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2020/03/12 at 5:27 am #90234
Too bad the protocol the ME-1 uses is unidirectional.
It’s neat seeing open standards like AES50 getting adopted by products like the Midas personal mixers —- would be nice if A&H did the same.
2020/01/05 at 4:31 am #88567It sounds like you live in the Pacific or Mountain time zone.
The term you’re looking for is unix epoch time. The ME-1’s don’t know anything about what time it is (nor have a real time clock to keep track of the time).
2020/01/05 at 4:26 am #88566Amazon does sell metallic + white (and other color) enamel paint, if you want to customize your drive.
2019/12/30 at 3:08 am #88461This post is just going to provide some more accurate information on multi-channel recording support in Audacity to clear up an statement that is overly broad and inaccurate — given that Jortaani is on Windows, the choice to use Reaper (or other software like Waves Live) to record is a better option than using Audacity. (Side note for Jortaani: if you’re changing parameters for the channel processing like EQ and it’s not affecting what you’re hearing from the input, that seems like the setting in the mixer for where it gets the signal needs to be changed from post preamp to something later in the signal processing chain).
This isn’t accurate except in certain scenarios (such as using the MME driver, or if ASIO is needed but you didn’t compile Audacity from source with ASIO support):
Audacity only records one stereo pair of tracks [two tracks] at a time. You can not record more at once.
You can have more tracks on screen and combine them later but recording is limited to one pair.Audacity is fully capable of recording on more than 2 channels at once on macOS and Linux. What mfk0815 said about Audacity on Windows is fairly accurate – if you compile a copy of Audacity yourself you can have ASIO support which will work for multichannel recordings, but the default Windows installers don’t have ASIO support because of licensing restrictions surrounding distributing software with ASIO support. (Certain soundcards with multiple ADCs or devices using Windows DirectSound may work for multichannel recording without ASIO, but those don’t apply to recording audio coming from an A&H mixer.)
The video Multi Track Recording in Audacity for Podcasts shows recording multiple channels on macOS (seems like OP is on Windows, so does not apply).
The Audacity manual/wiki has a section on building a copy of Audacity with ASIO support at https://manual.audacityteam.org/man/asio_audio_interface.html#Non-distributable_ASIO_support_in_Audacity with instructions for Windows, though this is likely more effort than OP wants to go through.
2019/12/07 at 8:12 pm #88134This forum has some weird, embedded preview stuff (of the mobile site?) going on… the drop down in the silly preview window has a support link that you can follow (www.allen-heath.com/support) that after ~2 clicks for worldwide distributors will lead to a page like http://www.allen-heath.com/dist_type/usa/
Also, the slow down you move to fast stuff on this forum is super irritating — editing posts with small corrections doesn’t work because there’s the stop forum spam registration thing that gives an access denied, so the only alternative is posting a second time. Would be nice if A&H upgraded to proper forum software such as XenForo or Discourse like other companies seem to be moving to for support boards.
2019/12/07 at 8:06 pm #881332019/11/14 at 7:17 am #87624Is there a reason you can’t just add the mixes to a mute group for single softkey muting, and a DCA for single fader control (on the custom layer)?
2019/09/19 at 2:23 am #86546Most of what Steffen is saying probably comes from these two UI gripes:
* PAFL – what does this even mean? Does it mean Pre/After Fade Listen or Pre-Amp Fade Listen? – it’s documented as a toggle between pre and post (After) fade listening and is given a large dedicated button per channel – switching between these should be in the edit area of the channel settings, not sitting on each fader cluttering the UI.
* A redundant power button on every channel wastes precious screen real estate. Turn the channel ‘off’ by muting it. If a power button is a must, put it in the channel edit panel instead.which misses the mark as far as the purpose of the buttons (in particular I imagine the issue is PAFL, which would be like the audio equivalent of the terms HTML or CSS in web development — pretty much everyone working in audio should know the term regardless of the brand of mixer they are using, along with Solo/PFL/AFL).
Given that you’re using a Qu-SB, using the PAFL button probably wouldn’t come up as much as with a physical mixer, especially if the Qu-SB is located on the stage – the PAFL button (below the faders) is the one that lets you listen to a (often single) channel or mix in headphones and see its levels on the LEDs of a physical desk (page 23 of the Qu Mixer Reference Guide and page 5 of the Qu-Pad v1.9 Help Guide basically say this). There is a separate option under one of the setup menus that can be used to change how it works between Pre-Fade Listen (PFL) and After-Fade Listen (AFL) modes, which is what PAFL on page 8 of the Qu-Pad Help Guide under the Setup Screen section refers to (I’d guess this is the manual page you were reading).
The smaller Pre button (next to the On button) for each channel (visible when a mix other than LR is selected) is also routing related and is used to set if the audio signal going to selected mix (the right side “tab”/buttons) for that channel should be affected by the LR fader (pre button deselected) or if it should be unaffected by fader changes in the main mix (pre button selected); unselected might be useful if you have a recording mix or a mix for a speaker out in a lobby where you want some balance changes to the main mix to be present, whereas pre-fader would be used for monitor mixes.
The app seems to try to imitate the workflow of using the board where it can, the added features for customizing the appearance would be nice. +1 for more custom layers! I don’t think the mixer even stores any information related to custom layers that get created in the iPad app, which is a step further removed from scenes. Given that each Qu should have a unique ID which the app gets, they should be able to add custom layers that get saved based on the mixer connected to, and provide an option to try to remember which scene a layer is associated with; or maybe even easier than that could be adding the custom layer that is in use on the mixer to the app, since that custom layer is stored in the scene files and can change between scenes.
Switching the stereo mixes to mono would be nice, that would be hard to represent on the physical mixers which only have a single button for the stereo mixes. I think the next mixer up (SQ) allows this, but then the SQ trades some simplicity and easy setup for that flexibility.
2019/09/02 at 11:18 pm #86170I guess it would probably cost at least ~$700 USD ($1000 seems more likely) based on the cost difference between a Qu-SB and a Qu-16.
With just the network connection, it wouldn’t have anything that involves sending audio one way or the other; no Qu-Drive port or USB-B port for recording from a computer, no talkback mic, and no headphones.
So basically like those USB control surfaces for DAWs, maybe like the Korg nanoKONTROL, just with faders and knobs rearranged to make it look a bit more like Qu. Seems like an interesting idea, almost the opposite of those mixers where you need to plug a tablet in to provide the control surface.
2019/08/27 at 4:09 pm #86076The MIX outs on the back of the console should be active regardless of whether they’ve been patched to one or more dSnake outputs. The dSnake output patch that you have setup (under I/O Patch -> dSnake Out) is an output “in addition to” the local output, rather than how patching a dSnake input as the source to a channel is “instead of” the local input.
The other day I used the local outputs on the board with a headphone amp so one person could monitor the recording mix (mix 9-10); the default dSnake Out patch setting also had mix 9-10 going to outputs on the AR2412 stagebox connected to the mixer.
2019/07/23 at 8:10 pm #85449Recall preamp should be the setting that controls if what the gain was set to gets recalled or not.
2019/07/21 at 12:31 am #85385Ahh, things make sense now. It’s tough not having some time outside of services like a soundcheck/rehearsal to experiment and try things out in a safe space.
2019/07/20 at 11:32 pm #85378If you require 18dBFS of headroom to feel comfortable, great, you do you. I don’t care to get a multi-paragraph response to such a short informational post. Maybe one of the people who was talking about how they never hit the red would care more rather than the person simply pointing out an A&H post.
***content removed – personal comment that does not contribute to the thread*** Mute a channel (iPod stereo or USB input maybe playing a fixed frequency tone) in the main mix/monitors and solo it, then turn up the gain and listen in the headphones (with the volume control set to a safe level) until you start hearing clipping or see the red peak light blink — there you go, you’ve now got a better idea of how far different LEDs are from clipping and what your comfort level with different LEDs is. I don’t really care to hear objections about how this isn’t a particularly great idea or why it can’t be done — just wait for an A&H rep to answer the question instead, or try opening a support ticket.
2019/07/20 at 10:02 pm #85371@williamadams why are you lecturing me about never wanting to see a yellow light? Did you mean to direct that comment at NZdave?
That *IF* comes across as kinda rude, I know what the post I said saw, ***content removed – personal comment that does not contribute to the thread***. Here’s the post by someone from A&H, ***content removed – personal comment that does not contribute to the thread***: https://community.allen-heath.com/forums/topic/usb-b-output-volume-control#post-45342
2019/07/20 at 6:36 am #85362In one of the recent posts about recording levels to a USB drive, someone from A&H said that the “0” green LED on the meter corresponded to -18dbFS in the recording.
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