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Author Topic: TT24  (Read 44003 times)

Steve Beatty

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Re: So....
« Reply #40 on: May 18, 2006, 05:20:41 am »

Hi everyone:

I sincerely apologize for the delay. I was neck deep in producing a world music show over the weekend, spent a full day at Nike, then another full day handling a benefit show for a friend who lost everything in a house fire. Not to mention that the band I tour manage and engineer for is leaving for Europe in the morning, and the cross country trips, arrangements,  and phone calls have beem insane !!

There is much more to come with the TT24 - some real time events pulled me away, but I am back on in the AM.

Steve

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Michael 'Bink' Knowles

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Re: TT24 group DSP prob
« Reply #41 on: May 19, 2006, 02:19:20 am »

Quote:

...This mystery's going to remain a head-scratcher for me.


But I'm not just giving up on it! Any time I can I'll keep poking at this part of the surface in order to find out what makes the DSP cut my matrixes off. I hear I'll be working with it again next week on a different gig.

index.php/fa/4814/0/
FWIW, my gig went just fine with no DSP engaged on groups. I used appropriate amounts of compression on each input and for the most part got by with the 4 parametric filters on each input EQ. Here's a photo of me and the TT24 blurry in the foreground with Clinton (Bill, not George) in focus on video screens in the background.

-Bink
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Michael 'Bink' Knowles
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Rodd Lowell

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Re: TT24 group DSP prob
« Reply #42 on: May 19, 2006, 09:25:24 am »

Bink,

Wow, that looks like a complicated gig!

What is Bill wearing?  It looks really strange in the photo.  Is Hillary not around to help dress him?   Laughing

Rodd
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Michael 'Bink' Knowles

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Re: TT24 group DSP prob
« Reply #43 on: May 19, 2006, 10:34:43 am »

Rodd Lowell wrote on Fri, 19 May 2006 06:25

Bink,

Wow, that looks like a complicated gig!

What is Bill wearing?  It looks really strange in the photo.  Is Hillary not around to help dress him?   Laughing

Rodd



Bill wore a camel coat with a shirt underneath sporting a pattern of bright red squares surrounded by thin white borders. Big squares, though, and quite video safe... they didn't go all moire/zebra on the video screens. Hillary CLEARLY didn't dress him, LOL... Right as he sat down for a question and answer period with the CEO of the big corporation he got a cell phone call. Looking a little embarassed he pulls it out in front of the crowd of 1800 and turns it off saying, "That's my wife. I really should turn this off so we all can talk. I know it's my wife because no one else has this number--not even me."  Wink

"High IQ in politics is like driving a fast car in a New York traffic jam." -Bill Clinton

-Bink
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Michael 'Bink' Knowles
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John Boudreau

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Re: TT24 group DSP prob
« Reply #44 on: May 19, 2006, 04:47:42 pm »

Hey Bink,

Johnb @ mackie here.  I just ran a test on the group DSP issue you've raised.  I set up my groups as mono 1-5 and stereo 6-8.

I ran just a couple channels (23 & 24)in to group 6, 7, & 8 and routed the groups out the matrices (F, G, H) with no problems, dsp or no dsp.  Did you see metering on the group fat channel when the dsp was enabled?

Is there any other routing I should be aware of that may make my test invalid compared to your setup?  I tested on the currently released build 68 and previous build 60 to make sure it wasn't a newly introduced bug in our recently released bug fix build 68.

Anyway, let me know if I can help out further.   I'd be curious t know if you get audio when disabling the matrix so the outputs were group outs instead of matrix outs.

That's quite a gig!  Lot's o' I/O.....
johnb
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Michael 'Bink' Knowles

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Re: TT24 group DSP prob
« Reply #45 on: May 19, 2006, 06:46:29 pm »

Hi, John, and thanks for your interest in my situation. When I can, I'll get you the snapshot file and a description of the crazy patching and routing I did.

The unit in question is running on build 60 software.

-Bink
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Michael 'Bink' Knowles
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Steve Beatty

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Re: Road Test
« Reply #46 on: May 20, 2006, 02:53:24 am »

Hi Everyone:

While we are waiting for the proper licensing to come through on the audio files from the TT24 I offered to post, I will tell you the in-depths of listening back to the recordings.

First, I found the effects on the TT24 to be incredibly responsive and lush. A stereo 400ms delay that sounded subtle when I applied it during the Trespassers William show became thick and huge on my Genelecs in my Airstream studio. The sound of the delay effect was a " good " huge, however, not grainy or incomplete. My choice for EQ on the vocal delay was vey similar to the old " telephone " effect, rolling out lows and highs, and allowing midrange to be the primary range to return through the delay.

I have found that the O1V effects banks ( essentially two 990's ) are good, but in truth, I have spent hours creating my own saved effects presets with eq's to combat the the graininess or overbearing presence some of the factory stored presets on the O1V have.

The TT24 effects responded well to the changes I made during the show, and the audible results proved it. I can actually hear the eq tightening up on the vocal effect.

Next, we recorded Ellis Paul ( ellispaul.com ), a prestigious singer songwriter who has done everything from writing songs for TV shows to composing anthems for state tourism bureaus ( Maine ). Beyond all that, he is one heck of a nice guy, and was all for us using the TT24 for the FOH mix.

So in two days, the TT24 had graduated from a recording console on a split, to our FOH console. I was very excited, but our owner Jim still expressed some trepidation about the mechanical nature of the console as being distracting to the show. I guess he's right, there is something about flying faders, computer screens, and blinking pastel lights that make people want to look...

My first job was to get a miniotr mix together for Ellis. I went in early, created a new scene, and pulled out a plain old Mackie SR450 powered speaker for his wedge. I used a Neumann KM 105 for the vocal, set up the Aux send in pre, and quickly got my gain and eq together. I did not use the internal eq of the Mackie on the Aux send, but instead used one of Sabine 31 band graphs. I just felt safer, should something start howling. ( It didn't! )

I did however, use the internal eq to go to the mains. I opened up the KM 105 ( and the Audix SCX-One for the guitar ) on just rang a few frequencies, I heard a few rough spots, and was able to track them down very quickly with the click and drag KILL feature on the master eq of the TT24. Ever narrowing my quotient, I got great response, without sucking out too much gain from the overall mix.

Then, I inspected my effects routing to make sure the feedback howl I generated in my headphones during the Trespassers show could not happen again. As I was checking with my talkback over the house system. ( Meyer CQ-1's and PS 750 subs ), Ellis walked in from dinner.

He said - " That's exactly the reverb I want you to use for me. " I smiled - I had copied the settings developed during the other show, and his approval validated that editing had indeed worked great for or small listening room and venue.

He walked onstage, spoke into the mic, and smiled himself...we were off to a great start.

Then, I pushed " SAVE ", and relaxed a little - I was feeling quite secure over the console, and it was responding well.

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Eric Snodgrass

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Re: Road Test
« Reply #47 on: May 20, 2006, 11:17:31 am »

Steve Beatty wrote on Fri, 19 May 2006 23:53

So in two days, the TT24 had graduated from a recording console on a split, to our FOH console. I was very excited, but our owner Jim still expressed some trepidation about the mechanical nature of the console as being distracting to the show. I guess he's right, there is something about flying faders, computer screens, and blinking pastel lights that make people want to look...


That's a very dated misconception.  Audiences are quite used to stuff at FOH.  In fact, with digital consoles having built-in effects there is actually less gear at the mix position, thus less pretty lights to draw focus.  
If the audience is busy looking at the mixing gear rather than listening to the performers then that doesn't reflect well on the performance (or your mixing at a NAMM show).
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Eric Snodgrass
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Steve Beatty

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Re: Road Test
« Reply #48 on: May 21, 2006, 10:39:58 pm »

Eric-

A dated misconsception, maybe - but, he is the owner, and I am obligated to make him feel comfortable. I think you would need to be a little more familiar to with the show formula at Mississippi Studios. It is a quaint old church setting, and the FOH position is amongst the audience. The venue only holds 100, and is completely silent during a show. The noise of the faders can be head by almost everyone.

What does mixing at a NAMM show have to do with this? I think I missed the connection....
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Eric Snodgrass

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Re: Road Test
« Reply #49 on: May 21, 2006, 11:17:09 pm »

Steve Beatty wrote on Sun, 21 May 2006 19:39

What does mixing at a NAMM show have to do with this? I think I missed the connection....

The joke being that the audience at a NAMM show is there to see and hear the gear, not the concert.
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Eric Snodgrass
No, really, I do this for a living.
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