[EdoardoParticipant]

Hi, you could create users for the console, and you or whoever knows how to manage the console could have access to all the scenes. Everyone else would only be able to use scenes 1-250 (for example) and leave your startups and your default scenes untouched.

[EdoardoParticipant]

I see your point, and thanks for taking the time to reply to this Keith.

I would have loved for this to be a possibility even just to allow for some extra fx returns for some extra channels, but I do see how it can be impossible to build into a fixed architecture like an SQ5.

Well I’ll live without it, I’ve already figured out how to do more sends without using the FX sends I just need to hope I don’t need all my 48 inputs for all my FX (and to be honest the only external fx I use most of the times are just a vocal reverb and maybe a snare reverb so I’ll be just fine)

Thanks again!

[EdoardoParticipant]

Most probably DX will be introduced as supported on dLive and maybe Avantis, the same way that other products from Sennheiser are. DX is the new generation and replaces G3/G4 stuff so most probably it will. EW-D series will most likely never be implemented because it cannot be networked, and it’s only controllable via Bluetooth from a phone app.

[EdoardoParticipant]

So, here is how I solve this issue.

In a venue where an SQ5 is the only house console and you need so many changes between inputs on stage it can be done in multiple ways.

One way is to have a matrix or some sort of system processor that handles audio coming from the console. This is very useful especially when running DJ nights or simple corporate events/guest consoles where you can just plug house music, DJ and house console into it, regulate the volume of all three and always have an active music in the background if you need to reboot or reload the XCVI core of the SQ.

If you need a lot of changes in the output setups of the desk that’s how I would go about it. Although having up to 12 stereo mixes I’d say you’re pretty safe from having to do lots of changes, 6 stereo mixes for IEMs and 6 mono wedges would be enough for almost all venues running an SQ5

If you don’t need to change your output setup but only stereo inputs then there’s multiple ways around it. One is to go GANG, and gang inputs making it much easier to have stereo pairs of whatever you’re using. Another option is to take some empty channels (if you’re running an SQ in a venue you’ll hardly go above the 32 channel count) and setup maybe 4 to 6 stereo channels at the end of the console. Then, when you’re soundchecking a band, you can patch your stereo inputs to those stereo channels, and setup a layer change for the scene. This will allow you to change to a different scene, recall a different input patch on the stereo faders and change the layer so that you’re ready to go for band 2. Having said all this, I feel like an external processor for your PA with your house music plugged into it would make much more sense if you want to be able to re-wire completely the console. Something like an A&H AHM16 would be great at this job, and you could go digital into it via Dante or Waves or an sLink card and allow you to never actually go analogue in between the two. I’ve done something like this for a venue’s setup where we had all DT168 boxes, and a switch sending our Dante 63-64 going to an AHM16 with a Dante card, and that was feeding the amps directly via Dante. House music was plugged into the AHM16 with a tablet and anywhere in the venue you could remote the tablet via custom control. It’s a great solution and it’s the way you should do it if you wanted to have the option of turning off the desk without losing music in between bands.

[EdoardoParticipant]

Double tap would be great too, it was more of a suggestion and a possible suggestion of usage but not necessarily a single 1 second tap. A double tap would be much quicker and easier, yes

[EdoardoParticipant]

The expansion discussion is very simple. In every single high end pop performance the engineers make use of expanders for multiple instruments. They often use external hardware or software, but on some consoles they are ITB (see dLive recently). Saying it’s not needed is incorrect. Saying you might not need it is correct. Still, since the processing power between SQ and dLive changes only in terms of the amount of instances and not the capability of the single DEEP plugin on the single channel I don’t see how this can be discussed this much. If A&H will be able to port their Source Expander or Dual Expander to SQ it will be welcomed by many. Me first.

[EdoardoParticipant]

That’s been asked for a long time, I’m also waiting for that to happen in the future. In the meantime I’ve found a backup plan, and I can’t use groups or auxes since my SQ is often fully used. I set all my TB mics to be on a direct-out as post-fader, and take them off my LR. Then I have built a couple of cables that have 4xfemale XLR plugs all going into a single male XLR plug. I can then use 4 local outputs to send 4 channels of crew TB mics back into an input and set that input as the “mix ext in” on a matrix. The voluem of the faders of the single channels will allow me to mix the volumes going back into the matrix, it’s not great but it works. I also have a Z cable that allows me to join two of those “analog summing cables” making it able to have 8 channels of crew all flowing into one matrix. Not the best option, but it works.

[EdoardoParticipant]

+1 for this, the SQ DCA spill places the DCA on the far right fader of the bank, it would be great to have that as a DCA option in the Surface menu

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