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[Paul Miller]

I'm currently using a StudioLive 24-4-2 with 4 monitor mixes run from the board. I have graphic EQs at the FOH position, inline between the board and the monitor amps. Pretty simple, conventional setup for a club.

If I were to upgrade to a GLD80, is there any way I could still run monitors from FOH with my EQs either inline or inserted? I know there are digital EQs on the mix outputs, but I'm one of those guys that really likes having the actual sliders right there at all times.

Also, how many people still run outboard graphic EQs, on either main or monitor outputs? I asked the crew chief at a large regional sound company and he said they don't bother setting up outboard EQs any more, and will only do so if specifically requested, which is practically never.

[Mark Rombouts]

why do you want to use your outboard eq's ?
There are graphic eq's on every output buss of the gld system.

[Scott Slater]

Using the graphs on the digital console is better since it introduces less noise to the signal chain.

[g'bye, Dick Rees]

The onboard EQ's will be tweakable via iPad while standing at the monitor with the musician.  Furthermore, fader control is availablle on the control surface at the push of a button.

[Paul Miller]

why do you want to use your outboard eq's ?

I'm one of those guys that really likes having the actual sliders right there at all times.

There are graphic eq's on every output buss of the gld system.

I know there are digital EQs on the mix outputs

[Jon Ross]

If you want to run your outboard eqs in line with the mix outputs there's no real harm in doing so. As others already said the drawbacks are not being able to adjust EQ from iPad and introducing more noise to the chain. I'm sure at some point you will realize that you are just carrying around more unnecessary weight and needing more setup time doing so.

I had one guest engineer who was not happy with hearing the FOH EQ through his headphones and wished I had brought an outboard EQ along with my GLD80. I'm pretty sure there has to be a way to route the pfl pre graphic EQ, I'm just not sure how.

[Paul Miller]

The onboard EQ's will be tweakable via iPad while standing at the monitor with the musician. 

Dick thanks for reminding me of this. I've never done this and it sounds very appealing for the times I actually get to soundcheck a band. The standard protocol in my main genre of music is just show up and play, 4 bands a night with 10-15 minute changeovers. As soon as I can set the mics in position, plug in the instruments and get back to the board the MC is bringing them up. Usually not even a line check, just hope for the best and try to fix anything that doesn't come up. Standing on stage getting monitor mixes dialed in just isn't a reality for me.

So anyway, yes of course there's a point where the extra capabilities of doing things within the board outweigh the comfortable familiarity of the old methods. Built-in effects and channel processing have their obvious benefits with virtually no drawbacks. But as I stated, I'm having a hard time with the idea of letting go of those outboard monitor EQs, with their immediate & tactile response. That seems to me like the one piece of gear I'm going to struggle without, however it's replicated on the board.

The StudioLive graphics are a usability nightmare, although I'm sure there are now much better implementations. That being said, a couple of weeks ago I watched as a band engineer on an X32 in another venue pushed buttons, twisted knobs, and peered closely at the screen while trying to remove one particular resonant frequency from all three front monitor mixes. Yes he eventually got it done, but it was excruciating to watch him navigate his way through the process. He probably could have done it in about 30 seconds with a few outboard graphics.

[Geoff Doane]

I'm currently using a StudioLive 24-4-2 with 4 monitor mixes run from the board. I have graphic EQs at the FOH position, inline between the board and the monitor amps. Pretty simple, conventional setup for a club.

As usual, the replies don't answer the question, but try to coerce the OP into changing his workflow     (I'm probably guilty of that from time to time too.)

The GLD80 has four local inputs and outputs on the surface, so you could connect the GEQs there to maintain your present style of working.  You'd give up the chance to plug in a TB mic, or favourite compressor/processor that requires analog I/O.

Or, since you presumably already have an installed snake in the venue, you could just use 8 lines to run the monitor signal from the stage box to the GEQs and then back again to the monitor amps.  It's going to be balanced line level, so noise should not be an issue.  And since it's an install, you only need to do the work once, not start from scratch for every show.  The price of used GEQs has tanked, so it's not like you can recover much from selling them anyway.

But although it's technically possible to retain the outboard GEQs, I would question the utility of doing that.  We used to argue (on this forum) about where the monitor EQs should be located, FOH or stage (when doing monitors from FOH).  I was a proponent of the stage, since you could hear what you were doing, but I was in the minority.  Now that I'm using digital consoles with PEQ on the outputs, and have better sounding monitors, I find I can work quite easily without graphics on the monitors.  I still have them inserted, but only rarely use them, and only for "tone shaping", when a performer asks for a change from the stage.  I've got the monitors tuned up nicely with a PEQ, going for a "good" sound rather than "loud", and 9 times out of 10, the performers are quite happy with that.

Maybe set it up that way for a while, and when you find you haven't touched them in a month or two, get rid of them.  Or maybe you'll find you still continue to tweak monitors from FOH, and you can leave them in.

GTD

[Steve M Smith]

Yes he eventually got it done, but it was excruciating to watch him navigate his way through the process. He probably could have done it in about 30 seconds with a few outboard graphics.

With enough familiarity with the equipment, he could probably do it in thirty seconds with an X32 as well.
 
 
Steve.

[g'bye, Dick Rees]

Paul...

If you're not running the SMAART feature of the SLive, you're missing out on a VERY powerful tool at your disposal.  With SMAART you can get a very precise readout of the EXACT frequency you need to address and can thus set a very narrow PEQ filter instead of hacking away with a graphic.

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