Hi all,
1.7 is online now - enjoy!
https://www.allen-heath.com/dlive-home/software/
Ben
Wow!
Direct patch of PFL/Mixes to channels? Ext. Input of PFL and Mixes to Mixes? Ext. Input of Mixes to PFL?
What every console should have. Amazing!
Thanks for the update!
The new routing options are very interesting!
Also the Range limits for the IP8 controllers is one thing you can really use for some applications.
I still have to try out the other workflow enhancements, but I think that the 10kHz starting value for the LPF is very practical.
But I must admit, I’m not quite happy yet. There are still a few big wishes left. That’s why I’m already looking forward to upcoming updates. 
Wow! Almost nothing that the community has asked for was addressed in this last update.
Good job A&H!
I wouldn’t go that far - there are a number of requests and bugs directly addressed in this release:
- Routing options area big plus - there are some things that were near impossible to handle in-board prior to this (and requested)
- Custom midi on scene recall
- Mixpad user permissions (bug)
- Mute status on meters (I actually requested)
- AMM Metering
- Preamp/trim on LCD
- A few just-identified bugs (unicode character) that probably actually held this release a few days.
Shure integration was probably paid - either Shure or a large customer commit - but they missed a huge part. If you are running Dante, then ULX-D has management on the primary Dante so you have to make your audio management network same as Dante primary - not a good thing. The Shure lines support gateway routing intentionally to support the necessary network segregation, but A&H didn’t implement it (you can’t specify target network to scan or enter a list of IP’s to connect/manage).
However, I’m also in the category of “still not happy yet”:
- I want the RTA/Spectrograph overlay and A/B inputs on channels.
- I would also like the see the CL level of Dante integration - channel names flow between card and dLive.
- 5-6 band parametric EQ option on outputs (I’ll trade some Dyn8)
Jay
Agreed with Jay on all points!
Some very useful features in this one!
-Director crossfade bug on scene recall has also been fixed! - didn’t see that announced, but I tested it and it seems fixed!
-ip8 custom fader ranges now! (Still no 0/inf shortcut, but this is helpful.)
-MixPad finally respecting user permissions is a big deal.
-New routing options!!! I was playing around with feedback loops/no-input mixing using the new routing features yesterday. Obviously, this is not what most folks would use them for. Suuuuuper excited to free up some bussing because of that addition!
My “Still not happy,” list includes -
- Embedded scenes still don’t issue a midi bang (Program change,) on go. - Haven’t tried this w/ adding custom midi to an embedded yet though. (identified bug, being fixed in a future update.)
- Embedded scenes from a primary (FOH) desk, that recall on a secondary (Broadcast) desk still do not register as “Last Recalled,” on the broadcast desk. (even though the scene is definitely being recalled. Also no midi bang there (broadcast side.)
- ip8 - Fader to 0/inf shortcut
- Android OS app support.
- OH! and Program change Bang on Undo + Go (Last primary, non-embedded recall scene,) Please!!!
…and those are kind of small annoyances at best.
Jay,
On the ULXD you can run a split network mode, and that puts Dante on the secondary port and Shure control on the primary. That way you have audio on one port and control on another.
Wow! Almost nothing that the community has asked for was addressed in this last update. Good job A&H!
thats not true, there are some fixes and improvments that where requested from the community
but still room for more to come
my list
EQ improvments:
-
latching Q button on C series
extra filters in the outputs
dedicated switches for modes of high and low band instead of toggle
on/off switches in EQ screen for filters in the input channels
Q for the shelf
RTA on the EQ display
DEEP processing EQ models with a special output EQ for system tuning (more than 4 bads, notches, tunable filters)
-
better handling of dual mono FX in inserts
new reverb units
shortcuts to screens on user keys
new widgets for south area containing gate and compressor views additional to EQ
PS sorry for a second post but the edit didn’t work
i support all ideas of SteffenR
(some are also from me - haha )
The missing latching option for the Q switch on C series surfaces baffled me from the beginning when the C series was introduced. Tested it at PL&S, first question I asked “Is there a latching option?” “No!” “Why not?” “Ummmmm”. Sometimes I think the developers at A&H get “rebooted”, losing all unsaved knowledge, like latching options for things (talkback on iLive), ganging/linking on SQ (possible on ANY other digital mixer) and so on. Yes, those are great devices with penomenal advanced features, but some of most basic basics got lost. OTOH why even remove those four encoders at all? C series is still no bargain, encoders don’t really cost much and the PCB design of the S would have been reuseable. I think almost everybody would be willing to pay 50 bucks more for full encoders in the EQ section. Cutting that down just to separate the series is IMO stupid. There are far more important differences why to get an S instead of a C: Redundancy, more slots and so on. But what’s done is done.
I agree with Steffens list, but like to add adjustable Q for the PEQs highpass/lowpass too (not the “preamp highpass/lowpass”). This gets more in the area of sound design than mere mixing, but I already could have put it to good use many times.
I collected some of our ideas
@Jens-Droessler
the filters are not before the ADC there software too,
anyway it would be great to have more flexibility in the filters and the EQ
I didn’t say there weren’t software. I said the channel highpass/lowpass is in the preamp section of the channel strip, to the left of the display, not to confuse it with the selectable highpass/lowpass in the PEQ section.
Also, will there ever be FX editing in the iPad app or do we dLive users need to be further envious because Qu has this?
why don’t you want to edit the FX on the console?
I hope you’re not one of those who take the risk and just mix via Wifi?
Of course I’m not. Still, often enough I only have the surface for soundcheck and have to put it besides the stage for the show. Rooms fill up, some songs need slightly different settings, and I’m sitting/standing in the crowd with the iPad.
Also, it’s just insane in my opinion, that Qu users get more options in this regard than the users of their top line system.
OK, the following answer is a little longer…
If I don’t get a sensible FOH space, I make a headphone mix from the desk or work there with additional monitors.
I tell my client beforehand that under these limited conditions I cannot give a 100% guarantee for the front sound. This has always been understood - either I will get a better place or the restrictions will be accepted. Everyone will be satisfied.
I will not do a live mix with iPAD.
There are four important reasons for this for me:
a) Wifi is not a reliable connection
If I am in the audience and the connection breaks off, then I have at this moment no possibility at all to react to a possibly arising feedback! This actually happened to me at an election campaign with a single lectern microphone. I won’t repeat that shock!
b) Poor response times
In extreme cases I have to wipe the pad with my fingers to get to a certain channel. Then I have to wait a moment until the screen is ready for my input and implements it.
I’m definitely faster with one surface.
c) Distraction
When you mix with a touch screen, you very often have to look at the display to make the right movements. There is no haptic feedback that you are pushing or regulating. The gaze is therefore very often not on the stage where it usually belongs, but often on the board. This automatically means that contact with your artists is significantly minimized. That does not seem to me to be the right thing to do!
d) The artists must look for me
When I’m on the road with the board in the audience, the musicians always have to locate where I am to be able to display their monitor requests. When I am in a fixed place and look attentively at the stage, it is much easier!
An acquaintance once put it beautifully:
Wanting to do everything on a touch screen is like running a workshop with a Swiss Army knife.
Somehow everything is already there, better than nothing and often worth its weight in the open air. But real tools are something completely different.
This is exactly what happens with these devices.
In the setup phase they are valuable helpers, because you can finally do detailed work in different places, for which you needed a lot of time in the past. Especially for the work in the monitor area these parts are a significant improvement of our work situation!
But we shouldn’t shoot ourselves in the leg out of convenience.
If we want sensible working positions, then we have to fight for them sometimes!
If something goes wrong, if in extreme cases someone loses his hearing through feedback, then it will surely also be painful for the operator, at the latest in court…
I hope my contribution was understandable.
You explain why a FOH location is better and I agree. That doesn’t change the fact that sometimes there is no way around doing the cosmetics during show with an iPad. I’m nit talking about sitting in the crowd the whole show with the tablet in the hands. I’m talking about grabbing the tablet on the side stage mixing position and going in front of the stage, listen, make some changes and go back. Even if the WiFi connection gets lost, I still can go back. And not every show needs constant “feedback supervision”. IEM and whatnot.
Anyways, that still only explains why you don’t NEED editing FX on the tablet. But would it hurt you if the app had this functionality? You might even use the app as an additional screen while being on FOH mixing location, so every bit of additional functionality helps the app in my opinion.
Soon I will have a show where my FOH has to stand at the side of the hall wall. A gala dinner, of course, I can’t go between the tables with my desk.
Maybe I’ll actually go through the tables while people eat their dessert.
But to be honest, I wouldn’t dream of standing in between with an iPad. No, I go there and hear if e.g. in the middle of the hall the bass is too loud and if one still understands the songs well. Everything else I do from the FOH desk.
But now we are really far away from the topic…
More flexible routing is very good. But why not make routing group into a group, as it is organized by Digico and SSL?