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Mixing Live with RML Labs’ Software Audio Console, Part 2

May 18, 2012 10:06 AM, WIth Bennett Liles

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Yeah and that way your band guys can be pretty well self sufficient on what they’re listening to.

Exactly and they give you, for the monitors side of things, it gives you many different ways to how you want to see the signal whether it’s pre-fader, post-fader, from FOH, I think you can do pre-patch point, pre-EQ, there’s a lot of different combinations you can get to give to the monitor side of the sack audio console. [Timestamp: 5:25]

One big question I know people are wondering about. What kind of processing do you really need for a setup like this?

We actually built our computer and on their website—again, it’s a really good website—it gives you a lot of good information and they have a what they suggest for their computers so we try to stay as close to that as we could but we’re using, I believe it’s a I3CPU processor 3.1 GHz and then we’re only running I think four gigs of ram of memory in it and then just a small hard drive because the hard drive is not doing anything except saving files. I think it’s like a 60 gig hard drive. And then also that’s the only the thing on that computer because we didn’t put anything else, they don’t recommend you put anything else on it because we want it just to run audio. We don’t want it to do anything else and because of that it’s been very reliable. We have had no issues with lock up or anything like that, the only problem we’ve had is we lost our TCP/IP connection one week. The thing kept running though because the main computer is what’s actually running the console and the audio we just couldn’t control it but we were able to solve that pretty quickly and to be honest with you we also, something I haven’t told you, we have a system in the FOH also where we have a totally separate computer that is talking to our main frame wirelessly just set up as another remote so when we lost that TCP connection we were actually able to reach, go over to our other little computer and wirelessly was still there. It’s very reliable and like I said we put nothing else on that computer we just strictly let it only run software audio console. [Timestamp: 7:10]

What have you got in the way of plug-ins on this setup?

You know, we’re not actually using a lot of plug-in’s. It comes with a pretty good EQ, it’s got compression, it’s got gating on every channel, the only plug-in we demo’d and we just ended up not buying it at the present time is the reverb on it because it has, it actually has a delay on it that you can do tap delay on it, it’s got some graphic EQ’s on it that came with it. The only reason we didn’t do the reverb is we have some Lexicon units and we really like those so we just decided to keep those and run, just bring them back in whatever inputs we have room for. [Timestamp: 7:36]

I’d say that’s one of the big advantages on something like this. You don’t have as much hardware and it’s easier to custom tailor it. That’s the upside anyway. Is there a particular downside to doing this, any kind of challenges that you’ve had to get used to on doing it this way?

You know, I can’t say there really is. We’ve been very happy with it. We really like that there’s not a lot of pages that you have to go through like on some of the digital consoles and you can get to things really quickly which is a plus. If an acoustic guitar starts ringing out, I’m a mouse click away from being able to grab it, grab the EQ, bring the whole set up on it right up on screen and address the problem. So in the old days if we had compressors and stuff they were usually in the bottom of the rack so you would have to lean down. With this it’s all right in your face. I can’t think of any disadvantages really. [Timestamp: 8:24]

And I would think that you have to teach some of the other crew people how to operate all of this.

Yeah, we’ve—we don’t have many audio guys. We have one guy that pretty much is our FOH audio every week if he can’t be there usually it falls to me or if we have other events going on in the week I’ll do it and then we have one other guy who is a—he’s also a studio engineer here in town. We’re very blessed actually. And he actually ran it by himself a couple weeks ago and he had no issues either. We even have it set up so that when the computer boots it boots up into Software Audio Console. It’s literally like just flipping the power switch on an analog console and then for us we open the file that we want and it goes live and it’s just like any other console. [Timestamp: 9:07]

So you eventually get more people in there or you get a bigger band or whatever, what are you going to stick on it? What’s first on your wish list about adding to this thing?

As far as the console, the only thing I could see we might add would be maybe some more inputs if we started doing more with the way we wanted to record. With this console also you can run the SAWStudio software which would give you a digital recorder basically and that’s something we might add at some point so that we could record our services each and every week and then go back and mix them at a later date and so that would be one thing we would probably add in the future. [Timestamp: 9:42]

Well, for financially challenged churches wanting to get into the digital age this certainly is a very interesting option. Mixing live with the Software Audio Console and the various hardware variations that go with it. I appreciate your telling us about it Keith.

Yeah, I appreciate the opportunity.

Keith Sealy from the Goodlettsville Church of the Nazarene. Thanks for being here and good luck on future additions to this.

I appreciate it. I appreciate you having us.

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