Hi allen & heath forum. My band has had a QU16 for over a year now and have just moved to IEM’s. Is it possible to have a separate EQ mix in our ears to whats going out front of house? e.g. our drummer wanted some more bottom end on his snare in his ears, however any change to the eq of the snare (channel 2) currently affects what comes out of the LR master mix aswell as all of the mix outputs, even if the blue button for mix 2 is selected when making the EQ changes on the snare channel.
Channel by channel EQ is not split between mains and mixes.
Each mix output has an EQ both parametric and graphic, of course that applies EQ to everything in that mix.
To do separate channel EQ for monitor mixes you would need to split the needed channels, one channel for the main mix and the other for monitors, that kind of creates a monitor mixer within the same mixer but it eats up a lot of channels.
How many channels are you running, how many channels do you need to separate EQ control between mains and monitors, are you using a remote stage box?
You can split the channels with an XLR Y cable or if you are using a stage box you can do the channel splits in the stage box patching.
If you need to have separate Channel EQ on Mains and Mixes, there are two ways to do it:
Split the input of all required channels into separate “monitor only” channels.
Use a second console for monitors and use a splitter snake to feed both consoles.
If you’re out of channels on the Qu-16 as is (I suspect), you could get another Qu-16 and split snake OR trade in the 16 for either a Qu-pac or Qu-sb and add an AB168. Use the 32 channels as 16 mains (local inputs) and 16 monitor (d-snake inputs). You need some way to do an analog split either way.
Ask the drummer to pay for the extra gear required to cater to his whims and those whims will likely evaporate…
Or the drummer couldld take things into their own hands.
I’ve recently mixed a couple of drummers who were using in ears from their own small desks. They’ve split Kick & Snare mics (and one also took a line from the bass guitar amp) to mixer, and taken a mix feed from me to provide the rest of what they want.
Both supplied their own, good, Kick & Snare mics, and the splitter cables needed, which I guess keeps things consistent for them regardless of the PA setup. One was using a ZED-10FX, the other had a small B*******r thingy, again with built in effects.
I’m guessing your monitor mix is post fade? Otherwise you could just split the input of the the snare and have that channel just going to monitors, easy.
If you are mixing monitors post fade, (I dont know QU well, but on SQ I would:) un-assign the snare from the monitor mix and route it into a spare group, send the group to monitors only and use the group’s PEQ/Graphic to make the changes needed in the monitor without affecting Main LR. You could do this with as many channels as you want without affecting the others that are going straight to monitor.
I do this with some microphones so I can use the Graphic EQ on the group to ring out some nasty onstage feedback without affecting the general monitor’s EQ for other sources.
Sorry if none of this applies to QU, i’ve never used one.
On shows where I do monitors at FOH I just do them post pre amp. I do so much House EQ I can’t put that in the monitors. I use each mixes PEQ and GEQ to tweak. I don’t get any complaints doing it this way.
They have their uses. Some of there stuff is very good, especially for what it costs, but some is truly awful. The small analogue mixers fall somewhere in the middle IMHO.
The only thing I use regularly these days is a cable tester, though there’s still a few other bits in my store.
I was looking at the X32 before I plumped for the QU 16 and QU Pac. Having used the X32 as guest engineer at 3 festivals (all via the same prod company) I made the right choice. It’s okay but outside of the nice scribble strips, A&H gear is better in just about every way.
I do have other bits - same cable tester as you Mark, plus bog standard and slightly better DI boxes and a shark feedback destroyer. It’s okay for the money. I also have Turbosound IP2000 speakers which are just the biz - but then they were a good company before Music Group bought them.
@GCumbee or @MarkPAman
Could you elaborate when you say "On shows where I do monitors at FOH I just do them post pre amp. "
What do you mean? Could you elaborate a bit when you have a moment.
Thanks
Waiheke, When you send to mix you can choose pre or post fade, post fade obviously follows the level on the Main LR.
But if you go to routing, and click the settings symbol under an Aux channel name, you can pick where to take the signal from. Post pre amp, takes the signal straight from the gain control, the most basic unprocessed signal, after that you can choose to go after the insert (if you use them), after the PEQ (this is what people are trying to avoid) and after the input delay.
@Weiheke
What I mean is I send the monitors the mics before any EQ or compressor. Reason being I don’t want changes I make in the FOH going to the monitors. Generally it works. Occasionally a singer might ask for something EQ wise on their speaker. If so I might tweak their PEG or GEQ on that mix to accommodate them.
Press Sel on LR mix then press whichever mix you want to EQ 1 to 9-10, then EQ it using the screen PEQ.
You can also then press the GEQ button and use the fader flip for a more precise EQ and use compression on the mix too if you wish.
I know it’s an old post but this has bugged me too and I just solved it.
Fatjon, if I’m understanding you correctly, you are talking about a method for EQing the entire mix going to the monitors (wedges or IEMs).
I think what previous posters were talking about is how to EQ an individual input or channel differently for various mixes. For example, not how to add more bass to the drummer’s entire mix, but, instead, how to add more bass just to the snare drum in the drummer’s mix (again, without impacting the main LR FOH mix).
