• Depends on the console.

    A Qu16 is limited to 16x mono +3x stereo channels. Sources for those 16x mono +3x stereo channels can come from your choice of local preamps, Qu drive or the USB interface, but regardless of where they come from, the console can only process 16+3 at any one time. By default they come from the local preamps. Choosing to…[Read more]

  • I think it was mentioned in the webinar that SQ would re-sample the incoming audio stream coming in from ARAB stageboxes (and 48kHz clocked exp card) up to 96kHz to allow the SQ console to always operate at its native 96kHz. Then, if audio is leaving the console digitally (as opposed to out of the console’s own analogue XLR sockets) to a stagebox…[Read more]

  • On the overview page the XCVI core runs “variable bit-depth for ultimate precision and noise performance,…” I suppose that a variable bit-rate could allow for some more separation between noise floor and useful content. TBH I don’t know enough about it.. except to say that people I’ve spoken to who have used dLive are impressed at how high…[Read more]

  • That’s my understanding too. From what I’ve read users who register their console and download the v1.1 firmware will receive a DEEP preamp (guessing a tubevalve emulation?) model for free. Being a DEEP plugin, it can be inserted across as many channels as you want without affecting the console’s latency, so everything remains coherant. This is…[Read more]

  • cornelius78 replied to the topic DCAs in the forum SQ general discussions 1 year, 10 months ago

    8x DCAs, 8x mute groups from what I’ve read (more than Qu, not as much as GLD.)

    AFAIK all 6 layers are customizable with a drag-n-drop interface similar to GLD.

  • Technically neither. AFAIK you build your mix in 96k on the console, then if the SLink socket is operating in dSnake mode, it’ll downsample the outgoing audio stream down to 48kHz before it gets sent to the AB168, so when it hits the AB168 it’s already at 48kHz, the AB168 will do DAC on that 48KHz signal and you’ll feed your PA the analogue signal.

  • As above. If it’s the channels feeding FX2, they’ll still feed it when the group is muted, because the channels themselves remain un-muted. You can either run the returns into the group (and un-assign them from LR) so although the drum channels still feed the FX engine, the returns get muted when you mute the group, so you don’t hear the returns…[Read more]

  • 8x FX engines, 4x of them with their own dedicated send buses, the remaining 4x FX engines would need to be used as inserts or channel>returns, or you’d need to sacrifice the other stereo buses to feed them ala Qu16.

    Given that there are only 12x physical buttons on the console surface that provide access to the mixes, I have a feeling it’ll be…[Read more]

  • I don’t think anyone not from A&H will be able to confirm without seeing the documentation (unless it was mentioned in the Webinar, idk, I missed it,) but given that it’s a 48 channels console with potentially only 16x local preamps (SQ5,) and how the audio racks work with GLDQu, my guess is that it’ll be even more flexible than the X32 series:…[Read more]

  • Thanks for that Keith. Higher track count at lower sample rate would make sense, especially if people are going to use ARAB stageboxes, which AFAIK are clocked at <96kHz anyway.

  • Hi Keith.

    Can you confirm whether the SQ-Drive (onboard multitrack, similar to Qu-Drive, on the top of the console near the phones socket, not the 32×32 CoreAudio compliant interface on the rear of the console) is limited to 18 tracks like Qu-Drive, or can it do more?

  • Brilliant! Thanks for the reply.

    Wasn’t sure if that was possible using only SLink sockets between consoles or if SLink could only be used to interface with stageboxesgigaAce.

    It means if 2414 is enough IO for the stage (not counting TRS connections) and the patching is that flexible, then you can do a FOH/Monitor split without needing…[Read more]

  • Using gigaACE on the SLink port means you can indeed link to another SQ (or dLive), though this would be for audio as opposed to any control data if that’s the kind of link you mean.

    @KeithJ A&H

    Does this mean you could have an SQ6 on stage using its local preamps for inputs, and its own DSP for mixing monitors, and it could pass its preamp s…[Read more]

  • It’s normal. When an FX engine is configured as an insert you don’t get normal send/return faders to work with. Instead (most, if not all IIRC) the FX have a dry/wet control. If you want your faders back you’re going to have to change the FX routing from insert back to mix>return.

  • As above. If the channel source is a local preamp, then it’s routed 1:1, ie if ch5 is set to source a signal from a local preamp, it will automatically choose local preamp#5, and this cannot be changed. Any instances of ch5 on the custom layer will all have the same processing.

    However if you tell ch5 to source a signal from a remote preamp (ie…[Read more]

  • I’ll just add that IIRC the line inputs on the Qu Series have a 10db pad c/f the XLR inputs, which will further diminish the level you get.

    Re micing the amp: it’ll certainly sound different, as if you go bass>di>mixer then you’re getting the signal straight off the bass guitar. If you have a head with an output at an appropriate level and…[Read more]

  • @Bramasole
    That only applies up to a point, and then you get diminishing returns. Don’t forget the quality of the source material (if the musician is off key, out of time, has bad mic technique, a poorly tuned instrument etc there’s only so much you can do,) the room acoustics, the importance of having a decent power supply, speaker and mic…[Read more]

  • Speaker managementampsrecorders that can take an AES3 input: keep the signal digital as long as possible.

  • I think what the OP wants is a “Solo in place” function: ie the signal coming out of LR is replaced by whatever is soloed. If nothing is soloed, you get the full LR mix. If something is soloed, the LR mix is replaced by that soloed signal. It’s useful in the studio (especially if you don’t have CR outputs,) but quite dangerous live: you can end…[Read more]

  • You can bring the signal from the external pre into the Qu using the line inputs (above the preamps.) From what I’ve read, your Manley will be outputting a balanced signal over XLR, and the line-ins on the Qu are balanced, so an XLR-TRS cable would be best. NB that the line-ins on the Qu have a 10dB pad c/f their associated XLR inputs, so you…[Read more]

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