[AndreasModerator]

When I decided to go for Qu I was pretty aware that I do not get fancy channel LCDs but have one physical fader per channel and still an area to place my tape. Second layer is hardwired anyway and I either go with custom or first layer, so I never missed something electronic here.
Totally understand the need for the QuPad/You/Control surfaces or consoles with less faders than channels.
If the Qu would have been designed to have scribbles, the Qu32 probably only had 9-15 faders enforcing to switch layers “constantly”. I still prefer to have all channels accessible at once, which makes the Qu somewhat unique in the market.

[AndreasModerator]

I guess this is one of these want-to-have-all-meters-at-0db-discussion. Adjusting gain for a nice meter look without touching volume levels seems to be the only effect.
…or I don’t get it either… 😉

[AndreasModerator]

Don’t forget a mSec is about stepping one foot ahead. Of course it seems to be obvious to not run mains and subs through paths with different latency, but assuming the subs are located on bottom and mid/high above the audience, the path length differs much more than few mSec near stage.

[AndreasModerator]

…disabling inside DAW would be available right now, pt described how to do it some posts above.

[AndreasModerator]

I guess you have mapped your AB168 to channels 1-16.
Just check I/O Patch – dSnake IN (chapter 11.15 in The Manual) to have channels 17-32 mapped to MAIN 1-16 instead EXPANDER.

[AndreasModerator]

I really doubt that any potential sound improvement from skipping the additional DA/AD stage will survive Amps+Speaker+Room+Audience-Noise. This is a pure academic discussion.

[AndreasModerator]

or just go analogue the last few inches…

[AndreasModerator]

I guess scene filters are not detailed enough to accomplish what you intend. If you safe all inputs, then this does include all sends from that input to your mixes/fx, that’s why you do not see any changes.
That’s sort of different viewpoint, I think. The “send to mix/fx” are associated with the source (channel), what you need would be “receives from channel” which are associated with the target (and hence could be safed/enabled per mix/fx). Maybe that’s worth a feature request.

[AndreasModerator]

Sorry I’m a techie and referring to the protocol not the connector type. AES3 and S/PDIF basically differ in signal levels (Interfacing AES3 and S/PDIF) along with tiny but essential differences within the subcode bits. So I’m referring to the AES socket which also exists on the Qu16.

[AndreasModerator]

Only two frames after 90 minutes? How lucky you must be, see much worse, depending on cameras, temperature, humidity etc.
LTC is fine to locate matching points between seperately recorded audio and video, but it probably does not help for long-time synchronicity. It probably depends on the capabilities of your video application to stretch either audio or video.
Proper way would be to sample-synchronize all components during recording. Since the Qu does not synchronize to something external, using the S/PDIF output would be your only source of synchronization which the cameras have to hook on.

[AndreasModerator]

“MIDI” Channels? The Qu only processes Audio, so I suspect you have some sort of MIDI expander/VST instrument running either in Ableton or on your system (“GM Synth” on Windows) and these send a stereo stream to your Qu, which ends up in the first two channels.
So, if we are talking about VST instruments inside Live, then you need to feed their outputs to whichever channel you prefer on the Qu. Since I’m not a Live user, I can’t get further hints how to achieve this.

[AndreasModerator]

DAW control would be second step, you’ll need to install the audio driver first. But the minimum OS will be Windows7, XP is not supported.

[AndreasModerator]

Did you try Waves Track Live? Slightly more expensive compared to reaper but more focused on recording.

On the other hand setting up reaper shouldn’t be too much magic either:
– First go to the audio settings and choose the Qu24 (on Windows select ASIO first).
– Right click in an empty project and “add multiple tracks”
– Open the “Routing” screen to assign input channels to each track (should have a diagonal row of dots in the end)
– You may want to name some of the tracks, which have a fixed assignment
– Select all Tracks
– Arm record (actually all tracks)

Save this project as your recording template, this only have to be done once.

To start a new recording:
– open that template and save the project into a new directory
– press record
…

This is from my Brains-Cache, so excuse for any inaccuracy… 😉

[AndreasModerator]

Select a mix and go to the routing screen, there you have a selection for the “Channel Source”.
Its described with more detail in chapter 9.9 in The Manual.

[AndreasModerator]

The most essential question is: What’s the purpose? Do you need a mono output to drive subs? Just need to duplicate LR for different rooms? Or do you need three individual mixes for “three zones”?
On the Qu24 you’ll have Matrix outputs which can be fed directly by LR and have integrated delay lines and EQs (no need for the DBX boxes), they still follow the LR mix.
To obtain a MONO output for Subs you may either use an external speaker management system with properly designed crossovers or just use one of your mono mixes (Mix1-4) and only feed the rhythmic channels to that mix. But the Mix outputs do not follow the LR master fader, so you may want to use a DCA to control the overall volume.
There are so many possibilities… 😉

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