@Gordon: don’t forget that on a digital console such channel inserts require additional DA/AD stages which adds latency and noise to the system and, of course, increase cost significantly. We already have compressors and similar which are regularly used on a per-channel basis and its already possible to take monitor feeds from post-compressor point (post-all).
On the other hand having a couple of “assignable insert jacks” which could be inserted to any channel/mix/master etc. would indeed be a great idea.
An entirely pre-digital insert could be placed between the preamp and ADC, but of course then the insert would be tied to the socket, not the channel!
@Andreas: Yes, I am aware of the Post-All setting, but that would completely ruin the bass player’s personal (IEM) mix.
@mervaka: Good point. When the XLR-input is in use, there is already a 1/4" jack there (Line-In) going to waste. Why couldn’t I just push a button and have that same jack convert into an insert? Would it be a problem that it comes before the A/D stage? (Is the Preamp analog?)
I suppose a completely different approach might be to give the user the ability to re-order the various processing sections in the channel signal path, i.e., swap the Gate and Compressor so that “Pre-EQ” Mix source point can include the compressor. (I know it is standard practice to not compress a stage mix for the benefit of vocalists, but in some special cases such as this, the need may arise.)
Not to be a spoiler but…
I think a big plus to the move to digital consoles was the ability to declutter and simply our work flow. Sure I love outboard gear. I own some very expensive and vintage gear for studio use. But they are tied to a big analog console. That’s part of the reason.
I feel that if that is your desire then you need to stay in that environment. I have always said. I think these consoles were designed primarily for live use but just happen to record. I have never looked at them as a studio console but that’s another discussion. I think you just have to work with them the best that they can offer you which is a ton of bang for the buck. No one brand is perfect. You have to pick what will work best in your case. You probably won’t get to 100% of your desires but should get close.
Everyone has their pet wants. There is no way that any manufacturer can address everyone of them.
Surely the thing that’s missing from A&H’s range of digital desks is a tiny one, priced from £250 or so. Several others available now, or very soon, with small number of preamps & phone/tablet as main (or only) control.
No idea if putting the QU-16 brain in a tiny box with say 4 preamps + some line in, would be feasible, would work on price, or if a compleatly new product would be needed, but I’d find it very useful.
Rather than built in WiFi though, which seems to give other products lots of problems, I’d sugest a USB port that “speaks” iOS/Android, and let us add our own WiFi if it’s required.
Mark. I kind of expected to see that happen but thankfully it hasn’t. The SB is sort of an attempt in that direction. I applaud A&H for not joining the race to the bottom yet as others have.
I would be interested in a GLD2.0. Something to bridge the gap between GLD and dLive:
- 64 x 30 x 8 fx
- Dsnake protocol with universal ports (no “expander”-only ports on the surface)
- 2+ i/o card slots
- Built-in 32x32 USB recording
- 3 Surface Models: 12 (rackmount), 20, and 28 fader
- Larger multi-touch screen + monitor out
- Keyboard connect
- Virtual patchbay similar to dLive
- Dedicated mute groups
- DCA spill
- Better ergonomics (screen/channel strip at an angle better suited for the seated position)
- Better mobile apps (full access via iPad app, phone app for monitor mix)
That would be a killer console. I’m just not sure AH is willing to jeopardize dLive sales for it. Most of my general sales area is QU. I think if that were available I might could push some folks that direction who likely can’t justify dLive. I haven’t pushed GLD a lot since being forced to have stage boxes for full channel count and local inputs runs the price up. That model would need full local inputs like QU.
Been using a Qu-16 and Qu-32 multiple times a week, very happy with it.
With that said, a Qu series V2 would be nice, no need for a full model change, just some upgrades.
In order of importance to myself:
1: LCD scribble strips
2: More digital I/O (2 AES I/O)
3: Same mix bus across all models, so a Qu-16 can be connected to a 32 channel digital snake and bounce between layers to access all channels. It would be VERY convenient for me to travel to a gig with the Qu-16 and stage box instead of the Qu-32 and stage box if I only need 20 or so channels.
3: Option cards (Madi, Dante, extra I/O, etc.)
4: Digital stage box with digital I/O. It’s a bummer when I run the digital stage rack out it’s analog XLR into an amp that has an AES input. I just did 2 totally unnecessary conversions.
5: Outputs available to gang stereo or all mono, seems strange you’re forced into stereo sends.
6: Class Compliant so no drivers are needed for audio on either Mac/PC
7: Offline editor
8: Multiple sample rates, being forced into 48k feels like I’m in Avid’s world.
9: Wordclock I/O, we often travel with a black lion which goes unused with the Qu’s
10: Keyboard support
11: Sidechaining on compressors and gates
12: Backwards compatibility with V1 equipment on V2 equipment so thousands of items don’t end up in a landfill sooner than necessary.
13: One of the stereo channels should have RCA connections in parallel. There’s been many times where we’ve lost our RCA to 1/4" cables and ran around like lunatics looking for a way to play an iPod or CD player.
I forgot one HUGE issue I have with this console.
When activating USB audio on a channel, it DISABLES the channels input.
So you CANNOT use the Qu inputs to a computer, and the output from the computer back into the console.
It makes it impossible to use USB audio as an insert on a channel.
You CAN do this with other consoles, so it shouldn’t be a limitation.
6: Class Compliant so no drivers are needed for audio on either Mac/PC
It already is. You may want to petition Microsoft for Windows to be class compliant 
DC
Few more things:
Time stamping of the files while using Qu-Drive
Qu-Drive capable of recording all 32 channels. My RME UFX can do 30 I/O right to a USB drive, so this isn’t a limitation of hardware.
Qu-Drive multitrack channel on/off as recording 18 channels when only a couple are in use is a huge waste of space and throughput.
Soft patching on the local I/O
RTA over all GEQ and PEQ screens (it’s already there, just layer it on top)
HPF on all outputs
Tighter Q on PEQ for ringing out problematic frequencies
Stereo separation for delay L&R, I currently use 2 soft buttons to get stereo delays (annoying)
MP3 playback and recording of stereo files
Hmmm, am I getting needy?
“RTA over all GEQ and PEQ screens”
Good call, a friends X32 has this feature and it is very helpful, saves flipping screens.
Perfect for mixing with your eyes… Remember it’s already possible on Qu using GEQ flip while PAFL’d
@ian.hind
Digital inserts…
I get tired of asking this … there’s even a couple of topics in the forum about it.
all brands out there can do this job .
many customers do not rent the qu series by this problem .
Amazing that they can not fix .