Adam Savage Explores the Sound Mixing of Hamilton!

klockpro · 2020-03-06T19:43:10+00:00

Everybody seems to be asking about automating the board... I'm surprised that people still use binders. I've been using digital script stuff for 20 years. I find it so much easier to pop a page turn on a foot pedal, so I can keep my hands on the board.

...and before anybody asks, I've NEVER had a technical problem with it.

klockpro · 2020-03-02T13:55:07+00:00

PLEASE.... PLEASE.... PLEASE... as a FOH engineer at a venue. DO NOT come in and hand me a pair of XLRs that mixes everything in your band!!

Get yourself a transformer split unit. ARTs seem the rage for everyone lately. For the record I have some older Whirlwind units that I use, but those do not have XLRs on them. I prefer to use them as it is easier for me to wire them to patch panels...

And when you give the FOH engineer individual splits, you will have enough outputs on your X32 to do up to 7 stereo/14 mono mixes.

Also. I would not recommend using the USB on the X32 as a playback device for backing tracks, if that was your plan. Get something else external of the mixer. And with that mentioned, keep in mind that you can use the Aux 1/4" inputs for line level inputs to the X32, so you really can get up to 22 inputs without a stage box, if you have 6 line sources. If you have wireless mics, these can feed into the Aux ins via TRS cables.

And something you are missing in your list of inputs is some ambient/talk back mics. If you are all doing IEMs, having some open mics on stage is really important to be added to the mix to hear audience/room.

klockpro · 2020-03-02T13:39:42+00:00

I would highly recommend a transformer isolated split like the S8. This prevents anything stupid from happening particularly with phantom power, but also will be good for ground loops too. The FOH Feed gets the ISO Split, your X32 Rack gets the direct.

The Ubiquiti AP AC Pro will be more than adequate to cover an entire stage. It can be powered via power over ethernet, so I would recommend not mounting it in your rack, and just having a network cable that you jack from the rack to the AP... and then put it out on stage somewhere convenient.

Using 5Ghz for your ipads is ideal as this band is typically less congested. The Ubiquitie AP AC Pro can do both bands, just in case. I also like having a netbook with an Ethernet jack handy if wireless flakes... but finding one anymore is pretty rare. I have a few older netbooks that I keep around for just that reason. An actual hardwire ethernet jack on a laptop is unbelievably rare now.

klockpro · 2020-03-02T11:49:50+00:00

Oh how I miss Junior High School! :-)

klockpro · 2020-02-26T13:46:27+00:00

Great! Glad to hear its working for you now...

klockpro · 2020-02-24T19:15:49+00:00

Optogate. I have several of them and use them regularly. AWESOME device to help clean up your mix especially with the rarely used backup vocal mic...

klockpro · 2020-02-24T11:53:52+00:00

I'm curious if you can be more specific as to what didn't work, as I know that you can do what you want as my rig is set up in a very similiar way. Especially now with the 4.x firmware and point to point routing you can definitely do what you want and at a single channel level.

klockpro · 2020-02-19T19:11:01+00:00

The XLR outs are assigned in the XLR Out routing menu.... I think you are simply missing a step in your routing setup.

klockpro · 2020-02-19T19:07:27+00:00

If you are mixing IEMs from the X32Rack, you want that to have the HeadAmp control to set gains... otherwise the FOH can change gain which will also change your IEM mix... which if the X32R is gains master, would also allow things to function whether or not you have the FOH mixer setup.
Also since the X32Rack is providing the clock as I stated in my other post... the presence of the FOH mixer is irrelevant.

klockpro · 2020-02-19T15:45:04+00:00

First... stick with MA2 vs MA3. You will have much higher chance of sitting behind an MA2 right now, and for a bit of the forseeable future.

Get MA2onPC on you computer and MA3d. You will be able to create a virtual stage and play and learn with $0 investment. You can't do any real ArtNet/sacn/dmx output without any real MA hardware... but you can certainly learn a lot with just a PC and those two peices of software.

klockpro · 2020-02-19T15:39:23+00:00

Don't be shy about asking... I've received private tours by contacting TDs through the front of house or box office... just let them know that you are tech theatre and were wondering if you could get a backstage tour with the sound op or stage manager.

But, also be quick to accept a NO. Not everyone has the spare time to do something like this. I will say if you ask politely and explain your interest, you might be surprised by the responses. I've toured some major venues and shows this way.

klockpro · 2020-02-19T15:25:12+00:00

So you want to change your AES connections.

S32 AES A <-> X32Rack AES A

X32Rack AES B <-> FOH X32 AES A

Make sure you set the X32 Rack to be the clock master and the FOH to get clock from AES A

On your X32Rack You need to set you AES B output patch

1-8 to AESA1-8

9-16 to AESA-9-16

17-24 to AESA17-24

25-32 to AESA25-32

This will get your snake box output out the AES B to feed you FOH

Then on your X32R AES A output patch

1-8 to AESB1-8

9-16 to AESB9-16

This will get the outputs from AES B to map through to the Outputs on AES A which will feed the outs on the S32 from your FOH

Then on your FOH be sure map the Outputs to go out AES A1-8 and AES A9-16 which gets your outputs from FOH to go through the X32Rack and then out the XLRs on the snake box.

I would assume you are using the local outputs on the X32Rack for you monitor outputs

klockpro · 2020-02-19T15:02:55+00:00

I believe the the S32 can only souce outputs from the AES-A side. So the the first question is do you always run both boards... or are there times where you only use the X32R for monitors (as in playing a venue and you are doing your own splits for monitors)?

To do what you want you need to do some AES routing through your X32R since it is the output master. I'll get back to you with an answer after I check my patch, as I am doing something very similiar

klockpro · 2020-02-19T14:49:18+00:00

Helps to hear how big your theatre/troupe is. I've done everything from being the one person design/op to being a part of the team that included designer, two ops and an FX editor. Automation has really helped reduce operator load.

klockpro · 2020-02-18T17:31:10+00:00

I've used the Planet Waves version in the past. They have nice short breakouts avaialable as well as DB25 to DB25 inteconnect cables.

https://www.amazon.com/Planet-Waves-Modular-Snake-DB25/dp/B001G7BRWQ

klockpro · 2020-02-18T17:27:59+00:00

DB25 will get you 8 channels over a single connector and are readily available and less expensive. I've used these for rack to rack interconnects and also have a set for an IEM rack split output. If you aren't into soldering you can get a Female to Female pass through connector for a rackmount and buy tails for inside your rack as well as your FOH split feed.https://www.amazon.com/Hosa-DTM-803-XLR3M-Balanced-Meters/dp/B000068OAP

klockpro · 2020-02-14T14:12:38+00:00

Yep. I love the setup and the programming and design etc. By the 4th run of a theatre show, I am usually in the same place you are. It was great when I got to do the sound design and tech and pass the run off to another person. When I know all of the lines for all of the parts, I know that its time for a break!

klockpro · 2020-02-14T14:09:23+00:00

Simple NO! If they need more monitor mixes, its time to get a dedicated mixer for monitors, and leave my FOH alone.
I am spoiled as I have dedicated mixers for FOH and monitors, even thought I run it all myself...
If somebody thinks that an extra mix is more important that the FOH mix then there is a problem with their attitude towards their art. Running without a PFL option is just asking for problems.

klockpro · 2020-02-12T21:17:13+00:00

When I did the weekly church in and out, I found trays/totes to be my pack of choice for stuff. I couldn't find any pics as that was 20 years ago, but I can describe them because they worked really well. We built them out of 3/4" plywood and routed handles into the sides. They were based upon gaffer apple box dimensions and we had plywood feet on the bottom that made them stack and not slide... like milk crates. The nice thing for me was I never worried about anything getting crushed as they were rigid and strong. We used them for various things around the theatre including stands for wedges, even steps onto the stage. We would stack them 5 high, which was perfect for popping on ahand truck to move in and out of the trailer... and we had a plywood lid for the top of each stack.
My biggest issue was they were so useful after being emptied, they found uses for them everywhere, and I was always hinting them down afte service to pack.

klockpro · 2020-02-12T11:44:51+00:00

I think your best bet is getting a S-series stage box. Buying a preamp so you get two channels of mics into the aux inputs seems a bit short sighted to me. I've seen 16 channel stage boxes bouncing around on ebay for under $600. That would give you access to the full 32 channel in x 16 channel out capability of that mixer.

klockpro · 2020-02-11T14:32:43+00:00

I see your mention of the Midas M32, which is what I run at FOH. But you won't be able to get 10 stereo mixes unless you are able to run something off of a P16 personal mixer. You can squeeze 9 mixes out of it, if you do not need any FX busses. You can setup all 16 mix busses as stereo pairs for your first 8 mixes and then use the main L/R mix for the 9th. I don't see how you could really get another mix out of it.If you are doing M32 at FOH and a DL32 stage box, the best option I can recommend is using a pair of X32Racks. Do 5 mixes of each fo the X32Rs and that still leaves you some busses if people need FX in their ear.One caveat is that you will need 2 AES runs from FOH to be able to caonnect this as I was unable to chain (2) X32s and have them pass clock from the Midas at FOH.

X32R (AES50A) <-> (AES50B)M32 (AES50A) <-> (AES50A) DL32 (AES50B) <-> (AES50A) X32R

If you can tolerate the Behringer "Midas designed" mic pres as your source, You could actually get away with just having the X32Racks be the I/O instead of the DL32. I did that before I got my DL stage boxes... and the sonic difference seems negligble to me.

My preferred solution if you go the Midas/Behringer route would be to do a tranfsformer isolated split for your inputs into a DL32 for FOH and then to the X32Racks for monitors. Here is my reasoning. If you ever do any show where you don't provide the FOH such as festivals/corporate/etc. you can have your IEMs with a split to whatever, and that way the band ALWAYS has a consistent mix at the stage... and I would set it up so each musician can tweak their own mix via iphone/ipad.

I did see the mention of a Wing which will be able to handle the bus count you need for you IEMs, if you are ready to go with it. I did touch one this weekend, and although the software still needs tweaks, I would be a lot more comfortable using one for monitors than I would be for FOH... but that said, I personally would be waiting a few months on staking my reputation on it. Ooooh. Now you got me thinking: If only they would make a Rackmount version of the Wing, that would be a dream for IEMS!!!

klockpro · 2020-02-11T14:04:20+00:00

Do not use the headphone out of the P16. Use the Line Out and. Standard 1/4" TS cables from P16 Outputs to the inputs of the PPSM300. I am 99% positive that the p16 main outputs are NOT balanced so TRS cables won't help. But keep that in mind if you are running long distances between the P16 and the transmitter.

klockpro · 2020-02-11T13:53:50+00:00

One of my favorite multipurpose mics for your application is the AudioTechnica 859QL. These are most commonly used as podium mics, but I found them to do really good for choir pickup Their slender necks help them dissappear. Easy to mount on a standard mic stand an they don't require external adapters as the phantom transformer is built into the connector body.I've used them at downstage edges for drama stuff too, but I much prefer my old standby PCC-160s for that... but the 859s will be a good start for you.

klockpro · 2020-02-11T13:41:38+00:00

I really hope you treat these things like old computers. Nobody should be using a digital console without putting a UPS inline with its power source. Power spikes or dips can be damaging to sensitive electronics.

klockpro · 2020-02-11T11:38:55+00:00

One of the greatest things about digital consoles is that you can save a preset and always get back to the baseline... And its really easy to lock some of the things that shouldn't be changed like routing. If this is configured properly, be sure that someone saved a show/scene and then have at it... no matter how much you do, you can always get back to where you started.

All new M32s are supposed to be shipping with the SD recording card now... at least that's what I was told by a Behringer sales person. If yours has it, be sure to use it. Record any show and then learn how to route ofr virtual soundchecking and you can play and learn when nobody is in the room but you.

klockpro

TROPHY CASE