Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

The band had a 4 pc horn section and did Chicago, etc.

Is this still the law? I thought it had been repealed.

Yanni was a very stable artist so that was a good career choice.  He was married to that rich and beutiful soap actress so I think he had the cheez to fund the deal.


For those of us in the trenches that opportunity smells like a rental to me.


It's so funny to see everyone's preferences.  My love of L and Kara, Tim with JBL and Brian with D&B can't go wrong with any of those brands.  Choose a solid partner though.


I also want to make it clear I love Avantis (have one at my church) and DLive it just is non existent in the rental market.  I am not an Avid fan so the smaller Rivage or Digico are going to be the consoles most available in the rental market.  I actually only know one person in Wisconsin that rents his D-Live but he usually goes out with the console.

I'm very keen on the d&b workflow and products, too.  I like the sound of much of l'Acoustics products, what I don't care for is how they get from point A to point B.  That can be remedied with time and patience and money.

I'm not sure what *current* JBL products generate antipathy, but back in the VerTec days the issue was system owners who "cowboyed" their coverage and processing.  When JBL finally got to V4 presets and locked most of the important parameters from meddling system owners the damage of inconsistent rigs was done.  It helped that they got Line Array Calculator dialed in so the picture sounded like the PA.

And that validated the approach l'Acoustics took:  system owners must take training, limit the changes an SE or owner to only preset changes, and control gain staging and circuit power by requiring specific power amps, among a list of requirements.  Their goal was to give BEs world-wide, a consistent PA no matter where the system was located.  JBL pissed that away for too long.

My old boss was FOH for an international act "very popular with the scooter crowd" and bitched that every VerTec rig he mixed on sounded different.  When it was time to buy a line array for his shop... he ended up with VerTec.  I got a lot of miles out of those rigs and usually the BEs were complimentary.  "Best VerTec rig I've mixed on" and "you must have spent a lot of time working this rig."  Mostly I made the pretty pictures in the coverage calculator, put the PA up the way it said to, and powered it right.

Failure to correctly use a manufacturer's prediction software and configuration files will compromise any brand of system.

Curiosity Debbie what controller do you use with Luminair?  The docs are confusing.  Some say you have to use an Ethernet Dongle.  I have several Chavet USB to DMX interfaces I use with Showexpres.  I wonder if one of those will work.


So question is can you connect a USB interface direct to iPad?  If Yes which one do you recommend if no what Ethernet hardware and DMX interface do you recommend.


If it has to be Ethernet can you use the wireless to a wireless bridge then connect the interface so you are not constrained by the wiring?


Thanks, sorry for the multipart questions.

On the iPad, USB to DMX interfaces are NOT supported.  On the Mac version, they support the Enttec and DMXking interfaces. If the Chauvet can emulate that, it MIGHT work.

You do NOT need hard wired ethernet for Luminair to work. It works fine over WIFI.  It works with any Art-Net or sACN network interfaces.

I've used both The ENttec device and the Chauvet device. The Chauvet device is significantly cheaper, but be aware that you have to configure the network for it on a Mac or a PC. Can't get the stupid thing set up if you ONLY have the ipad along.  This is only for initial configuration.  Keep that in mind!

I hard wire my interface with POE power so it's pretty simple to set up. Just run Ethernet and DMX pops out the other end.  iPad can connect via WiFI, but remember that a dropped connection means loss of lighting control.  An ethernet cable to the iPad helps with reliability.

Now that they offer the Mac app, I'm definitely considering using that instead, then using the iPad to remotely control the mac.  That way if WIFI gets wonky, the connection still functions.

For MIDI controllers, you can use whatever you want, then program buttons on the controller to do what you need them to do.  It's pretty sweet.

Hey Dave..... I have continued to use V3 this whole time and the way I have things set up, I see no benefit (for myself) to paying $10 month for basically the same service - the extras that come with V4 do not interest me although I would understand others feeling differently. I do have to make sure I keep 'auto update' turned off on my iPads (got caught once before and had to restore an earlier saved iPad memory from Time Machine).

Curiosity Debbie what controller do you use with Luminair?  The docs are confusing.  Some say you have to use an Ethernet Dongle.  I have several Chavet USB to DMX interfaces I use with Showexpres.  I wonder if one of those will work.


So question is can you connect a USB interface direct to iPad?  If Yes which one do you recommend if no what Ethernet hardware and DMX interface do you recommend.


If it has to be Ethernet can you use the wireless to a wireless bridge then connect the interface so you are not constrained by the wiring?


Thanks, sorry for the multipart questions.

Most artists are better off renting because they are not business oriented, don't have consistent career paths, crew and management.

Yanni purchased a complete L-ACOUSTICS V-DOSC system sometime last century, the cost savings of owning and maintaining it has easily amounted to millions of dollars over the decade(s) of use.

Yanni was a very stable artist so that was a good career choice.  He was married to that rich and beutiful soap actress so I think he had the cheez to fund the deal.


For those of us in the trenches that opportunity smells like a rental to me.


It's so funny to see everyone's preferences.  My love of L and Kara, Tim with JBL and Brian with D&B can't go wrong with any of those brands.  Choose a solid partner though.


I also want to make it clear I love Avantis (have one at my church) and DLive it just is non existent in the rental market.  I am not an Avid fan so the smaller Rivage or Digico are going to be the consoles most available in the rental market.  I actually only know one person in Wisconsin that rents his D-Live but he usually goes out with the console. 

You are doing your artist a disservice to reject JBL VTX or A series.

I currently am Audio Janitor for an l'Acoustic K3/KS28 rig.  Perhaps it's because I don't speak AudioFrench, but I find myself disliking most of the system tuning tools, but perhaps that's because the only official training is in-person and the system owner hasn't been keen on sending me out for that training.  It's not a bad rig but not what I would have specified even if I liked the l'Acoustic ecosystem.

My experience with S6L has been mostly that the WAVES part of the package crashed.  Never had an issue with the console itself.  YMMV, etc.  Take a look at the PM7 Rivage, I think you'll like the way it sounds and so far maintain Yamaha's "it just works" tradition.

I have yet to hear the A series but I was only saying you can't go wrong in that size gig with Kara2.  You can ground stack 2-4 on your subs at small venues and fly the whole rig for the larger ones. 


I have a new A1 working for me and this guy is awesome, been on tour with  a few decent acts and he brought me in on a some gigs with his old employer and I got to hear the K2.  I always liked Kara the K1 is even smoother but still has the blow the doors off output you need some time.  Power and grace is a nice combo.  He has the l'Acoustics training so I am very comfortable with his skills.  That's why I asked Luke if they were going to bring along an SE.


Scott

I'm curious why this would be a purchase rather than a rental from one of the usual suspects.  There's a reason Clair and the rest of them exist.  I have clients who consider purchasing parts of their system, but when asked where they're storing it, who's maintaining it, etc. they quickly come to realize why they're better off renting.

Most artists are better off renting because they are not business oriented, don't have consistent career paths, crew and management.

Yanni purchased a complete L-ACOUSTICS V-DOSC system sometime last century, the cost savings of owning and maintaining it has easily amounted to millions of dollars over the decade(s) of use.









 

Yup, faulty USB cables have been a thing, well even since before USB came out.

The part that sucks about a crappy cable is it might still WORK.  Things like data transfers will have checks and re-send failed data.  Files still end up transferred, they just might take longer, and you get no warning that you've got a crap cable making life miserable.

For something real time like audio/video transfer, resending the data isn't really an option and the result is crackling and noise.  But still no warning on the screen that the data stream is getting corrupted.  THAT'S annoying!!

There are SO many variables....

Purchasing a PA this size for a tour is an interesting choice, but....

I would spec a d&b rig of appropriate size and a Yamaha desk, preferably a PM5. Reason one is that these tools just work, and I hate tools that quit working. Also, d&b is everywhere in Europe and Rivage is quite common and/or you can console convert to CL5 for one or two dates and get by just fine.

I wouldn't run any outboard anything if you are renting on European dates. No Waves, no pesky analog gear. KISS principle.

Digico are obviously very prevalent worldwide as well, so if you prefer those, have at it.

And finally, a DLive rig can travel. Get the big 3500 surface for US shows and the baby 1500 surface for fly dates. That way it's always the same desk no matter where you go.

That being said, I'd still go Yamaha. But that's me....

{...} The other odd behavior is that, unlike previous installations of Smaart, this instance takes >1 min of looking at the splash screen before it’s up and running. {...}

IIRC, during its splash screen Smaart tries to talk to any audio device that the system has drivers for (just to check if they're working), so the more audio drivers you have installed on your computer the longer Smaart will take to start (or something like that).

-Russ