Computer Control: Reality and Promise
copyright 1994 Dave Stevens, Dave Stevens/ Seattle Ltd.
First published in Mix, November, 1994 (vol 18, no 11) edited by Mark Frink
We keep hearing about "computer controlled" systems, now commonplace in modern cars, planes, homes and all kinds of appliances in addition to industrial and manufacturing processes. Computer control of sound systems has been a hot topic lately, the term can refer to one device, or an entire system. While MIDI control of certain pieces has existed for ten years, the current debate centers around several manufactuers proprietary systems.
Normally, amplifiers are located away from the sound system operator. They are also subject to more severe duty cycle requirements than other components. Conceting all the amplifiers to a convenient panel relieves the the sound technicain of the need to physically inspect and adjust them at their racks. This is the origin of the currently availible systems for controlling and monitoring amplifiers. Furthermore, the sound system's functionality is enhanced with a central control point. System wide setting can be rapidly enacted, and changes can be monitored from the operators position.
Not every live sound system needs or could benefit from computer control. Large scale, complex systems that tour with the same artist every night, or systems installed in a venue, are prime candidates. These users need to store equalizer settings, trigger eq or effects changes and input mutes via MIDI, as well as have real time monitoring of amplifiers performance parameters. The user can can observe and interact in such a way as to be able to respond quickly to changes in the demands of the event or to anticipate and fix failures. Elablorate setups can be replicated with a few commands. The proper design and implementation enhances the usability and reliablity.
Many sucessful artist mixers have taken computer control technology on the road in the form of MIDI, for controlling effects, rather than amps. The mixer's world at FOH, and alos with many monitor mixers, uses many devices borrowed from recording. MIDI, in spite of it's limitations, provides a cost effective, easily implemented platform that offers real world functionaity in the touring world. Many mixers use MIDI librarians to store the multitude of effects presets required by today's effects intensive world class touring artist. Many options are availible, including Ear Level Engineering's Hyper MIDI, and Opcode's MAX, development environment.
Most amplifier applications have been designed for installed systems, and the designers and managers who have the budgets and mandates necessary to build turnkey, powerful, flexible control systems