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[Josh Hana]

I was really honestly thinking that the M32 announcement was going to be a rackmount Pro series from Midas. How cool would that be?

[jason misterka]

I was really honestly thinking that the M32 announcement was going to be a rackmount Pro series from Midas. How cool would that be?

Exactly.

[Jason Phair]

I use a DR4800.

In Audio Architect, you can make customizeable buttons, which I use to bring AES or Analog inputs from -infinity to Unity.  I feed the speaker processors AES from that, with the production console feeding the main speakers analog. 

I do wish I had Cobranet option cards for the 4800s, because then I could add yet another console into the mix.

[David Sturzenbecher]

I have thought about moving from a mix switch/dbx 4800 to a Soundweb London BLU-806. 4 analog ins for MC and CD (EQ, compression included for free), 4 AES in, then 8 inputs for two guest consoles.... All outputs to the PA on Dante, or if I need analog outputs, just blu-link to another London Box.

Jason, if you want cobranet just get a 800 instead of a 806. Still works in AudioArchitect, just not at 96k yet.


Sent from my iPhone using Tapatalk

[kristianjohnsen]

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

I haven't, but I did read an article about the London Olympics ulilizing 9 DMEs in one install, with a Dante network.

Tried to search for the article, but no Luck this time around.

[jason misterka]

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.

Sure, there are a million ways to skin this but those options are all $15,000 for a matrix mixer.  That's silly.  Sometimes, absolutely, crucial.  But most of the time, silly.  And usually we are using our MixRack to run monitor on anyways.

The LS9-32 with some MY-Cards is also a great way to do this.  Digital ins, Dante outs to amps.  But I'm looking for something small and rack mounted, maybe a bit more BE-friendly and geez, there is no reason this product needs to be over $5000.  Hopefully less.  I guess that puts us back in DME world, right?

Jason

[Jens Palm Bacher]

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.

Whirlwind ab-8 in manual mode would do the trick

[ProSoundWeb Community]