Future LS9 enhancements

[dan slv-tech]

seems a fairly useful thing to mod, although ive not noticed the problem- will have a play with the mutes next time its out.

As for the for post re fading and the auxes going off- can you use post fade auxes?

 

dan

[Shez]

As for the for post re fading and the auxes going off- can you use post fade auxes?

 

You generally want them pre-fade for monitors. I could see that one being useful too. For example, you're playing a backing track & need to fade it out before the end. The monitor is fed pre-fade for the usual reasons so when you fade out foh, the monitor still rages on. Do any desks have the ability to do that? A kind of cross between pre- and post- fade.

[ChrisTS]

Do any desks have the ability to do that? A kind of cross between pre- and post- fade.

 

 

The LS9 does this, as do many digital desks... And most semi-professional upwards analog desks do too... Auxes pre/post switchable per channel etc

 

Handy feature! Use the post fade monitor trick for all playback devices all the time...

 

HTH

 

Cheers,

Chris

[Shez]

Auxes pre/post switchable per channel etc

 

That's not what we're suggesting. We're looking for a pre-fade aux that will cut out when the fader drops below a certain level. That way monitors won't be affected by foh changes but will cut out if the fader is brought right down.

[pisquee]

Yeah, so the channel's pre fade aux send has a gate, but the trigger for the gate open/close is not the audio, but is the vca/dca level of the channel fader.

[TomHoward]

If you have a key input for the gate, could you gate a pre-fade aux to the output of a post-fade aux, or a post-fade bus send?

[TimmyP1955]

Just split the source to two channels, one for the house and one for the monitors. Run that source's monitor channel post, run all other channels pre.

 

Or:

 

Something I've not yet looked into (no console at hand): Can you fade out the house channel, and simultaneously turn the channel down in the monitors via selected channel+selected send?

[Shez]

If you have a key input for the gate, could you gate a pre-fade aux to the output of a post-fade aux, or a post-fade bus send?

Just been looking at that as it would be an interesting way of doing it. The mix buses don't have gates though; only compressors / expanders.

[TomHoward]

I thought earlier that if you could make the Direct Outs post-fade you could set that up, then route it into a Gate in on a second channel and run the playback through two channels (on the 33-64 layer, assuming you're not using all of it), one for FOH and one for the gated Mons feed. I will play about and see what I can come up with.

[Shez]

I think you should be able to choose whether to have HA gain or Digital Att on the HA pot so that when you are running it as a monitor desk with a digital snake you dont have to keep going into the screen to change the gain.

On channels fed from inputs without a mic preamp (expansion cards, s/pdif and usb player) I think the HA pot should automatically control the digital attenuator. Getting to that via the EQ page is a pain, particularly when the HA control is just sitting there not doing anything. It would be especially useful in the case of the s/pdif and usb channels as they inevitably need a fair chunk of attenuation to bring the signal down to a sensible operating level.

[Arran]

I thought earlier that if you could make the Direct Outs post-fade you could set that up, then route it into a Gate in on a second channel and run the playback through two channels (on the 33-64 layer, assuming you're not using all of it), one for FOH and one for the gated Mons feed. I will play about and see what I can come up with.

 

This sort of links with my request for post fade direct outs. One possible solution I was pondering was to use a midi translator to re map the midi control messages from the channel fader to the direct out gain pot.

Anybody with an LS9 fancy trying this (I'm freelance and don't currently have access to one to try)?

[mackerr]

Auxes pre/post switchable per channel etc

 

That's not what we're suggesting. We're looking for a pre-fade aux that will cut out when the fader drops below a certain level. That way monitors won't be affected by foh changes but will cut out if the fader is brought right down.

 

That is what the mute button and the operator are for. When you don't want a channel in the monitors for a while, mute it. Or maybe there are cases where the mons shouldn't be pre fader.

 

You're talking about an LS9 here for crying out loud, not an SD7 or PM1D. Can you really not keep track of 16-32 channels?

 

A digital console can provide a lot of functionality that would require more real estate and patching in an analog version, but it can't (yet) replace the operator.

 

Mac

[Matt Pengelly]

That is what the mute button and the operator are for. When you don't want a channel in the monitors for a while, mute it. Or maybe there are cases where the mons shouldn't be pre fader.

 

When I'm working with artists using backing tracks I monitor sends post-fader as a matter of course. Not only does it enable me to smoothly fade down at the end of songs/when there is house music being played before a set without blasting it out at full concert volume on stage as is being discussed here, but it also allows me to keep a consistent mix onstage for the performers. In my experience, if a track needs adjusting out front (whether that be in terms of volume or EQ) in order to maintain a uniform sound compared to the rest of the show, then chances are that the performers will want that same adjustment in their wedge.

 

I can't help but feel that all this talk of direct outs, gate SCs and channel-splitting is just completely over-engineering a solution to a problem that doesn't really exist.

[Bobbsy]

I'm a bit with Matt on this one. Frankly, on a board with only 16/32 channels, I'd probably not use are the programming complications and just mix/mute manually.

 

Similarly, when mixing RF mics I rarely, if ever, use the mute buttons to kill a channel, preferring to pull down the faders as necessary. Even on a large chorus scene I can close everything I need to in a second or so--and if the performers start talking THAT quickly on an exit, they need a talking too! That said, when working on a digital board I use a lot of scene presets with channel changes programmed as quick fade up/downs rather than muting and un-muting. Even here, I usually open to 6dB or so below "normal" level and do the final tweaks by hand/ear/instinct based on how "up" an actor is that night.

 

Bob

[Shez]

How about an adjustable delay on the headphone output? In analogue land, you can use something like this, but it would seem to be an easy feature to add on board a digital desk. There's plenty of clear space on the appropriate monitor \ cue set up screen too...