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Hi! Thanks so much for your kind words! I do have an online consulting platform. If you're interested in that you can head over to my booking site and signup for a time slot! Thanks so much! marshall-swift.square.site

Also I noticed you didn’t hit “record send” which is what we do to record tracks. Does that mean we don’t need to do that? What is the function of record send?

@@rocketeergames6844 so the first thing to check is to make sure your outputs to the logic rig are set to “pre”. This will ensure they’re being recorded without any signal chain processing, which can absolutely effect the signal strength and tonal qualities of playback. As far as your second comment, all I do to record is arm the logic tracks and hit the red record button. This is the simplest and purest method for taking down tracks. If you route your Dante outputs as I’ve done in the video, it’s a constant feed to the logic computer whether you’re recording or not. That way when you’re ready, you just open your template, arm, and hit record.

@ ok thanks! 😊 I was also wondering if it could be my sample rate or any other recording settings in Logic be messing anything up or causing us to lose audio quality? What do you have those type of settings adjusted to?

@ while the Avantis can operate at 96k, logic records in 48k. It does this automatically and you shouldn’t have to adjust anything out of the box. That said, while you lose a shyest bit of quality during playback, it’s not enough to make a big difference, especially the difference in signal you’re seeing. I’m willing to bet your issue is the pre/post settings. I dealt with this the first hand full of recordings I did and that’s exactly what it was.

@@alesandergonzalez7761 with the Avantis and the GX4816, the Avantis is still the “brain”. The gx4816 only work over a-link as it does not have card slots. So yes, s-link from stage box to Avantis, then with a Dante card in the Avantis, you can go out over Dante to wherever.

@Marshall_Swift thanks very much! Appreciate it

@@livemixpriyanaccording to A&H: “Tie lines on an Avantis are a feature that allows users to send audio directly from input sockets to output sockets without any processing. This can be useful for recording, as it allows users to start a new mix without any of the processing that was used live.” Now, all of that said, at least in my situation, there’s no benefit to patching your recording inputs through tie lines as the standard patching is built to work flawlessly with the built in virtual sound check function. The only reason I would use tie lines is if I wanted “raw” tracks and I wasn’t going to use them for VS. If I was taking down tracks to work on but didn’t have enough sends/outputs or something like that, I would use tie lines.

@@Marshall_Swift Hello, Thanks for the quick reply. Does that mean Tie Line records unprocessed input to DAW and "Ip Direct Out" Processed data? If so, when we use the recorded Data via "Ip Direct Out" for the VS, it will be processed twice, isnt it?

@ this depends solely on how you set your outputs for recording. If they’re set to pre, the only processing you’re getting is gain structure, which is crucial for VS as you want the channel strip and preamp to respond like it’s the actual instrument/voice. If you set them to a variant of post, you’ll begin recording additional pieces of the channel strips processing such as EQ, filters, etc… if you use those “post” recorded channels, you’re then “double processing” them in VS. I have everything set to pre and it works flawlessly.

@@Marshall_Swift Thanks. You mean wehter tie Line or "Ip Direct Out", it doensent make any difference für VS if we use "Pre"., right?

@ no. My understanding is tie line does not give you the live gain structure. It only gives you the actual input level at the source. To get proper gain structure, so that VS responds as though it’s live, you’ll need to take the ip direct out routed through your Dante card.

In Dante controller, you’ll actually set up two different patches. The 1st patch is going from the Dante card to Virtual Sound Card on your computer. The 2nd patch is from the computer back to the Dante card. I think around the 8:12 mark in the video I talk about patching in Dante controller. You have to patch both directions or you will only get sound into the computer, not out, and vice versa.

@DbiPro so an i5 with 8Gb of ram should absolutely do it. I’m using a 2015 model iMac with a quad core i5, 8Gb of ram and a 1T hard drive. But the first tests I did were on a 2015 MacBook Pro with the same stats as yours. That said, something I had to do to keep everything from freezing up was throttle the Dante virtual sound card back to the highest latency possible so the computer’s processor could keep up. Latency doesn’t necessarily matter for virtual sound check because you’re just recording. Then when you play it back, you’re not trying to line it up with anything live either. I would try this before throwing $$$$ at a new computer. One more little tip to note, when I’m recording tracks, that is literally the only thing that terminal is doing. Nothing else is open and I’m not touching it at all while recording. If I try to launch a program during recording, depending on how resource intensive the program is, my recording will stop and I’ll get a notification that says “disk too slow”. However, as long as I leave it alone, I’ve never had a problem. Let us know how it goes!

@@serenalakkiss which version of the receiver do you have?

Yes you can connect it directly into your iPhone 13 via lightning port.

@@biztainmentpodcast it didn’t work for me

​Then the product is defective so return it if you can or claim warranty​@@serenalakkiss

Thanks for the watch and thanks for commenting! I did mention this at 15:30 but I didn’t go into great detail. As far as cards go, I’m using a 64 x 64 Dante card in the back of the Avantis, a 32 x 32 Dante card in my SQ5, and then using virtual sound card on the iMac to allow Dante in and out. This is all direct connect. I’m not running a switch in my Dante network at this point but hope to go ahead and implement that soon as I’ll be needing more Io pretty quickly.

@@Marshall_Swift Very cool. I learned the hard way to only use Netgear switches. TP Link had way too many drop outs. I'm using a TF Rack for IEMs and having to reconfigure routing in order to run VSC without disconnecting IEMs when I do VSC. I did not plan ahead. This video helped and confirmed a few things for me. Thank you!

Unfortunately no. When using the lightening adapter, the lark receiver records audio from both mics simultaneously to both the Left and Right Channels. In other words, while it records to the left and right channels, it’s recording a mono signal. To the best of my knowledge, the only way to get true two channel audio, one mic left, and one mic right, is to use the camera receiver. That said, depending on the software you’re using to edit with, you can separate dialog by voice, then pan each one to the left or right channel as needed, effectively creating two separate audio tracks. But know that this will indeed give a true pan to each voice. My preference would be to pull the audio into logic or any other daw, duplicate it, make my cuts to each voice and then have two separate, stereo tracks for each voice. This is all of course assuming you’re using spoken audio. Hope this helps!

@@Marshall_Swift that was a thorough explanation. Thanks very much for that! One of the main appeals of the Lark M2 is ease of use, so everything more than plug and play will go to a main camera. But still, it is good to know how to actually process the audio in this way. Thanks for the very detailed answer!

@sliefoxmultimedia thanks for the question! The answer is somewhat two-fold. The simplest and most common answer is however you take down the track, that’s how you want to send it back out so that you have the closest representation of your band. The more in depth answer for the other nerds of the world like myself is: in my recording template on logic, for example, everything is defaulted for both in and out. I don’t gain anything up or down, I don’t mess with any EQ, filtering, plugins, or fx in logic. I want as clean a source as possible. What ever I send out of my Dante card in the Avantis is exactly what I’m sending into logic, so I want that same thing coming back. This also means that your channels sent out of the Avantis need to all be set to pre so that you’re not recording your channel processing on the Avantis. So in all, yes, if you edit those tracks in logic, then send them back out, your Avantis is receiving the editing from logic. Counter to that, if you edit the channels in logic, then record tracks into those channels, you’re also not getting the raw recording from the Avantis. The overall goal, at least for virtual sound check, is to get the tracks recorded and back into the Avantis as raw and untouched as possible. Hopes this helps!

@@Marshall_Swift Thanks for the reply. We do have a clean (pre) signal coming into logic and nothing is gained when it is recorded, but I do have a lot of processing (plugins, eq, etc) on the channels in Logic since we use that for our send to Foyer TV's, etc, and then I come back on Monday and remix everything for our finished recording to put with the video recording from Sunday Service. So, it sounds like I need to save a copy of the recording in Logic, then from the copy remove all eq and processing from every channel, set every channel to unity to send back to the Avantis for Virtual Sound Check. That answers my question. I've never used virtual sound check but think it would be a great tool to train people on the sound board, but I didn't know if Logic sent everything back Pre-Logic processing or Post-Logic processing. Sounds like by your reply it's post, so I need to remove all processing from Logic. Thanks again. Let me know if I misunderstood.

@@sliefoxmultimedia based on that info, I would agree. I’ll be back on my campus Wednesday and I’ll check a couple of other things just to see. I’m curious if I you could record two sets of tracks down at once, or double patch them into logic. The other thing I’m curious about is whether you can set specific channels in logic to send back out pre/post so that you could potentially just have one template for everything where for example, 1-16 (or whatever your last channel is) is your thru processing lobby, broadcast, etc… and 16-32 is your unaltered recording channels for virtual sound check. It means bigger files, but it sounds like you do all your broadcast stuff in post which means you could eventually cut those tracks out of your VS file and save some space. If you’re interested, I’ll let you know what I find!

@@Marshall_Swift Sounds good. Thanks for your help. It might be easiest to set up another computer for a couple weeks, add it to Dante and record a second unaltered set of files on that machine to use for Virtual Sound Check for training. I don't know that we need to make it a permanent thing, I just thought it would be a great training tool. If I got 10-15 songs recorded over a few weeks, that would probably be all I need. Thanks again. This was a helpful video.

@@sliefoxmultimedia as it turns out, you can in fact dual patch your tracks into logic. So tracks 1-16 can come from inputs 1-16, but then tracks 17-32 could also come from inputs 1-16. You cannot however, record two projects simultaneously. If you wanted to do it all in one project I would suggest the first option, and just don’t assign outputs to tracks 17-32 (or whatever doesn’t go to your lobby) until your ready to virtual sound check and don’t do any processing on those channels. I do like the idea of setting up a second rig though that’s just dedicated to VS. Hope this helps!

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@@Marshall_Swift I love Rao’s

They're wild! Video coming soon with full review and audio.

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