Made some changes to fit what I do better but great reminder to have a default show file just to load straight onto the desk and save lots of time! Cheers for this! Easier to make changes to a good basis rather than starting from scratch everytime.
Yes, that's a great feature, but in this specific case I still prefer the DCA method since showing 9-16 would include stereo inputs eating up a fader slot. Having DCAs give me access to 8 stereo sources vs just 4.
Very good, thanks. I have a job coming up on one of these with an undoubtedly short rig time. I usually get Yamaha & A&H so this will be super useful. Hopefully one day i can return the compliment.
I gave up on the De-Esser a long time ago. I think you would find better results using the combinator, which I end up putting on a bus. My workflow is very very similar.
9:50 just copy the HH channel onto a Lav channel. If you "Select All" while pasting, it'll copy over everything except for -input source (including gain) -inserted effects (in case there is one) -assigned mute group -assigned DCA You may want to deselect 'Main Fader' tho and keep the level of the new channel down, in case the input is hot already. As for the de-essers, I usually just have one on the vocal bus. People don't all talk at the same time (and even if they do, it still works fine) so this frees up a lot of FX slots for imo more important things, like GEQs on the PA to quickly get rid of feedback or some general room issues if you didn't have time to calibrate the PA. I also like to insert the Combinator (multiband compressor) into vocals or even the main PA bus as "mastering" FX. If somebody is talking over music, this helps a lot with speech intelligibility (since you can run the mic hot and have the MB pull back the frequencies where the speech lives, which separates it from the music much better). If you have a stereo PA (no separate send for a sub) I'd also recommend putting an additional HPF on the vocal/speech bus, since the default HPF is just a 2nd order, which is a little slow for my taste. Stacking two 2nd order filters turns it into a 4th order, which keeps rumble under control much better, especially if you have a lot of compressor on em.
I have a very similar showfile I use every week for breakouts and the big shows. I do have two questions for you. Is there a specific reason you use post fader instead of subgroup for ring out busses? And second is partially just a comment about not using graphic eqs for ringing out. I just find I end up needing them often enough that I lose my limiters and have to use the compressor on my stream/record busses instead.
Hello Kindly help me understand why my M32 Midas main LR output has low sensitivity towards vocal signals even when the gain is cranked all way up. The channel shows it's clipping but not much is reaching the LR mains output. So because of this, the backup vocals usually sound too quiet in the live mix. Thank you.
I can't speak for Curtis, but I get a better result using the multi band comp than the DeEsser. If you set your parameters right you can knock out both plosives and sibilants.
Is this an update/revision to your "Steal The Console File I Use To Mix The President" video from a couple years ago? Also, how challenging is this to convert to something usable on an XR18?
threw the years We have tried the X32 for Breakouts.. I even did templates for them and the local guys couldn't use them... they messed things up every time.. We have solved the problem with DM3's. Our breakouts are basically 1 pod mic, 4 RF mics, 2 Computer Playbacks and a Walk In . Generally breakouts are a L/R and thats it.. Anything more than that needs a more talented guy.
