Ditto that Furman setup here, but I use the Aux sends (early 80s IIIc)
that get patched into tie lines going to room. Aux 1-2 default to
foldback and aux 3-6 are the 4 mono inputs. This is for analog sessions.
For Pro Tools, just straight outputs to tie lines into Furman.
For years I just had the default stereo headphone cue (or 2 mono) and
it just didn't cut it after awhile.
Musicians love the control of course. The Furman system was one of the
best purchases I've made in awhile!
b
--
Be Hussey
www.comp-ny.com
On Jul 22, 2011, at 9:17 PM, Adam Manoucheri <[email protected]>
wrote:
Hi Colby-
I have an early 80's Series 2...I finally got a system wired up, it
may not be the best solution, but so far it works for my purposes.
I bought a Furman HDS-6 station and a few HR-6 remote controls. It
has 4 mono inputs, as well as one stereo pair. The remotes have two
headphone jacks, and 5 knobs---volume controls for the 4 mono
inputs, and one for the stereo input. They also have a button to
include/exclude the mono inputs from the headphone outs. I ended up
wiring all 6 inputs into my patchbay, which allows me to patch in
what source goes where. For example, I can either have the stereo
input mirror the main stereo out of the console, or what I sometimes
do is patch the Cue into the L-R inputs of the HDS-6. Then, I can
control what goes where via the Q1 and Q2 (or A and B as you
described) knobs at each channel, which sends signal to the L and R
inputs respectively, whose level is controlled on the remotes by a
single stereo level control. I usually patch selected instruments
into the 4 mono inputs of the HDS by patching in the channel I want
(guitar, bass, etc) at either the insert send or (if it's being
used) by routing to a subgroup (if one is open), which also opens up
options to blend more than one channel. That's basically my setup,
the first remote is attached to the main unit via a pair of Cat5
cables, and additional remotes are daisy-chained off of it.
I don't know if that helps you any or not, but it's the compromise I
ended up making to get some flexibility. I'm sure others have
better ideas, but this was the best I could come up with... ;-)
Good luck!
Adam Manoucheri
Crossroads-Atoll Productions
On Jul 22, 2011, at 10:08 PM, Colby Wallace wrote:
Someone please help! I can't figure out the puzzle. What are some
of your configurations for the musicians to hear the mix. I want
each player to be able to say, "hey, I want less bass, and more
guitar," etc. I just can't seem to understand how they would be
able to adjust those levels in their headphones without it
affecting the other headphones. The A and B knobs on each
individual channel go to the main "foldback." So, if foldback out
goes to a headphone amp, then how would I individually be able to
get each headphone their own levels. If I turn down main foldback
level A for one person, or B for one person, it affects everyone. I
just don't get it. If there was 4 individual outs for headphones
with their own a,b,c,d then I would get it, but like this, I dont.
Any help would be appreciated. I can't really move forward until I
have the headphone setup ideal. I have been working with a very bad
headphone setup and cannot take it anymore. Thanks,
Colby
ps- I bought a headphone amp with 4 headphone jacks, and one line
in. Also, the board is a neotek series 2. Mid-80's.
