Glad you enjoyed it! We actually upgraded to the DigiCo Quantum 338 this year. We were running into some channel and buss count issues.

It’s got some Velcro strips on it so I can pull it out easier. The knobs on the top have definitely got a bit beat up in transit. Still work just fine, but the soft rubber stuff gets dinged up pretty easy. I might do the DSPRO1000 if I were to do it again. It didn’t exist when I ordered and put this stuff together.

Yeah so that is how we do monitors for this band. They like the personal mixer thing and it gives us easy integration with headphones. The M32C rack has the sound grid card in it and I patch direct from the I/O to both LV1 and the M32C

Thanks. These are the 24” Dell touch screens

@@ConstellationAudioTutorials Awesome, thank you for the reply! How do they perform out doors on a sunny day? Can you still see the image well?

@@frankgatsbybeats3999 I haven’t used it in direct sunlight. It holds up pretty well. It’s the Dell P2418HT so you could google that. I’m sure there are a lot of reviews about daylight performance.

This is LV1 which isn’t a “Native Mode” application. It requires a Soundgrid Server. I have the Extreme model. The PC itself is an HP EliteDesk 705 G4 - mini desktop - Ryzen 5 Pro 2400GE 3.2 GHz - 16GB ram. Runs the LV1 software great!

I've got another "first impressions video" but I've been tweaking on my setup for so long (and bogged down with work/gigs). I'll work on something! As for updates, not much from Waves. Honestly, it hasn't needed much. It works as expected. Quick moves confuse the communication protocol. Some report issues with that. While I can replicate the issue, I don't typically flick a fader down 20db that fast so I don't run into the problem. haha. Overall works as expected. I wish they would allow for 2 FIT controllers. Rumors abound, but Waves (or any audio company for that matter) are pretty slow to implement changes. I would still 10/10 recommend it!

In my case, I had ordered it the day it came out. Talking with OCD they had a prototype from Waves and the final ended up being different. I would have to imagine they now ship the shim standard.

@@ConstellationAudioTutorials well, if we are talking within the last month, then no.. They don't send the shim out.. I just sent them an email today about this.

@@TwilightSentinel weird.

Yup! That was an update that came out after I recorded this video. I now use that. My only wish is that the coloring was a bit more prominent close to the fader.

@@ConstellationAudioTutorials Totally agree... Honestly, I wish Waves would just make a FOH console with I/O, faders and touchscreen all in one unit! That would be awesome!

Sure thing! The Calrec stuff seems similar. If they could get Waves direct integration that would blow stuff up. I do like the modular/software based solution. There's some flexibility for future development that I like.

Thanks. Our room is well acoustically treated. It’s got around a 1.3 second reverb time if I remember right. Speech intelligibility is around a .73 (studios are about .9. Nothing is 1.0). It’s good, but it’s by no means perfect. We also try to minimize stage noise as much as possible (amps in iso boxes, cymbal shields, etc). I’ve personally spent a long time tuning the sound system over the years. It’s well balanced with a small extra amount of low end on the bottom. Our amps, DSP, and console are all well balanced to provide sufficient power and output. I run our console’s main fader at -5. Not strong reason there. We do typically try to have our inputs around 0 to +6 on these meters (which max at +18). We actually used to have an Si3 before this. I can’t remember how similar the metering is. My goal in setting gain is to “tickle the yellow”. Some channels (like kick) hit hotter sometimes. Vocals average around there but when they really dig in it gets louder. Aside from infrequent bursts of loudness, none of our inputs clip when using this method. Balancing a sound system where inputs are coming in at a health level, no internal summing distortion happens, and having proper power to the speakers is a bit of a dance. My preference is to generally run amps wide open in case I need the headroom, run the preamps properly (tickling the yellow), make sure none of my busses are clipping, and then adjust either console output or DSP input to compensate how loud I actually need it. I hope that kind of makes sense! I once helped a church with a basic Behringer crossover thing and their knobs got turned by a little kid years earlier so they just adapted by turning their console output down -30. They were clipping the crap out of the internal summing and the PA was super “hissy” because of the noise of the crossover. 🤦🏼‍♂️

@@ConstellationAudioTutorials Thank you very much for your thorough answer! I shall have to work within the limitations of what is there at my church. There is a combination of headphones via Avioms and large stage monitor speakers (anywhere from 1-3, depending on the service) and virtually no acoustic treatment on walls of drywall and stone. Ugh. When the subs are pushed a bit hard, it just kills most everything else in the sanctuary. The integration company didn't finish the job well because the church ran out of budget for their building program (this was long before I came there). Some people believe you can have a great service with poor sound acoustics. Pity. Because of the many COVID lockdowns, I haven't had the opportunity yet to spend a number of hours listening through favourite music and tracks in the sanctuary alone. The primary goal is to get a feel for the room with different styles of music and different volumes. Smaart will be virutally useless there at this time, I believe. Thanks again for your great presentation! It has inspired me to believe that a solution can be found! If anyone wants to help with a GoFundMe page for a nearly new Vi1, let me know. ;)

Sorry for the delayed response! It's been busy around here! I think we actually chatted briefly on another video of mine too. The "power" of LV1 is that it can take many different shapes and sizes. I think that it could be a good tool for you and what you are looking to do. The list you have is good. The only thing I would recommend is having a dedicated windows "NUC" style computer to run the LV1 software. The reason for this is that Windows works best with touch screens, and having it be a separate computer from your tracks/recording/etc allows it to focus on LV1 and not do too much. As for the Apollo, unfortunately that doesn't really integrate into the SoundGrid network "natively". The digigrid D and similar SoundGrid enabled hardware is what would work best.

I think the LV1 would be a super powerful tool for you. I also own the MR18 (just like the XR18). It's great for simple stuff, but the quality & power-user features just aren't there. You've got a few options on how to proceed. If you don't think you'll ever need a ton more channels, I suggest the following: 1. LV1 16ch license 2. Waves Server One-C AND the rack shelf (or rack ears if you want it centered in the space. I like the shelf because it gives you a half-rack space for other stuff). 3. Computer to mix on... more on this below 4. DSPro StageGrid 1000 I/O (8x4)... if you need more I/O I would get two of them. Not sure how you're getting backing tracks in. My band accomplishes this from Ableton and the SoundGrid Driver so it's just a network connection to LV1 so that saves on I/O. 5. Netgear GS108 switch and Cat6 cables to connect it all. 6. Something to transport it all Bundles: There are some bundles of hardware/LV1 license. This might save you some. I always suggest building a relationship with a dealer to get you better than online prices. Computer: There are a few schools of thought here. If you're fine WITHOUT touch, you could just use your MacBook Pro. Macs stuck at touch so even if you got a touch screen it would never work that great. I went the HP mini computer route. I suck at Windows PCs, but had a friend get me what I need. I wouldn't waste money on the Axis one for your application. It's 3x the cost of what I have. Server: You do need a server with LV1. They have the impact and the proton, but both of those don't have very much horse power. This is the one thing I wouldn't skimp on. I normally suggest the Extreme, but for your application the One will work just fine. The Impact will function, but if you like more than one reverb plugin you're going to be wishing you had more DSP. Plugins: If everything is covered under the update plan (WUP) then you can have plugins on 2 computers. If you just use your Mac for everything, you wouldn't need to do that. Only if you use 2 computers. I have a Mac for post-production and the windows PC for LV1. I LOVE having the 2-license thing. The ONLY downside to LV1 for your case is that remote mixing will be tough. If you're used to being able to walk around with an iPad and come back to your computer, that's going to be a bit trickier with LV1. You could use a screen-share app to remote control LV1 from your Mac remotely. I do that with Window's Remote Desktop app and it works fairly well. If you're just at your computer and don't need to roam much, you'll be ok. The MyMon iPad app only controls monitor mixes, not the main mix. I hope that helps! Hit me up if you have more questions.

@@ConstellationAudioTutorials Wow, thank you so much for taken that time in giving such a detailed response.. i really appreciate that… i’m glad you mentioned the HP Windows route as this is what i use for my tracks so does that mean i can have the LV1 software on same computer and do the mix from there also? So the HP Mini is touch screen and will do same job as axis? I wonder if the Asus ZenBook Pro Duo Would do? Yes i’d go with the “waves server one c and rack shelf” with 16ch lv1 DSPro Stagegrid 1000 I/O (8x4)may be enough as all i need is two mics and two extra channels for audio something to transport… I have a box built round my xr18 so i may use something like that? in regards to the server… As all music is already treated (backing tracks) so i only need to focus on vocal power so you recommend the Extreme for this? Seeing i will be using the HP MINI for LV1 i may get two licenses 👍🏽 no i don’t bother with remote mixing as i always stay at computer so that’s good! just to recap on vocal power, you recommend the “Extreme” as the vocals is were the fun is… and is the above sufficient fir a two piece vocal only setup? Again thank you so much fir your time 🙏🙂

No problem! Happy to help! Server One should be plenty powerful for what you’re looking to do. Save your pennies. As for the computer… you could try running it on the tracks computer. You’ll want two separate monitors if that workflow makes sense. LV1 thrives in full-screen. The cool thing is that you can “pop out” some plugin windows and have them next to your track stuff on the other screen if needed. The computer doesn’t need to be super crazy powerful. I have 16gb of ram and an SSD and it runs just fine. You’ll just want to make sure stuff is secured well so you don’t lose connections!

@@ConstellationAudioTutorials Perfect i’ll go with that! 👍🏽 I learned a lot from your advice and happy to be one of your subscribers… thank you 🙏

Thanks!!

Are you getting hung up on a step or need help getting started? I can try to help if you let me know the following: 1. What audio console do you have, 2. What DAW (recording software) do you have? 3. What audio interface do you want to use to record/playback audio (Dante, MADI, etc), 4.Are you using a Mac or PC?

@@ConstellationAudioTutorials I need help on the set up we use a vi3000 the DAW Logic Pro and we are using Dante and we have a Mac

1. You'll need the Dante Controller and Dante Virtual Soundcard programs installed and working on your Mac first. 2. Connect everything together with network cables (computer and soundboard can plug into a basic Netgear Prosafe GS108 if you don't need network access). 3. Launch Dante Controller and make sure Vi3000 is set to preferred master AND DON'T SKIP THIS: select "Enable Sync to External". This tells the Dante card to look at the Vi3000 as the master clock source for the Dante network. 4. On Vi3000 under Sync settings make sure INT is selected on the left, and Slave is selected on the right. The Dante card in the console is a "slave" to the master clock inside the console. The Dante card is technically "separate" from the console even though it's inside. 5. On the Mac with Logic, launch DVS and set the I/O to 64x64, latency to 10ms, and network interface to whatever connection you have to the network. NOTE: I strongly suggest if you don't have a physical network port on your Mac (most don't these days), you should use Apple's Thunderbolt 3 to Thunderbolt 2 adaptor (if you have TB3) and then go into Apple's Thunderbolt 2 to ethernet adaptor. MOST other adaptors WILL NOT work with Dante. You've been warned. haha. 6. Hit Start in DVS 7. In Logic, start it up and set the audio interface to be Dante Virtual Soundcard, once that's done creating the recording file is a lot easier: 8. In Logic, create a new project, tell it to have 64 inputs and select "ascending inputs", and then tell it to output to Mono>1 with ascending Outputs. This will create a file that has 64 channels with 64 inputs and each channel will go out the corresponding output (1-64). I would save this as a template after you name your channels if you do the same thing week-to-week. 9. In Dante Controller, patch Vi3000 Outputs to your Mac's DVS, and then the Mac's DVS to Vi3000 Inputs. I suggest doing this one-to-one. This has digitally patched the 64 Dante outputs of the Vi3000 to the 64 inputs of Logic, and vice versa. 10. On the Vi3000, there's a switch that selects whether the console receives from the internal MADI or the internal Dante. It's the Dante/MADI switch under Settings. You'll want to make sure that's on Dante. 11. Now you need to route channels to Dante. Just about anything can be routed to Dante outputs (like the main LR for example), but for individual channels, I suggest doing it with the Direct Out feature. This is in the bottom (yellow) box section of each channel. MAKE SURE that the tap selector is set all the way to the left (pre processing) so that you're recording the channel raw. If you record the processing (or heaven forbid post-fader) then virtual soundcheck is useless. 12. Next you need to patch the returns from Logic to the channels. The Vi3000 has a handy feature in that all channels can have 2 inputs. I suggest having your normal "live" input be input 1, and input 2 be your virtual soundcheck input. By default the [F] button next to the [ISO] button flips between these 2 inputs. Go through all of your channels and patch Input 2 to whatever Dante channel you used the Direct Out to go to Logic. This way it's all 1-to-1. 13. Lastly, you can setup a snapshot to switch between Mic and Dante inputs. This snapshot effectively hits the [F] button on whatever channels you want. If you don't know how to do this, I suggest studying the Vi3000 manual and learning how to snapshots. Once you've recorded something, simply stop the recording, re-wind to where you want to play back, flip the input of the channel(s) you want to hear, and BOOM. Virtual Soundcheck. It's "simple" once you get it setup and tested. Especially if you figure out how to do the snapshot that flips the input on all of the channels. Hit me up if you need further explanation on anything.

Are you currently recording off the desk? Perhaps via the internal Dante? There’s a few ways to implement virtual soundcheck. My personal favorite is to use the desk’s “second input” on each channel. I select the digital input from my recording software (Dante if you use that). If kick is Dante out #1, then you could use Dante In #1 for virtual soundcheck. Here are the caveats: 1. You need to setup your recording software to output 1-to-1. So input 14 goes out output 14, etc. 2. You need enough channels for everything you want to record and then virtual soundcheck. Dante does 64 channels which covers a lot, but not necessarily everything. So chose wisely if you’re maxing out your I/O. 3. The Vi3000 has a software switch to select between the internal MADI and the internal Dante. While it can output on both simultaneously, it can only return on one or the other. The switch is located in settings. 4. I set up a snapshot to flip between input 1 (analog) and input 2 (digital for virtual soundcheck) on the channels I use for virtual soundcheck. That makes it quick to go back and forth. 5. Always save your show on analog inputs. There’s a bug on the Vi3000 that they haven’t fixed and if you save it on a digital input and re-load the show it’ll zero out the gains. Learned that the hard way!!

In this instance, I’m using soundgrid via an MGO connected to the built-in MADI port. I could just as easily use Dante though.

@@ConstellationAudioTutorials Thanks!

It's the Pelican 1637. I believe OCD Labs does some of their own foam to make everything fit snug, but you could probably do it your self pretty easy.

Hey John! Thanks for your interest. Waves has some pretty good overview videos for LV1 on their channel you should check out. I’m guessing kok might be for karaoke? There are certainly more simple (and less expensive) systems for karaoke, but this would be a great solution if you like using Waves plugins and need to take karaoke to the next level.

Thanks!

I'm guessing that a lot of folks said something similar when they introduced electric guitars. ;) But in all seriousness, some bands use it as a crutch, some use it as a tool to expand what they're doing. I like to think we use it as the latter. Like all creative forms, it is subjective. :)

Which SD? Could be quite a price difference there

11i

Waves has actually fixed the problem that appeared in the video since I filmed it. However, that still is a thing that "can" happen. I'd also say it could happen to any console, but software based solutions certainly have more bugs than hardware. I'd 110% own a digico, but the cost for equivalent capabilities is prohibitive for my use. There are way more scenarios that a physical console is the better option than for LV1 (or DAW, or iPad only mixer).

@@dyarger Ive had as many if not more critical issues and failures on SD consoles then I have with Lv1. Lv1 has never jumped 25db on its on mid show on me, SD11 did. Multiple times. Thats a lot on an EDM stage. Another time, it kept ganging all faders on all layers together on its own, so if I touched 1 fader, it was essentially a DCA for EVEYTHING.

I apologize for the delayed response. I was waiting until I could get a scale and my pelican in the same room. I just weighed my setup and it came in right around 65-70 lbs (30-31kg). I'm guessing mine is a bit lighter than if you did the Waves PC and server in the rack. Unfortunately all of that means that you'll be over the 23kg cutoff for overweight luggage. It's possible that only having 1 monitor and not having the FIT would help. I also cary power, ethernet, and a keyboard in my pelican. Each of those adds a little bit so you "might" be able to get it down to 23kg. I wouldn't count on it though!

They recently released a firmware update that DOES allow it to work with Logic and other DAWs. I briefly tried it. It worked but I didn't load up a full mix in Logic to fully run it through it's paces. I hope to do that at some point though!

@@ConstellationAudioTutorials Great ! Thank you for answering my question, I really appreciate :)

Thanks for watching!

Thanks Barry!

The S4 and S6 are completely different as they are not live sound consoles. The S6L is AVID's live audio console in the range of the Vi3000. There's a lot of different flavors of the S6L and some are close to the cost of the Vi3000. The rest are much more.

Are you talking about vibrato? The male voice on Living Hope is the only vibrato that isn't stylistically what we're going for normally. Other than that it's very much a style.

Regardless of what it is, I think you've done a fantastic job!

Glad you enjoyed it!

Thanks! I've got a few more in the works!

Thank you for your kind words! The idea of having the same setups at all locations is great if you can afford it. I work with both the Vi line and the LV1 system. Both are fantastic. I find the Vi3000 (and the whole range) to be a bit more user friendly. LV1 can be temperamental at times. Though the FIT controller is great, nothing replaces the stability and ease of use of a physical console. I would suggest going with the Vi line if possible. You can integrate SuperRack via the MADI expansion card slot with an MGO. That is what I have used in this video for all band processing. If Waves isn't financially attainable in the beginning, the on-board console stuff is fantastic. Any of those platforms would easily out perform the x32, but that does come at a greater cost.

@@ConstellationAudioTutorials True, both options sound better and offer greater possibilities than a X32 :) Thanks for your reccomendation of the Vi - guess I'm gonna look out for some offers of used Vi's

@@arnebronk228 You're comparing apples to peanuts by even mentioning the M32 or X32 as a comparison to the Soundcraft. Just a simple comparison of the cost should be enough of a takeaway. The M32& & X32's are nowhere near the target market here. If someone has the budget & the ability to decipher the sound quality that needs to be fulfilled then the result is evident as in this production.

In this instance, no. With LV1 (or SuperRack) both of those take the roll of assigning IO and servers to the system. You will have issues if SoundGrid Studio is running on the machine. You'll want to make sure that it is not set to launch on startup. By default it does and that can cause issues.

I love me some Lexicon. Interestingly enough I’m not using the lexicon on the console at the moment. Everything I’m using is from Waves (Hverb and abby road plates)

@@ConstellationAudioTutorials wow bro sounds amazing i would just turn up the bass guitar just a tad bit but wow bro! Any more videos coming? Im currently thinking about a vi2000 for a church. Its between the allen and heath dlive s5000 and the soundcraft vi2000. May i ask what reverbs would you suggest to use on the vi2000? Thanks!

@@soundfreak8892 we are struggling a bit with our bass tone. Since I made this I’ve made some improvements so it’s a tad better. Depends on the bassist. The AH stuff is great. We’re using all Waves processing thru super rack for the effects and individual channel processing. Either the s500 or vi2000 would be great consoles. Really just depends on all your channel/buss needs (as well as budget and physical surface needs)

@@ConstellationAudioTutorials i thought the vi series didn't work with waves

@@soundfreak8892 it does. You need MADI to an MGB/MGO device to get it to SoundGrid. There isn’t a native soundgrid card but the MGO/MGB is a very common setup for some audio consoles.Up to 128x128 to soundgrid. We use a MADI optical card AND the built in MADI to feed 128 channels to soundgrid. 64 are direct outs for recording, the 2nd set of 64 are for super rack

Smaart is so great! So worth it for so many things.

Ivan Hurtado thanks! Unfortunately for LV1 to process audio it needs a server. You can set up a file offline, but to hear audio it needs to go through a server.

Glad you liked it!