[robashardParticipant]

One of the beauties of the SQ is it’s pretty stunning Custom Fader Layer facilitates.
Don’t feel you have to work with the fader layers as they were when you first switched the SQ on. It’s so easy to drag and drop channels onto a fader Layer, or flick ones you don’t want there, off.
I like the idea of a drum kit Layer, with maybe the bass on fader 1 as well. The bass can still be where you had it on the top layer, and you can also add those relevant extras to the drums on,say, Layer 2.
One a TV show recording I did, I had a few more channels than the 14 audio faders, plus 2 VCA’s I could fit on my SQ5 layers, so I created two almost identical layers, with the extra sources on little used faders on Layer 2.
By the same token, you can create totally different layers. A band Layer, and a vocal Layer. You can make it work for your exact requirements.
Once you realise how simple it is to do, you’ll wish you’d done it before.
Save a memory before you start, and if you get in a muddle, you can go back to where you were.

[robashardParticipant]

Well you could Save, then run through the channels and switch all the inserts out, and save an Inserts Out memory, but of course if you subsequently make any mix changes they will be lost if you go back to those in/out memories.
Many use the Input Library to achieve this which can work independently of other parameters saved, but I totally get when you’re using the inserts.

Sorry. Not much help.

Rob

[robashardParticipant]

Sorry, I thought you wanted midi timecode. You can convert from normal timecode to midi timecode with something like a Mark Of The Unicorn (Motu) Midi Time Piece.
But now I’m thinking you want to send midi programme changes. Now there are midi line drivers that work over mic tie lines or mic cables (copper), but I doubt that the would work via a dx168 as they’re not wired in a standard audio way.

[robashardParticipant]

I’ve used the Tieline feature before, actually in the opposite direction to you, but if you put timecode into, say, input 16 of the DX168, you could route that via Tieline to come out an output XLR on the back panel, then maybe convert it to midi there to feed whatever.
I would have thought a Midi input on the stage box won’t happen as it would require new hardware, but this would work fine. Obviously you lose a physical input on the DX, and you could just put it into a channel and take a direct output to an XLR output too. Obviously, whichever way you patch it, it has to be part of every Preset, or isolated from recall.

[robashardParticipant]

Well the PAFL functions are pretty good now aren’t they?

Rob

[robashardParticipant]

I’ve not done it, but isn’t it a painless process if you use the Input library to switch inputs?

[robashardParticipant]

Your default is for no compression at all! So no, an extremely bad idea. Parallel compression is something you should make happen if you, that’s YOU, want it.
Most people want normal compression that does what it says on the tin.
If you want parallel compression, you change your controls.

Sorry to disagree!

Rob

[robashardParticipant]

I’ll be honest, no! The fader is where it’s at because it sounds right. I’d rather not lose any space on the scribble strip to this.

[robashardParticipant]

Here’s a thought, but I can’t check it as I’m away from my SQ. If you have a spare local channel free, could you patch to that, set up the channel including gain and phantom, then re-patched to the greyed out un-connected DX168 channel? I think it might take those settings with it and implement them once the stagebox is connected.

Rob

[robashardParticipant]

I’ve not tried DAW control yet, but I also have Nuendo and tbese are all good suggestions.
How does it respond given that the faders on the SQ are not touch sensetive? I tried the Behringer BCF2000 which also doesn’t have that, with Nuendo, and every time I tried to take over a mix, it had to see quite a change in the fader position before dropping in to Write mode. That resulted in unusable jumps in the automation.
I mentioned this on a Facebook forum and someone seemed to think it wasn’t an issue, although I can’t now remember which DAW that they were using.

Rob

[robashardParticipant]

If you went with the Audio Technica AT LP 120 USB turntables, they have line outputs. You could go straight into the two pairs of stereo jack inputs with that. Two sets of phono leads, which may come with the turntables, and four jack plug to phono socket converters will get you connected.

[robashardParticipant]

Sorry, I was actually replying to Stretch480’s reply, who said he’d love the headphone volume know to control the monitor out level.
Hopefully then my answer makes sense! Sorry for the confusion.

[robashardParticipant]

I would love 48k support for both play back and recording.
I just don’t want 96k files and neither do my clients.
Presumably the reduction in data flow may stop these issues when recording to USB sticks too.
I do appreciate that the internal infrastructure or horsepower may not exist to achieve this.

[robashardParticipant]

I would doubt that would be possible. The output of the headphone amplifier is very much in analogue world. It’s input was, luckily, accessible in the digital and routable part of the desk which has allowed this much needed monitoring improvement.
I would imagine that the output of that headphone amp goes straight to the socket and nowhere else.
I might be wrong but I can’t see why one of the assignable knobs couldn’t be assigned the task of controlling the headphone level in a later version, but of course the SQ5 doesn’t have those.
Rob

[robashardParticipant]

Dante multitrack for me too. Around 29 tracks, using Boomrecorder on my Mac Book Pro, with 48k locked to video too, and timecode stamped.
Also in a 2.5 hour test I did, it phased with a second multitrack recorded on a Joeco when a track from each were out on atimeline and sent to their origin timecode.
It all seems pretty solid.

Rob

[Author]

Posts