[Dave MeadowcroftParticipant]

That’s odd.
I use a D6 on nearly every gig, no pad and always have to use some gain – there has to be some gain from a compressor, EQ or insert somewhere for that to be happening.

[Dave MeadowcroftParticipant]

And a bit more information…

The Wi-Fi Network shows empty on the Choose Unit page. I am connected to the Wi-Fi network of course, and the SSID isn’t hidden and works fine on other Android devices including this one until recently.

[Dave MeadowcroftParticipant]

A bit more info…

I can connect if I enter the IP address so it’s just auto discovery that has stopped working.

I have reinstalled the app just in case but no change.

[Dave MeadowcroftParticipant]

More colours would be amazing!
Even just adding the 6 tertiary colours would be helpful and hopefully not be a huge job with little UI change in the console or apps – depending on how they’re stored of course!

Full 24 bit RGB would be the ultimate with a picker, but could be somewhat difficult to add, and many would be unusable and/or indistinguishable of course – but that becomes the user’s problem.

[Dave MeadowcroftParticipant]

A channel can only have one input socket so that’s why it’s shown (or 2 for a stereo channel of course). A single mix can be routed to over 300 possible output sockets at the same time, so there’s no way to display all of those.

[Dave MeadowcroftParticipant]

This is in the Feature Suggestions area so most of the discussion is simply irrelevant!

ANY suggestion is valid in this section, whether a particular individual would find a use for it or not. Whether the resources available in the console can handle it only A&H can answer.

If it’s not possible then A&H will generally respond. If it is possible then they normally let the requests thread run to see what the appetite for it is among the user base via +1s and/or ask for clarification or use cases where appropriate.

If you don’t see the use for it then simply move on.

Personally, I would welcome an expander option to substitute for the gate when needed so +1 from me.

[Dave MeadowcroftParticipant]

Without micing the toms there are really only 3 things left… mic choice, mic positioning and eq.

1. Use SDCs (small diaphragm condenser) for overheads if possible. They generally sound clearer on distant sources when compared to dynamics so any spill will will tend to be more ‘musical’. They are also often better with the higher frequency detail that define the cymbals you primarily want them to capture. Not all SDCs are created equal of course so this is very much a generalisation.

2. Position, polar pattern and direction play a huge part. Try aiming your mics in a different direction paying attention to where they pick up from most to make sure that area is covering what you want, but not the snare. Cardiod/hypercardiod makes a big difference too. The tighter pattern of a hyper can be beneficial, but they also pick up more from the rear – so depending on the space, reflections and other instruments cardioid can be the correct choice.

3. Try using HPF to keep the low out of the overheads, anywhere from 100 Hz to 250 Hz can work although lower will be better for your toms, and notch out other unwanted snare frequencies just a little and with a wide Q – It won’t disappear but may sit better in the mix.

There is also a number 4 – use a quieter snare, head, sticks or drummer! Fixing the source is sometimes the only solution!

[Dave MeadowcroftParticipant]

On Allen & Heath consoles if you mute a channel you mute it everywhere.
If you want it in an aux (monitor) but not in Main LR then you have to either pull the fader down (directly or using a DCA) on the LR mix, or unassign it from LR entirely,

[Dave MeadowcroftParticipant]

PL76 (1176 Clone) is my go to for nearly everything. For me, it’s the most versatile of the ones we have on the SQ.
Opto on vocals if it’s better suited.
16T works great on rock guitars if they’re not too bright.
The stock compressor is really good when I just need a little compression that’s not too coloured as well.
If I need a HUGE kick drum that’s weak at the source, then I grab the Mighty.
Occasionally I’ll use the 16VU on Electric Bass if the PL76 isn’t quite working.

I haven’t used them on groups as I don’t use groups at all and prefer DCAs instead. Groups were needed back in the day when processing was limited (no one could afford 48 x 1176 compressors to put on inserts), but apart from specific effects, or to get things into a matrices, I personally find them of no use now we have DCAs.

If it doesn’t need any compression then I won’t use one of course!

[Dave MeadowcroftParticipant]

+1 …for anything that speeds up operation when using a device with a real keyboard.

[Dave MeadowcroftParticipant]

Ah – didn’t spot this was QU as it’s in the SQ section.
Is there an app for PC/Mac, depending on what you’re using, for QU?

[Dave MeadowcroftParticipant]

It’s as reliable as you’re network is.
WiFi environments change, not just from location to location but also when people arrive after set up – so I would always recommend to be prepared with a hardwired backup such as a cheap laptop direct to the router at least!

The iPad only controls the mixer, no audio is passed, so you will need to get audio to the desk using a cable (or some other means).

Just in case you aren’t aware, the last time I checked Spotify isn’t licenced for commercial use. No one seems to care and I see it everywhere, but technically it’s not allowed.

[Dave MeadowcroftParticipant]

I can see the potential for this, although personally I don’t think I would have a use for it.

I would have thought for portable/touring applications (ignoring ME) a 1U DX160 or a 2U DX1616 would be great. All power and network connections at the rear and XLRs on the front. With DX1616 all patching would be sequential which would be very intuitive (and you could actually achieve the theoretical 128×128 with 8 and a DX Hub!).

[Dave MeadowcroftParticipant]

Tie Lines are for patching input sockets to output sockets directly without using any processing.

What you are looking for is Mix Ext In. This adds whatever you want to the mix you want, again without using any processing.
This can be done from either the processing page of the channel strip for the Mix you want to add to, or in the routing page under Inputs | Mix Ext In on the left – select USB in your case at the top and insert to the mix in the grid below.
The only caveat I believe is that a mono mix will only take a mono mix ext in and a stereo requires a stereo on adjacent odd/even sockets or USB channels.

[Dave MeadowcroftParticipant]

I understand why the HPF changes from the EQ page (the HPF isn’t actually part of the EQ and comes way before it in the processing path), but I agree that staying on the EQ page would be more intuitive in the real world – so also +1

[Author]

Posts