Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Mike Palmer]

The Main thing that is nice about the DSP being in the rack especially with a digital snake is ...

In case of the loss of connection on the CAT 5 cable (I.E. forklift running over your run)

Audio continues to pass and the software on the PC can take over control.

Also the effective signal path is much shorter as in the stage rack the input to output distance is less than 1 foot in width. Very clean signal.

[Karl P(eterson)]

Mike Palmer wrote on Wed, 07 January 2009 00:39

The Main thing that is nice about the DSP being in the rack especially with a digital snake is ... In case of the loss of connection on the CAT 5 cable (I.E. forklift running over your run)

While this is theoretically a selling point my snakes have been cut exactly no times.

I do concede that snake cuts certainly can and do happen but as I see it the chances of that happening while having no other major failures is probably unrealistic. With that said the ability to continue to pass audio after something major has happened is more of a marketing ploy than anything else. At least to me.

Quote:

Audio continues to pass and the software on the PC can take over control.

Assuming that you have laptop with you, it is not sleeping or suspended, that whatever took out your snake didn't take out your network connection, and it isn't trying to install windows updates or otherwise engaged in recording or smaart, then yes.

Quote:

Also the effective signal path is much shorter as in the stage rack the input to output distance is less than 1 foot in width. Very clean signal.

Bupkis. On a few levels.

1. I don't buy that a hundred or two feet of quality copper is going to "dirty" the sound.

But that doesn't even matter because......

2. We are discussing the difference in the location of the DSP, not the A/D-D/A's. Whether the DSP is at FOH or Stage makes no difference to where the D/A is and after that it is digital and thus truly doesn't care how far it travels.

3. In digital the latency is decided based on the A/D-D/A path and internal processing latencies. Other than that it is instant. Traveling up and down the Cat5/Coax/Fiber to FOH and back is (almost) the speed of light.


Not that I don't appreciate the future possibilities of fully open I/O and DSP combos that can be paired with any surface or software the user desires, but I think we are quite a long time before we get there.

Karl P

[Dave Barnett]

Karl P(eterson) wrote on Wed, 07 January 2009 00:30

Bupkis. On a few levels.

I don't think that word means what you think it means.


It means "nothing".

[gordon mcgregor]

I don't think I coiuld mix anything too complicated on a laptop only, but being able to mix consoles with I/O racks is very useful, been doing this for quite a while with the older Roland VM system where we have 3 different console packages that we can use from 12 faders up to 40 depending on the  gig and inputs required. No real difference in sound where the DSP is but having the choice of console size while still having the full capabilities of the system can be very useful. Gordon

[Mitch Grant]

Toby Mills wrote on Mon, 05 January 2009 20:44

Thanks Bennett Yeah, I suspect it would not be a good look to steal a manufacturers thunder. The rumour mill has been circling on this one since A&H were aquired and it was pretty obvious that they would eventually scale it down to a lower-mid-level offering. It was just a question of what specs it would have. Finding out info on it has been like squeezing blood out of a stone, understandably of course. From what I can gather the sales material has gone out to dealers who should be starting to get the details so if you talk nicely to your rep you may be able to get the info your looking for. Not sure when the official launch is but it can't be far away.

Probably NAMM

[Stuart Hogg]

Karl P(eterson) wrote on Wed, 07 January 2009 06:30

While this is theoretically a selling point my snakes have been cut exactly no times. I do concede that snake cuts certainly can and do happen but as I see it the chances of that happening while having no other major failures is probably unrealistic.

Whilst I've never (touch wood) had a snake cut, I have, like some of the posters above, lost power to FOH. The last time this was happening, I was using a remote surface with  DSP on stage. It was a very nerve racking minute or so as the band continued to rock out, all I could do is watch the loading screen and hope that this wasn't the moment that feedback was going to occur.

Compared to the alternative - of sound dying completely until power was restored - this was a far preferable option. I'd struggle to put a monetary value on remote DSP, but I'd certainly choose it over a system that has everything within the control surface if everything else was equal.

Karl P(eterson) wrote on Wed, 07 January 2009 06:30

Not that I don't appreciate the future possibilities of fully open I/O and DSP combos that can be paired with any surface or software the user desires, but I think we are quite a long time before we get there.

I also like this kind of concept. I could envisage that touring band engineers will soon be carrying their own control surfaces, which will just connect to the DSP rack du jour. There's probably a market out there for "boutique" control surfaces or even a more modular system, where, for example, you bolt on as many channel strips or fader banks as you want for a particular job.

[Stuart Hogg]

Karl P(eterson) wrote on Wed, 07 January 2009 06:30

While this is theoretically a selling point my snakes have been cut exactly no times. I do concede that snake cuts certainly can and do happen but as I see it the chances of that happening while having no other major failures is probably unrealistic.

Whilst I've never (touch wood) had a snake cut, I have, like some of the posters above, lost power to FOH. The last time this was happening, I was using a remote surface with  DSP on stage. It was a very nerve racking minute or so as the band continued to rock out, all I could do is watch the loading screen and hope that this wasn't the moment that feedback was going to occur.

Compared to the alternative - of sound dying completely until power was restored - this was a far preferable option. I'd struggle to put a monetary value on remote DSP, but I'd certainly choose it over a system that has everything within the control surface if everything else was equal.

Karl P(eterson) wrote on Wed, 07 January 2009 06:30

Not that I don't appreciate the future possibilities of fully open I/O and DSP combos that can be paired with any surface or software the user desires, but I think we are quite a long time before we get there.

I also like this kind of concept. I could envisage that touring band engineers will soon be carrying their own control surfaces, which will just connect to the DSP rack du jour. There's probably a market out there for "boutique" control surfaces or even a more modular system, where, for example, you bolt on as many channel strips or fader banks as you want for a particular job.

[Jeff Babcock]

Dave Barnett wrote on Wed, 07 January 2009 01:48

Karl P(eterson) wrote on Wed, 07 January 2009 00:30 Bupkis. On a few levels. I don't think that word means what you think it means. It means "nothing".

Inconceivable!

[Karl P(eterson)]

You would probably be justifiable in arguing against my usage, but I think I'll stick with it.

That said it is (almost) common vocabulary for my intended meaning 'round these parts.

(cringe) http://www.urbandictionary.com/define.php?term=bupkis

(cringe...ier?) http://en.wiktionary.org/wiki/bupkis


Particularly I am using it in its definition "nothing of value" or around here, at least, it doubles as "utter crap opinion or statement".

Karl P

[Dave Barnett]

So all this is going to come in at an LS9 price point?

[ProSoundWeb Community]