CQ. How to…

Use Gain Assistant

Gain Assistant can be used on any input channel which has a preamp, when the Input Source is set to Analogue.

ⓘ Gain Assistant can also be found in the PROCESSING / Preamp section of a Complete Channel.

Auto Gain

This can be used independently of Auto Set and turned on or off at any time. Auto Gain constantly checks the input signal level in the background and if the preamp gain is set too high (e.g. an instrument or voice get louder than they were during sound check), it will reduce gain until the signal is back to an optimum level.

Multi Select

Use Gain Assistant functions on multiple preamps at the same time with Multi Select by simply turning it on and then selecting the desired channels; Input Source and Gain Assistant settings will then be available at the bottom of the screen.

Use Quick Channels

Quick Channels are instrument or source-centric whole channel presets which allow the user to mix quickly by adjusting multiple parameters with just a few controls. They are useful for non-technical users who don’t want to get lost in menus and parameter values, but also for more technical users who need to work fast but may want to make more in-depth adjustments later.

ⓘ As listed on-screen under the recall section when viewing the Library pop-up - recalling from the CONFIG screen will include input Name, Colour and Preamp settings, whereas from the PROCESSING screen, it includes only processing.

Send signal from Inputs to the Main Output

Prior to sending signal anywhere, preamp gain or trim should be set correctly for the input source. Follow the How to Use Gain Assistant section for best results.

This ensures optimum signal level coming into the channel for processing, but more importantly when thinking about sending (routing) signals, changing the preamp gain or trim also affects the level of signal being sent to any outputs.

Send one input at a time using the PROCESSING screen

Send multiple inputs to one output using the FADER screen

Send signal from Inputs to Outputs 1-6

Prior to sending signal anywhere, preamp gain or trim should be set correctly for the input source. Follow the How to Use Gain Assistant section for best results.

ⓘ Sends from Inputs to each Out can be set ‘Pre or Post Fader’ in the CONFIG / OUTPUTS screen. Post Fader means the channel send level to the output depends on both the set send level to the output and the send level to Main LR. Pre Fader sends on the other hand, are completely independent and mostly used for monitoring.

ⓘ By default, sends to Outputs 1-6 are sourced Post-PEQ (Pre-Comp) from input channels. This means that the full dynamic range is heard by performers in monitors, and that the compressor on each input affects only the Main LR. This can be switched to Post-Comp in the CONFIG / OUTPUTS screen if desired.

Send one input at a time using the PROCESSING screen

Send multiple inputs to one Output using the FADER screen

Use the Feedback Assistant

The Feedback Assistant (FBA) detects the prominent and persistent frequencies caused by feedback, and then adds narrow filters to the output to reduce the levels of those frequencies whilst changing the overall sound as little as possible.

It can be used in any situation where the input source can ‘hear’ an output it is being sent to. Most commonly, a microphone being used in the same space as monitor speakers and PA system.

The FBA is designed to be used during setup and then to look out for feedback during the show or event. For best results always run through the setup steps whenever the setup or venue is changed.

False Positives and best practices

False positives can occur with any feedback-like sound being played (e.g. guitar feedback, keyboard and synth sounds, flute, operatic vocals etc…). The FBA cannot know if this is a desired feedback-like sound or not. The FBA on all channels will always boot with HOLD active to prevent unnecessary filters being added for this reason. It is best not to leave any FBA actively detecting and adding fixed filters. Instead, if being left unattended, it is best to leave the filter Mode as Live.

Detect and add Fixed filters to an Output during setup/soundcheck

This is the most important stage to prevent feedback during a show or event. Feedback can also be detected more accurately and quickly during setup/soundcheck and there is less chance of false positives.

Some Feedback must occur for the FBA to detect and filter it. Therefore, before doing anything, ensure that:

All microphones to be used are connected and have preamp gain set.
All Input processing has been set to an approximate starting point.
All outputs have been connected and any speakers powered on.
A rough mix should be set for monitors and other outputs (though with the output level lower than needed if feedback is already an issue).

Detect and add Live filters to an Output during a show or event

Add and use FX

There are two ways to use each FX Unit, Shared or Inserted.

When in Shared Mode, the FX Unit processes signal from multiple channels at the same time. The ‘wet’ processed signal can then be sent, at different levels, to outputs and be heard alongside the ‘dry’ signals coming directly from the channels.

When Inserted, the FX Unit is used on a single input or output channel. Getting its signal from after the gate of an input channel or right at the beginning of an output channel. The FX Unit output is then fed back into the channel at the same point so all other processing (e.g. PEQ) will affect it.

Using an FX Unit in Shared Mode

Using an FX Unit in Inserted Mode

ⓘ Inserted FX Units are shown with an icon in the channel strip on the PROCESSING screen. Selecting this will jump to the FX Unit in the FX screen.

Setup and use Mute Groups and DCAs

Mute Groups and DCA’s (Digitally Controlled Amplifiers) are similar and are used to control the mute and main send level for multiple channels at once. For example, a single mute button could be used to mute all inputs, or a single fader could be used to adjust the level of all FX.

The CQ features four Mute Groups and four DCA’s which are always accessible in the PROCESSING and FADER screens MGrp/DCA bank.

ⓘ Channels can be muted individually, by a Mute Group or by a DCA. In the case of the FX channels, they can also be muted by the ‘Mute All FX’ feature. The same logic is used by Mute Groups, DCA’s and Mute All FX – if any channel is not muted, the overall Mute button is shown as Off and pressing it will ensure all members are muted. It is only when all channels are muted that the button will be shown as On and pressing it will then unmute all members.

Setup a Mute Group or DCA

Use a Mute Group

Use a DCA

Send Audio to and from a DAW

CQ can send and receive multichannel audio with a built-in audio interface that connects to a computer or device via USB-B. The maximum number of channels that can be sent and received are:

CQ-12T	:	16×16 (48/96kHz)
CQ-18T	:	24×22 (48/96kHz)
CQ-20B	:	24×24 (48/96kHz)

For capture and playback of an event, or for virtual soundcheck, signal is generally only sent or received at any time. In a studio environment however, sending and receiving signal at the same time is often required. This guide describes sending and receiving separately. For bidirectional use, simply ensure that audio is being sent from the DAW to the CQ using different channels than those being used to send audio from the CQ to the DAW.

ⓘ CQ mixers are Core Audio compliant, so no driver is required; for lower latency connection with Windows systems, download and install the required ASIO driver from the A&H website: https://www.allen-heath.com/resources.

Send Audio from the CQ to a DAW:

Send Audio from a DAW to the CQ:

Record/Playback Multitrack using an SD Card

For best results use SDHC, UHS-I, Class 10 SD card storage.

Other cards may work, though the maximum number of tracks that can be recorded may reduce, or errors including audio dropouts may occur.

The maximum recording time is based on the FAT32 file system used, which allows for mono WAV recordings (one for each track) of around 8hrs (@48kHz) or 4hrs (@96kHz).

ⓘ Before using a card for recording, ensure it has been formatted in the CQ using the HOME / SYSTEM / USB/SD (Symbols) screen.

ⓘ More details on SD Card multitrack recording can be found in the HOME / RECORD / Multitrack section of this guide.

To record Multitrack audio to an SD Card

To Playback Multitrack audio from an SD Card

Store and Recall settings

The CQ has 1 Show on it at any time. Up to 100 Scenes can be stored within each Show along with up to 128 Library items. Using these three separate data types, it’s possible to store and recall anything from the settings of a PEQ on a single channel, to the entire setup of the CQ.

For more information on different types of storage in CQ, see the Shows, Scenes and Libraries section.

Store a Scene

	1.	Go to HOME / SCENES.
	2.	Select an available scene slot and use the Store New button to store the current state of the mixer as a Scene.
	3.	Alternatively, select an existing Scene and use Overwrite to store the current state of the mixer in place of the selected Scene.
	4.	Use Rename to change the name of the selected Scene.

Recall a Scene

Go to HOME / SCENES.

Select a Scene from the list and use the Recall button to replace the current state of the CQ (all processing, FX Units and send levels) with the stored version.

ⓘ Note that any current settings will be overwritten and this can’t be undone, so it is best practice to Store any changes before Recalling a Scene.

Store Processing Parameters Using Libraries

Recall Processing Parameters Using Libraries

ⓘ Whole channel libraries can also be accessed from the CONFIG / INPUTS and CONFIG / OUTPUTS screens. From here a recall will also include settings from the config screen e.g. name and preamp gain.

Store/Recall show files

ⓘ Show files can only be stored and recalled from/to a connected USB-A storage device which has been formatted correctly using the HOME / SYSTEM / USB/SD (Symbols) screen.

	1.	Connect a source (e.g. Microphone) to input socket 1-10 (CQ-12T) or 1-16 (CQ-18T, CQ-20B).
	2.	Go to CONFIG / INPUTS and select that input socket. Settings will appear in the bottom half of the screen.
	3.	Ensure the Input Source is set to Analogue.
	4.	If using a source that requires 48V phantom power, such as a condenser microphone or active DI box, ensure this is turned on.
	5.	In the Gain Assistant section, use the Auto Set button to begin setting preamp gain.
	6.	Make noise into the connected microphone or with the connected instrument/source to let the Gain Assistant know what the typical signal level will be.
	7.	Gain Assistant will automatically raise the Gain and set the optimum input level.
	8.	Once the Auto Set function is complete, the Auto Gain feature will be enabled. The input is now ready for processing and recording or adding to a mix.

	1.	Go to CONFIG / INPUTS and select an input socket. Settings will appear in the bottom half of the screen.
	OR
	1.	Go to PROCESSING / INPUTS and select an input channel in bank view (when multiple channels are visible). Be sure to only touch or click once to select a channel so the screen remains in bank view. ⓘ Recall a channel from the CONFIG screen to include name/colour and preamp settings. Recall from the PROCESSING screen to include only the processing and leave the name/colour and preamp settings as they were.
	2.	Open the Library pop-up with the Library button at either bottom left (CONFIG), or top right (PROCESSING).
	3.	Select the Quick tab to list only Quick Channels.
	4.	Switch to Factory to show the built-in factory options.
	5.	Choose and recall a Quick Channel according to the type of instrument/source being used. Each of the Factory options is a different Quick Channel and most include several variants when recalled too.
	6.	In the PROCESSING screen, view the Quick Channel controls by selecting the channel and then touching or clicking on the Quick Channel icon.
	7.	If headphones are connected and the source set to the default ‘Listen’ option, use the Listen button (with headphone symbol) to hear only the audio from the current channel.
	8.	Each Quick Channel is created for a source type and includes a few controls. Examples can be seen in the INPUT / Quick Channels section of this guide.
	9.	When happy with the sound, select SENDS from the right-hand side navigation strip to view and adjust the levels being sent to FX Units and Outputs.

	1.	Go to CONFIG / OUTPUTS and select the Output socket where Feedback Assistant (FBA) is needed. Settings will appear in the bottom half of the screen.
	2.	Set EQ Type to PEQ & FBA if it is not already.
	3.	Go to PROCESSING / OUTPUTS.
	4.	Select the Output channel, then select the channel’s FBA to show details and controls.
	5.	At the bottom left of the screen, select the DETECT tab (if not already selected)
	6.	Set the filter Mode to Fixed. This will mean any detected feedback frequencies will have a fixed filter applied (which will remain until manually deleted).
	7.	Disable HOLD to start detecting feedback frequencies; Enable HOLD to pause detection at any time
	8.	Enable the RTA (Real Time Analyser) to show the frequency content of the selected Output on the graph.
	9.	Gently raise the Output level fader to the right of the graph and controls. As the output level increases, feedback will occur and the FBA will be able to detect it and add fixed filters. Raise the fader to a higher level that it will be used at during the show or event to generate and detect as much potential feedback as possible and allow for changes to the mix (e.g. extra vocal being added later). When all frequencies have been detected or all 12 Fixed filters have been used, lower the level again.
	10.	With setup detection complete, either engage HOLD or switch filter Mode to Live. ⓘ Repeat for any other outputs as required.

	1.	Follow the previous How To guide to add Fixed filters during setup whenever possible. This gives the best starting point for the FBA.
	2.	Go to CONFIG / OUTPUTS and select the Output socket where Feedback Assistant (FBA) is needed. Settings will appear in the bottom half of the screen.
	3.	Set EQ Type to PEQ & FBA if it is not already.
	4.	Go to PROCESSING / OUTPUTS.
	5.	Select the Output channel, then select the channel’s FBA to show details and controls.
	6.	At the bottom left of the screen, select the DETECT tab (if not already selected)
	7.	Set the filter Mode to Live. This will mean any detected feedback frequencies will have a live filter applied, which will immediately begin to recover.
	8.	Set the rate of recovery for all Live filters. This can be adjusted at any time to speed up or slow down (or even pause) recovery. It does not affect fixed filters.
	9.	Disable HOLD to start detecting feedback frequencies; Enable HOLD to pause detection at any time
	10.	Enable the RTA (Real Time Analyser) to show the frequency content of the selected Output on the graph. ⓘ Repeat for any other outputs as required.

	1.	Go to the FX screen and select one of the FX Units on the left-hand side.
	2.	To choose a different FX type, use the Library button at the right top corner of the screen, select an FX type or stored preset then recall it.
	3.	At the top of the screen, ensure the CONTROL tab is selected and the FX Unit controls are shown.
	4.	Toward the bottom left, set FX Unit Mode to Shared (if not already set).
	5.	Set the FX Send Level to 0dB as a starting point. This can be adjusted at any time to control the overall signal level being fed into the FX Unit.
	6.	Set the FX Level to LR to 0dB as a starting point. This controls the amount of ‘wet’ FX signal being heard in the Main LR.
	7.	Switch to the INPUTS tab at the top to display all channel sends to the selected FX Unit.
	8.	Select and adjust individual send levels to the FX Unit from each channel. Note that these send levels are the same as can be viewed on each channel from the PROCESSING / SENDS screen. They can also be adjusted using faders from the FADER screen by using Sends to and selecting an FX Unit.
	9.	Switch to the OUTPUTS tab.
	10.	Adjust send levels from the FX unit going to Main LR, other FX Units and Outputs 1-6 as required, so the FX is heard only where it should be.
	11.	Switch back to the CONTROL tab.
	12.	Adjust FX parameters. (Refer to the FX section of this guide for a detailed description and configuration of each FX). Also set Mute Mode: Trails On – Delays and reverbs decay naturally after muting. Trails Off – Delays and reverbs stop immediately when muted.
	13.	Switch to the PEQ tab to adjust the tone of the affected sound if required.

HELP CENTRE

Search

Use Gain Assistant

Auto Gain

Multi Select

Use Quick Channels

Send signal from Inputs to the Main Output

Send one input at a time using the PROCESSING screen

Send multiple inputs to one output using the FADER screen

Send signal from Inputs to Outputs 1-6

Send one input at a time using the PROCESSING screen

Send multiple inputs to one Output using the FADER screen

Use the Feedback Assistant

False Positives and best practices

Detect and add Fixed filters to an Output during setup/soundcheck

Detect and add Live filters to an Output during a show or event

Add and use FX

Using an FX Unit in Shared Mode

Using an FX Unit in Inserted Mode

Setup and use Mute Groups and DCAs

Setup a Mute Group or DCA

Use a Mute Group

Use a DCA

Send Audio to and from a DAW

Send Audio from the CQ to a DAW:

Send Audio from a DAW to the CQ:

Record/Playback Multitrack using an SD Card

To record Multitrack audio to an SD Card

To Playback Multitrack audio from an SD Card

Store and Recall settings

Store a Scene

Recall a Scene

Store Processing Parameters Using Libraries

Recall Processing Parameters Using Libraries

Store/Recall show files

	1.	Go to the FADER screen and check that the fader on the right-hand side is labelled ‘Main LR’. If not, use the Sends to button to show all available ‘Send to’ destinations and select Main LR.
	2.	Use the tabs at the top of the screen to navigate between banks of Inputs.
	3.	Raise the fader for any Input (or multiple inputs) to send signal from input channel to the Main LR output. Touch/Click and drag, or select the fader and use the Touchscreen rotary control (CQ-12T, CQ-18T).
	4.	Adjust the (overall) Main LR output using the fader on the right-hand side.

	1.	Go to the FADER screen and use the Sends to button, above the fader on the right-hand side, to select an output to send signal to.
	2.	Use the tabs at the top of the screen to navigate between banks of Inputs.
	3.	Raise the fader for any Input in order to send signal from that input channel to the selected Output. Touch/Click and drag faders, or select the fader and use the Touchscreen rotary control (CQ-12T, CQ-18T).
	4.	Adjust the (overall) Output level using the fader on the right-hand side. ⓘ Repeat steps 2 to 4 for different inputs and different outputs to set the mix for each.

	1.	Go to the CONFIG / CONTROL & NETWORK screen and select either the Mute Groups or DCAs tab.
	2.	Select one of the four Mute Groups or DCA’s from the left-hand side.
	3.	Touch the currently selected Mute Group or DCA name again to rename it.
	4.	Touch channels on the right to assign or unassign them from the currently selected Mute Group or DCA. Highlighted channels are in the currently selected Mute Group or DCA, and numbered indicators show assignments at all times.
	5.	Repeat for other Mute Groups or DCA’s. Note that a channel can only be assigned to one Mute Group and one DCA at a time.

	1.	Go to the MGrp/DCA tab in the PROCESSING or FADER screens or any Custom Layer tab containing the MGrp strip.
	2.	If any of the members of a Mute Group are not muted, the MUTE button will be off (grey). Press the Mute Group MUTE button to mute all channels in the Mute Group.
	3.	If all the members of a Mute Group are muted, the MUTE button will be on (red). Press the Mute Group MUTE button to unmute all channels in the Mute Group.

	1.	Go to the MGrp/DCA tab in the PROCESSING or FADER screens or any Custom Layer tab containing the DCA strip you want to use.
	2.	Adjust the DCA fader to adjust the main send level for all members of the DCA. For input channels, this is the Send to Main LR. For Outputs and FX it’s the overall send level. Setting the DCA fader to 0dB will mean no change.
	3.	The resulting send level is calculated by adding the individual channel fader position and the DCA fader position. This ‘actual’ send level is marked on the main fader for all members of the DCA.
	4.	If any of the members of a DCA are not muted, the MUTE button will be off (grey). Press the DCA MUTE button to mute all channels assigned to the DCA.
	5.	If all the members of a DCA are muted, the MUTE button will be on (red). Press the DCA MUTE button to unmute all channels assigned to the DCA.

	1.	Connect the CQ to the computer or device using a standard USB-B cable.
	2.	Go to CONFIG / Digital Audio (Symbols) / USB/SD to set up the connection.
	3.	Select a point in the signal path of an Input channel to record from using Source Point
	4.	Select the Sample Rate. This should match the Sample Rate of the DAW session.
	5.	Select Multitrack for Stream Mode to send and receive all channels individually.
	6.	Assign outputs to the final pairs of channels as required. These can be stereo inputs, FX or outputs. All mono (or stereo linked) channels are always patched to their matching channel number. e.g. CQ input 7 is being sent to USB channel 7.
	7.	In the DAW audio preferences, select the CQ as the Audio Input Device or equivalent.
	8.	Assign the Input source of each track in the DAW to correspond to channels being sent from the CQ.
	9.	Done! Signal will now be available for recording and processing on each of the DAW tracks.

	1.	Go to CONFIG / USB/SD/BLUETOOTH / USB/SD to check and adjust settings.
	2.	Select a point in the signal path of an Input channel to record from using Source Point
	3.	Select the Sample Rate. 48kHz allows for longer recording time and more channels to be recorded at a lower quality. 96kHz allows a maximum of 16 channels to be recorded for a shorter time but at the highest quality.
	4.	Go to HOME / RECORD / MULTITRACK
	5.	Arm each channel to be recorded using the Arm button below each channel meter. Armed channels are indicated with a red record symbol.
	6.	Ensure channels that are not be recorded show a grey record symbol, showing they are unarmed.
	7.	Use the Recording button in the transport bar to start recording to the SD card. A new folder will be created with empty files then recording will begin automatically.
	8.	Press the Stop button to finish the recording. When each recording is stopped, allow time for the recording to be finalised and the files stored correctly.

	1.	Go to CONFIG / Digital Audio (Symbols) / USB/SD to set up the connection.
	2.	Select the Sample Rate. This should match the Sample Rate of recording.
	3.	On the CQ, go to CONFIG / INPUTS and select the channels to use for playback. Use Multi Select to select multiple inputs at the same time. Recorded audio will play back to the channel it was recorded from.
	4.	Switch Input Source to USB/SD (Symbols).
	5.	Go to HOME / RECORD / Multitrack
	6.	To select a stored multitrack file from the SD Card, touch the Select Track drop-down menu at the left bottom corner of the screen.
	7.	If a recording cannot be seen, try a different sample rate (steps 1 and 2).
	8.	Use Playback Mode to select whether some, all or none of the recordings will be repeated.
	9.	Use the Transport bar to control playback.

	1.	Go to PROCESSING, locate the bank of faders from the top of the screen containing the channel with processing to be stored.
	2.	Select the channel, then stay in bank view to store a whole channel or select a processing block (e.g. PEQ) to view in detail and store only that part of the processing.
	3.	Open the Library from the top right-hand corner of the screen. A different library will open depending on the screen currently being viewed.
	4.	Select Store new to store all settings from the selected channel/processing block.
	5.	Switch to the User library to manage User Libraries.
	6.	Select an existing item in the list and use Overwrite to store settings for the selected channel/processing block over the top of an existing item.

	1.	Connect a USB Drive to the USB-A port of the unit.
	2.	Go to HOME / DATA / SHOWS.
	3.	Use Store New to store the current state of the CQ along with all Scenes and Libraries to the inserted USB drive as a new Show.
	4.	Select an existing Show and use Overwrite to replace the contents of the selected Show on the drive with the current state of the CQ along with all Scenes and Libraries.
	5.	Select Rename to change the name of the selected show file on the drive.
	6.	Select Delete to remove the selected show file from the USB drive.
	7.	Select a Show on the drive and use Recall to load all settings of the selected Show into the CQ. ⓘ Note that any current settings will be overwritten and this cannot be undone, so it is best practice to Store all current settings to a Show as a backup before Recalling another one.