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2023/11/02 at 3:36 pm #116234
Tobi,
The release notes for this firmware release indicate a release date of April 2023. So it’s not “brand new” but looks to be the most recent.2023/10/19 at 5:08 pm #115835I recommend mfusa’s solution to get fully independent control of eq and dynamics for your monitor mixes.
2023/05/17 at 9:58 pm #112929Belfast, the way i figured it out was to search on the term “matrix” in the online manual. Once you find the patch matrix, it’s very easy to assign the LR outputs to channels 1 and 2 of the recorder, rather than inputs 1 and 2, which i believe is the default patch.
2023/05/11 at 1:13 pm #112844Heirloom,
In that setup, would both mixers have head amp control, or would one console be reliant on the other for gain?2023/05/11 at 2:44 am #112840The most straightforward way I can think of to solve your problem and to utilize the gear you have and know how to use is to get a simple analog splitter for the number of channels you are running. I believe ART makes a decent 1U, 8-channel splitter. You could get 4 of those for probably a couple hundred dollars each (or less) and then you can use your QU console just to do monitors and your SQ to do your FOH and streaming mixes. You could even get a volunteer/trainee/intern to operate the QU for you. Set them up side-by-side at FOH to keep your cabling simple and your communication with your monitor person easy.
2023/02/04 at 6:34 pm #111311It would not be wise to risk a show or a recording session on something as simple as an ethernet cable. Go for something with Ethercon connectors and ruggedized (or tactical) cable. The length is up to you, depending on the various locations you foresee working in. There are many online providers for such cable. It’s data, not audio, so don’t waste money on the oxygen-free blah blah nonsense.
2022/11/04 at 6:18 pm #109839Dancour, Your most foolproof way of finding it is by going to the Verbatim website
2022/11/03 at 6:18 pm #109800Hi Lee,
I can confirm by looking at Chapter 13 Page 92 of the SQ Reference Guide v1.5 that the SQ-Drive – the port on the top of the console – can record 32 channels at 48k sample rate or 16 channels at 96k. The USB-B port at the rear of the console “allows 32 inputs and 32 outputs simultaneously at either 96k or 48K”.Reading further that chapter, here is an issue that Doug Tourtelot mentions in his post:
In Chapter 13.3 SQ-Drive Multitrack Recording and Playback, under the subheading “Formats and Folders”, a sentence reads, “The name of the recorded SQ channel is stored as the ‘Track Name’ of the file. This would SEEM to indicate that the label you give to an input being recorded SHOULD be the name of the WAV file recorded.Since this thread doesn’t seem to be noticed by A&H techs, I’m going to send a note to tech support asking for clarification.
2022/10/25 at 6:58 pm #109691Thank you Lee. Can you say the T5 and T7 are reliable on the SQ desks? And for multitrack recording? Someone posted in the Compatibility Chart on May 25, 2022 that the T7 worked for QU desks, but no comment I’ve found relates to the SQs. That would be GREAT if those Samsungs worked in the SQ.
However, in one of the pertinent SQ forum threads, some users – or maybe they’re A&H techs – say that a USB SSD drive with a separate power supply is the way to go. Any comment?
2022/10/25 at 6:22 pm #109690Continuing this thread…
I can verify that the SanDisk pictured above is NOT completely reliable, and more testing should be done. My 500GB version recorded approx 50 min of 27 tracks of a Dante stream at 48K. There did not seem to be a problem. But when I stopped the recording, the USB recording screen on the SQ continued to say that the drive was “busy”, while the load indicator kept showing max usage. I figured the message would last a few seconds while the drive “finalized”, but it continued to be busy for the next 20 minutes, and I was not able to record the 2nd half of a performance.
Some of the members in this thread suggest using a SSD with a separate power supply, I believe. Can someone please suggest one that they’ve used successfully?
And one final question here: The tech sheet for the SQ says that rear USB port uses the USB2.0 protocol, but nowhere can I find what protocol is used for the SQ-Drive USB port. Assuming it’s also a 2.0 port, is it safe to say a USB2.0 drive is preferable or can a USB3.x drive be used? And instead of using the largest drive I can afford, I think my best strategy is to use the smallest drive that is necessary for the job(s) at hand, which in my case would be a 64Gb drive for 30 tracks recording at 48K.
2022/10/25 at 5:30 pm #109688I can understand the enthusiasm that some forum members may have if they’ve “discovered” a USB drive that’s compatible. But people – PLEASE!! Curb your enthusiasm!!
For example, on May 25, 2022 someone entered info for an Adata Sata3 drive and claimed it was compatible for stereo and multitrack recording. Then in the comments column, they say “In multi-track recording it has gaps of between 5-10 seconds – tested.” So why answer “yes” in the multitrack recording compatible column?
On June 6, 2022 is an entry for a Kingston Data Traveller SE9 drive, claiming compatibility for multitrack recording. In the comments, the user writes “Works well, but occasionally will drop data.” Sounds like it’s incompatible for multitrack recording, doesn’t it?
So far, I’ve only found one drive for an SQ that SEEMS to be compatible for multitrack recording, and that’s a Verbatim V3 Drive USB3.2 Gen 1 listed on Dec 29, 2021. Are there any others KNOWN to be reliable for multitrack recording on an SQ? Anything tested by A&H?
2022/10/22 at 7:02 pm #109625Photos of the SanDisk drive mentioned in my post above. Sorry for my upload confusion.
Attachments:
You must be logged in to view attached files.2022/10/22 at 6:49 pm #109624I would like to reply to Jacob’s post #109586 re the SanDisk Extreme 500GB SSD. In my SQ-5, I am not ready to say it “works perfectly”.
The drive model number is SDSSDE61-500G.
My experience with a 24-track recording of a Dante stream at 48k was not perfect. I recorded a performance last night – a 20 minute opener, and 2 halves of a concert roughly 50-minutes each.
The opener seemed to record fine. It was only piano/vocal, and I haven’t listened to the full recording, but I don’t anticipate hearing any problems. The first 50-minute set of the “headliner” seemed to record 24 tracks fine, but when I stopped the recorder at the intermission, there was a message on the recorder screen saying the drive was “busy”. I assumed the drive was “finalizing” the recording, as other recorders do. But the “busy” message lasted for the full length of the intermission and into the start of the 2nd set, and I was not able to record the second half of the concert. During this time, the onscreen “USB Playback Load” meter continued to scroll through indications of a maximum load. There were 0 error messages.
After the 2nd half of the concert, I disconnected and reconnected the SanDisk USB drive, and the drive was again ready to be armed and to record.
I’ve quickly scanned thru the 24 tracks that were recorded, and early indications are that only the first few minutes successfully recorded. I’ll report back again when I’ve had the chance to load all the tracks into a DAW for a closer listen. I’ll also make this post into a service ticket and send it to A&H support, as David suggested at the beginning of this thread.
2022/10/20 at 5:42 pm #109594Hugh,
I’m not familiar with “SR protocols” or “preferred front end stage and studio capture protocols”. Can I learn more about these somewhere?2021/11/21 at 10:28 pm #104548Hi Paul,
Are the 2 mic inputs at the front of the venue going to be the 2 inputs you use for your stereo pair for the recording? Otherwise, I’m not sure I understand why you mention them.Are you ONLY using those mic inputs for a stereo pair, or do you have other mic signals coming on a snake to your recorder, which I assume is at the back of the house (or FOH in soundman terms) or in videoworld?
Will your recorder sit next to the SQ-5, or are you sending your Line Out signals onto a (Dante) network to the SQ situated in another room or backstage?
But IF the 2 mic inputs on stage are the only mics you’re using – both for the recording and the livestream feed – you could split them (preferably with a Jensen-based splitter) and you take one side of the split and send the other side of the split to the SQ.
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