# Allen & Heath SQ-6 - reviews?



## Jay Ashworth (Apr 8, 2018)

My boss at the Big House just whispered SQ-6 in my ear.

While I'm not sure we'll actually get one, reading the manual certainly makes it sound like an m32 with all the rough edges filed down.

Anyone got one? Used one? Are they suitable for theatrical work, about 19 off-offs?

Is there a Master PAFL Cancel button somewhere the manual doesn't mention?


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## FMEng (Apr 10, 2018)

I'm admittedly biased towards the X32/M32, but I keep comparing what's out there. 

The SQ-6 is handsome looking and the touchscreen is nice. Mixing for 48 channels is great for the price, and it's why I did a double take. It looks to me like they compromised on some things to mix 48 channels and give it a 96 kHz sampling rate. 

The lack of PFL cancel is a serious pain on a multi-layer console. One, color changing, blinky light per fader for level monitoring is lame. Multi-track recording for only 16 channels on-board is a limitation. (Granted, the X32/M32 requires an X-Live accessory card, but it does 32 channels.) And there's no studio monitor facility, or an internal talkback mic. It has no external inserts. The surface lights across the top look useless compared to the standard Little Lite.


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## Jay Ashworth (Apr 10, 2018)

You actually can do external inserts, but not with TRS 1/4" plugs, admittedly.

Master Cue Clear is a major oversight; I've RFE'd that already and I don't even own the board; it's not clear if the Pad app has it, or if it's an assignable softkey target, neither of which would totally make up for it, certainly.

I gather you can do 32 channels in one direction over the USB, at a time, so you could multi to Reaper or the like.

There isn't a *dedicated* studio monitor, but the more important missing thing is the dedicated controls for that. As for talkback, I nearly never use a built-in anyway, so the dedicated TB in hole is a win for me, saving a preamp.

I get your point; it has its own tradeoffs, and you have to compare them pretty strongly against the M32 for your use case.... but a number of them are things the x/m32 didn't do in 1.0 either.

A few, though, are -- as you imply -- first year stuff, and they're not in their first year at this.


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## NickVon (Apr 16, 2018)

I hope to pick one up in about 45 days for use during my summer theater camp season.

PFL clear can, from what I've seen be set up as a User Defined Key. should it be included by default? maybe, but I like the option.
For the SQ6 at least you have User Defined Rotary keys that could be set as volume pots for some studio monitor outs.

And there are a crap ton of UDK's that I (before purchase) can't even remotely imagine using more then half of.

I thought the single/Duel Led light for channel meter might be lame at first, but they do have an elegant solution. and that meter is mostly for initial visual gain staging and clip check.  So i see myself getting used to it just fine.

Especially for all the features packed in the A&H which are much improved over the M32/X32. namely workflow, and fully customized routing and layout. the A&H SQ has everything the M32 has (hard coded PFL clear cue, and LED metering aside) but expands upon the guts and and backend that M32/x32 limit you to; like patching in/outs in blocks of 8,4. bizarre routing/patch screens. (which I still fight with trying to get a matrix or mix to output out a given output on the local i/o or Stagebox.)

Ive used both the x32 and m32 twice now, and while I like it's newer features that have become standard for digital consoles, I always seem to have to fight do what I know is so easily done on an Yahama LS9,QL5/A&H GLD system. I'm looking forward to my personal SQ6 and we'll report back once it's in hand has a few shows under it's belt.


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## Jay Ashworth (Apr 17, 2018)

Nick, I went the other way: learning an x32 first, and then the LS9, and my view is exactly the same as yours: my first board makes sense, the second one is stupid.

So it's probably just The Things We Don't Know. 

On point: Yes, you need a Master PAFL Clear, and it needs to be next to (or udner) the "Master PAFL Active" light. I'll take it as a UDK, but I don't like it much.

I like the UDKs on the Yamaha better cause of where they are; I use them for Sends to Fader, and mute groups.


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## NickVon (Aug 2, 2018)

So just finished my first show with my SQ6. I really loved working on it. There was a little bit of a learning curve transitioning from a Yamaha LS9 which i use at work to the A&H SQ6. Luckily I've worked in Passing on the A&H, GLD, Ilive and Dlive in passing. I'm going to posta little review here for those care in another thread.

But to sum up, for it's price point I was super impressed with, it could just be the "new shiny," vibe; versus my usual work on what is now a Dust and Bones console the LS9, in the Digital world


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## macsound (Aug 14, 2018)

I'm also looking at an SQ-6 and wondering about people's view of the app compared to a Yamaha LS9, M7, or CL app.
Yamaha always made it a little differerent than the actual console interface, almost like it was a different designer all together. I'm always annoyed the EQ points are numbered 1-4 on the app but not on the board. Things like that.
Any comments on SQ app as its demo mode is rather useless without a console to connect into.


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## NickVon (Aug 16, 2018)

I didn't use the app much in my recent 2 outing with the console. Mostly to assist with some room eq, and to walk around and listen. The demo mode gives you a sense of what you can do with it. It does not have the "GUI" for FX racks like the LS9 now sports. It does allow for a number of separate and discretely different fader layouts from the console surface. It also has it's uses as a broader spectrum channel level meter. It's pretty equivalent to the Ls9 mixpad in my opinion


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## macsound (Aug 22, 2018)

What about an offline editor, like there was for GLD and iLive. 
I thought I heard rumblings that it was on its way but the A&H website is so bad (not as bad as Phillips) that I can't find much official news.


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## macsound (Oct 16, 2018)

So I want an SQ-6 with the 96k rack, DX168.
But I have Avioms, and I've read they can be directly connected to the Monitor port on the AR2412. 

2 questions.
1. The report that Aviom is directly connectable to the Monitor port was an article about the dLive or GLD. I'm assuming this applies to the SQ as well, but not sure.
2. If I daisy chain the AR2412 out of the DX168, does it drop the sample rate of the DX or are they able to work independently at their own native sampling?


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## NickVon (Oct 19, 2018)

1) I believe only when Aviom is connected to an AR2412 with a GLD this is the case. I don't own any aviom/ME or remote stage boxes with my console yet. I believe Aviom also works through Dante, and the Dante Cards are now available for the SQ desks.

2) I believe the DX and AR boxes are not compatible when in Series. But with the optional +1 SLink card. the DX box could be plugged into SLink1 (and be 96khz) and the AR box into Slink 2 and operate at 48khz. This would mean the optional Slink Card and a 2nd home run of Catx cable to the desk.

It's a little frustrating that they've mad the move to some level of universality between stage boxes and desks, but the the newer desks and older stage boxes aren't quote backwards compatible enough to also use with the new stuff.

A&H support team would be the best folks to really talk the specifics of about this though. I'm not big enough to the gear in question and most of this is me regurgitating from my frequent perusals of their Forums and research as I was looking at purchasing my SQ6


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## macsound (Oct 23, 2018)

So I'm taking the plunge on the SQ6. The only reason I had to get another stagebox is because of the lack of Aviom compatibility. So I'm using the extra outputs to feed into an Aviom analog input module. In the future, I'm just going to get everyone in the band, or atleast regulars, to use the SQ4You app. (Terrible name. What is it, 1992?)

Does anyone have reliability info on using the app in realtime situations? It'll be a super enterprise level network, not some janky netgear router. But I'm still worried about streaming latency free audio across wifi to an iPhone. Was also thinking this might be useful for the video guy. Then he can mix his own feed. Thoughts?


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## markviml (Oct 23, 2018)

macsound said:


> Does anyone have reliability info on using the app in realtime situations? It'll be a super enterprise level network, not some janky netgear router. But I'm still worried about streaming latency free audio across wifi to an iPhone. Was also thinking this might be useful for the video guy. Then he can mix his own feed. Thoughts?



You're controlling a board mix, the audio still comes over that path. Unlike an Aviom setup. The iphone is just the remote control.


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## macsound (Oct 23, 2018)

Aw nuts. They don't make it obvious for A&H. I was hoping it was a better solution than Yamaha's


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## macsound (Dec 17, 2018)

My new console has arrived but still just looks pretty. Nothing setup yet.
I'm a bit confused by how it classifies the outputs.
Is the "36 bus" referring to internally routable busses? And the "12 stereo mixes" are the maximum outputs? Also considering Direct Outs?
I know I'll probably figure this out once I start patching things in, but I'm trying to get a spreadsheet setup so I'm organized and (again) the A&H website is only so helpful.


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## TimMc (Dec 17, 2018)

I don't know how AH counts buses, but in general that's the number of mixing 'destinations' for an input signal. That count probably includes L/R and any matrices as well.

The 12 stereo mixes are for IEMs or other sends where you'd need stereo. The questions is does AH count those as 12 buses or 24?

There are probably dozens of YouBoob videos on this desk. If Trinity Sound has one, watch it. They tend to really get into the nitty gritty of the stuff they review and often include physical teardowns.


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## macsound (Dec 17, 2018)

I know that stereo outs are in addition to the 12 busses and you can't split them to be mono. The more I read the more I'm assuming I can direct out anything and its only the busses/ auxs/ mixes with processing that count toward their count. 
Still can't figure out what 36 bus is tho if they only state 12 mixes


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## TimMc (Dec 17, 2018)

Direct outs have never counted as buses, AFAIK.

https://www.allen-heath.com/media/SQ6_AP11349_Introduction_issue2.pdf

On page 1 it says "32 outputs - LR, 12 mono/stereo mixes, 3 stereo matrixes." With 4 dedicated EFX sends that's 36 buses.


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## macsound (Dec 18, 2018)

So would you imagine the direct outs don't have a maximum count at all, since they only specify the 32


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## TimMc (Dec 18, 2018)

macsound said:


> So would you imagine the direct outs don't have a maximum count at all, since they only specify the 32


Direct outs don't use buses and don't count toward the total. I saw no way to get Directs out of the console except via Dante (from a brief look at the back panel pics).

Are you doing recording?


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## NickVon (Dec 18, 2018)

You can Direct Out to the USB-B interface for sure. Off-hand I don't recall if you can direct out channels 1-12 say direct out to the Omni-Outs 1-12 (though I imagine you must be able to. (as that is pretty standard for digital patching. This as an analogue or straight to computer Direct Out solution.

Through Dante you are limited for outputs only by the Dante protocol which I think is 64? Even though the console is a 48 channel, does anyone have knowledge as to whether you can direct out all 48 channels via Dante, but then also Direct out Mixes, matrixs and such up to Dante max?


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## TimMc (Dec 18, 2018)

Dante channel count is limited by network performance, but 128x128 can be done on 100mHz network. I don't know about the SQ (I have this love/hate thing with the USA importer) but usually *every* input or output can come from or be sent to the Dante stream.


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## gafftaper (May 28, 2019)

@macsound and @NickVon how are you liking your SQ's a year later? I have a GLD 80 and I am thinking about upgrading to an SQ7.


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## steine (May 28, 2019)

I love my SQ5 for smaller productions.
Only "issues" I have are:
- lack of de-esser on each channel (very needed in amateur musicals)
- lack of mono Matrix (so far only 3 stereo, but the birds whisper of mono possibility in next firmware)
- no offline editor for PC/Mac (biggest dissapointment as I often need to pre program a show while running another, due to very short turnover/get in times)

Apart from that I absolutely love it.


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## NickVon (May 28, 2019)

I enjoy mine thought I've probably used less then a others around here. As for me it's my Freelance gig console when the venue i maybe going to is up to snuff. I mostly do Musical Theater (kids to young adult-adult.) and cabaret style concert/gala events

Unlike @steine I've not felt that lack of De-essers is a huge problem. I primarily work on a LS9-32 which has them on each channel, and in 10 years I can count on both hands the number of times I felt the need to use one. Everyone mileage may vary though.

Matrix limitations are not something that been a problem for me as I generally just need a matrix to send to the Videographer and one for a set of delays.

Lack of Offline Editor is a minor annoyance but far from a deal breaker for my "level" of busy when i'm running a show on the SQ.

Overall I love working on it. I've not ridden it real hard because of the nature of my freelance work, so take my use case with a grain of salt, but it's been rock solid, work as expected for the 10 times I've taken it out. That said a GLD80 is still technically a more powerful versatile console higher tier console by comparison, just with less of the new snazziness. 

I'm sure you've done your home work on the can's and can'ts of the SQ and if it fits your needs I don't think you'll be disappointed. (especially when compared to it's price point competitors from presonus/soundcraft/berhinger.)


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## macsound (May 28, 2019)

Although I've had the SQ6 mostly setup for about 4 months, I have yet to actually mix on it.

Through the setup process, my annoyances are as I overanalyze my setup:
Lack of diversity of effects in the FX library
No PC/Mac based editor software
Low output count on console or other rackmount boxes. This is the weirdest thing to me. Maybe just used to Yamaha always having atleast 16 outs.
Colored backlight on the scribble strips is great. I've always labeled my boards with colored Sharpie so this is great. Wish I had more choices because their blue and magenta are far too saturated and makes text hard to read. 
Wish there were scribble strips on the layer buttons or designated space to place tape
Really wish there was a home screen


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## Jay Ashworth (May 28, 2019)

1) Deessers are necessary for musicals?

1a) What kind of mics are you using?

1b) Where are you putting them?

2) The LS9 has them on each channel? Which firmware are *you* running?


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## steine (May 29, 2019)

1: they can be when having a lot of kids using mics for the first time. (not always, and not all actors)

1a: DPA 4066, Sennheiser MKE2 and 3, and a few others

1b: chin usually as we get too low gain when putting them by the ear (too short distance to speakers vs the room reflections)

2: v. 1.35 (you change gate to comp, and comp to de-esser on the channels you need them)

On a different note:
SQ firmware v. 1.4 has just arrived, with the possibility to get up to 8 de-essers on the console, as well as offline editor for PC (Mac still being tested) and you can now change matrix between stereo and mono as needed.

Looking forward to the shows here around june 6-9th, band and 20 wireless channels (18 microports) in a tent.


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## macsound (May 29, 2019)

Very exciting about SQ offline editor!

Not sure how a deesser is utilized for lavs in theatre. For me, deessers are most useful for singers exploding into a vocal mic that's halfway down their throat. The further you get the microphone from the mouth, the less necessary a deesser is, to me. 

When you say the lav goes on their chin, do you mean like an earset location or are you literally taping a microphone to actor's chins? Maybe mic placement is "requiring" your deesser use.


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## steine (May 29, 2019)

True, further away will mean less de-essers needed, problem is in the venue we have the speakers around 5 feet above the actors heads, and a few bad reflections still needed to get adjusted. (hard gaps in the walls reflecting 2-3KHz straight back towards the stage)

Found a picture showing somewhat how we have the mics taped, would love to have them further away from the mouths but I lose too much gain when doing it, sadly..



(foto (c)2019 Mie Neel - Production "Atlantis")


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## Jay Ashworth (May 30, 2019)

Understandable; yeah, your speaker position is the major problem.

But still, as mac notes, the sort of problem a deesser cleans up is one you shouldn't have unless the mic is pointed *at* the speaker/singer's mouth; tape-on mics are almost always pointed *past* it. It's hard to tell from your photo, but I think that's how yours are too -- it's damn near impossible to put a headworn in *front* of the mouth.


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## steine (May 30, 2019)

True 

The "problem" is I have some actors, at most productions, who somehow manage to trigger the need for the de-esser.

We are, at least, in the process of getting something done with the speaker setup (helped a lot with a small change in the angles of the system) as well as some treatment in the worst reflection areas.

Anyway, back to topic, I look forward to see how the 1.4 firmware runs here next week, so far it looks quite nice.


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## MartyRichman (Dec 25, 2020)

Question about the 48 Channels. Are those mono or can these also be stereo. Especially when I use digital Ins. 
for example: when adding a Dante or waves SG Card and using 14 Stereo Tracks from Ableton for playback/loops. How does those 14 Stereo tracks count ? Do they count as 28mono?
And is it like 48 minus those 28 mono. So I only have 20 Channels left?


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## NickVon (Jan 4, 2021)

MartyRichman said:


> Question about the 48 Channels. Are those mono or can these also be stereo. Especially when I use digital Ins.
> for example: when adding a Dante or waves SG Card and using 14 Stereo Tracks from Ableton for playback/loops. How does those 14 Stereo tracks count ? Do they count as 28mono?
> And is it like 48 minus those 28 mono. So I only have 20 Channels left?


48 Channels. you can set all your imputs for example to be stereo inputs, you are then limited to (24 sources). It can see as many channels as your Dante network supports ,but you can only patch into at any give time what ever 48 channels you want. A "Stereo" signal is always 2 channels. A&H like most manufactures follow the same definitions of channel capacity.

You reasoning is correct.


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