[Dave MeadowcroftParticipant]

I’m pretty sure that you can just render the stems again using Reaper without any of the extra data.

[Dave MeadowcroftParticipant]

Currently:
Option 1. Add the channels you want to retain relative fader levels of to a DCA. Cons: The individual faders don’t change when you change the DCA master level
Option 2: Create a gang group. Add the channels you want to that and select fader in the options plus anything else you need. Cons: Levels aren’t relative

There is currently no direct replacement for Yamaha’s relative linking functionality as far as I know. A relative option in ganging on suitable options such as fader to allow that would be great though!

[Dave MeadowcroftParticipant]

I can answer the first 2…

1. Each FX can only be inserted in one channel. To use one for multiple channels you can either send all the required channels to a group and insert in the group or use with an aux bus as send/return.
Deep processing such as the addon compressors or tube stage are different. These can be selected in the channel itself using the Lib key without using the insert so you can have them individually for every channel.

2. MIDI strips are just for sending/receiving MIDI data so they don’t do any processing and therefore are not part of the 48 processing channels.

[Dave MeadowcroftParticipant]

There is no trim control for output sockets unfortunately so to have independent level control requires separate mixes.

I’m with Mike and would suggest using matrixes instead of Auxes as this is exactly what they’re designed for. If you don’t require different instruments being fed to different areas then simply send LR only to each matrix. They then have their own level controls.
You can add delay (and other processing if needed) to ensure sound from various speakers arrives with the audience at the same time. Also, you can set pre or post fade so changing the levels in the room doesn’t/does affect the levels outside.

[Dave MeadowcroftParticipant]

Check you haven’t unassigned your channels from the FX mix bus.
Press FX 1 at the upper right.
Make sure you’re on the layer where the channels you want to add FX to are.
Press and hold the assign key on the left above the layer keys.
Check the Sel keys are lit for those channels. If not, press select while keeping assign down.

If it’s not that then go to the layer where your FX sends are and check they aren’t muted.

[Dave MeadowcroftParticipant]

I purchased a SQ7 a few months ago as a drop in replacement for a LS9-32.
It was a similar situation with 32 x 16 analog snake in place from mix position to the stage already. In fact, this was the main thing that made me decide on the SQ7 over other consoles as it was essentially identical IO.

I just patched the inputs and outputs from the snake to the back of the SQ 1 to 1 and that was pretty much it. All sorted in a few minutes. The only things I changed were the output patching for the main FOH which needed to be on 15/16 not 11/12 which it is by default*, setting the auxes to mono (I can override this on a show by show basis if stereo IEMs are required) and changing the number of Auxes to 12 as having a large amount of monitor feeds is required but groups are not generally needed.

After that it was just configuring a default show/scene so sound checks would be as quick as possible. I also spent some time reconfiguring the external crossover and setting the SQ7’s GEQs on the Auxes for wedges by using the built in RTA, signal generator and a reference mic – but these are all standard install jobs and not specific to the SQ.

[Dave MeadowcroftParticipant]

I assume it’s the meter data that is the bulk of the bandwidth that forces this limitation?
If so, maybe they could limit the number of clients that receive this data and then increase the number of possible clients as data demand/service will be lower…

[Dave MeadowcroftParticipant]

I was wanting this tonight actually! It would’ve saved me some time.

[Dave MeadowcroftParticipant]

Got your email – that worked perfectly.

Thanks Alex!

[Dave MeadowcroftParticipant]

+1
Same for PEQ on Talkback!

[Dave MeadowcroftParticipant]

This is normal. The FX return that you are sending to your IEMs is a bus containing the FX mix for that effects unit so it will of course have the wet signal of all the channels sent to that effect.

If you only want your FX in your IEM then you will have to use an effect unit just for your channel.

It’s unusual to have reverb in monitoring for 3 main reasons.
1. If using wedges (not applicable in your case of course) then you’re more likely to have feedback issues on a loud stage
2. Some find it can have a negative impact on the musician’s performance – I don’t necessarily agree with this though
3. Everyone wants to hear just theirs which, as you have discovered, may be impossible without a huge number of FX units and buses/channels to send/return them if the band is large

[Dave MeadowcroftParticipant]

Hi Alex,

Thanks, I’ve done that. I’ve had a ticket number in an auto-response 🙂

Dave

[Dave MeadowcroftParticipant]

Good luck with it – I’d offer to help but I’m in England so not really practical 😅

Find out the models of the amps, speakers and crossovers / EQs, if there are any, and I’ll be happy to look up the specs and give you calculated settings for all of them that will be a good starting point – it will still need setting up properly for the room with a measurement mic and your outputs EQ (or inline EQs if they are there) using RTA.

You mentioned Room Treatment did whoever fitted that not measure the acoustics of the room before, during and after? If not they could have caused more problems than they solved.

There is nothing ‘deficient’ in the SQ, or QU for that matter, in fact the SQ is right up there with many of the very best consoles on the market and sounds incredibly good. It’s got to be a set up/understanding issue.

[Dave MeadowcroftParticipant]

You can set pre/post eq per bus but not per channel and bus.

You do this by selecting a mix and then processing and it’s right at the top.

[Dave MeadowcroftParticipant]

Forgot to say, also raise the channel fader to 0 after turning off PAFL along with LR.
Also, make sure there are no DCAs, drastic EQs or heavy compression/make up gain involved!

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