My system setup

[Mathis]

So guys, here's my system.

I went for SAC not because it is supposed to be cheap but because it gives me possibilities I always dreamed of. Ultimately I am in search of a mixing environment which totally integrates live-electronics with standard technical demands. A merger between a conventional mixing board and a modular synthesizer.
SAC gives me VST plugins, which is simply great. But most important is the scene managment which is very similar to the Salzbrenner Stagetech C.A.S. mixing desk, on which I learned theatre sound design and realized the most amazing and complex shows. (I just realize that SAC is reverse of C.A.S., wow...)
So this system uses a total of 3 Albert-AV Stageboxes which gives me the audio quality I expect. I use all 72 inputs. External hardware is next to the Lexicon MX400 surround reverb my beloved Symbolic Sound Kyma system.
Kumbersome is the configuration of the Tascam US-2400, which is connected through 3 remote instances. I hate that.
I found those small ASUS and Lenovo displays which allow free sight to the stage. (the Lenovos are connected through USB). The T60 Laptop connects the US-2400 and shows me constantly the output channels. And/or plays audio through Ableton Live.
I have a remote Laptop Lenovo X200s for walking round the room and a X61t tablet for setting up on-stage monitoring.

Premiere of this system is 30th of Novembre in Montpellier, Southern France:
http://www.opera-montpellier.com/fra...que_jetzt.html

[Mathis]

Many thanks to the collective knowledge in this forum which helped me a lot setting up this system!

[Richard Rupert]

Wow, my wife and I were in Montpellier on vacation near the end of this past September... I KNEW I should have posted on the forum to see if there were any SAW or SAC users there (and though much less likely, also in Valros where we spent most of our time). It would have been GREAT to see your set-up in person. (And I certainly could have used some help with my fledgling French.

We also were in London and Lowestoft for nearly a week. Don't know if I'll ever make it back, but am taking this opportunity to suggest to other SAWyers and SACers (?): post your vacation plans... after you're home, it's too late.

[Mathis]

Don't worry, you didn't miss anything. I'm German and hardly speak any French. I live in Munich and go to Montpellier just for that production...

[Richard Rupert]

Ah... I see. I feel better about that now. However, my point still stands; we should all post if we intend to be in "other lands", and try to make contact with other users of SAW and SAC. You know... in the interest of international fraternity.

[Mathis]

To answer Tom's question through PM how the Tasam US-2400 is connected:

I connect it to the laptop. 3 Remote instances are necessary. On the laptop I create 2 copies of my SACRemote folder, so that each of the 3 instances has its own preferences file.
I use any of the Mackie modes on the US-2400, I remember it didn't make that much of a difference. The first 3 Midi-ports of the total of 5 are the 3 8-fader units. The first Remote instance sees 1-8, the 2nd 9-16 and the 3rd 17-24.
On instances 2 and 3 I link the midi controller to the hotchannel and select channel 9 on remote2 and channel 17 on remote3. remote1 is on channel 1 by default.

I can't do any bank switching this way. Those 24 faders are hard linked to the first 24 channels, which is fine for me.

clear enough?

[Sound Machine Inc]

To answer Tom's question through PM how the Tasam US-2400 is connected:



clear enough?

yep.. I was just wanting to see how much of a pain it is for a church I am going to be working with

[Mathis]

system start-up is quite a pain.

[Mathis]

To answer the question through PM about the Albert-AV boxes:
In theatre I have to deal huge cable lengths, so I needed good outputs. I deal with classical instruments, so the Mic preamps have to be of decent quality. I don't want to mess around with adaptors, I want one panel with XLR connectors. Remote controlled preamps are much preferred against long multicores, not only because of signal degradation but mostly because it's easier to get tiny Cat5 cables through the theatre walls than thick muslticores.

Take all of those arguments and there's only the Albert stagebox left on the market.

What I don't like is the remote. There's no dedicated software, so one has to fiddle around with virtual midi sliders which give no indication of gain in dB. Also the communication is unidirectional, so I can't read out the setting of the preamps.

hope that helps.

[operationwhat]

Thanx :-)