Allen & Heath SQ-5,SQ-6,SQ-7 Users Guide

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Reference Guide V1.4.0

Reference Guide

Firmware V1.4.0

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Reference Guide V1.4.0

1. Important information ................................................................................................. 5

2. Introduction ................................................................................................................ 6

3. Updating firmware ...................................................................................................... 7

4. Operational Overview................................................................................................. 8

4.1 Physical control of the SQ .................................................................................................. 8

4.2 Channel types .................................................................................................................... 9

4.3 On-screen parameters, menus and pop-ups ...................................................................... 9

4.4 On-screen title bar ............................................................................................................ 10

4.5 Home screen .................................................................................................................... 11

4.6 Diagnostics....................................................................................................................... 11

4.7 Basic workflow concepts ................................................................ ................................ .. 12

4.8 Screens Reference .......................................................................................................... 13

5. Connections ............................................................................................................. 15

5.1 Local inputs ...................................................................................................................... 15

5.2 Local outputs .................................................................................................................... 15

5.3 SLink ................................................................................................................................ 16

5.4 USB .................................................................................................................................. 16

5.5 Network ............................................................................................................................ 16

5.6 I/O Port ............................................................................................................................. 16

5.7 Footswitch ........................................................................................................................ 16

6. I/O Patching ............................................................................................................. 17

6.1 Local ................................................................................................................................ 18

6.2 SLink ................................................................................................................................ 18

6.3 ME systems...................................................................................................................... 19

6.4 USB .................................................................................................................................. 19

6.5 I/O Port ............................................................................................................................. 19

6.6 Tie Lines........................................................................................................................... 20

6.7 Socket Control .................................................................................................................. 20

7. Processing ............................................................................................................... 21

7.1 Preamp (input channels) ................................................................ ................................ .. 22

7.2 Preamp (mix channels) .................................................................................................... 25

7.3 Gate (input channels) ....................................................................................................... 26

7.4 Insert ................................................................................................................................ 28

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7.5 GEQ (mix channels) ......................................................................................................... 29

7.6 HPF and PEQ .................................................................................................................. 31

7.7 Compressor...................................................................................................................... 32

8. Routing ..................................................................................................................... 35

8.1 Direct out .......................................................................................................................... 36

8.2 Mix send and balance settings ......................................................................................... 37

8.3 DCA/Mute Groups ................................................................ ............................................ 38

8.4 Send levels and mix assignments .................................................................................... 39

8.4 Matrices ........................................................................................................................... 40

9. Metering ................................................................................................................... 41

9.1 PAFL LED Meter .............................................................................................................. 41

9.2 Input/FX/Output Meters .................................................................................................... 41

9.3 RTA .................................................................................................................................. 42

9.4 Other Metering ................................................................................................................. 42

9.5 Chromatic Channel Metering ............................................................................................ 43

10. FX Engines ............................................................................................................. 44

10.1 Using FX buses and returns ........................................................................................... 44

10.2 Loading units and presets .............................................................................................. 45

10.3 Adjusting parameters ..................................................................................................... 45

10.4 Sending to FX from other sources .................................................................................. 46

10.5 FX Levels and PEQ ........................................................................................................ 47

10.6 RackExtra FX Types ...................................................................................................... 48

11. Saving and Recalling Shows/Scenes/Libraries ..................................................... 50

11.1 Scene manager .............................................................................................................. 51

11.2 Global Filters .................................................................................................................. 53

11.3 Safes .............................................................................................................................. 56

11.4 Libraries ......................................................................................................................... 56

11.5 Data transfer (USB/MixPad) ........................................................................................... 58

12. Setup ...................................................................................................................... 62

12.1 Strip assign .................................................................................................................... 62

12.2 Input/Mix stereo assign .................................................................................................. 63

12.3 Mix bus configuration ..................................................................................................... 64

12.4 SoftKeys/SoftRotaries .................................................................................................... 65

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12.5 Footswitch ...................................................................................................................... 68

12.6 Surface Preferences ...................................................................................................... 69

12.7 PAFL .............................................................................................................................. 70

12.8 Talkback settings ........................................................................................................... 72

12.9 Signal Generator ............................................................................................................ 73

12.10 Audio Sync and AES sample rate ................................................................................ 74

12.11 I/O Port ......................................................................................................................... 75

12.12 Mixer Role and Master Fader Mode ............................................................................. 76

12.13 Input Ganging ............................................................................................................... 77

12.14 Network Setup .............................................................................................................. 78

12.15 User Permissions ......................................................................................................... 79

13. SQ-Drive and USB-B ............................................................................................. 82

13.1 SQ-Drive stereo recording and playback ....................................................................... 83

13.2 SQ-Drive multitrack recording and playback .................................................................. 85

13.3 Connecting to a computer .............................................................................................. 87

14. MIDI and DAW Control .......................................................................................... 88

14.1 MIDI channel and MMC ................................................................................................. 88

14.2 MIDI fader strips ................................................................................................ ............. 89

14.3 DAW Control .................................................................................................................. 89

14.4 MIDI from Soft Controls .................................................................................................. 89

15. Automatic Microphone Mixing (AMM) .................................................................... 90

15.1 AMM Input Assign .......................................................................................................... 90

15.2 AMM Overview ............................................................................................................... 91

15.3 AMM Setup .................................................................................................................... 92

16. Add-ons .................................................................................................................. 93

17. Mix/System Reset .................................................................................................. 94

17.1 Reset Mix Settings ......................................................................................................... 94

17.2 System reset .................................................................................................................. 97

17.3 Fader Calibration ............................................................................................................ 97

18. Block Diagrams ...................................................................................................... 98

19. Specifications ....................................................................................................... 100

20. Warranty Information............................................................................................ 105

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1. Important information

Safety Before powering on the SQ, read the safety instructions sheet (AP9240/CL1-1) supplied with the unit. For your own safety and that of the operator, technical crew and performers, follow all instructions and heed all warnings included in these documents and printed directly on the equipment.

Ventilation Do not obstruct the sides of the SQ, or any of the air vents when in use. Adequate ventilation is required for the cooling fans especially.

Support For further support with SQ, please visit support.allen-heath.com, or contact your local distributor.

Registration To be kept informed of updates, the latest firmware and new releases for the SQ range, register your SQ at www.allen-heath.com/registersq

Firmware updates and apps Visit www.allen-heath.com to obtain the latest version of firmware, release notes and reference guide.

Firmware releases contain important updates and performance enhancements and are also required for access to the latest DEEP Processing units.

The firmware on the SQ and all app versions must have the same major release number. This is the first two digits of each release number.

i.e. 1.1.3 and 1.1.5 = compatible

1.1.3 and 1.2.3 = not compatible

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2. Introduction

Welcome to the SQ Reference Guide. Designed for applications where high-quality audio mixing and processing is

required in a compact and reliable unit, and built on an Allen & Heath XCVI core, the SQ series of digital mixers feature 96kHz variable bit-depth processing and ultra-low latency.

All SQ models can be used standalone or expanded with a range of remote audio units and option cards. They can also be customised with additional processing options.

Having the same processing core means all models have the same mixing capabilities, and so this guide is generalised. Where necessary, it will be noted which model is being discussed. The differences are as follows:

Model

Faders

Preamps

XLR Outputs

SoftKeys

SoftRotaries

SQ-5

16+master

16+talkback

12 8 0

SQ-6

24+master

24+talkback

SQ-7

32+master

32+talkback

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3. Updating firmware

1) Insert a new or formatted USB drive into the SQ-Drive port on the front of the SQ.

2) Press the ‘Utility’ screen key and select ‘USB Utility’.

3) In the ‘Status/Format’ tab, both windows should say ‘Ready’. If they do not, you will need to ensure you are in the correct USB mode. [To switch between USB B and SQ-Drive modes, press the ‘I/O’ screen key, then touch

the ‘USB’ tab above the routing matrix. The USB Source button is displayed at the top

left of the grid and touching this will switch between the modes. To update the firmware, the button should read ‘SQ-Drive’.]

4) Press the ‘Format’ button and follow the on-screen instructions to format the drive, this will clear all data and set up the SQ-Drive folder structure.

5) Once formatted remove the drive and connect to a Windows or Mac computer.

6) Download the latest version of firmware from www.allen-heath.com, ensuring you choose the correct version for the SQ model you wish to update.

7) Unzip/expand the downloaded ZIP file and copy the firmware file (which has a .bin suffix) to the root of the USB drive, do not place it in any of the folders. Ensure there is only one firmware file on the USB drive at any one time.

8) Safely eject the drive and re-insert into the SQ.

9) Now press the ‘Utility’ screen key, select ‘USB Utility’ and touch the ‘Firmware Update’ tab.

10) This screen will display the firmware version found on the USB drive. Touch the ‘Update’ button to begin the update process.

11) Follow the on-screen instructions and touch the ‘Reset’ button when prompted to reboot the SQ and complete the firmware update.

12) Check the displayed firmware version on the home screen or press the ‘Utility’

screen key and select ‘General’. The firmware version is displayed in the ‘Diagnostics’ tab.

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4. Operational Overview

4.1 Physical control of the SQ

Keys – All keys are labelled, and most illuminate to show when they are active. All perform specific functions, aside from the ‘SoftKeys’ which are user assignable.

Faders – There are 6 layers of assignable fader strips. For all inputs and FX returns the fader controls the send level of this channel to the selected mix. FX Send, Mix (Aux/Group) and Matrix faders control master levels. DCA faders control the level of the DCA groups, and MIDI faders send MIDI level messages. All fader strips are also used by the GEQ ‘Fader Flip’ function.

Rotary Encoders (Rotaries) – These illuminate when active and are used to adjust various parameters. Most are dedicated to parameters for the currently selected channel or mix, though one is for use with the touchscreen. The SQ-6 and SQ-7 feature additional ‘Soft Rotaries’ which are user assignable.

Touchscreen – The touchscreen allows simple user interaction through on-screen buttons and menus. Parameters can also be selected on-screen and adjusted using the touchscreen rotary. When a parameter is selected, it will turn yellow on the screen, and the touchscreen rotary will illuminate to indicate it can be used.

SoftKeys

Soft Rotaries

Touchscreen

Mix keys

Layer keys

Fader strips

Master strip

EQ section and rotaries

Processing section and rotaries

FX sends

SQ-Drive port

Copy/Paste/Reset

screen keys

SoftKeys

Routing keys

Mute/Sel/PAFL keys

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4.2 Channel types

Input channels – 48 input channels with processing. These can be sourced from local, remote or digital connections, and mixed to any output.

Main LR – This is the main mix. All post-fader modes and options follow this mix. Mix channels –12 stereo mix channels with processing that can be used as either

auxiliaries or groups. FX sends – 4 FX send buses are included for use with the FX engines. FX Returns – 8 stereo dedicated return channels for the FX engines. Matrix – 3 stereo matrix buses that can be made up of a combination of other buses. DCA – 8 ‘Digitally Controlled Amplifier’ channels for adjusting the level and mutes of

multiple channels with one set of controls. MIDI – 32 channels which send MIDI control data using MIDI over USB and MIDI over

TCP/IP.

4.3 On-screen parameters, menus and pop-ups

Adjustable parameters and selections – These are displayed as white text on a black background. Values are displayed as text as well as in a bar.

Libraries – Where available, pressing the ‘Library’ key displays a library window, allowing you to store or recall settings for things such as FX units, channel processing or input patches. Presets are stored in the Factory library, and a User library is provided to store your own settings. Libraries are also used to load FX units, through the loading of a preset.

 Where a library is available, it is noted with the following symbol –

 See the full list of library types in the Libraries section.

Menu lists – With short lists, touch an option to select it. Longer lists can be navigated by highlighting an option and using the touchscreen rotary to scroll through all available options. Where it is not possible to select a list item (as in user permissions lists for example) you may touch and drag on screen.

An ‘X’ is displayed to the top right of most pop-up menus, touch this to close the popup.

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Keyboard – An on-screen keyboard is displayed when entering names or numbers. Touch and hold ‘^’ (shift) to enable caps lock. Touch ‘Apply’ or ‘OK’ to set the name or number. Touch the ‘X’ at the top right of the keyboard to close it. The standard keyboard has a separate numerical keyboard, and when entering hex, a hex-only keyboard is shown. When entering a Channel Name, touch the colour button to choose a channel colour.

Confirmation – Certain actions require confirmation. Where there is an option to apply or cancel changes, buttons will show as active on-screen. In some cases, a pop-up with more information and choices will be displayed.

4.4 On-screen title bar

The title bar is always visible at the top of the screen, from left to right it displays the following information:

• The title of the currently selected window.

• The currently loaded scene.

• The next scene to be recalled.

• An SLink port symbol (when an SLink connection is available).

• A red cross when an error is detected (tap on this to see a pop-up window with

the detected error).

• An I/O Port symbol (when an option card is fitted).

• A USB symbol when a USB device is connected to the SQ-Drive port. This is

replaced with transport symbols when using SQ-Drive for audio recording or playback.

choose channel colour

numerical keyboard

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4.5 Home screen

This is the first screen shown when powering on the SQ. It is also shown when no channels are selected, and ‘Processing’ or ‘Routing’ screen keys are active.

 Pressing the ‘Processing’ or ‘Routing’ screen keys in bank view will deselect the

currently selected channel and return directly to the home screen.

‘Shut Down’ – Touch to shut down the SQ. ‘Lock’ – Touch to lock the SQ surface and prevent adjustments. ‘Change User’ – Touch to change to another active user. ‘Brightness’ – Touch to go directly to the SQ brightness settings.

4.6 Diagnostics

To get to the diagnostics, press the ‘Utilities’ screen key and touch the ‘General’ tab. This displays important information about the SQ, including the current IP address for connecting via TCP/IP, and the unique DNA code for registration and add-ons.

Unique DNA

IP address

firmware version

current user

screen title

current/next scene

SQ-Drive connected

option card installed

SLink port connection

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4.7 Basic workflow concepts

• Press ‘LR’, ‘Mix’ or ‘FX’ key to present send levels for the selected Mix on the Fader Strips. Use the layer keys to move through the 6 layers of faders and adjust individual levels. The Master strip controls the master send level of the selected Mix/FX.

• Select a strip by pressing a ‘Sel’ key. The physical controls can now be used to adjust parameters for the selected strip.

• Go to the ‘Processing’ screen to see an overview of the processing for the selected strip. Touch on any part of the processing to see a detailed view, then touch a parameter on-screen and use the touchscreen rotary to adjust.

• Mute keys are illuminated when a strip is muted. By default, ‘PAFL‘ (Pre/After Fade Listen) keys allow you to route one channel at a time to the PAFL bus/Headphone output.

• Mix sends set to ‘Post-Fade’ follow the LR send levels. To toggle channels between ‘Pre-Fade’ and ‘Post-Fade’ for the selected Mix, hold the ‘Pre Fade’ key

and use ‘Sel’ keys. To assign or un-assign a strip from the currently selected mix, hold the ‘Assign’ key and use ‘Sel’ keys.

• Pressing and holding the ‘CH to All Mix’ key will display the send levels for the currently selected strip across the main fader strips.

• Press the ‘FX’ screen key to view and adjust the FX engines. Use the ‘Library’ key to recall FX types and presets - change parameters by

selecting them on-screen and using the touchscreen rotary. FX buses 1 to 4 send to FX engines 1 to 4 by default. FX Return channels can be routed to Mixes in the same way as stereo input channels.

• Hold the ‘Copy’ key and press an ‘In’ key, a ‘Sel’ key or a ‘Mix’ key to copy parameters or sends. Hold the ‘Paste’ key and press a ‘Sel’ key or Mix key to paste the processing or send assignments to another channel. Hold the ‘Reset’ key and press an ‘In’ key, a ‘Sel’ key or a ‘Mix’ key to reset parameters.

• Press the ‘View’ key to momentarily show alternative information on the channel

strip and Soft Rotary LCD’s. Press multiple times to see different information and

press and hold to display the information until the key is released.

 Information on the initial state of the SQ can be found in the Reset Mix Settings section

of this guide.

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4.8 Screens Reference

Screen Key

Option 1/Left Tabs

Option 2/Top Tabs

Processing

Name, Preamp (input), Ext In (mix), Gate (input), Insert, GEQ (mix), PEQ, Compressor

Bank/Processing View

Routing

Name, Direct Out/Group/Aux Snd/FX Snd, DCA/Mute Assign, Mix Sends, FX Sends (input)/Matrix Sends (mix)

Bank/Assign and Level View

Meters

Input Meters

N/A

FX Meters

Mix Meters

RTA

Channel Meters

FX Engines 1-8

Front/Back Panel

Scenes

Scene Manager

N/A

Global Filter Input/FX

Mix

Other

Safes Inputs

Mix

Setup

Audio

PAFL

Talkback

SigGen

Audio Sync

I/O Port

Surface

Strip Assign

Soft Controls

Footswitch

Surface Prefs

Mixer Config

Input Stereo

Mix Stereo

Bus Config

Role

Ganging

Gangs 1-8

Network Setup

N/A

Users

User Settings

Setup

Parameters

Control

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Utility

General

Diagnostics

Calibration

MIDI

Add-ons

Data

Shows

Scenes

Libraries

Sync

USB Utility Status/Format

Firmware Update

SQ-Drive Stereo

Multitrack

Auto Mic Mixer Overview

Input Assign

Setup

I/O

Inputs/Input channel

Input sources Inputs/Mix Ext In

Outputs/IP Direct Out

Output destinations

Outputs/Mix Out

Outputs/Rack FX

Outputs/Monitor Out

Tie Lines/All Input Sources

All Output Destinations

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5. Connections

5.1 Local inputs

Mono mic/line (XLR female) – These are numbered and accept balanced mic or line level signal. Gain, Pad and 48v Phantom Power are controlled digitally.

Talkback (XLR female) – Identical to mono mic/line inputs. Intended for communication from the desk position, but can also be used as an additional input.

ST1, ST2 (1/4” TRS jack) – Labelled as stereo pairs, these can also be used as mono line level balanced inputs.

ST3 (TRS Mini jack) – Located on the surface of the SQ, this can be used with a line level source, such as a portable media player, laptop, tablet or smartphone, using a standard stereo mini jack cable.

5.2 Local outputs

Mono line (XLR male) – Line level outputs for sending mixes or direct outputs. These are numbered, and fully assignable. With default settings, the LR mix is sent to 11&12, as labelled.

A/B mono line (1/4” TRS jack) – Two assignable line level outputs, presented on balanced jack sockets for convenience.

AES digital (XLR male) – Stereo digital output clocked to SQ. For connection to equipment with a digital input.

Headphone (1/4” TRS jack) – Located on the surface of the SQ, with dedicated level control. Fed from the PAFL bus.

Local inputs

Local outputs

Network

Footswitch

USB

I/O Port

SLink

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5.3 SLink Digital multichannel (Neutrik etherCON) – For expanding the SQ using Allen & Heath

Remote Audio Units. Mode switchable between dSnake, DX and gigaACE/GX protocols.

Protocol

Sample Rate

Max Inputs

Max Outputs

dSnake

48kHz

20 (+40 ME)

96kHz

gigaACE/GX

96kHz

128

 SLink does not support multiple protocols on a single connection.  Check www.allen-heath.com for the full list of supported configurations.

5.4 USB

SQ-Drive – Located on the surface of the SQ. Can be used to connect USB ‘pen/stick’

drives, or portable HDD’s or SSD’s. Used for storing and recalling data, firmware

updates and stereo or multitrack audio recording and playback. USB-B – For connection to a Windows or Mac computer, in order to use the built-in

32x32 audio and MIDI interface.

 See the SQ-Drive and USB-B section for more information.

5.5 Network

This is used to connect the SQ to a wireless router, access point or local area network, allowing the SQ to transmit and receive control data. For use with Allen & Heath SQ apps, and for MIDI over TCP/IP.

5.6 I/O Port

For the connection of SQ option cards, allowing expansion and connectivity using Allen & Heath (SLink) or third-party protocols (including Dante and Waves).

 See www.allen-heath.com for all available option cards.

5.7 Footswitch

Connect a single or dual, momentary or latching footswitch, and use to control functions such as mutes, tap tempo or scene changes.

 See the Footswitch Setup section for more information.

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6. I/O Patching

There are two ways to patch inputs, either in the Preamp section of the channel processing screen, or in the I/O screen. For patching multiple input channels, it is easiest to use the I/O patching screen, which is also used for all output patching.

Press the ‘I/O’ screen key to display the patching matrix.

• Touch one of the tabs on the far left then select one of the following:

‘Inputs’ > ‘Input Channel’ = to input channels of the SQ. ‘Inputs’ > ‘Mix Ext In’ = to the mix external inputs. ‘Outputs’ > ‘Direct Outs’ = from the direct outs of input channels. ‘Outputs’ > ‘Mix Outs’ = from all mix outputs (LR, Aux, Group, Matrix). ‘Outputs’ > ‘Rack FX’ = from FX return channels. ‘Outputs’ > ‘Listen Out’ = from PAFL and Listen buses. ‘Tie Lines’ = to and from all possible sources and destinations.

• When patching inputs, the input sockets are displayed at the top of the matrix and the destination (in the SQ) is displayed to the left. When patching outputs, the source (from the SQ) is displayed at the left of the matrix, and the output sockets are displayed at the top. When patching Tie Lines, input sources are shown on the left and output destinations are shown at the top.

• Drag the grid on-screen to see more input and output channels.

• Touch the ‘SLink‘ or ‘I/O Port‘ tab multiple times to display either channels 1-32,

33-64, 65-96 or 97-128. There are four marks on each tab to show which screen is currently displayed.

• To create or delete a patch, touch a patching block.

local input 5 to input channel 5

source type/channel

destination type/channel

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• Available patching blocks are grey and are filled light grey when patched.

• Currently unavailable patching blocks are dark grey and striped light grey when

patched.

 All patching to a currently disconnected device will become active once the device is

connected.

Input Libraries –

Pressing the ‘Library’ key on the surface when the ‘Inputs’ tab is active will display the

input libraries. These can be used to store input patches for different setups and provide a quick way

to switch patching for virtual soundcheck. Factory presets for one-to-one patching are provided for quick setup.

 Input libraries store and recall all input patching, not just the currently selected source.

6.1 Local

The local input and output options in the I/O screen match the analogue input and output socket labels on the SQ.

6.2 SLink

The SLink port is compatible with dSnake, DX and gigaACE/GX. It switches between these modes, so multiple protocols over a single connection are not supported.

The current mode is shown on the tab in blue text unless nothing is connected, in which case ‘Not Connected’ is displayed.

Check www.allen-heath.com for the full list of supported configurations. Touch the tab multiple times to display channels 1-32, 33-64, 65-96 or 97-128. There

are four marks on each tab to show which screen is currently displayed.

patched but currently unavailable

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6.3 ME systems

ME-U, ME-1 and ME-500 units use the dSnake protocol, so can either be connected directly, or connected to monitor or expander ports of an AR2412 or AB168.

The ME patching is applied to either the SLink port, an SLink option card, or both. The ‘SLink’ and/or ‘I/O Port’ text on the ‘ME’ tab are displayed in white when patching is active on either port.

 ME-1 units accept 40 total channels, ME-500 units accept 16 mono or stereo channels,

stereo channels are set on the SQ in Mixer Config settings.

6.4 USB

USB patching is for SQ-Drive or USB-B streaming connections. SQ-Drive uses input and output USB channels 1 to 16 and USB-B uses input and output USB channels 1 to 32.

 SQ-Drive and USB-B modes are mutually exclusive. When the USB tab is active, the

‘USB Source’ selection button will be displayed at the top left of the patching matrix, touch this to switch modes.

6.5 I/O Port Used for patching to SQ option cards fitted in the I/O Port. The current option card protocol is shown on the tab in blue text unless nothing is

connected, in which case ‘Not Connected’ is displayed.

 Touch the tab multiple times to display channels 1-32, 33-64, 65-96 or 97-128. There are

four marks on each tab to show which screen is currently displayed.

 Note that when patching to an option card such as Dante, you are patching the SQ to the

option card. Further patching between devices may then be required.

Main R out to SQ-Drive (USB) channel 2

source type/channel

USB channel number

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6.6 Tie Lines

Tie lines are used to patch connections between source and destination points without using channel processing.

All possible inputs/sources are displayed on the left and all possible outputs/destinations are displayed at the top.

This allows you to pass audio directly from any available input source to one or multiple outputs and has many applications including:

• Sending unprocessed (‘Post Preamp’) audio whilst simultaneously sending processed audio from the direct out (such as when multitrack recording and using a ME personal monitoring system at the same time).

• Setting up digital splits for front of house and monitor, or broadcast setups.

• Sending an ambient microphone which is not required in the main mix to USB or

option card for recording without using up a channel.

6.7 Socket Control

Touching a socket number at the top of the patching matrix opens the socket control pop-up with the following options for connected local or expander sockets.

Analogue input = 48V, Pad and Gain AES input = SRC Bypass option AES output = Output Sample Rate

 To protect preamp settings for sockets not assigned to input channels on scene

changes, block ‘Tie Line Only Preamps’ in Global or Scene recall filters.

input socket type/channel

output socket type/channel

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7. Processing

Press any ‘Sel’ key to select a channel. The physical controls and keys around the touchscreen will illuminate to show they are active and can be used to adjust parameters for the selected channel.

Press the ‘Processing’ screen key to display the processing ‘bank view’.

This gives the processing overview for 8 channels at once, with the selected channel highlighted. The view will automatically change if a channel is selected which is out of view, though you can also touch and drag to see all channels for the current layer. The selected mix channel is displayed to the far right.

• Touch a channel name to rename or change channel colour.

• Touch ‘Apply’ to set the name and colour (it will now be displayed on the channel

LCD display). The keyboard will remain on screen when other ‘Sel’ keys are pressed, to speed up the naming of multiple channels.

• Touch any processing ‘block’ to view and adjust it in detail. The channel overview will continue to be shown at the left of the screen. Selecting another channel will allow you to adjust the same parameters on the newly selected channel.

• Touch the active block or press the ‘Processing’ key to return to the bank view.

• The order of audio processing is displayed from top to bottom.

 HPF is displayed in bank view in the correct order of processing (post-preamp), though it

is viewed and controlled on the PEQ processing page for convenience.

 DCA channels display a list of up to 28 ‘members’. If there are more members than this,

then ‘…’ will appear at the bottom of the list.

channel name

preamp

gate

insert

PEQ

compressor

pan

drag left/right

channel source

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7.1 Preamp (input channels)

Source Select –

• Touch the source type to select from a list of sources.

Unassigned = Channel has no source. Local Socket = A socket on the rear of the SQ. SLink Socket = A device connected to the SLink port (AR, AB and DX units or another console). USB Port = Either SQ-Drive or USB-B (depending on mode). IO Port = SQ Option card. Signal Generator = The built-in signal generator.

• Touch the source channel and use the touchscreen rotary to scroll through channels.

Socket Preamp –

• Touch and hold the ‘48V’ button to switch phantom power on or off (channel will be automatically muted when switching this).

• Touch the ‘Pad’ button to switch the -20dB pad in or out.

• Select ‘Gain’ or ‘Trim’ parameters to adjust using the touchscreen rotary. Gain

can also be adjusted using the dedicated physical control.

Gain = 0dB to +60dB Trim = -24dB to +24dB

 Gain is for digitally controlled analogue inputs, such as local microphone inputs or those

on a Remote Audio Unit. Trim is a purely digital adjustment, for digital or line signal.

• Touch the ‘Pol’ button to invert the polarity of the input channel.

source select

preamp control

stereo image

channel delay

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Reference Guide V1.4.0

Delay – In order of processing, the millisecond channel delay is actually located after the compressor. It is presented in the preamp screen as it is usually set at the same time as other ‘setup’ parameters such as gain, which are not adjusted during mixing.

• Select the value to adjust using the touchscreen rotary.

Input channel delay = 0ms to 341.3ms

• Touch the ‘In’ button to switch the delay in or out.

Stereo Image – This section is visible only when a stereo input channel is selected. Touch the mode to select from the following options:

L/R = standard left/right. R/L = switched left/right. L-Pol/R = standard left/right with switched polarity on left. R-Pol/L = switched left/right with switched polarity on right. Mono = left and right fed to both channels. L/L = left fed to both channels. R/R = right fed to both channels. M/S = for decoding a mid/side array (outputs M+S/M-S).

 For normal M/S use, the mid signal/microphone should be patched to the odd channel

and the side signal/microphone should be patched to the even channel.

The width control can be adjusted in 1% increments from Mono (0%) to Stereo (100%).

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Reference Guide V1.4.0

DEEP Preamp – Preamps in the SQ itself and those Remote Audio Units are accurate and transparent,

with fast transients and low THD. However, there are some situations where alternative characteristics may be desirable. Using a DEEP preamp model allows you to add these characteristics, with complete control, and none of the associated limitations or reliability concerns of esoteric equipment.

• When in the channel ‘Preamp’ screen, press the ‘Library’ key to show the list of preamp models.

• Select a preamp, then press the ‘Recall’ button to load it.

• Touch ‘On/Off’ to switch the preamp model on or off.

• Touch any on-screen parameter and adjust using the touchscreen rotary.

select preamp model

recall/load model

DEEP preamp controls

 25

Reference Guide V1.4.0

7.2 Preamp (mix channels)

Mix External In – A ‘Mix Ext In’ can be added to any mix channel. This enables signals that do not

require processing to be added to an individual mix. It is useful when wanting to add a sub mix to a main mix, or for communications.

 Mono mixes allow mono external inputs and stereo mixes allow stereo external inputs.

Other than the channel delay, all parameters in the preamp section of mix processing relate to the control of the mix external input, including Source Select, Socket Preamp (available when a socket preamp is selected as the source) and Trim. Refer to

Preamp (input channels) for more information.

 The ‘Polarity’ switch in the Trim section switches the polarity of the assigned

‘Mix Ext In’ as opposed to the polarity of the mix itself.

Delay – In order of processing, the millisecond channel delay is actually located after the compressor.

• Select the value to adjust using the touchscreen rotary.

Mix channel delay = 0ms to 682.6ms

• Touch the ‘In’ button to switch the delay in or out.

source select

preamp control

stereo image

channel delay

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Reference Guide V1.4.0

7.3 Gate (input channels)

Switch the Gate in or out using either the on-screen ‘In’ button or the physical Gate ‘In’ key (to the left of the dedicated Gate threshold rotary).

Side Chain –

• Select either ‘Self Keyed’ or side chain the gate from another channel.

 When using another channel as a side chain input, the signal is sourced after all channel

processing, post millisecond channel delay.

• Touch the filter type to switch between HPF/BPF/LPF modes. The ‘Filter In’ button engages the filter.

• Touch the frequency value to select it, then adjust with the touchscreen rotary.

HPF Frequency = 20Hz to 5kHz BPF Frequency = 120Hz to 10kHz LPF Frequency = 120Hz to 20kHz

Parameters and graph –

• The graph displays input/threshold on the x-axis and output level on the y-axis to give a visual representation of gate parameter settings.

• The side chain input level is shown on the meter to the left of the graph. Gate action (signal reduction) from 0dB to -30dB is shown on the meter to the immediate right of the graph. When the gate is switched in, this is red, otherwise it is white. The post-gate level is shown to the right of this.

side chain source and filter

gate parameters and graph

histogram

 27

Reference Guide V1.4.0

• Adjust parameters by touching to select and then using the touchscreen rotary. Gate threshold also has a dedicated rotary.

Attack = 50µs to 300ms Hold = 10ms to 5secs Release= 10ms to 1sec Threshold = -72dB to +18dB Depth = 0dB to 60dB

Histogram – The histogram shows the previous 12 seconds of gate activity, moving from right to left. As with the reduction meter, when the gate is in, the level reduction (depth) is shown in red, and when out is shown in white/grey.

 28

Reference Guide V1.4.0

7.4 Insert

The insert points on SQ can be used to route audio to and from any available I/O sockets, allowing external analogue or digital processing to be inserted into the channel.

They can also be used with the internal FX engines. See the FX engines section for more details.

Send – Select destination type and channel for the insert send. Return – Select source type and channel for the insert return.

Send/Return types = Local Socket, SLink Socket, USB Port, IO Port, FX Unit

Operating level – Select from line level options to match insert type.

Digital = Uncompensated, for use with digital I/O. Analogue = For use with +4dBu outboard equipment.

-10 dBV = For use with -10dBV outboard equipment.

When a selected channel’s insert is assigned and switched ‘In’, the ‘Insert Active’ LED will illuminate on the SQ surface.

 Note that insert send and return is not latency compensated.

send type/socket

return type/socket

operating level

 29

Reference Guide V1.4.0

7.5 GEQ (mix channels)

All mix channels feature a 28-band stereo graphic EQ. With a mix channel selected, and GEQ active, the green ‘In’ LED in the GEQ section (below the PEQ rotaries) will illuminate.

To make adjustments, touch the on-screen fader for each band and use the touchscreen rotary.

Frequencies (Hz) = 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1k, 1.25k, 1.6k, 2k, 2.5k, 3.15k, 4k, 5k, 6.3k, 8k, 10k, 12.5k, 16k Gain = -12dB to +12dB Bandwidth = 1/3rd oct (constant)

‘Fader Flip’ mode - The SQ can also display the GEQ on faders, to allow for quick and accurate adjustment.

• Pressing the GEQ ‘Fader Flip’ key shows the graphic EQ on faders, with a frequency band on each fader strip. Pressing the ‘Fader Flip’ key a second time on the SQ-5 or SQ-6 displays another set of frequency bands, and a third press will exit the mode.

 Due to having 32 fader strips, the SQ-7 is able to display all 28 frequency bands at once.

• Frequencies are displayed on the channel LCD displays.

• The RTA levels (fed from the PAFL bus) are displayed for each frequency using

the Chromatic Channel Metering.

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Reference Guide V1.4.0

DEEP GEQ – Along with the standard ‘Constant-Q’ GEQ, other DEEP GEQ’s can be added to the SQ. These have unique behavioural characteristics.

Once DEEP GEQ models have been added to the SQ, they can be used in place of the ‘Constant-Q’ GEQ on any mix channel.

 Information on how to add models can be found in the Add-ons section of this guide.

• Press the ‘Library’ key to see the GEQ Library.

• Different GEQ models are recalled from the ‘Factory’ library.

• Store and Recall DEEP GEQ user presets using the ‘User’ library.

Hybrid GEQ –

A combination of the Proportional-Q and Constant-Q units providing smooth boosts

and clinical cuts.

Digi GEQ –

Optimised gain and width to minimise frequency band interaction.

Proportional-Q –

Smooth wide Q which progressively narrows toward maximum cut or boost

values.

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Reference Guide V1.4.0

7.6 HPF and PEQ

HPF - In order of processing, the High Pass Filter (HPF) is located post-preamp (as in the channel overview). It is displayed in the EQ screen for convenience.

• Switch in or out using the on-screen button, or dedicated HPF ‘In’ key.

• Touch the HPF value to select it, then adjust it using the touchscreen rotary, or

use the dedicated HPF rotary.

HPF Frequency = 20Hz to 2Khz

PEQ -

• The 4-bands of the parametric EQ are labelled to match the physical EQ section on the surface.

• When the PEQ is active, the graphical display is brightly coloured, when inactive, it is greyed out.

• To use the dedicated physical EQ controls, select a band, and use the gain, bandwidth and frequency rotaries to adjust. To adjust on-screen, touch the parameter and use the touchscreen rotary, or touch and drag points on the graph.

Frequency (all bands) = 20Hz to 20kHz Width (LF, HF) = Shelf, 1.5 oct to 1/9th oct Width (LM, HM) = 1.5 oct to 1/9th oct Gain (all bands) = -15dB to +15dB

 To avoid accidental switching, the ‘Shelf’ modes of the LF and HF bands can only be

accessed by adjusting the bandwidth/Q control past ‘1.5’ on-screen. It is not possible to set this using the dedicated physical ‘Width’ rotary.

 The frequency band selected on the surface can be set to follow the on-screen selection

in Surface Preferences.

HPF control

band

bandwidth

frequency

gain

PEQ display

HPF display

 32

Reference Guide V1.4.0

7.7 Compressor

Switch the Compressor in or out using either the on-screen ‘In’ button or the physical Compressor ‘In’ key (to the left of the dedicated Compressor threshold rotary).

Side Chain –

• Select either ‘Self Keyed’ or side chain the compressor from another channel.

 When using another channel as a side chain input, the signal is sourced after all channel

processing, post millisecond channel delay.

• Touch the filter type to switch between HPF/BPF/LPF modes.

• Touch the frequency to select, then adjust using the touchscreen rotary.

HPF Frequency = 20Hz to 5kHz BPF Frequency = 120Hz to 10kHz

LPF Frequency = 120Hz to 20kHz Compressor mode There are two detection modes in the standard compressor, RMS (average) and

Peak. Touch either mode to toggle between them. The active mode is displayed in white.

Ducker Mode - Load ‘Ducker Mode’ from the Compressor Library. This is a special compressor mode

that reduces channel level based on signal from another channel (using the side chain input). Often used on background music with the side chain fed from an announcement microphone.

side chain control

compressor parameters and graph

parallel controls

histogram

compressor mode

 33

Reference Guide V1.4.0

Soft Knee – Touch this button to switch on the soft knee setting. This enables a variable ratio

which smooths the behaviour of compression around the threshold (this is also displayed on the graph).

Parameters –

• Adjust parameters by touching to select and then using the touchscreen rotary. Attack = 30µs to 300ms

Release= 50ms to 2secs Ratio = 1:1 (no compression) to Infinity (limiting) Threshold = -46dB to +18dB Gain (make-up gain) = 0dB to +18dB

Graph –

• The graph displays input/threshold on the x-axis and output level on the y-axis to

give a visual representation of compressor parameter settings.

• The side chain input level is shown on the meter to the left of the graph.

Compression (signal reduction) from 0dB to -30dB is shown on the meter to the immediate right of the graph. When the compressor is switched in, this is red, otherwise it is white.

The post-compressor level is shown to the right of this. Histogram – The histogram shows the previous 12 seconds of compressor activity, moving from

right to left. As with the level reduction meter, when the compressor is in, the level reduction (depth) is shown in red, and when out is shown in white/grey.

Parallel compression – This allows you to blend (in-line) the compressed signal with the uncompressed

signal.

• Touch the ‘Parallel Path’ button to switch in or out.

• Touch the Dry/Wet values and adjust using the touchscreen rotary.

Dry/Wet individual level = -infinity to 0dB

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Reference Guide V1.4.0

DEEP compressors – These are modelled on classic hardware units and have unique tonal and behavioural characteristics.

Once DEEP compressor models have been added to an SQ, they can be used in place of the RMS/Peak compressor on any channel.

 Information on how to add models can be found in the Add-ons section of this guide.

• Press the ‘Library’ key to see the Compressor Library.

• Different compressor models can be recalled from the ‘Factory’ library.

• Store and Recall DEEP compressor presets using the ‘User’ library.

Opto –

The best characteristics from a range of optical compressors combined into one smooth

sounding unit.

16T –

Tight and punchy VCA-based RMS compressor, with natural sounding gain

reduction.

16VU –

The classic VCA-based RMS compressor. Musically enhances low-mid frequencies when

driven.

Peak Limiter 76 –

Two versions of the renowned FET levelling amplifier. One vintage, one more modern, both

with all-button mode.

Mighty –

Transistor array compressor that features a unique attack sound. Capable of massive gain

reduction with low distortion.

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Reference Guide V1.4.0

8. Routing

Press any ‘Sel’ key to select a channel, then press the ‘Routing’ screen key to display the routing ‘bank view’. This shows an overview of 8 channels at once, with the

selected channel highlighted.

If a channel is assigned to a DCA or Mute group, this is shown with a filled, numbered icon.

Send levels are displayed for Main/LR, Aux sends and FX sends. These are displayed as a filled bar if assigned, and an outline if unassigned. The bar is coloured pink for post-fade and green for pre-fade.

If a mix has been configured as a group, and the channel is assigned to the group, this is shown with a small circle.

The 8 channels shown will automatically adjust if a different channel is selected, though you can also drag left or right to see other channels in the layer.

• Touch a channel name to rename.

• Touch the ‘Dir Out’ button to see the direct out settings.

• Touch the DCA/Mute Assign ‘blocks’ to see assignments.

• Touch anywhere in the Main/Mix/FX Send levels to see detailed send information

for that channel.

 Mix channels also display the ‘Matrix Sends’ block at the bottom of the channel overview.  Matrix channels display their source levels rather than send levels.  DCA channels display a list of up to 28 ‘members’. If there are more members than this,

then ‘…’ will appear at the bottom of the list.

channel name

direct out/mix source settings

DCA/mute group assign

send levels and group assignments

drag left/right

 36

Reference Guide V1.4.0

8.1 Direct out

Touch the ‘Dir Out’ button on any input channel. This screen shows the direct output level for the selected channel, as well as the

global direct out settings which affect all channels. The currently selected channel is displayed on the left.

• Touch the level value and adjust using the touchscreen rotary, this is adjusted individually on each channel.

Direct out level = -inf to +10dB

• Choose whether direct out signals are affected by faders or mutes by touching the on-screen buttons.

• Select the channel ‘tap off’ point by touching the Direct Out Source value. Each source point is presented in order, and is affected by all preceding processing that is switched in.

Post Preamp = signal is affected only by the preamp gain. Post HPF = signal is also affected by the high pass filter. Post Gate = signal is also affected by the gate. Post Insert Return = signal is also affected by the insert. Post PEQ = signal is also affected by PEQ. Post Comp = signal is also affected by compressor. Post Delay = signal is affected by all channel processing including ms delay.

individual direct output level

direct out source

follow options

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Reference Guide V1.4.0

8.2 Mix send and balance settings

Mix channels have different buttons in place of the ‘Dir Out’ button found on the input channels, touch this to see the following options.

Main – (‘Main Snd’)

• Touch the ‘Output Bal’ value and adjust using the touchscreen rotary to adjust the output balance.

Group – (‘Group’)

• Touch the ‘Output Bal’ value and adjust using the touchscreen rotary to adjust the output balance.

• Touch ‘All On’ or ‘All Off’ button to assign or unassign all channels to the group.

Aux – (‘Aux Snd’)

• Touch the ‘Channel Source’ value to choose the where the aux takes channel signal from. Each source point is presented in order, and is affected by all preceding processing that is switched in.

Post Preamp = signal is affected only by the preamp gain. Post Insert Return = signal is also affected by HPF, gate and insert. Post EQ = signal is also affected by PEQ. Post Delay = signal is affected by all channel processing including ms delay.

• Touch ‘All On’ or ‘All Off’ button to assign or unassign all channels to the aux.

• Touch ‘All Pre’ or ‘All Post’ button to set all channel sends to pre-fade or post-

fade.

FX – (‘FX Snd’)

• Touch the ‘Channel Source’ value to choose the where the FX send bus takes channel signal from. Each source point is presented in order, and is affected by all preceding processing that is switched in.

• Touch ‘All On’ or ‘All Off’ button to assign or unassign all channels to the FX bus.

• Touch ‘All Pre’ or ‘All Post’ button to set all channel sends to pre-fade or post- fade.

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Reference Guide V1.4.0

8.3 DCA/Mute Groups

Touch the DCA/Mute Assign block to show assignments for the selected channel.

 Digitally Controlled Amplifiers control the send levels and mutes of multiple channels with

a single fader and mute key. DCA’s are not buses so they do not carry signal or have processing or metering functionality.

 Mute groups are used to mute multiple channels with a single SoftKey.

• Touch ‘Assign’ buttons to assign or unassign the selected channel to DCA’s or Mute Groups.

• Touch the ‘View’ buttons to see all channels currently assigned to the DCA or Mute Group.

• Touch and drag up and down in the view window to see all channels.

• Channels can be assigned or unassigned by touching assignment buttons.

• Touch the DCA/Mute Assign ‘blacks’ to return to the selected channel

assignments view.

In both the ‘Processing’ and ‘Routing’ screens, DCA channels display a list of up to 28 channel ‘Members’ (channels assigned to that DCA). If there are more members than this, then ‘…’ will appear at the bottom of the list.

• Touch anywhere on a DCA member list to view and assign or unassign channels.

 Pressing the PAFL key on a DCA fader strip is the equivalent of using additive PAFL on

every member of the DCA. When engaged, PAFL keys of the DCA members will flash.

 When muting DCA’s or Mute Groups, the mute keys of the assigned channels will flash.

If a channel is also independently muted, the duration of illumination will change to indicate this.

assign selected channel to DCA

assign selected channel to mute group

view all channels assigned to this DCA

view all channels assigned to this mute group

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Reference Guide V1.4.0

8.4 Send levels and mix assignments

This screen displays all sends and mix assignments for the selected channel.

• Touch and drag left or right to view all mixes and sends.

• Touch the ‘On/Off’ button to assign or unassign the channel to a mix/send or

matrix.

• Touch the ‘Pre/Post’ button to set send to either Pre-fade or Post-fade.

• Touch the ‘Pan/Bal’ control and use the touchscreen rotary to set the pan or

balance for a send.

• Touch the ‘Level’ value and adjust using the touchscreen rotary, or adjust on faders.

 Pressing the momentary ‘CH to All Mix’ key displays all send levels for the currently

selected channel on the fader strips. You can also hold this key then use the assign or pre-fade keys to change routing for the selected channel.

 Holding the ‘Assign’ key and pressing the ‘Sel’ key of a mix assigns or unassigns all

channels.

mix sends

pre/post button

assign to mix

send level

pan (stereo mixes)

drag left/right

 40

Reference Guide V1.4.0

8.4 Matrices

The SQ features 3 stereo or mono matrix buses. These can be fed by any combination of SQ mixes and routed to all available outputs.

Combining mixes can be useful for several applications including:

• Recording – a single mix or combination of mixes can be recorded with additional mix processing and level control.

• Extra speakers – a matrix can be used to send a duplicate of single mix (often the LR mix) with extra processing and/or added delay. This is useful for ‘fill’ speakers or to time align ancillary speakers.

• Feeding subwoofers – by routing the main LR mix (Post-Fade) to a matrix and using this to feed subwoofers, the entire system level can be controlled by the LR master send, but the subwoofers have additional processing and level control.

There are three methods for sending a mix to a matrix.

1) The matrix sends are shown in the send levels and assignments screen when a mix is selected.

2) The matrix sources are shown in the send levels and assignments screen when a matrix is selected.

3) The matrix sends are shown on faders when a mix channel is selected and the momentary ‘CH to All Mix’ key is pressed on the surface of the SQ.

 For information on setting any mix to mono, see Input/Mix stereo assign.

levels to matrix

pre/post button

assign to matrix

send level

pan (mono mixes)

drag left/right

balance (stereo mixes)

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Reference Guide V1.4.0

9. Metering

9.1 PAFL LED Meter

The 12 segment LED metering on the surface of the SQ to the right of the touchscreen displays level metering for the PAFL bus.

By default, with no PAFL keys active, this displays the main LR mix level.

 The PAFL LED indicator below the 12 segment LED illuminates when a PAFL routing

key or button is active anywhere in the mixer.

9.2 Input/FX/Output Meters

The first three tabs on the ‘Meters’ screen show ‘Input Meters’, ‘FX Meters’ and ‘Output Meters’.

• The main coloured meter displays levels from -40dB to +10dB.

• The gain reduction meter shows level reduction from 0dB to -30dB, this is

red/bright red when the compressor is switched in and grey/white when it is switched out.

• The gate active indicator is red/bright red when the gate is switched in and grey/white when the gate is switched out.

• Touch and drag to view other channels.

 Input meters display post processing level to show contribution to the mix.

touch and drag

signal level

compressor gain reduction

gate active

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Reference Guide V1.4.0

9.3 RTA

• RTA follows PAFL selection and settings.

• Displays the levels of 31 frequencies with fixed 1/3rd oct bandwidth.

• The meter for the prominent frequency of either left or right is shown in red.

System setup - By connecting a measurement microphone and ‘listening’ on the PAFL bus, the RTA meters can be used to analyse a room.

Ringing out a room – The RTA can be used to find problem frequencies in channels/groups/mixes. Used in conjunction with PEQ and GEQ, it is easy to reduce the level of frequencies from outputs that may be causing feedback.

 See also GEQ ‘Fader Flip’ mode, which displays the RTA using channel metering.

9.4 Other Metering

• More detailed metering is also displayed throughout the processing screens and is particularly useful for gain staging with each processing ‘block’.

• The peak (Pk) LED’s on channels strips use multi-point sensing to display destructive peaking anywhere in the channel/mix processing.

• If a channel is peaking on a channel strip which is on an inactive layer, the layer selection key will illuminate in red.

• SQ-Drive metering displays either the signal being sent to, or the signal returning from the SQ-Drive, depending on its state (recording/playback).

frequency bands

left

right

prominent frequency

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Reference Guide V1.4.0

9.5 Chromatic Channel Metering

The Chromatic Channel Metering displays the information of a high-resolution meter in the space of a single LED. It can depict a much greater range of levels than a traditional meter and behaviour is customisable in the ‘Channel Meters’ tab.

• Touch an ‘Audio Level’ value and adjust using the touchscreen rotary.

 ‘Audio Level’ values are bound by the level setting of states above and below.

• Touch a colour for an ‘Audio Signal State’ and use the touchscreen rotary to adjust the colour/s for this level range.

Colours = White, Red, Orange, Orange/Yellow, Yellow, Green, Green/Blue, Blue, Blue/Red, Off.

• Touch the ‘Intensity’ value to choose the behaviour of the meters.

Fixed = meter switches instantly between states. Variable 1 = meter changes close to the endpoints of its range. Variable 2 = meter changes across the whole range.

• Touch the ‘Restore to Defaults’ button to restore settings.

Upper Nominal

+12.0dB

Orange

Variable 2

Nominal

+3.0dB

Orange/Yellow

Variable 2

Lower Nominal

-20.0dB

Green

Variable 2

Signal Presence

-40.0dB

Green/Blue

Variable 2

Active ‘Open Mic’

-50.0dB

Blue

Variable 2

Inactive

N/A

‘threshold’

colour

brightness/intensity

default

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Reference Guide V1.4.0

10. FX Engines

10.1 Using FX buses and returns

The SQ has four FX send buses which by default send to the first four FX engine slots (these are preloaded with useful FX presets).

These buses can be used in the same way as any of the mix buses:

• Press an FX key from 1 to 4 to show and adjust the send levels on faders for each fader strip to that FX bus. Or with a channel selected, hold the ‘CH to All Mix’ key to show and adjust all FX bus sends for the selected channel (along with all other sends).

• The master FX send level is controlled with the Master channel (when in ‘Mix Master’ mode and displaying the FX sends on faders).

The FX output signal is returned to the matching FX return channel for each FX engine slot. (i.e. the ‘FX Unit 1’ output is routed to ‘Fx1Rtn’).

• All FX return channels are stereo and feature PEQ processing.

• FX Returns can be assigned and sent to mixes in the same way as any input

channel.

 FX return channels can be assigned to fader strips but will not be visible unless they are

routed from the output of the FX engine (e.g. set as ‘Mix -> Return’ on the back panel).

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Reference Guide V1.4.0

10.2 Loading units and presets

Pressing the ‘FX’ screen key displays the front/rear of the currently selected FX engine, with other loaded FX units and empty slots on the left of the screen.

• Select the slot you wish to use.

• Press the ‘Library’ key on the surface to open the FX Library.

• Select an FX type, then a ‘Factory’ preset. Different presets use different FX

units,

• Touch the ‘Recall’ button to recall the preset and FX unit.

 User presets can be stored and recalled to and from the ‘User’ section of the FX library.

10.3 Adjusting parameters

Each FX unit has a different set of parameters, but all work in the same way.

• Touch any buttons to switch between modes or states.

• Touch parameter controls or values and use the touchscreen rotary to adjust.

The SMR unit is a special case - pressing the ‘Expert’ button will give access to much more in-depth control for fine tuning reverb behaviour. In this mode, cycle through all available parameter settings using the ‘Page’ button.

global tempo

panel view

empty slots

loaded FX

FX PEQ

send level/settings

return level/settings

FX parameters

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Reference Guide V1.4.0

10.4 Sending to FX from other sources

Mix->Return - As well as sending using the four FX buses, you can send to the FX engines using mixes, allowing you to send to any of the 8 FX engines using ‘sends on faders’. This routing type can also be used with channel direct outs.

For any adjustment to routing first press the ‘Back Panel’ button at the top right of the

FX screen.

1) Set the routing type to ‘Mix -> Return’.

2) Touch the routing source value to select a source. Sources = FX Send, Group, Aux, Main, Matrix, Direct Output

3) Touch the channel value and adjust using the touchscreen rotary.

4) Touch the ‘Apply’ button to apply changes.

Inserts – You can insert FX engines on individual channels or mixes. This automatically sets up and uses the insert point of the channel.

1) Set the routing type to ‘Insert’.

2) Touch the routing source value to select a source. Sources = Input, Group, Aux, Main, Matrix

3) Touch the channel value and adjust using the touchscreen rotary.

4) Touch the ‘Apply’ button to apply changes.

 Typically, signal processors such as multiband compressors and de-essers are inserted

in this way.

insert settings

return wet/dry mix

routing type

current routing/channel

routing source channel/number

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Reference Guide V1.4.0

10.5 FX Levels and PEQ

When routed as ‘Mix -> Return’, the PAFL, Mute and Level settings for the currently

selected FX engine slot are displayed at the bottom of the screen for both the FX send and FX return.

• Touch buttons to PAFL or mute channels.

• Touch values and adjust using the touchscreen rotary.

When an FX engine is being used as an insert, the insert ‘In’ button and return wet/dry mix values are displayed.

• Touch the ‘In’ button to switch the insert in or out.

• Touch either wet or dry values to adjust the blend of the dry (unprocessed) signal

with the wet (processed) signal.

Dry/Wet individual level = -infinity to 0dB

Press the PEQ button at the bottom centre of the screen to view and adjust the PEQ which affects the output of the FX. This works in exactly the same way as any channel processing PEQ.

 All level and PEQ settings, presented on the FX screen for convenience, duplicate

control available elsewhere in the mixer. The PEQ for example, is the same PEQ that can be accessed when selecting FX return channels.

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Reference Guide V1.4.0

10.6 RackExtra FX Types

Spatial Modelling Reverb (SMR) –

4 fully configurable complex spatial models: Classic, Hall, Room and EMT.

ADT Doubler –

Automatic double tracking unit with double and quad modes, separation,

thickness and autopan control.

Stereo Tap Delay –

Clean digital delay with link, filters, tap tempo (global or local) and BPM or ms

display options.

Chorus –

Versatile chorus unit with 3 stereo field options, rate, depth and LFO control,

plus autopan option.

Symphonic Chorus –

A faithful emulation of the 80’s classic

chorus effect with 2 very simple

controls.

Flanger –

3 classic flanger effects in one unit:

‘Ambient’, ‘Vintage’ and ‘Wild’ with

multiple LFO and stereo options.

MOO 12 Stage Phaser –

Accurate emulation of a 12 stage phaser, with rich, textured phasing and

plenty of control.

Gated Verb –

Emulation of the 80’s classic gated

reverb, with in-depth control and 2 extra variants: ‘Panned’ and ‘Powerbox’.

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Reference Guide V1.4.0

RackFX Add-ons

 Information on how to activate these can be found in the Add-ons section.

MultiBD Compressor 4 –

Fully featured 4 band compressor for dynamic control on input or mix

channels.

MultiBD Compressor 3 –

Fully featured 3 band compressor for dynamic control on input or mix

channels.

DynEQ4 – 4 band dynamic equaliser, able to carve

and shape any sound source.

De-Esser –

Classic De-Essing with auto-threshold for natural sibilance reduction.

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Reference Guide V1.4.0

11. Saving and Recalling Shows/Scenes/Libraries

All mix settings in SQ can be stored and recalled in either ‘Scenes’ or ‘Show’ files. Scenes are intended for recall during use, whilst a Show file contains everything for an event or particular set up. Show files should also be used to backup a configuration or transfer it to another unit.

In summary:

• A ‘Scene’ is a snapshot of all mix settings.

• There are 300 scene slots available per ‘Show’.

• In addition to all scenes, a ‘Show’ includes all SQ settings (such as Chromatic

Channel Metering and Integrated Surface Illumination settings).

 The SQ can have one ‘Show’ on it at any one time. Multiple ‘Show’ files must be stored

or recalled using SQ-Drive or SQ-MixPad.

 Mixer Config settings including Input Stereo, Mix Stereo and Bus Config require changes

to the XCVI core, interrupting audio. It is therefore not possible for these to be changed per scene.

Saved in each Scene

Saved in each Show

Input and output routing

300 Scenes

Preamp settings

All Libraries

Channel processing

Stereo Input/Mix and Mix Config

Channel assignments and send levels

Audio Sync settings

Panning and balance

Signal Generator settings

Channel mutes

Talkback settings

Mute Groups and DCA assignments and levels

PAFL settings

Fader strip assignments

Global scene filter settings

FX units and parameters

Channel safes

Channel names

MIDI channel

SoftKey/SoftRotary assignments

USB source

Footswitch settings

Surface brightness preferences

Ganging

Chromatic Channel Metering

Role/Master Fader Mode

Saved in the SQ

Network settings

Unit name

Fader Calibration

User Permissions

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Reference Guide V1.4.0

11.1 Scene manager

The scene manager allows scenes to be stored, recalled and deleted.

To store all current mix settings in a new slot:

• Touch any empty slot.

• Touch the ‘Store’ button to save with the name ‘Scene [x]’.

• Touch in the empty scene name field to be prompted to name the scene at the same time as storing it.

To recall a scene:

• Touch a scene to highlight it then touch the ‘Go’ button.

To rename a scene:

• Touch the scene, then touch in the edit scene name field at the top of the screen.

To overwrite a scene:

• Touch the scene to overwrite, then touch the ‘Store’ button.

To delete a scene:

• Touch the scene you wish to delete then touch the ‘Delete’ button.

 You can choose whether or not to confirm scene operations (and avoid accidental

overwriting) by using the ‘Confirm Scene Operations’ button found in Surface

Preferences.

scene number

scene name

edit scene name

recall

store, modify and filter settings

scene filter active

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To quickly copy, paste or delete scenes:

• Hold the ‘Copy’ key and touch the scene you wish to copy.

• Hold the ‘Paste’ key and touch the scene slot in which you’d like to paste it.

• Hold the ‘Reset’ key and touch a scene to delete it.

Scene Filters When storing a scene, all mix settings are saved. However, it is possible to filter what

is recalled using a combination of scene recall filters and global filters.

 See Global Filters for information on what each filter does.

To choose which filters are allowed or blocked per scene:

• Touch a scene to highlight it then touch the ‘Recall Filter’ button.

• In the pop-up, there are three tabs ‘Input/FX’, ‘Mix’ and ‘Other’ containing all

available filters.

• Touch any filter button to switch between ‘Allow’ and ‘Block’.

• Blocked parameters will not be affected when recalling the scene.

 The Copy/Paste/Reset keys can also be used with the ‘Recall Filter’ button.

Reset Mix Settings If wanting to start with default mix settings, pressing the ‘Reset Mix Settings’ button

takes you to the Role page where it is possible to reset the mix without deleting scenes. See Reset Mix Settings for more information.

recall allowed

filter type

filter active on tab

recall blocked

scene

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11.2 Global Filters

Global scene filters are always active, and affect which settings are changed when recalling a scene. They also override any active scene filters.

• Touch any filter button to switch between ‘Allow’ and ‘Block’.

• Blocked parameters will not be affected when recalling scenes.

Input/FX Filters

Inputs

Filter

Includes

Patch

Source and Direct Out patching of input channels

Preamp

Preamp settings of input channels and socket routing (excludes DEEP preamp models)

Processing

All Input channel processing and insert socket settings

Name/Colour

All input channel names and colours

Fader

All input channel fader positions and assignments to the Main LR mix

Pan/Balance

All input channel panning and balance to Main LR mix

Mute

All input channel mutes

AMM

All AMM assignments and settings

Filter

Includes

Patch

All FX input patching (Mix->Return or Insert) and output patching

Parameters

All FX parameters and wet/dry mix settings

Name/Colour

All FX Send and Return channel names and colours

Fader

All FX Send and Return channel fader positions

Return Balance

All FX Return channel balance positions

Mute

All FX Send and Return channel mutes

Sends to FX

All send levels and assignments to FX busses

recall allowed

filter type

filter active on tab

recall blocked

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Reference Guide V1.4.0

Mix Filters

Group

Filter

Includes

Patch

Mix Ext In source plus output patching of Group channels

Ext In Preamp

Preamp settings of Group Mix Ext In

Processing

All Group channel processing

Name/Colour

All Group channel names and colours

Fader

Master fader positions and output balance of Group channels

Pan/Balance

Master pan and balance positions for all Group channels

Mute

Master mute for all Group channels

Assigns to Group

All channel assignments to all groups

Aux

Filter

Includes

Patch

Mix Ext In source plus output patching of Aux channels

Ext In Preamp

Preamp settings of Aux Mix Ext In

Processing

All Aux channel processing

Name/Colour

All Aux channel names and colours

Fader

Master fader positions and output balance of Aux channels

Mute

Master mute for all Aux channels

Sends to Aux

All send levels to Aux channels

Main

Filter

Includes

Patch

Mix Ext In source plus output patching of the Main LR channel

Ext In Preamp

Preamp settings of Main LR Mix Ext In

Processing

Main LR channel processing

Name/Colour

Main LR channel name and colour

Fader

Master fader positions and output balance of the Main LR channel

Mute

Master mute for all Main LR channel

Matrix

Filter

Includes

Patch

Mix Ext In source plus output patching of Matrix channels

Ext In Preamp

Preamp settings of Matrix Mix Ext In

Processing

All Matrix channel processing

Name/Colour

All Matrix channel names and colours

Fader

Master fader positions and output balance of Matrix channels

Mute

Master mute for all Matrix channels

Sends to Matrix

All send levels to Matrix channels

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Other Filters

DCA/Mute Group

Filter

Includes

Assign

All assignments to DCA and Mute Groups

Master

DCA and Mute Group state, including mutes, fader, name and colour

Input Sockets

Filter

Includes

Tie Line Only Preamps

Preamp parameters for connected sockets not assigned to a channel

Output Sockets

Filter

Includes

Local Patch

All patching to local output sockets (XLR, TRS and AES)

SLink Patch

All patching to the SLink port

USB Patch

All patching to USB (SQ-Drive and USB-B)

ME Patch

All patching to the ME system (SLink or I/O Port)

I/O Port Patch

All patching to the I/O Port

Control

Filter

Includes

SoftKeys

All SoftKey assignments

Strip Assign

Channel strip layout

Soft Rotaries

All Soft Rotary assignments

Ganging

All ganging assignments and linked parameters

Footswitches

Footswitch assignments

 It is common to block ‘SoftKeys’ and ’SoftRotaries’, so they continue to function in the

same way whenever scenes are recalled.

 Changes to Talkback and PAFL Ext In patching and preamp parameters are always

blocked as these are show level parameters.

 All output socket filters also affect socket settings i.e. AES sample rate setting.

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11.3 Safes

‘Safes’ block any changes to a channel when recalling a scene.

• Touch ‘Input’, ‘FX’ or ‘Mix’ tabs to view all channel safes.

• Touch a ‘Safe’ button to safe the channel (the button will turn white).

11.4 Libraries

Factory Libraries and User Libraries are available for many features and processing in SQ and can be accessed by using the dedicated Library key when in certain screens.

Throughout this document, where a library is available for use, it is noted with an image of the library key next to the screen image.

safe disabled

safe enabled

options/folders

rename

Factory/User libraries

library items

storage/recall

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Factory libraries provide presets and are also used to recall different FX units or DEEP plug-ins. They are fixed in firmware and cannot be edited or overwritten.

To recall from the library:

• Go to the screen you wish to recall parameters for.

• Press the ‘Library’ key.

• Select the Factory or User library item you wish to recall.

• Touch the ’Recall’ button.

To store or overwrite a library item:

• Go to the screen you wish to store parameters for with the settings you wish to store visible.

• Press the ‘Library’ key.

• Select the User library in the top right of the screen.

• Touch the ’Store New’ button to store a new library item.

• Select a library item and touch the ‘Overwrite’ button.

To delete a library item:

• Select the User library in the top right of the screen.

• Select the library item you wish to delete.

• Touch the ’Delete’ button then confirm to delete the item.

Libraries are available in the following screens.

SQ Libraries

Library

Screen

Includes

Input Channel

Processing overview (input selected)

All input channel processing - Options for Preamp, Name and Colour recall

Mix Channel

Processing overview (mix selected)

All mix channel processing - Options for Ext In Preamp, Name and Colour recall

Preamp Model

Processing > Preamp (input selected)

DEEP preamp model and parameters Gate

Processing > Gate

Gate parameters

GEQ

Processing > GEQ

DEEP GEQ models and parameters

PEQ

Processing > PEQ

PEQ parameters - Option for HPF

Compressor

Processing > Compressor

DEEP compressor models and parameters

FX (rack selected)

FX units and parameters, including Wet/Dry mix

User Permissions

Setup > Users (User 1- 10 selected)

User permission settings

Input Channel Patch

I/O > Inputs

All patching for Input Channel and Mix Ext In

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11.5 Data transfer (USB/MixPad)

All data transfer options are located in the ‘Utility’ screen, in the ‘Data’ tab. These

enable shows and individual scenes and libraries to be stored and recalled, and are used to back-up data or transfer it to another SQ.

USB Shows

To store a show to a USB device:

• Touch the ‘Store New’ button - you will be prompted to name the show.

To recall a show:

• Touch a show to highlight it (use the touchscreen rotary to change selection or scroll through all shows) then touch the ‘Recall’ button.

To rename a scene:

• Touch a show, then touch in the ‘Name’ field in the centre of the screen.

To overwrite a scene:

• Touch the scene to overwrite, then touch the ‘Overwrite’ button.

 Storing or recalling shows is not possible when SQ-Drive is being used for recording or

playback.

 Storing or recalling shows will interrupt USB-B streaming.

store/recall actions

rename show

shows on SQ-Drive

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Reference Guide V1.4.0

USB Scenes

To store a scene to a USB device:

• Touch to select the scene you wish to store in the ‘SQ Scenes’ list on the left.

• Touch the ‘To USB’ button.

To transfer a scene from USB to the SQ:

• Touch to select the scene to transfer in the ‘USB Scenes’ list on the right.

• Touch to select an empty slot in the ‘SQ Scenes’ list on the left.

• Touch the ‘To SQ’ button to transfer.

To overwrite a scene:

• Touch to select the scene to transfer in the ‘USB Scenes’ list on the right.

• Touch to select the scene to overwrite in the ‘SQ Scenes’ list on the left.

• Touch the ‘Overwrite SQ’ button to transfer and overwrite the SQ scene.

To delete a scene from USB:

• Touch to select the scene to delete in the ‘USB Scenes’ list on the right.

• Touch the ‘Delete’ button and confirm the action in the pop-up.

store/recall actions

SQ scenes

scenes on SQ-Drive

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USB Libraries

To store a library item to a USB device:

• Touch to select the library item you wish to store in the ‘SQ Libraries’ list on the left.

 All user libraries in the current show are displayed.

• Touch the ‘To USB’ button.

To transfer a library item from USB to the SQ:

• Touch to select the library to transfer in the ‘USB Libraries’ list on the right.

• Touch the ‘To SQ’ button to transfer.

To overwrite a library item:

• Touch to select the library item to transfer in the ‘USB Libraries’ list on the right.

• Touch to select the library item to overwrite in the ‘SQ Libraries’ list on the left.

• Touch the ‘Overwrite SQ’ button to transfer and overwrite the SQ library item.

To delete a library item from USB:

• Touch to select the library item to delete in the ‘USB Libraries’ list on the right.

Touch the ‘Delete’ button and confirm the action in the pop-up.

store/recall actions

SQ libraries

libraries on SQ-Drive

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Sync To push or pull data using the SQ-MixPad app, the SQ console must be in sync mode.

This avoids accidental overwriting of data on both the SQ console and SQ-MixPad. To enter sync mode, go to the ‘Utility’ screen, then touch ‘Data’ followed by ‘Sync’.

Touch the ‘Sync Mode’ button then confirm you understand the implications of sync

mode in the pop-up to proceed.

Once in sync mode, pushing and pulling of data is controlled by SQ-MixPad.

 Refer to SQ-MixPad help for more information on data transfer to and from MixPad.  Starting sync mode will disconnect all devices aside from the one being connected to as

all network bandwidth is required without interruption.

sync mode

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12. Setup

12.1 Strip assign

All fader strips on the SQ are freely assignable.

Press the ‘Setup’ screen key, touch the ‘Surface’ tab then touch the ‘Strip Assign’

tab.

• SQ channels are displayed in the top half of the screen. Select channel types by touching buttons on the right, and touch and drag left or right to view all available channels.

• Fader strips are displayed in the bottom half of the screen. Select layers by touching the buttons to the right or switching layers on the surface, then touch and drag left or right to view all available fader strip slots.

• To assign channels to fader strips, touch and drag them from the top row to a fader strip in the bottom row.

• To remove assignments, touch and drag them out of the fader strip at the bottom towards the top of the screen.

 FX return channels can be assigned to fader strips, but will not be visible unless they are

routed from the output of the FX engine (e.g. set as ‘Mix -> Return’ on the back panel).

 The ‘Listen’ bus is not a channel type, but the Master fader can be used to control Listen

Level. See the Mixer Role section for more information.

SQ channels

channel types

surface fader strips

surface layers

drag ‘n’ drop

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12.2 Input/Mix stereo assign

To use channels as stereo channels throughout the mixer, they must first be switched into stereo mode.

In the ‘Setup’ screen, touch the ‘Mixer Config’ tab, then touch either ‘Input Stereo’ or ‘Mix Stereo’.

• Odd/even pairs of input channels or any mix can be switched between mono and

stereo mode by touching the ‘Mono/Stereo’ button.

• Touch the ‘Apply’ button to apply any changes.

• Touch the ‘Cancel’ button to undo changes and display the current state.

mono mode

stereo mode

apply changes

stereo group

mono aux

stereo aux

stereo matrix

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12.3 Mix bus configuration

The 12 mixes can be switched between group and auxiliary modes under the ‘Bus Config’ tab.

• Touch either the ‘Number or Groups’ value or the ‘Number of Auxes’ value, then adjust using the touchscreen rotary.

• Increasing the number of groups will decrease the number of auxiliaries and vice versa.

• Touch the ‘Apply’ button to apply any changes.

Auxiliaries will always be assigned sequentially to the first mix keys, with groups assigned afterwards. For example, if you configure the buses as 5 groups and 7 auxes, auxes 1 to 7 will be on mix keys 1 to 7 and groups 1 to 5 will be on mix keys 8 to 12.

 Mix keys assigned to auxes illuminate blue when active, and mix keys assigned to

groups illuminate magenta.

groups

auxiliaries

apply changes

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12.4 SoftKeys/SoftRotaries

SoftKeys and SoftRotaries (SQ-6) allow you to customise surface controls of the SQ.

Press the ‘Setup’ screen key, then touch the ‘Surface’ tab followed by the ‘Soft Controls’ tab to view and adjust SoftKey and SoftRotary assignments.

To change the function of a SoftKey or SoftRotary:

1) Touch either ‘Soft Keys’ or ‘Soft Rotaries’ (SQ-6, SQ-7).

2) Touch a numbered SoftKey or SoftRotary button, these match the labelling on the surface of the SQ and turn white when selected.

3) Touch the control type value and select a type.

4) Touch the control option 1 value (when available) and select an option.

5) Touch the control option 2 value and select an option.

6) For Soft Rotaries on SQ-6 and SQ-7 there is a third control option, to select the function of the associated key.

7) Touch the ‘Apply’ or ‘Cancel’ button, to apply or disregard any changes.

SoftKeys illuminate with different colours depending on function. When assigned to a Tap Tempo, they flash to display the current tempo.

Each SoftRotary has an LCD display, an assignable key and is illuminated when active, with the colour of the rotary and key relating to the assigned function.

• The SoftRotary LCD display momentarily displays parameter value when adjusted.

• Press the ‘View’ key multiple times to display Soft Rotary function and value.

SoftKey/Soft Rotary selection

control type

control option 1

control option 2

apply changes

key function

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Possible SoftKey assignments Control Type

Control Option 1

Control Option 2

Colour

Unassigned

N/A

Channel Mute

N/A

All audio channels

Red

Mute Group

N/A

Mute Groups 1 to 8

Red

DCA Mute

N/A

DCA’s 1 to 8

Red

Tap Tempo

Left, Right, Left & Right

FX engines 1 to 8

Red

Global Tap Tempo

N/A

Red

Recall Scene

N/A

All saved scenes

Red

Scene Store Current

N/A

Red

Scene Recall Go

None, Auto Increment

N/A

Red

Scene Next

N/A

Red

Scene Previous

N/A

Red

Channel PAFL

N/A

All audio channels

Yellow

DCA PAFL

N/A

DCA’s 1 to 8

Yellow

PAFL Clear

N/A

Red

SQ-Drive Stereo Play

N/A

Previous, Stop, Start/Pause, Next

N/A SQ-Drive Stereo Record

N/A

Stop, Start/Pause, Arm

N/A

SQ-Drive Multitrack

N/A

Stop, Start/Pause, Arm

N/A

MMC

N/A

Rewind, Play, Pause, Stop, FFwd, Record

N/A DAW Control

N/A

Bank Up, Bank Down

N/A

Talk

N/A

Green

Mix Select

N/A

All mixes

Blue/Magenta

AMM In/Out

N/A

AMM 1, AMM 2

Green

AMM Channel On/Off

N/A

All input channels

Green

MIDI note On/Off

MIDI Channel

Note

Red

MIDI Program change

MIDI Channel

Program 0 - 127

Red

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Reference Guide V1.4.0

Possible SoftRotary assignments Control Type

Control Option 1

Control Option 2

Key

Unassigned

N/A

Main Level Fader

Current Selection, all main send levels

N/A

Unassigned, Mute, PAFL

DCA Level Fader

DCA’s 1 to 8

N/A

Unassigned, Mute, PAFL

Send Level Fader

Current Selection, all input and mix channels

Main LR, all aux and FX sends

Unassigned, Assign (to mix)

Pan

Current Selection, all input and mix channels

Main LR, all stereo aux

Unassigned, Centre

Gate

Threshold, Depth, Attack, Hold, Release

Current Selection, all input channels

Unassigned, In

Compressor

Threshold, Ratio, Gain, Attack, Release

Current Selection, all input and mix channels

Unassigned, In

Preamp

Gain, Trim

Current Selection, all input and mix channels

Unassigned, Pad, Polarity

HPF Frequency

Current Selection, all input channels

N/A

Unassigned, In

PEQ Band

LF, LM, HM, HF

Current Selection, all input and mix channels

Gain/Width/Freq AMM Priority

All input channels

N/A

Unassigned, On

Preamp model

Fine Adjustment, Level

Current Selection, all input channels

Unassigned, In MIDI absolute

MIDI Channel

CC#

Unassigned, Note

MIDI relative

MIDI Channel

CC#

Unassigned, Note

FX Parameter

Time, Amount*

Rack FX Slot (1-8)

Tap Tempo

MIDI Program Change

MIDI Channel

N/A

Sends MIDI PAFL Listen Level

N/A

*FX Parameter ‘Time’ and ‘Amount’ functions for different FX units

FX Unit

Time

Amount

SMR Reverb

Decay Time

N/A

Gated Verb

N/A

Stereo Tap Delay

Delay Time

Feedback Amount

ADT

Delay Separation

Thickness

Blue Chorus

Rate

Depth

Symphonic Chorus

Frequency

Depth

Flanger

Speed

Depth

Phaser

Rate

Depth

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12.5 Footswitch

Connecting a single or dual, momentary or latching footswitch with a TS or TRS ¼”

jack plug to the ‘Footswitch’ socket allows hands-free control of the SQ. In the ‘Setup’ screen, touch the ‘Surface’ tab then the ‘Footswitch’ tab to display and

adjust the footswitch settings and assignments.

When first connecting a footswitch, touch the ‘Calibrate’ button to set the type of

switch being used. Follow the on-screen instructions.

• Single footswitches usually use only the ‘Tip’ connection.

• You may need to experiment to find which switch is connected to tip or ring with a

dual footswitch.

Options for the type of switch are as follows and must match the footswitch hardware:

Unused = Select for a switch you do not wish to use. Latching = Press and release to switch on, press again to switch off. Momentary = Press and hold to switch on, release to switch off. Soft Latch = Enables a momentary switch to be used as a latching switch.

To assign a function to a footswitch:

1) Touch either ‘Tip’ or ‘Ring’ buttons to select a switch.

2) Touch the control type value and select a type.

3) Touch the control option 1 value (where available) and select an option.

4) Touch the control option 2 value (where available) and select an option.

5) Touch the ‘Apply’ or ‘Cancel’ button, to apply or disregard any changes.

 Available footswitch assignments match those for SoftKeys.

switch selection

control type

control option 1

control option 2

calibrate footswitch

apply changes

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12.6 Surface Preferences

Press the ‘Setup’ key, then touch the ‘Surface’ tab followed by the ‘Surface Prefs’

tab to see the surface preferences.

 This screen can also be accessed by pressing the ‘Brightness’ button on the ‘Home’

page.

• Touch the ‘Confirm Scene Operations’ button to enable or disable confirmation pop-ups when performing scene overwriting/recalling/deleting operations.

• Touch the ‘Processing Screens Follow Surface’ button to enable or disable the option for processing screens to change to the last adjusted parameter.

• Touch the ‘Preamp On Surface’ button to choose whether the dedicated surface preamp control can adjust gain on preamps or only trim.

• Touch the ‘PEQ Band Follow Screen’ button to choose whether the band selection on the surface follows the on-screen PEQ band selection.

 The ‘Preamp on surface’ setting is useful when there is a digital split between two

consoles and gain adjustments would affect both. Instead, it allows quick adjustment of trim, which is local to the console.

Brightness These settings individually control the brightness of illumination across the SQ.

• Touch a parameter dial and adjust using the touchscreen rotary.

Touchscreen = The touchscreen backlight LED’s = All surface LED’s including keys, channel and PAFL metering Channel Strip LCDs = Channel naming strip LCD backlights Light Bar Brightness = Brightness of the integrated illumination Light Bar Balance = Colour of the integrated illumination

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12.7 PAFL

The Pre/After Fade Listen settings affect the behaviour of the PAFL bus which is routed to the SQ headphone output and displayed on the 12 segment LED meter as

well as being routed to the SQ’s RTA. Press the ‘Setup’ screen key, then touch the ‘Audio’ tab, followed by the ‘PAFL’ tab

to display and adjust settings.

• Touch any button on the left of the screen to turn an option on or off.

Additive (On) = Allows multiple channel strips to be routed to the PAFL bus at once. Sel Follow PAFL (On) = Pressing a PAFL key will also select (‘Sel’) a channel. PAFL Follow Mix (On) = When PAFL is active on the master/mix channel strip, the channel being routed to PAFL will follow mix selection. Input Override Mix (On) = When PAFL is in additive mode, pressing the PAFL key of an input channel unassigns mix channels from the PAFL bus. Unassigning all input channels reassigns the previously assigned mixes. LR to PAFL (On) = When no other PAFL routing is active, the main LR mix is routed to the PAFL bus.

Output AFL (Off) = Output channels routed to the PAFL bus are pre-fade. (Pre-Fade Listen) Output AFL (On) = Output channels routed to the PAFL bus are post-fade. (Post/After Fade Listen) Input AFL (Off) = Output channels routed to the PAFL bus are pre-fade. (Pre-Fade Listen) Input AFL (On) = Input channels routed to the PAFL bus are post-fade. (Post/After Fade Listen)

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Ext in Source Select and Ext in Preamp/Trim – Use these settings to select an external in socket to feed directly to the PAFL bus.

Preamp control will become available when a local or remote preamp has been assigned.

Use the ‘Ext in to PAFL’ button to switch the external in signal on or off.

 This feature is intended for communication between two systems, so it is active

even when the PAFL bus is being used to monitor channels.

Input to PAFL Source Point – Select where in the channel the PAFL signal is sourced from.

Post Preamp = Signal is affected by preamp only Post Insert Return = Also includes DEEP Preamp, HPF, Gate and Insert Post PEQ = Also includes PEQ Post Delay = Also includes Compressor and Channel Delay

 Note that ‘Post Preamp’ setting does not include DEEP Preamp processing.

PFL Trim The PFL trim attenuates the level of PFL signal routed to the PAFL bus. It does not

affect AFL.

PFL Trim = -24dB to 0dB Delay The PAFL delay can be used to align the PAFL bus when, in a live sound

environment, the naturally delayed sound from a sound system can be heard at the same time as the otherwise instant signal fed to headphones or monitors, causing phase issues or an audible delay.

PAFL bus delay = 0ms to 682.6ms Listen Level The Listen bus is fed by the PAFL signal and can be patched to an output socket. The

Listen Level affects the output level of this bus.

Listen Level = -Inf to +10dB

 The Listen Level can also be controlled by the master fader. See the Mixer Role section

of this guide for more information.

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12.8 Talkback settings

Talkback is used to enable the engineer to communicate via the audio outputs.

When the ‘Talk’ key is pressed, the talkback source is routed to all assigned mixes. Press the ‘Setup’ screen key, then touch the ‘Audio’ tab followed by the ‘Talkback’

tab to view and adjust the talkback settings.

• Source, preamp and trim settings are the same as those used in the Processing/Preamp screen, and can be adjusted in exactly the same way.

• Similarly, HPF works in the same way as for any input channel in the Processing/HPF and PEQ screen.

• Touch the momentary latch ‘On’ button to enable the ‘Talk’ key latching mode. When this mode is on, a quick single press of the ‘Talk’ key switches talkback on

or off, though the key will continue to work as in momentary mode if held.

• Touch any mix assign button to switch the talkback feed on or off for that mix.

 Note that the local ‘Talk’ socket can be used as an extra input channel socket. When

‘Talk’ is assigned to an input channel, changing preamp settings in the Processing

screen for that channel will also change settings in the Talkback setup and vice versa.

The same logic applies when a source other than the local ‘Talk’ socket is assigned as

the Talkback source. The HPF and Trim however, are independent.

source type/channel

HPF control

‘Talk’ switch behaviour

preamp/trim control

assign to mix

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12.9 Signal Generator

The signal generator can be used to send a signal to a mix for level configuration or used in conjunction with the RTA and a measurement microphone to check the frequency response of a system.

Press the ‘Setup’ screen key, then touch the ‘Audio’ tab followed by the ‘SigGen’ tab

to view and adjust the signal generator settings.

• Touch the ‘Signal Type’ value to select a type of signal.

Signal Type = Sine, White noise, Pink noise, Band-pass noise

• Touch the ‘Mute’ button to mute or unmute the signal.

• Touch the ‘Frequency’ value (where available) and use the touchscreen rotary to

adjust.

Frequency = 20Hz to 20kHz

• Touch the ‘Level’ value and use the touchscreen rotary to adjust.

Level = -72dB to +18dB

• Touch any mix assign button to assign or unassign the signal generator to or from a mix.

 The signal generator can also be used by any input channel. Select ‘Signal Generator’

in ‘Source Select’ on the Processing/Preamp screen.

signal type

signal controls

assign to mix

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12.10 Audio Sync and AES sample rate

Press the ‘Setup’ screen key, then touch the ‘Audio’ tab followed by the ‘Audio Sync Opts’ tab to see clock source and AES digital output sample rate options.

Audio Clock Source -

• Touch the ‘Audio Clock Source’ value to select a source.

Internal = Sync to the internal audio clock. SLink = Sync to a digital clock signal being received by the SLink port. I/O Port = Sync to a digital clock signal being received on the port of a connected option card.

• Touch the ‘Apply’ button to apply changes.

When successfully synchronised, a green tick will be shown to the right of the source selection. When there is no suitable clock being received, a red cross is shown to the right of the source selection and in the SQ title bar.

• Using the SQ as a standalone system with or without expansion units, ‘Internal’ should be selected as the clock source.

• With a direct SQ to SQ connection, one console can be thought of as the master and the other a slave. The master console can clock to anything except for the port the slave is connected to, and the slave must clock to the port connected to the master.

• If connecting directly to a Qu, the port the Qu is connected to must be used as the clock source.

• When connecting to another system or 3rd party audio network (such as Dante or Waves), one master clock source on the network should be determined and all other units should synchronise to it.

 The SQ will always run at 96kHz internally, even if the clock source it is synchronised to

is running at 48kHz.

 Issues with clocking can result in audible clicks and pops in the audio.

AES Out - The sample rate of the digital AES output can be changed if required.

• Touch the current sample rate value, then select an option.

AES Output Sample Rate = 44.1kHz, 48kHz, 88.2kHz, 96kHz

• Touch the ‘Apply’ button to apply any changes.

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12.11 I/O Port

There are multiple option cards available for the SQ’s I/O Port. These allow the SQ to interface with 3rd party audio networking protocols, as well as

providing the option to add a second SLink port. Press the ‘Setup’ screen key, then touch the ‘Audio’ tab followed by the ‘I/O Port’ tab.

This screen shows which option card is currently connected. It also contains the ‘Control Network Bridge’ switch.

When the Control Network Bridge is on, the option card is internally connected

(bridged) to the SQ’s Network port. This allows a computer on the same network as

the SQ itself to ‘see’ and adjust settings for the fitted option card. Note that having the Control Network Bridge ‘On’ can cause issues with certain

setups. Details of these potential issues are shown in the bottom half of the screen and should be considered before the network is bridged.

currently installed I/O Card

Control Network Bridge

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12.12 Mixer Role and Master Fader Mode

For quick setup from a known starting point you can select the ‘role’ of the SQ. Press the ‘Setup’ screen key, then touch the ‘Mixer Config’ tab followed by the ‘Role’

tab to view options for resetting mix settings and to change the master fader mode.

Reset Mix Settings - Selecting a role for the SQ and touching the ‘Reset’ button will reset the mix. Scenes

and libraries are unaffected, though global filters and safes (used when recalling scenes) are ignored, and all safes are cleared.

 For details on default settings for different roles, see the Mix/System Reset section.

Master Fader Mode – The master fader can either be used to control the master send level of the selected

mix or the level of the listen bus. Touch either mode button to instantly switch mode.

 The listen level can be viewed and adjusted in the PAFL screen.

In ‘Mix Master’ mode, the blue LR mix key on the surface is illuminated blue

when the LR mix is selected.

In ‘Listen Level’ mode, the blue LR mix key on the surface is illuminated red

at all times.

roles

description of settings

master fader mode

reset

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12.13 Input Ganging

Ganging enables attributes to be linked across multiple input channels. This means changes to linked attributes on one member of the gang affect all other members of that gang at the same time.

The SQ features 8 gangs with up to 12 members in each. To setup ganging, press the ‘Setup’ screen key, then touch the ‘Ganging’ tab.

• Select a gang using the numbers at the top of the screen.

• Drag and drop input channels from the channel list to the gang. Touch and drag

left and right to see all available channels.

• Touch attribute buttons to switch linked attributes for the selected gang on or off. Linked attributes are indicated with white buttons.

• Touch the apply button to create the gang.

Attributes that can be linked by a gang are as follows:

Trim = Post preamp trim Filter = HPF in/out and frequency Gate = All gate parameters PEQ = All PEQ parameters Compressor = All compressor parameters Delay = Channel ms delay Fader = Input fader master position (i.e. to Main LR) Mute = Channel mute state Pan = Channel Pan/Balance to mix Routing = Assignments and send levels to mix Direct Out = Direct out level

input channels

gangs

attributes

drag ‘n’ drop

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12.14 Network Setup

For use with any control over Ethernet, such as wireless control or use with MIDI over TCP/IP, the SQ must be connected as a device on a network.

With default settings, the SQ will automatically connect to any network which uses DHCP to assign IP addresses, and will be seen by any apps running on devices connected to the same network.

In some situations, it is necessary or preferable to use a static IP address. It is not recommended to use the static settings unless you fully understand the network you are connecting to.

Press the ‘Setup’ screen key, then touch the ‘Network Setup’ tab to view and adjust

network settings.

• Touch the DHCP On/Off button to switch DHCP mode on or off. Dynamic address values are displayed when DHCP is enabled and the SQ has been assigned an address. Static settings cannot be adjusted if DHCP mode is on.

• Touch any of the static network values to enter new values.

• Touch the ‘Unit Name’ value to change the name of the SQ (as seen by other

devices on the network including apps).

• Touch the ‘Apply’ or ‘Cancel’ button to apply or disregard any changes.

 When using a wireless router or access point, be sure to connect the SQ’s ‘Network’ port

to an available ‘LAN’ port. The network port ‘Lnk’ LED on the SQ will illuminate to show

network activity.

DHCP On/Off

SQ network name

apply/cancel changes

static settings

DHCP settings

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12.15 User Permissions

Along with the Admin user, SQ can have 10 other users, each with individual permissions, passwords, scene access and user scenes (which are recalled on login).

These users can log in using the mixer itself as well as with any client connected to the SQ remotely, such as the SQ-MixPad and SQ4You remote apps. This means multiple users can be logged in on different devices at the same time.

Press the ‘Setup’ screen key, then touch the ‘Users’ tab to setup and configure users.

 User setup and permissions can only be carried out when logged in as Admin.

To change user settings and permissions, first select a user from the list on the left. You are now making changes for this user only, so the user list is visible in all tabs, allowing you to quickly compare users and change permissions at any point.

User Settings -

• Touch the user name value to change the name of the user.

• Touch the ‘Inactive’ button to activate the user (button changes to ‘Active’ and a

tick appears in the list).

• Touch the ‘Set Password’ button to set or change a password for the user. This password is used when logging in as well as when locking the desk.

 The Admin user is always active and has unrestricted access to all settings of the SQ.  To remove a password, just set a blank password for the user.

user list

user name/activate/password

user scene control

user active

selected user

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• Use ‘Scene Range’ to select a range of scenes that the user has access to (the default range is all 300 scenes).

• If required, touch the ‘User Scene’ value to choose a scene to load when the user logs in.

 When logging in as the same user multiple times (such as when the SQ has been

powered off at the end of the day, and the same user logs in on the following day), a pop-up is presented to decide whether the SQ either recalls its previous state or the ‘User Scene’ is reloaded.

User Permissions Library - With one of the ten users selected, pressing the ‘Library’ key will display the user

permissions library. Factory presets are included as starting points and for quick setup, but you may also store and recall user presets.

• Select a preset and touch ‘Recall’ to apply permission settings to the currently selected user.

• Touch ‘User’ to access the user library where you can manage your own presets.

 The user permissions library cannot be accessed when the Admin user is selected as

the Admin cannot be blocked from using any parameters or features.

Permissions – Touching the ‘Setup’, ‘Parameters’ or ‘Control’ tabs will display lists of parameters

and features that can be set to ‘Allow’ or ‘Block’ on a per-user basis.

• Touch the ‘Allow’/’Block’ button on the right to toggle access.

user has permission allowed

user is blocked

touch and drag

selected user

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Available User Permissions –

Control

MixPad Access

SQ4You Access

Layers B-F*

Groups 1-12*

Auxes 1-12*

FX Sends 1-4*

Matrices 1-3*

SQ-Drive Playback

SQ-Drive Stereo Record

SQ-Drive Multitrack Record

*assignable per layer/mix

Setup

USB Data Recall

USB Data Store

USB Data Modify

Sync Push

Sync Pull

Scene Recall

Scene Store

Scene Modify

Global Filter

Channel Safes

Scene Preferences

Reset Mix Settings

Library Recall

Library Store

Library Modify

FX Library Recall

FX Library Store

FX Library Modify

Input Stereo

Mix Stereo

Bus Config

PAFL/Talkback Settings

Signal Generator

Audio Sync Options

Surface Strip Assign

Master Fader Mode

Soft Control Setup

MIDI Settings

Network Settings

I/O Port Settings

USB Format

Parameters

Name/Colour

Input/Group Preamp

Input/Group EQ

Input/Group Other Processing

Mix Preamp

Mix EQ

Mix Other Processing

FX Parameters

DirOut and Mix Settings

Mix Assign and Pre/Post

DCA/Mute Group Assign

Input Patching/Library

Output/Insert/FX Patching

USB Source

AMM Setup/Assign

AMM Parameters

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13. SQ-Drive and USB-B

SQ-Drive and USB-B make use of the same audio technology inside SQ, so they run exclusively from one another. Therefore, you must choose which mode the SQ is running in before recording or playing back any audio.

There are other bandwidth intensive tasks (such as formatting an SQ-Drive) that also require the mode to be changed.

Press the ‘I/O’ screen key, then touch the USB tab to display USB input or output

patching.

The ‘USB Source’ switch displayed at the top left of the patching matrix shows the current mode.

• Touch the ‘USB Source’ switch to change between ‘SQ-Drive’ and ‘USB-B’ mode.

• Audio patching for both the SQ-Drive and USB-B connection is the same.

• SQ-Drive utilises only the patching from channels 1 to 16 on both inputs and

outputs. USB-B streaming can utilise all USB input and output channels (32 x 32).

USB Source switch

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13.1 SQ-Drive stereo recording and playback

Press the ‘Utility’ screen key then touch the ‘SQ-Drive’ tab followed by the ‘Stereo’

tab to show the SQ-Drive Stereo record/playback screen.

The top half of the screen is for recording and the bottom half is for playback. Recording -

• Press the record button to arm recording, a new ‘Stereo Record’ file name will appear, the ‘Remaining’ time value will be displayed and the ‘Errors’ counter will

reset.

• Press the play/pause button to start recording, the ‘Elapsed’ and ‘Remaining’ time values will display progress.

• Press the stop button to stop recording.

 The device load meter indicates the suitability of the USB device for recording or

playback of audio.

 The ‘Errors’ counter increments with any detected writing error.

record file

playback file

playback position

playback controls and time

record controls and time

error count

playback mode

record/playback meters

device load

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Playback –

• Touch the ‘Stereo Playback’ file name value. Then touch the ‘Playback’ or ‘Recording’ button to view files in each folder (recordings you have made with the SQ are displayed in the ‘Recordings’ folder).

• Touch a track to highlight it.

• Touch the ‘Select’ button to load the highlighted track.

• Touch the ‘Playback Mode’ value to select a mode.

Play All = Play all tracks in the folder consecutively. Play Single = Play the selected track then stop. Repeat All = Repeatedly play all tracks in the folder consecutively. Repeat Single = Repeatedly play the selected track.

• Touch the transport buttons to go to the previous or next track, or to stop or play/pause.

• Touch and drag the circular playback position marker to jump to a different point in the track.

Formats and folders – SQ-Drive stores stereo recordings to ‘<SQ-DRIVE>:\AHSQ\USBREC’. These are 96kHz 24bit stereo *.wav files, named sequentially in the order recorded i.e.

SQ-ST001.WAV, SQ-ST002.WAV… Files for stereo playback copied from a computer should be placed in

‘<SQ-DRIVE>:\AHSQ\USBPLAY’. These can be mono or stereo, uncompressed PCM *.wav files, 44.1, 48 or 96kHz and

16 or 24-bit. They must not contain any headers (such as BWF) or data (such as markers).

Length of recording – The maximum length of a stereo recording is approximately 2 hrs and will use around

4GB of storage.

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13.2 SQ-Drive multitrack recording and playback

Press the ‘Utility’ screen key then touch the ‘SQ-Drive’ tab followed by the ‘Multitrack’ tab to show the SQ-Drive multitrack record/playback screen.

Recording -

• Press the record button to arm recording. A new multitrack file name will appear, the ‘Remaining’ time value will be displayed and the ‘Errors’ counter will reset.

• Press the play/pause button to start recording. The ‘Elapsed’ and ‘Remaining’ time values will display progress.

• Press the stop button to stop recording.

 Allow the write process to complete before recording again or removing the device.

Playback –

• Touch the multitrack file name value. Touch a track to select it, then scroll through the list of tracks using the touchscreen rotary if needed.

• Touch the ‘Select’ button to load the track.

• Touch the ‘Playback Mode’ value to select a mode.

• Touch the transport buttons to go to the previous or next track, or to stop or play/pause.

• Touch and drag the circular playback position marker to jump to a different point in the track.

playback mode

record/playback controls and time

error count

record/playback meters

track selection

SQ-Drive status

device load

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 The device load meter indicates the suitability of the USB device for recording or

playback of audio.

 The ‘Errors’ counter increments with any detected writing error.  Not all USB devices are capable of the high bandwidth used by the SQ-Drive multitrack

recording feature. For best results when multitrack recording direct to USB, use a highspeed external hard drive rather than a USB stick/’pen’ drive.

Formats and folders – SQ-Drive stores multitrack recordings to separate folders in the parent folder

‘<SQ-DRIVE>:\AHSQ\USBMTK’. Folders are named sequentially in the order recordings are made. i.e. ‘SQ-MT001’, ‘SQ-MT002’…

Sixteen 96kHz 24bit mono uncompressed PCM *.wav files are recorded – with naming based on the USB channel i.e. ‘TRK01.WAV’, ‘TRK02.WAV’…

They do not contain any headers (such as BWF) or data (such as markers). Files for multitrack playback copied from a computer should follow this exact

formatting, naming and folder structure. Files must also be exactly the same size/length and all sixteen files must be present, even if they contain no audio.

Length of recording – The maximum length of a multitrack recording is approximately 4 hrs and will use

around 64GB of storage.

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13.3 Connecting to a computer

To stream audio to and from a computer, it needs to be connected to the SQ using a USB-A to USB-B cable.

SQ conforms to USB 2.0 standards, so it is recommended to use a high-speed USB cable. Depending on the environment the system is being used in, it may also be beneficial to use a cable which features a ferrite bead.

 Note that not all USB 3.0 ports are fully backward compatible with USB 2.0 – for best

results, it is therefore recommended that a USB 2.0 port is used where available. Where unavailable, USB 3.0 ports utilising xHCI host controller drivers should be avoided as many are known not to support the isochronous transfer method used for streaming audio.

To connect SQ to a mac – The SQ is Core Audio compliant so drivers are not required. Connect the SQ via USB and it will appear as both an audio and a MIDI device. To connect SQ to a Windows PC –

Visit the Allen & Heath website (www.allen-heath.com) to download the latest SQ Windows ASIO/WDM drivers.

Follow the instructions to install the drivers before connecting the SQ. Routing –

• It is important to note when patching, that outputs from the computer are inputs on the SQ and outputs on the SQ are inputs on the computer.

• All USB I/O must be patched to function, though by default, SQ input channels 47 and 48 are sourced from USB channels 1 and 2, and USB output channels 1 and 2 are fed from the Main LR mix.

• When using WDM drivers to utilise the SQ for Windows system/default sound, only USB channels 1 and 2 are used on the SQ. To make use of all 32 input and 32 output channels, the ASIO driver must be used with a compatible program.

• When selecting the SQ as the default output audio device on a mac, USB channels 1 and 2 are used by default.

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14. MIDI and DAW Control

When connected to a computer either via USB or TCP/IP, the SQ sends and receives MIDI control messages.

These can be broken down into two sets of bi-directional messages. Those that are used to control the SQ, and those used to control external software or equipment.

 Please refer to the separate SQ MIDI Protocol document for more information on all SQ

MIDI communication.

14.1 MIDI channel and MMC

Press the ‘Utility’ screen key, then touch the ‘General’ tab followed by the ‘MIDI’ tab

to view and adjust the MIDI channel setting. This screen also displays MMC (MIDI Machine Control) buttons for control of computer sequencers and DAW’s.

• Touch the ‘MIDI Channel’ value and use the touchscreen rotary to adjust.

• Touch the ‘Apply’ or ‘Cancel’ buttons to apply or disregard changes.

 Note that the channel used by the Allen & Heath DAW Control Driver (and therefore all

MIDI fader strips) is always one more than the MIDI Channel the rest of the SQ is set to. To use MIDI channel 1 for the DAW Control Channel, set the main SQ MIDI channel to

16.

• Touching any of the MMC Controls sends standard MMC transport messages to all channels. These are also translated by the DAW control driver to specific transport messages for the control surface emulation being used.

MMC controls

MIDI channel selection

MIDI DAW Control channel

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14.2 MIDI fader strips

The SQ has 32 available MIDI fader strips that can be assigned anywhere in the fader strip layers.

These transmit standard MIDI messages over USB and TCP/IP when ‘Mute’, ‘Sel’ or ‘PAFL’ keys are pressed, or when the fader strip fader is adjusted. They also respond to the same messages.

• Messages can be used as-is, and ‘learnt’ by software for control.

• By default, these messages are transmitted on MIDI Channel 2.

• Pressing a key will send a note on followed by a note off, moving a fader sends a

continuous change message.

SQ MIDI Fader Strip Control

MIDI message

Mute keys 1 to 32

Note On/Off 0 (C-1) to 31 (G1)

Sel keys 1 to 32

Note On/Off 32 (G#1) to 63 (Eb4)

PAFL keys 1 to 32

Note On/Off 64 (E4) to 95 (B6)

Faders 1 to 32

CC 00 to CC 31

14.3 DAW Control

MIDI fader strips can also be used with the Allen & Heath DAW Control Driver. This translates the messages from the MIDI strip and emulates standard control surface messages for use with a DAW.

Visit www.allen-heath.com to download the latest DAW Control Driver and view instructions for installation and correct setup.

It is worth noting that SoftKeys can also be assigned to send MMC messages or ‘Bank Up’, ‘Bank Down’ messages.

 Only the MIDI fader strips, MMC controls and specific SoftKey assignments are intended

for use with the DAW Control Driver. Other physical controls (such as EQ rotaries) continue to work with the SQ itself.

 DAW Control Driver V1.60 or above is required to select SQ in the ‘Mixer’ field of the

preferences. On earlier versions, selecting ‘Qu’ will allow correct operation as both Qu and SQ send the same MIDI messages from MIDI channel strips.

14.4 MIDI from Soft Controls

Soft Rotaries and Soft Rotary keys can be used to transmit MIDI messages over USB and TCP/IP, including Continuous Controller values and MIDI Machine Code.

This allows them to be used for control external equipment or software.

 See the SoftKeys/SoftRotaries section for details.

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15. Automatic Microphone Mixing (AMM)

Automatic Microphone Mixing provides automated level control of multiple microphone channels. It is designed for use in multichannel speech applications such as conferences or panel discussions.

The AMM’s in SQ use the D-Classic gain sharing algorithm to increase the level of active channels whilst simultaneously decreasing the levels of any other assigned channels. Priority levels can also be set to prioritise certain AMM slots over others.

SQ has 2 AMM’s with up to 24 channels each, these can also be combined for use as a single 48 channel AMM, and use DE EP processing, so no latency is added.

 AMM is not intended for use with instruments or signal sources other than speech.

15.1 AMM Input Assign

Any input channel can be assigned to an AMM. Due to AMM being embedded directly in the channel (post-delay/pre-fader), PFL can be affected by the changes in level. Therefore, we recommend that channels are set up before being added to an AMM.

To assign input channels, press the ‘Utility’ screen key, then touch the ‘AMM’ tab followed by the ‘Input Assign’ tab.

The top part of the screen shows the available input channels and at the bottom are available AMM slots.

Select either ‘2’ (2 x 24 channel) or ‘1’ (1 x 48 channel) AMM from the ‘Number of AMMs’ dropdown.

input channels

number of AMM’s

AMM ‘slots’

drag ‘n’ drop

AMM selection and clear

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Assigning/unassigning channels -

• If using 2 AMM’s, use the AMM selection buttons to choose which AMM to display.

• Touch and drag left or right to show all input channels and AMM slots.

• Touch and drag input channels from the top to AMM slots at the bottom to assign

a channel.

 Input channels can be freely assigned to any AMM slot, they do not need to be assigned

sequentially.

 Dropping channels into a slot that already has a channel assigned, automatically

unassigns the previously assigned channel.

• Touch and drag channels from assigned slots back to the top to unassign.

• Touch the ‘Clear’ button to clear all channels from the selected AMM.

15.2 AMM Overview

Press the ‘Utility’ screen key, then touch the ‘AMM’ tab followed by the ‘Overview’

tab.

The top part of the screen displays an overview of all AMM slots, with the metering showing gain being applied to channels and indication of whether or not channels have AMM switched on.

• Touch an AMM ‘In/Out’ button to switch all AMM channels in or out.

 If a channel has AMM switched on and is assigned to an AMM which has all channels

switched in, this is indicated in the channel overview shown in the ‘Processing’ screen.

entire AMM in/out

levels and on/off indication

channel on/off

channel priority level

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• Touch a block of 8 AMM channels at the top to display these in the bottom half of the screen.

• Touch a slot ‘On/Off’ button to add or remove it’s channel from the AMM. Channels have AMM automatically set to ‘On’ when they are assigned.

• Touch a slot fader and adjust using the touchscreen rotary to increase or decrease gain, and therefore slot priority in the AMM calculation.

Priority level = -15 to +15

15.3 AMM Setup

Press the ‘Utility’ screen key, then touch the ‘AMM’ tab followed by the ‘Setup’ tab.

Like the ‘Overview’ screen, this displays an overview of all AMM slots, with gain

metering and indication of whether or not channels have AMM switched on.

• Touch an AMM ‘In/Out’ button to switch all AMM channels in or out.

• Touch the gobal Follow Fader ‘On’ button to choose whether or not the side chain

is affected by channel fader position.

• Touch High Pass Filter or Low Pass Filter frequency values and adjust using the touchscreen rotary to filter unwanted frequencies from the side chain.

HPF = 20Hz to 5kHz LPF = 120Hz to 20kHz

 The AMM side chain is fed from the channel at the post-HPF point, and automated gain

is applied at the post-delay point.

entire AMM in/out

levels and on/off indication

sidechain filter

follow fader

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16. Add-ons

Optional add-ons for the SQ are available to purchase, allowing customisation of each unit through the addition of special processing and DEEP models.

 To ensure the latest units and models are available, install the latest version of firmware.

Press the ‘Utility’ screen key, then touch the ‘General’ tab followed by the ‘Add-ons’

tab.

 Available add-ons for the SQ are shown to the left, touch to display more information and

use the touchscreen rotary to scroll through.

 For more detailed information and audio samples of any plugin, visit allen-heath.com.

Activating an add-on-

• Note the unique DNA for the SQ and visit shop.allen-heath.com to purchase add- ons and obtain a unique key.

• Touch ‘Enter Key’ then enter the 16-character key and touch ‘OK’ to activate.

Keys are unique to each SQ, and only ever need to be entered once. They will not need to be re-entered when updating firmware or after a system reset.

available add-ons

unique DNA

enter key

add-on details

 94

Reference Guide V1.4.0

17. Mix/System Reset

17.1 Reset Mix Settings

The SQ has multiple ‘Reset Mix Settings’. These are used to ‘zero the desk’ for different uses.

This will clear the current state of the SQ, but does not affect stored Scene or Library data, so save the current settings

Press the ‘Setup’ screen key, then touch the ‘Mixer Config’ tab followed by the ‘Role’ tab.

Select an operating role and information on default settings will be displayed. Touch the ‘Reset’ button to reset the mix with these settings.

Global filters are ignored and safes are all switched off when mix settings are reset.

 The Master Fader Mode allows you to choose whether the master fader controls the

master send level of the selected mix, or the level of the listen bus. For more information see the Mixer Role section.

roles

description of settings

master fader mode

reset

 95

Reference Guide V1.4.0

Reset Mix Settings: Standard

Processing type

Setting

48v

All off

Preamp gains

+28dB

HPFs

Out/100Hz

Gates

Out/-30dB

Inserts

Out

PEQs

In/Flat

GEQs

In/Flat

Compressors

Out/3:1/-9dB

Pans

Centred

Control

Setting

SoftKeys 1-6

Mute Groups 1 to 6

SoftKey 7

Unassigned

SoftKey 8

Global Tap Tempo

SoftKeys 9-16

Unassigned

SoftRotaries

Unassigned

Master Fader Mode

Mix Master

FX unit

Setting

EMT 250 reverb/FX1Snd/FX1Rtn

Hall 480 reverb/FX2Snd/FX2Rtn

Stereo Tap Vocal Delay/FX3Snd/FX3Rtn

ADT Classic/FX4Snd/FX4Rtn

5-8

Empty/Unpatched

Send type

Level

Input channels

-inf

FX return channels

0dB

Main LR master

0dB

Aux master

0dB

Group master

-inf

FX master

0dB

Routing

Setting

Input Stereo

40 mono (1-40), 4 stereo (ST1, ST2, ST3, USB)

Local Input patching

1 to 1 (as labelled), then unassigned to 46

Mix Bus Configuration

Aux 1-4 (mono), Aux 5-8 (stereo), Group 9-12 (Stereo)

LR Assign

All inputs and groups assigned

Aux assign and send

Inputs to all Aux, Pre-Fade, Post-EQ

Local Output patching (Aux)

1 to 1 for mono then sequential stereo

Local Output patching (Main)

11 (Main L) & 12 (Main R)

Local Output patching (Matrix 1)

A & B

AES output

Main LR

Remote Audio Unit Inputs

Unassigned

Remote Audio Unit Outputs

Unassigned

SQ to USB

Main LR on 1 & 2, then 1 to 1 direct out

USB to SQ

USB 1 & 2 to input channels 47 & 48

 96

Reference Guide V1.4.0

Reset Mix Settings: Monitor

Processing type

Setting

48v

All off

Preamp gains

+28dB

HPFs

Out/100Hz

Gates

Out/-30dB

Inserts

Out

PEQs

In/Flat

GEQs

In/Flat

Compressors

Out/3:1/-9dB

Pans

Centred

Control

Setting

SoftKeys 1-8

Mute Groups 1 to 8

SoftKeys 9-16

Unassigned

SoftRotaries

Unassigned

Master Fader Mode

Listen Level

FX unit

Setting

1-4

EMT 250 reverb/FXSnd 1-4/FXRtn 1-4

5-8

Empty/Unpatched

Send type

Level

Input channels

0dB

FX return channels

0dB

Main LR master

0dB

Aux master

0dB

Group master

-inf

FX master

0dB

Routing

Setting

Input Stereo

48 mono (1-48)

Local Input patching

1 to 1 (as labelled), then unassigned to 48

Mix Bus Configuration

Aux 1-6 (mono), Aux 7-12 (stereo)

LR Assign

All inputs unassigned

Aux assign and send

Inputs to all Aux, Post-Fade, Post-Delay

Local Output patching (Aux)

1 to 1 for mono then sequential stereo

Local Output patching (Listen M)

Local Output patching (PAFL)

A & B

AES output

Main LR

Remote Audio Unit Inputs

Unassigned

Remote Audio Unit Outputs

Mixes 1 to 1, then Main LR on last 2 sockets.

SQ to USB

Unassigned

USB to SQ

Unassigned

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Reference Guide V1.4.0

17.2 System reset

To perform a full system reset, hold the EQ ‘In’ and ‘HF’ keys when powering on the

SQ. This will clear all mix settings and all saved data, including Shows/Scenes and Libraries, and will revert the SQ to it’s initial state.

Before you carry out a system reset, back-up any data you wish to keep using a USB device or SQ-MixPad.

 See the Data transfer (USB/MixPad) section for more information on storing data.  System resets do not remove add-ons.

17.3 Fader Calibration

Occasionally faders can become misaligned or behave incorrectly, this can happen for many reasons and is usually nothing to be concerned about. However, it may necessitate a re-calibration.

1) Press the ‘Utility’ screen key, then touch the ‘General’ tab followed by the ‘Calibration’ tab.

2) Touch the ‘Calibrate’ button and follow the on-screen instructions, positioning the faders at +10dB, 0dB, -10dB, -30dB and -inf when prompted.

 98

Reference Guide V1.4.0

18. Block Diagrams

+4/-10

GEQ

MATRIX MASTER

PEQ

MUTE

TRIM

AFL

Skt, I/O Port or RackFX

Sidechain

EXT IN

28-band 1/3 octave

DELAY

MTX Output

INSERT

DCA

POL

COMP

PFL

FADER

GEQ

LEV

28-band 1/3 octave

Pre

DCA

MUTE

GRP to AUX/MTX

Skt, USB,

MIX MASTER (GRP, AUX, MAIN)

COMP

INSERT

PEQ

EXT IN

FADER

BAL

LEV

PFL

12 Mono / Stereo mixes (configurable Aux or Group) + LR

Sidechain

POL

I/O Port or RackFX

+4/-10

GRP to MAIN

Post

AFL

Post

AUX/MAIN to MTX

TRIM

Pre

DELAY

Mix Output

TRIM

preamp

DCA

MODE

DEEP

gain

source option

POL

METER

source option

TRIM

only

LEV

AMM key

ASSIGN+PAN

Sidechain

Global Direct Out

Global PAFL

Sidechain

Ducker

IP to AUX/FX

Stereo ch

DIRECT OUT

AMM

IP to MAIN

INSERT A

IP to GRP

per AUX mix

AFL

PFL

WIDTH

Source option

Configurable Mono / Stereo

INPUT CHANNEL x 48

Post-Preamp

FADER

Post-Ins A

MUTE

Post-DelayPost-PEQ

GATEHPF

DELAY

COMP/PEQ

 99

Reference Guide V1.4.0

PAFL L/R

POLTRIM

Linked

31-band 1/3 octave

Listen Level

EXT IN

PFL/AFL MONITOR

Listen L/R/M

DELAY

PAFL Meter

RTA

(AFL not affected)

DELAY

0dB-24dB

PFL TRIM

FX Send or

PFL

FADER

From:

Ret to AUX/FX

FX SEND

FX RETURN x8

AFL

Send > Return FX

Strip METER

RackFX x8

Any MIX

Ret to MAIN

LEV

Post

FADER

in-place

Inserted FX

DCA

Input DIR OUT

Pre

Ret to GRP

PEQ

MUTE

ASSIGN+PAN

METER

MATRIX

LEV

HPF

Sine (Sweep 20-20kHz)

Assign to: GRP

To: GRP

White Noise

AUX

Pink Noise

MAIN

MUTE

MAIN

TALKBACK

SIG GEN

Press to TALK

Bandpass Noise (Sweep)

 100

Reference Guide V1.4.0

19. Specifications

Mic/Line Inputs

Balanced XLR, fully recallable

Input Sensitivity

-60 to +0dBu

Switchable Pad

-20dB

Analogue Gain

0dB to +60dB, 1dB steps

Maximum Input Level

+30dBu

Input Impedance

>5kΩ

THD+N, Unity gain 0dB

0.002% -92dBu (20Hz-20kHz, AES Direct Out, @0dBu 1kHz)

THD+N, Mid gain +30dB

0.003% -91dBu (20Hz-20kHz, AES Direct Out, @-30dBu INPUT 1kHz)

Phantom Power

+48V (+3V / -2V)

Stereo Line Inputs

ST1, ST2 connectors

Balanced, 1/4" TRS jack

ST3 connector

Unbalanced, stereo 3.5mm Mini Jack

Input Sensitivity (ST1, ST2 / ST3)

Nominal +4dBu ST1, ST2 / 0dBu ST3

Trim

+/-24dB

Maximum Input Level (ST1, ST2 / ST3)

+22dBu / +18dBu

Input Impedance

>7kΩ

Outputs 1-12 (SQ-5) and 1-14 (SQ-6)

Balanced, XLR

Outputs A and B

Balanced 1/4" TRS Jack

Source

Patchable

Output Impedance

<75Ω

Nominal Output

+4dBu = 0dB meter reading

Maximum Output Level

+22dBu

Residual Output Noise

-90dBu (muted, 20Hz-20kHz)

AES Digital Output

Balanced XLR 2 channel,

96kHz sampling rate (Default with SRC Bypassed)

Switchable output sample rates,44.1kHz/ 48kHz/ 88.2kHz/ (96kHz)

2.5Vpp balanced terminated 110Ω

Allen & Heath SQ-5,SQ-6,SQ-7 Users Guide

Specifications and Main Features

Frequently Asked Questions

User Manual