SQ-Drive: recording dropouts and missing multitrack files

Recording dropouts: files, storage media and versions

A drive that completes one take is not proven for every configuration. Record the SQ model, firmware, sample rate, track count and drive capacity, and rehearse for the planned duration.

Dropouts and Errors: document the take and how it closes

The SQ V1.6.0 guide, §13.2, pp.113–114 distinguishes audio meters, device load and Errors. Arming a recording resets the counter; after stopping, wait for writing to finish before recording again or removing the drive. Record the state before arming another take.

For rehearsal, list every source that must appear in the recording and prepare a take with the planned track count, sample rate and duration. Include identifiable signals on the test channels. During the take, note elapsed time, counter changes and warnings. At the end, record whether Stop closes the recording and how long it takes; do not remove the drive while it is still writing.

Then play the files and check their start, end, continuity and expected sources. If you hear a dropout, note its position and compare it with the mixer log. Active meters or a counter without warnings cannot replace listening to the file.

To compare conditions, keep sample rate, sources and duration unchanged and change one variable per take. Testing fewer tracks may help narrow down the problem, but it does not validate the count needed for the concert. Repeat the test with the planned configuration before treating that use as verified.

If the take will not close or the files are empty, preserve the drive, files and a record of the symptoms. Use different media for the next test; do not start by formatting a drive that holds an important recording. Recovering damaged files requires a separate procedure.

Choose and prepare a drive without treating its brand as proof

Allen & Heath, Understanding SQ USB describes possible limitations of flash drives and SSDs, and problems with HDDs exposed to vibration. It recommends formatting on the mixer to FAT32 and dedicating the drive to that use.

The Samsung Portable SSD T7 manual, p.7 states that the drive ships formatted as exFAT and that performance depends on the interface and system. Its FAQ, p.23 discusses recognition by devices other than computers or mobile devices, and password access. This manual does not certify compatibility with SQ. Record the actual drive's product code; T7, T7 Touch and T7 Shield each require the corresponding documentation.

If the T7 uses password-protected Security Mode, follow Samsung's instructions to prepare access before using it with a device that cannot enter the password. Do not erase files or reset the drive to resolve an unknown password: preserve the contents and consult the person responsible. During rehearsal, document the access state and the capacity shown.

To prepare a separate empty or backed-up drive, the official SQ file procedure uses Utility > USB Utility > Status / Format. Formatting erases its contents; first confirm that you selected the rehearsal media and can open its backup. Keep the original recordings in a separate location.

After preparing the drive, repeat the full recording rehearsal. A published computer transfer speed is not a sustained-write test on SQ.

Imported multitracks: format, filenames and session folder

Re-Rendering Files for SQ-Drive Multitrack Playback, updated in March 2026, requires 24-bit mono PCM WAV files without metadata, identical length/size, 48 or 96 kHz, and the specified session folder structure. Changing the extension to WAV does not convert a 32-bit file or split stereo into two mono files.

Work with copies of the tracks and use the same start and end points for every export. Include any silence needed to preserve alignment. Check sample count, sample rate, channels and encoding with an application that reads those properties; if two files differ, correct the export before copying the session.

In the test session, name each file for its intended USB return. For a split stereo pair, document which mono file is left and which is right, then check the assignment on SQ. The table uses SQ-MT001 as an example session; it does not describe an actual installation.

Allen & Heath's guide includes a REAPER rendering example without specifying the application build. Check the documentation for your installed version before following its menu steps. Verify the exported files' format, length, names and folders before loading the session into SQ.

The SQ V1.6.0 reference, p.114 also shows mixer-generated filenames containing the channel and source. For imported files, follow the TRK convention in the dedicated guide. Do not rename an original recording just to test it: prepare a copy.

The session appears, but a track is missing or reaches the wrong channel

SQ-Drive and USB-B, Multitrack Playback states that playback returns through the same USB socket numbers used for recording. A file returning on USB 12 does not necessarily feed SQ channel 12: check the mixer's input patch.

Test a short session with each track identified. First confirm that SQ finds the session and lets you select it; then follow the USB meters and assigned channel. If the session is absent, check its format and folder. If it appears and plays but a track is inaudible, trace its USB number, channel and destination.

For a multitrack session recorded on SQ, note which USB outputs were patched: the V1.6.0 reference states that only patched outputs are recorded. Changing the playback patch cannot recover a source that was never captured. Keep the patch map with the files.

For virtual soundcheck, prepare the input change and return to stage sources using the SQ libraries and routing guide. Also test a source that needs to remain live. Do not load a one-to-one USB preset into the show without checking everything it changes.

Rehearsal worksheet and recording handoff

Complete the SQ-Drive media and file worksheet. It separates load/errors, file closure, recognition, listening and the return to live inputs. Results fields stay blank until you perform the test.

When handing off recordings, note the folder, sample rate, channels present, duration and sections you listened to. Identify any dropouts or unchecked tracks. A visible list of WAV files does not prove that the full concert was recorded.

Avoid choosing a drive on reputation alone, testing only ten minutes for a long take, removing the drive before writing finishes, confusing disk format with audio format, or copying tracks of different lengths. Preserve the originals and label each test version.

Related: SQ soundcheck routing, recording handoff and show continuity. Agree on formats, channels and file checks with the event recording and camera team.