Dante audio dropouts: check clocking, DVS and the network

Identify each device's clock source

Dante uses PTP to synchronize devices. Preferred Leader influences leader election; Enable Sync To External tells the Dante module to use a reference external to that module, such as the clock of the console housing the card. Check both decisions: which device leads the network and where its reference comes from. The Audinate clock synchronization guide explains these functions.

On an SQ, Internal refers to the console clock. In Dante Controller, External can refer to that same clock as seen by the card. Both labels can therefore appear in a correctly configured system. Follow the clock path from source to receiver and compare it with the SQ Dante card fitting note.

Choose one of these two SQ clock paths

Before changing checkboxes, decide which way the clock reference travels. The official SQ setup guide explains when to follow the I/O Port clock. Draw your system and check that every device follows the intended reference.

Run a test you can compare with the log

Save the initial configuration and test outside the live show. If the noise stops, record how long you tested, the content and the load. A short dropout-free test is progress; you still need to check the system over the expected show duration.

Open Clock Status: Sync shows synchronization, while Mute can indicate audio muted after clock loss. If Listening persists, check whether the leader is available and communication is working. Record the state during the fault; the Audinate Clock Status guide explains these indicators.

1. Draw the devices and clock source

   Record consoles, cards, computers, stageboxes, switches and interfaces, including switched or redundant modes. Use arrows to show the clock source and its path to each device.

2. Check the clock source selected on the SQ

   Check Audio Clock Source and the sync indicator. The manufacturer shows a green check mark when synchronized; if the selected reference is missing, the console may fall back to its internal clock. Also check sample rates and input/output patching.

3. Record the dropout time

   Record the affected channels and what the computer was doing. Find that time in Clock Status Monitor and save the log before clearing events.

4. Repeat with the event's playback material

   Play the planned files and channels for a session comparable to the show. After each change, repeat the same test and record its duration, result and the condition you changed.

If the clock stays stable, check DVS and the network

Clock Status Monitor records loss and recovery of synchronization. Check the history for events that coincide with the dropouts. Audinate lists overloaded links, some EEE implementations and inaccurate external references as factors that can affect clocking. Check which apply to your network using the monitor and history guide.

DVS and the audio application's buffer have separate settings. If the fault appears under CPU load, check buffers, Dante latency and channel count as Audinate recommends. Change one setting and repeat playback. If a larger buffer helps, retain that result and compare the logs before attributing the issue to clocking. The DVS performance guide explains these checks.

Before changing IGMP, review the network design: a small isolated network can have different needs from a shared network carrying multicast flows. If unexpected leaders appear or devices disappear, examine the configuration using the Audinate multiple-leader guide. Avoid disabling features based on a generic recipe without checking their role in your system.

Give support a test they can follow

Prepare a diagram, firmware and software versions, switch model, clock and sample-rate settings, Controller screenshots and timestamped logs. Add each change and test duration. This gives support a record they can compare and a basis for choosing the next check instead of starting over with random changes.

For dropouts after extended use, identify the card revision too

Before changing clocking on an Avantis with Dante128, check the card's front panel and record its version in Controller. Also note the leader, whether it uses Redundant mode and which console lost audio. The same product name can cover generations with different update procedures.

For cards marked V3, the Allen & Heath release notes document ID32: a leader in Redundant mode could develop latency problems and mute Dante after a period of use. The fix is listed in 1.0.3; the cited notes also cover 1.0.4. Use this as a lead to compare with your unit.

Save sync states and the dropout time before clearing logs. Test for a representative session using the event's routes and channels. If a restart restores audio, record the recovery and continue investigating the cause.

If a Dante128 V3 update is appropriate, follow the procedure for that specific card: a .d128 file, a browser, a computer on the same subnet and a wired connection to Primary. Schedule this outside service. Afterward, check subscriptions and clocking and repeat the rehearsal; a cleared warning still leaves the audio paths to be checked by listening.

Digiface on a Mac: separate USB audio from Controller access

If the audio application shows Digiface Dante channels but Controller cannot find devices, first check the control connection. Save a screenshot of the available interfaces and the installed version; changing clock settings before checking this mixes two separate problems.

For macOS, RME states that the netifc extension is no longer needed from Digiface Dante firmware 64 onward. The old bridge9999 procedure belongs to that extension. Check your unit's version and the corresponding instructions before trying to reproduce it. For audio, check the driver or operating mode compatible with your macOS version.

In Configure Dante Interfaces, check the selected interface. Without DDM or Dante Director, Use shared Dante interface shares the primary interface with compatible manufacturer applications. With that option off, Controller can select its interface independently. Review this after changing the Mac's connections.

Test access with the computer you will use in production. Record which interface lets you see and query devices. If audio also drops out, retain audio and clock logs for separate investigation; restoring Controller visibility does not automatically explain the dropouts.

Channels remain available, but Controller rejects another subscription

When existing routes work but a newly added route fails, copy the message from that cell in Controller. Record transmitter, receiver and channel: describing this as a clock dropout could send the investigation in the wrong direction.

If No more flows (TX) appears, check that transmitter's flow capacity. Audinate relates it to hardware and firmware. Destinations matter: sending one channel by unicast to several receivers uses separate flows, even for the same content.

Before rearranging routes, save which ones work and which are rejected. List the receivers that need the same material and ask the network lead whether multicast is appropriate. Then check that the required subscriptions are accepted and review the added traffic before extending the change.

Check port mode before changing the clock

If one part of the system keeps playing while another drops out, record each path. A moving meter does not tell you how far the audio traveled. That map helps determine what to check first.

For the Yamaha CL, the V5.8 manual warns that SECONDARY PORT mode must match the wiring. Switching from REDUNDANT to DAISY CHAIN while retaining the previous connections can prevent audio transmission and reception. It instructs you to disconnect cables before changing the mode.

Do this outside the live program: photograph the configuration, identify both ports and trace their paths to the interfaces. Check the intended layout before reconnecting. Changing clocking while still guessing at the wiring adds another variable.

Read the histogram before changing latency

If a value looks unusual, first identify the device, subscription and unit being displayed. Comparing microseconds with milliseconds can lead to a setting change that does not address the problem.

In Dante Controller 4.18.x, Device View > Latency shows histograms for each subscribed transmitter on supported devices. Check Setting, Peak and Late packets: an average can hide arrivals past the deadline.

Red bars indicate late packets. Review latency and the network path before choosing a change, then listen again using the event's routes.

Late packets: packets or measurements?

To compare two Latency screenshots, you need the observation duration and load for each path.

The Controller guide, About the Histogram defines Late packets as the number of measurements containing one or more late packets. Each measurement usually covers many packets: the counter is not the total number of lost packets.

Save the histogram before using Clear. Record transmitter, receiver, Setting and duration; repeat with the same content and load. Compare listening results too, using the worksheet. Counters from different time intervals can produce a misleading comparison.

Related: audio latency and audio systems.

The Audinate Latency section measures packet arrival by subscribed transmitter on compatible devices. That histogram does not measure the entire path from microphone capsule to loudspeaker. Identify the Dante receiver receiving the audio: on an ULXD4Q → DM7 path, the ULXD4Q is the source of that subscription.

To locate an intermittent peak, also record the time and any clock changes. If the rehearsal does not cover the interval when the dropout occurs, extend the observation before calling the problem resolved.

To compare the rack with another event, list what changed: computer, interface, wiring, ports or connected devices. Keep the comparison in the latency worksheet and check the switch model before copying settings.

DVS: record which buffer you changed

The DVS guide distinguishes Options, available only in Windows ASIO mode, from Dante Latency. macOS uses Core Audio. Identify the control and its unit:

Save the settings and test outside the live program: change one control, retain the others and compare logs and listening results using the worksheet. If noise persists, check the next stage.

Related: monitor paths and audio systems.

DVS stays in Listening on a Mac: check the port

If DVS on macOS remains in Listening, record the selected network interface and switch port before changing multicast filtering.

For DVS on macOS showing Listening in Clock Status, Audinate describes cases where IGMP snooping prevents PTP synchronization. Its SG300 example uses Forward All multicast only toward the Mac, assuming a Gigabit connection. It does not instruct you to disable filtering across the network, and it does not specify firmware for the example.

Identify the port, VLAN, interface and versions. Save the initial state and test that change outside the show, comparing Clock Status and listening results. If the issue persists, Audinate suggests a direct connection to Dante hardware to separate the switch from the interface. A successful result narrows the path to investigate; repeat with the full network.

Record the test in the worksheet. Related: Digiface and Controller access and audio systems.

SG300-20: check the reference before copying settings

Start by recording the full model and firmware.

The Yamaha SG300-20 guide cites 1.3.0.62 at the time of writing, not as current firmware. Pages 6 and 18–20 provide a historical reference for comparison; do not automatically apply it to an SG350 or CBS350.

The correction on page 19 requires DSCP trust in advanced mode too. With shared traffic, review priorities for all services.

Back up the configuration and test one setting at a time using the worksheet. Save only the validated configuration. Related: latency histogram and audio systems.

AD4Q: what does each port carry in Split/Redundant and Switched modes?

First identify which port serves each network.

The AD4Q manual separates control and audio according to mode. In Split/Redundant, ports 1 and 2 carry Shure control, port 3 Dante Primary and port 4 Dante Secondary. In Switched mode, all four carry control and Dante Primary.

Record the mode, port and cable destination in the worksheet. Schedule any mode change: Device Configuration → Network Configuration → Setup → Switch Configuration; ENTER restarts the receiver. Check the intended wiring first, then review Yamaha integration.

WWB sees the AD4Q, but the QL has no battery or RF display

Seeing the AD4Q in Wireless Workbench confirms access from that application. If the QL has no battery or RF display, check Yamaha integration settings and the control networks next.

The Shure Axient and QL/CL guide requires Yamaha Mode and a name of Y001 or higher, unique to each receiver. In Split/Redundant, it connects control and Dante Primary to the console network, with their IP addresses on the same subnet; Secondary stays on the separate redundant network.

Review FOR DEVICE CONTROL and FOR MIXER CONTROL: Shure requires different subnets for these functions. Check versions and model compatibility before making changes. Record IP addresses, masks, mode and visible data before testing outside the program.

Devices drop off when Secondary is connected: what should you check first?

Audinate specifies separate Primary and Secondary networks, equal link speeds on both interfaces and non-redundant devices on Primary only. In Switched mode, the second port acts as a switch port; check the modes each model supports.

Draw the links and record ports, networks and modes before making changes. Test a link failure outside the live program while listening at the final destination, and record the result in the worksheet. If dropouts persist, keep the record and continue with latency and packets.

QL1: mount the receiver and check control status

Mount the receiver in DANTE SETUP, then check its status in WIRELESS. Device listing and control availability are separate checks.

In the QL5/QL1 V5.8 manual, open DANTE SETUP → DEVICE MOUNT, choose a slot, then DEVICE LIST. Select the receiver with TOUCH AND TURN and confirm with OK. Next open I/O DEVICE → WIRELESS and select that device. Record its state: appearing in the list does not mean it is CONTROLLABLE.

To edit a parameter, open I/O DEVICE EDIT: available controls depend on the model and require a connection. Record the display in the worksheet and continue with control and subnets.

ULXD4Q and QL1: audio works, but battery and RF information are missing

Dante audio and Shure control have separate network settings. If you can hear the ULXD4Q but battery and RF information are missing on the QL1, check both devices' control addresses.

The fourth-edition Yamaha/Shure guide distinguishes the ULXD4Q's Dante IP address from its SHURE CONTROL address. Check DEVICE UTILITIES → NETWORK → SHURE CONTROL → NETWORK and the console's SETUP → NETWORK → FOR DEVICE CONTROL: the addresses must be compatible. FOR MIXER CONTROL needs another subnet. This guide rules out SPLIT for the ULXD4Q; do not apply that restriction to the AD4Q.

Record both functions before making changes. If you change the console's IP configuration, APPLY requires a restart; schedule it outside the show. The guide dates from 2020: check compatibility with the actual hardware revision and firmware. Continue with device mounting and RF coordination.

One ULXD4Q responds and another does not: check the revision too

The QL1 release notes distinguish revisions by model; the table lists support announced in V5.90. Shure also specifies Yamaha firmware 5.9 for ULXD REV5. Record the model, receiver revision and console version before concluding that a new unit is faulty.

Compare both receivers in the worksheet, identifying the source of each value. If an update is appropriate, allow time for backup and rehearsal. Continue with mounting and status and versions.

Which ULXD4Q versions should you record before contacting support?

The ULX-D Dual and Quad manual locates receiver firmware under DEVICE UTILITIES → VERSION and transmitter firmware under TX FW UPDATE. Record DANTE VERSIONS separately: it is a different information block. Identify the receiver revision and its source rather than inferring it from firmware alone.

Shure recommends matching receiver and transmitter firmware; at minimum, MAJOR and MINOR versions must match. For receiver firmware earlier than 2.0.28, consult the specific procedure linked in the manual. Record versions and status in the worksheet before deciding on an update. See Yamaha compatibility.

QL1 and ULXD4Q: why does a scene not recall RX.GAIN?

RX.GAIN belongs to the receiver; DIGITAL GAIN belongs to the QL1 channel. Identify which you expect the scene to recall before changing recall protection.

The Yamaha/Shure guide explains that Shure remote parameters are controlled in real time and are not stored or recalled with CL/QL scenes. For scene-based gain changes, Yamaha specifies the console's DIGITAL GAIN. On a QL1 with an ULXD4Q, distinguish this from the receiver's RX.GAIN.

Compare both values before and after recalling two test scenes, outside the live program and with a backup. Record the result in the worksheet. Check device mounting and Recall Safe/Focus.

QL1: DIGITAL GAIN does not change on scene recall

On a QL1 running V5.8, start with Recall Safe exclusions and the scene's Focus settings. Save the initial selections so you can restore them after testing.

In CH JOB → RECALL SAFE, select the channel and check DIGITAL GAIN and SAFE. Selecting a parameter does not activate protection: SAFE must also be on. In SCENE LIST → FOCUS → SET, check the specific scene. If either function excludes that parameter, it will not be recalled.

Test with two scenes that store different DIGITAL GAIN values. Record values and protections in the worksheet without clearing protection globally. Also check whether SEL is held during recall: the manual says this temporarily protects that channel. See RX.GAIN.

Two QL consoles: audio works, but the other console's A.GAIN is unavailable

Receiving audio from another QL does not confirm access to its head amp. Check Port-to-Port patching and remote-control assignment separately.

The official Yamaha firmware history, under NOTICE for V4.00, specifies this patch for remote control of QL head amps through Port-to-Port. It requires QL V1.08 or later; a controlling CL needs V2.03 or later. An incorrect patch can hide A.GAIN:

The V5.8 manual instructs you to mount the QL in DANTE SETUP → REMOTE HA ASSIGN and use unique UNIT IDs. WITH RECALL applies settings at startup or scene recall; it need not be enabled just to control the head amp. Yamaha advises against enabling it if another QL has already configured the shared head amp.

Record firmware, IDs and patching before the test. Check port mapping first, then mounting. Record each change in the worksheet; also check the recording path.

QL5/QL1: A.GAIN changes, but the Dante level seems fixed

Yamaha explains that Gain Compensation maintains the compensated network level when analog gain changes. Also check AG-DG LINK: it can link digital gain to analog adjustments, even with GC active.

For distortion caused by excessive analog gain, the owner's manual instructs you to turn GC off, correct the gain and turn GC back on. Coordinate the change with everyone sharing the input.

Check GC and LINK during rehearsal, changing one setting at a time and recording the meter and file results in the worksheet. Also see remote control.

QL5: two channels for one microphone—why does gain change on both?

The two channels share A.GAIN when they use the same physical head amp. To adjust their levels separately, check each channel's D.GAIN and verify both destinations.

The Yamaha diagram places the physical head amp before channel patching. This means patching one port to two channels does not create a second head amp. The table applies to a local QL input:

The V5.8 manual allows channel D.GAIN adjustment. Test the two channels separately: record the port, channels and values in the worksheet and check both destinations after each change. For recording, check the Dante path.

QL5/QL1: what does TAKE FROM PORT retain when you repatch an input?

TAKE FROM PORT retains the assigned port's HA settings. TAKE FROM CHANNEL copies the previous port's settings to the new port: this difference can change gain and other head-amp functions when repatching.

In GAIN/PATCH → PATCH → PORT SELECT, check HA INFO. The V5.8 manual distinguishes:

During rehearsal, compare before and after in the worksheet. Coordinate changes to the shared head amp.

QL: what happens when you patch an unused channel with TAKE FROM CHANNEL?

Before reassigning, record the port's gain, HPF, +48V and GC states. If initial values appear after the change, check the channel's previous input assignment.

With TAKE FROM CHANNEL, Yamaha specifies initial values for a previously unpatched channel or one previously assigned to an input without HA settings:

Set gain for the actual signal. Record the state before correcting it; check GC.

QL Editor stays Offline: where should you start?

Check the control connection, the target IP in System Setup and whether Offline Edit is enabled. OFFLINE can indicate either a disconnected console or that editing mode.

The installation guide instructs you to check the NETWORK connector, IP addresses, mask and gateway; on an existing LAN, confirm its settings with the administrator. Enter the console's IP under System Setup → Network.

Re-synchronize is unavailable in Offline mode, according to the manual. Record network settings and Offline Edit state in the worksheet.

QL Editor: which direction should you synchronize?

Choose the QL Editor synchronization direction according to the settings you want to retain: Console → PC receives the console state; PC → Console sends the Editor state. Save files before synchronizing.

Check that choice in the Synchronization → Re-synchronize dialog.

For PC → Console, clearing Dante Setup and I/O Device retains the console's Dante settings and copies them to the Editor. All Libraries determines whether libraries are synchronized. Also review HA INFO. Do not operate the console during synchronization.

QL Editor: what do .CLU, .CLF and .QLE files contain?

Yamaha distinguishes user authentication keys from session files:

Open a copy of the session file, check the patch and save it using File → Save As.

QL Editor: the console rejects the version—what should you check?

The Yamaha compatibility matrix dated October 15, 2026 maps firmware to Editor versions for QL5/QL1. These examples show why their version numbers need not match. Note *6 limits Editor 5.1.2 to macOS.

Record the model, firmware, Editor and operating system in the worksheet, compare them with the matrix and check the requirements on the official download page. Then test connection and synchronization.

QL Editor: are you saving the show or a library?

To retain the session file, use File → Save or Save As. SAVE inside a library saves that window's contents; check where you are working before overwriting a file.

The QL Editor manual distinguishes session-file saving from library saving. In Scene, SAVE and SAVE AS save only the scene library.

The Yamaha note warns that SAVE inside Library can overwrite an All file with only the open tab's library. It recommends SAVE AS to retain the original.

For the test, work on a copy, check the window and tab, save under another name and reopen the file from that window. Verify its contents before loading it on the console. For file formats, see the file-type guide.

QL Editor: select multiple scenes to copy

The QL Editor manual specifies Shift+click for a range and Ctrl+click on Windows or Command+click on Mac for separate scenes. Multiple scenes can be copied between FILE and INTERNAL DATA, or copied or moved within a list (p. 93).

On the QL5/QL1 console, V5.8, COPY takes one scene only. MULTI SELECT allows multiple PASTE destinations: it repeats that same content at every destination.

Start with two scenes in a copy of the file, with the console disconnected. Record their numbers, titles and destinations in the worksheet. Check the order and adjacent scenes before extending the test. Verify how block dragging behaves in the installed Editor before using it on the show file.

QL scenes: what is the difference between the padlock and R?

Before choosing destinations, check protection in the file and the venue's console. Agree which scene numbers may be used and record them; a scene that appears unused is not enough to make that decision.

The V5.8 console manual distinguishes these protections. R cannot be disabled for scene 000.

QL Editor also prevents title edits for a padlocked scene. According to its manual, R indicators—except for 000—are shown when online with the QL.

Choose authorized destinations for the test. If a scene is locked, consult the show lead before changing it. Also check which file you are saving.

Can UNDO recover a QL show after loading a USB file?

In QL Editor, scene or library UNDO covers only the most recent operation and is used from that window. Synchronizing or operating the console invalidates previous operations for Undo/Redo.

On the V5.8 console, scene-edit UNDO covers the last PASTE, CLEAR, CUT or INSERT. That section does not document undoing a USB file load.

Keep the original files and identify the backup from before the load. Open a copy offline and inspect its contents before deciding what to restore. For the next show, keep a separate backup before rearranging scenes.

QL: change a setting in multiple scenes

According to the V5.8 manual, GLOBAL PASTE applies current parameters to stored scenes. From SCENE LIST, open GLOBAL PASTE, select the channel and parameter, choose destinations with TOUCH AND TURN and execute PASTE. INPUT includes EQ; PATCH/OTHERs includes CUSTOM FADER BANK (pp. 93–94).

Check SCENE LIST STORE/SORT permission. Interrupting with STOP can leave a partial paste that cannot be undone.

Use a backup and two test scenes: record the setting you want to change and others that must remain unchanged, then compare both after pasting. Check protected destinations before starting. Use the worksheet to record what you observe.

Focus Recall does not change EQ: what should you check?

The V5.8 console manual distinguishes per-scene Focus from Recall Safe across all scenes. If either excludes a parameter, it will not be recalled.

In QL Editor, check these controls. Also, CUSTOM BANK under GLOBAL RECALL excludes banks from recall (p. 95).

Test one channel in a copy of the show: record EQ before recall, the expected result and the actual result. Compare both functions' selections without removing every exclusion at once. To rewrite stored scenes, review GLOBAL PASTE; to retain files, follow the saving guide.

QL5/QL1: inspect another scene with PREVIEW

According to the V5.8 manual, p. 102, PREVIEW lets you inspect or edit scenes without changing current processing: SCENE LIST → PREVIEW → select with TOUCH AND TURN → RECALL SCENE → OK. Press PREVIEW again to exit. STORE saves edits.

QL Editor, StageMix, MIDI Rx and GPI IN controls continue to change the current scene. PREVIEW prevents QL Editor synchronization and keeps Recall Safe and Focus active.

Test with a backup and a test scene before the event. Agree with the other operator which controls they will use and record expected and observed behavior in the worksheet. Before saving changes, check the destination and scene protection.

QL5: a send does not change on scene recall—what should you check?

The V5.8 manual, pp. 74–75 distinguishes MIX SEND and WITH MIX SEND for level from MIX ON for on/off state. SAFE must be enabled for the selection to apply.

In QL Editor F0, pp. 94–95, RECALL SAFE has input and output grids. Check the source channel and receiving MIX: SAFE ON/OFF selects the channel; the grid selects excluded parameters. ALL excludes them all.

Test one send in a copy of the show: record the channel, MIX, scenes, level and expected state. Compare what is recalled and change one selection at a time. If it still differs, also check Focus Recall. The worksheet is left blank for recording the test.

ULXD4D/ULXD4Q: WWB finds it, but Dante does not

WWB and Dante Controller can discover the receiver through different paths depending on its network mode. Identify the mode and the port used by each application before moving cables.

The Shure manual 8.3 (2025-J), pp. 46–50 distinguishes these functions. Check DEVICE UTILITIES → NETWORK → CONFIGURATION. In Switched mode, Shure control and Dante share a subnet; in Redundant Audio, Secondary uses another network and subnet; in Split, control and audio are separated. A mode change requires network disconnection and a receiver restart: schedule it outside the show.

First draw every cable path, from receiver port through switch to computer interface. Record which application discovers the receiver and on which network. Compare that drawing with the observed mode; moving ports without recording the initial state makes troubleshooting harder.

If version fields remain empty or the menu does not respond, save the warning text and the information you can read for support. Record that limitation in the receiver worksheet instead of repeating changes without evidence.

This table describes the receiver; for console control, also check that model's integration requirements. Continue with ULXD/Yamaha compatibility or DM7: control and audio path (Spanish guide). Whoever handles audio systems needs both records.