[WolfgangParticipant]

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!

[WolfgangParticipant]

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 😉

[WolfgangParticipant]

Oh yes, storing Dyn8 compressors in a channel template would be very welcome as well

[WolfgangParticipant]

That is a very, very good suggestion!

I do exactly the same thing. I create a separate showfile per day. If the result was good, it becomes the new reference for the respective band, otherwise it is deleted after some time.

I try to keep the number of showfiles on my Surface as low as possible. Because I don’t do this every time I switch off, I have to remove several shows again and again.
On the computer it’s easy, you just open the folder and delete what you don’t need anymore. But on the Surface, you can only delete one show at a time, which can be a bit annoying depending on the number of shows.
The possibility of marking several shows for deletion would be very helpful here.

[WolfgangParticipant]

Question for Dave:
You wrote that all inputs are occupied.
Do you mean the 128 processing channels – or only the physical inputs?
If you really use all 128 channels, my simple tip cannot be realised.

[WolfgangParticipant]

Then you may have to use other switches.

[WolfgangParticipant]

The width of a stereo aux cannot be adjusted the way you want it.
This function is only available for inputs.

However, you can send an aux path on the digital level to a stereo channel.
You can then send this stereo channel directly to outputs, to the IEM.
This way, you do not lose an analogue output, an analogue input or another bus. The only additional thing you need is a stereo channel. And you can then adjust the width of this.

Unusual wishes need unusual methods 😉

[WolfgangParticipant]

Thanks for the tip about Lectrosonics. I’m not that familiar with their products, but if a manufacturer had this function, it would probably be them. 😉

[WolfgangParticipant]

Of course – it would be a useful function.

But as RS already wrote: the receiver would then have to transmit its status back to the transmitter.
So there would have to be a transmitter in the receiver.
Otherwise, the transmitter can’t know the battery status of the receiver.

I don’t know, maybe Lectrosonics has something like that, but I don’t know of any IEM receiver from Sennheiser or Shure that can send its values back to the transmitter.
Maybe there will be something like that someday.

So for the moment we have no choice but to put in new charged batteries before the show and trust that they will survive the show. And that’s where we have a lot of experience.

What is in any case a fact:
the console can’t display data that it doesn’t receive.

[WolfgangParticipant]

I agree:
First, Sennheiser and Shure must also offer this data before it can be displayed by the console.

[WolfgangParticipant]

If you need to do it quickly, you can also switch the preamps to Recall Safe.
Then the preamps are not recalled by scenes.

[WolfgangParticipant]

There is a block diagram in the manual on page 137.
Take a look at it, you can see where the tapping points are in the signal path. The “Post Preamp” taps the signal before the Deep Preamp.

The tapping points of the tie lines are not drawn in, but the tapping point for them is guaranteed to be directly behind the ADC. Perhaps A&H could add this to the text field “Input Patch”.

And yes, I would say that if you look at it, “Post LPF” is the same as “Post Filters”.

[WolfgangParticipant]

How did you manage to put the level meters so nicely behind the faders?
Unfortunately, I can’t get it to look that good.

[WolfgangParticipant]

Me again:
I have two approaches to EQ.
One is more musical, with it I try to support instruments in their sound.
This is the art EQ for me.

The other approach is EQ, with which I try to work on problems of the playback chain or the room.
For me, that’s the science EQ.

I use the channel EQ for art, and I use the subgroup EQ for science.
That is usually my approach. But that’s not nailed down, I can deviate from that sometimes.

[WolfgangParticipant]

@Niko, Apology accepted. 😉
Your first post above was simply written in a misleading way. But now we know.

By the way, I know the Schoeps microphones very well, I have some myself and they are built here in our city. That’s why I personally know people who work there.
You made a good choice!

The fact that you don’t compress these channels on loud stages, or only very little, is also a good choice. 😉

How will you proceed now?

[Author]

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