Forum Replies Created
-
But the majority of places you go, its not possible to do a LR Sub setup, when you use the desk for touring, and not as part of a complete production. But yes, it works quite well in places with seperate subs and ultra sub for instance.
I think it would be great to just have an extra box that you could switch between 6, 12, 18, 24, and 48db/oct. Problem solved. It certainly cant be a DSP problem
I like the digico desks, but they have a learning curve thats a little more challenging than the rest I think, but are excellent for a tour production!
Nono, I’m not comparing the pre’s to yamahas. Wow, that would be quite the insult! The preamps are good, no doubt. They remind me of the DigiCo desks, a tad mellow sounding, but good. But the Midas Pro, and Vi desks are just in a different league concerning the pre’s.
The beautiful thing about the Vi desks, is that everything on them sounds fantastic. Pres, Filters, EQ, Gate, Comp, Deesser, and gorgeus reverbs, so you get the mix right faster in my experience. To be fair the desk is many times the price of the iLive, so no competition in bang for the buck. The workflow is probably the easiest out there, I have had lots of engineers flying within minutes, so I’m quite surprised you feel that way
I Think these claims has roots in the fact that livesound today are just up to higher standards. All shows I watch sound much better than 15 years ago, and digital desks has helped us bring some things from the studio into the live world – more processing and more well balanced and even mixes. It’s great!!
But it also means that people need more and more tools to shape their sound, and this is why we see people “needing” dynamic EQ. And to be fair the 901 has been here for ages, so I don’t think it’s silly to ask for. But the fact that it is now available in the cheap ilive system is pretty impressive. I love this system, but it has its good and bad sides. I would have loved to see a better compressor and preamp, though they are certainly as good as most other desks. But when you’ve handled a Vi6 or any Vi desk you hear those to things instantly. Brilliant preamp and absolutely fantastic compressor.
And yeah, I had hoped for something a little more sturdy and solid feeling for the money I paid for the R72. I’m careful with my gear though
That is just plain and simply not correct.
The demand for a steeper lowcut has nothing to do with genres, it has to do with how you mix. I do mixes that sound like a record, not mixes that does the job. In order to do that in a live situation, you need a much more clear, processed and well-defined bottom end, since you are not mixing for a home stereo. I have no problem with 6 or 12db LPF, but they belong in my studio
Yamaha LS9 has the same old-school lowcut, that forces you to use the lowest parametric band to clear things up properly.Weird that people seem offended by this. I just want to make a good desk great, and this along with a better limiter is what’s missing. And pro looking T surfaces – I dont mind the workflow on the surfaces, but I certainly do understand why people are skeptic, it feels like you’re handling a fisher-price console.
Not looking for workarounds, looking for solutions
Musical is not good enough for live sound. I want efficient
Playing in front of thousands of people on huge PA systems requires a tight and clean bottom end, and the 6db/oct lowcut simply does not clear up the low end well enough for an ultra transparent mix, which you need for demanding venues and rooms. You should take a look at the Avid desks. The venue desk has an absolutely perfect lowcut for live sound! Preserving the fundamentals, getting rid of the messy stuff A steep filter certainly messes with the phase, but that not necessarily a bad thing. Low cutting a kick og bass, you want that “hump” that phaseshift gives you. It’s part of what we are used to and like to hear from good filters.
That’s not an insult, if thats how you take it. Everyone does this in various ways to some extent. But a graphic EQ really introduces some serious phase shifting, so often you get a very unpredictable system, when working the graphics hard. You could do the same thing with a very steep parametric notch.
Usually it is better to do as much on the parametrics as possible, and only adress specific room problems on the graphic, since you take out energy from the entire sound. It is of course a personal preference to some extent, but it is a fact the way graphics behave unfortunately
eeh… You do know that almost all of the processing on the ilive channelstrips are before the insert right? That means, if you do it like you suggest, you will not hear what the desk is actually doing. You will hear the iLive processing from the day you recorded, not from the current settings, since the Insert point is last in the chain.
Actually it’s pretty much useless for virtual soundcheck. I don’t use Waves for all processing, there’s a reason why i have the desk – it sounds good
Waves is just for solving the few limitations of the desk and programming scenes more easily.AND this also rules out the ability to use the soundgrid driver for 3rd party plugs on the desk. Reverbs, Delays, Voicetuning etc.
Could you elaborate FAB?
I was under the impression that you had to return the audio to an iLive digital input, and then switch the inputs from analog to waves… What you are saying is that I can process lets say 32 channels via iLive inserts, record the same audio from the insert out on the ilive, and then throw this audio back into the iLive disk via the insert return points WITH the soundgrid processing? This I have not seen in any of your waveslive videos, but it sure sounds great
How should I set up my soundgrid connections for this to work?
