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Post by Johnkenn on Feb 17, 2020 18:27:59 GMT -6
Like - is there a ubiquitous studio standard system with breakout boxes?
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Post by jeremygillespie on Feb 17, 2020 18:47:46 GMT -6
I’ve always liked the Private-Q systems. Seems like a lot of the studios around here are moving to the Aviom system that runs off cat5 and has a built in limiter and reverb. Our friends at Behringer have of course ripped that off so you can get in cheaper.
None of them sound as good as Private Cue though IMO
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Post by Johnkenn on Feb 17, 2020 19:07:01 GMT -6
Yeah - I think Private Q is what I see most often.
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ericn
Temp
Balance Engineer
Posts: 15,787 
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Post by ericn on Feb 17, 2020 19:20:21 GMT -6
No longer made Intellix Studio Psychologist digitally controlled analog matrix.
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Post by adamjbrass on Feb 18, 2020 10:58:52 GMT -6
I dig the Digital Audio Labs LIVE MIX 16/32 with CS-SOLO and CS-DUO remotes. Very nice sounding and extremely functional system.
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Post by Vincent R. on Feb 18, 2020 19:03:56 GMT -6
Following.
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ericn
Temp
Balance Engineer
Posts: 15,787
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Post by ericn on Feb 18, 2020 19:57:52 GMT -6
I dig the Digital Audio Labs LIVE MIX 16/32 with CS-SOLO and CS-DUO remotes. Very nice sounding and extremely functional system. Looks interesting and built better than anything I know of currently made. |
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Post by adamjbrass on Feb 19, 2020 8:50:14 GMT -6
I dig the Digital Audio Labs LIVE MIX 16/32 with CS-SOLO and CS-DUO remotes. Very nice sounding and extremely functional system. Looks interesting and built better than anything I know of currently made. The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
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Post by thirdeye on Feb 19, 2020 9:31:38 GMT -6
Looks interesting and built better than anything I know of currently made. The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
How is the latency on this system?? |
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Post by Johnkenn on Feb 19, 2020 9:55:20 GMT -6
Looks interesting and built better than anything I know of currently made. The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
I’ve had this happen in several big studios - but Sound Emporium comes to mind...I think they use the Private Q - but it might even be some older iteration. Anyway, I know there have been several times singing a scratch in the control room or whatever, then hearing a player I’ve got planned to the left say something and I turn to the left expecting the guy to be standing right there...and he’s in a different room yards and yards away. Freaky soundstage. I definitely don’t get that experience with my hearback system. |
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Post by Johnkenn on Feb 19, 2020 9:59:02 GMT -6
Also, since I record in the same room, there’s no way I ever feel confident making eq changes with headphones on...say while a singer is singing. I usually record a bit and then listen back through the monitors...then adjust. It would be really nice to be able to make strategic mic placements while recording something like acoustic while sitting in the chair with the headphones on.
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Post by Johnkenn on Feb 19, 2020 10:00:49 GMT -6
Looks interesting and built better than anything I know of currently made. The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
So - if I wanted just two stations, I would just need the two CS solos plus what? I assume there’s a base station you have to buy? |
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Post by adamjbrass on Feb 19, 2020 10:13:51 GMT -6
The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
So - if I wanted just two stations, I would just need the two CS solos plus what? I assume there’s a base station you have to buy? You need the MIX16 base unit, two CS-SOLO units and a method of input to the MIX16. If you wanted Analog inputs, you need the AD24 unit. If you wanted Dante inputs, you add the optional LM-DANTE-EXP module installed into the MIX16
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Post by Blackdawg on Feb 19, 2020 10:58:00 GMT -6
Looks interesting and built better than anything I know of currently made. The CS remote unit construction is metal, & very rugged. Also, 24 discrete inputs with comm system. Another feature I love about them, you can create settings from one mixer and send the mix to any other mixer on the network. Effortlessly. So the engineer can design the cue mixes for everyone and send them to all, or each person individually. You can store presets on a USB stick for each mixer. Its fuggin amazing. The sound is also wayyyy better than something like the Hearback system. So the price is justified.
Here is a system I spec'd with a Live Mix16, (16 possible mixes) using 9 CS-SOLO remotes. (The 9th one is by the Pro Tools System this tags along with). I outfitted the LM16 with a Dante Card, fed by a MTRX Dual-Dante Module.
That is awesome. What a great looking system. |
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Post by nobtwiddler on Feb 19, 2020 11:19:16 GMT -6
I do believe you guys forgot this, Might not be a Caddy, More like a Bentley Best of the best in the old analog world! www.manley.com/pro/mhpe |
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Post by Johnkenn on Feb 19, 2020 11:28:45 GMT -6
I do believe you guys forgot this, Might not be a Caddy, More like a Bentley Best of the best in the old analog world! www.manley.com/pro/mhpeBet that’s cheap. Lol |
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Post by mulmany on Feb 19, 2020 12:18:45 GMT -6
I do believe you guys forgot this, Might not be a Caddy, More like a Bentley Best of the best in the old analog world! www.manley.com/pro/mhpeBet that’s cheap. Lol $2200 each |
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Post by svart on Feb 19, 2020 13:04:01 GMT -6
I used a bunch of small mixers for my headphone stations.. It's literally guitar 1, guitar 2, bass, drums, vocals labeled on the mixer and I still have so many artist that are completely baffled by the setup.
I can't imagine giving them a touchscreen and a couple knobs when most can't seem to work a small mixer for their own headphone mix..
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Deleted
Deleted Member
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Post by Deleted on Feb 19, 2020 13:15:04 GMT -6
I used a bunch of small mixers for my headphone stations.. It's literally guitar 1, guitar 2, bass, drums, vocals labeled on the mixer and I still have so many artist that are completely baffled by the setup. I can't imagine giving them a touchscreen and a couple knobs when most can't seem to work a small mixer for their own headphone mix.. Beyond that, you ever listen to the mixes they give themselves? Jesus. IDK how anyone can play to that. When I was recording my own band, we got through 3 songs before my drummer was like "I can't hear anything in my headphones". It was because he had the limiter turned all the way up on the the Hear Tech system the studio had so there was like 30db or gain reduction happening the entire time. THREE SONGS. |
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Post by svart on Feb 19, 2020 14:06:48 GMT -6
I used a bunch of small mixers for my headphone stations.. It's literally guitar 1, guitar 2, bass, drums, vocals labeled on the mixer and I still have so many artist that are completely baffled by the setup. I can't imagine giving them a touchscreen and a couple knobs when most can't seem to work a small mixer for their own headphone mix.. Beyond that, you ever listen to the mixes they give themselves? Jesus. IDK how anyone can play to that. When I was recording my own band, we got through 3 songs before my drummer was like "I can't hear anything in my headphones". It was because he had the limiter turned all the way up on the the Hear Tech system the studio had so there was like 30db or gain reduction happening the entire time. THREE SONGS. I had a singer in not too long ago.. I gave her the run-through and showed her how to adjust everything on the headphone mix. I ask if she "gets it" and I get a "uh huh". A couple takes in she's like "I can't hear myself, can you give me more ME in the headphones?" and I'm like, "just turn yourself up a little on the mixer" and I see her mess with it a little and I get a thumbs up. After a take or two more I get the "I still can't hear myself" and I finally walk into the other room to see what's going on. Seems that she had set her vocal to her talking voice between takes, but turned the rest of the instruments up FULL BLAST during tracking because she couldn't hear them while singing.. I calmly reminded her that she could adjust her voice up further and adjust the other instruments down and just turn the headphone volume up if she needed to.. "Oh, I didn't know I could do that" was the reply. I also had a drummer that came in, needed click during tracking. It's SO LOUD I can hear it during his playing. I ask if he can stand turning it down some. He said no. Turns out he's mostly deaf and he plays with one earphone off his ear so he can hear himself in the room. I casually mentioned he could hear himself in the headphones if he wanted and that he wouldn't have to keep one earphone off his ear.. He looked amazed. None of the "studios" he'd ever been to had ever been able to feed him monitoring of himself he claimed. |
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Post by jeremygillespie on Feb 19, 2020 17:06:51 GMT -6
I ALWAYS at least give artists a starting point with their headphone mixes. Takes 10 mins to go around the room and check all of their headphone mixes.
Honestly, you can’t really expect them to know what they should be listening to. Not really their job.
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Post by svart on Feb 19, 2020 17:32:57 GMT -6
I ALWAYS at least give artists a starting point with their headphone mixes. Takes 10 mins to go around the room and check all of their headphone mixes. Honestly, you can’t really expect them to know what they should be listening to. Not really their job. I do. I usually get the "can I get more ME?" Stuff and when I used to control the headphone mix, it was a round robin until everyone got more "them" in the mix, which just meant it was louder and nobody was happy. I moved to the pods so folks could add whatever they wanted. For the most part it works, most folks don't really mess with it much, but there's always the ones that really bugger it up.. |
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Post by din on Feb 19, 2020 22:57:35 GMT -6
Elite Core PM-16's are pretty boss.
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Post by Ward on Feb 20, 2020 6:48:56 GMT -6
I ALWAYS at least give artists a starting point with their headphone mixes. Takes 10 mins to go around the room and check all of their headphone mixes. Honestly, you can’t really expect them to know what they should be listening to. Not really their job. I do. I usually get the "can I get more ME?" Stuff and when I used to control the headphone mix, it was a round robin until everyone got more "them" in the mix, which just meant it was louder and nobody was happy. I moved to the pods so folks could add whatever they wanted. For the most part it works, most folks don't really mess with it much, but there's always the ones that really bugger it up.. I still do it the old way. I'll run two, maybe three headphone mixes max. Start them all the same, and then edit each one until everyone isn't totally unhappy. And I try to get them to listen to the room and not just the cans. It tends to work. There are always the "more me" types. They need therapy. |
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Deleted
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Post by Deleted on Feb 20, 2020 9:40:36 GMT -6
I ALWAYS at least give artists a starting point with their headphone mixes. Takes 10 mins to go around the room and check all of their headphone mixes. Honestly, you can’t really expect them to know what they should be listening to. Not really their job. I've done that, but by the time I walk back to my seat, they've already turned all the knobs. I do kind of expect them to have some idea of what they should be listening to. They all listen to music and play shows, so they have at least a vague idea of what constitutes balance. |
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