[MarkPAmanParticipant]

If this is something you want to use a lot, a bit of clever wiring an a switch in the foot switch socket could do it.

[MarkPAmanParticipant]

Workaround:

Save the scene – recall another with no phantom – patch as much as you like – recall the scene you want.

[MarkPAmanParticipant]

Remember to set the SQ to use the clock from the QU – unwanted noises can occure it you don’t!

[MarkPAmanParticipant]

A possible solution to this is to use a couple of groups if you have them available.

Send (only) the vocal and its own effects return to a group, then select that as the send that the Qu-You app controls.

That group can be used as the FOH feed or not, depending on your preferences, by changing the channel and group assignments.

[MarkPAmanParticipant]

Note that gains will not be independent between chan 1 & 17, 2 & 18 etc.
They will be sharing the same preamp, so the controls for that are not independent.
This is probably not a problem though.

[MarkPAmanParticipant]

Is this one venue or many different ones? Sounds as if it may be more than one…….

Is there an induction loop hearing aid system anywhere near by?

[MarkPAmanParticipant]

Would you not want two different bands to use (at least) two different scenes anyway?

Save everything at the end of rehearsal, recall it on Sunday. Youth band do the same.

[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?

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