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2018/12/05 at 11:41 pm #80595
Page 22 in the manual.
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You must be logged in to view attached files.2018/12/05 at 11:24 pm #80594Everything’s Sooner in Oklahoma…
2018/12/03 at 1:32 am #80502NOPE! It’s page 14. Go to SETUP/OUTPUT PATCH/SURFACE and scroll to PFL on the Alt Out “wheel”.
2018/12/03 at 12:47 am #80500“I would recommend using the Alt Out for this, as you can assign this to the PAFL bus”
I’l see if I can figure out how to do that Alex. Thanks
Look in the manual for the Alt Out assignment. I think it’s page 17. If you follow the directions you’ll see something like the attached screen shot from the Qpad app.
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You must be logged in to view attached files.2018/12/02 at 9:42 pm #80496Do you/have you used that stick for any other uses that recording on the mixer and then transfering files to the computer or loading files on to it for playback
This can be the crux of the matter. It’s WAY too easy to pick up something bad on USB media from an infected or compromised device. I don’t accept random sticks for playback when doing festival sound without scanning it first to weed out viruses, trojans, etc.
All my sticks are SINGLE PURPOSE and have been functioning to spec for years.
2018/11/29 at 10:17 pm #80445You CAN do it. Should you do it?
The cable is unbalanced on both legs and can function as an insert cable, but if you read the white paper I linked above you’ll get a good idea of why this is not a good idea.
2018/11/29 at 9:25 pm #80442The above diagram is clearly labeled as an OUTPUT/SPLITTER cable. Read this:
2018/11/28 at 1:10 pm #80404Phil…
Have you been re-formatting the sticks before a new project? The recommendations I’ve followed are:
1. Make a continuous recording. No stop and start.
2. Always start with a freshly formatted stick. Off-load, Re-format, Go.
I use 16gb Sandisk Extreme sticks for Qu-drive recording and a Seagate 500gb 7200 rpm drive from the USB-b port with great results, but I’m doing continuous recording of live events or performances. Multiple sets or sessions get a fresh drive.
2018/11/25 at 2:18 pm #803182018/11/23 at 7:45 pm #80288I can relate to hearing changes. The two things most liable to set off my tinnitus are:
1. Screaming children and…
2. Metal flutes.
Wooden baroque/Irish flutes don’t bother me much. The Audix flute mic does have a “haystack” in its response you have to watch out for centered around 10K. Otherwise, the ensemble, the room and any ambient sound kind of de-legitimize the benefit of any fixed pre-sets for me.
That said, I do have pre-set EQ’s stored for the different sets of monitor wedges I use and some dynamic processing pre-sets for labeled “Screamer” for certain vocalists, “Thrash” for amateur guitar heroes and “Doofus” for clueless politicians, corporate execs and the like who refuse to learn how to use a microphone.
Good luck.
2018/11/23 at 5:04 pm #80284Phil…
Pre-sets, schmee-sets. Unless there’s an acknowledged anomaly in the mic response, your best bet is always to use your ears. Every player and instrument is different, so pre-sets for “artistic purposes” are just someone elses guess. Your best bet is always to start with proper input gain and flat EQ.
1. Cue up the flute channel in the cans, sweep a 6dB boosted PEQ filter of moderate width across the spectrum and “see” where the sweet spot is, then narrow the filter to hear the effect. When the sweetness diminishes, restore a bit of width.
2. Sweep a narrow width 6dB cut across and back listening for effect as above.
3. Always A/B any EQ decisions by taking the EQ in and out for comparison to flat response to validate any impressions you’ve formed.
Store the result in the user bank for your starting point. You can then use the same PEQ sweep on the flute while listening to it in the ensemble mix to tweak your basic settings to fit the ensemble du jour or to identify any crucial flute frequencies being masked by another instrument and use complimentary EQ between them for increased separation/clarity.
It may be beneficial to do a short recording of the flute/mic combo to use for establishing your baseline EQ to save wear and tear on the flute player while you sort things.
Good luck.
2018/11/22 at 1:57 am #80246Yep. Just checked on my Qu. Turn off the LR AFL. It is a bit unclear. It should be labeled to indicate AFL/PFL. As is, enabling LR AFL chooses AFL instead of PFL. AFL seems to be the default for the mains bus.
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You must be logged in to view attached files.2018/11/22 at 12:42 am #80242Garyh, it doesn’t work out that way. It mutes everything including the headphones. Using the ALT outputs works as a workaround though (I can adjust the ALT out k
It shouldn’t. Take a look at the block diagram. The PFL pick-off point is BEFORE the mute button in the circuit. Check the PFL setup as found on page 61 of the manual. I suspect your board is somehow set up for AFL which comes AFTER the mute button in the circuit.
Turn off “AFL to LR” and see if that doesn’t fix things.
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You must be logged in to view attached files.2018/11/19 at 7:02 pm #80190Chris…
No, you cannot combine them for “one console” audio. However, you can use one to sub-mix “stems” (think groups) and send the stems to the main mixer via channel inputs. ST1/ST2 would be good for things needing panning and single channel/mono stems after that. So…
Master:slave, no. Sub-mixer:main console, yes.
2018/10/29 at 6:59 pm #79630In addition to choosing a proper device for line-matching, may I suggest a couple more hints to keep things “in line”:
1. Use a right-angle plug at the camera. Straight ones put stress on the tiny input jack and either get noisy as things loosen up or just plain destroy the input jack.
2. Disable the camera audio limiter. They’re cheap and cause terrible distortion when they kick in. Use a designated output from your mixer and set up the compressor as a hard limiter on the group or matrix chosen for the camera feed. VOE…
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