[MarkPAmanParticipant]

Brilliant!

I’d considered analog summing, but had hoped to find a solution with no extra hardware.

Your second suggestion should work fine – I’d not considered the Extn In.

Many thanks 😀

[MarkPAmanParticipant]

No you can’t use two AR2412s together – It’s too many channels for the spec of the DSnake which QU desks use.

Get the AR84 as you suggested and run a link from the 2412 to that and all will be good.

[MarkPAmanParticipant]

How about running the the broadcast mix from the Alt Out sockets of the Qu.

That way it can be switched between L&R or 5&6 (or something else) as needed. Added bonus – it then has its own volume control too.

[MarkPAmanParticipant]

A DCA is really just a remote way of controlling several things at once, but without having to actually mix their audio together inside the desk.
So, a DCA group can not be sent to matrix (or anywhere else) as it is only a virtual control. Where something goes to is still determined by the channel routing.
To send different amounts to the matrix you need an actual group (or mix) in which audio is mixed together.
So DCA is great for adjusting a section of the band all together (and muting it) but it’s not offering you any extra routing options.

[MarkPAmanParticipant]

So, if the SQ doing the mons has enough inputs, then just connect the SLink ports together, set one desk to use the clock of the other, and set up Tie Lines in routing so that the recording desk gets the post preamp from the monitor desk.
Set up input gains conservatively on mons desk, then don’t touch them during recording. You can adjust trim though.

[MarkPAmanParticipant]

I know somebody that uses one on his Qu32 regularly, and he’s not had a problem.

[MarkPAmanParticipant]

Look up Tie lines

If both mixers are close to the band, just a simple CAT5e cable from SLink port to SLink port gives you 32 mic inputs that each desk can use.

[MarkPAmanParticipant]

Can I add “¢” (for centre) to this request?

[MarkPAmanParticipant]

Let’s see if this works…..

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[MarkPAmanParticipant]

DCA would control level of a post fade mix. Each send from each channel can be pre or post individually, so that may be an option that works.

Otherwise, if the changes you need are consistent between gigs you could use scenes with filters blocking everything but the level changes you want.

[MarkPAmanParticipant]

Is this a good time to repeat my request that the ‘CH to All Mix’ is made available on a foot switch?

😉

I’d really like to keep both hands free while I adjust an instrument’s level to each monitor. I guess it could be because I’m left handed.

[MarkPAmanParticipant]

Yes

See page 89, and the top of page 90 for user settings.

[MarkPAmanParticipant]

I’ll add another vote for this.

I guess though, that on the SQ5 especially, taking up 8 faders for DCA doesn’t leave many for the group to spill into, so the ability to choose which ones stay fixed may be required, which would complicate things again.

On my SQ6 I’ve tried putting 4 DCAs on the soft rotaries, with the button under them doing the spill. But then there’s other things I like on the soft rotaries too and although I can set scenes to swap functions that complicates it all again.

[MarkPAmanParticipant]

Thanks Keith.

2/ what a great way of doing it – I’ll know for next time 🙂

[MarkPAmanParticipant]

Another work around would be the make up gain of the compressor- some compression may help too.

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