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2021/11/24 at 1:03 pm #104592
Thanks Keith and all. Believe this is/was the post I read previously, but couldn’t find again. I run Pre-Fade/Post PEQ as well. Along with this I was reading another article “General. Qu. SQ. Levels and Metering in Qu and SQ” which talks about various level/gain settings and how they are handled within the SQ. 18dB of headroom, really? I never realized how different the SQ gain structure is set up versus the stuff from another Tribe. I love my SQ…back to gain/trim discussion. So if I’m close to 0dB post preamp gain/ADC would it make sense to use the trim to say for example attenuate the signal a few dB then boost desired freqs with PEQ , end result being desired eq filtering without any change to signal level? Separate question, the manual and article say that if the level of, say for example the main L/R is at 0 dB then the insert output will be +4dBu on the output socket of the insert. So when that return routes back from the outboard gear I’m now looking at the meter for L/R as it is effected by the outboard gear. If I need to turn down the L/R Mains this would also, I think, drop the signal to the insert below +4dBu. So how do I or can I maintain the +4dBu to the insert and be able to adjust the mains L/R output to FOH up and down. My thoughts are using a Group or MTX for the actual Mains L/R out to the FOH speakers or amps and then be able to keep Main L/R at 0dB and adjust FOH with a Group or MTX fader, but maybe not necessary or maybe a better way?
2021/10/18 at 1:24 pm #104088dd, thanks. Yes was incorrectly thinking of the insert like an FX bus.
2021/10/18 at 1:00 am #104079Or muting is just taking out the double patch : )
2021/10/18 at 12:54 am #104078Strange thing is that both channels (Ips) on the return came up automatically padded as if the system had some awareness. Also agree it seems like it is some kind of double patch because when I mute those channels there is still signal passing to the L/R Mix so guessing there has to be another path beside the insert which I haven’t been able to find looking at the schematics.
2021/10/17 at 10:03 pm #104071So a mistake to assign those return sockets as an Ip source?
2021/10/17 at 9:58 pm #104070I have the sends assigned to output sockets 1 and 2. The returns are plugged into local input socket 1/2 and I have those inputs as source select for Ip 1 and 2. When I move the faders to unity you can definitely hear the outboard gear, as I lower the fader you can hear the effect reduced until you drop the fader all the way down and the signal is dry, but the main mix is still passing to the outputs for L/R Main. So maybe I made a really bad mistake to assign those return sockets as an Ip source? Was thinking it was more like an FX send/FX return.
2020/04/03 at 7:31 pm #90717Hats off to Keith and the rest of the team at A&H. Watched the online demo of 1.5 this morning, looks fantastic!
2020/03/27 at 3:33 pm #90521Okay, once again operator error. I started a new file and all seems okay with MIDI control. I think I have something messed up with some bus assignments I made.
2020/03/27 at 2:01 pm #90519I connected an SQ-5 up to Logic Pro X (10.4.8) running on OS X Catalina (10.15.4), it almost works, but getting a few strange anomalies. Fader assigned to MIDI Channel 8 will move Fader assigned to MIDI Channel 1 and the Output fader on the DAW at the same time. I can move the Output fader on the DAW or the SQ and it moves independently. I can move the fader on the SQ or DAW for Channel 1 and it moves independently. I can move the fader for channel 8 on the DAW and it moves independent, but if I move the fader for channel 8 on the SQ then it moves channel 1 and Output fader. Also moving channel 4 fader causes PAFL to activate on channel 1 and there is some other random PAFL assignment being made that
I haven’t identified. I suspect this has more to do with the DAW configuration than with the SQ as the SQ MIDI implementation seems pretty straight forward. I sent a note to A&H for tech assist and they said that Logic Pro X is not one of the DAWs they test. A bit surprised by that as I think they may have meant Logic Pro X on Catalina, since the instruction in the DAW-Control-Help document list Mojave and Apple Logic.2020/02/06 at 5:59 am #89374Hoping DCA Spill also means if channel XX is assigned to, for example DCA 1, in Scene One, fader is raised to unity, then advance to Scene Two, as long as DCA 1 is assigned to the same channel the fader level will remain the same.
2019/08/05 at 8:39 pm #85691+1 on DCA spill. Without this the workflow for theatre is really challenging. Appreciate soonest this can get implemented.
2019/07/05 at 2:09 pm #85013AFAIK you can’t have more than one source assigned to an input channel so for virtual soundcheck you need two scenes, one for live, one for virtual soundcheck.
My understanding is that the Input Channels on the board (IP1…IP48) are independent of the physical inputs (Local, SLink, USB etc.) until patched. With 32 x 32 for virtual soundcheck you make a scene where all the IP channels are patched to receive audio from whichever live source (Local, SLink, etc.), save that then make a scene with the applicable IPs assigned to receive audio from the DAW. So live setting is you have IP9 labeled and modified for guitar, it is assigned to SLink channel 4 and thats saved in the live scene. Then assign IP9 to the USB input from whichever track guitar is playing back on the DAW, say track 12, save that as different scene, e.g. “soundcheck”, Once you check then go back to live scene. If the next week you move guitar to SLink channel 5 as long as you keep it assigned to IP9 you only have to make that change in the live scene, the USB scene will still have the the DAW input from USB playback track 12 from the DAW going to IP9.One thing I’m not sure is on the record side, but believe it’s same. If IP9 is patched to USB record channel X then it will send whatever is patched to that channel even if the physical input for IP9 changes from SLink 4 to SLink 5. Appreciate anyones QC on this or if they have a workflow.
2019/05/29 at 8:14 pm #84091My apologies to everyone for some misinformation. True that with the SQ-Drive you either have to be in record or playback mode. However, if you are using the SQ USB-B interface
to your computer you can playback and record simultaneously. For example, patch tracks in the DAW to receive input from USB-B output channels 1…24 assigned to
strips 1..24 on SQ using USB-B Direct Output 1-24. The inputs for those tracks are local, DX, etc. Set output on the DAW for those 24 channels to 24…48 to USB-B inputs 24…48. So basically
1-24 of the SQ is sending audio to the DAW, the other half, 25-48 is receiving the playback from the DAW, split ops. For monitoring you can assign any of the 48 channels to another mix. If you want to mix
tracks already recorded using the SQ then just patch the DAW tracks to inputs on the SQ channel strips and send those direct outs back to different tracks on the DAW. Remember the USB-B interface is 32 x 32,but
you can only process 48 channels. So any combination that adds up to 48 or less, e.g 24 out/24 in, 32 out/ 16 in, 8 in/8 out etc. You could also send any number of tracks from the DAW to the SQ and then send SQ Main or AUX or Matrix back to the DAW for bouncing, almost unlimited combinations and variations of routing and recording between the 48 processing channel limit and the 32 x 32 USB interface. Hope this makes sense.2019/05/28 at 11:14 pm #84050Yes, monitoring at the source rather than from the DAW.
This is where you have some limitations using something like an SQ for your studio. It’s not designed to run split ops like an SSL or other studio consoles. I’ve always considered the SQ recording capability aimed at recording multi-track live performances. I’ve recorded a couple of live shows with the SQ using Logic and Digital Performer, then do post-production mixing ITB using the DAW and a UA Arrow. Works great. For overdubs, like GCumbee says you have to work through the DAW. So you could use a separate interface for overdubs. If doing that introduces different audio characteristics between the original and the overdub you could send playback mix through computer interface and record from an SQ USB channel. Any timing issues with the overdub could be adjusted in the DAW.
One thing I’m not sure about is if you add the Dante Card whether or not that gives you simultaneous record/playback, perhaps someone who uses that expansion card can answer. If it does, that would be really something worth adding if you are using the SQ in a studio. I think you would be limited to 24 X 24 split ops play/record, as the SQ is limited to 48 inputs.
2019/05/28 at 7:28 pm #84046The SQ will send audio via USB-B port to the DAW on the computer.
To send audio to the tracking room you can set up groups, auxes, or matrix mixes on the SQ and
send those out via SQ outputs to the headphone amp or where ever
you want. This would be best for record monitoring. You could also get a second SQ link card and send to ME’s for each
listener in the tracking room and they can adjust their own mix. During playback you can also set the USB in from the
DAW and mix and send that to the tracking room as well for a playback listen. Not sure, but I don’t think you can
USB record on the SQ at the same time you USB playback from the DAW.If your looking to send audio from the DAW to the tracking room you can change scenes from record
to playback and route everything back through the SQ for playback listen or you can send the DAW
tracks out a separate computer interface, but I wouldn’t recommend this for record monitoring as I think you
would experience notable delay going from SQ to DAW then DAW to D/A computer interface to listener. -
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