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#1
16th March 2011
Old 16th March 2011
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sac - software audio console

has anyone used/purchased the RML labs sac live software??
if so... how good/bad is it? and whats the latency like?
got the demo.. thought the interface woz a bit annoyin but a handy way of throwing vst plug in's into a live gig....
any opinions or suggestions??
#2
16th March 2011
Old 16th March 2011
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Look at the SAC forum, you can get a lot of answers there. I want to try a SAC system out myself, but haven't yet.

One thing you need to be aware of on the SAC forum is that there is a cult-like following of SAW Studio and SAC, so their users' judgement might be clouded.

My biggest concern is that a SAC system is made up of half a dozen cheap components, and if any of them fail, the show will stop.

To answer your question from what I have read:
Latency - 12ms round trip. A good digital console would be about half that.
VST plugins - some will significantly increase latency. The built in plugins are fine.
The SAC system is VERY powerful. It consists of 24 mixers. That's a lot of monitoring!
The remote interface makes it easy to mix anywhere in the room on a $250 netbook.
Users report that the sound is outstanding - even with the cheap Behringer preamps that everyone uses with the SAC.

In my opinion, the old saying, "you will never get fired for recommending IBM" comes into play here. If you use a Yamaha, Avid, digico, or even a Presonus digital mixer at a gig and it fails, they will blame the equipment, but if you use a home made SAC at a gig and it fails they will blame you.

~Jay
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#3
23rd March 2011
Old 23rd March 2011
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Quote:
Originally Posted by Jay M View Post
Look at the SAC forum, you can get a lot of answers there. I want to try a SAC system out myself, but haven't yet.

One thing you need to be aware of on the SAC forum is that there is a cult-like following of SAW Studio and SAC, so their users' judgement might be clouded.

My biggest concern is that a SAC system is made up of half a dozen cheap components, and if any of them fail, the show will stop.
You got that right. I was visiting there recently.

Years ago the SAW forum had a lot of serious audio folks that selected the very expensive software because of it's stability and features they liked. But then the developer would not add desperately needed updates like record looping and comprehensive submasters and aux sends and returns, so the dedicated users moved on to other DAW where the updates come faster.

Now, it's all about the bottom rung on the live audio market. That's cool because you need to start somewhere, but the average forum participant knows next to nothing about audio and has never done a gig outside their church or garage band. The expertise and experience of the forum users is rock bottom. But there are thousands of folks that may believe the BS and buy the $500 software because it's cheaper than the $600 mixer at Guitar Center ... not knowing the hidden expenses. And that's what SAC is all about.

Those that request improvements are shot down by the cult.

~deadears
#4
23rd March 2011
Old 23rd March 2011
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Quote:
Originally Posted by deadears View Post
You got that right. I was visiting there recently.

Years ago the SAW forum had a lot of serious audio folks that selected the very expensive software because of it's stability and features they liked. But then the developer would not add desperately needed updates like record looping and comprehensive submasters and aux sends and returns, so the dedicated users moved on to other DAW where the updates come faster.

Now, it's all about the bottom rung on the live audio market. That's cool because you need to start somewhere, but the average forum participant knows next to nothing about audio and has never done a gig outside their church or garage band. The expertise and experience of the forum users is rock bottom. But there are thousands of folks that may believe the BS and buy the $500 software because it's cheaper than the $600 mixer at Guitar Center ... not knowing the hidden expenses. And that's what SAC is all about.

Those that request improvements are shot down by the cult.

~deadears
One thing I will say is these guys have been doing Native audio on PCs longer than anyone. Many people don't know about SAW these days, but back around 94/95 it was the only usable game in town, and it was a while before anything caught up with it in terms of performance.

It used to be pretty cheap too, it was only later when Cubase VST and Logic audio etc took pretty much the whole prosumer market that they added features and settled into that high price niche market that became their staple for many years.
#5
23rd March 2011
Old 23rd March 2011
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Quote:
Originally Posted by Jon Hodgson View Post
One thing I will say is these guys have been doing Native audio on PCs longer than anyone. Many people don't know about SAW these days, but back around 94/95 it was the only usable game in town, and it was a while before anything caught up with it in terms of performance.
I was an early user back around 93 or 94. It was an excellent alternative to the more expensive options at the time. But that time has long past.

You should say "this guy" instead of "these guys". He had a staff of software engineers and tech support when his company was growing in the nineties, but since then has scaled back to a one man operation. His products have been surpassed by leaps and bounds by everyone else in the industry in terms of using the native power of the CPU. His products are limited to using ONE core, no matter how powerful your computer may be, IIUC.

His attempts to have a popular DAW didn't work out, and now he's going after the guy with $500 bucks in his pocket who thinks he can build a PA system for his church using cheap components.

It's really too bad, because as you said, he was one of the first guys on the block. He just wouldn't listen to anyone regarding their need for features, so they all moved on.

~deadears
#6
24th March 2011
Old 24th March 2011
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The users are believers, because the stuff works. What it does, it does perfectly... no bull, no crashes, no excuses. You should understand that the userbase is no more or less fanatical than those who use Reaper, or iPads, or anything else. They believe in the product they chose.

You want it to do something that it doesn't do, you are probably SOL. The developer built it for himself to do what he heeded to do in Vegas showrooms.

FOH magazine just did a complimentary piece about it. Tesla is using it on the road. Kenny Rogers is using it. Michal LeGrand.

There has always been a lot of hate for Bob L, and there has always been a lot of hate for his products on this forum. I'm one of the original users of his original SAW product, I moved to the Pro version when it happened and to the Studio version when it happened and I used it for many years, and made tons of money with it. While other people were waiting for stuff to render, I was on to the next project.

I moved on because I needed to do things that it did not do. I have no complaints, other than had it done what I needed to do, I never would have tried anything else. If your home stereo doesn't have an FM radio, does that make it a bad stereo?

It is simple enough to check it out. Like any other console, will it do what you need? As a console it is pretty robust with the routing and capabilities. The front end is where you can win or lose in terms of sound. The 'standard' setup seems to be mostly Behringer ADA-8000s tied to an RME RayDAT card. I'm okay with the RayDAT, but I sure would prefer a better preamp. I can imagine three ATI 8mx2s with Auroras or Myteks or something. But that ups the cost significantly. Using the behringers, building the system costs about what a Mackie 32*8 cost, back when it first came out. Maybe less.
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#7
24th March 2011
Old 24th March 2011
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Quote:
Originally Posted by deadears View Post
I was an early user back around 93 or 94. It was an excellent alternative to the more expensive options at the time. But that time has long past.

You should say "this guy" instead of "these guys". He had a staff of software engineers and tech support when his company was growing in the nineties, but since then has scaled back to a one man operation. His products have been surpassed by leaps and bounds by everyone else in the industry in terms of using the native power of the CPU. His products are limited to using ONE core, no matter how powerful your computer may be, IIUC.

His attempts to have a popular DAW didn't work out, and now he's going after the guy with $500 bucks in his pocket who thinks he can build a PA system for his church using cheap components.

It's really too bad, because as you said, he was one of the first guys on the block. He just wouldn't listen to anyone regarding their need for features, so they all moved on.

~deadears
As a user I look at things and wish they had more features, why can't it have XXX? It wouldn't be that hard to add.

But as a developer myself, I can see his point of view. There's a lot to be said for not trying to be everything to everyone and instead having a product that works really well for a specific group of people, who are willing to pay real money for it.

It might not be as potentially profitable, but it's a hell of a lot less stressful.

SAC is intended to run on a dedicated machine that isn't running anything else except perhaps SAW Studio Lite to record the session. If a reasonably priced machine gives enough performance on a single core to run it, then why invest serious time and money into making it multi-core? The buyer can probably upgrade to the fastest core available for less than he'd have to charge to recoup his costs.
#8
24th March 2011
Old 24th March 2011
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I have been looking at SAC for a while as well. I have a digital mixer for which I allready have all of the external expansion hardware that I need to run SAC. I just need to add the PC and the software.

I've played with the demo, but I haven't bought the full version or used it live as of yet, but I do plan to at some point soon.

The main reason I want to try it out is for the odd show that I do where I would have to mix from side stage. I end up doing a show like this at least twice a year, and I hate it. I love the idea of rolling in my FOH rack, shoving it side stage and taking a seat out front with my laptop. A mix out front as opposed to side stage will definaty be better, and even if I only use it twice a year, it will pay for itself.

Who knows, I might like it and start mixing on a laptop with a mouse. It seems to have everything I would need to get most jobs done. It would make a good backup system, or would also be good for those gigs where running a snake is just a pita.

Incidently, if you are looking just at a way to use VST's live, there is this package: BloXpander -> Live oriented VST Host

I haven't tried it myself, but I was thinking I might be able to shrink my rack a bit with it.
#9
24th March 2011
Old 24th March 2011
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Quote:
Originally Posted by Bill@WelcomeHome View Post
FOH magazine just did a complimentary piece about it. Tesla is using it on the road. Kenny Rogers is using it. Michal LeGrand.
FOH found it interesting as a concept, but did not like it that much. Michael LeGrand used it ONCE ... about a year ago .... while sub-mixing through a 56 channel Midas H3000 analog console to get 56 down to 16. Whoopee.

I know for a fact that Kenny Rodgers uses Avid Venue D-Show systems for both FOH and monitors EXCLUSIVELY. I'm familiar with the story. Kenny's roadie attempts to build custom SAC racks but has sold NONE (or very few) that I am aware of.

Quote:
The front end is where you can win or lose in terms of sound. The 'standard' setup seems to be mostly Behringer ADA-8000s tied to an RME RayDAT card. I'm okay with the RayDAT, but I sure would prefer a better preamp. I can imagine three ATI 8mx2s with Auroras or Myteks or something. But that ups the cost significantly. Using the behringers, building the system costs about what a Mackie 32*8 cost, back when it first came out.
Yes, perhaps a SAC rack built out of the cheap components you mentioned may compete with a Mackie system, but that is EONS away of the claims of replacing Midas, Soundcraft or Yamaha digital offerings for the concert stage.

By the time you add the high end pre-amps you suggest, and a serious control surface, the cost escalates into the range of the A&H iLive or Yamaha MC7L or even the PM5D, which include the redundant back up systems necessary for concert hall work. And the pre amps you mentioned are not even recallable.

But here's the caveat. SAC does not support a decent control surface with more than 8 faders, and the $200 Behringer is the popular solution. Many users have been burned by this.

SAC may be suitable for a church, which is the majority of it's user base, or perhaps small rental system for seminars, etc. and perhaps even a small combo playing in the local park.

SAW used to have a pretty impressive user base, but they all moved on, as you and I did, because the designer refused to add common everyday features needed by the masses. No seamless looping? Only six aux buses? Sub-masters and main outputs share the same faders? Come on. The same is going on with requests for SAC improvements.

The current target audience is the extreme low end of the live audio market, the speakers on sticks crowd. That's fine. If you visit the support forum, it is dominated by a few morons with no audio experience whatsoever, who do their best to discourage discussion of any improvements, insisting that their church system can handle baseball stadium level concerts mixing with a mouse and no plug-ins.

So sure, you can build something. Go ahead.

~deadears
#10
24th March 2011
Old 24th March 2011
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Quote:
Originally Posted by Jon Hodgson View Post
SAC is intended to run on a dedicated machine that isn't running anything else except perhaps SAW Studio Lite to record the session. If a reasonably priced machine gives enough performance on a single core to run it, then why invest serious time and money into making it multi-core? The buyer can probably upgrade to the fastest core available for less than he'd have to charge to recoup his costs.
That is one way of looking at it. But the other side is that the one man SAC development team is usually about two or three years behind the curve. His time is limited, so things take forever ...or never. He has this weird philosophy that the industry will change and see his better way of doing things. Never happens. In the meantime, his product is surpassed by too many others with a decent support structure.

There hasn't been a decent update on any of his products in far too long.

~deadears
#11
24th March 2011
Old 24th March 2011
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Who else is actually currently doing this? (providing PC based live mixing applications not tied to any specific hardware)
#12
24th March 2011
Old 24th March 2011
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Originally Posted by Andy Hamm View Post
Who else is actually currently doing this? (providing PC based live mixing applications not tied to any specific hardware)
There are a few, but SAC seems to be the best of that lot. The better solutions are tied to hardware, and are a lot less scary to end users. This is not really my field but as it happens a local house of worship has asked me to look at their system (thanks, Honey...) and suggest some refurbishments with an eye towards possible replacement. So I looked at SAC and decided that it was a wrong fit for their project and I'm looking at integrated hardware/software solutions, talking with my buds who -are- doing this kind of work and do know what works and what does not.

The last time I looked at this stuff was about ten years ago and the promises outmatched the realities by factors. One system that made me laugh was for a facility of over 1.5 million square feet... the promise was no mixers, all software control, need a module (eq, compression, whatever...), add it in software. The latency was unbelievable and in the end they bought little Mackie mixers for each room. I did try to warn them but they were more interested in listening to the salesmens promises of how cool they were going to be, having the latest and greatest and all. (shrug...)
#13
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Bill@WelcomeHome View Post
There are a few, but SAC seems to be the best of that lot. The better solutions are tied to hardware, and are a lot less scary to end users.
And why wouldn't they be less scary? A complete package that includes mic-pres, output electronics, faders, and a central and comprehensive parameter adjustment section for selected channels, and redundant power supplies at a lower cost than a SAC rig ... do the math.

The SAC rig is an option for the less than quality conscience crowd that wants to save a few hundred bucks that really do not need to attract business.

It's for the church crowd, and similar operators. Certainly not ready for prime time ... and probably never will be. Prime time is NOT the target audience as best I can tell.

~deadears
#14
25th March 2011
Old 25th March 2011
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And why wouldn't they be less scary?
Because boards of directors like to see integrated systems over cobbled together systems. A guy who shows up in a suit with brochures and soothing words is going to have an easier time selling to them than someone who wants to build them a system from a dell computer and some music store gear. For most it looks too much like what their sons are doing in the basement, and not very well. I'm simply making recommendations, examining the recommendations of others, and staying out of the way of the politics, so I don't really care one way or the other what they ultimately decide to do. I've nothing to gain either way. You can lead a horse...
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25th March 2011
Old 25th March 2011
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I think it would also be good for all of those soft seater gigs where the production is supplied and they choose to put the console in a projection booth and give you a little slider window to poke your head out so you can strain the hear the three underpowered passively crossed boxes from 1973 that are barking at the audience in the distance.

Come to think of it, there are quite a few gigs where a Motu and a few ADA8000's would be better than the production that is supplied.
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25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Andy Hamm View Post
I think it would also be good for all of those soft seater gigs where the production is supplied and they choose to put the console in a projection booth and give you a little slider window to poke your head out so you can strain the hear the three underpowered passively crossed boxes from 1973 that are barking at the audience in the distance.
Well, I guess I've never done any of those gigs.

The live audio market is varied indeed, from the arena and stadium shows to the club gigs and everything in between.

There certainly is a place for home made SAC rigs, but at the concert touring level, it's all about requiring the promoter to meet the requirements of a contract rider for audio and backline. I really don't see a SAC system fitting into that picture where local or regional companies are SO much better equipped. My biggest dilemma as prod manager and FOH on recent tours is to decide between a 5D or a Yammy 4K or Midas H3K. Offers of MC7L are denied immediately. I usually go for the analog option for fun, but go with digital options if there are more than one act on the bill... you know, recall and all that.

~deadears
#17
25th March 2011
Old 25th March 2011
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Originally Posted by deadears View Post
Well, I guess I've never done any of those gigs.

The live audio market is varied indeed, from the arena and stadium shows to the club gigs and everything in between.

There certainly is a place for home made SAC rigs, but at the concert touring level, it's all about requiring the promoter to meet the requirements of a contract rider for audio and backline. I really don't see a SAC system fitting into that picture where local or regional companies are SO much better equipped. My biggest dilemma as prod manager and FOH on recent tours is to decide between a 5D or a Yammy 4K or Midas H3K. Offers of MC7L are denied immediately. I usually go for the analog option for fun, but go with digital options if there are more than one act on the bill... you know, recall and all that.

~deadears
Apart from the well entrenched competition, what would you say makes SAC unsuitable in this circumstance? Or for larger fixed installations?

It's not an area I'm very familiar with (my personal envisaged needs are much smaller and I think there are more applicable solutions), but it seems that the feature set is applicable to a bit more than just "The Church Crowd", so it would be interesting to learn from someone who knows more about the needs for large setups than me... i.e. you
#18
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by deadears View Post
Well, I guess I've never done any of those gigs.

The live audio market is varied indeed, from the arena and stadium shows to the club gigs and everything in between.

There certainly is a place for home made SAC rigs, but at the concert touring level, it's all about requiring the promoter to meet the requirements of a contract rider for audio and backline. I really don't see a SAC system fitting into that picture where local or regional companies are SO much better equipped. My biggest dilemma as prod manager and FOH on recent tours is to decide between a 5D or a Yammy 4K or Midas H3K. Offers of MC7L are denied immediately. I usually go for the analog option for fun, but go with digital options if there are more than one act on the bill... you know, recall and all that.

~deadears
Yeah, I got that kind of luck, I guess. I do alot of Outdoor Festivals, Convention Centers, Theaters, Casinos and Clubs. Been years since I've mixed in a Hockey Arena, unless you count Roller Derby.

One show I can have a Venue SC48, Soundcraft Vi1, A&H I-live, big daddy Midas, etc the next it will be a Mackie VLZ with no outboard rack at all. Ticket prices and sales are the same, venue size relative, same tech rider. The tell tale is usually no return call when I try to advance the date.

I'm really not all that picky on supplied gear, as long as it's adequate and it all works the way it's supposed to. I just hate being in the hot seat, so I'd rather spend a bit of my own money to keep my ass out of the fire.

I found SAC because I used to use ProMix 01's as my walk in fix, and the same programmer had written the surface control for those way back and sent it to me for free. The ProMix's are too old, unreliable and bulky.

I need something that has 24 inputs and at least 6 auxes that I can set up side stage and control remotely with a laptop. It's not something that is really going to generate revenue, it's just going to help me keep my sanity. I use a MOTU as a format converter and I have 3 ADA8000's in my rack allready (for my TASCAM TM-D8000), so unless a better solution falls on my lap I'll be ponying up the $500 for SAC.
#19
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Andy Hamm View Post
I need something that has 24 inputs and at least 6 auxes that I can set up side stage and control remotely with a laptop. It's not something that is really going to generate revenue, it's just going to help me keep my sanity. I use a MOTU as a format converter and I have 3 ADA8000's in my rack allready (for my TASCAM TM-D8000), so unless a better solution falls on my lap I'll be ponying up the $500 for SAC.
Have you looked at the Presonus Live 24:4:2?

24 ins, 10 aux outputs, firewire (should you want to record the show) and an iPad app for remote control

Perhaps worth a look?
#20
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Andy Hamm View Post
I need something that has 24 inputs and at least 6 auxes that I can set up side stage and control remotely with a laptop. It's not something that is really going to generate revenue, it's just going to help me keep my sanity. I use a MOTU as a format converter and I have 3 ADA8000's in my rack allready (for my TASCAM TM-D8000), so unless a better solution falls on my lap I'll be ponying up the $500 for SAC.
Have you looked at the Presonus Live 24:4:2?

24 ins, 10 aux outputs, firewire (should you want to record the show) and an iPad app for wireless remote control (I think communicating through a computer linked to it directly though firewire, but I'm not sure)

Perhaps worth a look?

Then again, it sounds like with the ADA8000s you almost have the SAC setup as it is, so I can see how that makes sense.
#21
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Andy Hamm View Post
I need something that has 24 inputs and at least 6 auxes that I can set up side stage and control remotely with a laptop. It's not something that is really going to generate revenue, it's just going to help me keep my sanity. I use a MOTU as a format converter and I have 3 ADA8000's in my rack allready (for my TASCAM TM-D8000), so unless a better solution falls on my lap I'll be ponying up the $500 for SAC.
Perhaps a SAC system is the perfect solution for you then, since you already have some of the components. Make sure you have the right connectivity on your laptop for the audio interface you'll need to get in and out of the ADA 8000s.

~deadears
#22
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Jon Hodgson View Post
Apart from the well entrenched competition, what would you say makes SAC unsuitable in this circumstance? Or for larger fixed installations?
The short answer is lack of a control surface with more than 8 channels to satisfy the end users, and quality recallable mic pre amps ... to be able to recall the settings when there is more than one band ... as is typical in a concert setting. And I have to keep saying, when you add on these items, the cost starts approaching the offerings by Yamaha and A&H iLive.

~deadears
#23
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Jon Hodgson View Post
Have you looked at the Presonus Live 24:4:2?

24 ins, 10 aux outputs, firewire (should you want to record the show) and an iPad app for wireless remote control (I think communicating through a computer linked to it directly though firewire, but I'm not sure)

Perhaps worth a look?

Then again, it sounds like with the ADA8000s you almost have the SAC setup as it is, so I can see how that makes sense.
If my TASCAM was to give it up, or if I fall out of love with it, I'd be looking at the StudioLive for sure. But I rarely use my own console, maybe 5 or 6 times a year at best. I don't rent my gear out either, it's just for my own personal use for shows where it makes sense. I get the same rate when I bring my own gear, so it doesn't actually pay for itself.

I do carry a 6 space walk in rack though, and it's not too much of a stretch to go to a 12 space with wheels and a UPS. For the most part, the shows that I need something like SAC for aren't local, so I have to keep what I carry on the smaller side as it travels with me.
#24
25th March 2011
Old 25th March 2011
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Originally Posted by deadears View Post
The short answer is lack of a control surface with more than 8 channels to satisfy the end users
That bit at least doesn't seem to be a restriction these days, since there are pictures of setups with 16 and 24 faders. Or perhaps I'm missing something?
#25
25th March 2011
Old 25th March 2011
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Quote:
Originally Posted by Jon Hodgson View Post
That bit at least doesn't seem to be a restriction these days, since there are pictures of setups with 16 and 24 faders. Or perhaps I'm missing something?
I think you can use multiple 8 channel control surfaces of specific brands that are supported by SAC such as Behringer or MotorMix, but they are not of the caliber of the control surfaces end users have come to expect at the concert level.

~deadears
#26
25th March 2011
Old 25th March 2011
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I think you can use multiple 8 channel control surfaces of specific brands that are supported by SAC such as Behringer or MotorMix, but they are not of the caliber of the control surfaces end users have come to expect at the concert level.

~deadears
Well, currently the CM MotorMix and MotorMate are probably the best currently working with the PC... or at least, have been for a very long time. Hard to find, but still supported.

But the point to the software.. Software Audio Console.. is to avoid a console. To my experience, controllers suck other than the MotorMix and the DigiDesign consoles, Innovason consoles, and like that... which are 'controllers', too. But the typical Mackie/Behringer/etc etc don't feel anything like console faders.

I'm a diehard console guy when it comes to live work. Mostly I would get to use a Midas XL4, Heritage, or Yamahas. I don't want to use a digital console, I think they sound like ass. In my own studio we lost the consoles in the mid-1990s and it stayed that way until I left, when the new owner put in a console. (shrug)


I know that Bob controls the software in the Vegas showrooms remotely via a small cheap netbook.
#27
27th March 2011
Old 27th March 2011
  #27
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Quote:
Originally Posted by Bill@WelcomeHome View Post
But the point to the software.. Software Audio Console.. is to avoid a console. To my experience, controllers suck other than the MotorMix and the DigiDesign consoles, Innovason consoles, and like that... which are 'controllers', too. But the typical Mackie/Behringer/etc etc don't feel anything like console faders.
I agree that the Mackie and Behringer lot are not acceptable above the small job level, although perhaps adequate in permanent installation where very little changes from day to day, like the Vegas shows you mentioned. I 've been to those Vegas shows where the sound guy is barely awake, if he's in the booth at all.

Quote:
I'm a diehard console guy when it comes to live work. Mostly I would get to use a Midas XL4, Heritage, or Yamahas. I don't want to use a digital console, I think they sound like ass.
The SAC system is basically the insides of a digital console without the in/out hardware and fader packs. A computer audio engine.

I'm not sure it must sound like ass, although I also prefer analog consoles. It has a everything to do with the pre-amps and output electronics, and when you bring SAC up to the level of the self contained offerings of the better quality digital consoles, the price matches as well.

Clocking and the sample rate at which you operate is also important. I've discovered this with the Yamaha 5D, using an external clock and operating at 96K, a setting that is frequently overlooked by the operators.

~deadears
#28
27th March 2011
Old 27th March 2011
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I have done gigs where the sound guy used this system. The opening band sounded fantastic, then when we went up, he was doing my drum monitor while standing right next to me. Awesome!!

His sound was excellent. I know other pros that use this for concerts, and they get great results. It wasn't a church or a garage, it was a big concert.
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#29
29th March 2011
Old 29th March 2011
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That's cool, but there certainly isn't anything unique about remote control of a digital console or the audio engine. Yamaha, Avid and iLive all have these features available, either on board or with third party apps. Not sure about Midas, but that runs the gamut of "big concert" digital consoles.

~deadears
#30
30th March 2011
Old 30th March 2011
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Quote:
Originally Posted by deadears View Post
That's cool, but...
I'm sure there are lots of options out there.

I was responding to the assertion that SAC is for garage bands and churches, and isn't ready for prime time, and offered my experience. Have you used it yourself? Pretty handy.
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