Review: Allen & Heath CQ-18T

Review: Mark Woods






The new CQ range of ultra-compact digital mixers from Allen & Heath are small in size but big on function and fidelity. They’re reasonably priced and super convenient with high-quality sound and effects, so I’ll accept the lack of physical faders as a sacrifice to keep dimensions, weight and cost to a minimum.
The CQ range sits above the ageing 48kHz Qu line and below the SQ, dLive and Avantis mixers, all 96kHz. Perceived audio quality is chiefly a result of the preamps along with the algorithms and programming choices made by the developers but fast processing contributes by enabling high-sample rates and low latency. Sampling and processing at 96kHz is the new minimum standard for pro mixers.
All three CQ models use the same XCVI 96kHz FPGA (Field Programmable Gate Array) processing found in the SQ series with new preamps specific to the CQ range. I’m told FPGA technology uses parallel processing capabilities and on-the-fly reconfigurability to enable the execution of complex audio algorithms with minimal delay. Latency through the CQ mixers is 0.7ms and imperceptible.
On top of the handy channel count, the CQ-18T has four FX engines and a bunch of helpful features including Quick and Complete channels, Gain and Feedback Assistants and Automatic Mic Mixing. The CQ MixPad app allows for remote iPad control of the mixers, as does the multi-platform app, Mixing Station. CQ4You is a personal monitor mix app that allows performers to control their own balance.
These powerful ‘audio computers’ can also record either stereo to USB-A or multitrack (16 channels at 96kHz or 24 channels at 48kHz) to SDHC. (I’m trying not to lose the little rubber plugs you pull out to expose the USB-B, USB-C, SDHC card and network sockets. They protect the sockets from dust and look cool but there needs to be somewhere to put them when you’re using the sockets.)













The mixers in the three-model range all feature eight outputs: main LR and six mix outs. The CQ-12T has 10 XLR mic/line inputs plus a stereo (two 6.25mm sockets) input. The CQ-18T has 16 XLR inputs plus the stereo input. Both are controlled from a seven-inch touchscreen and/or an iPad. The CQ-20B is a stagebox-only design with 16 XLR inputs and two stereo 6.25mm inputs. Control of the CQ-20B is by iPad only.






18 PLUS
The CQ-18T is the pick of the bunch for general purpose audio. Unadorned, with hints of gaming controller and wi-fi router, it’s an interesting looking object. The XLR sockets are one of the few giveaways that it’s built for audio!
The central seven-inch touchscreen is big enough to use comfortably. I immediately liked the placement and function of the five buttons below the screen and a decent-sized control knob to the right. Above that sit three rectangular used-defined buttons, to the left of the screen, three user-defined knobs. The CQ-12T does without the three user-defined knobs, the CQ20-B stagebox version has neither the buttons nor the knobs.
Sixteen XLR inputs is a good complement for most bands, small venues, rehearsals and corporate events. Half the inputs are 6.25mm/XLR combi sockets. Main LR outs are XLR. Mix outs are balanced 6.25mm sockets, not ideal because you will probably need 6.25mm to XLR adaptors but they save space.






NEED TO KNOW
Allen & Heath CQ-18T
Compact Digital Mixer






PRICE
CQ18-T: A$1999



CONTACT
TAG: tag.com.au



PROS

Solid sound
Powerful
Portable
Smart assist tools



CONS

No faders won’t suit everyone
Touchscreen brightness in daylight



SUMMARY
The CQ Series provides pro features and performance in a portable package. With onboard wi-fi you have a complete portable package to tackle a wide range of small- to mid-size live sound duties. Some gigs absolutely require physical faders and a surface, for all other applications, CQ makes a strong case.

















QUICK START
The CQ-18T boots up to a Home page with a prominent Quick Start button. There are a few tabs at the top of the page and you’ll use those in time but new users will instinctively click the Quick Start button and be taken to a list of show templates… or the option to select All Quick Channels or All Complete Channels.
Designed to make it easier for musicians or less experienced operators, Quick Channels offer EQ controls with plain English descriptions (rather than dB/Hz) and one-button HPF and comp options. Complete Channels provide comprehensive traditional control options for those who know what they’re doing. Presets for vocals and instruments can be selected from either Quick or Complete menus and channels can be changed from Quick to Complete on the fly. Experienced users could start with Quick to get going expeditiously then convert to Complete once you’re settled into the mix.
FRESH FX
The effects are new and sound great, with plenty of variety and control. Four FX engines cover all the usual bases with a choice of three types of reverb, four delays plus three modulation effects. They can be applied as shared or inserted across a channel with presets in the library for specific instruments. Custom settings can be created and stored in the library. FX Assist is another new tool that makes subtle dynamic adjustments to ‘improve or enhance’ the sound of specific reverb and delay effects with non-technical descriptions like ‘Clarify’ or ‘Soften’.
Gain Assistant on each input channel sets an input level based on what it gets from the source. It has a Listen mode that starts low and raises the gain until it settles on a level. I found it best to do this with the system turned down as it was gaining-up my vocal channel inputs near 10dB higher than I’d normally choose. AutoGain monitors the source level and turns the channel gain down to avoid clipping if required.
Feedback Assistant (FBA) is available on all outputs. Part feedback killer, part dynamic EQ it detects and reduces frequencies causing feedback with options for adjusting, holding and/or releasing the 12 fixed filters and four live filters. It’s powerful and kinda fun. You can hear the filters working and watch what they’re doing in real time on the video game-like display. Automatic Mic Mixing is available on all input channels and in a multi-mic situation automatically adds gain to a mic in use and reduces gain to the others with virtual faders establishing priority settings.



the scope of functionality combined with the high sound quality make the CQ mixers a bargain




PORTABILITY
The CQ-18T and the CQ-20B have built-in dual-band wi-fi transmitters that allow for an easy and stable connection to an iPad and avoid the need for the fiddly and limited commercial wi-fi range extenders/access points. I did a show at the Bridge Hotel recently with another mixer and a cheap range extender. I put the mixer and extender/WAP on stage. Everything seemed okay at soundcheck but by showtime I was lucky to get four metres away from the mixer before losing connection. I mixed the band from the edge of the dancefloor; met some interesting people; and learnt a lesson about the importance of a good wi-fi connection!
Setting up an outdoor stage at the recent Cresfest24 was made much easier by not having to run a multicore across walkways or the dancefloor. The CQ-18T sat side-of-stage and the iPad controlled it all day long, 30m-plus away from the stage with no lost connections. Its range limit depends on the environment and wi-fi traffic but at the Theatre Royal with the CQ-18T on stage I could get beyond the back of the room and out into the street before dropping out. Apart from that test the CQ-18T didn’t drop out even once while in use.
A constant complaint, and it’s not just an A&H issue, but digital mixer touchscreens remain hard to see outdoors, even in the shade with the brightness up full. We have strong sunlight downunder but iPads and phones are easier to see, so it can be done.
INTO THE LION’S DEN
ARCA (Australian Road Crew Association) held its eighth reunion at a popular Melbourne bowling club/venue and I took the CQ-18T because I knew I’d be asked to do something with the sound. The club system endures regular thrashings by punk bands and sounds like it. There’s no multicore or mix position, just a well-used analogue desk side stage – no outboard or effects. I plugged the house speakers into the CQ-18T and enjoyed mixing from a table in the room. I was surrounded by senior crew types. The iPad prompted amusing stories about digital desks crashing, operators making big mistakes, iPads losing connections and freezing before the show etc. Modern sound is clever but not for the faint of heart. Thankfully, the CQ18-T didn’t miss a beat.













JUMPING IN
The CQ-18T GUI layout has a familiar A&H look and feel, with intuitive labelling and menus. This is an easy mixer to learn and operate. Using the buttons under the screen and the tabs at the top, you can get to everywhere you need to go. I like the neatness of all signal levels being numerated in one decibel steps – no fractions/decimals. Come show time, the Fader and Processing buttons are mostly all you need: Fader for mixing the channels, Processing for adjusting the channels plus Sends and FX.
The MixPad app is also very good. I still find it harder to exert fine control or adjust several faders simultaneously on an iPad, and it slows down my response to spontaneous effects ideas, but it is handy to be able to move around the stage and venue to make adjustments… especially if you’ve got three hands – one to hold the mic, one to hold the iPad and another to touch the screen! The iPad solved several problems at Cresfest24 but after a long day on the iPad it felt good mixing on real faders at the Bridge Hotel the following day.
FINAL FLOURISHES
Helpful features on the CQ-18T include two assignable headphone sockets that can be independently fed from either the Listen button on channels or any of the outputs. A stereo footswitch socket enables a single footswitch (using the tip or a dual footswitch using the tip and ring) to control a long list of functions.
Stereo playback through the CQ-18T is accomplished by the on-board bluetooth receiver or USB-A socket. Multitrack playback is from the SDHC card. The CQ-18T is also a 24 x 22 USB-B DAW interface at 48kHz/96kHz or a live streamer.
The CQ-18T is priced above the current breed of small digital mixers but below the larger entry-level pro mixers. Bang for the buck at this end of the market is crazy and the scope of functionality combined with the high sound quality make the CQ mixers a bargain if they suit your purpose and you can operate without physical faders. The CQ-18T is small enough to carry anywhere and weighs a mere 3kg. I found it to be a powerful and friendly companion. I want one.











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