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Posted: Mon Oct 08, 2001 2:59 pm
by ronaldmeij
hi
I need a device that works as a parralel line
lets say mono vocal in and split that up in 4 mono signals.
its like on a pro patchhbay on a bigmixer
it works really fast and easy !
mono in and 4 time's out , who can help me !
And a matrix would be nice last say
12 inputs and 16 outputs somthing like a matrix console on a midas live desk.
Okay dokters let magic begin !
ronald meij.
Posted: Mon Oct 08, 2001 6:32 pm
by algorhythm
um, just run four lines from the output of your vocal. (you DO know that you can run multipe signals from one output [even inputs can be rerouted to other inputs - just not more than one cable into an input is the rule]). of course all of this is covered in the manual. what is the point of making a device for this?
or I have gravely mistook your meaning . . .
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<font size=-1>[ This Message was edited by: algorhythm on 2001-10-08 19:33 ]</font>
Posted: Tue Oct 09, 2001 12:39 am
by ronaldmeij
otherwise u will use the dsp because u use the mixer then.
lets say split a asio output 1 up in to four channels en directly to a a16.
If u work with a external mixer.
or for special effect purpose , special triggering and gating.
It works faster and it keeps the dsp down.
Thats all , a real studio works with parralel line's , so i would like to see it also in a desktop system.

Posted: Tue Oct 09, 2001 1:52 am
by Michu
so,
you want signal from 1 input to show up on 4 outs?
then you do not need mixer. just connect input to every out, or connect every out to each other and connect input to one of them. the same data will show up on every out.
Posted: Tue Oct 09, 2001 4:48 am
by algorhythm
On 2001-10-09 01:39, ronaldmeij wrote:
otherwise u will use the dsp because u use the mixer then.
nope no mixer - analog or asio in module, say ch1, out to 4 FX channels; hell, you could send it to 64 if you wanted to.
and of course, you could make a "parallelizer" in the modular if you want to waste dsp for something that can already be done simply and easily with mere cabling . . .
