[WolfgangParticipant]

“What I was able to do was send a TAP from dLive to Liveprofessor.”

Hello! Can you tell me how you managed to do this? It is unverified that not a single midi message is sent from the “TAP” button.

I simply used a free channel instead of the TAP and used the mute command for the TAP in Liveprofessor there. so as soon as I press the mute of this channel, the TAP in Liveprofessor is addressed.
maybe there are better ways, but this is how i managed it 😉

[WolfgangParticipant]

I would have exactly the same question!

I too have tried several times to start the effect presets in Liveprofessor from the dLive. I did not succeed.

What I have managed to do is to send the TAP from the dLive to Liveprofessor.

[WolfgangParticipant]

In reality, I already had the following:
From the mixrack to a wall connection on stage 20m CAt5e, then 73m CAT7 house cable, 1m patch cable at the patch field, 25m CAT7 house cable to the FOH floor tank, there again 5m CAt5e to the surface.
In total 124m
I have used this several times and it has always worked stable.

Of course, this is no guarantee, but it shows that the system works quite well.

Translated with http://www.DeepL.com/Translator (free version)

[WolfgangParticipant]

I’ll be honest with you:
I haven’t used the Mixpad app for years.
Instead, I use CustomControl on the smartphone and MixingStation for some applications on the iPad.

Most of the time, though, I just use the Director software on a Windows tablet!
Here I have a very familiar interface that also copies the console controls almost 1:1. So I never have to rethink and have full access to everything.

[WolfgangParticipant]

In the past I also had white tents, there were always problems with the visibility of the screens in the sunshine.

The worst was once on a Soundcraft Vi6, we could no longer see anything in the screens. We had to put black textile in the FOH tent to be able to work at all.

[WolfgangParticipant]

We also use black tents. That’s the easiest solution – and that’s not only for A&H mixers, but basically for everything that has screens…
Since I don’t like being in my own acoustic space in the tent, I usually leave out all the tent walls.
This way I also avoid a possible heat problem. Only when it rains do I close the walls. If the sun is very low in the evening, I also sometimes pull in a single wall.

[WolfgangParticipant]

By the way, I see only one advantage in the FX bus structure:
If you have the effect in an FX bus, you can get it on the screen very quickly with the SEL button.
If it’s in an aux, you can’t do that, you have to use the FX button and select the effect you want.

[WolfgangParticipant]

Why didn’t I come up with this idea with Source A and Source B myself?
Thank you! 😉

[WolfgangParticipant]

I don’t have the console in front of me, but are you sure that the noise level on this channel is below -72dB?
Such extremely low levels are not displayed at the preamp – but in the gate the display seems to go down that far. So if you pull the threshold all the way down, then no level at all should light up down there. No noise either.

Or to put it another way: if a speaker speaks so softly that he doesn’t even reach -40dB, then he doesn’t want to be heard anyway.

If I were you, I would set the threshold higher. My settings for problematic channels are usually around -40 to -50 dB, sometimes even higher. Then you can be sure that they open when there is a usable signal.

Translated with http://www.DeepL.com/Translator (free version)

[WolfgangParticipant]

The best way is to transfer Dante via ACE. Then you only need one Dante card, you have full access to the control, you can include all Dante devices and the audio tracks from (and to) the surface are transferred

[WolfgangParticipant]

I agree with the pessimists here:
As long as the individual companies involved try to gain as many advantages as possible for themselves, there will be no agreement. The issue has been around for many years now – and apart from Audinate, no one has managed to get something off the ground that everyone else wants to participate in.
As bad as it sounds, Dante will probably remain the lowest common denominator for the foreseeable future.

I don’t think it’s a sensible investment for A&H to develop a card that only individual users need. Something will have to change in the market first – and that includes the cooperation of as many manufacturers as possible.

Of course, we would all be happy if Milan became widely accepted. But it’s just not that far yet. Apart from Dante, there are only isolated solutions so far.

[WolfgangParticipant]

I would like to join guma’s question.

[WolfgangParticipant]

I also have a new PC that came with Win11.
I have also installed the Director on it – it works perfectly.
Why should you create a special version?

[WolfgangParticipant]

I do it almost exactly like Chris.
Thank you for this good explanation!

The only difference with me: I don’t use an aux for this, but a mono matrix. I also use a different microphone 😉
But that’s it with the differences.

@thad:
when using the ME-1, it is also possible to use different Marixes or Aux to assign each musician their own talk send. The console system has a lot of busses, maybe you have a few free for this application.
Then you assign only the appropriate talk path in each ME-1. In the console, you can then freely decide whether you want to speak to one, a group or to all at the same time.

Translated with http://www.DeepL.com/Translator (free version)

[WolfgangParticipant]

By the way, there is another solution that would give the individual much more freedom:
ME-1

Here you can even adjust the talkback level individually in each unit.

[Author]

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