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[Airton Pereira]

Hi,

I saw a youtube video about a Yamaha CL5 (http://www.youtube.com/watch?v=JMJ4pKehi90).
On about 13:00 the guy says it's better to route the mains out to two matrix and then send the matrix to the output ports. I am curious about why he thinks this is better. Anyone use this configuration?

[Mac Kerr]

Hi,

I saw a youtube video about a Yamaha CL5 (http://www.youtube.com/watch?v=JMJ4pKehi90).
On about 13:00 the guy says it's better to route the mains out to two matrix and then send the matrix to the output ports. I am curious about why he thinks this is better. Anyone use this configuration?

If all you are doing is a stereo mix to a stereo PA I don't see a reason for using the matrix outs. On the other hand, if you are using subgroups I would route the subgroups to the matrixes so you can change the mix of certain zones, like less band in the front fills, or even more band in a send to a remote area that isn't getting all the stage wash.

Mac

[Chris Buford]

On about 13:00 the guy says it's better to route the mains out to two matrix and then send the matrix to the output ports. I am curious about why he thinks this is better. Anyone use this configuration?

On an LS-9 we feed the PA with a matrix and have the graphic eqs on the matrix outs so our recording feed of L/R is not affected by the graph.

[Airton Pereira]

If all you are doing is a stereo mix to a stereo PA I don't see a reason for using the matrix outs. On the other hand, if you are using subgroups I would route the subgroups to the matrixes so you can change the mix of certain zones, like less band in the front fills, or even more band in a send to a remote area that isn't getting all the stage wash.

Mac

That's what I thought. On this video the guy is doing a simple mix, so I don't see why route to matrix.

[Airton Pereira]

On an LS-9 we feed the PA with a matrix and have the graphic eqs on the matrix outs so our recording feed of L/R is not affected by the graph.

I use a LS9 as well. I never thought of that, thanks for the tip!
I did a little test after I saw the video and a good point about sending the mains to matrix is to have separate L and R faders, so you can check them one at a time without having to mute one side on the system eq.

[Riley Casey]

Thats been my default work flow since  the days of the PM3500 ( which had an awesome matrix setup for an analog board ).  As others have mentioned it provides options even if you merely feed the matrix from the stereo buss.  It acts as a DA with separate outputs for the main PA, the record feed, maybe a video camera for the lead singers' husband, whatever.  All of this also means separate options for processing be it EQ, compression etc. as well as tailor made mixes as Mac described.

Hi,

I saw a youtube video about a Yamaha CL5 (http://www.youtube.com/watch?v=JMJ4pKehi90).
On about 13:00 the guy says it's better to route the mains out to two matrix and then send the matrix to the output ports. I am curious about why he thinks this is better. Anyone use this configuration?

[brian maddox]

Thats been my default work flow since  the days of the PM3500 ( which had an awesome matrix setup for an analog board ).  As others have mentioned it provides options even if you merely feed the matrix from the stereo buss.  It acts as a DA with separate outputs for the main PA, the record feed, maybe a video camera for the lead singers' husband, whatever.  All of this also means separate options for processing be it EQ, compression etc. as well as tailor made mixes as Mac described.

+1.

Maybe it's a DC thing.

[Chris Buford]

Also for what it's worth my recording feed is another matrix that's prefade LR in case my FOH guy decides to mix it chill at -5 after soundcheck or crank the encore at +5.

[Mac Kerr]

Also for what it's worth my recording feed is another matrix that's prefade LR in case my FOH guy decides to mix it chill at -5 after soundcheck or crank the encore at +5.

Also FWIW, my record feed is usually the stereo bus fed from a stereo pair of mixes. The PA is fed from matrixes fed by groups. I have group processing, matrix routing, and a dedicated stereo mix that has big meters always on the surface no matter what layer I'm on. Plus I have an easy to grab handle if the record level gets out of hand.

Mac

[Airton Pereira]

I'll try it on my next gig. So far I found a much more stable headphone volume, cause on the LS9 the headphones volume is based on the L/R fader (post-fader) and with the fader constantly at 0db helps with the headphones volume.

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