Hi Brett, we use this at my church as well and I’m wondering if you know if these 2 features exist on the app. At my church we have a set of like 10 iPads and each service someone gets a different iPad. But then we have the settings of the last person who used it before us. Is there a way to default all of the settings quickly so that it’s easier and quicker to set up our own mix? And or is there a way to save settings as like a preset? We are all logged in under admin but if there was a way to bring up a saved profile so that way we don’t have to spend a ton of time setting up our own mix before service starts? Thanks
This app is just reflecting the mixes as they are on the console. So I would say label your tablets by mix number or instrument, and have the config set up in ways that are preferable for those instruments or mixes. That would be my solution.
We have two of these, one for our live and one for our stream. We use Chroma key and I am wanting to upgrade to using Key and fill for more accurate keying. However, the team that set up our cameras used two channels for all our cameras so we have no available channels. There was some kind of sync issue apparently but I don't quite understand it. Any ideas why that would be or if there is a different work around? Stinks since we really only need one more channel to change that one channel input from chroma to key and fill. Secondary question, how do you set up that black screen on an input like you show multiple times in the video?
“Genlock” is probably what is the second SDI cable to each camera. You can get an external signal generator with multiple outputs by companies like AJA. Then you won’t need to use up board connections. “Black” is the an input source option as you scroll through the options of what physical input to assign to a given logical input or channel.
@@gritziegler Yeah a couple people have said that's probably what it is. All over my head so sounds like we're probably stuck with Chroma for now. Just for my knowledge, if we got the external signal generator, how does that work and replace the genlock we're using now? Thanks for the input I appreciate it :) Confused on why Genlock would require another cable/channel in the switcher though? Wouldn't genlock be an input device before the switcher (ie camera to genlock, genlock to switcher? Thus only using the same number of ports as cameras?)
Generator had a bunch of outputs, BNC, one goes to each camera’s Genlock in, and one goes the video switcher’s Genlock in. And then they are all frame synced.
@@gritziegler Interesting. In all my reading I thought you could just get a genlock device and plug it into the reference on the switcher and it would genlock everything..but then again I have no clue what I am talking about lol
@@pyleoutnumbered8815 it’s basically getting all the devices making video together to tell time from the same really fast clock. The genlock in on a camera is basically the same as the ref in on the video switcher. The generator becomes the clocking boss.
You have blessed me already. I’m very familiar with waves F6. The dyn8 Has a few differentials, but seems very straightforward. Our church is considering purchasing a couple of new consoles, and the D live is on our list.Thank you very much.
Hey thanks for the video! There are very few walk through videos from first hand users. Primarily the Avantis, which is what our church has. My question in regards to PRE settings, we find that on our end with musicians if they adjust anything eq, comp, etc its controlling FOH, similar to your take on if PRE is off, than said user is subjected to FOH adjustments. So does the same apply to if PRE is on, said user wouldn't be subjected to FOH eq, comp etc changes and could in turn make those adjustments to the mix only? Wasn't sure if you've discovered this or not. I know there is the option for eq and comp for the overall individual IEM mix it self, but wasn't sure if adjustments per each individual was capable?
We do, because we don’t power down our amps. They just sleep. But I would definitely shut everything down if we easily could (lost of user groups in our church to consider)
Hi Brett! I am so glad to have stumbled upon your videos. They are superb. You make complex concepts very understandable. Thanks for the work you are doing and sharing.
If you put the rest of the items you have on the MyMix layer on a custom layer, you won’t have the mute button accessible. That way you would not have to worry about someone accidentally muting a feed to the house. We used custom one for vocals, custom two for instruments and trax, custom three for drums and click.
Pls help me. My church have one and am a field worker... but I want to learn it.... but I do have the basics.... Pls can I do all the things u know on one video so I can watch and learn... GRP.DCA.AUX.MATRIX.FXRET.FXSEND. ROUTING. SURFACE.GANGING.I/O.MIXRACK.METERS... PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE
There's an "EDITNAME" menu function in the receiver that you then sync with the transmitter. But if I remember right, I did the naming in the free Wireless Workbench Software, and pushed the names to the receivers over the network.
I would love to see how you routed this into the Clearcom. I’m trying to do the same but I don’t want the Clearcom base station to send power to the dlive
I’m not using a Clearcom output on the base station. On the MS-702, I’m only connecting the board to the program input, and the stage announce output. No party line (belt pack) lines are connected to the DLive at all.
@@gritziegler ahhh ok. I always thought the program input and announce would send power like it does to the belt packs. I have been wanting to push the house to the Clearcoms forever
Thank you so much for this tutorial! Is there anyway I could contact you about how you set up your very last keyer? The lower third you are overlaying with all the detail coming through.
Nice informative video! ? Is the Dlive running @ 96k? Does the card and the Dlive have to be on the same samping rate or can you still run Dlive @ 96K and the Dante @ 48K (for more channel capability)? Thanks
Fantastic question! My thought right now is that since we can hook the front of the net up without lowing the antennae, let's just leave them up for now. They are basically a coil spring covered in rubber, so they are very durable. I'm trying to add as few steps as possible. It would be easy to forget to raise the antennae up again for use (as they are hiding behind the iMac), and then you could get to the middle of a sermon before wondering why you're getting dropout from the belt pack. We might make that change if and when everyone gets comfy with this process.
@Brett Ziegler - We have almost the same setup at our church and we are just configured virtual sound check. Right now we are having an issue where we have to change the routing in the Dante controller to get audio from either the Shure mic or from the recording. Do you know how yours is configured to allow you to just switch between record send and virtual sound check to get audio in your HH1 channel?
Todd Kreykes what I did was make our 4 wireless Shure channels come in on 61-64 on Dante. And then I made Virtual Soundcheck 48 inputs, which is enough for us right now. Even the wireless mics fit within the 48 for us. I don’t know if this is the best way, but it sidestepped the problem.
WIDE means the compressor band or EQ structure is responding the the level of the WHOLE signal, not just its own band of frequencies. The whole signal crosses a threshold and the comp/EQ responds, rather than the low mid compressor only tracking the low mids, for example. So I might want to take some boxy mids out of a tom when the drum gets hit, or take some bite out of background vocal when the vocal is especially strong. WIDE causes that structure to react to the level as a whole, not just a filtered part of that signal.
Thanx Brett, really some clear and helpful videos. I especially liked the usage tips on drums and on the use of the side-chain. I'm using the Dyn8 on vocals and acoustic guitars already. Gonna play around with it some more in the near future...
Nice job working through a feature most engineers don’t use on the DLive. The examples are strong. Only recommendation would be to roll a virtual soundcheck for the video so you can show the compressor and EQ dynamically working rather than just describing it.
Thanks! We actually JUST upgraded to a computer that can handle Virtual Soundcheck and Waves Tracks. So maybe I can carve out some time to redo these down the road. I definitely agree that these would be better with sound running.
any chance you can do a demo showing how to use the key/aux/custom buttons for switch multiple displays live? I'd love to change our confidence display to show the main screen image before and after service, but have them be confidence monitor view during the service.
I would probably choose and AUX for this. Whatever output is feeding your confidence monitor, make its source AUX 1. Then you can hit the AUX button in the top row, and toggle which input is feeding that Aux. What we have done is made source 8 our PROGRAM FEED. Then you can change your confidence monitor between PROGRAM FEED which tracks with your main ME, and another fixed input, which will be your confidence monitor feed.
Great question! Not right away, but that is definitely a possibility. Managing huge amounts of data and lots of files becomes a problem right away with this kind of recording. At some churches, the "template" would have accurate track names, and someone can go into the folder for the recording session and retrieve the sermon mic audio, or even re-mix the sermon with room mics and video clips etc after the fact. Some churches also record the live translated audio in the same session, even though those channels aren't playing in the PA. Lots of possibilities.
