[AdamsFlysParticipant]

Any chance you could allow that user to mix aux’s, and only have those aux’s available on faders that you want to allow them to control? If they can’t ever get to the aux to hit the mix button, there’s a pretty good chance they won’t ever adjust any other mixes I would imagine. I know technically they could go to the routing screen for an input and adjust the sends there, but it’s probably complicated enough to not be done by accident at that point

[AdamsFlysParticipant]

Yes, using the FOH console as the split would require two ethercon cables being ran from the stage to FOH if you plan on having the monitor console somewhere on stage/side stage. As far as trim goes, you’ll get +/- 24 dB, which should be plenty for either console, as long as you’re not clipping your preamps in the analog stage.

If you have a dedicated monitor person, I would recommend running gains from the monitor console, so that your FOH guy never has to worry about changing the volume going to your IEM’s by mistake if he adjusts it in the wrong place.

[AdamsFlysParticipant]

You can put an SLink card in your FOH console and use tie lines in the SQ6 to passthrough audio out the SLink card to your SQ5.

This would give preamp control to your FOH console, and your monitor console can use digital trim to make adjustments as necessary. You could also flip the arrangement, and run the SLink card in the SQ5 for monitors, and run your monitor console at the stage, and use it as the passthrough for the GX4816.

There’s not a way to do it without additional option cards unfortunately, but this is definitely my preferred way of doing it over a digital split.

Doing it this way also gives you the ability to drop a waves card in the FOH desk if you want.

You could also use Dante or Madi cards in both consoles and use that as your link to share inputs, but then you’d need an option card in each desk, as opposed to just one.

[AdamsFlysParticipant]

I believe you won’t have any issues, as long as you don’t try and add a gx or dx series stagebox to your system. The Avantis will see that your stage boxes are running at 48k rather than 96k and therefore use the proper protocol, but you can’t use both at the same time.

[AdamsFlysParticipant]

+1

[AdamsFlysParticipant]

+1

[AdamsFlysParticipant]

Yeah, I’m aware that scenes can make those changes, but if I’m setup on a cue list and just hitting next as I go through a show, I don’t necessarily have to mess with any other scenes of any sort and risk making a mistake with my recall filtering or anything like that or disrupting my “auto increment” setting for my cue list. Having direct access with a knob on the desk would be so much easier to just reach for and control the whole brightness of the desk.

[AdamsFlysParticipant]

So, the dimmer settings are actually saved in your scenes, so it would be possible to have different scenes setup with different brightness levels and use the soft keys to recall those scenes, but I find this to be a pretty poor workaround when already working inside of a show and using different scenes for actual important information.

It’s doable I suppose, but I would much rather a custom rotary option to control the brightness of the desk

[AdamsFlysParticipant]

Hey again Brian, Ignore the previous question but could you tell my if it would be straight forward to replace individual faders rather than the whole bank?

Hey jrns, I just wanted to say that yes, it is possible to replace a single fader, but I honestly wouldn’t recommend it. It’s fairly straight forward, but it seems that A&H used some really high temp solder that meant I had to use both a high temp soldering station as well as a reflow gun in order to get the solder to flow. There are 8 thru-hole solder joints that you will have to desolder, clean the socket, and resolder the new fader in its place.

While this is doable, I think it’s probably just best to replace the whole fader bank, especially given that if one of the faders on the bank had issues, there’s a good chance that more end up having issues later on down the line simply due to the fact that they were from the same batch and likely suffer from the same defect that causes the issues in the first place.

If you do decide to go this route though, you can get the individual faders from full compass. You’ll have to call their support line in order to get the right part number as it is not available on their website.

[AdamsFlysParticipant]

In the “setup -> control -> surface prefs” menu, there is an option for highlight on fader touch. This will automatically select a channel upon a fader move, and will open up the corresponding processing menu. For example, if you had the peq page pulled up on channel one, if you move fader 3 it will now pull up the peq page for channel 3.

Note that this will only work if you have either the processing or routing tabs selected on the left side of the screen. If neither of these are selected, it won’t automatically bring up the channel specific pages that you may be looking for.

[AdamsFlysParticipant]

I believe you’re looking for something commonly referred to as an “MCA” but at this time it is not available on the Avantis. I think there have been a couple feature requests for exactly that, but as of right now, it’s not a thing unfortunately.

[AdamsFlysParticipant]

I’m confused how you’re getting issues with the two devices having the same IP on different networks. Both networks are air gapped from each other, and so there shouldn’t be any sort of IP conflict, unless possibly you’re trying to connect to multiple networks from a single device, in which case would it not just make more sense to wire the cq anyway and have everything on the same network and talking to each other?

[AdamsFlysParticipant]

How does this take into account rooms that may have multiple zones? For example, I may have my main room where I want aux fed subs, but that means I’ll end up with at least two separate zones for one room. Is there anything in the works to account for this?

[AdamsFlysParticipant]

In addition to this, it would be super useful if there was a way to name Dante stage boxes and see which physical socket of the stage box we’re using, similar to the way that ULXD and Axient mics will show the name of the channel on the preamp section of the Avantis.

This would make it useful when using the dt168 and making patch changes, as currently you’ll need to go into Dante Controller to remember which channels are routed where. If I was able to see “I/O Port 1 – 68 DT168/2” to denote that it is I/O port 1, Dante socket 68, stage box dt168 physical socket 2, that would be amazing

[AdamsFlysParticipant]

Rather than an sq format with Avantis feature set, I would rather see an Avantis with one screen, and 12 faders. I’m okay with the 4in/4out like you mentioned, as long as I can keep my two card slots and all the other I/O that comes on the console. The biggest thing that I miss from the Avantis when I step up to an sq, is the large touch screen, and so I would rather keep the format of the Avantis, even if it’s a smaller console that could fit in the width of a standard rack.

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