Allen & Heath’s CQ series of compact digital mixers incorporate the same build quality as its higher-end products, while exhibiting the company’s trademark ease-of-use — something essential in a fast-paced live environment.
The Lineup
Consisting of three models – two desktop versions with hands-on control and a wired or Wi-Fi network-controllable rackmount/stage box — all use the same apps, firmware and 96kHz audio performance, but with slightly different feature sets.
The CQ-18T ($1,199/street) has 16 mic/line inputs, while the CQ-12T ($899/street) has 10. Both include a stereo line input (dual ¼” TRS), dedicated Bluetooth and stereo USB input. Main L-R outs are XLR, with six 1/4” TRS aux outs. A bright 7” touchscreen with rotary control, five function buttons and three user-programmable softkeys make up the user interface. Networking options enable remote mixer operation via the free CQ MixPad app. Three rotary controls with LED indicators offer additional hands-on control. The CQ-18T also provides a second assignable headphone out with independent level control. Both desktop models use an in-line 12 VDC power supply.
The stagebox-styled CQ-20B ($999/street) has 16 mic/line inputs, two stereo line ins, and dedicated USB and Bluetooth inputs. In this model, main and aux outputs are XLR. An additional set of ¼” TRS alt-outs can be configured for main L-R or any aux send. Unlike the desktop units, the CQ-20B has an internal power supply with standard IEC power connector.
All three models have the same 96kHz FPGA audio engine with studio-grade onboard processing and effects with audio quality previously unimaginable in ultra-compact digital mixers. Robust internal wireless networking on the CQ-18T and CQ-20B can operate on 2.4 or 5 GHz, with WPA2 security, auto or fixed Wi-Fi channel selection with user-configurable SSID name. Additionally, an RJ-45 network port allows any CQ mixer to be used with external networks, routers and access points for full remote MixPad control.
Quick & Complete
Designed to get you up and running fast, CQ’s powerful mixing tools let users tailor the console to their mixing style. Quick Channels offer instrument and application-specific processing with ability to dial in a full channel of processing via a single knob. For more control, selecting Complete Channel allows in-depth parameter adjustments. Additionally, a Quick Start feature recalls a complete setup for common live scenarios including rock, pop, jazz and conference, providing a quick starting point to put a mix together.
Let the Fun Begin
I received CQ-18T and CQ-20B mixers for this review. Right away, I noticed the robust build quality and attention to detail, down to rubber covers that keep dust out of the SD, USB and network ports. Following the Quick Start guide, I downloaded CQ MixPad, configured the network and selected “All Quick.”
Pressing the FADER button brings up the main mix screen, showing the selected bank of channel faders and Main L-R output control. A dropdown selects sends-on-fader for each output and FX. Outputs can be given six-character names, but FX names are fixed. Both the touchscreen and MixPad app react swiftly without screen lag.
The CONFIG button accesses setup functions for inputs and outputs, USB / SD card / Bluetooth, Automatic Mic Mixer, network settings and control configurations. Under input settings, choose input source (analog/USB-SD card), select a preconfigured processor setting, name the channel (6 characters) and choose one of seven colors. With “Analog” selected, Gain Assist, phantom power and polarity functions are available. Output settings include Stereo Link, Name, Pre/Post fader selection, Output EQ type (PEQ/Graphic) and delay (up to 682 ms). Additionally, output configs can be saved / recalled into a Library. Under Control and Network are configuration settings for footswitch, Soft Keys, Soft Rotaries (CQ-18T) and network setup.
The PROCESSING button opens a channel bank view with processor thumbnails for each channel strip. Touching a channel strip processor opens a popup window showing detailed settings. Like other Allen & Heath mixers, color choices for screen items are visible in bright daylight, a plus when doing outdoor gigs. On the CQ-18T, three smart rotary controls follow processor selection; their LEDs indicate what they control.
In an FX setup window, you can populate the FX buses (two on the CQ-12T and four on the CQ18-T and CQ20B) with any of 11 factory FX units. Easy-to-understand graphics and intuitive controls make configuring effects easy and custom FX can be stored in a Library for later recall. However, its saved name does not appear on the FX unit graphic when it is recalled.
Pressing HOME brings the initial screen with its Quick Start button and headphone level controls. Tabs across the top access record settings, scene management and other system info. The Quick Start selection popup offers All Quick and All Complete as well as common band setups including rock, pop, country and jazz. Or you can recall a previously stored scene. Each mixer holds one show with up to 100 scenes and 128 user Library items. Shows can be saved to a USB stick for later recall.
Meet My New Assistants
CQ’s Gain Assistant removes the mystery of setting channel input gain, optimizing gain level for one or multiple input channels with the touch of a button. Enabling Auto Gain monitors levels during the gig and backs off trim in subtle 1 dB steps if it senses input overload. Gain structure can also be set manually, although Gain Assistant worked very well for most of my gigs.
When under the gun to get running quickly, ringing out monitors can be stressful. CQ’s Feedback Assistant (FBA) detects and eliminates problem frequencies using up to 16 narrowband filters per output while a four-band PEQ with RTA on each output helps tailor the sound. A Fixed FBA mode can detect and add fixed filters per output during sound check. During a show, a Live FBA mode automatically adds a quick filter with variable recovery to tame instances like an overzealous vocalist getting a mic too close to a speaker. Fixed mode let me quickly ring out the monitors. Once happy with the sound, the Hold button locks in the filters. An FBA “Adjust Filter” manual override on any filter, has controls to adjust the cut and width of all filters at once — very useful. FBA filters can be copied to other outputs, saving the annoyance of ringing out each monitor send if they all use similar monitors.
For speech-based applications, CQ’s integrated Automatic Mic Mixer easily manages multiple active mics using a gain-sharing algorithm. Available for every mono input channel, AMM can be enabled as needed and inputs can be given mix priority. On a podcast setup, AMM was very effective in reducing background noise without cutting off essential speech.
Off to the Library
Like other Allen & Heath digital products, the CQ series has an extensive library of recallable processing setups for common input sources. Factory configs for channel PEQ, compressor, gate and effects engines provide a quick way to set up a mix. Any setup can be modified and saved for later recall. Along with complete channel strip setups, individual library items are available for the processors. A dropdown menu allows quickly copying any or all processing settings to other channels or convert a Quick Setting to Complete, based on current Quick settings. These provide an excellent starting point for building channel setups, and I liked saving / recalling my custom modifications.
You Can Record, Too
For “can you record the gig” requests, the CQ series is a studio in a box capable of recording up to 16 tracks at 96kHz (or 24 channels at 48kHz) to an SD card or two tracks to a USB device. Simply select the method, load a formatted memory device, arm the desired tracks and hit GO. Additionally, a USB-B connector lets the CQ work as a DAW interface. I also used the CQ-18T as the front-end to my field recording rig. This enabled me to track to my DAW with full monitoring capability while providing a backup recording to the built-in SD card.
Get the App!
CQ offers two control apps: MixPad for full mix control and CQ4You, allowing performer’s personal monitor mixing. Two concurrent instances of MixPad and six instances of CQ4You are supported. Both apps connected quickly to the network and were easy to configure. CQ4You allows up to three input groups along with a “Me” channel. Once configured, the input groups are managed by a single control (like a DCA) so they can be quickly blended with “Me.”
MixPad mirrors most of the mixer screens with some minor differences. On MixPad, the soft rotary controls do not appear, but small faders show up on the processing screens. I’d like to see these on the mixer’s processing screen, as they are helpful when dialing in channels. Unfortunately, neither display has a channel mute on the processing screen, which I use to mute channels after setting them up during sound check. There’s also a lack of mute groups and DCAs, which many users rely on, even in smaller gigs. I would also like to see the “Mute All FX” button appear on the main fader screen. However, this is firmware 1.1.0, and hopefully as the product evolves, these may appear in future updates.
The Verdict
The built-in assistants made setups quick and easy, while “Complete” settings access in-depth parameter tweaking. The built-in recording function opens new opportunities for quality gig recording. Network performance was exceptional, allowing full control 100’ from the mixer. And on larger gigs, having one of these in the kit can be a go-to problem solver. Although the 7” touchscreen and MixPad app could use some minor GUI tweaks, they are easy to read and do the job well. From the first gig onward, the 96kHz audio performance and musical-sounding EQ’s rivaled larger SQ mixers. The CQ series really steps up the game for compact digital mixers. I like these.
At a Glance:
Compact and Flexible
From non-technical artists to seasoned audio pros needing a compact digital mixer, the CQ series is a flexible, powerful and musical-sounding solution.
Allen & Heath CQ Series Mixers
PROS
- 96kHz audio performance
- Built like a tank
- Intuitive and easy to use
- Built-in multi-track recording
CONS
- 1/4” TRS on aux sends (CQ-12T, CQ-18T)
- No mute groups or DCAs
- Manual is just ‘okay’
TECH SPECS
- Mic/Line Inputs: Balanced XLR and combo XLR/TRS
- Phantom Power: +48V
- Sampling Rate: 96 kHz
- Stereo Record: 48/96 kHz, 24-bit WAV
- Stereo Playback: 44.1/48/96 kHz, 16/24-bit WAV
- USB-B: 24 channel send/return
- SD Card Record: 16 channels @ 96k or 24 ch @ 48k
- Multitrack Playback: 16 channels @ 96k or 24 ch @ 48k
- Street Price: CQ-18T, $1,199; CQ-12T, $899; CQ-20B, $999
MANUFACTURER: Allen & Heath
CONTACT: www.allen-heath.com
