A & H App sensitivity

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This topic contains 27 replies, has 9 voices, and was last updated by Profile photo of [XAP]Bob [XAP]Bob 5 years, 7 months ago.

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    Profile photo of

    This is a sensitive question:
    And I claim to know nothing about programing!
    What determines the sensitivity of the apps?
    Is that a programing scenario?

    I have been looking at other Mixer Apps and comparing the various touch sensitivity and really just to see different perspectives of other brands/options.

    Just discussion. ๐Ÿ˜

    Profile photo of dpdan

    this is a very good topic!
    I use a Mackie DL32R for virtually every wedding reception that I do because I just don’t need the luxuries of an actual console with real faders like my Qu24, which I absolutely love. Unfortunately, when I need to quickly scroll to get to the lead guitar fader, I have to manually stop the iPad from scrolling when I see the gtr channel, and I absolutely can not move the fader until the sideways “scrolling” movement comes to a complete stop, then I wait even loger for the screen redraw to take place and theeeennnnnnnn I can move the fader, horrible behavior compared to Mackie’s Master Fader app. The Mackie Master Fader 4.2 app is balistic fast and so responsive. Only when you are intimately familiar with the Mackie app and then you find yourself on a job where you are forced to use the GLD or QU app do you discover just how horrible it is. There is so much improvement that needs to be made in this area of the QU app AND the GLD app.

    Also, on a different subject, one that I am still beating this dead horse over,,,, if the GLD app can have different colors for channels, why in the world does the Qu app still have green for every stinkin channel? This makes me so angry that this has still not been addressed. Not only has it still not been changed, nobody from A&H has responded to my consistent constant comments about this.


    Profile photo of Scott

    I think that the Qu Pad app should have a setting in the configuration that allows you to turn off the behavior where you have to touch and hold a fader before moving it. This gets in the way when you have bigger bands.

    I have used other apps which do not behave this way, and prefer that I can just move the faders without having to touch them in a very specific spot.

    Profile photo of GCumbee

    I too agree the app is less than desirable compared to several others. It works and I do shows on it but get frustrated trying to adjust tiny horizontal sliders for comp threshold etc. But mainly the faders. I have tested some other apps that do work much better. As popular as this feature is and I use it to promote sales I would very much like it improved or severely overhauled.

    Profile photo of

    Thanks guys.
    I thought it was just me having issues.

    a setting in the configuration that allows you to turn off the behavior where you have to touch and hold

    That might be the go?
    I know that opens the possibility to accidental adjustments!

    A question:
    Is the GLD Remote app more responsive when actually connected, rather than in the Demo or off-line mode?

    Profile photo of Alex

    I find the level adjustment to be lagging as well sometimes… Works great most of the time but sometimes there is a second or two lag where the sliders don’t move up/down .

    Profile photo of

    Thanks for all of your posts!
    Interesting to view trends or patterns espeically when they’re emerging within this industry.
    If one can just be ‘infront of’ the Hind-Sight then one might be onto a winner!

    I have recently looked at Yamaha Stagemix, Midas Mixtender, Mackie Master Fader.
    They all have certain features I quite like! eg: long throw faders, viewing all EQue’s in a bank [like old school EQ racks] quick find of banks of 8 faders along the top…
    But the reason I looked at them is because I’m looking for another console!
    A next level up from QU32.
    In the past I would have looked at the console First! and of course the local A & H being the people association that I know and have come and trust & relate to.
    Now I’m not so sure.

    I’m looking at what I can do with the app and the feel it has of being able to give to me what I want as a monitor mixer OR FOH mixer when the desk is used for Monitors or just whatever…

    I looked at a business [about 8 years ago] here in NZ making extremely large [kitch table sized] touch screens for DJs that were shipped world wide and thought. Na.. thats never going to be the go!?

    If someone could come up with a “blank canvas template design” where you just added the features and style that you require…
    They might be ahead in the field!

    I am grateful & appreciate everything A & H do and I’m sure they are extremely busy working on dLive app ๐Ÿ˜

    Original Post: Lets all hope the sensitivity can be addressed.


    Profile photo of Scott

    Is the GLD Remote app more responsive when actually connected, rather than in the Demo or off-line mode?

    It works about the same as the Qu app. The faders are a little shorter than the Qu but the response is about the same in both Qu and GLD.

    A next level up from QU32

    GLD? It’s a really great console to work with. I love the feature set, and the extreme flexibility, and the fact that it can share stageboxes with Qu.

    Profile photo of dpdan

    the GLD you spend the whole time switching between layers..

    Not musical to mix on at all.

    That doesn’t mean that I think you can’t produce concert quality musical mixes.

    Profile photo of Scott

    the GLD you spend the whole time switching between layers

    Not if it’s properly configured. The only time that I have to change layers is during sound check. Once things are up and running, you can generally work on a single layer by using DCAs and/or subgroups. On the app side, it’s the same as Qu, having custom layers in the app.

    Not musical to mix on at all.

    Not sure what you meant by that, because you are literally using the same pre-amps and converters if you are using the remote stage boxes and the Qu algos are based on GLD’s and iLive’s.

    Profile photo of GCumbee

    Agree with Scott. I have both and love working on either. QU is a little faster but no problems on GLD. Big input count yes you have more layers but good planning can keep that at minimum switching.

    Profile photo of

    I bought the GLD OneMix app and it seems ok.
    I played around with the Demo GLD Remote app and…
    I find the faders ‘short throw’ irritating.
    If there was a way to lift that whole middle line up would be good.

    Original post was ‘Sensitity issue’

    Profile photo of Stix

    Well I’ve tried many other brand iPad mix apps, the QU app, GLD app and use the iLive Mixpad app and I have to say – I also hate the short throw faders, the stupid slow scroll and wait problem, no mix levels overview, and the lack of an ability to quickly select a different/NEXT or PREVIOUS mix if they aren’t on a current visible mix layer. Also on mixpad – no scene control, no FX editing, mixer settings etc so a very limited app IMO. I would also LOVE to have PAFL’s to use with wireless in ears. I only use Mixpad where I need to be physically away from the console – for stage monitors and remote FOH/matrix levels and eq at soundcheck as it’s a pain for any real mixing usage. Don’t get me wrong – I am grateful for what Mixpad CAN do – but time moves on and our expectations shift as others offer better solutions.

    Profile photo of dpdan

    One of the bands I run sound for is called Rockin Chair.
    They have two GLD consoles, one for mains and one for monitors.
    Everyone in the band except the drums and lead singer use “in ear” monitoring with ME1 controllers.
    Basically the monitor GLD just sits there. Using two consoles allows me the freedom to mix FOH and not be concerned with messing with their processing.
    I said I spend the whole time switching between layers, and that is exaclty what I meant to say because that is what is necessary to accomplish a good mix, which changes constantly. Vocal harmonies change all the time and mixing using DCAs
    is not good enough for the constant solos between guitars, steel guitar, acoustic guitar, banjo and the list goes on and on.

    There are about 40 inputs and I use 8 DCAs.
    Even though I have the convenience of using 8 DCAs, if I am riding the level of two guitarists doing a duet, as soon as that is over I have to switch to the vocal layer to make sure the vocalist’s level is exactly correct, as soon as I determine that it is, I need to go back (very quickly) and return the two guitar levels to where they now need to be. Then back to the vocals layer to mix harmonies because quite often the vocal melody is swapped by two different singers. It is constant mixing.

    Both drum kits (not used on every song) are on a layer by themselves.
    All the keys, one Yamaha, one Nord, one Hammond with Leslie (that’s three mics) are on another layer by themselves,
    add to this three percussion mics, flute and a few other things and one hand is on the layer buttons throughout the concert.
    I would not complain as much if these consoles were the GLD 112 instead of the GLD 80. When the band purchased them, I don’t think the 112 was yet available.

    Bottom line, it takes longer to do things on a console that requires constant switching of layers. Extreme high quality mixing/production requires access to any input immediately and when 1 second is added to so many (cues) it is extremely frustrating that the console (because of it’s limited faders) can not keep up, I know I know, that’s how most digital consoles work… but not mine, mine is a Qu24 and I never need to switch layers, but then again all of my inputs are on one layer. ๐Ÿ™‚

    Here is the band I am talking about…

    Profile photo of [XAP]Bob

    But the Qu24 doesn’t have the 40 inputs you are looking for with that band.

    It’s all a case of compromise.

    Back in the good old analogue days I recall a cue in a show (Return to the Forbidden Planet) where I needed to change two faders – one at each end of the desk. I was a young lad at the time, plenty of growing still to do – and I could only just reach both faders without lying on any others…

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