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[Dave Pluke]

I would take 4 sends from the DJ:  Program left, program right, booth monitor left, booth monitor right.  I put compressors on the booth monitor inputs because the DJ will *eventually* run the booth mons Full Tilt Boogie.  You want this, trust me.  I drive the side fills/Texas headphones from the monitor desk and the booth inputs don't even show up in at FOH.

Brilliant!

Dave

[Peter Kowalczyk]

Select a channel, press "fader flip" or whatever the button is labeled... and the bus masters become the sends to the buses for the selected channel.  Take a good look at the scribble strips and you'll see they changed to reflect the operation.

The reverse works as well - select a mix output and press fader flip... the *channels* on the visible layer become sends on faders and this behavior will persist if you change fader banks until you re-press the fader flip button.

Thanks, that's Awesome!  I have only 'fader flip' with a Bus selected in order to mix multiple inputs into a selected output bus.  Didn't know you could do the converse with an Input selected to send to multiple output busses.  way cool. 

[Mac Kerr]

Thanks, that's Awesome!  I have only 'fader flip' with a Bus selected in order to mix multiple inputs into a selected output bus.  Didn't know you could do the converse with an Input selected to send to multiple output busses.  way cool. 

This is awesome. It is also something the PM5d did many years ago. Unfortunately it seems to have vanished from Yamaha consoles. (I think, since I am only using one console anymore)

Mac

[Scott Holtzman]

Is this the pilot tone I've hard speak of? Is it possible to figure out what that tone is and notch it out as I've seen mentionedm

There is a 19Khz pilot tone for the stereo multiplexing so you are best off just low passing at 15 or even 10k.  The tone is notched out but the notch filter only has so much depth.  I can't imagine you having instruments with a large amount of 19k content either.


Depending on the age of the gear there are tone squelches on analog rigs.  Again the tone is notched out by the RX.  These tones vary my vendor.  There are also "digital" tone coded squelches that work outside the audio passband to use a data sequence to secure the channel and provide a reliable squelch.  These have nothing to do with digital modulation, it's digital data encoded analog, don't get too down in the weeds with the modulation types.  Who is handling the RF out of curiosity (frequency coordination and the like)?  Even though it is outside your parlance if nobody planned for RF coordination you may need to pick up the ball to keep from looking bad. 

[Tim McCulloch]

There is a 19Khz pilot tone for the stereo multiplexing so you are best off just low passing at 15 or even 10k.  The tone is notched out but the notch filter only has so much depth.  I can't imagine you having instruments with a large amount of 19k content either.


Depending on the age of the gear there are tone squelches on analog rigs.  Again the tone is notched out by the RX.  These tones vary my vendor.  There are also "digital" tone coded squelches that work outside the audio passband to use a data sequence to secure the channel and provide a reliable squelch.  These have nothing to do with digital modulation, it's digital data encoded analog, don't get too down in the weeds with the modulation types.  Who is handling the RF out of curiosity (frequency coordination and the like)?  Even though it is outside your parlance if nobody planned for RF coordination you may need to pick up the ball to keep from looking bad.

FM multiplex pilot tone.... it you have lots of cymbal wash - any genre with Bashers of Bronze on the drum throne, with the lead vocalist a mere 2 metres downstage... you'd be prepared to do an additional notch in the vocal mic or vocal mix, maybe even use a Low Pass Filter.  There's lots o' energy in cymbals.  This is where even partial plexi drum shields (on stands, that block line-of-sight cymbal wash) can help the IEMs even if they don't help a whole lot for FOH.

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