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Forum Index » Profile for MikeRivers » Messages posted by MikeRivers
Digital Audio Recording » Which One?: Summit Audio TLA-100A vs Neve Portico 5043 » Go to message
Gadget is absolutely right. Before buying any "boutique" gear, put your money into improving your monitoring. This goes beyond just buying good speakers, but also analyzing the room acoustics and making adjustments and adding treatment materials so that what you hear is accurate.

In the mean time, get yourself an FMR Audio RNC-1773. For $175, you'll have a compressor that's easy to use and sounds excellent. Use it (and any compressor) sparingly unless you really want to change the sound.
StudioLive General Discussion » Feature Request » Go to message
wesley wrote:
CR - Solo's latch, Monitor bus is exclusive. If a solo is engaged, the solo bus is patched to the monitor bus, if a solo is not engaged, you can only patch one thing at a time to the monitor bus.

That sounds about right. Wheeeee!
StudioLive General Discussion » 32.4.2 - Mute on Aux sends? » Go to message
wesley wrote:Umm, or you could, if you wanted, not saying you have to..... press the cool new All On button that turns on every single Mute button on the board (channels and buses)

Are you talking about the ALL ON (and companion ALL OFF) button in the Mute Groups section? The ALL ON button turns all the channels OFF? Must have been designed by the guy who designed Windows, where you click the START button to shut the computer down!

Or is there another button I didn't notice that mutes (and hopefully unmutes) everything? If those buttons, as suggested by the panel labels, apply to the mute groups (ALL ON engages Mute Groups 1-6), I'll ask, again, politely - can Aux buses be included in a mute group?
StudioLive General Discussion » A casual headphone jack observation » Go to message
Miltondavis wrote:This is just an observation regarding headphone jacks on the SL consoles and pretty much every other console I have ever had:

Observation, indeed. I spent two days looking for the headphone jack when I first got a StudioLive. I think I didn't find it until I looked in the manual.

Have you noticed that headphone jacks always seem to be on the right side of the console? Have you also noticed that pretty much every set of headphones with a single cable has that cable coming from the left ear piece?

That's probably because most people are right-handed. If the cable came off the right ear, it would be right in line with the writing hand. I don't find myself getting tangled because of where the headphone cable comes out, but I often find that i step on it because it's long enough so the loop reaches the ground. I've been tempted to shorten the cable, but as soon as I do that, I know I'll reach for something while I have the phones on and pull them off.

Now that my SL16.4.2 is well out of warranty, I think I might see about re-locating the headphone jack to the left side where it seems to make sense for me.

I think I'd first try swapping the tip and ring wires in the headphone cable plug, assuming I could remember to put the phones on "backwards." Much easier than getting into the console and moving the jack. But I think that a left-mounted jack would keep the cable more out of the way for most users.

AudioBox VSL 1818 » This may not belong on the forum but... » Go to message
I have a review of the VRM box on my web site. I was a bit underwhelmed with the validity of the simulations for mixing on headphones - better, if you have to, to mix on good headphones without any room modeling. I thought it could be useful for checking a mix to get an idea of what might get lost when listening on computer speakers or in a car.
24.4.2 » Recording options without firewire? » Go to message
smashburn wrote:At some point I'll lose access to the HD24 .. would it be best to move to a Mac Mini at that point or pick up a used HD24 .. does one do a better job recording than the other? . . . I will probably record mostly in my home studio but will need to take the system out some as well.

I avoid computers whenever I can. As multi-purpose devices, you're at the mercy of a lot of different vendors in order to get them to work well. And software changes all the time if you keep up with updates.

There's a problem with using the HD24 in a studio environment. Actually it's a StudioLive problem, but then the StudioLive was designed around the intent that your computer would be your recorder, and that an external recorder such as an HD24 connected to the direct outputs would be for backup. The problem is that the equivalent of "tape returns" on the studio live is the Firewire stream from the computer to the mixer. There's a button on each channel that switches the channel input between analog (Mic or Line jacks) or digital (computer playback via Firewire). But there's no equivalent button if your multitrack playback source is an analog or ADAT optical output as is the case with the HD24.

The HD24 would work great for capturing a live performanceat a show venue. You could then connect the analog outputs of the recorder to the line inputs of the mixer back in your studio and mix on the StudioLive. The problem comes when you're doing studio overdubs. You can't have mic and line inputs connected to the same channel simultaneously on this mixer. So if you have, say, 10 tracks recorded in a live pass and want to hear those while you're overdubbing, you could connect those to 10 line inputs and use the other channels for mic inputs for overdubs. But when you get 23 tracks recorded, there's only one mixer channel left for a mic.

This is not insurmountable. Studios worked this way for many years before modern multitrack recording consoles existed. A patchbay can make this a lot easier so you can connect playback outputs to mixer inputs as you need them. If you record everything in your studio with one or two mics, you could plug recorder outputs 1-22 into line inputs 1-22, use those channels as your "tape monitors," and reserve channels 23 and 24 for mics or other input sources that you'll be overdubbing. You'll have to patch those two direct outputs to the HD24 track that you're recording on, but I think the HD24 has a setup that will let you route input 1 to all the tracks, or inputs 1 and 2 to all the odd and even tracks, and so on. Maybe that will help. But I'm getting ahead of you here.
StudioLive General Discussion » Channel Outputs On SL? » Go to message
The StudioLive mixers have direct outputs from the mic preamps on a set of DB25 connectors on the rear. It will take some creative cable-building on your part, or a DB25-1/4" patchbay, in order to use them in this application. You could also use the Insert jacks with properly wired cables as long as you don't need them as channel inserts.

Do you actually have a phase problem using the pass-through in your present setup? Or did you never try it because you read that someone thought there would be a problem.

Most simple "more me" headphone systems like what you're describing have an analog signal path and introduce no delay. The StudioLive mixer itself introduces about a 1 ms delay between analog input and analog (main, aux, or headphone jack) outputs, but there's no delay from input to direct (DB25) or Insert output.
24.4.2 » Recording options without firewire? » Go to message
smashburn wrote:I may have access to an Alesis HD24 .. can I use the inserts to send all 24 tracks (or as many as I need) to the HD24 and record that way? any drawbacks to that option?

An Alesis HD24 will do the job just fine, and you won't have to worry about a computer. Instead of the Inserts, use the Direct (DB-25) outputs. You'll probably need to buy a few DB25-1/4" snakes.

An alternative if 16 channels is enough (or you could buy two) is a new product which is designed to connect to the insert jacks and with a single button press, records all 16 inputs to either a USB thumb drive or USB hard drive. Check out the Cymatic LR-16 Recorder. It'll also serve as a 16-input USB audio interface so you can use it to record directly to your computer rather than an external disk drive.
24.4.2 » FOH Volume affects in ear volume » Go to message
coastsider wrote:the issue we are having is each time we do our rehersals on thursday nights and sunday mornings before the church service everything is fine with the FOH and the ears etc and here comes the but

BUT everytime the FOH gets turnt up or down the Volume in the singers and musicians ears goes up or down with the volume of the Master FOH fader.

Is this acoustical or electrical? Do you run the FOH system during rehearsals? If so, does the earphone volume change when you change the master fader level? What happens when you turn off the main speakers (disconnect them or turn off the amplifiers) and fiddle with the master fader level?

Which outputs are you using to feed the in-ear phones?

AudioBox VSL 44 » HP4 pluged into 44VSL » Go to message
Outputs 1-2 on the 44VSL don't have independent volume controls. You could get an in-line attenuator, or a pot-in-a-box to put between the 44VSL outputs and HP4 inputs. A simpler solution, if you can give up the front panel headphone jack on the 44VSL, is to get an "insert" cable (TRS plug to two TS plugs) and use that to connect the HP4 inputs to the 44VSL headphone jack. You can use the Phones level knob to set the input level going to the HP4. The Phones and Main outputs are completely independent and can be adjusted separately.
StudioLive General Discussion » Suggestions for StudioLive 32. » Go to message
dvsummer wrote:MAJOR NECESSITY: a mic/line switch! It may not be needed live, but it is critical in a studio console.

There are many things that would be really nice for a Studio version of the StudioLive. I've ranted and raved about this before so I won't repeat my list (which continues growing). A Mic/Line switch is on the list for sure.

The StudioLive can function as a studio console for some studios, but it's not as flexible as it should be. I think that, with the exception of a dedicated meter bridge (which I want) the existing chassis with some minor changes in the labeling could be used, with only some changes in the software to make things work as we have come to expect for a studio console.

The problem is one of business and marketing, however, so I don't expect we'll ever see a studio-oriented version, or even a multi-purpose version that has more studio features than the present models. There are too many people who don't care about a console in the studio, so it's a hard sell. But everyone who performs needs a live sound console of one sort or another, and the StudioLive meets a lot of needs and at a reasonable cost.
AudioBox VSL 1818 » Reamping - AB 1818 > Radial JCR reamp box » Go to message
I wonder what you're doing wroing. The hookup is really pretty simple. Connect one of the eight Line Outs on the back of the 1818 to the JCR INPUT and connect the JCR OUTPUT to your guitar amplifier. Assign the dry track in your DAW to the line output that you've connected to the JCR. Put a mic on the amplifier and connect it to one of the mic inputs on the 1818 and assign that to a new track.

The only thing that isn't magic is getting the four level controls set properly. You have the send level to the 1818 line output which is controlled by the DAW channel output level control and the VSL level control for that output, then you have the Level control on the JCR, and the input gain control on the amplifier. For starters, set the JCR level about 2/3 full, set the aim gain to about where you normally run it when you're playing the guitar, then adjust the DAW and VSL level controls until the amp is playing at about normal volume. (Note: Re-amping isn't something that you do late at night when everyone else is sleeping)

Once you get the amp playing at about the right level and get the tone you want from it, arm your new re--amped track to record, check the record level on the DAW meter, move the mic around to find the tone you like, and then let 'er rip.
StudioLive General Discussion » 32.4.2 - Mute on Aux sends? » Go to message
I guess there's no way to please everybody on this. I see it as a big ARRRRRRGGGGG!!!! NOW I HAVE TO PRESS AN EXTRA BUTTON when the band goes off stage and the busybees are unplugging and pluging mics and , banging stands on the stage. At least the mute groups will be helpful so it's not necessary to mute each channel.

Is it in the plan that an Aux bus mute can be included in a mute group? That would give me a silent stage except for the MC (whose channel wouldn't be in that group) with just a single button. Then I could unmute auxes as players plug in their DIs in order to get a level in their monitors, and finally unmute the channels when they're ready to play.

I know you get a lot of requests from people who don't post on the forum, but the only request that I can recall seeing here for pure Aux mutes was from a guy who wanted to hear a mic in the monitors with the side fills turned off, and wanted wanted to do that from an iPad.
AudioBox VSL 44 » Can I connect the VSL 44 to feed the mic input of a cam corder? » Go to message
forrestgs wrote:I asked about the laptop headphone jack as a possible option to pull sound to feed the camcorder without adapters. How do I get sound from the VSL44 to my laptop headphone jack? (That shouldn't be TOO big a challenge, I would guess.)

It might be bigger than you think, depending on what else you haven't told us. Are you using Windows or Mac OS? If you're using Windows, it's going to be darn near impossible since Windows can talk only to one hardware audio interface at a time - either the 44VSL or the computer's built-in audio "sound card.". If you're on a Mac, you'll need to set up an aggregate audio device so that you can use the 44VSL as an input to a program and the internal audio hardware (where the computer's headphone jack is connected) as an output.

StudioLive General Discussion » Choir mic routing for overflow rooms. » Go to message
I guess you're looking at the situation where you have the choir mics off in the house mix but need them in the nursery mix. If you have them turned up a little in the house, there may be enough post-fader signal going to the aux bus so that you can turn it up in the nursery and retain the rest of the whole mix.

A feature that I've asked for, and I know it's been discussed, maybe even implemented in the newest version of VSL (I don't follow this) is "Copy faders to Aux." This would allow you to set the Aux bus to be pre-fader, but setting the mix to be the same as the house mix. Then, if you need to adjust the choir level in one place or other you'd have independent control.

Your choice of Pre1 or Pre2, whatever works. It depends if you're using channel EQ to "fix" what's coming into the console from the mics or DIs or if you're using channel EQ to balance a channel to fit in with the room acoustics.

If you have presets for different setups during the service (a very good use for them) those can also include the Aux feed to the nursery so you'll start out with something that works.
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