Great point. For future reference, @JBA, we don't need to be watching the people talking about things on the screen, we need to see the screen while they're talking about it. You should only switch to the side camera when the people are talking about something in general and not talking specifically about things on the screen.
Thank you for the suggestions and constructive criticism. While we agree with you, in this instance we did the best we could with the footage that was shot.
Really useful review, one of the few to show some of the screen transitions in detail e.g. faders to sends, ch inserts to fx config etc. Had to pause and rewind to get a few details. Thanks for producing this, and great to have Enrico interviewing with solid applied mixing knowledge, helps ask relevant detailed questions.
At 25m14s, he starts talking about how the feedback assistant "looks after" those feedback frequencies, that is it keeps watching them and automatically keeps reducing the gain and widening the Q as it sees fit. I've noticed, in the several gigs I've used the CQ18T for, that it can go WAY overboard with this and end up pulling down those frequencies too far and widening their Qs far too much, so that it ends up cutting out huge swaths of frequencies to the point that it starts to sound terrible. He even says, "you don't want to destroy the signal", but that's exactly what it has done to me on two separate gigs (one a 5-part a cappella group, the other a guitar, piano, and vocalist). I consider this a shortcoming of the code. It really needs to have serious limits put onto how deep and wide it can adjust these frequency notches. The whole point is to have SMALL notches rather than the kind of big notches we used to get with (yes, "old school") GEQ.
It sounds like you might be leaving the FBA switched in and adding fixed filters through the show. I’d suggest checking through the ‘How to use the Feedback Assistant’ section of the user guide here - www.allen-heath.com/content/uploads/2023/09/CQ_User_Guide_V1_1_0_iss1.pdf#page=42&zoom=auto,-361,555 Hopefully this will help you figure out what is happening and why, but also give you some ideas on how to get the best out of the Feedback Assistant. The main things I would suggest alongside that are - Do most of the ringing out at setup with fixed filters. Only leave FBA hold off and applying live filters if you know what’s going to happen. If using live filters, set a recovery time that works for the situation. Leave FBA hold on if the microphones or speakers aren’t moving around and there is no feedback (as otherwise false positives will add filters unnecessarily).
Can i get some serious answers about FBA. As i know its impossible to not hear feedback in order to FBA do his job. Any opinion what is better to use for live performance Fixed or Live mode? It make some sense for me for "fixed mode" because in live mode limits are removing automatically to old state.
There’s 16 bands of FBA available per output. You can use a combination of fixed and as well. What’s best will depend on the situation but when using both, you can have 4 live and 12 fixed per output. Which one is best will depend on what is causing the feedback. If it’s feedback from a mic picking up a stage monitor/wedge, fixed will likely do the job. That screen also has an rta. I would reference this to see if the feedback is moving or a static frequency(s).
Yes, the CQ essentially is an audio interface. You would need an adapter for your iphone/ipad to receive the signal from the CQ's USB-Type-B port. www.apple.com/shop/product/MX5J3AM/A/lightning-to-usb-3-camera-adapter?afid=p238%7Csq4ew1VFw-dc_mtid_1870765e38482_pcrid_699117475408_pgrid_162077588373_pntwk_g_pchan_online_pexid__ptid_pla-2270036488055_&cid=aos-us-kwgo-pla-btb--slid---product-MX5J3AM/A
I would love a 24 and 32 channel version but they wil not do it to protect their higher lines. Now that CQ has DCA, mute group, custom layers, midi control...it is a surprisingly great value.
