… and oh how I wish I could hear 30K
Yamaha? As in, 01V and pals? Pretty sure the SQ is more than a match. The SQs are basically lower cost versions of the A&H dlive console tech (with slightly lower specced preamps), and dlive consoles cost something like 10-15k…
And you certainly do not need to hear 30kHz, but having the ability to filter freqs between 20k and 30k can still have its uses, especially if you have a bandwidth extending to 48kHz…
May well be, I have only used I-live and Qu from A&H. Both have better functionality and interface than their Yamaha equivalents, but the basic sound quality (pre-amps, conversion, summing) sound inferior to me. For that matter, I would only mix on an 01V in the studio if I could go digital i/o from the DAW, and I really wanted the Yamaha fx. I love working with a mixer over a mouse, but to get sound quality to equal or improve on a daw would indeed require quite an expensive mixer.
I am leaning towards the qu pack at the moment as it being compact is a big bonus.
Would it be correct to go stereo 1 and alt 1 outputs to my stereo delay and the Reverb, feed them into the two stereos in on the back? And then I could send a Snare track to them and the effects record on the two stereo tracks?
I cant tell, I use mixes for external fx, have a look into the manual in chapter 9.7 (channel routing).
I have a qu32 and it’s awesome. I had a qu16 but found a deal on a used qu32 so it was just a few hundred dollar upgrade. It’s a monster though.
Interesting. Do you use external Reverb like the big sky with it? In a studio recirding context?
How is it done?
Thank you
I actually have a big sky and a timeline off stereo outputs. Timeline off 7-8 and big sky off 9-10. Then i bring back the timeline and big sky to their own stereo input channels. So how it works is I’m sending a mix to each so for instance say I had two synths and I wanted the same delay on both, I just switch to mix output 7/8 and push up the faders for the two synths until I’m sending as much signal as I want to the timeline. Then I switch to the mix I’m monitoring or recording and set the level of the timeline coming back. The qu can send over 30 channels through usb so it is easy to record the synths dry and the timeline on their own channels to mix to taste later. Having effects off mix outs is great for experimenting and running multiple things through at once. Of course this is easier to do in a daw but for jamming and working on ideas I like to stay out of the daw.
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Hey there, I ended up purchasing a qu 24 and am really pleased with it.
Your advice really helped and I wanted to ask a quick question. What cables do you use? Female xlr to 6.35 mm jack? Do you know if they need to be balanced or not?
Thank you
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You are taking about connecting a big sky or other strymon pedal to the qu24? Those pedals are not balanced. I use some cables someone recommended a while back. Xlr to unbalanced is not that common. Coming back from the big sky is easy enough just get some ts cables and ideally keep the length short, but the other cable I’m not 100% sure about. It is like this but it might need to be wired another way. I’ll see if I can figure out exactly what I’m using.
Interconnecting balanced and unbalanced equipment can sometimes be tricky. One cable alternative:
https://www.soundonsound.com/shop/sos-special-cable/sound-sound-pseudo-balanced-interconnect-xlr
I had multilpe soundcraft mixers and 22mtk was the biggest letdown in terms of eq and pres.
After going thru signature, gb2 and epm series i decided to keep epm8 which is cheap as hell but is simple, reliable, rolls of highs on the inputs making things sound less harsh, smears the transients in just right amount and overdrives gradually with really nice tone.
back to the question…
Unfortunatelly you wont be able to record all track at once this way.
You can get epm12 whcih gives you 12 mono channels and 2 stereo which you can use as stereo aux return for your external reverbs/delays etc…
Personally i find digital mixers very uninspiring and boring but if you like clean, surgical sound then
sure, QU might be your best bet.
I think this piece is very interesting:
I’m more or less in the same situation as the TO and so far my vote goes to the Allen & Heath WZ4 16:2, maybe that’s an option?
Edit: just saw now that the TO ended up by a qu24…
Yes I bought the qu24 and am happy. It has a pair of Jack output as an alt send I’ve used for 1 pedal and it sounds good. Just all the other mix out options are only for female xlr outs, which generated my query as online there seem to be balanced and unbalanced females xlr to 1/4 and I’m not sure which to buy.
It can return back to the mixer with jacks.
Thanks
I had a look at the qu16 as well but finally prefer to have more knobs 
well, let’s see…
i’m curious about the MW WZ4s… i honestly prefer the sound of my old Zed10 over the Mackie 1642 VLZ4 I have now. i think it’s along the lines of what @macinski said about the epm. softened transients, nice tone. everything just seemed to gel together better, whereas the Mackie seems so plastic and surgical. i guess it’s all subjective and relative to the music one makes… but i wonder if the MW’s have similar tonal qualities to the zed series.
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I also wonder about the sound quality of the WZ4, especially compared to the Soundcraft Signature 22. Anybody?
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Before I switch my Soundcraft EPM8 for an EPM12…
…are there alternatives featuring more than two aux sends?
[ The Mackie 1604 VLZ pro is the obvious choice I think. But it’s footprint of 45x45cm is a bit too large ]
Thank you, I ended up getting balanced in the end and thought I’d report back to say they have been working in case it helps somebody in future.
I should disclaim that they are maybe not the most appropriate. But as I say they worked just as I would expect with the big sky.