eric!! my dad think you are an insanely talented drummer. we saw you at benson’s concert in houston on april 22 and we’re going again on october 10. are you still touring with him? thank you for the upload, would love more benson drum cam content!
@@eldowns ah okay, my dad will be bummed that he wont get to see you play. I think that was part of his motivation to go again lol. i’ll keep showing him your videos though, he enjoys them. best wishes on whatever you are pursuing next.
Have you ever checked out the Joeco Blackbox? No laptop needed, simple rack solution, built in failsafe with a second unit. Does playback pure & simple & doesn’t rely on computers to be connected up. Less flexible but rock solid.
I’m familiar with that unit, though I’ve never heard of anyone using it. The stability is a nice pro, but it comes with the massive con of not being able to quickly edit playback (like you said). It might be good if you’re in a cover band that plays (and has to play) songs exactly as they were originally arranged, but modern shows are a lot more involved and more often than not will change arrangements/programming as the show evolves.
Yo Eric. Love the videos as always! Looking at upgrading to the 1U soon and had a question around redundancy. Along with audio, we are using light key for our lights. Do I need light key networked on a separate computer to have redundancy or am I able to have just an A and B computer running light key through the play audio? Trying to avoid running 3 Mac’s if possible.
I'll be honest - I don't know what LightKey is. But, I looked it up and it seems pretty nice. That said, I don't necessarily see a way you could run it redundantly, as it would need to essentially be taking signal from both computers with a failover method just like the PlayAUDIO.
@@eldownsright on. It was my thought as well. Even tho light key is external, we have it cueing lights through midi in Abe. Wanted to make sure that if I had it on both computers, both talking to ableton with the Playaudio, that it wasn’t possible. We run small and trying to avoid having to bring in an LD if everything is pre programmed already. Thanks for looking it up though! Will Doggett has worked with it a lot but never got into whether or not it works with redundancy.
If I remember correctly, most plugins are calibrated to take audio at -12 lufs, which equals the analog equivalent. There is room for error because of the differences in what is being calculated. Also, streaming standards etc...
That’s largely what I’ve heard too, but I think the difference is negligible, if noticeable at all. I’ve actually been experimenting with -18 LUFS lately to increase headroom even further.
Not really. Using one controller for both machines will keep them synced 99.9% of the time. You can also use a wired or wireless network to connect them and make sure they’re always deadlocked.
Hi Eric, is there a way to use the encoder on the front as a digital volume control for the 12 audio outputs on the rear simultaniously? Is it Windows compatible? And how stable are the USB drivers? TIA
Would this give me midi capability on the Tascam Model 24, connection to an Akai MPC KEY 61 which is essentially a daw….to be able to route midi & audio from several hardware synths?
You’re going to have to give me some more detail as to what you’re trying to do, but I just googled Tascam Model 24 and I’m pretty sure that thing is older than I am.
Each had its place. TA-1VP is simple, rackmountable, and cheaper. Apollo offers more fine tune control and quality, but isn’t rackable and more expensive.
Can you tell Benson that I'm doing a Lemonade stand to go to one of his concerts and that I wanna be his frend and tell him TO COME TO WISCONSIN AND RELEASE ARTIFICIAL REVELATIONS
Sick! Thank you Eric. Very happy to see your workflow. What are your thoughts on using a Distripalyzer to send timecode to FOH/MediaC/LD? At what lengths does it becomes a necessity? Can you recommend other gear alternatives to Distripalyzer. Thank you :)
To be honest, I've never used an eternal timecode device like that. In my applications (and even much higher ones), I've only ever seen it sent from the session, so unfortunately, I don't have enough experience to be able to comment on it. Is there a reason you're looking into it?
@@eldowns Thank you for sharing Eric. I am designing a rig and need to send timecode to the LD and Media to run my show in sync. In your case do you just send a mono out from your audio interface running the timecode from your session? Have you had any issues running this in bigger venues? Can you share your experience please. (Preferably I'd like to avoid an external device to run/clean the timecode.)
Thank you Eric! For clarity, by networked you mean like through Dante or MADI. Or just a physical patchbay network? Have you had any trouble running it over a a distance of say 100-150feet (30-50 meters) ?
Awesome! Question, how would you go about keeping another laptop running ableton with keys stuff in sync with the tracks computer, would you use ableton link or something else? Have had issues with it working inconsistently and latency when over ethernet
There are several solutions for this, but the most reliable is likely just MIDI. Sending MIDI data (over DIN or RTP) from playback to the keys laptop to control its changes. Does that answer your question?
Always love these playback videos. Is there any pro to hard panning clicks + cues and LTC to send out on one stereo return track, opposed to just having two dedicated mono aux tracks? Have u ever gotten timecode bleed doing it that way?
I have a quick question for Charlie: In this setup, how do you ensure that MIDI is only sent from the MacBook that is also sending audio? Or do both simply send at the same time? If that's the case how do your devices deal with these double program changes on stage?
@@eldowns Thanks for the quick reply. If I understand you correctly, both computers send MIDI simultaneously via RTP-MIDI to e.g. a mioXM on stage, which is e.g. connected to a Kemper Amp via DIN-MIDI to change presets. This means that the Kemper amp in this setup receives exactly the same MIDI message, e.g. a program change message, twice within a very short period of time. Do all devices cope with this or has there ever been a problem with these double commands?
The computer sends MIDI via the mio, which converts it to DIN, and is then sent to the Kemper. The Kemper can only accept DIN, so it’s impossible for it to receive 2 signals.
Double rig!! What a treat. No pitch correction or (non FOH) vocal processing on this tour? Eric, are you using a loom for the PA1U outputs? Thanks for your insights as always :)
I’ve intentionally not used pitch correction with Benson - I feel that for a singer and music of his style, pitch correction just sanitizes the performance and removes the authenticity. I think when a singer is as good as he is and how prominent live tuning is these days, the occasional imperfections make his regular, excellent singing even more impressive. We are using a loom for the 1U. If you look closely at the rear closeup shot, you can see my should-be-patented loom organizer. ;)
Love the serie! I know is not the main theme of the video, but, I'm looking for building a budget playback/monitor rig with a Behringer XR18, but I'm afraid of the work of patching the ins for the rig and the FOH as well. Should I patch, for example, the entire drum mics, or just ask for the FOH to give me back L+R? Would be a sacrifice for the engineers to connect and disconnect the snakes if it's a festival with multiple bands? I've learned a lot with your videos. Thanks, man!
