Profile with Yamaha M7CL

[lukeb01]

Hi, my church is looking at getting a profile system and moving our Yamaha M7CL48 to monitors.
What would be the easiest way to get the inputs into the yamaha?

[albee1952]

Using a transformer split is best. A parallel split may work okay.

[Tragic Dog]

agreed, a split put in before the stage inputs reach the stage rack. and a transformer split while more money is a more secure solution against ground issues

[Tiginbna]

I must say, I am not a huge fan of transformer-ed splitters. With the stage rack close to the stage, thus close to the monitor area/console, and all parts of the audio system on the same AC transformer the opportunity for ground potential discrepancies is very small. Because the stage rack is "the console", the 2 consoles are basically right beside each other.

My $.02

[BradLyons]

A transformer split is still ideal as good snakes/splits do make a difference over cheap ones by actually eliminating those problems. Of course, that is my opinion anyway.

[Scott Fahy]

If Yamaha makes a card that would accept MADI you could put a MADI card into the Profile and get the signal to the M7 that way. Not sure on the Yammie though

[BradLyons]

Well then you're bussing from one to the next and have to make sure all scenes are setup to have that same bussing or you just lost your monitors. If you really want to have dedicated monitor mixing, then do a split. Personally I would go with the PQ Rack and controllers if using wireless, and an Aviom system for wedges or wired IEM's. I do this myself, why bother with a monitor console unless it is for artists or major installations.

[Tragic Dog]

The ease of running FoH with a dedicated monitor console is a lot nicer over an Aviom or PQ system. There are always going to be musicians that require more handling than others, and not having to deal with that during a soundcheck or rehearsal is very nice. Makes mixing FoH 100% easier, and better.

[sonicboost]

I'm with Jon, seems like a good move to maybe off your Yamaha and invest in an Aviom or some other personal monitor solution. The PQ solution is pretty nice because you can override the PQ's mix from the Profile if the musician needs you to. You can monitor their monitor mix, but they can also custom mix it themselves.
If it were me, I'd consider either moving that Yamaha to another Venue on the campus (students?) and invest in the PQ or Aviom system. Or, if need be, I'd sell the Yamaha to fund that PQ or Aviom project.

Another thing about MADI. I don't see what you couldn't use the MADI card on the Venue picking off right at the AVID Pre's, with a MADI router interface to your monitor console if you HAVE to have a monitor console. Am I wrong in thinking you could pick off your Pre's with MADI? You may have gain issues if FOH adjusts up or down, but you'd still be able to adjust gain digitally through the MADI interface. You would probably want to come up with a communication protocol for gain changes at FOH to coordinate with Monitor World.

eric

[Tragic Dog]

Eric, I think you misunderstood me... I would prefer a dedicated monitor console to aviom or PQ.

Currently I run Aviom, separately mixed IEMs, and wedges while running FoH, and the headache that some musicians can bring is sometimes not worth using the Aviom system. That being said, if you get the right musician who is willing and able to work off an Aviom or PQ system it is a relief, but that happens about 2 in 5 people that come across my stage.

We could also go back and forth when talking about Aviom vs PQ, but there is a webinar that Avid has done for us that is worth the 1hr to watch it.

If you have the crew to do a dedicated monitor console, I would invest in a solid split, and some PSM 900s from shure. Then use that M7 for monitors, and enjoy the joy of mixing on a profile system instead of Yamaha's. But if you do not have the crew to dedicate someone to monitors, then I would figure out how many controllers you would have on stage, if more than 8, go with Aviom, if less, go with PQ (IMHO).