[AndreasModerator]

I understand Leon’s tip this way: “Older” AR units may have a firmware which can not communicate properly with the Qu, and I doubt that such a unit will accept a new firmware from a Qu though. No idea if a Qu can update a Qu-aware AR…

[AndreasModerator]

Actually a new 2412 run instantly on a Qu, even without buying an additional GLD to upgrade firmware first… 😉

[AndreasModerator]

First of all, if you record post LR, recorded level totally depends on your master faders and will jump if you make live corrections. With pre LR you’ll record what’s on the internal LR bus, regardless of the position of the LR fader.

Then you should ensure that internal level are not too low and easily reach nominal 0dB meter readout (Home->Meters). But recording still seems to be too thin when played on a computer, this is the 18dB headroom still available to handle transients without clipping. To compete with “regular” files like MP3, the Qu-recording need to be raised by about 300% (=18dB), so the 400% are somewhat normal.

Of course you’re free to decide your nominal internal level on the LR bus should be, for example, +12dB and reduce the LR fader accordingly (or turn down the PA). This will increase volume within the recording but there’s only 6dB headroom left before hard, digital clipping will occur (on both recording and mixer output!). Instead of feeding louder signals in your bus, you probably better use the compressor on the LR bus to rise the volume up to +18dB, which also helps to avoid digital clipping (when properly setup).

Just saw that I “ignored” your second question: Of course you can route the FX return also to Mix busses. Select your Mix Bus (right button), select the upper layer (left), hold the Assign button and use the SEL button of your FX to add it to the Bus. That way you could add gain only for recording without affecting the LR bus.

[AndreasModerator]

Why not recording Pre LR?
Anyway, QuDrive recordings are not meant for direct playback on PC/Mac since they still contain the additional 18dB headroom above nominal 0dB readout. To make the levels “compatible” to players outside the world of Qu, you’ll need to rise volume in your favorite DAW/AudioApp accordingly, probably along with a compressor or limiter to avoid digital clipping.

[AndreasModerator]

I’ll second that operation could be even more intuitive with several screen simply relocated (or multiple accessible). At least global stuff should not be redundantly “hidden” in channel strips.

[AndreasModerator]

Security would be my concern. Since there (currently) is no mechanism to “allow” a particular iDevice control over a Qu desk, using a separate (hopefully hidden) WiFi is the only chance for a rudimentary access management.

…just thinking of the mixer in the private studio controlled by someone somewhere within reach of the enterprise managed network… 😉

[AndreasModerator]

It only depends on write performance, and the SanDisk Extreme series is reported to work well.

Anyway, the NAND flashes used in all sticks (and SSDs as well) do require proper error management. While this generally works ok, it _may_ take too long in rare conditions which _may_ cause a dropout. I like that idea as well, but for critical recordings I probably stay with deterministic HDD.

[AndreasModerator]

…and don’t forget turning any assigned DCA on…

[AndreasModerator]

A little math should help: At 48kHz at 24 Bits each track consumes 3*48000 = 144.000 Bytes per second ~ 8MBytes per minute ~ 500 MBytes per hour. So 18 Tracks use about 9 GBytes per hour, that’s why a 64GByte are expected to store about 6 hours.

From a system view sticks and HDDs (or SSDs) are same, just differ in speed and access times.

Probably helpful to check the contents of the stick on PC/Mac to see where the space had gone to.

[AndreasModerator]

maybe your USB source is set to QuDrive not USB streaming? Check source page in preamp screen (Fn button).

[AndreasModerator]

ST3 is for QuDrive Stereo, WDM should be received through highest channels, on Qu16 I’d expect 15&16.

[AndreasModerator]

I guess that can only be tested along with your particular equipment, DAW and some real projects.
Playing VST “live” is always critical for latency, and a buffer of 512 bytes will automatically produce about 10mSec of it. Comparing a 24 Track audio card with the Qu32, which has to transfer 32 Channels, isn’t that fair, since your host will have to process 30% more data. Consequently there will be a 30% higher CPU load on your DAW from the additional 8 channels. If this breaks the performance, it is not the Qu…

[AndreasModerator]

…umm, quick&dirty testcenter forgot to check external loopback, which is the real interesting thing. So I now externally connected the Mix out into another input and recorded that one along with the digital Mix output.

Rechecked twice, but the additional latency can only be expressed in Samples: 32 (thirtytwo)
This is the same 0.7mSec stated in the Specs for XLR in to AES Digital Out…

I guess any musician or physical FX will add more latency… 😉

[AndreasModerator]

…and just found the additional latency control in reaper, could easily get it down to zero when configuring the values above. Of course depends if you’re recording inputs or mixes.

Lesson to learn: Qu obviously does not have internal latency compensation on different input sources. If we do live recordings all USB feeds should be set to either inputs or mixes to avoid phase problems!

Thank you for this interesting finding… 😉

[AndreasModerator]

…and here are the results of the quick&dirty test center:

Using Reaper on a vintage Core2 Notebook running Win7 with 2k Samples ASIO setup (something worst case scenario).

Played back a previously 32Ch session to the Qu32 and recorded back from Local Input and MixOut. Latencies are ok for normal rehearsals:

Recording dry from the input: 4mSec latency
Recording from Mix: 5mSec latency

In this case Latency is the time seen in DAW between peaks of source and re-recorded tracks.

I guess this could be reduced using a more up to date PC with smaller ASIO buffers. Not sure if Reaper has an additional latency control to play around.

From a musical standpoint this should be ok, I guess.

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