5 AUX stereo monitor outs on the 18t! WOW!!!

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This topic contains 2 replies, has 3 voices, and was last updated by Profile photo of ladrumdog ladrumdog 2 weeks, 2 days ago.

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  • #121330
    Profile photo of JoLeFo
    JoLeFo
    Participant

    With linking the auxes you’ll get (only) 3 aux outs for lovely stereo IEM monitoring on the 18t.
    Just enough for my trio, but you know, «more is more better», and stereo is just the way to go both in studio rehearsals and live nowdays.
    I’ve routed my aux 5/6 out to one of the headphone outputs due to practical reasons, and that works just perfect!❤️
    This got me further thinking; wouldnt it be possible to add two more stereo monitor mixes to the unit by opening for routing these to the two hp-outputs?
    Isnt this just a fw limitation as for now?
    I mean, 5 stereo monitor mixes makes more great musicians happy both on rehearsals and on stage.
    What do you think?

    (And yea, mono iem is still possible and used to be kind of standard on stage for live, but in general, i think stereo has come to stay and thats the way any music should be enjoyed. At least for the ones making the music😃)

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    #121356
    Profile photo of Hugh
    Hugh
    Participant

    Stereo monitor cueing has a few beneficial advantages, however it certainly is not universally better than mono cueing!

    1) In or over the ear direct monitoring of a stereo mix is the most efficient delivery of the desired “separation”.
    2) Some performers prefer BU tracks in one ear and their contribution in the other.
    3) Stereo mixing for speaker stacks and wedge monitoring is “Fools Gold”.

    Most all of my 50+ year career has been with acoustic Americana music performance and this is what I know. It is imperative for performers to be able to hear each others contribution and understand the critical difference between BU rhythm vs a lead role. The best performance possible is when the ensemble gets a wedge cue very close to the house speaker stack distribution and can manage their own dynamic control. Hot back lines and todays “more me” musicians require custom individual cue mixes that absolutely places the dynamic control of the performance at the console and not with the musicians on stage: it usually does not deliver to the seats a better performance for acoustic ensembles.
    Large scale sound reinforcement pretty much requires console control of everything. However in most mid to small venues delivering a clean mono distribution with stage wedges providing the portion of the performance that is absent with “the stage bass bloom” from the speaker stacks is the most efficient protocol for artist control of their performance. IMO direct in or over the ear distribution of a stereo mix is as good as stereo can be: from that point on the further from your ear that stereo mix is is sourced, the less effective it will be!
    Hugh

    #122401
    Profile photo of ladrumdog
    ladrumdog
    Participant

    I just purchased my CQ 18t and have used it on 1 gig so far. I agree having the Headphones available to be routed as Auxes 7-8 and 9-10 as an additional option to the current headphone routing in the software would definitely make the CQ 18t an even more valuable tool. Whether used as mono or stereo feeds. I am currently taking up two of the available auxes to run Kick, Bass only to 18″ subs and running the tops as Mains leaving mono as the only monitoring option for a 4 pc rockband running IEMs.It would be nice to have added monitoring options using hardware the box already has built into it.

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