Re: Marc Lopez of Yamaha Commercial Audio Q&A
That would be cool, but probably unlikely since Yamaha owns Steinberg.
That would be cool, but probably unlikely since Yamaha owns Steinberg.
Marc Lopez of Yamaha Commercial Audio Q&A
- Thread starter David Karol
- Start date
Re: Marc Lopez of Yamaha Commercial Audio Q&A
My memory is not quite what it once was but I'm pretty sure the original press release on the topic of the 2.0 firmware had a promised date of " end of May". Now the same press release advertises " mid June". The magic of the internet.
My memory is not quite what it once was but I'm pretty sure the original press release on the topic of the 2.0 firmware had a promised date of " end of May". Now the same press release advertises " mid June". The magic of the internet.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
http://www.yamahaproaudio.com/global/en/news_events/newsrelease/2014/50_20140312_clseries_v2.jsp
Re: Marc Lopez of Yamaha Commercial Audio Q&A
We've moved the release date to mid-June after finding a few bugs in our pre-release testing. We like to catch the issues so that you don't experience "surprises" during a gig. Our release process is very strict, so when we find bugs, we start our testing procedure over to make sure the whole system is stable. Modern software design is quite complex, and making changes in one area may inadvertently affect other areas. So we apologize for the delay, but in the end everyone will be much happier!
We've moved the release date to mid-June after finding a few bugs in our pre-release testing. We like to catch the issues so that you don't experience "surprises" during a gig. Our release process is very strict, so when we find bugs, we start our testing procedure over to make sure the whole system is stable. Modern software design is quite complex, and making changes in one area may inadvertently affect other areas. So we apologize for the delay, but in the end everyone will be much happier!
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Mark;
Where can I find the MIDI spec for the QL console?
It's conspicuously missing from the "Systems Design Resources" Download section.
Hi Mark;
Where can I find the MIDI spec for the QL console?
It's conspicuously missing from the "Systems Design Resources" Download section.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Andrew,
We are targeting a release of mid-August for the detailed MIDI document for QL. Sorry for the delay.
Marc
Hi Andrew,
We are targeting a release of mid-August for the detailed MIDI document for QL. Sorry for the delay.
Marc
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Incidentally, Mark, if you worry that yamahaproaudio.com is under a DDoS-attack, it's just me checking for CL-firmware v2 about a trillion times a day.
Incidentally, Mark, if you worry that yamahaproaudio.com is under a DDoS-attack, it's just me checking for CL-firmware v2 about a trillion times a day.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Mark, time for a new batch of QL training opportunities in the Mid Atlantic ! We just added a QL5 and a QL1 to the inventory and have quickly found some workflow issues. First off is the GEQ to faders function. When this is activated on the LS9 consoles the stereo master becomes the master level for which ever buss that GEQ is inserted into. This is not apparently the default behavior on the QLs. What can I do to get that function on these consoles?
Mark, time for a new batch of QL training opportunities in the Mid Atlantic ! We just added a QL5 and a QL1 to the inventory and have quickly found some workflow issues. First off is the GEQ to faders function. When this is activated on the LS9 consoles the stereo master becomes the master level for which ever buss that GEQ is inserted into. This is not apparently the default behavior on the QLs. What can I do to get that function on these consoles?
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Frederik,
I appreciate your patience (and anticipation) so far. We squashed a few more bugs in the V2 release candidates, so that delayed it further. We are getting very close. Stay tuned!
Hi Frederik,
I appreciate your patience (and anticipation) so far. We squashed a few more bugs in the V2 release candidates, so that delayed it further. We are getting very close. Stay tuned!
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Riley,
We made some changes in QL from LS9 because of how the "Master" faders are used. In LS9, it is truly a Master fader. In QL, they are user-defined faders A and B, which are defaulted as ST Master and MONO Master, but can be defined as any channel. I take it you like the LS9 workflow and would like that available in QL. Duly noted.
Hi Riley,
We made some changes in QL from LS9 because of how the "Master" faders are used. In LS9, it is truly a Master fader. In QL, they are user-defined faders A and B, which are defaulted as ST Master and MONO Master, but can be defined as any channel. I take it you like the LS9 workflow and would like that available in QL. Duly noted.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Yaaaaaay! (it's there now) Off to the warehouse.
Yaaaaaay! (it's there now) Off to the warehouse.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Marc, we know that the DCA and MUTE group assignments on a channel do not have their own "recall safe" parameters, but what other channel parameters do not have their own settings and are only controlled by selecting "All"?
i.e. What channel settings other than DCA and MUTE group assignments are NOT recall-safe when every parameter in the channel is recall-safed except "All"? I'm using the CL5 as an example here.
Marc, we know that the DCA and MUTE group assignments on a channel do not have their own "recall safe" parameters, but what other channel parameters do not have their own settings and are only controlled by selecting "All"?
i.e. What channel settings other than DCA and MUTE group assignments are NOT recall-safe when every parameter in the channel is recall-safed except "All"? I'm using the CL5 as an example here.
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Re: Marc Lopez of Yamaha Commercial Audio Q&A
Looks like ST/LCR mode is another one, are there any others?
Looks like ST/LCR mode is another one, are there any others?
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Marc. Thank you for taking the time to field these questions for us. And especially from me as I'm new to this forum, have read through it all but still have some things I need explaining to help me as I am about to embark on using the CL5 to mix both FOH and MON from the one console.
Let me start with a head amp question.
When having this scenario on one analog desk I have always "Y-split" the input into the stage box or console so I could have control over two faders. One for both FOH and MON respectively. This gives me separate gain and channel EQ which avoids MON feedback nicely.
So now without doing this analog trick into the RIO I/O I have one channel head amp and one channel EQ for two very different output sources.
I will certainly insert a GEQ on that mix but normally after I ring out the mix and adjust the 31bandEQ I go for MON channel EQ for minor adjustments when asked by the artist. This doesn't change my FOH EQ.
So I set the HA for optimum level. Do I use Gain Compensation or not?
That's the first question. I'll have a one or two more but let's take one at a time.
Anyone reading this post please feel free to add your positive comments.
Thanks!
Hi Marc. Thank you for taking the time to field these questions for us. And especially from me as I'm new to this forum, have read through it all but still have some things I need explaining to help me as I am about to embark on using the CL5 to mix both FOH and MON from the one console.
Let me start with a head amp question.
When having this scenario on one analog desk I have always "Y-split" the input into the stage box or console so I could have control over two faders. One for both FOH and MON respectively. This gives me separate gain and channel EQ which avoids MON feedback nicely.
So now without doing this analog trick into the RIO I/O I have one channel head amp and one channel EQ for two very different output sources.
I will certainly insert a GEQ on that mix but normally after I ring out the mix and adjust the 31bandEQ I go for MON channel EQ for minor adjustments when asked by the artist. This doesn't change my FOH EQ.
So I set the HA for optimum level. Do I use Gain Compensation or not?
That's the first question. I'll have a one or two more but let's take one at a time.
Anyone reading this post please feel free to add your positive comments.
Thanks!
Re: Marc Lopez of Yamaha Commercial Audio Q&A
On my LS9, I patch a vocal input to two channel strips. One I use for the main mix and the other for monitors. Mains gets comps, each has own EQ. I imagine the CL can do this too.
Sent from my iPad HD
On my LS9, I patch a vocal input to two channel strips. One I use for the main mix and the other for monitors. Mains gets comps, each has own EQ. I imagine the CL can do this too.
Sent from my iPad HD
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Gain compensation deals with differences between consoles. Within one console you don't have gain compensation. If you change the head amp gain on one channel, it will have the same effect on the head amp gain of any other channels patched to the same mic pre hardware. But since it's you mixing both mains and monitors, we can assume that you (as the monitor tech) will know when you (as the FOH tech) is going to change the HA gain on a channel.
Gain compensation deals with differences between consoles. Within one console you don't have gain compensation. If you change the head amp gain on one channel, it will have the same effect on the head amp gain of any other channels patched to the same mic pre hardware. But since it's you mixing both mains and monitors, we can assume that you (as the monitor tech) will know when you (as the FOH tech) is going to change the HA gain on a channel.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Hi Rob. Thanks for replying. How do you do this? The CL5 will be on a Dante system, which at the moment I am unfamiliar with.
Can I do this? Assign say, RIO input 1 to CL5 channel 1 & 16?
Hi Rob. Thanks for replying. How do you do this? The CL5 will be on a Dante system, which at the moment I am unfamiliar with.
Can I do this? Assign say, RIO input 1 to CL5 channel 1 & 16?
Re: Marc Lopez of Yamaha Commercial Audio Q&A
Yes, let's assume I will know that. What I've run into on the analog desk is needing to change the gain structure of an input after soundcheck when the band or singer really lays into it. So splitting channels has always worked for me. As Rob has just posted he is able to patch an input into two channels.
I was under the impression that with the RIO input module you are sharing the same head amp (you have pointed this out above) so a virtual patch into two channels gives me separate EQ, DYN, etc... but not a separate gain stage. This is what concerns me.
Yes, let's assume I will know that. What I've run into on the analog desk is needing to change the gain structure of an input after soundcheck when the band or singer really lays into it. So splitting channels has always worked for me. As Rob has just posted he is able to patch an input into two channels.
I was under the impression that with the RIO input module you are sharing the same head amp (you have pointed this out above) so a virtual patch into two channels gives me separate EQ, DYN, etc... but not a separate gain stage. This is what concerns me.
Re: Marc Lopez of Yamaha Commercial Audio Q&A
I am not familiar with the Rio boxes but I just use the patch editor in Studio Manager. You just assign inputs to channels. It is a matrix with inputs down the left and channels across the top. Click a check in the box where they intersect. An input can go to any number of channels.
Yes, you need to get better at setting the head amps. The good news is after a gig you have some settings and can save em for next time and you can use it for a starting setup for another show as well.
One neat thing with digital is how quiet the desks are. You can be a little more conservative with the head amp gain.
Sent from my iPad HD
I am not familiar with the Rio boxes but I just use the patch editor in Studio Manager. You just assign inputs to channels. It is a matrix with inputs down the left and channels across the top. Click a check in the box where they intersect. An input can go to any number of channels.
Yes, you need to get better at setting the head amps. The good news is after a gig you have some settings and can save em for next time and you can use it for a starting setup for another show as well.
One neat thing with digital is how quiet the desks are. You can be a little more conservative with the head amp gain.
Sent from my iPad HD