Optional source point for sends to outputs

[Snrubel]

I sometimes want to map an input to an output and send to another piece of outboard gear. Today the output sends ‘post eq, but pre compressor’ (see top of page 40 in the current manual). The send point needs to be configurable so that we have the option of “post compressor” or “pre compressor”.

[APUSAH]

Agreed. There are instances where I use the aux output for a stream or secondary output where I would like all of my processing present.

[masjidsound]

+1

I would like to use this mixer to send the auxes to different rooms in an installed setup. But we need to total processed signal of the mics to be sent to the auxes, so this is currently a dealbreaker.

[ABeginner]

+1
I’d like to send different mixes to a our singers’ IEMs than to the the rest of the band (anti-occlusion EQ), and a bit of compression on the vocals for the non-vocalists would be handy.

[PeterD]

+1

I usually mix from stage and use a post fader send for monitoring. Without compression, it is really hard to judge what goes out on the main mix.

[Hugh]

Again, we must accept the inherent limitations of A&H’s entry level CQ line. Given it’s absolute small bus & channel input structure it is clearly a great sounding “One trick Pony”: Apparently it was never intended for multiple purpose sends to ancillary locations. Sophisticated patching and customization are the type of features found with the Sq, Avantis or D-Live lines with in the A&H brand.

I can certainly relate to PeterD’s post pursuant to obvious problems mixing from the stage. This is what I know to be the absolute best yes or no answer for mixing from the stage. Are you dealing with performance skills that will allow a successful “set it and leave it” protocol or is routine desk manipulation necessary?
I have worked with some of the very best Bluegrass masters over the past 50+ years, most of which were in the set it & leave it camp. Their primary concern was to listen to each other real well and control their dynamic range and other critically important nuances on stage, at the source, rather than leave it up to console management.
To this end eliminate all hot back line acts along with the prolific number of “More Me” performers that are prolific in todays pop music world.
My advice to PeterD is if he is dealing with a real Set it & leave it ensemble set up one or more low volume wedges with the LR mix at apx. the same horizontal line as the back of the speaker stacks. Then adjust the HP filter to kick in at the intersect point of the Bass bloom available on stage from the speaker stacks. This will offer a fair representation of the house coverage of the on stage performance. This places the entire process in the hands and vocals of the talent on stage instead of the console.
(The ability to roam the venue with an I-Pad to correctly establish an initial satisfactory house mix is one of the great benefits delivered with the digital revolution0
Hugh

Hugh

[oTon]

I also requested this, also a third point like in the AVantis/Dlive/SQ “Post Delay”, which actually means you have the AMM on the AUX Mixes. I understand that “Pre-Comp” is nice if you are mixing for wedges, but if you are into Streaming etc., that Feature would be a really big benefit …

[Anonymous]

Now available with V1.2.

[oTon]

Yes better …. but still missing the “Post Delay” Feature … A&H can you hear me 😉

[oTon]

Because IF the FX Source AND the Global Recording Out could be Post AMM, there should be the possibility to do this also for AUX Sends …

[Author]

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