[ZachParticipant]

+1
A clock or ability to rename recordings would be great. It’s difficult to go through a list of recordings to find what I’m looking for.

[ZachParticipant]

Just wanted to check if others have had experience transferring shows between different models of the SQ5/6/7, and if there are any headaches or pain points to be aware of. I’m considering borrowing an SQ6 until our SQ7 arrives due to a backorder issue and wanted to make sure (1) importing SQ6 shows and scenes into an SQ7 would be possible and (2) that there wouldn’t be any major issues with that process. The main things I’d expect is that I’d be left with some blank faders and soft rotaries (and would maybe need to reconfigure global settings like users/permissions). From a quick search online, I must be missing where A&H officially documents that this is possible.

[ZachParticipant]

I think I misunderstood what the OP was asking for. I thought we were talking about copying/pasting settings to a NEW channel, not a faster way of remapping the faders, which is a fundamentally different thing.

New2SQ, if there is a copy/paste function for the channel strip assignments, I worry that would create confusion as to what is actually happening. When I think of copy/paste, I normally think of the thing being pasted as independent from what was copied. But in the case of channel assignments, we’re not really copying/pasting a channel onto another independent channel — we’re really just mapping it to another fader (or to both faders at the same time). So I worry the UX around copy/paste might be confusing in the strip assign section (except for copying/pasting entire layers, which would make total sense because layers are independent from each other and free to change from each other).

Have you tried using the SQ MixPad app? I find the app easier/quicker to use than the surface screen for adjusting strip assign, and it shows a lot more channels and faders at a given time. I wish the surface strip assign was as easy as on the iPad.

[ZachParticipant]

Brian, thanks for clarifying and for the detailed info. That would work for our future expansion. So, considering costs and complexity of our options, it sounds like DX boxes would be the way to go, and then purchasing a Dante card for the board if we need to expand to Dante in the future.

[ZachParticipant]

Brian, you bring up an interesting point I didn’t think about:

Combined with the fact that by simply installing a Dante card in the console I could route any of the DX I/O through a Dante network…

Are you saying even if we used DX/GX boxes, we could still send bus outputs over a Dante network by adding a Dante card to the SQ? That would probably be our main use of Dante, instead of pulling our inputs in over Dante.

[ZachParticipant]

Good to know about the need for Dante Controller. Would it be as simple as installing Dante Controller and sticking with the default 1:1 Dante mapping if that’s all we need? Or is there no default mapping and we’d need to configure the initial 1:1 mapping ourselves? (which I know should be mostly straightforward even if we have to do that — just trying to understand how “plug-in-play” it is compared to a DX expander)

[ZachParticipant]

Ah, this thread answers my question. I was confused about the wording in the documentation here: https://support.allen-heath.com/hc/en-gb/articles/4403666880913-General-Connecting-to-the-SLink-port

With two DX168s connected directly, outputs 9-16 are unavailable and the outputs for the second unit are 17-24

Based on the docs, I was worried only 8 total outputs were supported with 2 DX168’s, but glad that’s not the case.

[ZachParticipant]

Did we ever get clarification on whether the pre-amps are the same between a DX168 and GX4816? Does the GX4816 come with the same dLive pre-amps? I see there is some speculation in this thread, but do we have facts/documentation from Allen & Heath?

[ZachParticipant]

+1 for longer scene names and/or notes. The SQ falls behind lower-end consoles like the Yamaha TF or X32 in this regard. I have worked on an Si Expression, which didn’t have notes, but at least you could have very long scene names to describe the type of mics, stage monitor setup, etc. Now we’re having to maintain a separate cheat sheet of scenes with more details, which is not very maintainable at all. Please support longer names/notes!

[ZachParticipant]

+1
I really wish gain could be ganged. I frequently have identical mics for our ensemble setup, and I want to lock the gains to be the same across all mics.

[ZachParticipant]

+1
This would be really helpful. I’m glad the SQ has dedicated Q/frequency/gain knobs for EQ, but coming from a board with dedicated knobs for ALL bands (Soundcraft Si Expression), it would really help us to have some kind of indication on-screen as to which band is currently selected. That would give more real-time feedback while making changes so we don’t need to double check the right band button is selected.

[ZachParticipant]

It does look like pre-fade sends are also muted based on the diagram. Is someone with an SQ able to confirm?
It would be a deal breaker for us if they don’t get muted given how we use pre-fade sends to stage monitors, so I’d like to be 100% sure. Thanks!

[ZachParticipant]

We actually have our Livestream aux feeding into a compact analog Yamaha board that combines a few other mics we only ever use for livestream (since we wanted physical sliders for those mics). So, I wouldn’t be opposed to considering the more expensive pairing option down the road if that could consolidate into one board for livestream.

Would pairing a second SQ involve the “tie lines” feature? If so, is it possible to send tie lines to the livestream board post FOH fader (or even based on an aux’s levels) so that there’s less mixing for the livestream team? When I read about tie lines, it seems they’re similar to direct outs and bypass all the processing/levels set on the main board. While that would give full control to livestream, we wouldn’t want that level of control and would prefer to start with the FOH processing/levels and making small tweaks in the levels for Livestream. Please correct me if I’m wrong about tie lines.

I know what I’m asking for might be a bit hard to satisfy. The livestream post-fade aux handles levels well 80% of the time, but we’d like to have physical sliders to tweak livestream for the 20%, without requiring the livestream crew to control anything more for the 80%. From what I’m hearing, it sounds like a MIDI controller with Mixing Station is probably the place to start exploring.

[ZachParticipant]

mfusa — Like pairing an SQ5 to our main SQ7? I’ve heard of connecting two full-blown consoles likes that but haven’t looked into it yet. Other than price, my main concern is what complexity that might add, or possibly security concerns, as we wouldn’t want the livestream crew to be able to do change scenes or levels for the main mix or any other aux. Would one of the SQ’s be configured as a slave somehow? Or would they both have full control?

[ZachParticipant]

Good to know. Is this an example of what you’re referring to for the Avantis/dLive series?

IP8

Also, do these IP devices sync 2 ways? (Meaning, adjustments on the main console are reflected on the IP controller sliders, and vice versa?)

For our SQ needs, controlling Mixing Station with a MIDI controller seems like the best approach to pursue.

[Author]

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