One limitation I was surprised to encounter was regarding tap points for Direct Outs and Aux Busses. As per the block diagram (attached) the operator is limited by ‘per AUX’ settings and a global tap option for Direct outs. IMHO should be at a channel level. As in the operator can select the tap point ‘per channel’ at any part in the signal chain when assigning to an AUX and same thing for the Direct Out. I can see a ‘per aux’ and global direct out limitation on a QU and GLD series desk however this is a dLive 
I also would like channel level assignment of Direct Out tap points. In particular being able to select pre or post EQ for sends to the ME would be useful. I know we can use Tie Lines, but I believe that ties specific sockets together, which could lead to issues if you change your patching.
Thanks!
An old thread, but I want to +1 that Direct Outputs and Aux Send tap points should have Global “defaults” and input channel “overrides”. I would like the choice of Post LPF or Post PEQ for Aux sends and I/O outs.
+1
I’d also like to +1 this. It would be extremely helpful for all kinds of uses to have the pick/tap points of Direct Outs be channel specific.
Thanks!
+1 for me too. When feeding IEMs some drummers don’t want to hear gates but that means it’s also pre eq and compression so everyone else’s mix suffers.
+1!
+1
+1
+1
I know it has been brought up to AH before, but I really think that a feature like this that is available even on an X32 should be of the highest priority. I’m assuming that there is a reason for it not being there other than the fact than they locked in by the surface design. Hopefully they can implement tap points for auxes and direct outs without having to break other stuff to get there.
+1
This is one of those utility features that would absolutely help the dLive to feel more like a pro, flagship level console.
+1 - I cannot believe this has not been “corrected” by A&H yet. It’s a major limitation.
+1 - This is a MUST in my opinion. Can’t believe A&h top tier console can’t do this.
+1
+1. I was very surprised when I found that dlive has only one global tap point for all busses.
Where did you find that?
Every Aux mix has its own configurable tap point. To ensure the Aux mix is phase coherent, it is only one point for every bus.
I think that could just be a language barrier. I can see how that could translate poorly from certain languages.
However, the argument about phase coherence isn’t really one I would make. In most cases it wouldn’t be relevant at all. I would personally like to send some channels to certain busses with and without compression. Like a lead vocal with compression to the band, or a compressed snare to the lead singer without the lead channel being compressed. Currently you have to create additional channels to do that. dLive uses ‘follow fader’ rather than what you might call ‘post fader’, and that would make it usefull even when you are not doing monitors from FOH.
No, it’s not a language barrier issue — it’s simply my mistake. I recently bought a dLive and I’m still learning the mixer. I didn’t immediately find the per-aux tap point selection. But the justification about maintaining phase coherence of the aux mix doesn’t sound very convincing to me. If you have a single sound source, for example a snare, and you enable a high-pass filter on one microphone but not on another, that alone already disrupts coherence. And if you add a narrow bell at -12 dB, the phase shifts even more. So there are plenty of ways to mess up a monitor mix.
On the other hand, I’ve had situations where the drummer asked for drum sends in pre-gate mode, while the rest of the instruments were either post-EQ or post-compression. And to me, that makes sense. Why would a drummer want to hear an uncompressed vocal?
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