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28-channel audio connector

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Bassman59:

--- Quote from: Halcyon on July 09, 2020, 09:54:22 pm ---It's satisfyingly chunky and mechanically sexy.



--- End quote ---

And that was how we did it on big stages with a hundred channels and splits between FOH and monitor world and all of that.

The connectors were expensive but reliability was, and is, paramount.

Bassman59:

--- Quote from: Ed.Kloonk on July 11, 2020, 04:45:01 pm ---I've been wondering when someone will solve the problem going wireless between the FOH and the mixing desk. I'm mean there are solutions but nobody (afaik) is brave enough to trust over the air in the way a lead guitarist does now.

--- End quote ---

The top-shelf digital mixers have the brains (audio I/O, processing) in racks on the side of the stage, and the console is just a control surface.

And there is already proof of concept that remote mixing is possible -- just look at the little Mackie mixers that use an iPad for control. I mean, I fucking hate mixing on an iPad, because when I'm mixing, I look at the musicians and not the console, so if I have to look down to find the fader, I'm already late. So the tech rider says that's not acceptable. But hell -- I love having the iPad to go on stage and ring-out and set up monitor mixes, and it's great to be able to walk around the room with the iPad and tweak.

So back to the control surface thing. The surface needs local I/O so we can patch in the goofy effects we like, and so we can have playback material for walk-in/between-set music. And absolutely a headphone amp and control-room outs for monitor speakers for cuing. (This last part is where the Mackie iPad mixer thing fails.)

The Avid and DiGiCo and Midas and such consoles have MADI or Dante or other digital interface run from the console to the brains, and that interface includes support for the console I/O. Most of the traffic is control change messages, not audio, anyway.

The real question -- will those of us who mix the acts "trust" a wireless connection between the consoles and the brains? Well, given that the RF environment is already ridiculously busy in many cities, finding enough open channels for wireless mics and in-ear-monitors is already a challenge. And then add to it the reality that at any time, Google or whomever will just buy the blocks of frequencies used by wireless production gear and obsolete it all overnight. I haven't mentioned latency, but to be honest I don't know whether that would be an issue.

So it's not even a matter of trust. I see no particularly good reason why it's necessary to replace a few runs of inexpensive CAT-6 or coax with wireless transmitters and receivers for the whole show mix. Hell, in some cases, like outdoor festivals that are multi-day affairs, the crew will dig a trench between the stage and the FOH tent, bury the cable, and when the festival is over, just leave it there.

langwadt:

--- Quote from: Bassman59 on July 13, 2020, 05:51:16 pm ---
--- Quote from: Halcyon on July 09, 2020, 09:54:22 pm ---It's satisfyingly chunky and mechanically sexy.



--- End quote ---

And that was how we did it on big stages with a hundred channels and splits between FOH and monitor world and all of that.

The connectors were expensive but reliability was, and is, paramount.

--- End quote ---


Here Harting connectors seem to be the norm

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