Hello CQ community,
I’m an audio tech using a CQ-20B (firmware V1.2.1) for hybrid events that combine live in-room sound with streaming to platforms like YouTube and Zoom. I’m working on optimizing my audio routing to ensure high-quality output for both the in-room audience (via main LR outputs) and the stream (via USB or aux outputs), while managing multiple input sources (mics, instruments, and playback).
I’ve been experimenting with the CQ’s output routing options, but I’m curious about best practices for balancing these two outputs without compromising either. Specifically:
How do you configure aux mixes or USB outputs to create a dedicated stream mix that differs from the main LR mix (e.g., less room ambiance, more vocal clarity)?
Any tips for managing gain staging to avoid clipping or noise in the streaming feed?
Are there specific CQ features (e.g., Automatic Mic Mixer, FX routing) that you find particularly useful for hybrid setups?
I’d greatly appreciate hearing about your workflows, routing setups, or any lessons learned when using the CQ-20B or similar models for live streaming. Thanks for your insights!
Cheers, Tyrone Jackson
Apparently the bus archectecture in a CQ20b does not accommodate isolated 'Pre/Post Fader assignments. Go to the config screen and globally set pre/post faders to pre fader. The Pre-amp Gain and/or trim along all PEQ settings are global but all of the other FX and reverbs will need to be seperate assignments for each output selected. I prefer the Main LR to carry the stream with house SR assigned to any of the other outputs because panning and reverb will have a much deeper and detailed stereo effect than the house SR is capable of delivering.
This is what you need to know to get isolated mixes.
Hugh
If it is possible (ie you aren’t also using auxes for musician monitors), would argue for the use of “post fader” sends for your broadcast mix.
This way, any changes during the event will be made to both FOH and the broadcast mix. If you use “pre fader” sends, these changes during the event will NOT be carried over to the broadcast mix unless you manually make the adjustment on the broadcast aux send levels.
Here is how it works in practice…
- First you obviously set the system up for post fader sends.
- Then go through your sound check and set the gains at unity, etc.
- Dial in your FOH mix until it sounds like what you want
- Then solo the broadcast mix and switch over to the broadcast aux sends
- Now dial in the broadcast mix by adjusting the send levels until you get the broadcast mix sounding like you want. For example, you might have to turn up sources that are acoustically loud in the room (like drums,etc) in the broadcast mix. You may need more reverb in the broadcast mix (since you aren’t benefiting from the natural reverb in the room) or at least you’ll want to balance in your ambient/crowd mics to achieve the same effect.
- Once that is done, switch back to mixing FOH. Now any changes made to the FOH mix (turning up the guitar for a solo, or balancing the piano and singer during a slower/low key song, etc, etc) will be made to both FOH and the broadcast mix automatically.
- While this isn’t going to result in a perfect broadcast mix every minute of the event, it is going to get you 80-90% there with little to no effort during the show. Of course I would still routinely solo the broadcast mix during the show and make any “on the fly” adjustments, but using post fader sends will result in a much more “automated” broadcast mix vs using pre fader sends.
Unfortunately, the ability to run post fader sends really depends on what else you need to do with the CQ-20 since the pre/post fader selection is global and available on a “per-buss” selection. If you are forced to use pre-fader aux sends because you need to run monitors from the console as well, then my suggestion really won’t work.
This thread demonstrates the need to determine the best use of LR mains vs mono outputs. There is a very old and unresolved argument pursuant to whether or not a venue SR needs to be anything other than a straight forward mono delivery. There is no question about the importance of stereo panning, reverb shaping and channel db realignment from a house mix with any remote delivery: be it for broadcast, you-tube or streaming. I am currently installing a CQ20b in a small church (seats 85 in the pews) with a significant world wide internet following of their streaming. Assigning the LR mains to streaming is a no brainer and the output #1 in mono will work very well for transparent clarity of the spoken word and vocal solos. Automatically assuming the house SR is for LR mains is a short sighted mistake.The LR mains assignment needs to always be based on a max benafit evaluation measurement.
Another factor to consider is the importance of a global deployment of Gain/Trim & PEQ settings with all of the other embillishments delivered in each individual application on a isolated basis. It is a much more comprehensive process with a Pre fader setting but not as easy to apply as with a post fader setting.
Hugh