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2022/09/26 at 7:41 pm #109216
Muting the return clips the reverb tail, muting the send does not. Better to mute the send if the console makes it easy to do so (some do, some don’t, the flexible strips in the A+H consoles do)
2022/09/17 at 7:02 pm #109051Perhaps not quite as convenient as a soft key to toggle PAFL modes, but what about press-and-hold to add a channel to the PAFL selection? Takes a bit longer to select multiple channels, but doesn’t use up a softkey, and makes cross-layer selection easy.
2022/09/17 at 6:57 pm #109050I’ll +1 to this feature request – not everyone has the luxury of owning their own console, and not every rental console has the same set of add-ons installed. And without a way for users to bring their own add-on licenses (which has already been noted as not possible), someone using a rental console is at the mercy of what the rental house has installed. Having some clear indication of what’s installed and available would be a nice UI enhancement. (I’d also be fine with the typical “unavailable options are greyed out” approach instead of completely removing the indication that the option exists or could exist).
2022/07/17 at 7:40 pm #108066If you want your booth monitors to just be the main L/R mix, but at a different level, I’d strongly consider using a matrix to feed them. You’ll get level control, along with other processing blocks that may be useful.
Alternatively, you can solve the “PFL is blastingly loud” problem by adjusting the PFL Trim setting in the Settings/Audio/PAFL settings page
2022/06/25 at 10:27 pm #107776+1 for the short press to toggle / long press for momentary operation. As a bonus, that behaviour should be essentially transparent to current users, as the only change is the addition of the long-press functionality, so you probably don’t even need to add the configuration option (or it can be a global option)
2022/04/24 at 10:59 pm #106945Eh, 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).
2022/04/02 at 2:34 pm #106665>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
2022/01/11 at 12:50 am #105317A 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
2022/01/02 at 8:04 pm #105188+1 on this, as long as it’s selectable (ideally on a per-channel basis)
2021/10/24 at 3:27 pm #104173Dedicated 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.
2021/10/22 at 12:07 am #104138While 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.
2021/09/23 at 11:21 pm #103627For 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.
2021/09/21 at 11:25 pm #103589+1 for access to FX slots via softkeys – anything that makes it easier to access functionality is a good thing
2021/09/19 at 6:22 pm #103544I’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.
2021/09/16 at 3:09 pm #103492+1 for polarity flip on outputs – it’s also really useful for cleaning up monitor/main alignment
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