This is great if your show only has 16 or less inputs... What if a stage box is needed for expanding I/O? Would it have to be a Dante Situation? (Since S-Link Ports are taken up on desks) Can this method be used alongside Dante IO? (Patch IO Port I/O Between consoles, instead of Local). Would love a video with a stage box added to the mix, since it does add a layer of complexity, and lots of gigs are more than 16 channels
That comes down to preference. For me as a FOH engineer, no. I’d rather let my monitor guy handle the preamp (including 48v Phantom Power) because they are on the side of the stage. But either way would work.
I know this comment is 3 years old at this point, but I’m just adding my thoughts in case it’s helpful to anyone else at any point.. I would tend to prefer monitors has actual preamp gain control, almost regardless of proximity to inputs. Monitors (especially in-ears) are going to be far more “sensitive” to gain changes than FOH. Messing with gain mid-show without the ability to directly and immediately attempt to compensate in everyone’s mixes could really throw performers off. That’s not to say monitors making a gain adjustment wouldn’t also throw off FOH, but I would say it’s generally less consequential. And of course, there should be communication either way.
@@rhinobart wow, just noticed this reply 😂👌. Agreed both ways now, for festivals I generally aren't too fussed who has gain control myself personally, see the benefits from both ends but definitely having shout mic's between FOH / MON world is enough to alert the other party of any gain changes (more so that doesn't blow ears / wedges out of performers on stage if any abrupt changes are made), but yeah either way 🫤
And what's the deal with the outputs? I mean we have tie lines now and everything but I want my outputs routed to the monitor tent. How can I do that? Thx
So, if you want the FOH consoles outputs to come out of the monitor tent (or the stage box connected to the monitor desk) then what you do is you use tie lines. You patch your FOH outputs to sLink outputs that will then be received by the monitor console. Then in the monitor console you use tie lines to patch the incoming sLink signals to either the local outputs on the monitor desk or to a connected stage box. If you are doing a digital split and a connected stage box you will need the sLink card installed so that you have 2 sLink ports in the console that is doing the split.
I have a SQ6 for the last three years. Lately its defective in Fader PCB and got it repaired in the authorised center of Allen and Heath. Now I'm afraid to do a live show with it alone, i need to get a SQ5 as back up. How do i do to get them both connected and used simultaneously even if the old one fails the second one will carry forward till the end of show without stopping?? I'm using GX4816 on the stage and i use a 70 metre cat5 cable to my FOH control canopy.
You can split the audio to both consoles but the mix & processing of one console isn’t going to track the mic & processing of the other unless you do some serious midi programming.
I've just asked this in the above comments also... Not sure why the MON board would be the gain master?? I thought it would be the other way around...?
@@alanphillips4734 I'd assume the MON board has gain master because it's closer to the inputs. Otherwise you'd have to run all the inputs back to the FOH board, instead of just the network cable. Whatever the inputs are actually plugged into is gain master.
Julio Dominguez what we are showing is a digital split. They are not meant to work in tandem. Keep in mind that each SQ5 can be expanded up to 48 channels each. If you simply want more faders then I would suggest the SQ6 or SQ7
We have 2 sq-5 boards and want to be able to control the gain separately, however, as we adjust gain on one board, the gain on the other board changes as well. Is there a way for us to disable this?
In a digital split scenario, are the two boards now mirroring each other? So if Jaylon would have moved the slider on input 1, Matt's input 1 slider would have moved as well?
No. The signal is being split and the boards will operate independently just like what you would want with a main/monitor console or main/broadcast console setup.
@@ProTechMarketing Thanks for the quick reply on an old thread! Right now, we duplicate all the channels on our SQ6 so the broadcast director has control over his mix on MixPad separate from the FOH operator. If we add an SQ5 with SLink, the broadcast director could edit all the inputs independently without duplicating the channels?
@@firstcrcoostburg that is correct. The only thing to keep in mind is the initial gain control. That will still be controlled by the main console but then if each channel uses digital trim they can make the changes they need without affecting the other one. This is the same way you are going it now with split channels but the 2nd desk gives you a lot more options.
@@jaylonshane9673 Right, we already have the gain issue as currently configured but the trim function gives us plenty of control. On the SQ6, we have 12 busses. With the digital split, do I get 12 busses on each desk?
You would need to add a Slink Card to one of the consoles. Then the AR2412 could connect to the built in port and the digital split could happen through the card You could even then run tie lines from one desk so that both desks can share output jacks for connection to your PA and monitors.
The SLink port can use a bunch of Allen & Heath's digital communication protocols, but can only use one at a time. So you can have the connection between the two boards, but that will lock you into using a protocol that they both support. You'll be able to do it, but I'm pretty sure you won't be able to use the 96kHz sample rate the SQ consoles are capable of.
So i heard you say the "giga ace" and s link in the same sentence. Is that what the s link really is? And therefor could you connect directly to a AH D live stage box?
It's worth mentioning that you need to set the audio clock sync source to Slink on one of the consoles as well
How would you connect outputs to a sound system from the FOH desk?
How would you then use a stage rack with this setup?
Wondering this as well. Can't find info while using a stage box anywhere!!!
@@soundguy78 You have to add an expansion Slink card to one of the consoles
Without a SLink card how did you guys connected both the consoles ? Is it possible in the earlier firmware versions?
thanks for the video. I wanted to ask if possible, can the monitor desk and foh desk sq switch to a 4816? I can't find a video that explains it
How to connect my stage rack after linking s link port?
You get another slink card
Does the gainsplit also work with dante expansions?
Can you do 120 ins and 120 outs with a slink card? Meaning can you connect 120 mics using multiple consoles?
This is great if your show only has 16 or less inputs... What if a stage box is needed for expanding I/O? Would it have to be a Dante Situation? (Since S-Link Ports are taken up on desks) Can this method be used alongside Dante IO? (Patch IO Port I/O Between consoles, instead of Local). Would love a video with a stage box added to the mix, since it does add a layer of complexity, and lots of gigs are more than 16 channels
Wouldn't you want the analog gains at FOH, digital trim to MON board?
That comes down to preference. For me as a FOH engineer, no. I’d rather let my monitor guy handle the preamp (including 48v Phantom Power) because they are on the side of the stage. But either way would work.
I know this comment is 3 years old at this point, but I’m just adding my thoughts in case it’s helpful to anyone else at any point..
I would tend to prefer monitors has actual preamp gain control, almost regardless of proximity to inputs. Monitors (especially in-ears) are going to be far more “sensitive” to gain changes than FOH. Messing with gain mid-show without the ability to directly and immediately attempt to compensate in everyone’s mixes could really throw performers off.
That’s not to say monitors making a gain adjustment wouldn’t also throw off FOH, but I would say it’s generally less consequential. And of course, there should be communication either way.
@@rhinobart wow, just noticed this reply 😂👌. Agreed both ways now, for festivals I generally aren't too fussed who has gain control myself personally, see the benefits from both ends but definitely having shout mic's between FOH / MON world is enough to alert the other party of any gain changes (more so that doesn't blow ears / wedges out of performers on stage if any abrupt changes are made), but yeah either way 🫤
Wow! Can this also work with the sq7?
Yes. All SQ Consoles work the same. It could even be an SQ5 on one side and an SQ6 or SQ7 on the other.
Yes any SQ
And what's the deal with the outputs? I mean we have tie lines now and everything but I want my outputs routed to the monitor tent. How can I do that? Thx
So, if you want the FOH consoles outputs to come out of the monitor tent (or the stage box connected to the monitor desk) then what you do is you use tie lines. You patch your FOH outputs to sLink outputs that will then be received by the monitor console. Then in the monitor console you use tie lines to patch the incoming sLink signals to either the local outputs on the monitor desk or to a connected stage box. If you are doing a digital split and a connected stage box you will need the sLink card installed so that you have 2 sLink ports in the console that is doing the split.
I have a SQ6 for the last three years. Lately its defective in Fader PCB and got it repaired in the authorised center of Allen and Heath. Now I'm afraid to do a live show with it alone, i need to get a SQ5 as back up. How do i do to get them both connected and used simultaneously even if the old one fails the second one will carry forward till the end of show without stopping?? I'm using GX4816 on the stage and i use a 70 metre cat5 cable to my FOH control canopy.
You can split the audio to both consoles but the mix & processing of one console isn’t going to track the mic & processing of the other unless you do some serious midi programming.
hi guys, in your case the monitor console is obviously gain master. how would you set up these consoles with the FOH console as gain master?
I've just asked this in the above comments also... Not sure why the MON board would be the gain master?? I thought it would be the other way around...?
@@alanphillips4734 I'd assume the MON board has gain master because it's closer to the inputs. Otherwise you'd have to run all the inputs back to the FOH board, instead of just the network cable. Whatever the inputs are actually plugged into is gain master.
Can 2 SQ5 consoles be used to convert it into 32 channels? Or you can only 1 table for monitors and another table for PA? Thank you.
Julio Dominguez what we are showing is a digital split. They are not meant to work in tandem. Keep in mind that each SQ5 can be expanded up to 48 channels each.
If you simply want more faders then I would suggest the SQ6 or SQ7
What is the digital gain range?
Daryl hillman digital trim is +/- 24db (48db trim swing)
How do i connect to the second desk with the s link port when its being used for the AR2412 DSNAKE STAGEBOX
You need to install an S/Link Card in the Monitor Desk
You need buy a S/Link card and setup into I/O port which next to S/Link current
We have 2 sq-5 boards and want to be able to control the gain separately, however, as we adjust gain on one board, the gain on the other board changes as well. Is there a way for us to disable this?
In a digital split scenario, are the two boards now mirroring each other? So if Jaylon would have moved the slider on input 1, Matt's input 1 slider would have moved as well?
No. The signal is being split and the boards will operate independently just like what you would want with a main/monitor console or main/broadcast console setup.
@@ProTechMarketing Thanks for the quick reply on an old thread! Right now, we duplicate all the channels on our SQ6 so the broadcast director has control over his mix on MixPad separate from the FOH operator. If we add an SQ5 with SLink, the broadcast director could edit all the inputs independently without duplicating the channels?
@@firstcrcoostburg that is correct. The only thing to keep in mind is the initial gain control. That will still be controlled by the main console but then if each channel uses digital trim they can make the changes they need without affecting the other one. This is the same way you are going it now with split channels but the 2nd desk gives you a lot more options.
@@jaylonshane9673 Right, we already have the gain issue as currently configured but the trim function gives us plenty of control.
On the SQ6, we have 12 busses. With the digital split, do I get 12 busses on each desk?
@@firstcrcoostburg yes. Each desk has full capability. The digital split doesn’t change any of that.
How can I do this while still using my AR2412 stage rack?
You would need to add a Slink Card to one of the consoles. Then the AR2412 could connect to the built in port and the digital split could happen through the card You could even then run tie lines from one desk so that both desks can share output jacks for connection to your PA and monitors.
can you do the same connections with the qu16 and th sq6
You can
But I read on a forum u can using a different method but would it work if I had a dante card ?
The SLink port can use a bunch of Allen & Heath's digital communication protocols, but can only use one at a time. So you can have the connection between the two boards, but that will lock you into using a protocol that they both support. You'll be able to do it, but I'm pretty sure you won't be able to use the 96kHz sample rate the SQ consoles are capable of.
@@scorinth *96khz
@@asilva_media shit. Fixed it. Thanks!
So i heard you say the "giga ace" and s link in the same sentence. Is that what the s link really is? And therefor could you connect directly to a AH D live stage box?
Thanks!
In order to show sound…. Get some audio quality…. It sound rubbish.
nice tutorial. though IS THAT A NORMAL CABLE? NOT AN ETHERCON CABLE?! FOR SHAME
Xin gia con nay
wow this is crap. Even the X32 lets you remote control the headamps to another console using the "REMOTE-HA" feature.