The subject of matrix feed and subgroups came up in the Midas Pro1 thread and rather then drift even farther I thought I would start a new thread.
I use matrix outs and sub groups. I am not trying to tell anyone how they should set up their system I am just explaining how I do it.
I use subgroups mostly so I can insert EQ on like mics. For example if doing a singing group we usually use the same model mic for all of the vocals. Since the system is EQed for linearity (what goes in is what comes out) I find that close miced instruments and playback sound the best and most accurate this way, but vocals don’t. But I don’t want to skew the whole sound system for the vocals. So I put them in a group and EQ them for gain before feedback and tonality. Leaving the channel EQs for individual vocal input EQ needs.
Taking it a bit farther when doing musical theater I have subgroups for body mics, and then for picking up the non-body miced chorus I have other subgroups for mics on the apron/ floor of the stage, and maybe hanging mics. Sometimes I have multiple rows of hanging mics. So not only do I route and EQ each of those into their appropriate sub group I also (delay) time align the area mics to the speakers which I find makes the use of those mics more transparent. I also have separate singing and separate talking subgroups for the body mics. Because I use automixers on the dialog parts.
Now for the matrix. For musical theater I usually use the matrix to feed the different speaker zones. Which include the front fill, the main speakers, the delay and some times even more. Because those zones get a different ratio of the subgroups. The front fills don’t get the apron mics because they are too close to the front fill speakers and the people that are that close that would need the front fill don’t need those mics in those speakers. The delay gets more of the area mics then the main speakers. And other things like that.
I also use a matrix to feed the conductors monitor because they usually need more of the talking sub then the singing sub and they don’t need the area mics or the sound effects.
And I also use VCAs of should I say DCAs. For example I use a DCA to be my overall master. I also try to use one DCA for the male vocals and one for the female vocals because a lot of times I need to push or pull back one or the other. I also use a DCA for all of the area mics. And other things depending on the capabilities of the console and the needs of the show.
I have been working with a church that seats about 1800 people and they have a very distributed speaker system. There are about 19 bi-amped speakers hung branching out from the front center, plus subs. This is controlled from 4 DSPs. At the moment it is feed from 2 outputs from an SC48 one for the main (bi-amped) speakers and one for the Subs. The DSPs that I recently moved to be next to the amps (when we relocater the mix position) have AES inputs that we will soon be using and I will feed them from the matrixes. I have noticed in that room that some areas would probably sound better if I was able to change that ration of vocals to instruments. So with the matrix feeds I can easily do that.
I hope this gives you an idea as to why some of us do things differently.
I use matrix outs and sub groups. I am not trying to tell anyone how they should set up their system I am just explaining how I do it.
I use subgroups mostly so I can insert EQ on like mics. For example if doing a singing group we usually use the same model mic for all of the vocals. Since the system is EQed for linearity (what goes in is what comes out) I find that close miced instruments and playback sound the best and most accurate this way, but vocals don’t. But I don’t want to skew the whole sound system for the vocals. So I put them in a group and EQ them for gain before feedback and tonality. Leaving the channel EQs for individual vocal input EQ needs.
Taking it a bit farther when doing musical theater I have subgroups for body mics, and then for picking up the non-body miced chorus I have other subgroups for mics on the apron/ floor of the stage, and maybe hanging mics. Sometimes I have multiple rows of hanging mics. So not only do I route and EQ each of those into their appropriate sub group I also (delay) time align the area mics to the speakers which I find makes the use of those mics more transparent. I also have separate singing and separate talking subgroups for the body mics. Because I use automixers on the dialog parts.
Now for the matrix. For musical theater I usually use the matrix to feed the different speaker zones. Which include the front fill, the main speakers, the delay and some times even more. Because those zones get a different ratio of the subgroups. The front fills don’t get the apron mics because they are too close to the front fill speakers and the people that are that close that would need the front fill don’t need those mics in those speakers. The delay gets more of the area mics then the main speakers. And other things like that.
I also use a matrix to feed the conductors monitor because they usually need more of the talking sub then the singing sub and they don’t need the area mics or the sound effects.
And I also use VCAs of should I say DCAs. For example I use a DCA to be my overall master. I also try to use one DCA for the male vocals and one for the female vocals because a lot of times I need to push or pull back one or the other. I also use a DCA for all of the area mics. And other things depending on the capabilities of the console and the needs of the show.
I have been working with a church that seats about 1800 people and they have a very distributed speaker system. There are about 19 bi-amped speakers hung branching out from the front center, plus subs. This is controlled from 4 DSPs. At the moment it is feed from 2 outputs from an SC48 one for the main (bi-amped) speakers and one for the Subs. The DSPs that I recently moved to be next to the amps (when we relocater the mix position) have AES inputs that we will soon be using and I will feed them from the matrixes. I have noticed in that room that some areas would probably sound better if I was able to change that ration of vocals to instruments. So with the matrix feeds I can easily do that.
I hope this gives you an idea as to why some of us do things differently.