Split your SQ in two (FOH/Monitor)

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This topic contains 9 replies, has 6 voices, and was last updated by Profile photo of Saddler Saddler 8 months, 3 weeks ago.

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  • #91978
    Profile photo of Andre S
    Andre S
    Participant

    Hi guys and girls,

    wanna know, how to digitally split your SQ Mixer, to do FOH and Monitor Duties at the same time?

    Take a look and avoid the mistake I made:

    #91994
    Profile photo of tofu
    tofu
    Participant

    This is great! It’s like having a Y splitter, so you can set one gain level for FOH and another for the Mons. I’ve been wanting this!

    #91995
    Profile photo of volounteer
    volounteer
    Participant

    @AndreS

    Why not just tell us in words what you did.

    #91996
    Profile photo of Mike C
    Mike C
    Participant

    That same trick will work with the QU series if your using an external stage box
    for the inputs.

    Actually it will work with about any digital mixer with multipoint IO routing .

    #91997
    Profile photo of Andre S
    Andre S
    Participant

    That´s right Mike. It´s actually more about the concept, than the device.

    #91999
    Profile photo of Mike C
    Mike C
    Participant

    Back in the ole days it was taking a hand full of Y cables and plugging then into the back of you analog mixer if you had the channels to spare.

    #92001
    Profile photo of Andre S
    Andre S
    Participant

    Hi volounteer,

    here is written summary of my video for you:

    I have a band that gives me 16 inputs to my SQ and for a long time I used the usual way of mixing monitor: take the inputs, lowcut/eq/compress/ them for the main P.A. and send a certain amount of that signal to the musicians wedge until he says, it´s enough.
    Since more and more guys use IEM, I find it nessesary to eq indiviual channels differently for IEM than for the mains. One example would be: playing in a big party tent where all the HF is reflected back and a lot of low end ist lost. In that scenario I often have to take out all the highs from the snare and try to boost it´s body to get workable sound on the dancefloor right in front of the stage.
    I go to Inputchannel 17 and select Slink socket 1 as source, for Inputchannel 18 I select Slink socket 2 as source, etc pp. Now I have can process those signal completely different. I unassign them from the main mix, so that they don´t mess with my P.A. sound. Mix 1 (stereo) is now fed from those copys, and not from the channels I use for my main sound.
    In the video I also talk about a mistake I made when set it up. I couldn´t get any FX in my IEM mix. I simply had forgotten to raise the faders on channels 17 to 24. Those do not disturb my FOH sound, because they are not assigned to the LR mix. But they need to be up because all FX send are POST faders. And of course I know that…but I didn´t think about it in that situation. Steffen and Keith hinted me in the right direction.

    I hope that helps you volounteer?

    Cheers and take care!

    #92002
    Profile photo of volounteer
    volounteer
    Participant

    @AmdreS

    Thanks for that.

    My old XP PC would not play the video.

    #92008
    Profile photo of Hugh
    Hugh
    Participant

    The A & H protocol to deliver cue mixes to performers is about as good as it gets. The IEM “more me” folks have personal custom mix control with the devices A&H has available for that purpose and wedges can have isolated outputs with custom mixing available to suit most any need. This is one of the great advantages digital processing has delivered to the live performance music world: it aint rocket science.
    Hugh

    #93522
    Profile photo of Saddler
    Saddler
    Participant

    Great video!

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