[airickessParticipant]

Assign the channels in question to a DCA. Instead of MUTING the DCA, just bring down the fader all the way when you want the Main and Post-Fader channels to go silent. The Pre-Fader mixes will still receive the signal.
Don’t forget folks, faders go up and down.

[airickessParticipant]

Instead of using the two DX168 boxes you should replace those with a GX4816. The DX2 port on the GX4816 can be hooked up to an ME system. As soon as an ME system is connected to the DX2 port it will self-configure and the ME patch will show up on your SQ. That way there is only one SLink port needed and you can still keep and use your Dante card for your Mac recording rig.

[airickessParticipant]

Make sure your output routing is correct. Are you using an AB168 box (or similar) for your DSnake I/O to your monitors? If so, see if you’re sending your L/R signal through a pair of outputs on that AB box. Also, see what routing output you’re using on your Main LR fader. Is your Main LR fader up? You said that “the main is hardwired to the amp and EQ.” What does that mean? Are you running cables from the console Main LR outputs directly to the amp and EQ?
Are you sure you’re mixing on the main fader layer and not a custom layer? Are all of your channels routed to the Main LR? Is your Main LR muted? When checking your Main LR output, are your channel faders up and channels unmuted? If you are sending channels to Mixes pre-fader then sound will come out of the monitors with the main layer channel faders down.
Read the QU Reference Manual Section 9.7 – Channel Routing and 9.9 – Mix Routing for more information of routing to outputs.
The QU has a built-in signal generator. You can send pink noise to any output. I suggest you try sending pink noise to your LR Output channel. See the Reference Manual Section 11.3 Audio Setup-Signal Generator for more information.

[airickessParticipant]

I would also go with the SLink protocol. In the touring package I would include at least 4 ethernet to fiber converters and at least two fiber reels. SLink is limited in its effective working distance (100m, I think) over Cat5e. Using the fiber converters and fiber cable will give you plenty of length to handle SLink over great distances so you won’t have to worry about cable run length in any venue.
I’ve used SLink over both Single Mode and Multi Mode fiber for a couple of years now (even going through fiberoptic patch bays) and it’s been 100% solid. Allen & Heath does have a fiber ACE expansion card for Avantis and DLive so the fiber can go directly into the console. You will have to use a converter at the other end as I don’t see any stage boxes with optional card slots.

Choosing a console is important. The SQ series is limited to 48 input processing channels, so if you think you will have need of more processing input channels choose an Avantis (64 processing channels). The Avantis also has Shure and Sennheiser RF integration – SQ does not.

[airickessParticipant]

Use the Automatic Mic Mixer (AMM) – setup either in the SetUp or Utilities screen. Send each of the 20 PTT mics there. If you haven’t used any sort of Dugan Auto Mixer, this is a very good one and the perfect time to use it. Using it will help greatly with the Gain Before Feedback, although if these PTT mics don’t latch open and are really set for PTT only then that would minimize GBF too.
Yes, sending the livestream via Mix 1 is the way to go. Make sure you’re sending all the inputs Post Fader. Also, the SQ (like the QU) runs outputs a little quiet. Check your metering on the Mix 1 output – you might have to push the Mix 1 Master fader up an additional 5db or 10db to get a really good level to the livestream. Find out if the livestream wants to be stereo or mono. If Stereo, you will have to pair Aux 1 and 2 stereo – done in the SetUp screen under Mix Config. (If I get the screen names wrong I’m sure someone will correct me – I’m doing this from memory and don’t have an SQ handy while writing this.)

[airickessParticipant]

To add to Brian’s point, on some gear (usually higher end gear) there are relays on the outputs to prevent popping when booting up. According to A&H, only the Avantis and the dLive S class of consoles have output relays to prevent this popping. As of this posting all other console in the A&H product line do not have relays (not sure about the AHM install line). So follow Brian’s advice about power up and power down procedures.

[airickessParticipant]

You must have each Logic channel output to a separate QU channel. Then you treat them like any input channel and assign the inputs to whatever AUX send you must.

[airickessParticipant]

Thanks Nicola. That’s exactly the information I need.

[airickessParticipant]

I too was just reading about the FiberAce cards for an Avantis. I work at an outdoor venue where we use SQ consoles for FOH and monitors. We have Multimode fiber infrastructure that is used to connect the consoles together via the SLink ports (using fiber to Cat converters). If an Avantis were to be used at FOH in this situation and had a FiberAce card, does it have to be in Convert mode or can it be used as a direct fiber output to connect to the SQ (using the previously mentioned fiber to Cat converter)? Or would I have to go out of the Slink port into the FiberAce card, in Convert mode, in order for the SLink protocol to work over the fiber?

[airickessParticipant]

Take a look at the Main LR channel (PreAmp screen) and see if your Channel 10 is assigned to it as an external input. If it is then it is assigned prefader to Main LR and will ignore the Channel 10 fader.
That has bitten me in the past.

[airickessParticipant]

Having many years of experience with multiple-wireless mic shows performed by children, I have some advice.

Instead of coming up with custom EQ curves for many of the kids, the better solutions to multiple users of the same mics is twofold –

1. Insure proper placement of the microphone. You didn’t mention if the microphones are ear mics, headworn (forhead) or placed on the lapels of the performers. You should do some research and experimentation with the optimum positioning of the mics, then work with whoever is doing the mic switches backstage and show them the optimum position you want. Most of the time the folks backstage will nail the positioning. Also pay attention to the costuming of certain characters as you might have to compromise mic position based on costuming issues (masks, hats, metallic thread or sequins, etc.).

2. Get a frequency measurement of the microphones themselves. If you have worked with any sort of audio measurement software (Smaart, REW, etc.) then you can just use the mics on the packs as your measurement mic for the program. Then you can see the frequency response of the mic in the venue you’re using and it will give you a good starting point for a general EQ curve for the mics. Correcting EQ response issues with less expensive wireless lavalier-style microphones will go a very long way towards making the microphones sound generally better and lessen EQ issues from performer to performer.

3. If you do measurements of the microphones you should also do measurements of the P.A. you’re using in the venue. EQ any frequencies that might stand out (and that might be exacerbated by the venue’s acoustics).

Establishing a corrective EQ for the venue speakers and a corrective EQ for the make and model of microphone used will significantly improve the overall quality of sound for your shows. It will make it easier to mix too. Then, if you run into a compromising costume issue (as mentioned above) you can create a corrective EQ for that specific mic/performer moment, save it to the EQ Library and create a scene for its use.
All you need to do these things is time, but if you can make the time to do them initially then it will actually save you time down the road with future productions using the same setup.

[airickessParticipant]

Coming a bit late to this thread, but I have used a Decksaver cover for my Qu16 for years now and found it to be a great investment. It not only protects the surface when walking away during a gig but it also protects the surface during any transport and storage. The Qu soft cover for the Qu16 will fit right over the console and Decksaver, giving a perfect combination for transportint the console. I’ve not yet bent a fader or lost a knob when using the Decksaver.

[airickessParticipant]

Are you hearing the distortion on the channel in the recordings or when you are monitoring it through the QU?

Even if you turn down the gain on the channel so you aren’t clipping is the mic still distorting? Have you tried the mic on other channels of the QU?

If the mic is distorting even though the signal isn’t even close to clipping on the mixer then there’s something wrong with the microphone.

[airickessParticipant]

It’s not at all a dumb question. I’ve heard of that technique used on kick drums to add some punch at certain frequencies.

Unfortunately the channel gate on Qu consoles cannot be triggered by a source other than the channel input.

[airickessParticipant]

If you are looking for a laptop to use with your Qu console via the USB B port connection then I recommend looking into a Windows laptop that has an AMD processor. Computers with Intel processors are known to have audio stream stability issues when hooked up to the USB B ports of the Qu series of consoles.
I believe all Apple laptops have Intel chipsets in them now (if I’m wrong I’m hoping someone will correct me).
I’ve first hand experience with this issue. Streaming audio from an Intel-based laptop was unreliable and unpredictable on both playback and recording. I finally switched over to a laptop with an AMD processor and have not experienced the same issue.
For more information on the issue you should take a look at the thread in this forum titled Digital noise when streaming audio via USB-B.

[Author]

Posts