I disagree with other users here. There’s plenty of other plugins on the market priced in excess of $100, including UAD. If Waves wants to sell their stuff real cheap it doesn’t mean everyone else has to follow. Remember you still need a Waves card and server to run Waves plugins, no audio professional will run native on USB.
Yes, the non-portability of the A&H plugins is a bummer. On the other hand you get them on every channel, no external hardware, not to mention zero latency! No external plugin will give you zero latency. Even if they do delay compensation, you’re adding latency to all channels, not ideal for live monitors especially if you work with IEM.
In short I don’t have a problem with the cost. These are professional tools. Go buy yourself a single hardware 1176, or 48 dbx 160 if you like, then you might change your mind.
Loud and clear!
Great points,
I feel the only issue is the portability, which can be fixed!
If I want to upgrade from a SQ5 to a SQ7 and want to sell the SQ5, there could be an option to unauthorize the plug ins, and Authorize them in the new SQ7.
The software engineers should be able to work this.
In my Allen & Heath acconth the DNA of the SQ5 could be de-authorize, this will create a code which will be entered in the SQ5 to disable the plug ins, and the board will give you a confirmation code which you could enter into the SQ7 as a new authorization code, or use it to get the website to create a new code for the SQ7.
… But is impossible to check the real disinstallation on previous mixer I think…
Why not!? The mixer comes preloaded with all plugins and locked until a code is put in.
There could be an option in the mixer to “lock” a plugin:
"Are you sure you want to deauthorize this plugin? press YES---------------NO
press YES
“Please enter deauthorize code”
The mixer will show
“This plugin has been disabled. your Confirmation code is xxxx-xxx-xxx-xxxx-xxx
To re-enable Press the Lock icon and enter your authorization code”
Use this Confirmation code to install in the new board
Hmm, ok its all software and therefore a lot is technical possible. But the manufacturer have to want to do this, and I am afraid that A&H do not want int because as it is now they will get more money because inany case you have to buy the same plugin again and this will result in more money.
For me the plugins are too expensive. But since nobody is forced to buy them I leave the console as it is.
Question, is the GEQs on Every channel?
on the shop page it says
“GEQ provides 28 bands of surgical graphic equalisation – with +/- 12dB of boost and cut – on every AUX, GROUP and MTX.”
https://www.allen-heath.com/key-series/sq/sq-deep-processing/sq-geq/
I see some think these warrant their current pricing, let’s look at this:
These are old algorithms, than ran on nearly identical hardware. These were simply ported over. There is very low R&D here to be paid.
A single plugin that’s over $100 and can only run on a single console, never used on anything else, is way overpriced.
I’ve paid $800 for a single plugin before, and I paid that because it was worth it. The company does a major revision spread many years apart and has an incredible tool that far surpasses anything like it. In this case, take my money! (Pitch ‘N Time Pro)
I’ve paid around $200 per plugin for my Sonnox stuff, again, take my money! I can run them on Venue’s, Digico’s, SoundGrid networks, Pro Tools, Logic, MAC, Pc…
Point being, over $100 for a single plugin, that can run on only one unit, on a single piece of hardware just isn’t reasonable anyway you look at it.
I still want to know of the EQ pack will be available on ALL inpou channels or only on the Aux Groups Main Matrix
One idea we floated in another facebook group was the idea of a ‘Production House’ license, a single fee to cover whatever consoles you have - this way A&H still get paid, but it’s fairer on those who’ve committed to the brand in a significant way. As is, it just isn’t realistic to expect someone to shell out on every console in their inventory (and if you do one, you’d pretty much have to do them all to maintain show file consistency)… can I suggest next time A&H rolls out something like this, they put their pricing up front so we can make informed decisions (even if they’re not rolling out on the first firmware release)?
Unfortunately I have to agree with others on the pricing of the DEEP plugins. I already own licences for similar plug ins by waves that I can use across loads of desks as well as in DAWs. The 76 compressor for example cost me $29 so why would I want to pay $100+ for another licence of another plug in to only use on a single console and single piece of hardware. It would have been sensible to have done it at least in a way where you buy a licence that could be used across multiple pieces of hardware similar to the waves by having licences on a pendrive etc. If I build a show using plug ins on a personal console then have to do a fly show with a band I and hire a console elsewhere I don’t want to loose those potentially vital to the mix features and sounds. I was really excited about this release but feel a bit let down considering the GLD had majority of these plug ins for no extra cost and the DLive also has all of them for no extra cost so I’ve used them all regularly. The whole thing could have definitely been thought out A LOT better IMO. Being an avid A&H fan/supporter with it being my preferred choice of console it’s annoying that I can’t big up and brag about this to other people because people will think I’m mad pushing a single platform, single hardware plug in at them for over $100… I definitely will not be purchasing any of these till the price is significantly lowered, or till the licences can be used across multiple consoles (by keeping the licence on a pendrive or similar).
For those of you who have already used these plugins in another console (GLD or DLive), could you describe your experiences with them a little?
I have tried to look for reviews on these plugs and there doesn’t seem to be anything about them online.
Listening to the demos gives me a feeling that the quality of processing here is somewhere along the lines of UAD mk I plugins, like LA2A mk I and 1176 mk I… Would this sound like a fair assesment to you?
Cannot really say I hear a lot of difference between the different algos upon casual listening. And no demos of how the GEQs sound??
These look great!
Super excited to use them!
To anyone wanting to experiment, I suggest running pink noise through a channel and then testing the deep processing plugins to hear how they sound. (you can also use multitracks).
Keith,
A question.
Given these replace the stock processing for each channel is it possible for us to run multiple deep plugins per channel?
For instance, say you release EQ deep plugins as well as more preamp emulators. Would we be able to run a pre-amp, deep EQ, and one of the deep compressors on all on the same channel?
Lastly, I agree much too expensive and annoying that it is tied to the hardware. I might mix on 5x different SQ mixers; I want to buy one set of plugins for MYSELF (not a specific hardware unit). The expense of waves will quickly be surpassed by the expense of the plugins.
$300 for 5x Compressors
$100 for GEQ
$300 for 5x FX
$300 for 3x Dynamics
$300 for 5x FX
$1300 - I can buy a waves card & plugins, now I can run on my laptop or get an impact server for $1k. Now, this can be used on ANY SQ mixer.
Hi @lightingman117,
Yes, one of the main benefits of DEEP plugins is that they are embedded directly in the channel in place of the stock processing, so you can use multiple DEEP units on one channel, and on every single channel, without any added latency at all.
As a rather extreme example, you could have a mic (or line) patched to an input channel running the DEEP Tube Stage Pre, HPF, Gate, PEQ and a DEEP compressor. Then route this through a group with a DEEP GEQ, PEQ and another DEEP compressor. Send this group to an Aux with another DEEP GEQ, PEQ and a third DEEP compressor. Finally send to a Matrix for a final round of DEEP GEQ, PEQ and DEEP compressor then route to an output and you’ll still have less than 0.7ms of latency from analogue in to analogue out.
I can’t comment on future releases, but we’ve certainly had a lot of requests for more plugins already!
Thanks,
Keith.
Limiter/Maximizer and a 4 band compressor is my top priority…
Can the 76 or 16T fulfill the limiter need for you?
Also, Thanks, Keith!
&& Yes, MOAR plugins!!
The 16T Sounds best to me to control a singer live when they “feel” the compression they go nuts. I must have a transparent Limiter to just stand guard for those hype moments. Let them have as much dynamics as they wish, I"m not here to control their dynamic range, (although O would love to…) but a brick wall limiter is a must.
From the audio samples, online the 16T sounded the best by not destroying the feel of the transient peaks. I want to know and see the actual settings they used to create the sample, not just a blind audio samples!
are those 76 or 16T brick wall limiters?
I do hear some distinct differences in the compressor series. As for the GEQ, what’s the significance of adding GEQ plugs when there are already GEQ’s built in across the board? For those who have bought the GEQ series, is there a huge difference between the stock GEQ and the plugs?
Bo James, Proportional is much smoother at summing frequencies, for example if you grew up with the classic 60Hz bell-shape on your graphics for that extra punch, it’s way more musical than the onboard graphic.
I don’t get the Digi-Q though. If I wanted surgical eq for PA tuning, I would get a Lake.
Surgical EQ is very useful for vocals IME. I am getting into the habit of sending my vox to a hus just to get flexible subtractive EQ, that digiQ GEQ could be a great tool… But without demos I cannot buy.
i like the the compressors and graphic eqS, i bought them all they are great and thanks Allen & Heath. also the touch and drag function of the peq. you have been very buisy and i love all of the other features you have added PLEASE PLEASE PLEASE Add a Good RTA overlay for the graphic and parametric eq and graphic eq and a multiband compressor. THANKS FOR ALL OF THE HARD WORK THAT YOU HAVE ALREADY DONE IT IS GREAT.