice. The fact that I have to add the channel or bus to the surface so that I can push the select key seems silly.

DCA spill can help here as well. Just select the DCA and add the channel you need in the routing screen to your “POP” group.
And it scrolls much better than the south area metering view.
Or assign the select key of that channel to a soft key?

[SteffenRParticipant]

What do you think is metadata in a live audio environment?
Metering? Really not. That is real time information as a stream.

Remember the iLive, where the metering information distributed to the instances of up to 10 editor versions have eaten up the network bandwidth very quickly.

As Brian said, your initial request is a fundamental change to the architecture, worth exactly nothing.
Just to show wrong metering data?

24 DCA need 24 listeners to the metering in every possible scenario, and the information needs to get sent out to all GigaACE devices and Directors present in the network.
Don’t forget the controllers attached to the network.
So I believe they (the developers) think very carefully about this problem.

[SteffenRParticipant]

What is your dealer saying? That would be the first address.

[SteffenRParticipant]

Is it really that hard to do what Keith suggested?
Open a support ticket!

[SteffenRParticipant]

I often use my ears to identify the sound…

Sorry, couldn’t resist 😉

The feature request is already clear since 2019.
A signal present indicator and a clipping indicator of contributions is what we like to see.
This avoids the need of summing.

[SteffenRParticipant]

DCA spill is a fantastic feature. I often use Softkeys to have DCA’s without the faders.

[SteffenRParticipant]

Could it be a sample rate mismatch?

[SteffenRParticipant]

Dropouts are not related to IP address problems.
An IP V4 address issue would lead to no connection.
Drop outs are most likely a clocking problem or a computer related issue.

For the network it’s all layer 2 switches and everything is self-assigned IP addresses.

What does that mean?
Dante Virtual Soundcard relies on the OS network configuration.
Which devices are present on the network?

[SteffenRParticipant]

The GigaACE connection already has a quality monitor. A very basic one, but it’s there.

All other networks are mostly outside the system. You can monitor them with something else…

[SteffenRParticipant]

From the technical data sheet:

SQ-Drive USB-A
Stereo Record 2 channel, WAV, 96kHz, 24-bit, source fully patchable
Stereo Playback 1/2 channel, WAV, 44.1, 48, 96kHz 16,24-bit, source fully patchable
Multitrack Record 1-16 channel 96kHz, 1-32 channel 48kHz, 24-bit, WAV, fully patchable
Multitrack Playback 1-16 channel 96kHz, 1-32 channel 48kHz, 24-bit, WAV, fully patchable

USB Audio Streaming USB-B,
Core Audio compliant, ASIO/WDM for Windows
Send (upstream) 32 channel, 48/96kHz, 24-bit
Return (downstream) 32 channel, 48/96kHz, 24-bit

From my own research:

DANTE
SQ Dante Card 32×32 > guess what, 32 tracks
SQ Dante Card 64×64 > 64 tracks

And it depends on the Dante network how much Dante channels you can record.
Dante Virtual Soundcard is limited to 32 channels in 96kHz and supports 64 channels with 48kHz only.
But a dedicated Dante PCIe Card can record up to 256 tracks if capable.
That depends on the card you use.

MADI
Up to 64 tracks depending on the MADI recorder.

WAVES SOUNDGRID
Again this depends on the network, the card supports up to 64 tracks in and out at 48 and 96kHz.

[SteffenRParticipant]

Not yet.

[SteffenRParticipant]

Low pass filter, high pass filter

Nothing more to say.

[SteffenRParticipant]

it’s on the list for years already…

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