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2021/10/29 at 9:18 am #104243
Hi @Jak2555
A&H protocols are layer 2 which means the units are not addressed and so you wouldn’t be able to split out the signals between the Qu and the AR2412, but you can use a PoE switch directly before a ME or multiple ME units. i.e. wherever a ME unit could be connected, including the Monitor or Expander port of the AR2412 as you say.
It would need to be a fast ethernet 100MBit switch if connecting to an SLink port (as if the SLink port detects a gigabit connection it will automatically go into gigaACE mode), but connecting from the monitor output of an AR2412 you should be fine.
Cheers!
Keith.2021/10/26 at 8:08 am #104209Hi @jeremy
The note about shows and storage of libraries is an extra, to try and clarify the main point:
If you’re viewing a compressor on the screen and you press the Library key, you’ll see the compressor library.
If instead you’re viewing a PEQ on screen and you press the Library key, you’ll see the PEQ library.Please see the link above to understand how this method applies to other screens and libraries.
Thanks!
Keith.2021/10/25 at 2:53 pm #104195Hi @jeremy –
There are many different libraries in the SQ and the one that you see will depend on the screen you’re looking at when you press the Library key.
There’s a better explanation and list of the screens/libraries here – https://www.allen-heath.com/media/SQ_ReferenceGuide_V1_5_0.pdf#page=64&zoom=auto,-361,453Note that user libraries are stored within shows, so if you recall a show, you will see only the user libraries stored in that show.
Libraries can be stored separately to a USB device too though, meaning you can then copy them into any show!(You should still update your firmware though 🙂 )
Cheers,
Keith.2021/10/25 at 2:36 pm #104194The FX Rack units work in the same way as having an outboard multi-FX rack unit does with an analogue console.
There is one instance of an effect for each FX ‘slot’, so in Qu you have 4 slots, meaning you can have 4 different FX running at once.
You can either insert an FX unit into a single input channel (or output mix channel), or for what it sounds like you want to do here, you can combine multiple channels to send to each unit.
To use a single FX unit for multiple channels, set it to ‘Mix -> Return’ on the rear of the unit, then select the mix you want to use to send to it.
On the Qu-Pac, there are 4 dedicated FX sends for this purpose and each is tied to an FX unit. i.e. FX send 1 goes to FX unit 1.
Sending input channels to an FX send is the same as sending to any other mix, you can choose to assign/unassign any input channel, set the send to be pre or post fade (pre is independent from the main mix, post is more commonly used for FX like delay or reverb as it will follow the send levels to the main mix).
From a default setup, you need only select the FX1 send and raise the faders of input channels you wish to send to it.
Then your mix of channels goes into the FX unit, gets processed and ‘comes back’ to the mixer on an FX return channel.
Again, there are dedicated FX return channels which match the FX units, so FX return 1 comes from FX unit 1.
FX returns work in the same way as input channels, you can assign or unassign them from any mix and also have control of the level of the returned/affected signal going to any mix (especially handy with delay for example, as you can send the delay to the main output, but maybe not monitors where it could distract musicians and singers).There’s a section on sending to FX units in the user guide here – https://www.allen-heath.com/media/Qu-Mixer-Reference-Guide-AP9372_10.pdf#page=57&zoom=auto,-274,783
and a great video from Rob McLaughlin explaining the whole send/return concept here – https://www.youtube.com/watch?v=jj7wNadYXFkHope this helps!
Keith.2021/10/25 at 10:34 am #104187Hi all,
Please provide more information to us using support.allen-heath.com so we can have this looked into.
We need to know the iPad model name/number and iOS Software version (which can all be found in ‘Settings – General’)
Please also let us know if any particular action is triggering the flashes, what is meant by ‘glitches’ and what exactly is missing from the GUI as we have not seen any of this in our testing.Thank you in advance.
Keith.2021/10/25 at 9:47 am #104185Hi @bwandie –
By default, Ableton will probably be sending the main outs to ZEDi USB channels 1&2, which are routed through the ST2 channel when nothing is connected to it’s jack sockets. This channel is also shared by your FX return.
I’d recommend instead, setting Ableton to output on USB channels 3&4 as this will appear on the ZEDi’s dedicated USB return channel ST3.
You can then easily send ST3 to the main mix, or select it for the headphone/monitor mix and then use the XLRs=MONS switch to send this to the main XLR outputs.Hope this helps!
Keith.2021/10/20 at 3:42 pm #104113Hi @steven18
It works in a slightly different way to the M20D, but this functionality already exists in the Qu with Qu-Drive.
I noticed your comment that it looked complicated on the other thread though, so perhaps that’s why you’re making a suggestion?
It’s very simple once you’ve done it once and maybe setup some SoftKeys to make it even quicker.
The main points are as follows:- Set the USB out record point to ‘Insert Sends’ – to ensure you’re not recording the processing and then playing it back through the same processing
- Record some Qu-Drive multitrack with the band playing – record and playback functions can be assigned to some of your many SoftKeys
- Switch input sources for the channels to USB/Qu-Drive – note that you can select and switch multiple input sources at once, or you could even store two scenes with recall filters that only change input patching if you wanted to switch patching with Soft Keys too
- Playback multitrack and listen/mix
- Remember to switch back to the ‘live’ patching before the show!
It’s a similar process if you wanted to use a DAW and record/playback up to 32 channels at once 🙂
Hope this helps!
Keith.2021/10/20 at 3:15 pm #104111Hey Giga!
Yep.
The longer answer is that the AR84 (along with the AR2412) were originally developed for the GLD and for a time only worked with the GLD.
We then added the dSnake port to Qu and they went ‘generic’ (followed by support for them with SQ/Avantis SLink ports).
So the purple GLD AR units are definitely older, but the functionality is the same.Cheers,
Keith.2021/10/20 at 10:36 am #104104@MarkF –
You can roll back to V1.4.4 to test by just downloading and installing it (in the same way as you would when upgrading).
The current and previous couple of fw revisions for SQ-5 are available here – https://www.allen-heath.com/sq-series/sq-5/#softwareBefore you do so however, it would be worth backing up your show and carrying out a hard reset ( https://www.allen-heath.com/media/SQ_ReferenceGuide_V1_5_0.pdf#page=108&zoom=auto,-361,132 ) to rule out any settings that might be causing it e.g. clock source or bad cable to an expander.
Worth noting again though that while you may have the same symptoms, the issue discussed in this thread has been identified and fixed. There are no outstanding issues which could cause popping, meaning there is no single solution anyone could provide and it’s therefore best to contact us directly using https://support.allen-heath.com so we can figure out what’s going on in your specific setup.
Cheers!
Keith.2021/10/15 at 8:59 am #104019You’re not wrong!
and you might notice the ‘-3’ in your address bar, because
You’ll notice the sticking points in all of these is what can and should be displayed.
It’s not possible to display a summed signal in the same way as with a mix, as to get accurate data the channels need to be summed, which requires a mix.
A ‘quick n dirty’ sum of metering would not take into account phase or polarity interaction, so in the most extreme case there could be signal on the meters and nothing audible.
Showing the hottest signal is one idea and something that many others use, though could be seen as confusing being that you could have a couple of channels in one DCA and 50 in another with the meters implying that the DCA with only a few channels is making a greater contribution to the mix.
‘Signal present’ (e.g. -40dB) and ‘a member is peaking’ is quite a neat idea that could be truthful, though might also be seen as confusing and I’m sure wouldn’t satisfy many engineers as all meters would often be displaying the same thing.What we need to understand is the use case where it’s needed and where it can display something useful and accurate which cannot be misinterpreted (and cause confusion and complaints as it has in the past).
Cheers,
Keith.2021/10/13 at 3:22 pm #103992Hi @sonxabi
No, this is not yet implemented in the offline version of SQ MixPad, though it will be in a future release.
(We prioritised the online control of inserts, which is why in V1.5 you can do this online)Thanks,
Keith.2021/10/11 at 11:09 am #103958@bizboz –
Muting mixes when input channels are ‘open’ is not a feature built into the Qu, but can be achieved relatively easily with MIDI.
Using either a translation application on a connected computer (e.g. https://www.bome.com/products/miditranslator ) or hardware that can translate (e.g. https://www.bome.com/products/bomebox ) you can use one (just fader) or two (fader and mute) ‘if’ statements to trigger the mute for a mix (or mixes).If you need more info, just give us a shout using https://support.allen-heath.com 🙂
RE: Dante – as Steffen says, you’d need to look at the SQ range or above to make use of option cards, but you can use Dante Via with the Qu’s USB audio interface.
Cheers,
Keith.2021/10/08 at 4:03 pm #103886The Main LR mix is always stereo, the only option to mono it is through a matrix (though I appreciate you’ve already ruled this out).
However, you can mono a stereo input channel by using the stereo width control in the preamp section.
This means you can have stereo input channels being fed to both left and right of the main mix equally and so by not panning any other input channels, you can simply patch the left or right of the main mix to a single output and not patch the other (so no ‘lost’ output socket).The danger of course is that someone does start messing with panning and doesn’t know enough about the setup to realise they essentially have a secondary level control…
Depending on what your other matrices are being used for, you might find a way to work with the addition of a post-fade stereo or mono Aux mix with all send levels at unity.
The technophobes do not really need to know its there, other than for the master level. So with multiple area feeds for example, it may only be the difference of teaching them ‘here is your master level for area X’ rather than ‘here is a secondary level for area X, which is also dependent on the main’.Thanks,
Keith.2021/10/07 at 11:03 am #103862@Søren Steinmetz – Hope you’re feeling better soon! Embarrassingly, my English is not better than yours, nor is my networking knowledge, but I’ll have a go at trying to clarify my previous post.
@samabenie –
A network switch allows multiple connections on the same network by quickly ‘switching’ between them. For this to work, each device needs to have an address so the data is routed to the right place.
Our proprietary protocols are layer 2 (unlike Dante or Waves for example), meaning there is no address and connections are point-to-point.
Cascading expanders is possible as the second expander in the cascade is connected to the first which packages all the audio and messaging together for connection to/from the mixer. You can think of it like the first DX168 you connect always has a 32×32 channel connection to the console, and the second block of 16 inputs/outputs only gets used when another DX unit is connected. i.e. You do not connect to the second unit in the cascade directly.
The DX Hub works by converting between the gigaACE protocol (128×128) and the DX protocol (4x 32×32) and carrying out all the packing/unpacking of audio and messaging in each direction. It is not a switch, but an adaptor/convertor/translator.As Søren points out – we use standard networking connections and cabling for your convenience, but that doesn’t mean these are networked devices (in an IT sense).
It’s a bit like being able to use XLR’s for analogue audio, AES and DMX. None of which are compatible.Hope this is more cleararer!
Keith.2021/10/05 at 10:19 am #103817@WaihekeSoundie –
The ‘time’ based view is not to any scale and is just intended to show the (time relative) order of processing channels.
It also helps to explain why you cannot send, say, the LR mix to an Aux, or a Matrix to an input, without breaking the ‘correct’ order i.e. the order for coherency.On the subject of latency, most everything adds to it, so you do need to carefully match path lengths to avoid the comb filtering you mention.
Some further points to the articles:
With Tie Lines, there will be no latency added by processing, because no processing is taking place, but there will still be latency due to any ADC, DAC, transport and routing.
Two tie lines from the same input socket type going to the same output socket type will be aligned.
Using direct outputs, you will see slightly different latency depending on the pick off point you’ve chosen.This is one of the benefits of the XCVI core and coherent mixing in the SQ though – within the console, it doesn’t matter if you have a PEQ switched in or out on an input channel, the latency will remain the same. By extension, you can double patch an input socket to two input channels and process them differently in parallel, then send to the same mix without having to worry about phase issues due to latency. (you also get the parallel path on every compressor 🙂 )
Anyway, Scott is right with the advice on matching paths/latency if needed, but you also shouldn’t need to worry much about the difference in latency between a vocal mic and a cajon.
It’s only where the same source is processed in parallel with an unprocessed version that problems will occur. In the same way as double micing a source with mics at different distances will result in +- phasey fun.As an aside just to clarify – reverb and delays are time based FX and as @scott says, you don’t really need to be concerned about latency compensation here, but they’re often referred to as ‘send/return’ or ‘mix return’ FX because you’re sending a mix of signals to them and getting a return – ‘side chained’, ‘side chaining’ or ‘keying’ is a different thing, where signal processing on one channel is affected by another. e.g. using a kick drum channel to trigger the gate on a bass guitar channel, or using a vocal channel to trigger the compressor on a synth.
Cheers,
Keith. -
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