Anatomy of a Playback Rig: Episode 4 

Call me when the next gen is under development ;)

@@eldowns Next gen audio or MIDI suff. We already have the mio X Series interfaces that would replace the MIDI4+ in your rig. I'll let you know if anything is close to coming around.

They’re all SKB Fly Racks. Just figure out how many spaces you need and buy that case.

The minimum amount of outputs you need to do this is 4. You could do this most inexpensively with a basic Focusrite Scarlett interface.

@@eldowns thank you, your right

Idk some $15 one from Amazon.

I’ll make it whenever I build a new, cool rig. Is there anything you’d like me to cover?

​@@eldowns Thanks for asking :) I'm going down this rabbit hole because I'm looking for ideas for a playback rig using Ableton Live with a lighting plugin called DMXIS, both of which I own, but haven't used in a few of years (thanks Covid!). I'll mainly use it as a solo artist who will be playing clubs, but want to build something that I can rely on when playing larger venues, theaters, etc, and that I can expand if I bring a drummer or guitarist on board. Love the iConnectivity PlayAUDIO12 that you recommended for that reason.

I typically buy a cheap rack shelf on Amazon for like $15, then drill a hole in it and screw the PA12 in.

@@eldowns Awesome! Thank you!

Honestly it’s pretty easy, though every instrument/device uses the program change information differently. You basically just create MIDI clips, then within those clips there are built in program change parameters that you simply set to the programs you want on your instrument/device.

@@eldowns Would love to hear a bit more about this since controlling an x32 via midi is a huge pain, what makes the M32C that much easier?

I haven’t found it to be that difficult to be honest.

Yes, all channels are sent to the DL32. In our case, we sent 3 lines (L/R/Sub) to the house, then mixed the show via those lines into the house board. This renders virtually the same result as doing a full split, which is obviously twice the logistical hassle, but gives you fader control at the FOH board.

@@eldowns thanks! But if you want to mix all channels via an external mixing console you have also the possibility to send the 32 Channels via the AES50 connection? In your case you use the M32c software to mix the full FOH or not? I think that could be difficult when you play a show with an external FOH person which has a own mixing console.

Yes, you could send via network, but all this really does is allow the FOH to mix on their board. But if they just want individual fader control, we could just as easily hand them our iPad and let them mix the whole show on that.

@@eldowns thank you very much!!

This is SUPER interesting. Is this specific to the venue types you're playing? and the fact you're headlining? I'd assume maybe a festival run wouldn't allow this kind of FOH sends? Awesome idea for smaller clubs tho! I thin I'm gonna try and get this on our rider for gigs we headline!@@eldowns

If your playback is coming from an iPad, then all you would need is the IEMs. One for each musician, possibly an antenna combiner depending on the environment you’re performing in.

If the MIDI devices have THRU capability, you could technically chain them all together, then send and receive on different channels for each device.

The most I’ve seen people chain together is 2 for 20 outs, but personally if I went over 10, I’d just switch to MADI.

The wireless, as built, probably runs around $9500. The other rack is probably around $6500.

I know what you’re referring to. They can be if you rely on them too much for gain. The key is to sending them as much gain as you can and have them do as little as possible. I’ve A/B’d them against the dry vocal in plenty of multitrack shows and I’ve found them to be transparent when do you this.

Easily - just send the output of the wireless mic into the input of the Tascam, just like a wired mic.

In this setup, we pre-mix the show in studio, send an L/R/S to their board, then hand the engineer an iPad and let tune the PA and ride faders/VCAs. We get all the heavy lifting (EQs, compression, reverbs, etc) out of the way ahead of time. If we’re already going to do it for their ears, no sense in sending them a dry signal and forcing them to do it all from scratch.

Why do you want the stems separate? A stereo out should be fine. If there are issues with the levels, fix them in rehearsal. Making the sound guy do it doesn’t fix the problem long term and distracts him/her from the more important elements on stage: the band.

@@eldowns good point. thx!

I completely trust that you’re very likely correct. I guess I’ve just been lucky for the last 10 years.

@@eldowns i work in very large venues or outdoor concerts with big industrial power supplies so they are a must