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  • #106945
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    Rob T
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    Eh, 6 characters is at the upper limits of what can be done with a sharpie on tape for an analog console (although the character set is a bit more limited with the digital scribble strips, and you can’t do a split row of text with half the split spanning multiple channels in the digital world).

    And I’ve always used “Tpt” for trumpet, as being less ambiguous than “Trp” which could be an abbreviation for “trap” as in a trap kit (drum kit).

    #106665
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    Rob T
    Participant

    >SQ- drive records 16 inputs + L/R. I need to get about 30 individual channels out of the desk, digitally. I´m talking possibilities to use the USB B- port, or AES…

    Nope. As Phil noted in the very first reply to this thread, as of V1.5, you can record up to 32 tracks at a 48khz sampling rate direct to an external hard drive via SQ-Drive, all freely patched from any patch point on the desk. This is covered in sections 6.5 and 13 of the v1.5 reference manual available at https://www.allen-heath.com/media/SQ_ReferenceGuide_V1_5_0.pdf

    #105317
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    Rob T
    Participant

    A softkey is probably your best option. There is also an open feature request for SQDrive control from the MixPad app – https://community.allen-heath.com/forums/topic/sqdrive-control-via-mixpad

    #105188
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    Rob T
    Participant

    +1 on this, as long as it’s selectable (ideally on a per-channel basis)

    #104173
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    Rob T
    Participant

    Dedicated aux mix for the streaming feed is the “correct” answer here, although I’ll often set up record feeds on a matrix that combines the house mix with the aux mix, so that I can add the handful of channels that aren’t in the house without having to build a complete separate mix. An alternative way of doing this is to just use an aux mix, with most channels set to post-fade, but the primarily acoustic channels set to pre-fade.

    #104138
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    Rob T
    Participant

    While this doesn’t answer your question, if you’ve got the budget and some time, I’d consider having a local case company make what you are after. Gives you an opportunity to end up with a case that exactly meets your needs, and lets you add functionality that isn’t available in the “ready-made” cases. And you’ll usually end up with a better quality case.

    #103627
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    Rob T
    Participant

    For stream/video/recording mixes, I’ll usually use an aux with a combination of pre-fade and post-fade sends. Pre-fade sends from channels that I’m not using in the house mix (e.g. a room mic to capture audience reaction), and post-fade sends from channels that I’m actively mixing for the house. This also lets me adjust the relative level of the channels I’m using in the house mix (e.g. choir mics are often run louder in a stream mix than in the house mix, due to a combination of the direct sound from the choir and the usual gain-before-feedback limitations in the house). Taking this approach lets me focus on the house mix, while still resulting in a stream mix that’s more than just a copy of the house mix.

    A full separate mix (separate console, or double-patched channels) is better, but clients aren’t usually willing to pay the extra for the additional gear and operator.

    #103589
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    Rob T
    Participant

    +1 for access to FX slots via softkeys – anything that makes it easier to access functionality is a good thing

    #103544
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    Rob T
    Participant

    I’ll +1 on this, as it should also solve the issue of the DCA fader (and select) location moving during DCA Spill with Spill-on-Select. The “always move the DCA fader all the way to the right” behavior that currently exists means that unless your DCA is already on the rightmost strip, if you are using Spill-on-Select, your “select” and “deselect” buttons (to enter and exit spill) are in different locations.

    #103492
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    Rob T
    Participant

    +1 for polarity flip on outputs – it’s also really useful for cleaning up monitor/main alignment

    #103278
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    Rob T
    Participant

    +1 to this, and I’ll ask for ^ as well (<, >, ^, and v give you all 4 cardinal directions). These are all standard ASCII symbols

    #103273
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    Rob T
    Participant

    Piling on with the request for more matrices, although I’ll note that one of my primary uses for matrices in a live environment is as “system processor outputs”, where everything gets the same Main L/R feed (perhaps summed to mono), but may have different gain, EQ, or delay. In this scenario, 3 matrices only allows for (as an example) main L/R, delays, and fills. If I need another output, it means I’m using groups and making sure that I assign everything properly.

    To this end, being able to reallocate groups as “pseudomatrices” that are linked to the Main L/R mix but have the same processing as the groups currently do, along with the ability to sum to mono and adjust gain, might take some of the pressure off of needing more true matrices. These “pseudomatrices” would need to be able to be routed to the real matrices, and to physical outputs, but wouldn’t need to be able to be routed elsewhere.

    And perhaps this scheme is easier to implement than more true matrices, as at first glance, it’s “just” a UI change – the required processing and routing functionality is already present.

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