[Jordan T. HurtParticipant]

Hey Brian,

Thanks for the reply. Today I started digging into SRP and experimented with a less-than-ideal laptop I had. I was actually able to use the SQ as the driver in SRP via the USB connection. I played around with various buffer sizes and even at 1024 samples, the highest latency I experienced was 4ms on the main out. Most everything else was 0-2ms. I fully expect that to increase with more signal running through it, but I will also be on a much beefier computer for the show. Overall, it worked seamlessly and was easier to set up than I imagined. Thanks for the help!

[Jordan T. HurtParticipant]

Mr.X,

With the current situation, the room isn’t able to be processed the way it should be, which causes the FOH channel EQs to have to compensate for that. Therefore, the LR mix doesn’t really sound that great when being sent to broadcast. I was just trying to find a way to give them better quality broadcast audio.

[Jordan T. HurtParticipant]

Chris,

I’m sorry, but I think I’m missing something. What exactly are you suggesting at this point? Are you still suggesting the Dante method? If so, I’m not quite sure I understand how to achieve this .

Thanks again

[Jordan T. HurtParticipant]

EDIT: I’m also using just about all my Dante channels as well, between 40+ channels of wireless, RedNet for Pandora’s Box, and Dante outputs for BoH.

[Jordan T. HurtParticipant]

Hey Chris,

I think that is a great idea, however I am currently using my direct outs for ME-1s. They all need to be pre-fader.

The other thought I had was taking your original idea and adapting it a bit, but I’m skeptical…I could take my Broadcast Matrix and make all my duplicate channels post-fader and set them to unity, then send my FOH channels to broadcast post-fader, but start the send at around -20dB or so to start, which would kind of give me the increase and decreases in volume, although I’m not sure how that may affect phasing and/or EQ compensation on the duplicate channels. Thoughts?

[Jordan T. HurtParticipant]

+1

[Jordan T. HurtParticipant]

Thank you, Keith. That was the solution. I would have never figured that out on my own. I really hate it when Windows messes with things. Thanks again!

[Jordan T. HurtParticipant]

Windows 10 Pro

[Jordan T. HurtParticipant]

The device is labeled “4-SQ” in Control Panel. The number changes depending on the USB slot.

[Jordan T. HurtParticipant]

I am receiving audio from the “Test” feature in Control Panel on my PC. That is the only time I get signal to my USB channel. I do get output when I use the test feature. All faders are up. I do not recieve audio from anywhere else on the PC. For example, I don’t get signal from Spotify or Tidal, Chrome, Cubase, etc. If I plug a mic into the console, I get signal and output. This issue is just via the USB connection.

[Jordan T. HurtParticipant]

Yes, that actually makes a lot of sense – I hadn’t considered that. Although, I still would like some ability to adjust the SQ’s HPF like the dLive can. I believe the dLive (if I’m remembering correctly) has 12, 18, and 24dB/oct slopes. Even that would suffice for me.

[Jordan T. HurtParticipant]

Yes, insertable PEQ, compression, etc. modules is basically what this thread has arrived at since processing a DCA wouldn’t be possible. Or even having them in the FX rack to use as inserts would be acceptable, though that would greatly limit the amount of “extra” EQs you could use versus the Dynamic8.

It’s my fault for being ignorant to the fact that DCAs simply CAN’T have processing put on them, but I guess in my mind anything would be possible on a digital desk (given the right hardware).

[Jordan T. HurtParticipant]

As far as how creating it in code would work, no. I have no idea. I do know, however, that there are many different types of HPF slopes. I also am aware of several plugins that give you about a 96dB/Oct. cut and I don’t think it’s unreasonable to have as an option for live sound, theatre, and broadcast environment. I appreciate your opinion but I also don’t think adjustable slopes are a bad thing to suggest, considering we already have them on the dLive.

[Jordan T. HurtParticipant]

Jason, in a good room with a good PA, you don’t need lots of processing, but when you do a theatrical tour in a room where you have lots of issues that can’t just be fixed with the room EQ, that extra processing comes in handy. I’ve had mixes that I was really happy with wihtout any compression and minimal EQ, but I’ve also been in situations where I’m using the entire parametric EQ to cut bad frequencies on a mic and wishing I could just have another EQ to add to that mic. I agree with you, but I’m also not going to spend close to $100k on a console. I’m also partial to the A&H preamps anyway (call me crazy, but I’m just not a huge fan of the SSL Live).

[Jordan T. HurtParticipant]

Yeah, that’s basically what I would want. Honestly, the best thing would be to just have the ability to add additional EQs to channels and busses, but that would probably take lots of processing power. But yes, I would love to route a group to another group. I’m fairly certain that this ins’t currently possible on the SQ, but if it is, hopefully someone will correct me.

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