• Contact Us


  • Email Us


From the Blog

KanexPro Q-SYS Plugins

One of the beautiful things about Q-SYS is it’s ability to control other devices in the system without additional hardware. A prime example is our Q-SYS plugin for KanexPro video matrices. We have versions for 4×4, 6×6 and 8×8 HDMI and HDBT matrices but the plugin is written in such a way that just by changing the number of buttons in the interface, you can adjust the one copy of the plugin to work with any of models in the KanexPro lineup with minimal modification. The plugin also has full feedback from the devices so changes made from the front panel are reflected in Q-SYS.

You can download this plugin from our Q-SYS control forum on our Techrep Wiki. Email me at chris.bednar@techrep.com for access.



TouchMix as a Zone Mixer

Zone Mixer TouchMix Presets

Is your client in need of a good quality DSP zone mixer but doesn’t have the budget?  Could you use a product that allowed zone paging for a bar and restaurant and would allow you to mix a small band in the same box? Look no further my friend!  You can even use the ipad app to walk the venue while you set up zone routing and levels.

The QSC TouchMix is compact, inexpensive and has all the capability that you need in either scenario. To make things easier for you, we’ve put together a couple of presets that turn the Touchmix8 or 16 into a zone mixer with ducking.  You can download then from the link at the top of this page. Here is how the presets are set-up…

  • Inputs 1-2 are summed to mono and are output on Aux 1
  • Inputs 3-4 are summed to mono and are output on Aux 2
  • Inputs 5-6 are summed to mono and are output on Aux 3
  • Input 7 is a mono input and is routed to Aux 4
  • Input 8 is for a paging mic
  • Input 9-10 are a stereo input and is output in stereo to the main outputs
  • Engaging the paging scene ducks all the inputs  by 10dB and routes the paging mic to all of the outputs.

DCAs control your output for each zone. Engaging the paging scene ducks all of the inputs by 10dB (except for the paging mic) and routes the paging mic to the all of the outputs. Like a Page-All scenario. You can modify this to fit your various routing needs and save them as new presets.

The mic inputs are all low-cut at 120Hz and they have a compressor on them at 4:1. This will make the paging mic a bit more forgiving for various users.

Finally, all of the outputs have some processing applied. They have an 80Hz Low Cut, a 20:1 limiter set at 2dB from clipping and Delay is on for each output but set to 0ms. There is also a graphic EQ engaged on each output and is set to flat.

To set up your mixer, load the presets in the Zip file at the link above. Plug in your sources. Adjust the delay and EQ on the outputs as needed. (if you are using a system with sub woofers, you may also need to adjust the low-cut filter) Set the gains for your sources and the paging mic. Then finally set the output levels to each zone.

Don’t forget the rack-mount kit if you need to tuck the TouchMix neatly away in a rack. TM-RACK-LEFT

Side Note – If you are looking for a good paging mic to use in this scenario, a Sennheiser e835s or Sennheiser MEG14-40 with a MAT133-S push-button stand are both great options.


Mt Olive Cathedral – Memphis, TN

Originally constructed in 1905, Mt. Olive Cathedral in Memphis Tennessee just underwent its second renovation. When church leadership set out to modernize the facility, they wanted to blend the old with the new keeping the charm of the original space.  Mount Olive chose Dill Audio of Jackson, TN to do the install and Tim Dill himself was the design lead on this project. He decided to stick with an all QSC speaker, amp and processing solution.  For the main PA, Tim selected a 5-box QSC KLA Line Array system supplemented by a KW181 subwoofer.  The folks on stage are hearing themselves via a pair of AP-5122m monitors at the stage lip while the choir gets their feed from a pair of AP-5102s mounted to the wall at either side of the stage. The AP Series can provide high fidelity, dynamic sound at high output.

The under-balcony and narthex areas are also covered by QSC, using the Acoustic Design Surface Mount Series. The AD-S6T offered a very clean looking solution that sounded great and was easy to install using the X-Mount mounting system.

Perhaps the most impressive thing about this whole system is that every speaker in the facility, except for the KLA Arrays and sub, is being run by a single amplifier. Tim chose the CXD4.5 to drive the monitors, under-balcony and narthex speakers. The built in DSP offered Dill Audio the ability to quickly set up speaker voicings, limiting and protection using QSC’s intrinsic correction filters.

This is a beautiful example of what is possible with the complete QSC solution. The system looks fantastic, sounds great and has a minimal visual impact. The entire audio system only has 6 different products in it!

IMG_4354 2015-04-02 14.22.10 IMG_4369 

Q-SYS as a performance mixer


As DSP systems become more powerful their applications grow as well. With Version 3.3 of Q-SYS you can create a complete performance mixer in software.  One may ask why?

1. Zero sight lines: Putting the mixer in the machine room allows you to not have a traditional front of house position. Aesthetics are especially important in theatrical and house of worship spaces. This allows you to have the power of a large front of house mixer with no visible hardware in the performance space.

2. Totally customizable. You can easily create a mixer that fits your application. Q-sys includes everything you use in a performance mixer. You specify the number of channels auxes and VCAs you need and then create your own channel strip. In addition you can add Reverbs, Chorus, Flange, and Delay. Because of the huge amount of DSP horsepower in even a basic core 250, you can make high channel count mixers with very little DSP consumption.

3. Wireless control: In addition to control from a PC laptop you have control of Q-sys via UCIs (user control interfaces). These are totally custom control interfaces that can run on on a PC or Apple iOS devices.  You can make these control interfaces as simple or as complex as needed.

To put this concept to a test I put together a mixer based on a standard feature set. specifically my mixer has:

• 32 input channels

• Each channel has 4 band fully parametric EQ, HP filter and compressor

• 12 aux busses

• 2 Reverb processors

• Multi effects processor with delay, chorus, and flange

• 8 assignable VCA groups

Using the Q-sys designer software I was able to build it in about 2 -3 hours. This included creating all of the user control interfaces. Below is the layout:

Screen Shot 2014-04-08 at 3.17.46 PM

The first mixer module is for input trims and meters. That goes into the channel group that has all of the individual channel processing. The second mixer module is the output gain stage. There are also additional inputs for the effect returns. Lastly there is a snapshot processor for saving scene data. You can also see the individual effects processors.

Here are the user interfaces I created:

2014-04-08 at 15-00-19
This is the main mixer page. The inputs and meters are not the top. Below them are the VCA group assigns, solo and mute buttons. There are also channel labels.

Here is the “Fat” channel view:
2014-04-08 at 15-00-25
There are controls for the 4 band parametric EQ, HP Filter and Compression settings

Here is the master section:
2014-04-08 at 15-01-38


Here are the aux and effect send pages:
2014-04-08 at 15-01-42

2014-04-08 at 15-01-42


The Effects pages:
2014-04-08 at 15-02-53

2014-04-08 at 15-02-58

Lastly here is the VCA page:
2014-04-08 at 15-02-49

One of the nice thing about the UCIs is that you can make tabbed pages. The little tabs on the left hand side of the screen allows you to very quick switch views. You can also resize controls to fit your application. Placing the controls is as simple as dragging them onto the UCI from your schematic page. You can group and align the controls very quickly.

So is all of this practical? You bet! A fully configured Core 250 with 32 I/O runs under 5K. My mixer only consumes about 15% of the DSP power. Lets look at the other specs:

64 network channels

Networkable external I/O

AES, Dante, CobraNet interfaces.

When considering many similarly configured mixers are in the 20-30K range this should present an appealing option for those looking for an aesthetically pleasing alternative to a traditional FOH mixer.


PreSonus StudioLive Thunder Roadshow – April 8th @ Sim’s Music


Join us at Sim’s Music on April 8th, 2014 to experience the wonder of PreSonus StudioLive Active Integration. See, Touch and Hear the entire PA ecosystem StudioLive AI speakers and digital mixers.

April 8th, 2014 from 7-8:30PM

Sims Music
1110 St Andrews Rd.
Columbia, SC 29210