I wanted to run a virtual soundcheck through the ME 1. In the Global Input/Output Sources, you need to go at least as far as ‘Post LPF’ in the signal chain so that the ME1 receives the signal. Actually, you need the signal directly from the DAW before the trim control. When doing a live recording,
Tie lines? As recommended in the virtual sound check tutorials.
What should that mean?
No, it didn‘t work with tie lines. You have nothing understand. You make a circle with tie lines.s
I need the Signal from Daw if VSC is on. In the ME1 too. In Routing you can select the Point for split. After Preamp, you did‘t get the Signal from DAW to ME. If you select the Signal point behind the trim, where the signal point and the incoming DAW Signal is on the bus, you can connect to the ME Bus. But for Monitoring you wan‘t a pure Signal and no changes on the Monitor Mix. Or another possibility is a complete Input Split for two channels. One for Monitoring another for FOH.
It is inserted on the same position where it was sent to recording.
That is the problem. You are really confused.
You record the signal after the preamp, you need to insert the signal on the same point.
That is what a tie line can do. VS is doing exactly the same.
I don’t understand the reason for a different send point for the VS versus the normal operation.
It’s quite simple – you’re confusing monitoring via a monitor with Nixer. Tie Lines is the right solution here, and it works with digital soundchecks too. For the virtual soundcheck for the ME1, you need the same signal, regardless of whether it’s live or coming via the DAW. And that’s where the tap point is important. It doesn’t currently work with the ‘Post Fader’ tap point – there, you can only feed the signal live into the ME1, and if you adjust your preamp in the stage box, your input level on the ME1 channel changes too. When I’m getting the signal from the DAW, I can’t tap it off before the digital amplifier’s trim control. I can only tap it off after the high/low-cut filter.
The result is that if I tap it off at that point and change the high/low-cut filter, it affects my ME1 signal. Furthermore, I always have to leave the digital amplifier (trim) set to 0 dB to get the same signal at the original volume as I recorded it; the same applies to the DAW’s volume controls. During the soundcheck, you’re actually working on the FOH and the monitoring in parallel. Specifically, I set the preamp gain. I then leave it unchanged so that the musicians can adjust their mix whilst I process the FOH signal. I no longer affect the ME1 signal. Live, I can adjust the level using the trim without affecting the ME1 signal. If I’ve set it to ‘Post Fader’ in the VSC, when I set it to ‘Post LPF’ I’m affecting my signal at the VSC – both the level and the low-cut filter. This isn’t really what I want if I’m aiming for identical signals live and via the DAW. The only way I can get round this is by switching to ‘Post Fader’ live. With the VSC, I have to make sure to leave the trim at 0 dB and set the low-cut filter and preamp in advance, so that the ME1 signal isn’t affected when I adjust the settings in parallel with the monitor. Usually, I let the musicians play a short bit, then set the gain and low/high-cut filters. I leave the trim at 0 dB. Then they play a song which I record. This recording is used for the VSC. The advantage is that we work separately in parallel. The musicians can concentrate fully on setting up their in-ear mix. Yes, you may then need to correct the impact of the stage volume slightly, depending on what sort of in-ear system you have. I also use the VSC for training purposes, including for beginners who haven’t yet worked with in-ear monitoring. And it’s much less stressful to set this up without them having to play. In live operation, you switch to post-fader. But then you’re altering the ME1 signal in relation to the filter. And that shouldn’t be the case. For this reason, I need the signal tap point where the preamp signal and the DAW signal paths are combined before the trim. Currently, with ‘Post Fader’, the signal is tapped from the stage box. And the signal paths are then combined for the trim. That’s my live experience. The AI confirms this too. The other alternative would be to create a completely separate mix for the monitor channels via the channel split, or simply to use a separate monitor console. But for churches, that’s completely over the top.
The first tap point is after the preamp. The preamp for the DAW return is the preamp model, phase reverse and the trim control. That’s it.
Trim is part of the preamp. It affects the ME-1 signal.
To be honest, I could do without such sweeping statements. I’m not saying anything different. But it doesn’t solve the problem I’ve outlined, or only to a limited extent. That’s why I made the suggestion. Instead of working constructively towards a solution, you’re explaining to me the facts of the matter, which I’ve already worked out.
If you were to put forward a constructive proposal for a solution, this would be a different discussion altogether.
As it is, you’re simply defending a fact.
That’s not helpful to me.