[marQsParticipant]

I connected my router, a TP link model that works well with GLD, dLive and Behringer mixers. Set the SQ to DHCP, connected the router and did reboot.

Possibly there was a mismatch of firmware and the app on my iPad. Had no time to check this out. The app just offered ‘offline’ and didn’t see the SQ.

[marQsParticipant]

Well, the SQ-job is done. Created a scene with the SQ Mix Pad on Windows but couldn’t make the SQ see my USB stick. Even after formatting a stick with the SQ it didn’t work, neither did the SQ handle my router – no remote access on the iPad.

Ok, the unit was brand new. I’m sure if I had some time to spend with it beforehand everything had been easy but having an amount of experience with A&H digital desks I felt like it behaved unnecessarly touchy. Indeed my feeling is that products from the big cheap B. are less picky with such simple things like USB drives and networking.

[marQsParticipant]

Ah, thanks! Been to the site before but just… didn’t see it. I’m all ears 😉

[marQsParticipant]

It’s wondrous that such simple functions are lacking on an otherwise beautiful piece of equipment.
The console should just play any audio format, wav/mp3/flac/ogg/whatever at any sample rate on any stick without the need to format it before.

We have a GLD80 that works with wav/mp3, no matter what sample rate I think (that covers 98% of real world usage), well done!
A mate has a GLD112 only willing to play wavs. Came across some QUs that will also just play wavs and are extremely picky with which USB sticks they recognize at all. That’s plain ridiculous, really. Seems like a very, very simple task to accomplish.

[marQsParticipant]

I consider the digital split as the ‘clean’, up-to-date solution in case of predictable circumstances.

Splitting analog might be more suitable for situations as described in my posts above – when bands bring own stuff partially. The task in festival situations is to get the job done quickly, so it’s good to be prepared for all kinds of situation.
We all know, tech riders often differ from the actual situation, the updated rider hasn’t made it from the promoter to the PA company, bands change their stuff without notice, things get broke on tour etc. Analog splitting seems like the easiest way to me to handle all that unexpected, unknown, unplanned, spontaneous actions.

I’ll propose to get some of these https://www.thomann.de/gb/the_tracks_eight.htm to get on the safe side for 48 V plus the advantage of independent gain.

[marQsParticipant]

Good to know SRC is taken care for by the hardware!

For the first shows we’ll work with the analog split anyway, it seems to get usual in festival contexts that bands bring either their own monitor or FOH desk. An analog split seems mandatory to not have to mess with different untested networking solutions. Good chance to get familiar with the DLive instead.

Been working with shared head amp gain in Midas M32/M32R setups and it was easier than I thought. The downside is that FOH and monitor guys basically have to work in sync, the advantage over a passive analog split is that no one can fry the preamps by accidentially doubling phantom power.

Thanks for your advice!

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