Ken Pooch Van Druten explores his console layout and how he busses things for large scale tours. He goes in depth about how he sets his Digico SD7 Quantum digital console up for the rock band Iron Maiden. @digicoconsoles @waves
Hi Pooch ! Thank you for the quality of your videos :) Couple questions for you if you have time to answer them : - Why do you have a Tom1&2 channel and not two separate channels ? - What are Bric 1 and Bric 3 ? - What is your Snare Gate channel used for ? Long reverb throws ? - Do you use DI Boxes for the triggers ? Thanks again, have a nice day =)
Very cool. Nothing but respect. Way more in-depth then I do with the groups, but then again, I am on LV1 and not Digico, so I don't have the ability to do that level of bussing into busses. What I am curious about is, why are you routing a bus to a channel? Why do you need the bus to come in on a channel? Is that a Digico thing, or a you thing? Love the videos! Keep it up!!!!
Great video Ken, really interesting! I noticed all of your channels are safed out, I guess this is not how they are during show, right? Are you in a line check snapshot or something in this video? Would be really interesting to se how you handle the recall scope on everything, there's a topic for your next video :) Keep them coming!
Hey, great videos recently please keep them coming they're super useful! what's the reason behind sending the groups (kick/snare/tom groups) etc back to a channel? guessing it just has more processing than the group? or is to do with sending to broadcast unprocessed?
awesome vid! Quick question about the repeated ch to group relationships. If you were to push up the kick channel (the channel that the kick group lands on), how would your dynamic processing on the Bad Cop group and over all drum group react to that increase? Mainly just asking about how your dynamics are setup to prevent you from fighting it if you want to drive something a little harder at any point.
Great Video... Would be interested to know how latency is handled with digico. There are a lot of things going in and out of channels, groups and I assume plugins. Do you follow the same path with all inputs to ensure of no latency issues. Or can the desk compensate automatically.
No delay comp on DiGiCo. Every channel/bus/what ever creates 14 samples of delay. All of his drums seem to hit a group before they hit the good and bad cop so they all arrive on time (sans cymbals... which he most likely adds 14 samples of delay to). In waves multi/super rack he either uses latency groups or just adds the same plugins to every rack to align or does some horrendous amount of math.
Hey Pooch. Just curious about the PA CG you have next to the Master Bus. I’m wondering if you could explain the benefits you feel you get from pushing the GC vs pushing the Master? Is it because there are different mixes of Band vs Vocals feeding to the different matrices?
I would assume the master is feeding several matrix outputs (subs, Left, Right, Side wraps etc) plus broadcast outs. If he were to push the master, it would affect any matrix that is NOT the PA. Just an assumption, but it is also how I do it. I have a VCA controlling my Left, Right, Sub, Fill matrix outs which leaves my record outs unaffected.
Melissa Riner kick and snare on mono group. Toms goes to stereo group. I cannot see it, but I imagine that the snr and k group goes to a mono channel and toms to a stereo channel.
8 tom mic’s and 8 triggers physically on the toms triggering the gates on the tom channels, the triggers are 1/4” so need to be sent through a DI’s back to the console
@@RiccardoCore Yes ! The acoustic sound of a trigger going directly into an audio input is a big and very short hit, almost like a snare sidestick. This way, for triggering the opening of the gate, you don't have to use a sound module, the acoustic sound of the trigger itself is sufficient :) Hope I was clear enough !
