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 on: Today at 01:59:18 am 
Started by Scott Holtzman - Last post by Dave Garoutte
That's the fanciest microwave I ever did see.

 on: Today at 01:58:27 am 
Started by Diogo Nunes Pereira - Last post by Diogo Nunes Pereira

The whole thing appears needlessly complex to me, but many things do...

It's been simplified... My initial questions came in a time where information was scarce(r) regarding this whole thing. As of now:

- There's will only be one small stage in the center of the field for speeches and for the director to stand;

- Sections composition (but not yet allocation) are defined. To know:
  . 1600 fiddles (violins, violas, cellos, double basses)
  . 800 electric guitar/bass players (solo piece accompanied by drums)
  . 350 percussionists (from Xylophones to Steel Drums, from djembe to Brazilian surdos... Quite a mix)
  . 250 catalan traditional instrumentists (gralles, flabiols, diatonic accordions...)
  . 1700 piece philarmonic (Drums, plenty of clarinets, flutes, bassoons, horns, saxes...)
  . A choir of 1700 (solo piece accompanied by pianist)
  . Jazz Combo totals TBC

- Each section leaders will follow director and guide their students in their solo piece.  These musicians (teachers) are the only ones we have an ability to soundcheck in advance (Saturday - day before). For the most part, all kids are going to do is show up Sunday and play...

- There will be two cascaded CL5s @ FOH  (ID#1 and ID#2). One mixes leaders which will be mostly set Saturday, and will provide a good starting point for the PA. Slave desk (and engineer) will work on the fly mixing the sections of students as they arrive, tune and rehearse Sunday.

- 4 monitor desks and engineers take care of sections/leaders monitoring. 4 Rio units will be used. We're making plans to have about 120 input channels (60 leader channels/60 sections channels). These monitoring consoles will need to interchange signals between them (stem mixes from their input channels) but will not share Rios. All a single monitoring consoles sees is 32 channels of inputs from one Rio and mixes from other consoles. All channels being sent to monitors are from leaders inputs. All this consoles have same ID set (ID#3) and this won't be a problem as they only see one Rio box each.

- Both FOH consoles see all 4 Rio3224 as each Rio will be input mics from both leaders and students.

- The original idea of duplicating IDs (the question I posed in post #1) is valid and tested. Yamaha folks here in Spain have proved the concept (others also stated here the same) in the shop as long as two conditions are met: 1) same Rio cannot be mounted in two duplicate ID consoles - obvious, was never in my plan to do so. 2) consoles must be CLs - duplicate IDs didn't worked well within the QL range. Something to do with the port-to-port function (and thus the console also having a Rio in itself) made it impossible to accomplish using QL series console.

The primary issue with "latency" will be the tendency for the performers to listen to the stadium/venue PA or to take their cues from adjacent performance groups.  The comparatively trivial networking latency is a secondary consideration and any issues from it will be eclipsed by the *source* incoherence.

That's will prove to be the real hardship of this gig. Keeping tempo among 6500 musicians spread across the grass of a soccer field... 105 meters by 64.

We're accountting something around 80+ speakers on poles in the field for sections monitoring, plus wedges for the leaders and director.


 on: Today at 01:38:25 am 
Started by Kyle Gerhart - Last post by Kyle Gerhart
Hey guys,
I've been asked to do what seems to be an almost impossible task. I have a client who wants to have a stage/lights/sound up and running in 22min or less.

This will involve a prebuilt stage that is pulled/rolled onto a baseball stadium directly after a game is finished. The band will have already sound checked and will be on almost completely wireless. They will all be on IEM's.

Stage power and power for the lights and sound will be an issue. I plan on making all the lighting LED and able to run on standard 20amp edisons.

I have a plan for how the stage/lighting will work. But when it comes to sound I have done several models on software and it seems that I will need a lot more boxes than is in the budget.
My current plan is that the stage/rig will be setup approximately 50' from the "wall" of where the grandstands start. I've mapped it out with K2 over SB28's, but with the budget that i've been given I know that those will not be an option. I am looking at RCF HDL 20's or 30's over the 9007 subs as an option. The client wants to be able to purchase the system, not rent. Obviously the K2 rig would be the ideal, but i know whoever box i go with I will be able to do similar. Its looking like a Powered box over a powered sub will be the answer.

Has anyone had any real world experience of having to put on this type of production?

 on: Today at 01:26:07 am 
Started by Andrew Broughton - Last post by Andrew Broughton
For me, WWB is the choice if I've got direct access to a rack full of Shure gear. Or if I need to hand off to somebody who doesn't have IAS.  WWB will do a big multistage festival (I did two last summer), though you have to be careful about your workflow. Specifically, locking every frequency you've handed out so that another calculation cycle doesn't screw all that up. Once in the habit of doing that it's not a big deal.

IAS is great for "just one more channel of Foo branded IFB in band 32z", the workflow is all about seeing what you can fit in to an existing big coordination. That's the workflow, you just keep adding things as you go. Really good if you don't know just how many customers you might have on a particular show.

The critical thing to learn on either program, if you need to do big events, is the zone functionality. That's what makes big multi-stage events with various acts at different times possible, because it's completely impossible to do all that as one simple coordination.
Thanks! Good info. Ever tried any of the other software?

Sent from my iPhone using Tapatalk Pro

 on: Today at 01:25:28 am 
Started by Andrew Broughton - Last post by Andrew Broughton
Watch my videos - bottom of this page.
Pretty sure I have, but Iíll check again to see if thereís anything there that compares all the various software out there.
Most other videos Iíve seen just talk about WWB and IAS without much pro/con. I donít remember seeing anything about the other software thatís available.

Sent from my iPhone using Tapatalk Pro

 on: Today at 01:12:31 am 
Started by Al Rettich - Last post by Kyle Gerhart
We have a Midas M32, that we just purchased a DL32 for. Wondering if anyone has had any issues using that last AES50 port with a TBM 248 for waves? Not able to get ours working...

I have a TB248 and I have used it with my Pro 1& 2, as well as my x32. The trick to getting working isn't in the desk, but rather in the software. In the Lynx software you need to change the sample rate to 48k. It will try to look for 96k out of the box, as most users are working with the pro series desks.

Once you have the Sample rate set properly, your patching will be the next issue. Make sure that you have card feeding and returning from the Tb248 for any channels that you chose to use the Waves for. Also make sure that you click the "Split Head amp" button on the desk and control the Pre from the "Pre" screen. This will turn your gain knobs into (18db+ or -) digital trim knobs. You must setup your gain structure before inducing waves to get a constant show.

If you have any problems give Jim a call. He's extremely knowledgeable and can talk you though just about anything.

 on: Today at 12:50:07 am 
Started by Kent Clasen - Last post by Russell Ault
I have a rational login, but the forum seems to be separate, and I can't log in...

The forum is totally separate from You'll have to create a new user on the forum if you've never posted before.


 on: Today at 12:33:45 am 
Started by Kent Clasen - Last post by Mac Kerr
I am running SMAART v7 on a Mac. Recently upgraded to 2016 MBP with only USB C type connections and  10.13 High Sierra. Now I can't connect to the Roland Octapre. I have D/L'd the latest driver and Octa Capture. Octa Capture says it can't see the device. I have a USB C>A dongle and a Sinstar mini dock USB C to A. I have tried both.

Any ideas?

I have a rational login, but the forum seems to be separate, and I can't log in...

Find a way to get onto the RA forum, they will be more help. I run High Sierra on a 2015 MBP and Smaart 7 works fine with my OctaCapture. I just used it last week.


 on: Today at 12:32:48 am 
Started by Sam Costa - Last post by Mal Brown
OHD - nt5 or even the lower priced m5. just roll out some highs

Hat... I really prefer an i5 or a 57 in a sock ... the dynamic on the hat sounds more kicks a hat to me.  Sdcís just seem overstated to my ear.

Iím one of those guys that starts rolling off the mains at 1, maybe 12k and I am significantly down by 16.  In my opinion, the only thing over 10 k is ear fatigue.

In hifi terms, I prefer KEF or B&W to Polk or Infiniti...

 on: Today at 12:23:26 am 
Started by Sam Costa - Last post by Erik Jerde
Iíve used the NT5 for hat, snare bottom, and overhead duties a lot.  They always worked well for me and I liked them better than the 81s.

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