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[jason misterka]

And this is exactly where I want my imaginary new Midas product.

Basically an X32 rack mount with AES3 and AES50 and 16 analog mic/line inputs, and AES3 and analog outputs with a Dante IO option. 

But made by Midas so I was allowed to use it in arenas

IPad and front panel control. Plug  your MC, video, and playback directly in, along with two or three other consoles.

If I dream it they will make it...



Jason

PS they kinda do, we are using a PRO 1 as this for this season.

[Tim Woodworth]

We use an EV NETMAX N8000 for the job. We have ours loaded with 8 analog inputs / 8 AES inputs / 8 analog outputs / 8 AES outputs. This way you are covered on any type of input they may hand you, and you have AES outputs with the Analog as your redundant lines. We usually have an Ipod and a MC Mic in it as well, that way you don't have to rely on house music or a MC mic coming from the next acts desk. You have the ability to change from subs on aux to L-R with a click of the mouse, depending on what the next engineer may want. Best solution we have found out there that will accommodate pretty much anything you may see.

[Chris Johnson [UK]]

Has anyone used a DME with the Lake-card(s)?

I haven't, but you raise a good point. A DME with a Lake card and a Optocore card is a pretty nice idea...

Or maybe one of the MTX processors w/ a lake card. Using Dante for redundant transport to amp world, where a Focusrite Rednet D16 delivers digits to the amps...

[Eric Vogel]

And this is exactly where I want my imaginary new Midas product.

Basically an X32 rack mount with AES3 and AES50 and 16 analog mic/line inputs, and AES3 and analog outputs with a Dante IO option. 

But made by Midas so I was allowed to use it in arenas

IPad and front panel control. Plug  your MC, video, and playback directly in, along with two or three other consoles.

If I dream it they will make it...

Jason

In a way, it's already been done by AVID....The S3L is a 2u rack mount with 64x32 remote I/O over AVB.

You could operate an S3L headless (minus S3 surface) for sum/mix/matrix duty on festival FOH.  Add up to 4 Stage 16 remote I/O boxes, plug in your KVM right to the E3, and optionally VNC into the 'desk' via LAN/WiFi for remote control.  Very compact and versatile setup, only possibe downside is lack of multiple AES/EBU (2 I/O on E3 and 2 O on each stage box) for console I/O.

An AVID MixRack headless (minus surface) would also work.  Build an adapter to fan out KVM from the MixRack's FOH link cable, or just use VNC to remote into it.  The MixRack can also be configured to use the Stage 48 remote I/O.

[Neil White]

I would be interested to hear what techniques people use for the other end of the multicore in monitor world. On a typical festival stage we might have 12 wedge mixes, a couple of drum sub mixes and side fills that need to swap between the A and B consoles and also any guest consoles that may come in.

We have been putting a 20way multi box at each desk to feed all the mixes into, and then another box at the amp racks to feed the amp rack inputs. It's then only one multipin to switch between desks. Additional boxes can be left patched with the guest consoles. We do feed each desks PFL mix to its own amplifier independent of the multi so that it can be used whether the desk is the one currently feeding the stage or not.

Neil

[Michael Gazdziak]

Main Stage at Coachella uses a DME Rack, as the article says.  There are a pair of house Profiles that run into the DME via AES3.  A Venice production console goes in Analog.  The DME offers several other AES3 and analog inputs for guest consoles.  Outputs are AES3 and analog to various parts of the PA. 

A Dante card sounds like a cool idea, at least for the house consoles.  All guest consoles are going to have XLR outputs, almost all of those are going to be analog, even from a digital console and/or guest digital outboard. 

The really slick part of the Hi-Tech DME rack is the pushbutton interface to turn guest and house console inputs on and off. 

Thanks all of you guys for the insight and your very valuable opinion,

I think I found a one size fits all solution, the thing is I don't now if the production can afford it

http://www.prosoundweb.com/article/print/an_engine_driving_i_o_innovation

I've just imagined something like this based on Dante, with a input module at FOH prepared to received any type of signal (analogue/digital) and break out boxes to the system. Since its going to be d&B so there's no processor in the system by default.

The meyer galilego 616 is also an option and maybe the most probable one, since the vendor also owns a couple.

I'll keep giving it some thought and will keep you guys posted

Thanks again for sahring

[Michael Gazdziak]

In MONS we use a proprietary 1U passive switch box.  2x 12 channels in on W1, big switch, 1x 12 channels out W1. 

I would be interested to hear what techniques people use for the other end of the multicore in monitor world. On a typical festival stage we might have 12 wedge mixes, a couple of drum sub mixes and side fills that need to swap between the A and B consoles and also any guest consoles that may come in.

We have been putting a 20way multi box at each desk to feed all the mixes into, and then another box at the amp racks to feed the amp rack inputs. It's then only one multipin to switch between desks. Additional boxes can be left patched with the guest consoles. We do feed each desks PFL mix to its own amplifier independent of the multi so that it can be used whether the desk is the one currently feeding the stage or not.

Neil

[Sebastian Vidales]

In MONS we use a proprietary 1U passive switch box.  2x 12 channels in on W1, big switch, 1x 12 channels out W1.

Thanks again everyone for the help!

The DME Rack still sounds like the best opction due to its capability of receiving 8 I/O aes 3, and 8 I/O analogue. And the possibility of having the fs/2 option is pretty appealing, as well as the switches for cutting of the signal.
My intention is to place whichever system I decide to use not at FOH but next to the processor/amps so I can run into the system digitally (aes3). I'm not very confident about a very long aes3 cable being run from FOH to the system input. That's why I came up with the idea of a Dante based system, where I could have the same Inputs as the DME rack, and then a break out with 2 aes 3 outputs for l,r,sub and front fills.

The EV Netmax 8000 sounds also like a sweet option the only question is about its capability to manage different sampling rates.

The Midas one and the s3L are a good workaround the only downside is the lack of aes3 inputs.

I'll sketch up a diagram and then post it up so everyone can give me their insights.

Thanks again!

[Josh Hana]

In MONS we use a proprietary 1U passive switch box.  2x 12 channels in on W1, big switch, 1x 12 channels out W1.

For monitors we generally only run 1 desk, a Profile or 5D, but if there are guest desks or multiples, we'll use the 3rd output from the splitter to a fanout.

For FOH we've used everything from a Venice to a DSP5D, BSS Soundweb, or just muting the system for a few seconds while we load, if that's the only option.

[Kieran Walsh]

And this is exactly where I want my imaginary new Midas product.

Basically an X32 rack mount with AES3 and AES50 and 16 analog mic/line inputs, and AES3 and analog outputs with a Dante IO option. 

But made by Midas so I was allowed to use it in arenas

IPad and front panel control. Plug  your MC, video, and playback directly in, along with two or three other consoles.

If I dream it they will make it...

Jason

X32 core with X-Dante card 1u rackmount (I used to have some anti snob rack blanking panels

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