Processing Screen Overview
The bank view displays one of five banks at a time, each showing up to eight input, FX or output channels as well as the Mute Groups and DCA’s. Switch between banks using the tabs with mini faders and meters at the top (when using a CQ-12T or CQ-18T touchscreen) or bottom left (when using the CQ-MixPad app).
Switch to the Custom Layer, with four custom banks, using the CUSTOM button at the top left of the screen. The Custom Layer is setup in the CONFIG / CONTROL & NETWORK / Custom Layer screen.
The bank tabs display a mini version of the main fader for each channel. Either input channel sends to the Main LR, the Overall FX send level or overall Output levels. If a channel is muted, the fader cap is coloured red. If Listen is active on a channel, the fader cap is coloured yellow.
Also displayed at the top of the screen is indication of connected USB and SD card storage, Bluetooth on/off, Wi-Fi on/off (CQ-18T, CQ-20B).
At the top right of the screen are the Copy, Paste, Reset, Quick Fire and Convert menu and the Library button.
Navigation
Touch a channel to select it and show its main fader on the right-hand side.
ⓘ Selection of a channel is followed through CONFIG, PROCESSING and FADER screens.
Touch any processing or the sends block of the selected channel to view processing in more detail and make adjustments.
When viewing processing in more detail, the channel processing blocks will move to the right, in place of the channel fader in bank view. It is then possible to navigate quickly by selecting different processing blocks on the right and selecting different channels at the top.
ⓘ Touching an FX unit which has been inserted on a channel will switch to the FX screen to make any adjustments.
INPUTS (bank view)
Quick Channel and Complete Channel differences
A Quick Channel shows the Quick Channel icon for the Quick Channel being used.
A Complete Channel is shown as separate processing ‘blocks’ with signal path running from top to bottom, so for example, the signal will pass through the gate before going through the PEQ. Each of these blocks displays useful information such as whether the gate is open or whether compression is being applied. If a processing block is switched Out, it will show without colour.
Sends
At the bottom of each input channel is the SENDS section which shows the send level to the Main LR with the meter and fader (as in the bank tabs at the top). It also displays send levels to FX units and Outputs 1-6.
INPUT / Quick Channels
CQ includes Quick Channels for a variety of common audio sources which provide a quick and easy way to adjust multiple channel processing parameters with a few controls. This enables the mix to be put together much faster than with conventional controls and if more control is required, Quick Channels can be converted to Complete Channels at any time.
To use a Quick Channel:
- Recall from the Quick tab of the Channel library, either available from the CONFIG / INPUTS screen, or when in the PROCESSING / INPUTS bank view.
- Select an instrument or style (where available) to get the perfect starting point.
- Adjust controls.
- Done!
Drums/Percussion Quick Channel Example
A ‘one knob’ Quick Channel has instrument or source types on the left-hand side.
Select one of the options on the left, then touch the large main dial and use the touchscreen rotary (CQ-12T, CQ-18T) or touch and drag (CQ-MixPad) to adjust to taste.
Switch Gate, Compressor or Limiter options In or Out using the buttons at the bottom.
ⓘ Use the Listen button above the Quick Channel icon on the right to listen to only this input in the headphones.
Bass Quick Channel Example
A ‘three knob’ Quick Channel has styles or types on a selection dial.
Select one of the options on the dial by selecting and turning it, or by touching directly on the desired option.
Use the three controls at the bottom right to make adjustments.
ⓘ Note that when a style is selected and these controls are in their mid (12 o’clock) position, processing is not flat.
Switch processing options In or Out using buttons at the top.
ⓘ Use the Listen button above the Quick Channel icon on the right to listen to only this input in the headphones.
EasyEQ Quick Channel Example
The EasyEQ is a unique Quick Channel which is in fact a model of the MusiQ found in the Allen & Heath ZED range of analogue mixers, with the added benefit of a compressor.
Low – Cut or boost Low frequencies.
Mid – Cut or boost Mid frequencies.
High – Cut or boost High frequencies.
HPF – Switch High Pass Filter In/Out
Comp – Switch Compression In/Out.
INPUT / Preamp
Input Source – Select Analogue to source the channel from the analogue sockets or select USB/SD to source from USB drive and SD card.
The current source for this input channel is displayed below.
ⓘ When playing back multitrack audio from the HOME / RECORD / Multitrack screen the source will be the SD card, otherwise it will be USB-B.
Gain Assistant – Touch Auto Set and generate noise in the microphone or with the connected instrument/device to automatically set preamp gain based on the level of signal received at the input. Switch on Auto Gain to automatically reduce the preamp gain and avoid clipping if high levels are detected.
Phantom Power – Touch and hold to activate +48V on the XLR input (Required for condenser microphones and active DI boxes).
ⓘ Phantom Power is only provided via an XLR connection. It is not sent to the ¼” TRS Jack connection of a Combi socket.
Invert Polarity – Invert the polarity of the signal. Often used where multiple microphones are used on the same source (e.g. snare top and snare bottom)
Gain – Adjust the gain manually for the incoming signal.
Trim – Digital level adjustment, available on stereo line inputs and when an input source is set to digital (USB/SD).
ⓘ Gain Assistant, Gain and Phantom Power are only available on Analogue Input Sources.
Level – Displays the post-preamp (pre-processing) input level.
HPF
The High Pass Filter lets audio above a set frequency through whilst cutting out lower frequencies. It’s commonly used wherever the low frequencies are undesirable (e.g. microphone handling noise, traffic rumble or low background humming) or when it is not adding anything to the mix (e.g. on predominantly mid or high frequency sources like voice, guitar or cymbals).
Freq – Adjust the High Pass Filter frequency. When HPF is In, all frequencies above this setting will pass whilst those below will be attenuated.
In/Out – Switch the HPF In or Out.
INPUT / Gate
A Gate allows wanted signal through and attenuates unwanted signal. It has many uses including removal of hum from an idle instrument or avoiding hearing the snare drum through a tom microphone when only the snare is being played.
Attack – Adjust time it takes for the Gate to open once signal has reached threshold.
Hold – Adjust time the Gate remains open after signal has dropped below threshold.
Release – Adjust time it takes for the Gate to fully close once signal has fallen under the threshold and hold time has expired.
Threshold – Adjust the level at which the Gate is triggered to open.
Depth – Adjust the amount the signal is reduced by when the gate is fully closed.
In/Out – Enable or disable the Gate.
INPUT / PEQ
The 4-band Parametric Equaliser enables adjustments to the tone of the signal by cutting or boosting around different frequencies.
Type – LF and HF bands include options for Shelf, Bell or HPF/LPF.
Width – Adjust the amount that frequencies around the centre frequency are affected.
Frequency – Select the centre frequency for adjustment.
Gain – Cut or boost the selected centre frequency by up to +/- 15dB.
RTA – Display Real Time Analyser behind PEQ.
In/Out – Enable or disable the PEQ.
INPUT / Compressor
A Compressor is used to control and reduce the dynamic range of the signal.
RMS/Peak – Compression is either triggered by RMS (short average) or Peak (instant) signal level.
Hard/Soft Knee – With a hard knee, compression begins to take effect only when the threshold is reached. With a soft knee, the compression begins to take effect earlier but in a more gradual way.
Attack – Adjust the time it takes for compression to take effect once the signal has reached the threshold. Set a longer time to allow transients through and compress only the body of the sound, set a shorter time to flatten the signal and tame peaks.
Release – Adjust the time that it takes for the compressor to stop compressing after signal has fallen below the threshold.
Ratio – The ratio of the incoming signal to compressed signal when compression is active. E.g. when set to 3:1 and when compressing, every 3dB increase in level at the input will result in only a 1dB increase of level at the output.
Threshold – Adjust the input level at which compression will be active.
Gain – Use to compensate for the resulting attenuation of the signal.
In/Out – Enable or disable the compressor.
INPUT / Sends
The SENDS section shows all send levels from an input or FX channel to all possible destinations.
Input to Main LR / Pan – Adjust the send level and stereo position of the selected channel to Main LR. This is also the fader shown in the bank tabs at the top of the PROCESSING and FADER screens, in bank view with the channel selected, and in the FADER screen when Sends to is set to Main LR.
Input to FX – Adjust the send level from the channel to shared FX units.
ⓘ Sends to shared FX are Post Fader and are affected by the Input to Main LR fader level as well as any DCA adjustments to level.
Input to Outputs / Pan – Adjust the send level from the channel to Outputs.
ⓘ Sends to Outputs can be set Pre Fader or Post Fader in the CONFIG / OUTPUTS screen.
ⓘ Pan appears when Outputs have been stereo linked and can be adjusted when Follow Main LR Pan is set ‘Off’ in the CONFIG / OUTPUTS screen.
ST. INPUTS / FX (bank view)
This bank includes three (CQ-12T, CQ-18T) or four (CQ-20B) stereo inputs. These are dedicated stereo channels for
- Stereo line level inputs
- Stereo USB channel, which can be used as a return from a DAW or for playback of stereo audio from USB storage
- The Bluetooth audio input
They work in the same way as all other input channels and have all the same processing options available.
Also in this bank are up to two (CQ-12T) or four (CQ-18T, CQ-20B) stereo FX channels.
Use the SENDS section on these channels to choose where the wet/affected signal from the FX unit is sent. For example, to hear reverb in a monitor, or cascade one FX unit into another.
OUTPUTS (bank view)
The Outputs bank includes the six Outputs and Main LR processing channels.
Output processing is slightly different to input processing and also depends on the EQ Type set per output in the CONFIG / OUTPUTS screen.
As with Input processing, signal flow runs from top to bottom and touching any output will select it and show its main fader (Output level) on the right-hand side.
OUTPUT / GEQ
A GEQ is used to cut or boost specific frequencies in the signal.
Fader – Touch and drag or select a band and use the touchscreen rotary (CQ-12T, CQ-18T) to cut or boost by up to 12dB.
RTA – Enable this option to see a Real Time Analyser on the GEQ.
In/Out – Enable or disable the GEQ.
OUTPUT / PEQ
The 4-band Parametric Equaliser enables adjustments to the tone of the signal by cutting or boosting around different frequencies.
Type – LF and HF bands include options for Shelf, Bell or HPF/LPF.
Width – Adjust the amount that frequencies around the centre frequency are affected.
Frequency – Select the centre frequency for adjustment.
Gain – Cut or boost the selected centre frequency by up to +/- 15dB
RTA – Display Real Time Analyser behind PEQ.
In/Out – Enable or disable the PEQ.
OUTPUT / FBA
Detect
The Feedback Assistant detects feedback and applies narrow filters to prevent it.
Detect – Disable the ‘HOLD’ box to start detecting feedback frequencies; Enable the ‘HOLD’ box to pause feedback frequency detection.
Mode – Select whether the next filter to be added (when feedback is detected) will be in Fixed or Live mode.
Live Recovery – Adjust the speed at which Live filters are currently recovering. Can be set to ‘Off’ to temporarily freeze live filters.
RTA – Enable this option to see a Real Time Analyser in the FBA graph.
In/Out – Select to enable or disable the Feedback Assistant.
Adjust
Each box on the left represents one of the 16 total filters.
Blue – Fixed mode filters.
Green – Live mode filters.
Orange – Currently selected filter.
Touch a box or a point on the graph to select a filter for adjustment.
Adjust Filter – Make width and cut adjustments to the selected filter. Select ‘Reset’ to remove the filter and make it available for use by the detector.
All Filters – Adjust width and cut for all active filters at once.
ⓘ To reset all filters, use the reset option from the dropdown menu at the top right of the screen.
Filter Modes
Fixed filters remain in place until they are manually deleted, the FBA is completely reset, or if the Feedback Assistant ‘steals’ them. Up to 12 of the 16 filters can be in Fixed mode, always leaving 4 for use in Live mode.
Live filters recover over time and once fully recovered, will switch back to being unused filters. They can be deleted individually or with a complete FBA reset. All of the 16 filters can be used in Live mode.
Automatic re-use of filters
When all filters are already in use, but a new feedback frequency is detected, the Feedback Assistant can re-use or ‘steal’ an existing filter, using logic to decide the best possible outcome i.e. the least amount of feedback.
Note that Live mode filters can only steal other filters already in live mode and Fixed mode filters can steal any filters.
On power up
Every time the CQ is booted, all Feedback Assistant instances are set to a ‘pre-show’ state. Fixed filters, the Live Recovery setting, ‘All Filters’ settings and In/Out state are remembered from last power down. Any Live filters will have been removed. Detect Hold is active. Mode is set to ‘Fixed’.
Copy/Paste
Copying and pasting includes all filters and settings (e.g. Live Recovery). This means that when pasting to another output (or back to the same output), the state of the FBA will be exactly the same.
Store/Recall
When using the FBA Library, Live filters are not stored or recalled. All Fixed filters, the Live Recovery setting, ‘All Filters’ settings and the In/Out state are stored and can be recalled.
Scene changes
Scene changes do not affect the Feedback Assistant settings directly, but they will usually change levels and processing which might affect which frequencies are more likely to feed back.
OUTPUT / Compressor
A Compressor is used to control and reduce the dynamic range of the signal.
RMS/Peak – Compression is either triggered by RMS (short average) or Peak (instant) signal level.
Hard/Soft Knee – With a hard knee, compression begins to take effect only when the threshold is reached. With a soft knee, the compression begins to take effect earlier but in a more gradual way.
Attack – Adjust the time it takes for compression to take effect once the signal has reached the threshold. Set a longer time to allow transients through and compress only the body of the sound, set a shorter time to flatten the signal and tame peaks.
Release – Adjust the time that it takes for the compressor to stop compressing after signal has fallen below the threshold.
Ratio – The ratio of the incoming signal to compressed signal when compression is active. E.g. when set to 3:1 and when compressing, every 3dB increase in level at the input will result in only a 1dB increase of level at the output.
Threshold – Adjust the input level at which compression will be active.
Gain – Use to compensate for the resulting attenuation of the signal.
In/Out – Enable or disable the compressor.
OUTPUT / LEVEL and LIMITER
A Limiter works like a very fast compressor with an infinite:1 compression ratio and limits the output level to whatever is set by the threshold.
In CQ, the limiter is applied post fader, meaning that it can be set for use on an output for monitoring and prevent the output signal rising above a set level, even if the output level fader is adjusted by a musician using CQ4You for example.
Fast/Slow – Select the speed of the Limiter on the signal.
Threshold – Set the level when the limiter will be triggered (effectively maximum output level).
In/Out – Enable or disable the Limiter.
MGrp/DCA
The MGrp/DCA bank tab is always accessible, even when the Custom Layer is active. It includes controls for all four Mute Groups and all four DCA’s (Digitally Controlled Amplifiers).
ⓘ Assign channels to Mute Groups and DCA’s in the CONFIG / CONTROL & NETWORK / Mute Groups and CONFIG / CONTROL & NETWORK / DCAs screens.
Mute Groups – All four Mute Group MUTE buttons in a single strip. When any member of the Mute Group is not muted, the button will show as Off (grey) and pressing it will mute all members. When all members are muted, it will show as On (red) and pressing it will unmute all members.
DCA 1-4 – Current members of the DCA are listed. Select a DCA to show and adjust the DCA fader on the right-hand side. The actual send level is calculated as the individual send level fader value, plus the DCA fader value. This is indicated with two arrows (▷◁) on the individual main send level fader of any channel in a DCA.