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[Todd Magee]

Yea that load into the cellar is terrable, and upstairs isn't much better. Lots of wodden ramps, and truck ramps as bridges across some uneven areas up to the stage. I was a house guy there when that TAD system from SSI was the house rig, but was on monitors more often than the house. I was primarily the guy downstairs on that PV rig in the celler. They've had 2 systems upstairs since. 1 from EDG, and now the 1 from Clair. I never mixed on the EDG system, but saw part of it. Crest X8, Drawmer gates/comps, Ashley GQX EQ's and the like. I was just there a couple of weeks ago mixing the corp. band I work with on occasion. With the exception of the ragged 4k out front, it's an ok rig for that size room. Plenty of power, and headroom. Just don't try to make fine or quick adjustments on the console as the faders are really sticy. And that junk the Cotton Club brought in is still in the cellar.

Ivan Beaver wrote on Wed, 03 May 2006 20:26

I have a real issue with people who want to control things like a balcony off a matrix or such.  The usual excuse is so they can turn down the level if there are not many people there.  WHY? shoudl the people in the balcony have less level if there are fewer of them.  Maybe if they bring their friends they will proper level?   If I was the FOH guy I would not like the idea of someone walking around adjusting levels on me.  Set it and forget it! Yes I have been in the Tab.  I have done several gigs in the basement-HATE that load in! The last time I saw a band there was several years ago.  It was a TAD system and I left after the 3rd song.  I couldn't take it.  Not the band or the system-but the mix was horrible and painful!

[Mac Kerr]

Todd Magee wrote on Wed, 03 May 2006 22:24

the responces going the way they are, I'm wondering what do I do now? Quit my job? Excuse myself from this particular project? Do a bad job by having to reinvent the wheel resulting in my being fired? All of the above will have an effect on my checking account. Please, I'm begging you guys, for help now.

I think in my last post I gave you a link to the way it is done in the bigs. I also did the search of these forums that you could have done yourself to find the other discussions of this subject. either of those link can provide an answer.

Mac

[Todd Magee]

Sorry Mac,
I missed the part of your post with the links.... got distracted for a min.
Thank you very much for the info.
I did send you a PM saying thanks as well.

[Tom Young]

Amen, Mac.

Most DSP systems allow you to do two things that may be of help:

1) lock out the non-authorized from parameter adjutsments (and this can be layered security)

2) return to the defacto "standard" settings, either via a (locked) scene/preset or a CDrom onto which the settings established during optimization are recorded.

When I completely trust the end-user (house sound person) and receive a release from the owner, I will let them have access to ther system processors, but with the caveat that if they blow anything or cannot figure out how to return to the standard settings, this is not covered under warrantee and it'll cost them for me to return.

[Craig Hauber]

I have run an ashly 24.24m matrix mixer using 2 PC's, one basic tower connected to the ashly with a serial cable and a wireless laptop running remote desktop software. In essence you are wirelessly remote controlling a windows PC with another.  

I had to do this for the initial installation and EQ at a nightclub because the equipment rack was in an attic room away from the speaker systems so Instead of buying expensive custom hardware I just borrowed another PC from a friend and used my laptop.  He set it all up and I really don't have any specific details on configuring because I'm primarily a mac user

The other way is to try the walkabout kit that is used by XTA electronics to control their DSP processors.
It uses a WiSer serial to WiFi adaptor -I think it's this one here http://www.otcwireless.com/products/wiser2400ip.html
It looks like a universal enough product that it should work for most, although the price is around that of just buying a second computer and running it remotely.

for more recent adjustments at that club I just made a 100' Serial cable and drop it through a hole in the ceiling.  When there is no guests in the facility it is the fastest and easiest.

just some suggestions

-Craig Hauber
CSA Productions
Ojai, CA

[Todd Magee]

Sorry it took me so long to get back.
I want to thank everyone that took the time to post a response to my question. The information did help.
Todd

[Brad Weber]

Todd,

I hope you found a solution.  It appears that you would need wireless RS-232 serial, wireless networking by itself won't work in this case since I think the Ashly is RS-232 control.  There are several RF, Bluetooth or 802.11 devices for wireless serial communications, MaxStream has some 900MHz and 2.4GHz modems.  Another option would be a Crestron or AMX solution with one of their wireless panels instead of a tablet PC.

There are many good reasons for controlling DSP devices in permanent installs.  It is very common to have AMX and Crestron systems talk to DSPs for presets, routing, room combining, volume control, etc.  If the DSP is the only device being controlled then direct communication for these functions rather than through a third party control system would make sense.

I think the problem may be in looking at the DSP as only a speaker processor, which I agree should normally be set and left.  However, if a theatre or auditorium may have simple lectures or AV presentations as well as performances I quite often use a matrix DSP to switch between a normal "performance" mode where the DSP uses the outputs of the house console and a "lecture" mode where the system input is from an automixer (external or using the DSP) and the presenter has only basic volume control via the DSP.  That way they can run operatorless for simple events, then hit one button and you're ready for a performance using the console.  The presets can also address EQ, routing, etc. appropriate for each type of use.  This seems to be a good example of where remote control of DSP is beneficial and desired.

[Rodney Connelly]

For my wireless control I have two laptops and a wireless router.
One laptop is connected to the DSP via a serial cable, and this laptop is also connected to the wireless router.  I use the other laptop to connect to the first laptop via remote desktop.  This is of course a secured network.  This allows me to sit anywhere in the room and make an adjustment.