[TobiVIParticipant]

I’ll also chime in with a request for an ‘SQ-PAC’.

My need is for a road in-ear monitoring rack system. The Behringer X32 rack unit is eating everyone’s lunch in this market space, but you need their stage box too if you want to have stereo signals for more that 3 performers. The QU-PAC only has 3 stereo aux busses, which takes it out of contention for a pro, stereo IEM road system for full bands. So a SQ Rack with its native 12 outputs makes a simple but powerful solution with the added benefits of the SQ line including, as mentioned, various IO interface cards to send splits to FOH without using copper multicore. A product like a SQ-PAC would easily win in the pro IEM road system market.

I am hoping an SQ-PAC is in the works!

[TobiVIParticipant]

@calvarysj

My current SQ5 show includes routing for 2 AB168 dSnakes on the hardware SLink port. I have no option cards. A router is connected to the ethernet port, and nothing connected to the USB B port. But the problem was occurring without any XLR inputs or SLink devices connected. Occurred with the USB stick in or removed.

This is the first time I prepped the SQ5 for a show where I need more that 16 channel since 1.5.3 was installed, and the problem started while I was double-checking my saved scenes. I did not have the popping problem with 1.5.2, which is why I thought it was a 1.5.3 problem. I’ve had the SQ5 for about 2.5 years, and a QU16 for about 5. After I had the problem with the screen freezing on the SQ5 with 1.5.0 using the RTA and USB recording simultaneously at an important show in summer 2020, I was reluctant to take the SQ5 out even after the 1.5.2 fix patch. I just stayed with the 16 channel count of the QU for a while for reliability sake. The QU has been incredibly stable for hundreds of shows since I bought it.

I may have found a work around to the popping problem on my specific SQ5. I rolled back to 1.5.2 and the problem disappeared, even using the same scene that was loaded when the problem started. I rerolled to a new download of 1.5.3, and the mixer has been stable for the last 12 hours under the same conditions as above. I’ll try it connected to the 2 AB168 boxes and report if the problem reoccures. But try this and see if it helps you, too.

All the best,
Paul

[TobiVIParticipant]

My SQ5 just started having the same ‘popping’ problem described above. I’m on 1.5.3. I did not have the problem on the last firmware, though I did have the ‘screen freeze with usb multitrack recording and RTA on’ problem that necessitated installing 1.5.3. Any word on if 1.5.3 re-enabled this problem?

[TobiVIParticipant]

@volounteer

Yes, I also think you can insert effects on groups in the QU32 without issues. The only limitation I can think of is you must control the wet/dry (effects return, essentially) from the inserted FX screen, same as any effect that is inserted rather than bussed. If you anticipate your effect return levels will remain constant (like an inserted snare drum verb) for an FX, I would use the group insert approach if only for workflow simplicity’s sake. You can still apply group compression and EQ regardless of the FX insert, so it makes workflow easier if a single effect setting on that group works for your show. If you need to change the send mix or return level for the group effect often during a show, then using the FX mix busses is the right approach, but there are more creative solutions available using outboard effects if you need more than the 4 onboard effects at one time. For example, the SQ5 has 8 FX slots and 4 FX busses on faders. I insert a snare verb on a channel, insert a room verb on the group with toms and overheads, insert de-essers on 2 lead vocal channels (to get separate effect control for each), and use 4 ambients on the 4 FX fader busses (doubler, room, hall, and delay with tap tempo) that I change often. Then I set a console layer layer with all the DCAs, Groups, FX returns, and monitor sends on one layer so the workflow during the show does not require layer flips. You can use this same approach on the QU32 to get at 5 to 7 effects at once using the programmable ‘Custom’ layer for control, but you need to make use of external effects, a few Mix busses, and some ST returns.

Maybe this has given you some ideas that might help with overcoming the 4 FX limitation of the QU. Good luck!

[TobiVIParticipant]

Volounteer,

You said some of that correctly, and some sounds not quite correct.

The QU routes one effect to only one of the following choices; 1) single channel via insert, 2) single mix buss via insert, 3) single FX buss, and 4) single channel to a different single channel to be used as a ‘return fader. A single effect can only be applied to multiple channels using one of the 2 FX busses. But, yes, once the 4 effect slots are assigned to a channel/mix bus insert or an FX mix you are out of assignable effects.

For example, I have a gated verb, FX4, on the snare channel. FX4 is not available to assign to any other channel, mix, or FX buss. To see how this works, press the FX button and go to the FX slot you want to assign and press the ‘Front Panel’ button if you cannot see the assignment screen. The QU looks here to find where the effect signal is coming from and where it will go after assigned. Once you select the ‘Inset’ assignment, you can only pick a channel or mix to use for the ‘insert loop’. This is very similar to an analog mixer, using an insert cable from an effect and plugging it into the ‘insert’ jack on the channel or mix you want to insert the effect on.

I have an SQ5 and a QU16, and this is the same on the SQ also. But on the SQ, you can subgroup channels in ‘groups’, then apply a common effect as an insert. This is easiest to understand my imagining a specific compressor setting applied to all the drum toms. But, again, one setting applied for all the channels in the subgroup. I believe the larger frame QU mixers also have groups, which could be used in this way. All QU mixers have DCAs, but it’s important to mention you cannot insert effects on a DCA because DCAs are not actual busses. DCAs are simply a single fader that ‘moves’ all the physical faders in the DCA the same amount at the same time.

You mentioned running a single effect for multiple vocal channels. There are only 2 FX busses on the QU16. If you need more, I can only think of one work around for you on the QU16. It’s a bit complicated and it requires losing a Mix aux out and a ST input for each set of ‘grouped effect’ channels, but it can give you 2 more pseudo effect return busses if you can spare the mix busses;

1. Set up a mix buss, say MIX5-6, to be assigned Post Fader.
2. Because mix busses cannot be assigned to anything other than an AUX out jack on the QU, physically patch the MIX output jacks, MIX5-6 in this example, back into the mixer via the ST1 input jacks using patch cables.
3. Pick an effect slot, assign the desired effect to that slot, and route it to insert on MIX5-6.
4. On the MIX5-6 layer, select each channel send like you would an effect send buss. Remember, because it’s a post-fader buss, unity gain (0 db) on the fader will send the same signal to the MIX5-6 Master as is set on the actual Layer 1 channel fader.
5. Set the MIX5-6 Master at unity gain.
6. Send signal into the mixer. Check to make sure the input level to the effect is at or below 0 db. Then set the ST1 input trim to make sure the input stage is also at or below 0 db so it is not being over driven.
7. During soundcheck, use the ST1 fader on Layer 2 to set the amount of effect you want sent to your main mix speakers.

This method allows you to set the channel EQs and processing uniquely before it is sent to the effect, but the effect parameters would be applied the same for all channels sent. Also, for easy on/off control of the effect, you can assign a Soft button to mute MIX5-6 output. This will make sure the effect will ‘spill’ until, say, the echo repeats are done. If you want the mute button to ‘choke’ the effect instantly, assign the mute to ST1.

This how I used to buss outboard effect units from an output aux buss back into a stereo channel input on analog mixers for better control and EQ of the returned effect sound. You can also do this with another effect slot because there are 4 effect slots and only 2 FX busses. Just use one of the other stereo mix buss outputs and ST2 for the return patching.

There may be someone more experienced with the QU mixer that might help give you an easier workaround for adding an FX slot to multiple channels once the FX busses are consumed.

Good luck!

[TobiVIParticipant]

Hi. I’m not an A&H paid expert, but I have run effects through the monitors on my QU-16.

The FX mixes (FX1 FX2 buttons) control the amount of each channel heading to the FX busses. To get them to come out, you have to turn them up (RETURN) on the mix you want them on using the second layer button on the left above CH1. In your picture, you have raised them on the LR buss, which is why they hit the FOH fine.

To get effects in the monitors, first select the monitor mix, not the FX mix, on the right hand mix buttons, example Mix1, for the monitors you want effects. Then press the upper LAYER select button, like you did when setting effects on the LR, while still in the monitor mix you want effects applied. After you press the second layer button, check to see the MIX button light is still on for the monitor mix you are looking to add effects to. Raise the FX1 or FX2 RETURN and you should have FX in that monitor mix. You can then stay on the second layer and press the other MIX buttons and set effect levels for each. Don’t forget to move back to the first layer before trying to mix the channel levels for any MIX or LR buss.

I hope this helps! 🙂

[TobiVIParticipant]

That’s what I used to do, ie. splits to a monitor board. Thought I might be able to do that internally with the digital routing.

Thanks!

[TobiVIParticipant]

Good points! Channel 1-16 FX1 and FX2 sends are Post, and Monitor (MIX1, MIX2) channel 1-16 sends are Pre.

What I am hoping to find is a way to create a FX routing of the channel monitor sends (MIX1, MIX2) that follows the monitor faders and is independent of LR channel faders. Sort of like this:

Ch1 LR post fader –> FX1 Send –> FX1 Return –> LR Out
Ch1 MIX1 post fader –> FX2 Send –> FX2 Return –> MIX1 Out

In the top example the FX channel content follows the LR fader. I would like to replicate this for monitors. I don’t think this is possible, but I thought I would ask the Community before I give up the ghost on this! 🙂

[TobiVIParticipant]

I can see I am a bit late coming to this thread, but I, too, need 4 effect engines running in the QU-16.

Great description above on how to get that accomplished! I did the same, only I am using MIX3 and MIX4 as the ‘sends’.

My problem is, on any of the effect return mixes other than LR, the effected channel signals combine based on the 1-16 channel layer fader feed, not the actual monitor (MIX1, MIX2, etc) channel feeds. This means if I send all the vocals to, say, FX1 reverb on the 1-16 channel layer, then reduce 3 out of the 4 singers from, say, monitor 1 (MIX1) wedge but still want to send FX1 to MIX1, then MIX1 gets the full FX1 mix from all the singers. In other words, FX1 mix follows the 1-16 channel layer faders, not the MIX1 channel faders.

If anyone has any ideas on how to make the FX mixes feeding the MIX1 through MIX9-10 mixes, I would appreciate it!

Paul

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