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[Bob Leonard]

For some reason or another I've gone brain dead and could use some help. I currently use an Expression on stage and when needed hook into the house system for larger jobs. The system has a specific job and is always on stage to my left, the far stage left.
 
My problem has been with the four (4) Lexicon effects engines and assigning them to specific channels and groups. Forget about guest vocalists, number of floor monitors, etc. My goal is to assign the effects on an individual channel basis and use just these four vocalists as my starting point.
 
For instance I have four (4) main vocalists and should be able to assign each of those channels their own effects processor, or maybe three of the vocalists one (1) processor, and a second to the lead.
 
I also have four (4) mix groups assigned for the four main vocalists. Each group allows sending all four (4) vocalists voices to all of the monitors, but also allows me to dial in the level of each vocalists to the individual monitor. For instance, the lead vocalist can have just himself, or all other vocalists in his monitor mix, and all at a different level dependent on his needs.
 
All this is pretty basic stuff, but assigning the effects to an individual vocalist has thrown me for a loop. I want each vocalist to have their own selection or effect, and I don't want monitors and FOH to interact. Different effects or no effects for monitors. Yes I've read the manual, yes, I've put my monkey paws all over the board, but it has to be some thing simple I'm missing. Please be gentle with your replies, it's not easy being old, forgetful, and stupid.
 
What I have now is one (1) engine assigned to all vocalists that can be varied in depth.

[Michael Grimaila]

For some reason or another I've gone brain dead and could use some help. I currently use an Expression on stage and when needed hook into the house system for larger jobs. The system has a specific job and is always on stage to my left, the far stage left.
 
My problem has been with the four (4) Lexicon effects engines and assigning them to specific channels and groups. Forget about guest vocalists, number of floor monitors, etc. My goal is to assign the effects on an individual channel basis and use just these four vocalists as my starting point.
 
For instance I have four (4) main vocalists and should be able to assign each of those channels their own effects processor, or maybe three of the vocalists one (1) processor, and a second to the lead.
 
I also have four (4) mix groups assigned for the four main vocalists. Each group allows sending all four (4) vocalists voices to all of the monitors, but also allows me to dial in the level of each vocalists to the individual monitor. For instance, the lead vocalist can have just himself, or all other vocalists in his monitor mix, and all at a different level dependent on his needs.
 
All this is pretty basic stuff, but assigning the effects to an individual vocalist has thrown me for a loop. I want each vocalist to have their own selection or effect, and I don't want monitors and FOH to interact. Different effects or no effects for monitors. Yes I've read the manual, yes, I've put my monkey paws all over the board, but it has to be some thing simple I'm missing. Please be gentle with your replies, it's not easy being old, forgetful, and stupid.
 
What I have now is one (1) engine assigned to all vocalists that can be varied in depth.

Bob,
I think I understand what you are asking. If not, I apologize in advance.
Break up the problem into two parts: sends and returns.
First, sends. Select Fx1, and only send vocalist 1 to the effects bus. Repeat this for Fx2, Fx3, and Fx4 adding only the appropriate mics. Now you have the sends setup.
Next, the returns.  In all cases, it will be the last 4 faders on layer B.  This is obvious when returning to the main LR mix as they glow blue.  However, when selecting one of the Mixes, they do not glow blue but still have the same impact.
Hope this help....
Michael

[Samuel Rees]

Bob, Michael above is right on. You send each vocal to each FX processor independently by hitting the FX1 mix key, then bringing up the channel fader, and etc. Then you have 4 returns, and you can send those where you like - which will be one by one to each of the four monitors from what it sounds like you said.

Gotta watch out, FX and monitors can be tricky. Even if you do all of this as described, your FX sends will still be POST fader, the send from the channel will vary as you adjust the FOH fader (read: if you turn the vocal up in front of house, the effects will turn up in the monitor). There are a couple of work arounds for this... You can make virtual channels and do the sends from there, or set your vocals up with subgroups so you can leave the channel faders at zero. This also just might not be a problem, as long as the faders do not vary a ton at FOH.

You have correctly noticed that to have a true per-channel reverb, you'll need one processor per vocal. If everyone has everyone's vocal in their monitors, this may not be needed. But if you just used one processor for everyone, but person A does not have person B in their monitor, when you bring up the reverb they will be getting the wet reverb of person B even though they don't have that channel in their mix. But like I said - if everyone hears everyone, one verb is fine.

[Bob Leonard]

Thanks. I'll let you know how I make out later tonight.
 
Q: When selecting the FX 1, 2, 3, 4, all faders on the current layer are selected and then colored blue (fader glow). By moving the fader for the channel(s) you elect to associate with that FX they are then routed through the FX either 1, 2, 3, 4. What, other than selecting the FX and watching the faders move that you previously selected, indicates the other faders (not moved) have been fully excluded as a selection to feed that chosen FX?

[Samuel Rees]

Hmm, I read that last bit a couple of times, and I can't seem to follow you Bob, sorry. When you hit FX1, and all the faders glow blue, your faders are showing the levels of each channel going to that FX processor. The FX1 mix works like any other mix bus in that sense - to see what's going to it, hit the mix key. The destination of the FX1 bus is hard patched to the FX1 processor. Then you have the return, which is hard patched to the output of the FX engine. That FX1 return channel now functions like any other - it can be sent to monitors, FOH and etc.

[Ronnie.Reels]

For some reason or another I've gone brain dead and could use some help. I currently use an Expression on stage and when needed hook into the house system for larger jobs. The system has a specific job and is always on stage to my left, the far stage left.
 
My problem has been with the four (4) Lexicon effects engines and assigning them to specific channels and groups. Forget about guest vocalists, number of floor monitors, etc. My goal is to assign the effects on an individual channel basis and use just these four vocalists as my starting point.
 
For instance I have four (4) main vocalists and should be able to assign each of those channels their own effects processor, or maybe three of the vocalists one (1) processor, and a second to the lead.
 
I also have four (4) mix groups assigned for the four main vocalists. Each group allows sending all four (4) vocalists voices to all of the monitors, but also allows me to dial in the level of each vocalists to the individual monitor. For instance, the lead vocalist can have just himself, or all other vocalists in his monitor mix, and all at a different level dependent on his needs.
 
All this is pretty basic stuff, but assigning the effects to an individual vocalist has thrown me for a loop. I want each vocalist to have their own selection or effect, and I don't want monitors and FOH to interact. Different effects or no effects for monitors. Yes I've read the manual, yes, I've put my monkey paws all over the board, but it has to be some thing simple I'm missing. Please be gentle with your replies, it's not easy being old, forgetful, and stupid.
 
What I have now is one (1) engine assigned to all vocalists that can be varied in depth.

Bob why the group sends?  Not following that.  You just hit whatever send you need and move what channels fader you need for that mon mix.   You can blend other vocals in that mix by only moving their faders at say -10 and keep the main vocal at say 0.  Same goes for the FX sends.  If the fader is up on an individual channel then its going to that send.......if its not up its not going to it.  A quick push of fx buttons shows you which vocal channel is on and which is off.  Lets say your vocals are on 17-18-19-20.....push fx 1 and move fader to zero for ch17....push fx2 and move fader to zero for ch18...push fx3 and move fader to zero for ch19.....push fx4 and move fader to zero for ch20.   You now how 4 vocal channels assigned to 4 separate effects engines. 

[Bob Leonard]

Ronnie,
Good question, so here's the answer. This particular system supports my band and other acts. It's used stand alone to support my band for up to 1500 people, and feeds the house system, if a good system exists at the venue, or feeds the house for anything larger.

The board usually stands to my left as I had said above, usually out of site, but within quick reach. It's a system type/setup I've used most of my life for my bands, dates back to the 60's, and serves me very well. Back then it was a Bogen, Vocal Master, etc. and if lucky 3 or 4 Fender Bassman amps with the small cabinets for monitors. I would stack those heads to my left within reach and all of the vocalists had their own monitor cabinet on tilt back legs. Pretty impressive for the day, especially the tilt back monitors. 

The current stage board is the Expression, which as you know has 14 mixes available at the push of a button. For the vocalists, regardless of who is on stage, I will assign vocalists to a group, establish levels individually for contributing inputs, then use the master group fader for overall level. For each vocalist I have a separate mix/group. If vocalist #1 says "I want more me, less him, much more of her, and some lead guitar." At that point I press one (1) button (MIX1) and that vocalist monitor mix and contributing channels is exposed, highlighted by the fader glow and easily adjusted each by it's own fader in seconds. This makes it possible to adjust all of the contributing channels as individuals along with control of the overall level to the vocalists monitor, and again, everything has it's own fader.

With the Soundcraft board you feed any input to any output so by having a separate amp and monitor(s) for each vocalist I'm able to put anyone to any monitor at any level, and adjust individual levels or overall level quickly and accurately. I guess in the end it equates to separate sub mixers for each vocalist listening through their own little system. I hope I explained that right, and I certainly hope that anyone reading this could make suggestions as needed. I'm always willing to learn.
 
The system is also a dual system fully split for FOH/vocals, and backline. FOH is from the mono output and master fader, with the backline sent to L/R master fader, and monitors are as described. No wireless is used, no in ears, all old school to the board. But it works well and some people say the sound is pristine. But what do they know. 

[Scott Holtzman]

Ronnie,
Good question, so here's the answer. This particular system supports my band and other acts. It's used stand alone to support my band for up to 1500 people, and feeds the house system, if a good system exists at the venue, or feeds the house for anything larger.

The board usually stands to my left as I had said above, usually out of site, but within quick reach. It's a system type/setup I've used most of my life for my bands, dates back to the 60's, and serves me very well.

The current stage board is the Expression, which as you know has 14 mixes available at the push of a button. For the vocalists, regardless of who is on stage, I will assign monitors to a group, establish levels individually, then use the master group fader for overall level. For each vocalist I have a separate mix/group. If vocalist #1 says "I want more me, less him, much more of her, and some lead guitar." At that point, now that I've gone digital, and with the Soundcraft board, I press one (1) button (MIX1) and that vocalist monitor mix is exposed, highlighted by the fader glow and easily adjusted in seconds.

With the Soundcraft board you feed any input to any output so by having a separate amp and monitor(s) for each vocalist I'm able to put anyone to any monitor at any level, and adjust individual levels or overall level quickly and accurately. I guess in the end it equates to separate sub mixers for each vocalist listening through their own little system. I hope I explained that right, and I certainly hope that anyone reading this could make suggestions as needed. I'm always willing to learn.

Does the expression have a "sends on faders option"?  It sounds to me like you are creating one.

If you select sends on faders, then select an aux bus it does exactly as you described.  Sounds to me likes it's just a semantics issue with the Soundcraft.  Not that I have a vast experience with many different boards, but they all do things a little different. 

[Bob Leonard]

I edited above Scott, but the Soundcraft boards, and one of the reasons they appeal to me is, they have dedicated MIX, and MATRIX buttons. They're not dedicated to any channel or output.

On the Expression 1 that have in the rack there are 16 physical outputs, and 16 physical inputs expandable to 66 inputs. On the board there are single buttons in a row just above the faders. These buttons are used to select MIX 1-14, MATRIX 1-4, and Lexicon effects engines 1-4.

By pressing MIX1 for example, the board then dedicates itself to MIX1 functions. By pressing the MIX1 button, then the select button above each fader you want in the mix you have created a dedicated sub mix/group, or whatever you want to call it for those channels. All of the faders for the mix will turn yellow, and of course will also move to their set positions. Press the mix button again and you're back to the main board or layer you were using before the mix button was pressed. These are called fader follow buttons. Press the button and the faders follow.

All that is left from that point is to choose the output 1 through 16 and you're in business. This is done on the touch screen by tapping the output as you see it on the screen, and if it can't be done the system will tell you.

[Stefan Maerz]

Does the expression have a "sends on faders option"?  It sounds to me like you are creating one.

If you select sends on faders, then select an aux bus it does exactly as you described.  Sounds to me likes it's just a semantics issue with the Soundcraft.  Not that I have a vast experience with many different boards, but they all do things a little different.

To elaborate on Bob's point, the only way to mix an aux (soundcraft lingo: Mix) is to use a "sends on faders" type of thing (to the best of my knowledge).

You hit a Mix button, then all of the sudden the faders are configured for sends on fader for that mix.

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