[ian.hindParticipant]

When you install the SQ-Waves driver, it comes with a small application for clock and sample rate selection.

[ian.hindParticipant]

SQ will ALWAYS run internally at 96k. Even when using 48k stage boxes, the console will SRC the stage box itself up to 96k.
Eg. A SQ-5 local inputs will still run at 96, even with a 48k AR2412 patched in.

The SQ-Waves will automatically grab clock from console on boot, which is 96k.

You can SRC down to 48k with the driver software but I’m not aware of a way to make this happen automatically.

Not an answer to your question but maybe it’ll help you understand the architecture?

[ian.hindParticipant]

I forget where I saw it, but someone from Allen & Heath gave an explanation.

Please correct me if I’m wrong on anything here, I’m going completely off memory from reading a post somewhere online a while back.

With that said, it was something along these lines:

The reason the SQ series sounds the way they do is the way the audio path was designed in it’s software. And because a great deal of attention was put into that, it isn’t as easy as people think to just toss a LPF in the chain without disrupting everything else going on. They do in fact plan on adding it, but it will take some time to properly implement.

[ian.hindParticipant]

+1 billion

[ian.hindParticipant]

Did I hit a soft spot Dave? Wow, this isn’t politics or religion, relax.

I’m happy where the Qu Series stands, I’m owed nothing and am satisfied. I’ve always bought a product based on where it stands at that time and the Qu is no different. entitlement? I’m entitled to an opinion, and apparently your entitled to bash someone, congrats.

Back to what I’m saying, the Qu series still stands out from the pack in many ways and moving development onto other sections of the company is premature. Just takes one more product into EOL unecessarily. This is the problem with digital electronics. Things are abandoned, when in reality the hardware is perfectly fine but support is dropped so you’re forced to upgrade.

My RME Fireface 400 is over 10 years old, it’s no longer manufactured but still sees software updates. It’s refreshing to know if there’s an OS update that breaks the driver or software mixer (TotalMix) RME will come through and once again update it’s software. THAT is how a product should be handled, and why I will stand by RME for life.

I’ve been an A&H user since I first bought my GL2 in the early 90’s, the companies attitude is changing, I’ve been seeing it. I’ve followed and supported them for 25 years and pushed them to others, and I’m getting uncomfortable where I see them heading.

[ian.hindParticipant]

iPad Air 2, works perfect!
TP Link router with a directional antenna pointed at the stage.
802.11n with WPA2 enabled on a 2.4GHz channel.
I tried MIMO and 5.8MHz but distance wasn’t good enough.

[ian.hindParticipant]

NAMM 2017, Do GLD owners have anything to look forward to?

Yes, the final nail in the GLD sadly.

dLive C Class.

[ian.hindParticipant]

Few more things:

Time stamping of the files while using Qu-Drive

Qu-Drive capable of recording all 32 channels. My RME UFX can do 30 I/O right to a USB drive, so this isn’t a limitation of hardware.

Qu-Drive multitrack channel on/off as recording 18 channels when only a couple are in use is a huge waste of space and throughput.

Soft patching on the local I/O

RTA over all GEQ and PEQ screens (it’s already there, just layer it on top)

HPF on all outputs

Tighter Q on PEQ for ringing out problematic frequencies

Stereo separation for delay L&R, I currently use 2 soft buttons to get stereo delays (annoying)

MP3 playback and recording of stereo files

Hmmm, am I getting needy?

[ian.hindParticipant]

I forgot one HUGE issue I have with this console.

When activating USB audio on a channel, it DISABLES the channels input.

So you CANNOT use the Qu inputs to a computer, and the output from the computer back into the console.

It makes it impossible to use USB audio as an insert on a channel.

You CAN do this with other consoles, so it shouldn’t be a limitation.

[ian.hindParticipant]

Been using a Qu-16 and Qu-32 multiple times a week, very happy with it.

With that said, a Qu series V2 would be nice, no need for a full model change, just some upgrades.

In order of importance to myself:

1: LCD scribble strips
2: More digital I/O (2 AES I/O)
3: Same mix bus across all models, so a Qu-16 can be connected to a 32 channel digital snake and bounce between layers to access all channels. It would be VERY convenient for me to travel to a gig with the Qu-16 and stage box instead of the Qu-32 and stage box if I only need 20 or so channels.
3: Option cards (Madi, Dante, extra I/O, etc.)
4: Digital stage box with digital I/O. It’s a bummer when I run the digital stage rack out it’s analog XLR into an amp that has an AES input. I just did 2 totally unnecessary conversions.
5: Outputs available to gang stereo or all mono, seems strange you’re forced into stereo sends.
6: Class Compliant so no drivers are needed for audio on either Mac/PC
7: Offline editor
8: Multiple sample rates, being forced into 48k feels like I’m in Avid’s world.
9: Wordclock I/O, we often travel with a black lion which goes unused with the Qu’s
10: Keyboard support
11: Sidechaining on compressors and gates
12: Backwards compatibility with V1 equipment on V2 equipment so thousands of items don’t end up in a landfill sooner than necessary.
13: One of the stereo channels should have RCA connections in parallel. There’s been many times where we’ve lost our RCA to 1/4″ cables and ran around like lunatics looking for a way to play an iPod or CD player.

[ian.hindParticipant]

Thanks for the reply Nicola.

Is the M-Dante card still capable of running Waves Multirack?

Is the M-Dante capable of having a Soundgrid server on a separate network switch?

I’d like to have Dante for many reasons, but Soundgrid running along side that would REALLY help me.

Thanks in advance

[ian.hindParticipant]

1) Set up the Foh mix first with main LR and channel faders at unity (or some like -5) and adjust chan gain to suitable hearing level (and not overdriving into the red). Then mix the stage wedge monitors using the faders and EQ, not touching the gain.
OR
2) Set up the stage wedge monitor mixes first,keeping the channel gain as low as possible to reduce feedback and adjusting the monitor mix faders to suit the musicians level requirements. Then attend to Foh mix,adjusting the chan faders for the required listening level.

Like many things, everyone has their own way of working. But generally you get your gain stage good, at the LOUDEST peak you should be hitting the +6 LED on your Qu. Since it’s a digital console, clipping is BAD! And your noise floor doesn’t really suffer with a tad lower gain.

Your wedges should all be PRE-fader, PRE-eq, PRE-compression, PRE-everything. You will run into singers who want reverb for comfort, but generally speaking the monitors should be as dry as possible.

If it’s a small room, do your FoH first since the bleed from it will cause possible low and low mid feedback issues. Also, this will affect monitors since the musicians will have a lot of FoH bleeding back to them causing the monitor mix to change if setup first.

Your gain doesn’t have anything to do with feedback, whatever is loudest at the mic will win (voice or monitor). If you set a very low gain and push your faders up high, then that’s no different than your gain up high and faders down low which theoretically will come out the same volume at the wedge.

Once you have your FoH going, push it up to it’s limit and see if you’re having problems with your low/low mid’s with feedback. If you are, use your PEQ or GEQ to ring it out (I prefer PEQ, unless it’s being used to sweeten the mix)

FoH is rung out if needed, then move onto monitors and do the same. Put the vocals up to the point of feedback and start pulling back your offending frequencies. Push them further up until the next frequency rears it’s ugly head and ring that out as well. You can only go so far as feedback is inevitable and too much pulling will really start degrading your signal. I usually stop after about 3 pulls.

After one channel is rung out, go onto the next and LEAVE ALL CHANNELS OPEN! This is important!

Try and keep your gains steady, since up/down will affect your monitors.

Longer reply than I expect, but hopefully that helped

[ian.hindParticipant]

You can still aggregate multiple devices even if they don’t have word clock or AES. Just enable drift correction in your audio midi panel.

[ian.hindParticipant]

Rear pics would be helpful

[ian.hindParticipant]

The reason MIMO isn’t ideal for our use, is because it’s relying on walls, ceilings, etc, to bounce all it’s signals off of.

In theory, this is great for pretty much all applications of wireless, but soon as you loose the walls/roof, the signal has no direction and is off into no where.

A directional antenna tightens it’s throw, which will increase power to it’s path. The sides suffer, but if you’re in it’s path it’s great.

Since people like us are usually using this on stage, or at FoH, the back corner of a festival will be a dead spot, but you don’t want or need it there anyways.

Of course, YMMV as always. I went through many different routers, $300 current 802.11ac all the way down to old dodgy 802.11G running DD-WRT, and everything in between.

If you’re indoors, always, then MIMO is probably a good bet. Loose the walls, or be in a large venue and they fall apart.

[Author]

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