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Yeah I looked into both of these options in the past few years and these are my thoughts: LV1 is a little too new school for comfort. Not a bad system at all, but the benefits don’t outweigh potential points of failure at this scale. I wanted a traditional hardware solution with a modern toolset. I never considered the wing as a viable option. We have one at a campus and I dislike nearly everything about it. Music tribe’s customer support is nonexistent nowadays. (I actually have 2 wing units bc of failing touch screens and parts availability. At least now while one is in the shop, I have the other one deployed) I wanted to like it, but it’s trying to do too much with not enough horsepower. The wing tried to reinvent the wheel while all we really wanted was an X48/X32 Pro. Wing is also too large for most of our production booths anyway. I like the SQ. It’s not perfect, but most of the early bugs it had have been worked out through software. Build quality is really good. The custom fader banks are great. The FX sound a thousand times better than anything from behringer as well. Not a massive deal to most people but 96khz is pretty cool at that price point as well. The only advantage I would give the wing is the ability to use the Midas Pro stage boxes like the DL251. I’m a sucker for the Midas preamps and the absolutely sound more musical than any of the A&H pres.

I should have mentioned this in the video, so I’m pinning your comment. 100% this is the workaround.

I know.. it's really wild to think about.

Have you worked with the 64 channel studiolive III mixer? Half the price. Seems easy for volunteers, especially running it with a 12 inch ipad or bigger windows tablet.

@@drummerboy100jh I have and I was really disappointed 😔 I really wanted to like it but the UI is a nightmare to use imo. The one I used was super choppy and would take multiple seconds to respond to inputs on the screen. It’s possible that’s been fixed in software updates, but I would personally steer clear of the studio live system as a whole. That was just my experience though.

Thats aggravating when new mixers come out while their still working out the bugs in the software. The ones I know using it have not had issues like that since updates. Im curious was that on apple or windows software? Thanks for your input.

@@drummerboy100jh I’m just talking about the actual mixer itself. It was really odd, it almost felt like a virtual machine with how laggy it was.

I have! It's a really cool system. It just wouldn't be something I would implement at our remote campuses tbh. I have personally considered investing in it for myself though. I need to get my hands on one to see if it would suite my workflow.

I think the scalability of it is plus for remote locations. You could get a small setup and upgrade control, channel count and IO as you go. Also I think it is easy to train volunteers and as it is a PC, you can always remote into it and fix any software issue they have. If you have any questions, feel free to reach out.

Yeah, I should’ve clarified. We are not changing that system out. I was referring to our remote campuses. The 225 is much nicer haha

Dannnngggg yeah I’m optimistic with Avantis being more from the dlive family, but I wish they could get a handle on this. It’s really stressful to use a system that “feels” like it’s struggling even if it’s functionally ok. Most of our campuses wouldn’t be stressing the cpu too much on Avantis so 🤞🏻

@@MattDoesAudio that's facts. i think the audio processing FPGA is totally separate from the surface controller too, ive had the surface freeze but audio was still okay and it came back after a few seconds. plus with the solo its only driving 1 screen and less faders so it might be faster too.

Ooooo I like this question. Currently I’m using the Morgan amps suite from Neural. I’m running everything in ableton with an La-2a compressing my dry tone before the amp. Post amp I’m running wet/dry with a sound toys echoboy, supermassive, and a little radiator on a wet bus. My dry bus has a micro shift and a tremolator after the amp that I can switch on via midi. I also have an extras bus that is kind of just a creative sandbox. Right now I’ve got a crystallizer feeding back into the wet bus that sounds really crazy but is dope for ambient stuff.

It’ll definitely depend on your computer. I will say this session runs very stable even on my 2018 mbp and sits around 18-20% cpu in ableton. We’ve never had it crash in 4 years.

He sure is! ✝️👑💜

then you’ve never put your faith in Him. Does wonders friend.

@@rawmilkdrinkerwake up

@@avery8852 i’m awake thanks

Not true, out here in Texas; you can almost guarantee anybody named Jesús near a job site is willing to grab a shovel and put in a 10-hour day.

​@@papapanda8624dayuhm 😂

Idk I think that one is pretty great😂

Pastor✍️🏽 agressivly✍️🏽 taking ✍️🏽notes✍️🏽

You stomp that stage for every syllable! I feel the power of christ already!!!

Yeah my coworker tried to get me to go to his evangelical church back in 2004. The pastor told the congregation that John Lennon was more evil than Bin Laden because John’s message was “all you need is LOVE and that isn’t true because what we all need is JESUS. He also said that being wealthy was proof that God wants YOU (Christian’s) to be blessed no matter the means so you can offer your tithe to the church. I was wondering who falls for this garbage????

Yes 😂

In my defense, my tractor experience is minimal 😂

Thank you sir, This is the live mixdown 🙏🏻

It really does sound pretty good. The universal isn’t quite as “tight” as a truth but you can get it pretty dialed. Especially after dampening, it’s hard to tell the difference.

@@MattDoesAudio And that's all that matters to me. if i can get it to that signature deep sound im happy. Would you mind defining "tight"? I always thought tightness sounding snares involved the how much the snare wire was cranked.

@@RogueFPS nah that’s on me; probably not the right phrasing. I’m talking about overtones and the resonance of the drum itself. They’re easier to get sounding right if that makes sense.

@@MattDoesAudio Ah that makes more sense. Which dampening and good tuning/processing could remedy that and make the universal a great-value truth/black beauty 😅

@@RogueFPS 100% the universal is a great snare 👍

For superrack I use a planar touch screen and for broadcast I have 2 Raven mti touchscreens. In hindsight I probably would skip the ravens and get a couple 32” screens to mount on the wall and get a nicer fader bank. Works fine though.

@@MattDoesAudiothanks bro!! Any issues or special process to get the Planar to play nice with MacOS?

@@scottschuster7626 I have the UPDD touch drivers installed, and it performs pretty well.

I don’t have a good one lol usually I just have to know the part is coming and turn the trigger channel off. Not very common for us though

I’ve had marginal success using actual drum triggers for the sample but it’s still not perfect

No I use an encoder on my midi controller that’s mapped to the scale root of all of the waves tune rt instances. Not perfect but it works for me. 👍

Yes, it will be in the product description of the listing once it goes live on monday!

Yep, I was just using an old apogee jam here. I’ve been using my SSL 2 for live though

Are you asking about getting audio from a DAW into something like OBS? There’s a number of ways you can do that. I use dante for pretty much everything so I just route a couple dante channels from my DAW computer to an AVIO card that dumps an analog signal into my encoder. You could also install DVS (dante virtual soundcard) on your stream computer and transmit the audio that way. Or you could keep it old school and just use a Scarlett. What are you getting hung up on?

@@MattDoesAudio Yeah exactly, I am able to get sound from my board into logic and I want to send that over to the streaming computer which is using OBS. We don’t have Dante anymore because we’ve upgraded from an X32 to a Behringer Wing, what is the scarlett way?

@@thejack.bennettif youre just using USB you should be able to send your DAW output back over the usb connection into the USB return on your console. Then you can send your DAW audio anywhere your console is connected to.

You could also get a cheap interface like a Scarlett 2i4 and connect it to your DAW computer. Set your console as the input and the Scarlett as your output, and run analog from your interface to your obs computer. You could also still use DVS even just to connect your DAW computer to your stream computer.