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Actually, I rethought htis config and realised there is no way to assign the left of the stereo group only to the mono matrix so, you will have to go out from the outputs of the stereo groups and then the re-inputs can be fed to groups.
Of course, as tk2k mentions the returns for this level of complexity may not be as good as you hope.
It might work to have 1 level of groups and gang them only linking the compression so you can work it that way instead.
What this exercise should do is encourage you to think about things in interesting ways and try new stuff and see what works.
In that sense this has been a great exercise, thanks
Duncan Whitcombe
@Dnxmirrorsounds
Mirror Sounds & metrochurch
Perth, Australia
T112, iDR48x2
http://www.mirrorsounds.com.au
http://www.metrochurch.org.auBack to the original topic of this thread, the new v1.9 stuff looks great. We have Width on Stereo channels – Yay.
I wasn’t so worried about the multiband compression but having been recently frustrated by the pronounced mid range projection of our senior pastor, I am looking forward to this too.
Did I see different _types_ of GEQ ? That sounds really exciting.
Thank you for giving us new toys to play with
on the tangent I seem to have caused, thanks so much for the scene management links and suggestions, I look forward to working this through in our situation.
Dnx
Duncan Whitcombe
@Dnxmirrorsounds
Mirror Sounds & metrochurch
Perth, Australia
T112, iDR48x2
http://www.mirrorsounds.com.au
http://www.metrochurch.org.auExcellent topic and particularly interesting is why people choose the layouts they have.
We are also a fixed install at a church with a T112. Different engineers have different layouts, some prefer to mix on DCAs and others in other ways.
My latest iteration, in which I have been reducing my dependency on an outboard Behringer BCF fader module attached to an editor (for extra Fader control) is as follows.
My concept is to be able to have everything available somewhere and to have in one layer (Layer D): all the things I immediately want to access as I mix. This isn’t totally possible e.g. FX + all the channels so I mix up my compromises to see what works for me this month
Furthermore, I aimed for a Right Master config so outputs are in the Right banks making it easier for sound checks and FX changes
So Layer D (My mix layer) has:
Left : Bass | Drums | guitars and Keyboard DCA
Centre : BGV DCA | Frontline Vocals | Wireless Mics
Right : immediate access vocal FX e.g DDL, main outs & FOH MatricesThe other layers which have the fuller lists are:
Layer A
Left :Bass, drums & MD mic for band IEM instructions
Centre :Gtrs, keys
Right :AUX – IEMLayer B
Left :Vocal channels (6xBGV, 6xFrontline)
Centre :other vocals e.g. Keyboards, wireless, headsets etc
Right :AUX – foldback speakers, production talkback feed, OB etc.Layer C
Left :DCAs (not mutes)
Centre :FX returns
Right :FX sendsSoft Keys have mutes:
1 – Drums mute DCA
2 – bass Mute
3 – Acoustic Gtr Mute
4 – Keys Mute
5 – BGV Mute
6 – Frontline vocal Mute
7 – vocal Group mute
8 – MIX select Main L (with a light so I can check I am going to change my FOH mix not someone’s foldback !)Duncan Whitcombe
@Dnxmirrorsounds
Mirror Sounds & metrochurch
Perth, Australia
T112, iDR48x2
http://www.mirrorsounds.com.au
http://www.metrochurch.org.auHi Jarad,
I don’t know your background so I hope this helps to explain the bussing concept.
if you think circuitry, then imagine there are 32 wires connecting each IP channel to the master section. Those 32 lines can be set up to go to Aux outputs, FX channels, or Sub-groups. Matrices are special and I will return to them. Interestingly, as FX channels come back from the FX into dedicated FX channels, the second half of the wires you use to feed the FX can be used for Matrices as a matrix ‘wire’ starts at the master section. The other Busses go all the way from IP to output so can’t be split.
The easiest way to get used to this is to play with the editor offline and see what happens to the total buss tally when you change the various allocations.
As to how you can use them, its not that hard if you have multiple foldback wedges, multiple IEM packs, FX, Matrices for multiple speaker outputs, including cry room, OB mix, feed to the production talkback system Sub-group for vocals…
Its only in the last few months that we have been able to remove physical foldback as the IEM becomes normal that we are starting to reclaim busses (we can have 6 bus FX instead of 4 now
).I hope this helps.
Dnx
Duncan Whitcombe
@Dnxmirrorsounds
Mirror Sounds & metrochurch
Perth, Australia
T112, iDR48x2
http://www.mirrorsounds.com.au
http://www.metrochurch.org.au
