Expandability ?

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This topic contains 13 replies, has 11 voices, and was last updated by Profile photo of mixJM mixJM 2 weeks, 5 days ago.

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  • #65978
    Profile photo of funkcity
    funkcity
    Participant

    Many new digital mixers fit into this lower-cost high-feature-laden category.
    But how expandable is the SQ?
    Q1: Can I link a 24 and a 16 or a 24 and 24 unit?
    The Yamaha LS9 which is not modern by today’s standards had 2 32-input levels At 64 channels+
    No scribble strip as the QU but at least you could grow it with Dante Stage boxes and custom-layer it.
    Their older DM-2000 could have 4 (24ch) audio fader levels and 4 (24ch)Daw layers.
    It seems that expandabiliy has taken a back seat to plugins and modelling.
    I use the QU and love its features but wish for more and would like the custom layers to be identical on the iPad and the hardware surface.
    Also the lack of a scribble strip display is disappointing.
    Q2: Where does the SQ fit into the product hierarchy strategy of A&H. Is it a GLD or iLive replacement?
    Thanks!

    #65980
    Profile photo of KeithJ A&H
    KeithJ A&H
    Moderator

    Hey Funkcity,

    An interesting question!
    The SQ is a 48 input mixer, with an extra 8 stereo FX returns, so if we were cheeky, we could say it was a 64 channel to mix.
    Where you get these 48 channels from is very flexible, in that you can use the local i/o, SLink port, USB-B or an option card (Dante and Waves will be the first available).
    With SQ-6, this means there are (a quick addition later..) 319 potential input sources.
    Using gigaACE on the SLink port means you can indeed link to another SQ (or dLive), though this would be for audio as opposed to any control data if that’s the kind of link you mean.
    SLink is also compatible with our AR/AB units (dSnake) and DX, so overall we have actually focused quite heavily on expandability and compatibility/integration.
    Granted – the SQ is not a 128 input dLive, but then, that’s why dLive exists.

    In terms of your experience with Qu-Pad – you can, of course, set up your custom layers to be the same as on the Qu.
    However, because of the 6 customisable layers in SQ, we have included mirroring of the hardware layers, as well as the input/mix/fx etc… layers, which are now customisable too!

    SQ is not a replacement for any of our current digital range, it offers something different. 96kHz and our FPGA technology in a small form factor.
    We have the more straight-forward Qu series, the very high end dLive series, and then SQ and GLD somewhere in between, with both suitable for different applications.
    For example, the GLD has larger screens/surfaces and more physical controls, whilst the SQ has a 32×32 USB interface, so it’s really up to the needs of the engineer.

    Thanks! Keith.

    #65981
    Profile photo of scruffyd
    scruffyd
    Participant

    @funkcity

    I am confused by your mention of no scribble strip. There is a color LCD display for each surface channel on the SQ-series as far as I can see.

    #65982
    Profile photo of Ryan
    Ryan
    Participant

    @scruffyd pretty sure the line wrapping is just odd — the no scribble strip comment seems to be a continuation of the previous line, which is referring to the LS9.

    #65990
    Profile photo of cornelius78
    cornelius78
    Participant

    Using gigaACE on the SLink port means you can indeed link to another SQ (or dLive), though this would be for audio as opposed to any control data if that’s the kind of link you mean.

    @KeithJ A&H

    Does this mean you could have an SQ6 on stage using its local preamps for inputs, and its own DSP for mixing monitors, and it could pass its preamp signals to another SQ5/6 @ FOH, which would use its own DSP for mixing FOH, and the two consoles would be connected via the SLink sockets on each (no need for expansion cards?) The FOH mixer would then pass its LRM mixes back down to the monitor console over SLink, those LRM mixes would effectively appear as inputs on the monitor console, and DOs from those inputs be patched to the monitor console’s XLR outputs alongside the monitor mixes?

    #65997
    Profile photo of KeithJ A&H
    KeithJ A&H
    Moderator

    @cornelius78

    …exactly!
    and THEN you could still put an SLink option card into either SQ if you needed more i/o at monitor or FOH positions if needed.

    Thanks,
    Keith.

    #66001
    Profile photo of cornelius78
    cornelius78
    Participant

    Brilliant! Thanks for the reply.

    Wasn’t sure if that was possible using only SLink sockets between consoles or if SLink could only be used to interface with stageboxes\gigaAce.

    It means if 24\14 is enough IO for the stage (not counting TRS connections) and the patching is that flexible, then you can do a FOH/Monitor split without needing expansion cards.

    I also didn’t realise that there would be a SLink expansion option, I thought it would only be the usual suspects (Dante, WSG, etc.) That means, as you said, that if you did need more IO (presumably on stage, as even an SQ5 with 16/12 @ FOH should be enough local IO for bgm,) you can use an SLink expansion card in the monitor console, rather than use onboard Slink to stageboxes, then need something like Dante to connect to FOH, and therefore also need an expansion card in the FOH console to RX the Dante signal. That said I’d probably get a Dante card anyway just because it’s so prolific in the rest of the industry, and interfacing the console with other Dante-enabled systems @96k would be nice. I suppose it will depend on cost.

    PS I assume you can force a console to clock off its SLink socket instead of its own clock generator so you don’t have multiple clock masters on the one system.

    Final question (I’m comparing to the X32 ecosystem.) Can a console relinquish control of its own local\remotely connected preamps (gain and +48v) to another console connected via SLink (eg if someonce decides they want the FOH operator to control preamp gain on the Monitor console (a questionable idea for all sorts of reasons, but I know some operators who’d like the option.) Given that SLink is able to connect and control AR\AB boxes it must be able to send some OOBD for preamp control along with the actual audio…

    #66292
    Profile photo of Eric
    Eric
    Participant

    @KeithJ A&H

    My question is very similar to cornelius78’s question except using a GLD80 and a SQ5. Can I connect the 2 mixers through the dSNake on the GLD80 (FOH) to a SQ5 SLink (monitors)? I guess if I need more inputs than 16, and wanted to plug in a 16 or 24 channel snake to the SQ5, then I would need an additional SLInk card?

    #66307
    Profile photo of Nicola A&H
    Nicola A&H
    Keymaster

    @cornelius78
    Yes, you can sync an SQ mixer from the SLink port.
    And no, you cannot relinquish control of local preamps to another console.

    #66309
    Profile photo of Art
    Art
    Participant

    @nicola

    You can really connect a GLD to an SQ via the GLD’s dSnake connection into the SQ’s SLink?

    #66311
    Profile photo of Nicola A&H
    Nicola A&H
    Keymaster

    @Art
    @eric
    No, apologies for the previous post (now amended). A direct connection of GLD to SQ is not supported. You can of course use Dante cards in the I/O Port to link them.

    #66984
    Profile photo of Mfk0815
    Mfk0815
    Participant

    Hi Nicola,
    I have another question regarding Slink. I have an CDM32 with a C2500 dLive System. Can I now put a gigaACE-Card into the CDM32 and connect my SQ6 to those card to have a system where I use the dLive for FOH and the SQ6 for Monitor?
    And can I also use the CDM32 as a stagebox for the SQ6? that should be theoretically possible when my first question can be answered with “yes”. I know it sounds a little bit strange but I have always some Jobs where the Size of the Desk matters and even the compact C2500 would be to big for the given space. But nevertheless I need a stagebox and if the CDM32 can act as a luxury stagebox for the SQ I do not have to buy som DX168 immediatly;-) two of them are on the plan but not for the near future;-)

    #66996
    Profile photo of RonnieD
    RonnieD
    Participant

    On another note, I am trying to decide between a DX168 and an AB168. I will be using the desk and stagebox sole for professional weddings – four piece band. My question is, is there a noticeable difference when using the 96khz stagebox or would it be more noticeable when used for recording?

    Thanks

    Ronnie

    #68718
    Profile photo of mixJM
    mixJM
    Participant

    you cannot relinquish control of local preamps to another console.

    @nicola A&H

    Is this something that might be considered in future?

    It’s brilliant with Behringer X32 that all inputs can be shared between two consoles with Gain Sharing (trim) function. Not only stage boxes can be shared, but local inputs as well.

    One SQ5 console could serve as a monitoring desk on stage. Together with a DX168 it would have a total of 32 mic inputs which all would be available on the second SQ5 that would serve as a FOH console. For smaller touring operations it would be simply amazing and you would kill Behringer X32 with better features, better workflow and better quality at only slightly larger price margin.

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