to play back from the Mac to ST1 you need to route audio to Qu-16 streaming ch 17&18. This is because the first 16 streaming channels go to the Mono Inputs. Most DAWs allow this, but if you are using iTunes or similar, you need to set this as a preference in OS X. Go to Utilities / Audio MIDI Setup / Audio Devices, select the Qu-16 and click on Configure Speakers, then assign stereo Left and Right to ch 17&18.
Hi Nicola,
thank you very much - now it works.
So, am I right, now I am able to use it as a soundcard in the same way like for example the USB of the A&H ZED-10.
The only difference is that I do not have to make these changes in the Audio-Midi-Setup with my A&H ZED-10. Right?
It is automatically dected as a soundcard.
And I still have a better Audio-quality instead of using analogue cables?
Yep - the USB streaming is similar to the USB in/out on the ZED-10. The differences are:
Zed 10 => 2 channels in 2 channels out
QU16 => 20 out / 24 in (from memory - I’m sure someone will correct me if I’ve got those numbers slightly wrong!)
The zed-10 is a simpler desk so you have less routing options for the ins/outs than on the QU16.
Oh - and the ZED-10 uses USB standard class drivers, so it works on Windows, Mac & Linux. However the QU-16 is Mac only
Windows drivers seem to be one of the more commonly requested features here - so hopefully they’ll turn up at some point - though A&H haven’t committed to that yet…
I have streamed the QU-16 to my mac with pro-tools 11, and have the outputs set from PT to sent each channel on the desk for playback (is that right), however I am not able to record the fx from the qu into PT.
Can someone tell me how to set PT and the QU-16 up to be able to record the fx from the desk?
Hey Brosco, I have the same routing problem and am finding it difficult to record the effects from QU16 into PT11.
As stated on other forums (answered by Nicola) simultaneous live recording and playback can be achieved however we are finding that when we play back the recording in the DAW (QU16 disconnected)it is ‘dry’ without the great vocal effects from QU16, therefore clearly we are not routing the efx correctly to be recorded?
I have setup as follows if something proverbially is way wrong I would appreciate some guidance.
FX 1 routed as ch>return input ST3
FX 2 routed as ch>return input ST3
FX 3 routed as ch>return input ST3
I understand the the ST3 output patch from QU16 is ch 22/23, however I am unsure if all 3 effects that we are using should all go to ST3?
Current setup DAW (PT 11)
Inputs Ch 1-16 mono
Outputs Not sure what these need to be set to? I am thinking that they need to be set to ch. 21/22 which is ST3?
I guess the other thing I am thinking of here is should the effect be inserted in to the individual channels?
I welcome any comments with open arms, I have spent many hours which is detracting from my creativeness :(. I am sure it is a simple issue, if I had Nicolas engineering for 5 minutes:) wow would be solved
You can use the Audio Setup / Output Patch screen to patch up to three stereo FX returns to USB B outputs 17-18, 19-20 and 21-22 (provided you are not recording stereo channels) then record these into stereo tracks in Pro Tools. However for multitrack playback you cannot return USB audio to the FX return channels. I’d suggest routing the FX tracks from Pro Tools to the Stereo Input channels on Qu-16, for example 17-18 for ST1.
@Dawson
I am unsure if all 3 effects that we are using should all go to ST3?
No, the effects can go to the dedicated stereo FX returns. To record these see my answer to Brosco above.
Inputs Ch 1-16 mono
You will need to set up some stereo tracks too if you wish to record the FX returns and / or a stereo channel or mix.
Outputs Not sure what these need to be set to? I am thinking that they need to be set to ch. 21/22 which is ST3?
It depends on what you are trying to do. To return the Pro Tools master mix to the Qu-16 for monitoring, route the PT master bus to a stereo channel on Qu-16, for example 21/22 for ST3 as you say. To play back each track individually to a channel for ‘virtual soundcheck’ applications, route each track back to the corresponding source, for example 1 for Mono Input 1.
I guess the other thing I am thinking of here is should the effect be inserted in to the individual channels?
Not really. You can insert FX into channels, but the FX will not be recorded as the signal sent to USB is taken from the Insert send point.
I am able to record FX on the LR input into PT as a stereo track by sending FX to 17-18,19-20 and 21-22, but I am not able to record on each separate channel to capture fx ie: vocal line 1 reverb, vocal line 2 reverb, delay. Is there a way to to be able to do that?
Hi I am streaming from the Qu-16 to a mac using Cubase 7.5.0 and wondering if you have been able to record the Q-16’s eq and compression into your DAW using the Qu16. I have been able to record, just not anything after the preamp. I have selected the post Delay setting on the Global settings which should give me what I am looking for but having no results. It looks like it is selected but when I test the recording there is no difference
I have tried everything that I can think of, but can’t get any results. I am tracking drums and love what I am hearing in the Qu-16 but can’t get it into my DAW
Just wondering if it is working for someone or if it is something that I am doing wrong.
Hi Dwight, USB recording is fed from the Input channels’ Insert sends - not the Direct Outs. The Insert sends are post preamp and polarity, but pre HPF and processing. You can see this in the block diagram at the end of the User Guide.
This was intended to give engineers the ability to record the dry signal while setting the Direct Outs post-processing for FX or personal monitoring use.
That I guess is what I am getting at. There is apparently no way to use the eq and compression or effects on any recorded tracks into the DAW just dry after the preamp. For me this is a big deal as that is a major reason why I bought the desk. Any other use in my studio is like a glorified monitoring system… a good one at that but still…
This was intended to give engineers the ability to record the dry signal while setting the Direct Outs post-processing for FX or personal monitoring use.
With due respect, allowing this as one option “gives the ability.” As I read this, it is the only possibility?
I am not sure what to do now as there is no way to use the Qu-16 for tracking as it is counter productive. I have used Qu-16 for recording live shows that are going to tv and to a radio show. I thought that I could set up the mixer to record the main outs then set up my room eq on mix out 9/10. I thought this would get my tone closer to the desired result. Worked flawlessly except didn’t capture any of the eq and compression
Then in the studio tracking drums with same result. I do understand the function of having the dry signal for live applications but that is not a studio application. For me a studio application is a controlled environment where you can treat the sound to get close to the desired tone. I think it is a pretty standard STUDIO practice to record live instruments and use eq and light compression to improve the tone and even levels, then set the gain again after.
I think it is a pretty standard STUDIO practice to record live instruments and use eq and light compression to improve the tone and even levels, then set the gain again after.
Really? OK I’ll admit that I don’t do much studio work myself these days, but I work with a lot of people who do.
But, I’d never want to compress anything as I recorded it. There’s no way of going back.
I’m pretty sure most people do all that stuff in the DAW afterwards - to be honest it’s probably got better compressors in it anyway.
Mark. As an old studio guy in Nashville I can tell you that compressing to tape(we still refer to it that way) is a very common practice. Especially since digital recording became popular. Look at pics of studios with racks of vintage compressors. I probably own 25-30K in them. In the 70’s we even used racks of 1176, LA2,3’s to compress to 2".
Competent engineers know what they want to hear and adjust accordingly. I have has a studio full of orchestra or choir with first run down telling them to play/sing me their loudest part. Set the thresholds and run with it. You are always still monitoring it as you go or the A2 does. Compression will still be added later in mix if needed. See it all the time.
I’m happy to accept that people do compress as they record - in the early days of digital you pretty well had to, and maybe it is still more common than I’d thought.
But, we are no longer recording to 8bit or even 16bit machines (are we?), so I’m not convinced that compression is necessary.
However, this is a discussion for a recording forum, not here. If recording from direct outputs, post DSP, were made possible, I’d not be complaining.
