If I'm in the UK and I rock up to Glastonbury or Reading Festival and were mid way through a tour with our own package, and my IEM system is in a certain range AND I have rented the frequencies via Ofcom then I'm using those frequencies as long as I show them in advance, the Ofcom data. Ive done this many times at major festivals.
Glastonbury, and most major festivals in the UK are considered a 'special event' by Ofcom. It's been a long time - the last time I was there JFMG were still administering the spectrum usage on behalf of Ofcom.. - but the last time I requested frequencies JFMG were coordinating across the site on a time slot by time slot basis, the usual web interface for booking frequencies just showed 'unavailable' across the board and requests were submitted via festival production office (if I remember correctly). It's possible that Ofcom is now doing this via the same web interface used for regular bookings, but there's no way that you are just booking a couple of dozen frequencies for your exclusive use across the site all day on the Saturday at Glastonbury.. that would be unworkable.
Id speculate that maybe artists like that just need a lot of rehearsal time to get a decent show up, and festivals by their nature have little to no rehearsal timeÂ
The rehearsal takes place off site in the weeks (or months in the case of some shows) leading up to the festival. The entire show: audio, lighting, video and stage set is built in a production rehearsal facility like Rock Lititz, or one of the larger sound stages in LA, and then after rehearsals are complete the whole production is loaded into the festival, usually overnight, and run just like it was in rehearsals. A Coachella headline performance is not put together on site on the day of the show!
Finally, someone in the comments section who has actually seen a Luis Miguel show.. the only thing you got wrong is that most of those videos are from 2018, so that's almost certainly a different monitor engineer in each of those videos..
You very likely have the RBW - 'Resolution Bandwith' - of the scan from the AD4D set too large. RBW is essentially the size of the 'window' that gets swept across the spectrum when you do a scan. Each of the individual scan values represents a measure of the total power coming through this 'window' when you center it over a specific frequency, the wider the window the lower the resolution of the scan. This leads to narrow spikes (narrower than the width of the window) appearing much wider than they really are due to the measurement of power being averaged across the whole width of the window.
The EIN level of every modern consoles pre-amp and A/D is significantly below the noise level you'll get out of any analog audio source in a live performance environment, therefore it doesn't matter where you set the gain you will get essentially identical S/N ratio.. put your faders at unity, set your gain to suit and stop worrying about it!
It's a splitter: it takes one signal (or in this case a diversity pair of signals) and splits it into multiple outputs. A combiner takes multiple inputs and combines them into one output. The nomenclature follows the direction of signal flow.
That's true, I can't think of anyone else! Lectro totally blew it by only including Dante inputs and not AES, and making it in the half-rack format that everyone associates with budget systems. Also, nobody in the Foos is using the Duet coupled with a wireless digital mic, which is where the total latency really starts to be noticeable - instruments through Axient Digital and Duet seem to have a bit more leeway..
I saw an Hans Zimmer show that had around 300 input channels, 3 consoles - orquestra sub mixes (so the other two just received a stereo mix from each of the sections, violins, cellos, etc), monitors (with 48 stereo mixes going to in ears) and FOH.
A standard US hockey arena floor is 200ft x 85ft, which means that even if FOH is all the way up against the dasher, you could still get there with an 80m (approx 260ft) snake run from the downstage-left edge of the stage with cable to spare, even if you had to go up and over a couple of voms. If your stagebox is going to be up on deck, just add the DN9610 repeaters and have them live downstage-left in your snake caddy - loom up Ethercon extensions plus power for their DC PSU's and run it to wherever your stagebox ends up.
It's very little to do with how long the show has been in that same venue, because it sounded incredible from day one, and the reason for that is the 2 blokes in the first picture:
I don't mind under the deck, but if you're going to not have line of sight you can not have line of sight just as well from the loading dock, where it's much quieter and closer to the truck!
1 - You need to enable 'select follows solo' in the preferences, then use the solo buttons on the aux bus faders, the fader flip will follow your solo. I have no idea why you would bother wasting the limited fader banks on having your aux masters on a fader when every single aux master has a dedicated select (flip) and solo button on the front panel an absolute maximum of 18" away from the nearest fader, but that's the way to do it if you insist!
1 - This is my issue, for whatever reason, I cannot hit solo on the aux faders to flip it. It only works that way if I hit solo or select on the aux section. If you have a way to swap this, then I would genuinely appreciate the insight! As for my reasoning for “wasting faders,” we all have our methods to mixing, and being someone who typically uses DLives, S6L’s and DiGiCo, I like how my system works.
It's been a long time but I'm not sure why that's not working, you may need to select an aux in the aux section once to trigger fader flip mode, then select will follow solo from there onwards, maybe?..
I'm a guitarist in a band and also (more or less) do live stage direction. We have an x32 that I do all the programming and mixing on. One thing I want: a good talkback mic setup that I can use to call out setlist changes, etc in the middle of songs. This is a traveling rig, so every room requires slight tweaks for levels, eq, etc
Set the sends from your mic channel to all of your IEM mixes to 'Pre-Fade minus Mute' or however it's worded (can't remember exactly), instead of 'Pre-Fade plus Mute'. This will mean when you mute your channel the sends to your IEMs will still be open.
DiGiCo calls this feature 'aux to masters' and AFAIK it's only available on the 7 (and potentially the 5?), where it takes an input channel and spills its aux sends on to the central lower fader bank.
I use ULX-D wireless which have Dante output, and I have a guitarist who uses a helix floor with spdif in and AES out. I use an avio unit with the aes3/ebu i/o to connect the UIx-d to the spdif input of the pedal board via dante, and take the AES out of the pedal board back to Dante into the console. This way the signal stays digital from the pack onwards.
During rehearsals? For the artists mix, the one whose name is on the billboard, every snapshot is programmed with level, pan, reverb sends, EQ on certain channels etc etc. More often than not this is done against the backdrop of the tracks coming from playback, which will typically be stems from the record version and therefore the thing your artist will be immediately familiar with/looking for in their mix.
I wonder if you can run these flipped to send AES50 through 4 xlr lines... For instance let's say a venue has an analog snake from an M32 at FOH to stage but no Cat 5, so we use four channels from said analog snake and convert to RJ45 at both ends to link to band's IEM rig with X32 and stagebox.
In theory it shouldn't work at all because AES50 is a digital audio transport protocol, using frames similar to Ethernet frames, and is effectively 'clocked' at a transmission frequency of 100MHz. At that high of a frequency transmission line effects become important and the capacitance of the cable, mismatch of impedance and insufficient twist rate in the differential pairs, among other factors, would make it highly unlikely to establish a link at all, least of all a stable one.
There was this website I read as a kid about diffferent scene aesthetics and associated bands and the emo one had Texas, sunny day real estate, the promise ring, jazz June and maybe braid? Anyways that website changed my life for the better
On the terminology front: you will not be playing 'sheds' for two reasons, one being that there aren't really any in the UK, at least not as part of the regular touring circuit, and secondly because it would be a very brave/crazy promoter to put on an outdoor show in the UK in November..
Sheds, at least in my experience, means outdoor amphitheaters, although there are several examples of them in America where the audience area is pretty much completely flat with no raised seating, so not technically an amphitheater..
I meant in the more general sense.. you should just be able to patch any source on the console to any output on the card module, in blocks of 1, without jumping through hoops.
You've described two completely different consoles with incompatible digital transport protocols, how are you planning to connect them together to, presumably, share I/O?
What RF are you using? Older analog RF equipment is a bigger challenge than the newer digital RF mostly due to the newer equipment designed with the limited spectrum availability in mind. The frequency width on digital RF is much tighter than early RF, meaning you can fit more channels at lower power than before, so coordination can be somewhat easier under good conditions.
If I'm in the UK and I rock up to Glastonbury or Reading Festival and were mid way through a tour with our own package, and my IEM system is in a certain range AND I have rented the frequencies via Ofcom then I'm using those frequencies as long as I show them in advance, the Ofcom data. Ive done this many times at major festivals.
Glastonbury, and most major festivals in the UK are considered a 'special event' by Ofcom. It's been a long time - the last time I was there JFMG were still administering the spectrum usage on behalf of Ofcom.. - but the last time I requested frequencies JFMG were coordinating across the site on a time slot by time slot basis, the usual web interface for booking frequencies just showed 'unavailable' across the board and requests were submitted via festival production office (if I remember correctly). It's possible that Ofcom is now doing this via the same web interface used for regular bookings, but there's no way that you are just booking a couple of dozen frequencies for your exclusive use across the site all day on the Saturday at Glastonbury.. that would be unworkable.
Id speculate that maybe artists like that just need a lot of rehearsal time to get a decent show up, and festivals by their nature have little to no rehearsal timeÂ
The rehearsal takes place off site in the weeks (or months in the case of some shows) leading up to the festival. The entire show: audio, lighting, video and stage set is built in a production rehearsal facility like Rock Lititz, or one of the larger sound stages in LA, and then after rehearsals are complete the whole production is loaded into the festival, usually overnight, and run just like it was in rehearsals. A Coachella headline performance is not put together on site on the day of the show!
Actually, he keeps struggling with his really bad mic technique. It's known that
Finally, someone in the comments section who has actually seen a Luis Miguel show.. the only thing you got wrong is that most of those videos are from 2018, so that's almost certainly a different monitor engineer in each of those videos..
You very likely have the RBW - 'Resolution Bandwith' - of the scan from the AD4D set too large. RBW is essentially the size of the 'window' that gets swept across the spectrum when you do a scan. Each of the individual scan values represents a measure of the total power coming through this 'window' when you center it over a specific frequency, the wider the window the lower the resolution of the scan. This leads to narrow spikes (narrower than the width of the window) appearing much wider than they really are due to the measurement of power being averaged across the whole width of the window.
The EIN level of every modern consoles pre-amp and A/D is significantly below the noise level you'll get out of any analog audio source in a live performance environment, therefore it doesn't matter where you set the gain you will get essentially identical S/N ratio.. put your faders at unity, set your gain to suit and stop worrying about it!
https://lectrosonics.com/dcht-digital-camera-hop-transmitter-2.html
Most Lightning>Ethernet adapters are absolutely terrible, the only one worth using (and it's very reliable) is this one:
Typical 4 pack wireless receiver and antenna distro. Is it an antenna splitter or combiner?
It's a splitter: it takes one signal (or in this case a diversity pair of signals) and splits it into multiple outputs. A combiner takes multiple inputs and combines them into one output. The nomenclature follows the direction of signal flow.
Basically no big acts are using digital ears.
https://www.lectrosonics.com/press-releases/for-the-foo-fighters-monitor-engineer-and-rf-technician-lectrosonics-takes-the-fight-out-of-in-ear-monitoring.html
I’m well aware of what they’re using, they’re also still one of the very few big acts using digital ears.
That's true, I can't think of anyone else! Lectro totally blew it by only including Dante inputs and not AES, and making it in the half-rack format that everyone associates with budget systems. Also, nobody in the Foos is using the Duet coupled with a wireless digital mic, which is where the total latency really starts to be noticeable - instruments through Axient Digital and Duet seem to have a bit more leeway..
I saw an Hans Zimmer show that had around 300 input channels, 3 consoles - orquestra sub mixes (so the other two just received a stereo mix from each of the sections, violins, cellos, etc), monitors (with 48 stereo mixes going to in ears) and FOH.
It wasn't quite 300, but we were close:
A standard US hockey arena floor is 200ft x 85ft, which means that even if FOH is all the way up against the dasher, you could still get there with an 80m (approx 260ft) snake run from the downstage-left edge of the stage with cable to spare, even if you had to go up and over a couple of voms. If your stagebox is going to be up on deck, just add the DN9610 repeaters and have them live downstage-left in your snake caddy - loom up Ethercon extensions plus power for their DC PSU's and run it to wherever your stagebox ends up.
It's very little to do with how long the show has been in that same venue, because it sounded incredible from day one, and the reason for that is the 2 blokes in the first picture:
In reverse order of preference:
4. Under the stage. Its lame.
I don't mind under the deck, but if you're going to not have line of sight you can not have line of sight just as well from the loading dock, where it's much quieter and closer to the truck!
Where can I find advanced documentation for Digico quantum consoles?
You simply select which console/engine is the audio master from the 'network' options page. There is no automatic failover.
1 - You need to enable 'select follows solo' in the preferences, then use the solo buttons on the aux bus faders, the fader flip will follow your solo. I have no idea why you would bother wasting the limited fader banks on having your aux masters on a fader when every single aux master has a dedicated select (flip) and solo button on the front panel an absolute maximum of 18" away from the nearest fader, but that's the way to do it if you insist!
1 - This is my issue, for whatever reason, I cannot hit solo on the aux faders to flip it. It only works that way if I hit solo or select on the aux section. If you have a way to swap this, then I would genuinely appreciate the insight! As for my reasoning for “wasting faders,” we all have our methods to mixing, and being someone who typically uses DLives, S6L’s and DiGiCo, I like how my system works.
It's been a long time but I'm not sure why that's not working, you may need to select an aux in the aux section once to trigger fader flip mode, then select will follow solo from there onwards, maybe?..
I'm a guitarist in a band and also (more or less) do live stage direction. We have an x32 that I do all the programming and mixing on. One thing I want: a good talkback mic setup that I can use to call out setlist changes, etc in the middle of songs. This is a traveling rig, so every room requires slight tweaks for levels, eq, etc
Set the sends from your mic channel to all of your IEM mixes to 'Pre-Fade minus Mute' or however it's worded (can't remember exactly), instead of 'Pre-Fade plus Mute'. This will mean when you mute your channel the sends to your IEMs will still be open.
Which of these two screens should I be setting in what way? (Or am I totally in the wrong location here?)
Oh, my bad, those options are only for mix buses sends to matrices/’outputs'.
DiGiCo calls this feature 'aux to masters' and AFAIK it's only available on the 7 (and potentially the 5?), where it takes an input channel and spills its aux sends on to the central lower fader bank.
I take it back, you can get a full size X32 for the price of the 'script slide'..
I use ULX-D wireless which have Dante output, and I have a guitarist who uses a helix floor with spdif in and AES out. I use an avio unit with the aes3/ebu i/o to connect the UIx-d to the spdif input of the pedal board via dante, and take the AES out of the pedal board back to Dante into the console. This way the signal stays digital from the pack onwards.
During rehearsals? For the artists mix, the one whose name is on the billboard, every snapshot is programmed with level, pan, reverb sends, EQ on certain channels etc etc. More often than not this is done against the backdrop of the tracks coming from playback, which will typically be stems from the record version and therefore the thing your artist will be immediately familiar with/looking for in their mix.
Disclaimer- not a pro and haven’t touched a console in nearly a decade.
Very occasionally, for a specific effect in one song you might take a feed from FOH, but usually mons has it's own FX.
https://www.redco.com/Squareplug-SPS6S-Short-Body-Straight-TRS-Connector-up-to-6.2mm.html
Nice find, those look like the George L’s but TRS. Are they all screw/compression connections like George L or do you solder them?
You solder them, then they have a very simplified cable strain relief system consisting of a pair of screws that grip the cable.
I wonder if you can run these flipped to send AES50 through 4 xlr lines... For instance let's say a venue has an analog snake from an M32 at FOH to stage but no Cat 5, so we use four channels from said analog snake and convert to RJ45 at both ends to link to band's IEM rig with X32 and stagebox.
In theory it shouldn't work at all because AES50 is a digital audio transport protocol, using frames similar to Ethernet frames, and is effectively 'clocked' at a transmission frequency of 100MHz. At that high of a frequency transmission line effects become important and the capacitance of the cable, mismatch of impedance and insufficient twist rate in the differential pairs, among other factors, would make it highly unlikely to establish a link at all, least of all a stable one.
There was this website I read as a kid about diffferent scene aesthetics and associated bands and the emo one had Texas, sunny day real estate, the promise ring, jazz June and maybe braid? Anyways that website changed my life for the better
https://fourfa.com/
On the terminology front: you will not be playing 'sheds' for two reasons, one being that there aren't really any in the UK, at least not as part of the regular touring circuit, and secondly because it would be a very brave/crazy promoter to put on an outdoor show in the UK in November..
Interesting - I’ve always heard “sheds” as referring to any relatively large sized room… didn’t realize it meant outdoors.
Sheds, at least in my experience, means outdoor amphitheaters, although there are several examples of them in America where the audience area is pretty much completely flat with no raised seating, so not technically an amphitheater..
You will need to use a pair of the customizable 'Outputs' that are a strange quirk of the X32..
It’s not really that complicated. It actually gives you more flexibility instead of just burning 8 channels to get 1 reverb recorded.
I meant in the more general sense.. you should just be able to patch any source on the console to any output on the card module, in blocks of 1, without jumping through hoops.
You've described two completely different consoles with incompatible digital transport protocols, how are you planning to connect them together to, presumably, share I/O?
What RF are you using? Older analog RF equipment is a bigger challenge than the newer digital RF mostly due to the newer equipment designed with the limited spectrum availability in mind. The frequency width on digital RF is much tighter than early RF, meaning you can fit more channels at lower power than before, so coordination can be somewhat easier under good conditions.