[Mike CParticipant]

You can do everything on the iPad you can do on the board.
Such as one person mixing the mains on the board while someone else
is mixing monitors or a live steam mix on the iPad.
Keep in mind if the person mixing on the iPad for the live stream
mix gets into a channel input EQ that will affect the EQ to the main mix.

I actually like the QU Mix Pad app menus better than the menus on
the surface.

From the statements in your last post here it sounds like you have a lot of
system set up issues that could be taken care of by someone who knows their S–t coming
in to go through the system and properly set it up.

[Mike CParticipant]

Ok guys, another question. My new mics haven’t yet arrived so I played a bit with compression with my snare. For now, I can’t figure out of apply compression so I can hear how it affects the sound if I am listening through mixes. When I plug into the phones, that is listening the complete L/R I then hear what compression does to the channel in question.
So, how can I get this to work on mixes as well?

It sounds like you have the compression applied and working on the main LR mix, that’s a good start.
Select the mix or mixes that you want the compressor also applied to, go to the mix routing menue and
then you will want to select “post all” under the channel source window. On that same menue page you
can also select pre or post fade depending the intended use of the mix.

You can also do a channel by channel pre post select and mix assignment on/off selection by using the assign buttons
to the left of the row of green select buttons.
What ever mix is selected the assign buttons will control the assigment per the select button on each channel, holding the assign
button will light up all the select buttons on the channels that are assigned to the selected mix, same thing with the pre button, holding
that will light all the channels for the selected mix that assigned to pre fade, off is post fade.
While holding the assign button and hitting a channel select button will turn that channel on or off in the selected mix, same thing with the
pre button, holding that while hitting a channel select button will switch between pre and post fade for that channel.

[Mike CParticipant]

So you admit you said it was hard to do then showed us how easy it actually was. Thanks for being honest.

As I eluded to earlier it is harder/tricky, you would need to get creative, ect. to do some form of parallel compression to a mix group as in the entire mix of drums or even
the full LR mix on a QU and even more so on a QU16.

The articles you linked to were about applying NY/Parallel compression to entire mixes/drum tracks, no so much to just a single source.

Now as I most recently posted and explained to apply a form of parallel compression to a single input is a fairly simple process. Now is it even worth doing it to a hi hat input????

It’s easy to cut paste articles, now tell us how you would actually apply parallel compression to an entire drum mix on a QU and more specifically on a QU16 without any out of the box processing.

[Mike CParticipant]

I do complain about the documentation but never recall doing that about the Qu capability.

Wow, you really do need to go back and read some of your old post.

I certainly would have used a Y cable myself but that was so obvious I did not mention it.

Not buying it, with everything you post you would have actually explained how to do if you actually knew!

Was it you or @SteffenR who said it would be very hard to do on a Qu.

That was me, not to hard to do it on a single source input, to apply it to an complete mix (where it is more normally applied) say all of the drums it would take some work around.

[Mike CParticipant]

Sooo, can I do anything here or not?

You would do best to try just using the compressor on the hi hat channel, finding the right
threshold setting to stay out of the way of the softer closed hi hat and yet clamp the compressor
down on the bashing open hi hat will be the trick.

If you wanted to try the parallel compression on your QU16 about the easist way would be
to take a Y cable and split the hi hat input into two channels, use one channel for straight
through input and the other to apply the compression to, mix both of them together and see
what that does for you.

Setting the gain the same on both channels and mixing them equally into the main mix will in effect
bring up the softer closed hat level due to the two channel being summed together in the mix, when
the comp on the one channel clamps down on the open hat louder playing (try a fairly high ratio)
it will more or less close that channel down resulting in overall lower level on the hat, only
you can tell if it’s enough level reduction.
If you are using a stage box you can do the Y slit to two channels in the IO set up.

Parallel compression can have a place in overall buss compression for drums or the entire mix
for that matter, it’s more of a studio thing but can be applied to live sound.

All that said keep in mind ‘Volunteer” post lots of suggestions about lots of ideas he reads about
but has not or does not know how to apply to a in this case a QU mixer.
But he is always first inline every chance he gets to complain something that a QU mixer
can not do.

[Mike CParticipant]

It would really be nice if AH made a plug in to do it.

They do, the comps in the SQ will do parallel compression.

If you and @SteffenR do not want to use any compression that is certainly fine with me.
Speaking for myself, I use compression of various types quite often…when needed.

[Mike CParticipant]

There is a reason NY compression swept through the audio scene when it was imported and people liked it

Yea, as a full mix buss compression.

To do true parallel “NY” compression on a QU would take some tricking routing and use up an mix or two or groups to do it.
Keep in mind you can not have input channels assigned to the main LR mix and assigned to a group or groups that are also assigned to the main LR mix.

The QU16 does not have groups.

Like Steffen, I rarely if ever use compression on a hi hat.

Keep in mind that sometimes a dynamic mic will work well on a hi hat.

[Mike CParticipant]

Others will disagree but you should look at New York compression aka parallel compression to do that.

He only wants to tame down the hi hat input. Parallel compression is not that tool.

[Mike CParticipant]

Without actually being there are no one can give specific numbers to set up a compressor.
In general I would guess a longer release time, soft knee, 5 to 1 ratio. I would go with RMS, Opto could be a worth experimenting with.

[Mike CParticipant]

As Mark said your overall live stream should be getting hit with some compression, actually some fairly stiff compression. Broadcast TV and radio do some extreme processing before hitting the air!

Is your mix set pre fade or post fade and as mentioned go with post processing.

For the main PA house mix do they ride and adjust the levels as needed?

If they keep the house mix with in reason maybe going with a post fade streaming mix would be the best option for now.

To do that set all the mix 4 channel levels the same, that way it will track what the main house mix is doing. You can still go into the mix 4 levels and make some general level adjustments on channels that may be consistently too high or low on the live stream mix.

” I am at a loss and the other techs are unteachable so I need a dummy-proof method.”
That can be tough if not all but impossiable.

[Mike CParticipant]

What are you wanting to monitor on the phones?

When selecting PAFL on any channel or mix will bring that source to the
headphone jack. With no PAFL selected you will have the main LR at the headphone
jack.

You can select in the set up menu to either have the PAFL additive to select multiple
sources and listen to them all that same or in single solo mode.

You can also select the pick off to be pre fade or post fade.

[Mike CParticipant]

When you say “layers selected” I assume you mean selecting the top layer button
that gives you the stereo inputs and all of the mix send and return levels.

When that layer is selected the master fader far right hand fader is still controlling
the main LR mix master level.

I if you directly select a mix or an FX send for that matter by hitting one the select buttons on the right hand side of the mixer then the far right master fader becomes the
master level fader for the mix that is selected at that time.

When you directly select a mix the faders become the send levels to the selected mix
for that fader’s channel.

[Mike CParticipant]

You could set up the monitor mix app for the person mixing the broadcast.
SQ 4YOU is the name of it.
That will only allow them to control the mix levels and output processing of the
mix that is feeding the broadcast/live stream.

I’ve set up a couple QU systems doing the same thing with the QU monitor mix app.

[Mike CParticipant]

Actually any time your using channels assigned to audio groups (not DCA) and those groups
are assigned to the LR mix you need to unassign those channels from the main LR mix.

If you don’t you will get some phase issues due to the slight routing path latency differences between a channel going to straight to the main LR mix and being routed
through a group assigned to the main LR mix when the two signals sum back together
at ever so slightly different times.
And yes you can hear it.

[Mike CParticipant]

-Select Mix 9/10
-Select the top layer on the mixer.
-Bring up the faders on the needed FX return channels.

Same process as adding any other channel to mix 9/10

[Author]

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