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DANTE drawbacks? Consoles
Old 1 week ago
  #31
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Quote:
Originally Posted by deedeeyeah View Post
dante is not the problem, it's the lack of interoperability amongst manufacturers: wish they'd team up (as with midi and madi) and give us a common protocol so we can use a stagebox of choice to go with the existing desks in all venues - not gonna happen...
There are no MADI devices with control interoperability either.

Nearly every Dante stagebox can be controlled from an app, allowing for interoperability. Small price to pay if you want a good front end with an average console.

SSL stageboxes even output dual streams, doing gain compensation in the stagebox, so you can do gain comp with any other device.

That said, why would a facility with Dante even need a third party to do a recording? It's just DVS or PCIe to a DAW at that point.

At the larger more professional levels, touring, etc, no one is going to let somebody outside the production jump onto their Dante network. That will remain analog splits for the foreseeable future.
Old 1 week ago
  #32
Lives for gear
 

i didn't pretend that...

i actually don't care much about the format, it's just that i prefer madi (cause it either works or doesn't; if not, it's the device or the cable).

and when i get job, i usually get all the signals i need/want - which imo is mostly about advancing the gig and communication, so again not about formats.
Old 1 week ago
  #33
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tourtelot's Avatar
Quote:
Originally Posted by brew View Post
At the larger more professional levels, touring, etc, no one is going to let somebody outside the production jump onto their Dante network. That will remain analog splits for the foreseeable future.
No question about this in my experience.

D.

FWIW, I'm taking my small Dante rig (16 channel) to Benaroya Hall this weekend. It's a large Dante and Ravenna music hall. I will be taking analog mics from them and not integrating with anything in the house on any other level.
Old 1 week ago
  #34
Gear Nut
 

Quote:
Originally Posted by RobAnderson View Post
So, I've been working with analog splits for a long time, but the world is quickly drifting towards networked audio for everyone at live events. DANTE seems to be the dominant force, at least for now.

I recently had a situation where the venue tried to get a client to dump me off a gig and go in favour of someone whose rig was compatible with their in-house DANTE system; so it seems to me that at some point I have to make this move.

I have some reservations, and am hoping some here can point me in a direction to resolve them:

1 - If I am tying in to their system, I am at the mercy of the FOH mixer's gain structure. From my understanding, whoever has control of the stagebox determines the gain structure for everyone else on the network. In other words, if he's asleep at the switch and the vocal mic is consistently driving into the red, my recording is doomed. Am I wrong about this?

2 - If I am tying into their system, I am at the mercy of the quality of their front end. It is one thing if someone is running DAD or Merging, but mostly I'm seeing Yamaha Rio's, and my experience with Yammy mic amps and converters is that they're OK, but definitely not going to deliver the quality I am currently getting. Am I wrong about this? What is the work around?

3 - I still hate the idea of depending on a laptop, and now I'd need two to run redundant rigs. Plus, I think I'd need to use some sort of aggregator to monitor the stream if I were using DVS; and in my experience aggregators tend to make laptops even more unstable. Yeah - I could spring for a BBR-64 or a Pix270i, but that's a lot of bread for a box that will end up being beholden to a live-sound-grade front end most of the time.

4 - Since these are established venues, and/or touring shows, someone else is probably handling the network admin, which makes troubleshooting and problem-solving a bit harder for me, since some things will be out of my hands. I have also seen where some folks on the network can end up causing problems for others who are connected. Am I wrong about this?

Thanks for your insights.
As others have said, yes to all your points. I'd just add that instead of #3 , you could pick up one of the new cheap & cheerfull Audinate AVIO stereo Dante adaptors for monitoring from DVS.

It's a tough one, it's a tough market and I think you are doing very well to be out there, given how easy it is for a well organised to crew to take their own recording off a desk now, and go the extra mile with crowd & ambience.

The undermining sucks, but from the house's POV, they are probably so used to now plugging straight into their RIO's side of stage, that the thought of someone getting between that signal flow seems disruptive and last decade. And hey, they took a recording a few times with DVS and it was pretty good.

I guess what you need to communicate is that while the transport may be high quality, operationally, to just take the Dante stream is equivilent to you plugging in the direct outs of an analogue FOH console. It's all about the level of job really, and what is approriate. One the one hand, if you have a good relationship with FOH (and trust their gain structure), taking the direct stream, supplementing some crowd and ambience mics with your own inputs, and doing a live reference mix is a good service level. The relationship is the make or break there: bad gain structure or snapshot routing inattention will kill you.

On another, a good active or Lundahl transformer split, higher quality pre's & ADC is going to be a superior result, and is that important to the client?

It's interesting that viewed from some angles, the new easy & high quality signal transports and live desk facilities could re-make the case for the truck. We have to provide a service level point of difference from the easy live desk capture. Top level front end, a skilled broadcast mix in an acoustically isolated environment are just that.
Simon

Last edited by potscrubber; 1 week ago at 09:39 AM..
Old 1 week ago
  #35
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jwh1192's Avatar
more like Dante's Inferno in here ..
Old 1 week ago
  #36
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jimjazzdad's Avatar
Quote:
Originally Posted by TMetzinger View Post
There's no tone in text. That's part of the problem. I'm convinced that at lest 33% of what we "hear" when we read another person's post is our own preconceptions and biases.
Quote:
Originally Posted by Brent Hahn View Post
Good writing isn't vague in its meaning.
So true! But even the greatest authors are subject to critique and interpretation. Of course we lazy forum posters can also rely on emojis to help shape our tone.

The other point is that there are many English-as-a-second-language members here on GS, so its best to write concisely and not rely on implied tone in our writing. In another forum that I follow, unrelated to audio, some posters use the 'sarcasm font' (basically just purple text) when they want to make it clear that they're not being serious. I'm not suggesting that is something we should do here
Old 1 week ago
  #37
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jwh1192's Avatar
man, some people just do not know when it is time to "Drop It - Sean Connery to Barbara Walters" !!!

ok, i tried to make it Purple ..lets see what happens .. !!!
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