[drc_onlineParticipant]

This is a valid option but the original poster didn’t say if they already have a digital snake or not?
If they have an analogue snake to FOH then this is valid option to put the splitters at FOH but if as is possibly more likely they already have a digital stagebox for the Qu32 that they are planning to reuse for the SQ7 then doing an analogue split onstage might require the purchase of another digital stagebox as well. Not a big deal but worth mentioning.

[drc_onlineParticipant]

Ok in terms of getting more inputs first thing to mention is that you can never get more than 48 input channels in your SQ7. You can have many more input sockets connected but only use 48.

So connecting the Qu32 will not automatically get you more inputs to mix at FOH.

I would approach this a different way:
I would go through your input list on the SQ7 and ask yourself ‘Do I really need this at FOH?’
So things like Atmos mics or anything else going straight to the live stream should be dropped off the SQ7 entirely.
I would be pretty brutal about this.

The next approach is to have more sockets plugged up but only 48 in use at any one time. You could manage this with the routing input library in the SQ7.
Of course there is more complex as you have to work out what is needed at the same time but at least you can have the other input sockets available if needed.

In terms of getting more mix buses yes it’s possible to use the Qu32 as a stagebox/mixer that feeds both FOH and monitors but of course that means you can never have more than 32 sources from the stage Qu32 and your remaining 16 inputs will have to be local on the SQ7.

In this config the mic gain control would be in the Qu32 but the SQ7 would have input trim control.

Hope that makes sense.

[drc_onlineParticipant]

Hi – just to re-iterate my understanding on this, as we’ve gone through a similar process recently.

You can do 48 channels on a single SLink connection, but you can also only connect one AR2412 and one AB168 on a single S-Link so you can only do 40 input channels on stageboxes and the other eight inputs would have to be direct inputs on the back of the SQ6
See this doc
You can only use one of your AR2412s with an AB168 into the SQ6.
You could plug the other AR2412 directly into the SQ7 at FOH but any inputs from that AR2412 that you want at monitorland you would have to send back to the SQ6 from the SQ7 on tielines.

So here’s how I would plug it up.

– Plug the AB168 into the AR2412
– Plug the AR2412 into one of the S-Link the SQ6.
– Plug up another 8 inputs directly into the local sockets on the back of the SQ6.
– Plug up a Cat6 cable from the OTHER S-Link port on the SQ6 to the SQ7
– Send all these 48 inputs via tielines to the SQ7.

That will max out the input count on your SQ7, so either keep the other AR2412 as a spare, OR plug it up as an extra stagebox on the second SLink port on the SQ7 at FOH or elsewhere (for wireless mics etc?) or even onstage, if that helps with layout, but bear in mind that you can only have 48 input CHANNELS on the SQ7 at FOH but they can come from either Slink port.
You can have more sockets (physical XLRs) than channels but can only use 48 of them at one time.
If you do use the second AR2412 as a stagebox bear in mind that any sources on that stagebox will not be available at the SQ6 unless you do some more fancy routing back from the SQ7 to the SQ6.

What we do is put all our ‘this never needs to go to monitorland’ inputs on our extra AR2412 that only goes to the SQ7 at FOH.

Hope that’s useful.
Dave

[drc_onlineParticipant]

One final follow up question on this topic – if I record on the Qu can I assume that when I flip the inputs into USB (Qu-drive) mode that those Qu-drive sources will also play out the ‘monitor’ digital tielines to the SQ via the Slink connection?

So I should be able to at least virtual soundcheck the 24 channels recorded in the Qu at both desks, right?
Thanks
Dave

[drc_onlineParticipant]

Ah yes- good point!

[drc_onlineParticipant]

Thanks chaps.
I think I will do what you suggest and prioritise the most useful 32 channels to record in the SQ5.
I may also record the 24 channels in the Qu independently (with some overlap) so the monitor mixer trainees have something to work from too just not at the same time.
Cheers
Dave

[drc_onlineParticipant]

OK that makes sense, but unfortunately on the SQ5 there are no soft rotaries I think.
I’m asking because I’m trying to set up a ‘team mixing’ setup for two students to be able to work on one Sq5/iPad combo and to at least have seperate volume controls for their PAFL listen levels.
(of course two listen busses would have been even better, but I guess that’s what the Avantis is for!)

[drc_onlineParticipant]

Late to the party here, but definitely +1 on the idea of a DEEP Primary Source Expander on the SQ as a way of cleaning up super busy mixes with less-than-stellar musicians on very crammed stages with lots of spill.
To give some context, I’ve just set up an SQ5 in a high school auditorium where they are already up to 35 out of 40 inputs on a big show, all on wedges (can you imagine dealing with in-ears for a rotating roster of teenagers?!!) and very variable mic technique. I’m trying to get the Music Tech kids to mix it and they need all the help they can get!
(Yes I know – they should do it ‘the old way’ to get used to it etc. good enough for us oldies etc.)

Thanks
Dave

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