DL1608 assign "effects" to aux sends only?

[Rdmitch]

If you set the 1608 to pre DSP wouldn't you lose your EQ ?

[sam.spoons]

I don't think I agree with Walter in this case. Channel eq is to get the source sounding right for the mix (if the vocal needs heavy eq to make it sound nice then it needs this in both the FOH and the monitors). Bus eq it to correct for the speakers and the room.

[walterw]

If you set the 1608 to pre DSP wouldn't you lose your EQ ?

I don't think I agree with Walter in this case. Channel eq is to get the source sounding right for the mix (if the vocal needs heavy eq to make it sound nice then it needs this in both the FOH and the monitors). Bus eq it to correct for the speakers and the room.

same answer to both points:

i think it would be great if we had a "post-EQ but pre-dynamics" aux option! like sam.spoons says, assuming that the mains and the monitors are all good quality and themselves each EQ'ed to sound decently flat and good, then the channel EQ that works for one would probably work for the other as well.

you do have the issue where if you're EQ'ing a vocal out front during a show and that vocal EQ is also changing in the monitor then it could freak out the singer, but i think in most properly-done mixes that's sorted out before the show starts and doesn't change that much during.

as it stands, i think it's way more important to keep vocal compression out of the wedges (to prevent feedback and also blown-out voices from over-singing), so "pre-DSP" is the right choice, and you just EQ the wedge itself (its aux out) to make the raw un-EQ'ed vocal sound right.

[sam.spoons]

Agreed, I tend to use very subtle compression (if I use any at all) on live vocals, heavy compression is a definite no-no on monitors.

[Wynnd]

Only exception would be if your monitors are on the bleeding edge of what they're designed for.  You could use hard compression as a way of protecting them from too much juice and frying.  In reality, that situation is unlikely cause nearly any crap monitor will be louder than you need.  (One reason I like the Drive Rack units.  They work better when matched to speaker/amp combinations on their list.  I rarely have any of those.)

[Topsøe]

Agreed, I tend to use very subtle compression (if I use any at all) on live vocals, heavy compression is a definite no-no on monitors.

If you need heavy(er) compression in foh you can run the vocals through a group and ad compression there with no effect on the monitors

[RoadRanger]

I use the vocal channel's compressors to just shave off the peaks when somebody really gets on the mic. My monitor amps are sized so that their clip limiters will protect the monitors from frying - it isn't unusual to see the clip limit lights flicker a bit with the louder bands. I've tried using the aux channel compressors to further limit the monitors but in the end settled for using their "no clip" preset.

[walterw]

If you need heavy(er) compression in foh you can run the vocals through a group and ad compression there with no effect on the monitors

hey yeah, you can now, can't you? unassign the vocal channels from the main (on that assignment page below the FX page when you swipe up) and assign them to a group, then compress that group. this will let you leave each channel's EQ and dynamics on in the auxes, and you just don't use the individual channel comps.

[Petervman]

I think the question was whether the effects can be made to come thru the monitor mix only
and not the main mix. I have never tried this but as dan indicated each of the aux sends has a Reverb and delay out send.
I've done the opposite and took all the FX out,of the monitors.
 I'm sure someone here has tried it. If not, I can try it for you when I rehook my system up tomorrow afternoon.

Hey everyone, I'm a little late to the party, but I have some pertinent info regarding the "FX to monitors but not to FOH" question. One of the bands I work for does a lot of corporate gigs, so we use the DL32r for both FOH and 7 ears mixes, (6 band members and my monitor out mix. Everyone takes care of their own mix via iPad or iPhone. I lock them out of everything but their own mix so the ones who want delay or verb just brings it up in their mix. There was never a problem until we did a gig where used our DL32 for monitors only. I couldn't get the FX to the auxes and I couldn't figure out why. I need to point out that I'm a guitar tech and not an "audio engineer", but the guitar player who runs the band is. I do however, have a really good ear, and I know what the band is supposed to sound like, so he dials in all the channels settings, then I just play "Fader Jockey" to handle the blend. As I was trying to figure it out, he said to me,"try cueing up the verb in your ears and see if you get it." To do that, I had to bring up the mains in the LR mix. Bingo, FX all around. I knew there had to be another way (the right way) to do it, but it was past tech support hours, so I just ran with it for the night. I called tech support the following Monday, and explained the issue. As the tech started to walk me through the steps to take, the light bulb went off in my head. I realized I was overthinking it, and I felt really dumb. So here's how you do it. Tap LR in the selector strip on the right, and select Rev. Above the Rev main slider, tap on the "post fader" box. Select pre fader, then return to the mixer view. Do the same thing for Rev2 (DL32r only) and the delay. That's it. Internal FX can now be brought up in the auxes without being in the FOH main PA.
 Sorry about making a short story long, but I thought the details might be helpful to people on this forum who, like me, aren't true audio engineers.
 Pete