The CQ-18T has three Smart Rotary encoders, three SoftKeys, a data knob and a 7” touchscreen
By George Petersen
For more than 50 years, Allen & Heath has earned an enviable reputation building solid, dependable gear and today, its successful lineup of digital consoles — including dLive, Avantis, SQ and QU — have found their way into use by discriminating users on tours, venues, houses of worship and production companies worldwide.
So what’s next from Allen & Heath? Well, company sources have been extremely tight-lipped about this major new development. However, after a bit of creative sleuthing and a midnight expedition into an unlocked dumpster behind the company’s research facility in the Kernick Industrial Estate (Penryn, near Cornwall, U.K.), we struck gold, and found plans, specs, photos — everything about this top secret project, and here’s what we uncovered…
Behold… The CQ Series
Stepping up to the plate, Allen & Heath is swinging at a wider audience, and seems to have a home run with its new CQ Series, a trio of compact mixers designed for musicians, bands, audio engineers, home recordists, small venues and AV integrators. However, while affordable (street-prices range from $899 to $1,199), the CQ series show the same serious build quality as A&H’s higher-end products, and exhibit the company’s trademark ease-of-use — something essential in a fast-paced live environment — along with 96k Hz resolution and a wealth of useful features.
The Lineup
The CQ range consists of three models — two desktop models with Wi-Fi and hands-on touchscreen control, and a WiFi-controllable rackmount/stage box model. All use the same apps, firmware and 96kHz audio performance, but offer slightly different feature sets.
The CQ-18T ($1,199/street) has 16 mic/line and stereo line inputs, with a 7” capacitive touchscreen and built-in wireless control; the $899/street CQ-12T has 10 mic/line + stereo line inputs with a 7” capacitive touchscreen control; and the stagebox-styled CQ-20B ($999/street) has 16 mic/line and two stereo line ins with wireless control.
Among the onboard features common to all models are “Smart Tools.” These include Gain Assistant, which automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal. It’s ideal for those “you’ve got 60 seconds to sound check and go live” gigs we are all-too-familiar with. Also in the toolbag is Feedback Assistant, which can identify and filter out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments. A Fixed mode applies filters during setup, while Live mode applies filters that will auto-recover over time. Feedback Assistant is available on every output simultaniously with independent control of each.
Other perks shared by all three consoles? Besides a stereo Bluetooth streaming input, all three feature onboard multi-FX units (reverbs, delays, chorus, ADT, flange, phaser) with FX Assist via four engines on the 18T/20B and two engines on the 12T. The effects are high quality overall, using some of the same algorithms developed for the audio processing in the dLive, Avantis and SQ consoles.
The CQ-20B is built into a stagebox-style chassis and is controlled via the new CQ-MixPad app
All models have multiple options for bidirectional recording and playback: multitrack record/stream to USB-B, CQ-Drive (USB-A) or SD card. All three can also function as an interface, to record live shows or rehearsals, run virtual sound checks and mix outside the box. The CQ-18T has a 22×24 USB interface and 22×24 SD record / play; the CQ-20B has a 24×24 USB / 24×24 SD card record / play capacity; and the CQ-12T offers 16×16 USB interfacing and 16×16 SD record / playback.
Beyond the basics, other features common to the series include: 100 memory scene slots with factory and user libraries; an onboard 1/3-octave RTA; 20-band output graphic EQs; 4-band output parametric EQs; up to 682ms of output delay; individually switchable phantom power on all inputs; stereo XLR main outputs; a ¼” TRS jack for a configurable single/double footswitch; and latency under 0.7 ms. And yes, optional rack mounting kits are available for each mixer.
One subtle, but notable difference between the models is that the touchscreen-based CQ-12T and CQ-18T models are powered via external 12 VDC AC adapters, while the stagebox-style CQ-20T has an internal power supply fitted with a standard IEC power input on the rear panel.
Taking Control
There are no physical faders; control is via the touchscreens on the CQ-12T or CQ-18T; the three assignable “Smart” Rotaries and SoftKey switches on the CQ-18T; or two new free multi-platform apps designed specifically for the CQ consoles.
The CQ MixPad app enables full control of the mixer on iOS, Android, Windows and macOS devices.
The “CQ-MixPad” app enables remote control of the mixer from anywhere in the venue, while the “CQ4You” app empowers performers to take control of their personal monitor mixes via their mobile devices. And to support stage mixes, all three models feature six independent outputs that are configurable to run up to three stereo outputs.
The Smart Rotaries on the CQ-18T can be assigned to user functions just like the Soft Rotaries on SQ or Avantis, but can also be set to auto-map to parameters on screen, so that no matter what you’re adjusting, hands-on control is always available. In this mode, colored dots on the screen indicate what functions are mapped to the rotaries at any given time.
Input channels can be switched between a Quick Input, giving users a source-specific set of controls with single knob control of channel processing, or a Complete Input for full control of all channel processing parameters. Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based, multi-mic applications, such as panel discussions and online forums where several people are speaking.
The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi (2.4 GHz / 5 GHz, with auto channel) for quick, fast and secure connection of control apps without any additional network equipment. Flip up the built-in antenna and go — no dongle necessary!
The CQ-12T is the least expensive mixer in the series, yet still sports 96 kHz processing
Although the CQ-12T does not have built-in Wi-Fi, it can be connected to an external Wi-Fi router or access point via the same network port found on all three models, and used for wired control direct from a computer / laptop / tablet or control over a LAN network.
Speaking of apps, the CQ series is supported by a pair of free multi-platform apps. The “CQ-MixPad” app enables remote control of the mixer from anywhere in the venue, while the “CQ4You” app empowers performers to take control of their personal monitor mix via their mobile devices. And to support stage mixes, all three models feature six independent outputs (1/4” TRS on the CQ-12T and CQ-18T; XLR-M on the CQ-20T) that are configurable to run up to three stereo outputs.
What’s Next?
Unlike typical product announcements these days, the big surprise is that under a heretofore unprecedented veil of secrecy, Allen & Heath has been shipping CQ Series consoles in large quantities to dealers, so that the product will actually be available worldwide on August 29, 2023, the official launch day.
Street prices are: CQ-12T, $899; CQ-20T, $999; CQ-18T, $1,199. Now, if you need a compact powerhouse console for your acoustic coffeehouse gig, city council meeting, small theater or house of worship, mid-size venue, corporate or hotel AV, supermarket opening, college graduation, wedding band or community hall, then CQ may be just the ticket.
For more info, visit: allen-heath.com
or check out the video tour at: https://youtu.be/3PqbKZ76SmU