On Thu, Nov 10, 2005 at 04:24:25PM +0200, Juhana Sadeharju wrote:
> Fixing the hardware input and output levels makes sense to me.
> The input devices all have fixed SNR -- it does not help to
> crank up the soundcard input level as it brings the noise up.
> The output would be fixed for the same
>From: James Courtier-Dutton <[EMAIL PROTECTED]>
>
>It was just an example. The actual range depends on the sound card
>hardware, but the typical limit is something like -60 dB or -80 dB.
Do you process each channel with audio software prior mixing?
If yes, then I would suggest to fix the hardwar
On Monday 07 November 2005 14:26, Dan Mills wrote:
> This might be a specific leftpondia thing, how does the semantics of a
> 'cue' bus differ from a 'pfl' bus as found on a live sound console?
A lot of it is in the little ergonomic details: dedent position at fader
bottom routes to cue, separat
Alfons Adriaensen writes:
Broadcast consoles have some special features that you would't
find on typical music consoles. For broadcast, you will want
to be able to listen to something before it goes on air (pfl),
while for recording a post-fader solo is much more useful.
Another feature you will
On Mon, Nov 07, 2005 at 08:37:22AM -0500, Fred Gleason wrote:
> Similarly, it seems that virtually no 'recording' style board sports a cue
> buss, while the very thought of trying to run a radio operation without such
> a buss is enough to induce anxiety in this old 'master control' operator.
Apologies for coming in late, but I havent had much time lately;)
The main difference I have noticed between broadcast boards and live mix
boards is really the lack of output routing in the broadcast board. There
is some, but believe me, live mix boards you get a LOT more for the same
size bo
On Monday 07 November 2005 13:37, Fred Gleason wrote:
> This seems to be one of the differences between regular
> 'pro-audio/recording' boards and those targeted for use in radio broadcast
> environments.
Most serious live sound consoles have half way decent mute automation, and
some get very s
On Monday 07 November 2005 04:05, Loki Davison wrote:
> I was just adding my opinion from a very different understanding of
> mixers/mixing. Desk automation vs live dj / turntablist style mixing.
> Check out http://www.ecler.es/download/img_general_hak320.jpg if you
> want a pic of it. Notice the
On Sunday 06 November 2005 21:54, Dan Mills wrote:
> I don't know it, but how do you handle a reasonably busy show without
> mutes? Almost the most basic form of desk automation is the mute group and
> I find it very difficult to live without once you get beyond 16 inputs or
> so.
This seems to be
On 11/7/05, Dan Mills <[EMAIL PROTECTED]> wrote:
> On Monday 07 November 2005 00:43, Loki Davison wrote:
> >
> > My mixer (Ecler HAK320) has selectable curve on all faders, but option
> > i use is nonlinear, log style which is a very nice feature to
> > preserve. It's got mute switches as well, bu
On Monday 07 November 2005 00:43, Loki Davison wrote:
>
> My mixer (Ecler HAK320) has selectable curve on all faders, but option
> i use is nonlinear, log style which is a very nice feature to
> preserve. It's got mute switches as well, but i never use them.
>
I don't know it, but how do you hand
On 11/7/05, Tim Orford <[EMAIL PROTECTED]> wrote:
> On Sun, Nov 06, 2005 at 06:58:41PM +, Dan Mills wrote:
> > [...] but the fader position to db gain
> > being non linear is a feature worth preserving.
>
> for example as shown here for a Penny & Giles PGF8000 100mm fader:
>
> http://www.pennya
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