Live mixing with PTs (Grammy awards)

[Timsplace]

I'm curious about how Effanel handles mixing a live show through Protools? It seems like a great idea from the standpoint of "Pre-mixing", but when it comes time for the live broadcast, I'd get a little nervous. Am I correct in assuming they do the live mix monitoring on input? Are they recording? What about delay compensation? What's the backup in case of a crash? Are they switching sessions between performances?

Anyone have any details on the real workflow?

Thanks

[Timsplace]

I read about how Effanel uses Protools to mix the GRAMMY awards live. I'm curious about their workflow etc. Are they switching sessions for every act? What's their backup? Is Protools run on input during the show? I'm exploring the possibility of using PT's aux inputs for FX processing while recording a live show simultaneously.

Any one have some insight on their techniques?

Tim

[PDC]

I have done it.

I have never had a crash. I had the channels in record mode, but was not rolling. I don't think that I have ever heard of a system crashing while monitoring in record mode.

[Timsplace]

I'd be potentially recording on 100+ tracks and using 2-4 (or more if it works) aux inputs for live processing. The mix is happening on a large format console. Isos are being recorded to Protools (for re-run remixing). I'm going to start testing this over the summer.

Tim

Originally Posted by PDC

I have done it.
I have never had a crash. I had the channels in record mode, but was not rolling. I don't think that I have ever heard of a system crashing while monitoring in record mode.

[Remoteness]

Tim,

As you may already know, mixing a live show through your preferred recording device is a very old technique.
Recording the sound check or rehearsal then (pre) mixing the tracks for the show time performance is a fantastic concept.
Making sure your recording system is stable enough to work flawlessly is mission critical.
…And then you still have to have your backups.

Using a DAW for live audio production is truly a cutting edge approach.
Triple redundancy securing technically perfect audio production during a live teleproduction sounds like the only way to go. YMMV.

You have a few manual techniques for switching to your back up system when your main system crashes.
There are automated systems that can switch to an alternate mix when the main mix goes to (audio) black.

...But, what about XM / Effanel Music?

[rmx16]

Tim
Here's a post from rec.audio.pro group on what went down at Live 8 in Philly two years ago.
http://groups.google.com/group/rec.a...n&lr=&ie=UTF-8

Peace
Rob

[effanel- rand]

Originally Posted by Timsplace

I'm curious about how Effanel handles mixing a live show through Protools? It seems like a great idea from the standpoint of "Pre-mixing", but when it comes time for the live broadcast, I'd get a little nervous. Thanks

At Effanel, we've always lived on the edge in terms of our willingness to sacrifice a little bit of "reliability" for the sake of mix power and nuance on live broadcasts. We were the first guys to go live with a digital console- our wonderfully flawed Capricorn- on The Grammys (14 live performances) about 9 years ago. We've never looked back. With the exception of 45 seconds of dead air on the friggin' Thanksgiving Parade, we've always managed to pull it off. And the artists love it! ((A few broadcast dinosaurs gave us some flack but that made it all the more fun.))

Our methodolgy for using Pro Tolls live (Capricorn is history. We're now an ICON shop.) is to spread the horsepower across multiple systems. We place our mic pre's and d/a converters on stage, send the signal to the truck via fiber, record to two separate PT systems. We then mix the show on a separate, non-recording, PT/ICON rig- after the recorders. The PT recorders record. The PT mixer mixes. Hardly taxes either system. More solid and reliable than any other system we've ever used, analog or digital.

And now the artist is in a position to participate because everyone speaks Pro Tools.

As for pre-sets, each performance is stored as snapshot.

(Special nods to Joel Singer and Rob Macomber for making it work so well!)

[Remoteness]

Randy,

Since this is your first post, I want to welcome to the "Remote Possibilities" forum.

Thank you so much for your candid reply.

I trust we will be seeing more of you on this forum!

All the best to you and yours.

[cajonezzz]

I love it. Mixing on the Icon is a blast!

glad this is working out man.. love to see it in action. any possibility of making a little dv of that in action?

which reminds me Steve-- what's the chance of doing a little mini documentary of one of your live gigs.. from prep to wrap up? Maybe have a kid with a mini dv cam on the date? It would be SUCH a cool resource here to watch.

I'll come do it!

cz

[cajonezzz]

Originally Posted by effanel- rand

At Effanel, we've always lived on the edge in terms of our willingness to sacrifice a little bit of "reliability" for the sake of mix power and nuance on live broadcasts. We were the first guys to go live with a digital console- our wonderfully flawed Capricorn- on The Grammys (14 live performances) about 9 years ago. We've never looked back. With the exception of 45 seconds of dead air on the friggin' Thanksgiving Parade, we've always managed to pull it off. And the artists love it! ((A few broadcast dinosaurs gave us some flack but that made it all the more fun.))

Our methodolgy for using Pro Tolls live (Capricorn is history. We're now an ICON shop.) is to spread the horsepower across multiple systems. We place our mic pre's and d/a converters on stage, send the signal to the truck via fiber, record to two separate PT systems. We then mix the show on a separate, non-recording, PT/ICON rig- after the recorders. The PT recorders record. The PT mixer mixes. Hardly taxes either system. More solid and reliable than any other system we've ever used, analog or digital.

And now the artist is in a position to participate because everyone speaks Pro Tools.

As for pre-sets, each performance is stored as snapshot.

(Special nods to Joel Singer and Rob Macomber for making it work so well!)

Are you mixing on an D control or a Venue??