Forum Replies Created

Viewing 15 posts - 1 through 15 (of 554 total)
  • Author
    Posts
  • #108510
    Profile photo of Wolfgang
    Wolfgang
    Participant

    More than 20 years ago I bought an SPL Transient Designer and used it for many years – until digital consoles slowly became popular. Then I sold it.
    Even then, the control behaviour was too artificial, especially on the snare. That’s why I only used it on kick drums and toms. The attack control often remained untouched, I mainly work with the sustain control. But I didn’t really miss it afterwards, because it wasn’t really important for me.

    When the tool was launched in the dLive, I was of course pleased and tried it out straight away. But as with the original, I had the feeling that it worked too hard even with small adjustments. Maybe it’s because my drummers always deliver a very clean signal. So I don’t have to adjust the dynamics as much until it works.
    With the bass drum, however, I almost always use the TD, as described above. I find that it can clean up the signal very nicely.

    Of course, it always depends on the kind of music you produce – and it’s a matter of taste.

    #108500
    Profile photo of Wolfgang
    Wolfgang
    Participant

    As soon as I apply attack or sustain, it is immediately “too much”.

    The Hardware Transient Designer, the original, also had this phenomenon.
    I actually only use it for bass drums. Here I leave the attack untouched and only reduce the sustain control a little. This gives a nice, short punch without seeming too artificial.

    #108251
    Profile photo of Wolfgang
    Wolfgang
    Participant

    All manufacturers have this problem at the moment. Yamaha currently also says “available in several months”.

    #108023
    Profile photo of Wolfgang
    Wolfgang
    Participant

    Strange.
    It works perfectly on my Windows computer.

    #108021
    Profile photo of Wolfgang
    Wolfgang
    Participant

    I use a fairly inexpensive Windows tablet for this.
    The Director offers so many more possibilities than the MixApp, so I’ve been using it that way for years.

    #108020
    Profile photo of Wolfgang
    Wolfgang
    Participant

    If you hear a clear hissing noise, something is wrong with your amplification chain.
    If all components are properly tuned, there will be no noise.

    Please first check the correct function of the microphone, then check the speaking distance and the volume of the spoken word. There is a mistake somewhere.

    #107591
    Profile photo of Wolfgang
    Wolfgang
    Participant

    I am not sure if it would really make sense to have to operate all these functions via the iPad.
    I need a really big screen to get a good overview. And I usually use the option of opening a second control window.

    But I have already used a touchscreen PC to fine-tune zones, which was quite practical.

    #107578
    Profile photo of Wolfgang
    Wolfgang
    Participant

    Ah, that’s good. Then our network technician can certainly implement it easily.
    If this option is available.

    #107538
    Profile photo of Wolfgang
    Wolfgang
    Participant

    Does the AHM have to have an internet connection?
    In the production environment we don’t want to have an internet connection from system-relevant devices.

    I don’t really like the different time either, even though the clock in our AHM is much more accurate. But it’s true: if you use time-controlled processes, then an accurate time is of course important.
    Is there another way to solve this?

    #107537
    Profile photo of Wolfgang
    Wolfgang
    Participant

    how about scene switching via MIDI?

    #107534
    Profile photo of Wolfgang
    Wolfgang
    Participant

    The aux sends can only be set globally, unfortunately not per input channel.
    So you have to decide whether you want to set the aux send PostEQ or PostDelay. And this then applies to all signals in the aux path.
    I usually use PostEQ for monitor paths so that the musicians can control their dynamics better.

    A solution for you would be:
    Create two aux paths. You make one aux postEQ and send the singer’s signal into it.
    The second aux channel is postDelay, where you send the signals that should be in the monitor with their compression.
    And finally you sum up these two aux paths in a matrix.

    I know: that’s a bit complex again, but your task is a bit special. Of course, it would be nicer if you could set the tap points per channel. But then we can also make mistakes much faster πŸ˜‰

    #107491
    Profile photo of Wolfgang
    Wolfgang
    Participant

    I am still missing a possibility to save Dyn8 in channel templates.

    However, I do not want to have routing settings in channel templates.
    If something like this is planned, I would like to have a selection option when recalling.

    #106768
    Profile photo of Wolfgang
    Wolfgang
    Participant

    I agree with that:
    It would be good if A&H could support the colleague. His software works really well.
    Of course, you can also work with the A&H apps, but David’s software simply offers other possibilities.
    Above all, it would be an enrichment for the users.

    #106734
    Profile photo of Wolfgang
    Wolfgang
    Participant

    Hello David,
    that’s great news!

    Would you have the possibility to program it for the dLive as well?
    I really like your app for the SQ!

    #106382
    Profile photo of Wolfgang
    Wolfgang
    Participant

    It’s not so difficult after all.

    AUX Pan in the director:

    – Place the AUX path on a fader, e.g. in the right-hand fader bank A.
    – Show fader bank A in the director
    – Point to the rotary level with the mouse and click the right mouse button.
    – Select “Pan”
    – Turn the panpot in the AUX path to the desired position.
    – ready

    So there is no reason to go mad πŸ˜‰

Viewing 15 posts - 1 through 15 (of 554 total)