[WolfgangParticipant]

I would recommend here to consider the talkback signal in the individual aux paths as a kind of reference volume.
So you speak into the talkback mic and send the same level to all IEM paths. Alternatively, you could also play a music signal at the same level everywhere. The musicians should then adjust the respective master levels of the IEM to this level.

Then the musicians should simply mix in their signals at the volume that suits them.

Actually, this is a matter of course. You have to set the appropriate amplification factor for all playback paths, and a reference signal is very helpful here. You can also do it with a 1 kHz level tone, but the musicians don’t like that very much 😉

In any case, this is a better way to get the talkback level at a similar level for everyone.

[WolfgangParticipant]

I don’t quite understand the problem.

When the Mixrack is switched off, the Director software can no longer make contact. It keeps trying, of course, because it could be that the interruption was only brief – for whatever reason. Then it reports that it has lost the connection.
What is unusual about that?

[WolfgangParticipant]

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.

[WolfgangParticipant]

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.

[WolfgangParticipant]

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

[WolfgangParticipant]

Strange.
It works perfectly on my Windows computer.

[WolfgangParticipant]

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.

[WolfgangParticipant]

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.

[WolfgangParticipant]

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.

[WolfgangParticipant]

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

[WolfgangParticipant]

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?

[WolfgangParticipant]

how about scene switching via MIDI?

[WolfgangParticipant]

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 😉

[WolfgangParticipant]

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.

[WolfgangParticipant]

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.

[Author]

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