[KeithJ A&HModerator]

There is a fairly detailed description of all the functions in the dLive reference guide here – https://www.allen-heath.com/media/dLive-Firmware-Reference-Guide-V1.8.pdf#page=112&zoom=auto,-274,810
The only difference between the dLive version and the SQ version is the GUI (with bands split across two tabs at the bottom).

Cheers,
Keith.

[KeithJ A&HModerator]

Hey @steffen –

Sure 🙂 You’re correct in the dSnake protocol being fast ethernet, though we recommend Cat5e or higher and STP across all ranges now to avoid any issues.
There’s more information on connecting to the SLink port here – https://support.allen-heath.com/hc/en-gb/articles/4403666880913-General-Connecting-to-the-SLink-port-
(this has been shared with Mike already).

Cheers,
Keith.

[KeithJ A&HModerator]

@byyu –
Unfortunately there is no theme or setting that could cause that, so I’m sorry to say this does look like a hardware issue.
I see you are in the US, so please contact your distributor AM&S (https://www.allen-heath.com/dist_type/usa/) who will get this sorted for you ASAP and you can get on with enjoying your new Qu!
Thanks,
Keith

[KeithJ A&HModerator]

@soundguy –
Please could you clarify where you’re looking (which strip display?) and the steps you took so we can figure out if there’s an issue here.
Thanks 🙂

[KeithJ A&HModerator]

Hi @KevinA –
Please see the following article – https://support.allen-heath.com/Knowledgebase/Article/View/levels-and-metering-in-qu-and-sq
This includes the reasons for what you’re seeing, some information on gain staging and also some instruction on boosting the output level when required.
Cheers!
Keith.

[KeithJ A&HModerator]

Hi @unico mix.ts –

You can use the DT units with a GLD using the older Dante option card by running the Dante network at 48kHz, though I’m afraid it will never be possible to control the DT preamps directly from the console.
This is because it would require hardware changes to get the preamp control messaging from the GLD into the Dante network, rather than ‘only’ requiring a firmware update.
However, as with any other Dante-enabled console/unit that can’t or doesn’t use our newer option cards, this is a setup where DT Preamp Control can be employed instead ( https://www.allen-heath.com/dt-preamp-control/ ).

Thanks,
Keith.

[KeithJ A&HModerator]

Hi Doug,

Apologies for missing this before.

We’d never say never, but also never confirm or deny any possible future products, so it’s a bit tricky to answer!
I will say that I can see your thinking, being that both the DX168 and DX164W have DT/Dante variants, though these are mainly intended for install use and (similar to the DX012) I’m not sure how much demand there is for a Dante-fied DX32.
Having threads like this is definitely a useful gauge though 🙂

Cheers,
Keith.

[KeithJ A&HModerator]

@erpee – Sure!

You can daisy chain as many SQ’s as you like actually (ok, there will be a theoretical maximum, but it’s more than 3).
Just make sure you’re syncing the clock of two of them through to the other one.
I’d probably suggest something like the following (with clock sources in brackets):

AB168 <-> AR2412 <-> SQ Mons built-in SLink port <-> SQ Mons (Internal) <-> SQ Mons SLink option card <-> SQ FOH built-in SLink port <-> SQ FOH (SLink) <-> SQ FOH SLink option card <-> SQ Broadcast built-in SLink port <-> SQ Broadcast (SLink)

Note that it doesn’t really matter which SLink port is used, I’ve just picked one to try and make the clock syncing easier to follow.

Then you can Tie Line away to your hearts content 🙂

Cheers,
Keith.

[KeithJ A&HModerator]

Hi @slidesinger,

The default Channel Source point for Mixes is Post-EQ/Pre-Compression by default, though the default for the FX Sends is Post-All.
You can change these by selecting a Mix or FX send, then going to the Routing screen and using the ‘Channel Source:’ drop down.
(I think this is what @SteffenR is referring to, apologies if not)

However – it sounds more like you want to insert the reverb before the compression directly within each channel. You can insert FX units into input channels, but as there are a total of 4 FX engines in the Qu-16, you’re going to run out if you want individual reverbs on all those listed.
This is why Mix->Return is the default setup for FX1 and FX2 on the Qu-16, so you can mix any combination of input channels using the FX Mixes, these go to the FX units and come back (affected) on the FX returns.

In this case, what you could do if you’re only using those reverbs on the Mixes of instruments you mention and don’t need to use them in a Mix->Return setup, is to insert the FX units to Mixes 5&6/7&8 instead.
Then, as it sounds like you are looping the mixes back in via analogue I/O to effectively re-purpose the stereo inputs as groups, you can simply apply compression on those stereo input channels.

If you need assistance or more details on this, you can always contact us using https://support.allen-heath.com

Cheers!
Keith.

[KeithJ A&HModerator]

Hi @ioTon

The USB-B connection is a built-in Audio/MIDI interface which does not carry any of the control messaging used between the SQ and MixPad, this is all sent and received via the network port.
As of V1.5 however, the SQ does have an auto IP feature where with DHCP enabled, if no address is assigned by a router (or other host), the console will self-assign an address.
This means it is possible to run a (very) local network connection directly between a computer and the SQ and use MixPad.

Cheers,
Keith.

[KeithJ A&HModerator]

@Milhouse

I don’t think it’s something we’ve had mentioned as a parameter users wanted ganged before – could you let us know more about the use case where you’d want to switch (and match) polarity on multiple channels?

Thanks!
Keith.

[KeithJ A&HModerator]

@Milhouse

The settings of the sidechain (i.e. the side chain filter) are linked/matched when gate or compressor processing is ganged, it is only the sidechain souce which is not.
In much the same way as you might want to match input or direct out trim, but not change the input or output sockets being used.
However, a workaround if you are using lots of different sources for ducking and are constantly needing to change these (which I presume is the case as it’s the only time I can see it being a problem to alter multiple sidechain sources), would be to leave the sidechain fed from a mix, then change what you are sending to that mix on a scene-by-scene or ganged routing basis.

Hope this helps!
Keith.

[KeithJ A&HModerator]

Hi Carl,

I can understand how this would be useful, but unfortunately it’s logically not possible in all situations.
When selecting a channel, it must exist somewhere on the channel strips. The PAFL key can then activate the associated Sel key using the ‘Sel follows PAFL’.
Processing and routing screens follow this selection and display either the bank view or selected process/routing view for that channel strip.
So with PAFL on a Soft Rotary, there is no associated channel strip or Sel key, plus you may not even have the channel you’re PAFL’ing on any of the channel strips at all. This means the Processing and Routing screens would not have anything to go to even if you could select your channel ‘in the background’ and use the dedicated surface controls (but I’d suggest that’s even MORE confusing!).

Cheers,
Keith.

[KeithJ A&HModerator]

Hi @iamkingtriton –

The differences here are due to 0dB on the SQ meters equalling -18dBFS in the digital realm.
You can find more details on this here – https://support.allen-heath.com/Knowledgebase/Article/View/levels-and-metering-in-qu-and-sq

In brief – with digital signal there is an absolute maximum when all bits = 1 (e.g. a 16bit sample would be 1111 1111 1111 1111), this is 0dBFS (Full Scale).
To avoid clipping the signal, our digital consoles have 18dB of headroom, so 0dB on the meters is the optimum level through the desk. Removing this headroom when sending the digital signal offers no benefit when recording and only increases the risk of digital clipping, but if you do want to trade headroom for level (as is common with a streaming setup) you can use direct out trims, push a mix output by up to 10dB with the fader or use the 18dB of make-up gain available in the compressor section of the mix.

It’s the same in reverse when signal’s coming back in to the desk, in order that any recording comes back in at the same level.

Cheers!
Keith.

[KeithJ A&HModerator]

Here are a couple of BBD pedals with tap tempo –
EHX Deluxe Memory Boy
MXR Carbon Copy Deluxe

Presumably you are asking about this because you might expect to be able to tap in a tempo and have repeats match that tempo.
However, the echo uses 3 virtual heads which can be switched on/off in different combinations, each with their own min/max value that you are scaling with the time control.
Therefore, linking tap tempo to, say, the first head would not give you what you might expect with the second and would only make some sense in the modes that include that first head.
The differences in timing between the virtual heads are also a big part of the sound.

Echo is designed to give a smeary, spacey, thick echo effect, not exact tap tempo’d repeats.
The Stereo Tap delay and BBD already have this covered 🙂

Cheers,
Keith.

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