LS9 Routing - Mix bus to channel input?

[dan slv-tech]

so why not just run the 10 faders all together on one layer, and ride them as needed?

I dont really follow what your trying to do here.

 

Seemed like you wanted to run 10 faders together, like a sub group, so it was suggested that you link them and then run like that or allocate the 10 to a custom fader.

 

Whatever it is your trying to do, could it be done on a analog board out of interest?

people try to think up amazingly complicated scenarios for digital boards, ones that you wouldnt even get close to on an analog board.

 

Dan

[TomHoward]

With an analogue board I'd use a short patch cable and come out of the Aux out and back through an input channel. The faders are on one layer together but I can't ride all ten quickly enough for line-by-line mixing. This could also be done via VCAs on an analogue board or DCAs on a better spec'd digital board.

 

It doesn't seem one of the more ridiculous requests to route a bus out back through one of the input channels - as you can't get the same routing from the bus masters anyway.

[TomHoward]

Routing through a bypassed rack unit works - thanks to Shez for the suggestion. I'll be controlling the 10 channels individually for the majority of the time and only want the grouped fader for large chorus numbers and the finale, so I can dial in a bit of everyone to improve the 'ambient' coverage at a lower level than the lead vocalists. Splitting the HA inputs was a good option too, but I'd have to link the Mutes on the channels to make sure I could take mics out of the mix bus from the same layer as I have individual control, and I don't fancy going through all that.

[mrg198]

Routing through a bypassed rack unit works - thanks to Shez for the suggestion. I'll be controlling the 10 channels individually for the majority of the time and only want the grouped fader for large chorus numbers and the finale, so I can dial in a bit of everyone to improve the 'ambient' coverage at a lower level than the lead vocalists. Splitting the HA inputs was a good option too, but I'd have to link the Mutes on the channels to make sure I could take mics out of the mix bus from the same layer as I have individual control, and I don't fancy going through all that.

 

It's a bit late now, but just to add I've done exactly this in the past before and used a flat GEQ in the effects rack to send a mix to an input channel. In my case I wanted to be able to mix all my radio mic channels into a mix to send to various auxes (on mix) without having to send each individual channel to each aux. i.e. Mix 1 had a fixed post fade mix of the 12 radios for foldback purposes. Then I wanted to send for example mix 1 to the stage foldback or pit foldback etc. and I didn't want to have to do it by setting up 12 send levels on every channel. (and before you ask I'd already used up all of the matrix outputs)

 

I've also used the trick to sub mix 4 float mics down to a single channel. - I don't link the CFL generally as on a big show I run out of faders on my LS9-16. I had 10 outputs and 24 inputs so couldn't fit them all onto a single CFL.

 

Slightly OT I know, but am I the only one that finds the lack of scene recallable CFL really annoying? It would make a great alternative to DCA (which the LS9 lacks) for radio mic mixing in shows and being able to keep the relevant mics for a complex song in order.

[TomHoward]

I'd thought about running it though a flat EQ rather than an effects unit in the rack, but I'm using more GEQs than I am effects units so I opted for an effects unit. I'm doing a similar thing, we've got ten radio mics on stage, and for some of the chorus numbers I just want to be able to dial a little but of all of them in on a single fader, to avoid having to move all 10 to a very low level manually. It's just as a workaround because the ambient coverage hasn't pulled off quite as well as hoped.

[TimmyP1955]

Slightly OT I know, but am I the only one that finds the lack of scene recallable CFL really annoying? It would make a great alternative to DCA (which the LS9 lacks) for radio mic mixing in shows and being able to keep the relevant mics for a complex song in order

 

Are you sure? I've not yet used the CFL, but the scenes seem to save every other aspect of the console's configuration. Perhaps there's a difference owing to the firmware version? 1.16 is the current one.

[Shez]

They're saved on a per-user basis rather than a per-scene basis.

[TomHoward]

Shez certainly knows his LS9s. I have found that the Scene Recall doesn't have the same deep all-encompassing effects that it did on the O1V/DM series (again) but I hadn't experimented with it fully yet.