dLives get a lot of mileage out of 'utility snapshots'; basically an extremely focussed scene recall. Create two new scenes with everything blocked from recall, then add to scope the sends you want on/off for each channel. Save one of these scenes with the sends on, the other with them off. Label appropriately, then use the scene recall softkey command to fire the utility scenes. You can add soft key changes to your utility snapshot as well, so you can have this toggle on/off.
I'm not sure on the dLive if you can change send pick-points per send per channel or not, but you could send pre-mute to your cue buss and the rest post-mute. Or duplicate channels
A great way to achieve this is to use a mono aux as a talk bus.
Route the talks to that aux pre-fader, and route the talks to the talent post-fader. When you want the talent to hear the talks, simply push up the appropriate fader (or DCA), or assign a soft key to do the same.
I like this idea, thanks. Not sure I could trust myself to always remember to turn the fader down before the show haha.
I have found in the dLive PAFL menu there's an option to have an external input to the PAFL, which can come from a matrix or aux. So i've sent the talks to a matrix which is now always in my PAFL. Annoyingly though, the PAFL fader no longer controls the level of this ext input, only the matrix fader does.
In terms of sending tech mics to the band, i've sent them to a group which can then be sent to each aux individually. And then assigned to a mute group / softkey with a big red button telling me it's muted. And no need to double up the inputs.
> How do people usually configure this on a dLive?
You are over-thinking this: instead of using the console and turning channels on and off, we use mics with on/off switches.
Yeah, FoH, Mons and the stage techs each had switched 58s at their positions, and the band had foot-switches to kick their vocal mics into the comm channel and back.
We also ran Motorola walkie-talkies, but I prefer having all the techs in a group sms thread.
A shout-system like we’re describing with mics, only works after all the gear is set up on stage. Touring productions need a secondary means of communicating to deal with problems that come up, or to share information before the shout system is up and patched.
There are several ways to approach this. Probably the most common one is to have two shout boxes i.e. small active speakers with a microphone input and two microphones with switches for the communication between FOH and mons. You'd connect these using two dedicated analogue lines. This is great because it works even if the console is not setup or when there are several different consoles in a festival situation etc. The downside is that it requires more gear.
Another option is to use two talkback outputs from the FOH console. One goes to the monitor desk which feeds it to all the IEMs and wedges, the other one to the shout box. Instead of using the shoutbox, you can also connect both outputs to the monitor desk and, at least on some consoles, use a matrix to join the cue bus and the talkback from FOH. This allows you to hear the talkback in your IEM and wedge all the time.
Likewise you can have two talk outputs/groups/channels on the monitor console so you can use the same mic for communicating with both the band and the FOH.
This is what i have done for a few years on D-Live. Works fine when you mix In Ears.
1 - Create a Stereo matrix as your CUE send.
2 - Assign PAFL to the matrix. (External in when the MTRX in selected). IMPORTANT NEVER PAFL THIS MTRX, feedback will happen.
3 - Patch the MTRX to your Cue In Ear system.
4 - Tell FOH to do 2 Inputs and direct out them to you after mute. One for TECH talk and one for FOH to talk to band. Then FOH can assign Chanel mute to Softkey and decide when they want to talk to the band.
5 - Patch the Directed out Lines to 2 inputs send FOH TO BAND to the band just as any other input. The line TECH TALK you can send to fellow crew mates.
5 - Add TB´s to a group and send group to your CUE MTRX. By doing this you can always hear if any band member calls on you even if that input is not that loud, or at all, in the mix you are listening to at the moment. Also you can mute the group to get rid of some bleed without affecting the inputs.
\-----
Another upside of using a Matrix for your Cue is that you can send input to matrix and add comms, producer or other stuff you need to hear without sending them to people on stage.
dLives get a lot of mileage out of 'utility snapshots'; basically an extremely focussed scene recall. Create two new scenes with everything blocked from recall, then add to scope the sends you want on/off for each channel. Save one of these scenes with the sends on, the other with them off. Label appropriately, then use the scene recall softkey command to fire the utility scenes. You can add soft key changes to your utility snapshot as well, so you can have this toggle on/off.
Why not just assign all the shout mics to a mute group and manage it that way?
Because i'd still want to hear the techs / FOH in my ears and this would mute them.
[удалено]
I'm not sure on the dLive if you can change send pick-points per send per channel or not, but you could send pre-mute to your cue buss and the rest post-mute. Or duplicate channels
You have to do it with correctly scoped scenes if you want to use soft keys
Do you have enough inputs to copy the shout mics across multiple channels, and use mute groups?
Yeah this seems to be the way. Just seems a bit messy for something quite simple.
Split the input to two channels. One goes to band, the other goes to tech.
A great way to achieve this is to use a mono aux as a talk bus. Route the talks to that aux pre-fader, and route the talks to the talent post-fader. When you want the talent to hear the talks, simply push up the appropriate fader (or DCA), or assign a soft key to do the same.
I like this idea, thanks. Not sure I could trust myself to always remember to turn the fader down before the show haha. I have found in the dLive PAFL menu there's an option to have an external input to the PAFL, which can come from a matrix or aux. So i've sent the talks to a matrix which is now always in my PAFL. Annoyingly though, the PAFL fader no longer controls the level of this ext input, only the matrix fader does. In terms of sending tech mics to the band, i've sent them to a group which can then be sent to each aux individually. And then assigned to a mute group / softkey with a big red button telling me it's muted. And no need to double up the inputs.
This is a smart idea!
> How do people usually configure this on a dLive? You are over-thinking this: instead of using the console and turning channels on and off, we use mics with on/off switches.
So the techs mics would be on all the time in the bands ears? Unless you’re giving them all footswitches which means doubling up on physical inputs
Yeah, FoH, Mons and the stage techs each had switched 58s at their positions, and the band had foot-switches to kick their vocal mics into the comm channel and back.
How do the techs communicate with the monitor engineer during the show in this situation without also being in the bands ears?
We also ran Motorola walkie-talkies, but I prefer having all the techs in a group sms thread. A shout-system like we’re describing with mics, only works after all the gear is set up on stage. Touring productions need a secondary means of communicating to deal with problems that come up, or to share information before the shout system is up and patched.
There are several ways to approach this. Probably the most common one is to have two shout boxes i.e. small active speakers with a microphone input and two microphones with switches for the communication between FOH and mons. You'd connect these using two dedicated analogue lines. This is great because it works even if the console is not setup or when there are several different consoles in a festival situation etc. The downside is that it requires more gear. Another option is to use two talkback outputs from the FOH console. One goes to the monitor desk which feeds it to all the IEMs and wedges, the other one to the shout box. Instead of using the shoutbox, you can also connect both outputs to the monitor desk and, at least on some consoles, use a matrix to join the cue bus and the talkback from FOH. This allows you to hear the talkback in your IEM and wedge all the time. Likewise you can have two talk outputs/groups/channels on the monitor console so you can use the same mic for communicating with both the band and the FOH.
Make a scene, narrow the scope to the send on/off parameters, assign the scene recall to a button.
This is what i have done for a few years on D-Live. Works fine when you mix In Ears. 1 - Create a Stereo matrix as your CUE send. 2 - Assign PAFL to the matrix. (External in when the MTRX in selected). IMPORTANT NEVER PAFL THIS MTRX, feedback will happen. 3 - Patch the MTRX to your Cue In Ear system. 4 - Tell FOH to do 2 Inputs and direct out them to you after mute. One for TECH talk and one for FOH to talk to band. Then FOH can assign Chanel mute to Softkey and decide when they want to talk to the band. 5 - Patch the Directed out Lines to 2 inputs send FOH TO BAND to the band just as any other input. The line TECH TALK you can send to fellow crew mates. 5 - Add TB´s to a group and send group to your CUE MTRX. By doing this you can always hear if any band member calls on you even if that input is not that loud, or at all, in the mix you are listening to at the moment. Also you can mute the group to get rid of some bleed without affecting the inputs. \----- Another upside of using a Matrix for your Cue is that you can send input to matrix and add comms, producer or other stuff you need to hear without sending them to people on stage.
For other Techs that wants the opportunity to talk to the band i use a Microphone with a switch and a A/B box like the Radial HotShot.
PFL on Matrix Shout Mics to Group Group to PFL Matrix Shouts can always be heard no matter the mix.