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[Tim Weaver]

I am using a CL5 to mix the live broadcast at work. I also record via ProTools to a standalone computer.

It would be nice if I could take the track outputs from ProTools and route them into the CL5's channels (Virtual Soundcheck style) for a quick remix of our broadcast stuff. We want to start doing some video clips of our music, and I would love a "second chance" at riding solos and whatnot.

A lot of other consoles both large and small allow you to patch 2 inputs to a channel and switch between them. Is this possible on the CL5? I know I could just reroute the inputs with dante controller but A: our dante routing is complex and I'd hate to be messing with it, and B: Dante controller, so far, doesn't seem to do Routing Scenes that I can recall. At least I can't figure it out.

If the CL can do dual inputs per channel that would be the best. Has anybody accomplished this?

[Philip Roberts]

I'd suggest you look into the CL's Dante Input Patch Library's.

Philip

[Tim Weaver]

I'd suggest you look into the CL's Dante Input Patch Library's.

Philip

Hmmm. This could possibly work. I just have to see if I have enough empty dante slots on the console. Cool beans.

[Justice C. Bigler]

I'm guessing you are using most if not all of the 64 network inputs for the CL5 with actual real inputs?

The way I have our system set up, inputs 57 through 64 on the console, are network inputs from Dante Virtual Sound Card (or now, from Protools HDX). These are used as either "returns" from Protools, so I can monitor the recording, or as playbacks from QLab. (My computer is only running either Protools or QLab, not both at the same time.) With this set up, inputs 57 and 58 are the Main Left and Right output from Protools. You could route some other stems from Protools this way too. Protools inputs are from the RIOs directly through the Network, and not from direct outs from the console, as that eats up all the console outputs to the network.

The CL can not do dual inputs per channel. And it's been my experience that changing Dante Patch Libraries is not instant, it takes a half second or so to switch and you lose audio on any channels that are affected. When I tested this extensively a couple of years ago, I remember that it would not mute channels that stayed the same. Hopefully this hasn't changed.

What's your Protools hardware? With our new HDX system and the Focusrite Red 4Pre as the primary interface (and a RedNet HD32R as the secondary for 64 inputs to Protools) you can monitor the main outputs from Protools on the front panel headphone, or other analog outputs from the Red 4Pre irregardless of whether those outputs from Protools are patched to the Dante network or not.

The ability to toggle between inputs on a per channel basis would be a HUGE upgrade to CL software, and would make theatre guys super happy as we would be able to quickly switch to back up mics for lead actors, etc... I think currently only Digico does this though.

[brian maddox]

Hmmm. This could possibly work. I just have to see if I have enough empty dante slots on the console. Cool beans.

Yeah, it seems to me that the real limiting factor here is the 64 possible Dante input paths going into the desk.

You could certainly increase the number of input paths into the console via some mixture of MY cards, but that would certainly not be an inexpensive solution.  That being said, if you're only using say 40 Dante input paths, the addition of 1 MY-Dante card would give you a total of 80 input paths into the desk and might be a viable option.

[Mark Rombouts]

The new version of Dante Controller will handle scenes I thought.

[Mac Kerr]

I am using a CL5 to mix the live broadcast at work. I also record via ProTools to a standalone computer.

It would be nice if I could take the track outputs from ProTools and route them into the CL5's channels (Virtual Soundcheck style) for a quick remix of our broadcast stuff. We want to start doing some video clips of our music, and I would love a "second chance" at riding solos and whatnot.

If you have enough Dante inputs (64 main, however many slot) patch libraries is the way to go, it is instantaneous. If you don't have enough Dante ins having 2 Dante preset files will work, but the whole Dante network will go down while you load the new preset. You can do a live repatch in Dante controller that will only interrupt the channels as you patch them which may be fine if you are doing all 1-1 patching.

Mac

[Tim Weaver]

I'm guessing you are using most if not all of the 64 network inputs for the CL5 with actual real inputs?

I'm using over 40 inputs. So its enough to make it "not easy".

The way I have our system set up, inputs 57 through 64 on the console, are network inputs from Dante Virtual Sound Card (or now, from Protools HDX). These are used as either "returns" from Protools, so I can monitor the recording, or as playbacks from QLab. (My computer is only running either Protools or QLab, not both at the same time.) With this set up, inputs 57 and 58 are the Main Left and Right output from Protools. You could route some other stems from Protools this way too. Protools inputs are from the RIOs directly through the Network, and not from direct outs from the console, as that eats up all the console outputs to the network.

I do have the PT main outs patched back to the console for monitoring of the recording. I also have 16 channels on the desk I could use for mixing stems from protools. This was my first thought, but I am using some multirack plugins on the console too. If I went this way I would have to completely reconfigure my insert routing on the desk. Its possible,  but not nearly as elegant as a dual i put set up.

The CL can not do dual inputs per channel. And it's been my experience that changing Dante Patch Libraries is not instant, it takes a half second or so to switch and you lose audio on any channels that are affected. When I tested this extensively a couple of years ago, I remember that it would not mute channels that stayed the same. Hopefully this hasn't changed.

What's your Protools hardware? With our new HDX system and the Focusrite Red 4Pre as the primary interface (and a RedNet HD32R as the secondary for 64 inputs to Protools) you can monitor the main outputs from Protools on the front panel headphone, or other analog outputs from the Red 4Pre irregardless of whether those outputs from Protools are patched to the Dante network or not.

I'm using HD Native with 2 Focusrite Red5's feeding it. Although I'm likely to switch to just using DVS to feed protools directly. The Red5's are an extra step that I don't need at this point.

The ability to toggle between inputs on a per channel basis would be a HUGE upgrade to CL software, and would make theatre guys super happy as we would be able to quickly switch to back up mics for lead actors, etc... I think currently only Digico does this though.

Soundcraft VI desks have this as well. Its super handy.

[Riley Casey]

How would dual inputs change you're having to reconfigure your inserts?  Any playback coming in a channel with the inserted processing would pass thru that processing again. What you're looking for is the multitrack monitoring function that inline studio consoles had back in the day when there were multitrack recording studios.

I'm using over 40 inputs. So its enough to make it "not easy".

... but I am using some multirack plugins on the console too. If I went this way I would have to completely reconfigure my insert routing on the desk. Its possible,  but not nearly as elegant as a dual i put set up...

[Tim Weaver]

How would dual inputs change you're having to reconfigure your inserts?  Any playback coming in a channel with the inserted processing would pass thru that processing again. What you're looking for is the multitrack monitoring function that inline studio consoles had back in the day when there were multitrack recording studios.

I'm not recording through the console in the first place. The PT machine gets a dante split. I merely wish to play back those raw tracks through the console in the original channels they would have shown up in. That way all my channel processing would be applied to the inputs coming from PT just like they did when I was mixing it live from stage.

The recording is completely raw. No processing done anywhere. We have a mix engineer that does his thing after the capture. In fact he lives in New Zealand now....

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