5
Honestly, my answer to this question, in which you infer that you plan to rely primarily on audio, is "do it any other way than you are planning".
Here's why; I work for an alarm monitoring company. In our line of work, where every signal from an alarm panel could be snot-nosed employees playing around or a matter of life and death, it's video, not audio, ...
4
I use a program called airfoil which lets you slave an iphone or ipod touch to your mac run computer over wifi. It has a reliable 3 second lag time and can be triggered from qlab by routing it through soundflower.
4
Personally, I would be very careful making a decision based on these graphs. At least have an extensive listening test to find out how what you think the graph says translates into what you hear.
Your ears don't have a flat frequency response, and it's notoriously difficult to measure the frequency response of headphones in an absolute way that transfers ...
4
The root issue is one of physics, mixing should always and only be done on monitors. Low frequencies = larger waveform = more distance/time/space required for the frequency to develop audibly (read: montitors in a room). Air between your ears and the cones are what's necessary to properly evaluate mix decisions. No real way around that, even with some ...
4
I doubt this is really an error – as this interface is USB-powered, the designers probably spec'd the headphone output with rather low maximum voltage, so as to avoid supply problems; I know at least the old Tascam US-x2y series suffered from that problem. For consumer headphones, which are targeted at low-voltage battery-supplied devices and hence ...
3
I don't think this is a safe assumption. I used one a couple months ago that provided an audio output to the computer, but it wasn't wired up anywhere. It did offer an output, but it was only the output directly from the mic.
3
Audio monitoring is application dependent.
For example, when using Ableton Live all you have to do is to set up a channel using EXT.IN (or whatever input your using) and change the the monitoring from AUTO to ON.
Most application will have you change the monitoring of a specific channel to on - some of them you'll just need to 'arm' the track, which ...
3
Perhaps Source-connect would help.
http://source-elements.com/
3
Wireless is the way to go. Try feeding the boom op what's coming out of the mains via a Comtek feed. Have your boom op transmit via a Lectro setup. That way the boom up is fully unrestrained by cable tethers. I boom op'd on a feature a long time ago and the mixer preferring working this way - it was fantastic, freedom for both the mixer and boom op to be ...
3
What are you generating your metronome with? You can feed the metronome generator into an empty channel on the mixer. Turn the fader all the way down to -infinity for that channel and use the aux send (pre fader) to send the metronome signal to the Q that you are using to amplify the headphone signal. That way the signal is sent to the aux before it reaches ...
3
You have a few options,
1) you can buy a 1/8 or 1/4 inch headphone jack and short the L R connections together since (in an unbalanced situation (most regular headphones)) they share a common ground. Keep in mind you will be driving twice the load from the same source which will effect the output.
2) You can buy a headphone amplifier that has a mono ...
3
It depends on how decent the gear is where you are playing. If they have cheap stuff, it might be a problem, but from the medium end on up, they should either be able to use channel line inputs that go after the pre-amp on their board or they should be able to bring it back in along an insert signal path with the output from the insert discarded.
That said,...
3
It is possible in some sense, and I believe there is software around that is designed specifically for this, but there are also reasons why this might not be the best approach. Obviously the character of your speakers affects the sound dramatically, but so to does the room. Measuring the response accurately enough to implement the EQ effectively would really ...
2
keep sending it to your iphone. I check every advert mix on a couple of tv/computer monitor/laptop speakers :) It just has to be done... don't try take any shortcuts.
2
I'm a boom and i absolutely hate comteks!! Terrible terrible sound....I've been using the sennheiser EK 2000 and like it much better! Longer range and much better sound.
If we don't have a wireless transmitter for the boom mic, i prefer using a duplex cable, and have the monitoring trough the cable as well.
2
I don't think you will find what you are looking for dk... Even if you find speakers that have the same sonic signature like iPhone's it will not be the same size so that will cancel the effect!
I would go for a cheap iPhod Touch to do this job. It has the same speaker I think!
2
Forget about headphone impedances; as you assume they're primarily an indicator for the loudness, but you can't conclude anything about the sound from them. In particular, the higher the headphone impedance the lower the influence on the sound.
Actually, the sound of any headphones is mainly governed by their mechanical construction. I personally have never ...
2
I'm more of a live audio guy than recording and tend to use in-ears for my monitoring, but my understanding of the idea behind isolation pads is to absorb the vibration of the speaker and/or the surface and prevent it from impacting the sound produced by the driver. Something like a computer monitor stand is going to be more worried about providing a hard, ...
2
I would consider the most important "rule" of monitor placement to be the geometry. That is...
You should have an equilateral triangle made up of the two monitors and the listening position.
You should consider the tweeters to be the points from which you measure, as the higher frequencies are the most directional.
As an example, for my home theater, I ...
2
Beyer Dynamic DT 770 Pro 32 ohm ?
also worth exploring: Sony 7510 24 ohm
Re "working it out":
Read this and this.
At same sensitivity ("The sensitivity rating is usually for 1 milliwatt power input to the phones and a corresponding sound pressure level (SPL) output (usually 102 to 106 dB SPL output for moderate to high sensitivity rated phones)." source):...
2
You need to use the Aux sends in a pre-fader configuration. As you inferred, with pre-fader levels being used for Aux sends, you can leave the volume of a channel turned down in the mains, but still can route it to the two aux sends. If you don't use the pre-button on Aux 2 on that board however, it will operate as post-fader which would mean no signal ...
2
Ill answer your concerns in order
1) This depends on what you have but most if not all the mixers I have ever encountered have both line an mic level inputs. Some of the new digital stuff has a single socket can be set to what you need (usually XLR style). You should not have an issue here unless they have some very strange console. Chances are if they ...
2
Whatever you do, you'll definitely need some kind of headphone amp(s) to properly drive the headsets' low impedance. With such amplification, the aux sends should be just fine, they shouldn't feature more clipping than the master output.
Of course, the aux sends will only me mono; IMHO that should always be ok for monitoring (or in fact better: I once ...
2
Yes, according to the manual, page 20, the FX output on the mixer is before the internal effects processing, so you may use that output as an AUX too.
You could perhaps free up the other AUX send by using the 2TRK Out option for recording instead.
Also, if you don't mind the mix being mono, there is a pretty neat trick: use L for the P.A. and R for the ...
2
Those outputs are actually mono. When combined they provide the desired stereo effect
You can use the cable to connect the L or R output to the speaker, yet need to be careful when using panning on the channel buses as this will effect volume in this situation
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