ALLEN HEATH QU-16 16 Channel Digital Mixer User Guide

ALLEN HEATH QU-16 16 Channel Digital Mixer

Product Information

• Specifications
  • Firmware Version: V1.1
  • Manufacturer’s Warranty: Limited One Year
  • Compliance: European Electromagnetic Compatibility directives 2004/108/EC and European Low Voltage directives 2006/95/EC

Product Usage Instructions

• Conditions of Warranty
  • To be eligible for warranty repair, please ensure the following:
  • The equipment has been installed and operated according to the instructions in the User Guide.
  • The equipment has not been misused, neglected, or altered without approval from ALLEN & HEATH.
  • Any necessary adjustment, alteration, or repair has been carried out by an authorized ALLEN & HEATH distributor or agent.
  • Fader wear and tear is not covered by the warranty.
• Returning a Defective Unit
  • If your unit requires repair under warranty, please follow these steps:
  • Contact the place of purchase or an authorized ALLEN & HEATH distributor or agent to discuss the return.
  • Return the defective unit to the place of purchase or an authorized ALLEN & HEATH distributor or agent with proof of purchase. The unit should be packed properly to avoid transit damage.
  • If the repair needs to be done in a different country than the purchase country, the repair may take longer as the warranty is confirmed and parts are sourced.
• Firmware Update
  • The Qu mixer’s functionality is determined by the firmware. To update the firmware:
  • Visit the Allen & Heath website and check for the latest firmware version.
  • Download the latest firmware version and transfer it to a USB key.
  • Use the Firmware Update utility to load the firmware onto the Qu mixer.

FAQs

• Q: What is the warranty period for this product?
  • A: The product is covered by a Limited Year Manufacturer’s Warranty from the date of purchase by the original owner.
• Q: What does the warranty cover?
  • A: The warranty covers defects in materials or workmanship, subject to certain conditions mentioned in the User Guide.
• Q: What is not covered by the warranty?
  • A: Fader wear and tear is not covered by the warranty.
• Q: How do I return a defective unit for warranty repair?
  • A: Please contact the place of purchase or an authorized ALLEN & HEATH distributor or agent to discuss the return process. Ensure that you pack the unit properly to avoid transit damage.

FEATURES

INTRODUCTION

Safety instructions

• Before starting, read the Important Safety Instructions printed on the sheets supplied with the equipment.
• For your safety and that of the operator, technical crew, and performers, follow all instructions and heed all warnings printed on the sheet and on the equipment panels.

System operating firmware

• The function of the Qu mixer is determined by the firmware (operating software) that runs it.
• Firmware is updated regularly as new features are added and improvements are made. This guide relates to Version 1.1 firmware.
• The latest firmware can be downloaded from the Allen & Heath website, transferred to a USB key, and then loaded into the Qu mixer using the Firmware Update utility.
• Check the Allen & Heath website for the latest version of Qu firmware.

Software license agreement

• By using this Allen & Heath product and the software within it you agree to be bound by the terms of the relevant End User Licence Agreement (EULA), a copy of which can be found on the Allen & Heath website in the product’s pages.
• You agree to be bound by the terms of the EULA by installing, copying, or using the software.

Further information

• For further information, knowledgebase, and technical support please refer to the Allen & Heath website.

General Precautions

• To prevent damage to the controls and cosmetics, avoid placing heavy objects on the control surface, obstructing the movement of the motorized faders, scratching the surface or touch screen with sharp objects, or rough handling and vibration.
• Protect the equipment from damage through liquid or dust contamination. Avoid dust or small objects getting into the fader slots. Cover the mixer when it is not being used for a long period.
• Computer and touchscreen technology can be affected by extreme cold.
• If the equipment has been stored in sub-zero temperatures allow time for it to reach normal operating temperature before use at the venue. The recommended operating temperature for Qu is 5 to 35 degrees Celsius.
• Avoid using the equipment in extreme heat and direct sunlight. Make sure the mixer ventilation slots are not obstructed and that there is adequate air movement around the equipment.
• Transport the Qu using a touring grade, purpose-designed flight with adequate foam lining and internal support for protection.
• Clean the control surface with a soft brush and dry lint-free cloth. Do not use chemicals, abrasives, or solvents.
• It is recommended that servicing is carried out only by an authorized Allen & Heath agent.
• Contact details for your local distributor can be found on the Allen & Heath website.
• Allen & Heath do not accept liability for damage caused by maintenance, repair, or modification by unauthorized personnel.

Packed contents

Accessories available

REGISTER YOUR PRODUCT

Register online at:http://www.allen- heath.com/uk/support/Pages/ProductRegistration.aspx.

Please Note

• This User Guide refers to Qu-16 firmware version V1.1. A few features are not supported by this release.
• Please refer to the Allen & Heath website for the latest version of firmware and this user guide.
• For more details read the Release Notes available with the firmware.

Features not supported by firmware V1.1:

• USB key Scene data transfer (Show files can be transferred)
• User Libraries for FX and processing
• Scene Recall Filters
• User Permissions

Note – USB streaming is compatible with an Apple® Mac computer only. Windows® PC is not supported.

Introduction

Connection Overview

The following connections are available on the rear panel of the Qu-16.

Input Connections

• Mono Line Input – Balanced ¼” TRS (Tip, Ring, Sleeve) jack input for plugging in line level signals such as multitrack players and radio mic receivers. To work with unbalanced sources use a mono jack or link ring to sleeve within the TRS stereo jack. Use DI boxes plugged into the Mic input for high impedance, low level sources such as acoustic instrument pickups.
• Microphone Input – Balanced XLR input for plugging in a low level source such as a microphone or DI box. 48V can be switched to the socket for condenser mics and active DI boxes that require phantom power. Note – To avoid loud thumps, mute the channel before plugging in cables or switching 48V on or off.
• Stereo Line Input – ST1 and ST2 balanced ¼” TRS (Tip, Ring, Sleeve) jack inputs for plugging in line level stereo sources such as CD players. The L input normals (switches) through the R input so that you can work with a mono source by plugging into just the L/M input. To work with RCA phono connections use jack to RCA converter plugs.
• Talkback Input – Dedicated balanced XLR input for plugging in a microphone to route to the mixes for the engineer to talk to the performers on stage. Phantom power can be switched to the socket for condenser microphones.

Output Connections

• Mix outputs – Balanced XLR line level outputs for the mono and stereo mixes, for example to feed monitor amplifiers, fill speaker systems, and external processing devices. These use low impedance, high quality differential driver circuits for connection to +4 or 0dBu equipment. Maximum output is +22dBu. Professional equipment provides ‘balanced’ connections for maximum interference rejection over long cable runs. If you are connecting to ‘unbalanced’ equipment then make sure the XLR pin 3 (signal cold) is linked to pin 1 (signal ground).
• Main LR output – Balanced XLR line level outputs for the main Left and Right stereo mix. These typically plug into the FOH speaker processor, amplifier or powered speakers.
• AES output – 2-channel digital output using a single XLR connection and standard mic (2-core screened) audio cable. It follows the AES (Audio Engineering Society) digital audio standard and can connect to any equipment fitted with an AES input socket. The source to this output is patched using the Setup / Audio / Output Patch screen. Applications include the feed to a PA speaker processor, amplifier, stereo broadcast or recording device equipped with AES input.
• Alt out – Stereo ‘alternative’ output on balanced TRS jacks for connection to +4 or 0dBu equipment such as zone feeds, fill speakers, broadcast or local monitor. The source to this output is patched using the Setup / Audio / Output Patch screen.
• 2TRK out – Stereo output on balanced TRS jacks for connection to +4 or 0dBu equipment such as stereo recorders. It follows the post master fader main LR mix.

Other Connections

• Lamp – Plug in a 4-pin gooseneck lamp to illuminate the mixer surface. We recommend the Allen & Heath LED lamp with a built-in thumbwheel dimmer.
• USB B – Type B USB connection for multi-channel bi-directional audio streaming between the mixer and a computer. Follows the high-speed USB 2.0 standard. Firmware V1.1 supports connection to an Apple Mac only. Windows PC drivers are currently not available.
• Network – Fast Ethernet (100 Mbit/s) port for Cat5 cable connection to a computer for MIDI over TCP/IP control of mixer parameters, or a wireless router (access point) for live mixing control using the Allen & Heath Qu-Pad app running on an iPad. The Link indicator flashes to indicate network activity.
• dSNAKE – The proprietary Allen & Heath ‘digital snake’ connection for remote audio using an AR2412 or AR84 AudioRack, and for personal monitoring using the ME Personal Mixing System.

Powering up the mixer

The Qu has an internal universal voltage power supply unit. This means you can use your mixer in most parts of the world without the need to modify the unit as long the local mains supply is within:

• Mains Voltage = 100 to 240 V.AC
• Mains Frequency = 47 to 63Hz

Important – Before starting, read the Safety Instructions Sheet packed with the mixer. These can also be downloaded from the Allen & Heath website. Also read the safety notes printed on the rear of the mixer.

• AC MAINS IN – Standard IEC socket for connecting the mixer to the local mains supply. Plug in a mains lead with moulded plug suitable for your territory. A suitable mains lead is shipped with the mixer.
• Note – Do not replace the mains plug or modify the lead in any way. For your own safety and that of the operator and performers do not remove or defeat the ground connection. A cable clamp is provided. You can slot the cable into this or lock it in place. To lock the cable use a star head Torx T20 screwdriver to refit the clamp around the cable.
• Fuse – Mains input fuse to protect the mixer circuits in the unlikely event of a failure or excessive power surge. If you need to replace the fuse always use one of the same type and rating as printed on the rear panel. If the replacement fuse blows then refer to your authorised Allen & Heath service agent for advice.
• Power ON/OFF switch – Press to switch the mixer on. Press again to switch it off. Switching the mixer on – Press the ON/OFF switch. The rear panel blue Power indicator lights. The mixer takes  just a few seconds to boot up. It restores its previoussettings. CH1 is selected and its processing shown on the screen.
• Note – To avoid loud thumps, do not switch the mixer on or off while the PA speakers are powered. Always switch the amplifiers on last, and switch them off first.
• Switching the mixer off – First select the Home screen. Touch Shut Down to safely complete processes such as parameter storing and USB data transfer or recording. Once complete, press the ON/OFF switch to turn the mixer off.

Connecting dSNAKE Remote Audio

The Qu-16 mixer provides local sockets on its rear panel for all audio inputs and outputs. It can also work with remote audio by connecting over a single cable ‘digital snake’ to an Allen & Heath AudioRack, or to the Allen & Heath ME Personal Mixing System.

Connecting to a remote AudioRack

The Qu-16 can connect to an Allen & Heath GLD-AR2412 or GLD-AR84 AudioRack so that the audio can be plugged into a rack on stage and routed to the Qu-16 over a single Cat5 cable ‘digital snake’ plugged into its dSNAKE port.

dSNAKE carries:

• 24 remote input signals
• 12 remote output signals
• 40 personal mixing sends
• Preamp control – Gain, Pad, 48V

The Qu mixer provides a locking Neutrik EtherCon socket to protect the connections and ensure suitability for touring. Use a touring grade cable fitted with locking EtherCon plugs.

• The ‘digital snake’ – dSNAKE provides a convenient, single Cat5 cable alternative to the typical heavy analogue copper multicore to connect many inputs and outputs on stage. One cable carries multiple channels of audio in both directions together with remote control of the preamps.
• Cat5 cable – Use STP (shielded twisted pair) Cat5e or higher cables. Those with both foil and braided screens provide shielding from interference and are generally more rugged. Stranded core cables are less prone to damage when kinked or repeatedly coiled. Maximum cable length = 120m (396’)
• Remote Inputs – dSNAKE inputs are mapped one-toone to the Qu-16 CH1-16 and ST1-3 input channels.
• Note – dSNAKE does not add channels to the Qu-16. Choose either Local (rear panel) or dSNK (remote) input for each channel.
• Remote Outputs – Qu-16 mix and LR outputs are mapped to the output sockets on the AR rack. These duplicate the outputs on the Qu-16 rear panel.

The following remote AudioRacks are available:

Connecting to the ME Personal Mixing System

The Allen & Heath ME Personal Mixing System can be used with the Qu-16. This provides customizable personal monitor control for individual musicians and performers on stage.

• ME-1 personal mixer – A compact personal mixer able to work with up to 40 channels. Features built-in headphones and monitor output. Intuitive and easy to operate, its 16 select keys can be configured to provide as much or as little control as the musician needs. The 40 ME channels are mapped in order from CH1-6, ST1-3, LR, FX1-3 returns and Mix1-10 to dSNAKE. These can be chosen and grouped to ME-1 keys using the setup function available on the ME-1 mixer.
• Multiple ME-1 mixers can be connected in series (daisy chained) by linking the output of one to the input of the next. Alternatively, they can be connected in parallel and powered over their Cat5 cables using a standard PoE Ethernet switch or the Allen & Heath ME-U hub. The ME connects directly to a dSNAKE-compatible port using a Cat5 cable.
• Connecting ME to the AR2412 AudioRack – ME-1 mixers, a standard Ethernet switch or the ME-U hub can be plugged into either or both the AR2412 MONITOR and EXPANDER ports.
• Connecting ME to the Qu-16 – ME-1 mixers, a standard Ethernet switch or the ME-U hub can be plugged directly into the Qu-16 dSNAKE port if you are not using this to connect to an AudioRack. Power can be provided over the Cat5 by the ME-U or a PoE switch.

Operational Overview

This section provides an overview of the Qu-16 layout and operation to help you get started quickly.

Fader Strips

• The Qu-16 has a group of 16 fader strips. These provide access to the input and master channel levels and processing.
• The main channel levels, master levels and all sends to the effects and mixes can be easily viewed and adjusted using the faders.
• The faders can also be used to adjust the Graphic EQ while in Fader Flip mode.
• The faders are motorised and instantly move to show the current settings when the layer or function is changed.

Layers – There are three Layers. These provide access to 32 strips identified by the labels alongside the layer select keys. Indicators next to the keys show which layer is active.

• Press the lower key to access the 16 mono channels.
• Press the upper key to access the 3 stereo channels, FX returns, FX send, and Mix masters.
• Press both keys together to access the user-assignable Custom layer.
• Mute key – Press to turn off the channel audio signal. This affects the send to all mixes including LR, effects and stage monitors. The Mute key lights red when the channel is muted. It flashes when it is muted by a Mute Group master.
• Sel (select) key – Press to access the Channel Processing. Parameters can be adjusted using the SuperStrip controls. The Touch Screen will display the settings and provide additional controls if either the Processing or Routing screen is active. The Sel key is also used for:
• Assign mix routing – Hold down the ‘Assign’ key and press Sel keys to assign channels to the mix currently selected in the Master Strip. The Sel keys light green for channels assigned to the selected mix.
• Assign Pre/Post fade sends – Hold down the ‘Pre Fade’ key and press Sel keys to toggle channel sends pre or post fader for the mix currently selected in the Master Strip. The Sel keys light green for channels set pre-fade.
• Copy channel processing – Hold down the Copy key and press a channel Sel key to copy its processing settings. Then hold down the Paste key and press one or more Sel keys to instantly paste those settings to other channels.
• Reset channel processing – Hold down the Reset key and press a channel Sel key to instantly reset all its processing to factory default.
• PAFL key – Press to listen to a channel using headphones and check its level on the main meters. The meter PAFL indicator lights. Press PAFL again to turn it off. A SoftKey can be assigned to clear all active PAFL selections.

Options are available in the Setup screen to choose how you want PAFL to work:

• Auto-cancel – Listen to one channel at a time.
• Additive mode – Listen to more than one channel at a time.
• Sel follow PAFL – Link the Sel switch so that pressing PAFL automatically selects the processing for that channel.
• LR to PAFL – Routes the main LR mix to the monitor when there is no PAFL selected.
• Output AFL – This option sets the mix strip PAFL keys to monitor AFL (afterfade listen). With this option turned off these keys monitor PFL (pre-fade listen). The default is AFL so that you can check mixes after the master fader.
• Input AFL – This option sets the input strip PAFL keys to monitor AFL (afterfade listen). With this option turned off these keys monitor PFL (pre-fade listen). PFL is the usual setting for inputs so that you can check and set their gain before you bring up the faders.
• Channel meter – The strip meters let you keep an eye on signal levels while you are mixing. These display channel level before the fader and mute control:
• Pk – Lights red to warn that the signal is too hot and gain or trim should be reduced. It turns on 3dB before clipping to warn you before audible distortion. Pk senses the signal at several points within the channel.
• 0 – Lights when the signal reaches nominal 0dBu allowing a healthy 18dB headroom. This is the normal level for mixing.
• Sig – Lights to show signal presence. It turns on at -26dBu.
• Fader – Controls the level of the input channel, FX or mix master assigned to it. This can be the main channel fader or a send to an effect or mix depending on which Mix Select key is active in the Master Strip. The faders can control the Graphic EQ frequency bands while in GEQ Flip mode with a mix master Sel key active. The range of frequencies accessed by the faders is highlighted in the touch screen and labelled at the top of the faders. The centre 0dB flat position is marked on the fader scale.

Channel Processing

The SuperStrip provides familiar, analogue feel, one function per knob control of channel and mix master processing such as equalisers and dynamics. The Touch Screen displays the parameter values and provides additional related controls while in the Processing screen. This processing is accessed using the fader strip Sel keys.

The following processing is available:

• Mono input CH1-16 = Source, Preamp, HPF, Gate, PEQ, Compressor, Delay, Stereo Linking
• Stereo input ST1-3 = Source, Trim, HPF, Gate, PEQ, Compressor, Delay
• FX Return 1-4 = FX parameters, PEQ
• Mono Mix1-4 = Graphic EQ, Compressor, Delay
• Stereo Mix5-10 = Parametric EQ, Compressor, Delay
• Main LR = Graphic EQ, Compressor, Delay

Working with the Processing:

• Press a fader strip Sel key. The Processing Block controls become active for that channel.
• Press the Processing key to work with the parameters on the Touch Screen.
• Touch the top part of the Touch Screen to open the tabs for the available processing blocks.
• View values in the lower part of the screen. Touch screen buttons and use the screen rotary to adjust parameter values.

Channel Preamp source

• Local (red Gain) – Rear panel Mic/Line sockets feeding the internal Qu mixer preamps. These are padless preamps featuring wide gain range. dSNAKE (yellow Gain) – Remote preamps located in an AR2412 or AR84 AudioRack on stage or other remote location and connected to the Qu dSNAKE port via a Cat5 cable. These preamps include Pad switching.

Channel USB source

• Qu-Drive source (dark blue Gain) – Stereo or multitrack playback from a USB hard drive plugged into the top panel Qu-Drive port. Provides a +/-24dB Trim control. USB B source (light blue Gain) – Multi-channel streaming from a Mac computer via the rear panel USB B port. Provides a +/-24dB Trim control.
• The panel USB Select key in the Preamp control section switches between the current Preamp source (Local or dSNAKE) and the current USB source (Qu- Drive or USB B).

Phantom Power

• Turn on 48V if the connected device requires phantom power, for example a condenser microphone or active DI box. Touch and hold for 1 second to toggle on or off. This prevents accidental operation.
• Note – To prevent audible thumps make sure the channel is muted before switching 48V on or off.

Gain

• Turn up Gain so that the average loud signal reads into the yellow of the meter. Turn down if any red peak light flashes.

Polarity

• Touch Ø to reverse the polarity of the input signal, for example that of the lower mic when working with two microphones on a snare drum.

Other functions in the Preamp section

• Insert switches an internal FX in or out if one has been patched into the channel. The button is disabled when the insert is not patched. The FX is inserted between the preamp and EQ.
• Use the FX / Back panel screen to choose and assign one of the 4 internal FX as an Insert into a channel.
• Delay up to 85ms can be added to each input channel.
• In most cases delay is not needed, but can be useful in time aligning sound from the PA to the acoustic sound from an instrument on stage. Allow 1ms per foot distance as a starting point.
• Linking lets you gang the preamp, processing and routing of an odd/even mono channel pair for stereo operation.
• All parameters including the preamp, processing and routing are linked. Pan becomes a width control when linked. Some parameters can be removed from the link using the buttons:
  • Preamp – Gain/48V, Polarity
  • Dynamics (Compressor and Gate) – Side Chains
  • Main mix – Fader/Mute, Pan
• Touch Apply to accept your changes.

Gate

• The Noise Gate can be switched in to dynamically turn off the audio when it drops below a certain level. For example, to reduce resonant decay of a kick drum or floor tom, or hiss of a noisy keyboard.
• Use the In key to switch the Gate in or out. This is similar to inserting an outboard rack mounted device into the Insert socket on an analogue console channel.
• Set Depth for how much signal reduction you want when the gate closes. 20dB is a typical setting. Sound check the instrument and reduce Threshold to shut off as much of the tail of the signal as you want. The GR indicator lights and red screen meter shows the amount of reduction when the gate is closed.
• Hold sets how long the gate remains open after dropping below the threshold. Attack sets how fast the gate opens when the signal rises above the threshold.
• Release sets how fast it closes when dropping below the threshold. Experiment with these controls to achieve smooth operation without a pumping effect.

HPF

• The High Pass Filter is used to reduce unwanted low frequency sounds such as vocal popping, wind noise and stage rumble.
• Switch the HPF in using the In key. Use the panel rotary or screen button and rotary to sweep the cut-off frequency until you have reduced the unwanted sound.
• The filter has a 12dB slope and can be swept from 20Hz to 2kHz. The violet screen curve shows the resulting frequency response.

PEQ (parametric equaliser)

• The Parametric Equaliser allows tonal adjustment of the channel sound. It splits the 20Hz to 20kHz audio frequency range into 4 bands:
  • LF (low frequency)
  • LM (low mid frequency)
  • HM (high mid frequency)
  • HF (high frequency)
• Each provides 3 parameters that can be adjusted:
  • Gain – Boost or cut frequencies by up to 15dB. Centre 0dB is flat response (no affect).
• Frequency – Each band can sweep its center point frequency across the full range from 20Hz to 20kHz. This means you can overlap bands and have more precise control over problem frequency areas.
• Width – Each band has a bell-shaped response. The width of the bell can be varied from a very wide 1.5 octave affecting many frequencies to a very narrow 1/9th octave affecting a small range of frequencies. Setting LF or HF to widest position changes its response to shelving. Experiment with the controls to hear their effect on different sounds. Switch the PEQ in or out using the In key to compare the sound. It is better to cut rather than boost frequencies where possible.

Compressor

• The Compressor is a powerful tool for controlling the dynamics of the sound, for example, to smooth out a bass guitar or to narrow the dynamic range of a vocal to make it more intelligible in a busy mix. At its extreme setting, the compressor can be used as a limiter to prevent the signal from exceeding a preset maximum level. A compressor works by dynamically reducing the amount of gain when the signal increases above a certain threshold. This pulls back loud moments.
• Applying ‘make-up’ gain restores the average volume and also has the effect of bringing up quiet moments.
• The result is a reduced dynamic range. While listening to the signal adjust Thres (threshold) to set the point at which compression starts. The GR  indicator and red screen meter will start to show that compression is active. Set the Ratio for how much compression you want from none (1:1) to full limiting (Inf).
• A good starting point is around 3:1. Use the In key to switch the compressor in and out and turn up Gain so that the average volume is similar.
• Attack sets how fast the compressor starts to work when the threshold is reached. Release sets how fast it stops compressing when the signal drops below the threshold. For example, adjust these to achieve a ‘punchy’ dynamic sound, or smooth out the response to reduce an audible ‘pumping’ effect.
• Two ‘knee’ settings are available. Hard Knee means that compression is applied at the set ratio as soon as the threshold is reached. Soft Knee means that the compression ratio increases gradually from 1:1 to the set ratio as it approaches the threshold. The curve illustrates this.
• 4 Compressor types are available using the dropdown menu.
• Two ‘Manual’ types allow user control of attack and release. Two ‘Auto’ types provide automatic control of the compressor dynamics.
• Experiment with the effect of the compressor settings on different sounds.
• Try to use compression only where it is needed, and avoid compression in stage monitor speakers.

Mix processing

• The mix masters provide EQ, Compressor, FX Insert capability and output Delay.
• Insert switches an internal FX in or out if one has been patched into the mix. The button is disabled when the insert is not patched. The FX is inserted at the start of the processing before the EQ.
• Use the FX / Back panel screen to choose and assign one of the 4 internal FX as an Insert into a mix.
• Delay up to 170ms can be added to each mix output.
• This is typically used to time align the PA to the acoustic sound from the instruments on stage, or to align fill loudspeakers to the main PA. Allow 1 ms per foot distance as a starting point.

GEQ (graphic equaliser)

• A GEQ is provided on each of the 4 mono mixes and the main LR mix as these are likely to feed stage monitors and PA speakers where traditional graphic equalization is popular. A PEQ is provided on each of the 3 stereo mixes where more precise parametric equalisation may be preferred for in-ear and other sends.
• The Graphic Equaliser allows tonal adjustment of the overall mix sound. It splits the 20Hz to 20kHz audio frequency range into 28 standard 1/3 octave bands from 31.5Hz to 16kHz allowing +/-12dB cut or boost.
• Touch the screen In button to switch the GEQ in or out. Touch a slider to highlight it and use the screen rotary to cut or boost its frequency. This affects a small range of frequencies 1/3 octave wide centered on the frequency marked below the slider.
• The position of the sliders shows the approximate shape of the resulting frequency response curve.
• Press the GEQ Fader Flip key to view and adjust the GEQ on the faders while a mono or the LR mix is selected.
• The screen highlights the active range of frequencies. Press the switch again to change the range or return to normal mix mode.
• The faders toggle between the lower (31.5Hz to 1kHz) and higher (500Hz to 16kHz) ranges of frequencies.
• The frequencies are shown on the screen and marked on the panel above the faders.
• The fader strip Sel key turns on when the slider is at 0dB mid (flat) position while in fader flip mode. Press a Sel key to return a slider to 0dB.
• It is better to cut rather than boost frequencies when tuning speakers using the GEQ.

Channel Routing

• The Touch Screen presents tabs to access the channel assignments and send levels when its fader strip Sel key is selected and the Touch Screen Routing screen is active.
• The Channel Block Pan control provides quick access to the related mix pan setting for the channel.
• The Fn key is used to access the Mute Group masters while in any Routing screen.

Working with the Routing screens:

• Press a fader strip Sel key.
• Press the Touch Screen Routing key.
• Touch the tabs at the top of the screen.
• Touch screen buttons and use the rotary.
• Press the Fn key to access the Mute Groups.

Pan

The rotary Pan control becomes active when an input channel Sel key is active. Its function depends on the currently selected Master Strip mix:

• LR = Channel main pan
• FX send = Channel main pan
• Mono Mix1-4 = Disabled
• Stereo Mix5-10 = Channel sends pan

Pan becomes a Width control when linked for two input channels – P anning one to the left automatically pans the other by the same amount to the right.

Channel Routing screen

• Adjust the channel Direct Output Trim from off to +10dB gain. The Direct Outputs can be patched to feed the internal FX devices, for example, a delay effect sent for a single vocal.
• The channel source for the Direct Outputs can be changed on this screen. This is a global setting affecting all channel direct outputs.

Channel Mix Sends screen

• Use this screen to work with the sends and assignments from one channel to all the mixes.
• Each send can be set Pre or Post fader. It is typical to set monitor sends pre-fade so that the channel fader does not affect the monitor mixes, and to set effects and fill speaker sends post-fade so that their levels do follow the faders.
• The channel can be assigned (routed) On or Off to each mix. Touch the Level and Pan buttons and use the screen rotary to adjust their settings.
• To work with the sends and assignments from all channels to one mix use the Master Strip Mix keys and the fader strips.

Channel FX Sends screen

• Use this screen to work with the sends and assignments from one channel to FX1 and FX2. These are for Mix>Return effects such as reverb and delay.
• The sends can be set Pre or Post fader but it is usual to leave these set post-fade so that the effects follow the channel fader level. Each send can be assigned On or Off. Its Level can be adjusted here.
• To work with the sends and assignments from all channels to one FX mix use the Master Strip Mix keys and the fader strips.
• FX3 and FX4 do not have dedicated sends. However, you can assign any of the Mix1-10 buses to feed these effects. To do this use the FX / Back panel screen.

Mix Routing Select a mix master Sel key while the Routing screen is active to:

• Adjust the Output Balance between L and R of a stereo mix or LR.
• Choose the global Channel Source for the selected mix. This is the point in the channel signal path that feeds the mix.
• Choose Post-Preamp if you want the sources to the mix to not be affected by any of the channel processing.
• Choose Pre-EQ for a monitor mix if you do not want the channel EQ to affect the monitor.
• Choose Post-EQ if you want the EQ but not the compressor to affect the monitor.
• Choose Post-All for effects sends.

Mute Groups

The Qu features 4 Mute Groups. You can assign channels to a Mute Group so that pressing its master key will instantly mute all assigned channels. For example, mute all drum channels, mute all mics on stage during band changeover, or mute all FX returns between songs. Mute masters are accessed from the Home or any Routing screen, or using the SoftKeys.
The following may be assigned to Mute Groups:

• Mono and stereo Input Channels
• FX Send masters
• FX Return channels

Assigning a single channel

• Press an input channel or FX send or return fader strip Sel key and select the Touch Screen Routing screen.
• Open the Mute Grp Assign tab. Use this screen to assign the channel to any combination of the 4 Mute Groups.
• A green tick next to the button indicates that the Mute Group master is available on the related SoftKey.

Assigning all channels

• While in any Routing screen press the Fn key to open the Mute Groups view.
• Select the tab for the Mute Group you wish to assign.
• All sources to that group are shown. Touch buttons to toggle assignments on or off. Touch the Clear/Set All button to turn off or on all the assignments.
• Press the Fn key again to close the Mute Groups view.

Using the Mute Groups

There are 3 ways to use the Mute Groups:

• Touch the master buttons on the Home screen.
• While in any Routing screen press the Fn key to open the Mute Groups view. Select the MG Masters tab and touch the master buttons.
• Assign and use one or more SoftKeys as Mute Group masters. The Mute Groups are assigned to SoftKeys with the same number as the group.
• The Mute key will flash red if the channel is muted by a Mute Group. A short flash shows it is muted by the group only. A long flash shows it is muted by the Mute key and a group.

The Master Strip

Qu provides a dedicated fader strip for the Mix Masters. It presents the fader and controls for the mix currently selected using the Mix keys alongside. The sends to the selected mix are presented on the 16 faders. They move to show the current settings. This provides a very quick way to access each mix without the need to switch to the Masters layer.

• Mute key – Press to turn off the mix master audio signal. The Mute key lights red when the audio is muted.
• Sel (select) key – Press to access the Mix Processing. Its PEQ and Compressor parameters can be adjusted using the SuperStrip controls. The Touch Screen will display their controls and settings and provide access to the GEQ and routing options if either the Processing or Routing screen is active.

The Sel key can also be used to:

• Copy mix processing – Hold down the Copy key and press the Sel key to copy the processing settings. Then select a different Mix, hold down the Paste key and press the Sel key to instantly paste those settings to that mix.
• Reset mix processing – Hold down the Reset key and press the Sel key to instantly reset all its processing to factory default.
• PAFL key – Press to listen to a mix using headphones and check its level on the main meters. The meter PAFL indicator lights. Press PAFL again to turn it off. A SoftKey can be assigned to Clear All active PAFL selections. Options are available in the Setup screen to choose how you want PAFL to work. The default setting is AFL (after-fade listen).
  • Mix meter – The strip meter lets you keep an eye on the mix master signal level. This is ‘post-fader’ and displays the level after the fader and mute control to follow the signal available at the output of the mixer.
  • Pk – Lights red to warn that the signal is too hot and mix level should be reduced. It turns on 3dB before clipping to warn you before audible distortion.
  • 0 – Lights when the signal reaches nominal 0dBu allowing a healthy 18dB headroom. This is the normal level for mixing.
  • Sig – Lights to show signal presence. It turns on at -26dBu.
• Fader – Controls the level of the mix master currently selected. There is +10dB boost available. Normal setting is around the ‘0’ position.
• Mix Select keys – These select which mix master is presented on the master strip. Only one can be active at any time. Press a key to select it. Press it again turn return to the main LR mix.
  • LR sets the strip to control the main LR mix. This is the normal selection for mixing the FOH (main PA) sound.
  • FX1-2 sets the strip to control the FX1 or FX2 internal effects send master. The channel faders move to become the sends to the selected FX. Channels can be assigned using the Sel keys.
  • Mix1-10 sets the strip to control one of the mono or stereo mix masters. The channel faders move to become the sends to the selected mix. Channels can be set pre or post-fader and assigned using the Sel keys.

Working with the sends on faders:

• Press a Mix key. The master strip presents the mix fader and controls. The 16 channel faders move to present the sends to that mix.
• Move a channel fader to adjust its send level to the selected mix.
• Hold the Assign key to view the current channel assignments to the mix. The Sel keys light when the channel is assigned (routed) to the mix. To toggle the assignments on or off, press channel Sel keys while holding Assign.
• Hold the Pre Fade key to view the current channel pre/post fade settings for the mix. The Sel keys light when set to Prefade.
• To toggle pre or post, press the channel Sel keys while holding Pre Fade. It is typical to use Pre-fade for monitor sends and Post-fade for effects sends.
• Press the Mix key again or press LR to return to the main mix, or press another Mix key to adjust a different mix.
• Note Always remember to return to the main LR mix once you have finished adjusting monitor or effects levels.

Copy, Paste, Reset keys

• Press + hold down one of these keys and then press another key or screen item to copy, paste or reset the related parameters. For example:
• Copy – Press Copy + a channel Sel key to select its processing to copy. Press Paste + another channel Sel key to paste the processing to that channel.
• You can copy just one processing block such as PEQ using its In key and then paste it into other channels using their strip Sel keys.
• Reset – Press Reset + a channel Sel to instantly reset its processing to factory default settings.

The following Copy/Reset is supported:

• + Input strip Sel key = HPF, Gate, PEQ, Comp, Delay
• + Mix strip Sel key = PEQ, GEQ, Comp, Delay
• + HPF In key = HPF only
• + PEQ In key = PEQ only
• + Gate In key = Gate only
• + Comp In key = Compressor only
• + touch Scene item in list = Scene contents

Touch Screen Mixing Functions

The Qu features an 800×480 pixel, color touch screen for quick and intuitive setup and control of the mix.

• Button – Touch to select its function or change its state. To avoid accidental operation some functions need be touched for at least 1 second, for example switching 48V phantom power. These are marked ‘(Hold)’.
• Parameter box – Touch to change its value. The box highlights orange to show it is selected and can be adjusted using the screen rotary.
• Option Menu – Touch to open a list of options available. Scroll using the screen rotary and touch an item in the list to select it. Touch outside the box to exit. Several menu lists are available within the screens, for example, to choose the source for the AES output.
• Screen Rotary – Use this to change the value of the parameter in the box highlighted orange on the screen, or to scroll through lists.
• Apply / Cancel – Some setup screens present several parameters associated with one function, for example channel linking. These can be chosen before they are applied. Touch Apply to accept the changes or Cancel to close the screen without accepting the changes.
• Function Key – The Fn key provides access to further options associated with the currently selected screen.  If available, its function will appear in the lower toolbar above the key. Press the key again to close the option screen. This example shows access to the Mute Groups screens from within a Routing screen.

The Sel screens – Processing and Routing

• Processing Screen – When selected this screen presents the processing such as Preamp, EQ,
  • Gate, Compressor for the channel or master currently selected using its strip Sel key.
  • Touch the top part of the screen to select the processing block you wish to view or adjust, for example Preamp or PEQ. This is known as the TouchChannel.
  • The lower part of the screen changes to provide access to the related parameters and additional related controls.
  • The physical controls in the SuperStrip and the touch controls in this screen provide quick access live mixing functions.
• Routing Screen – When selected this screen lets you access the assignment and routing for the channel or master currently selected using its strip Sel key.
  • This lets you work with routing to all mixes from one channel. To work with all channels to one mix use the Master Strip Mix keys and sends on faders.

Home Screen

Press the Home key. Pressing it again restores the last selected Sel screen. The Home tab presents:

• Current Firmware version
• Current User
• The 4 Mute Group master buttons
• Shut Down button to use before powering down the mixer
• Lock Surface to protect settings when the mixer is left unattended

Home Screen – Changing User

This screen lets you log in as one of 3 Users with different permissions:

• Admin – Full access to all functions
• Firmware V1.1 does not support User Permissions. The only User Profile available is Admin.
• Standard – Operation only, setup not allowed
• Basic – Fader and Mute control only

Home Screen – Meters

• This screen provides a convenient view of all channel, mix and FX signal activity.
• For optimum performance the loudest signals should read into the yellow.
• If any red Peak meter flashes then reduce the level of that signal to avoid possible distortion. Increase levels if the meter readings are consistently low.

Home Screen – RTA

• This screen displays a Real Time Analyser (RTA) which analyses the frequency content of the audio signal currently being monitored using the PAFL keys.
• It splits the frequency into 31 third octave bands from low 20Hz to high 20kHz, the same frequencies as used on a graphic equaliser.
• The RTA is a useful tool to help you identify problem frequencies such as room resonance and feedback.

Home Screen – Qu-Drive (USB audio)

• This opens screens associated with the USB stereo and multitrack recording:
• Qu-Drive Stereo page – This screen presents the controls for stereo recording to and playback from a USB hard drive plugged into the top panel Qu-Drive port.
• The blue Stop buttons light if the USB key or drive is recognized by the mixer. The controls are disabled if a USB drive is not plugged in or recognised.

Stereo Record – You can record to a USB hard drive plugged into Qu-Drive:

• Format = 48kHz, 24-bit, WAV file

• Data rate = 288 KB/sec, maximum 4 hours (4GB)

• Qu allocates a file name ‘QU-STnnn.WAV’ where ‘no’ increments from 001 to 999 starting at the highest number +1 it finds on the drive.

  • Note – Use a USB hard drive, not a key, for all stereo and multitrack recording.
  • Note – Use the USB hard drive for the Qu mixer only.

• Do not use it for other applications.

• Format the hard drive on the Qu mixer before starting to record. Use the Setup / Utility / Qu-Drive screen. This clears the drive and sets up the Qu directory structure.

• Patch the source to be recorded using the Setup / Audio / Output Patch screen Qu-Drive option menu. The record meter on the USB page displays the current source. The default is LR post-fade. Arm the recording by touching the red circle Record button. Touch the Play button to start the recording.

• Stereo Playback – You can play back audio files from a USB hard drive plugged into Qu-Drive port:

  • Format = 44.1 or 48kHz, 16 or 24-bit, WAV file
    Note – Use the USB key or hard drive for the Qu mixer only. Do not use it for other applications.

• Format the USB drive on the Qu mixer before loading the playback files. Use the Setup / Utility / Qu-Drive screen. This clears the drive and sets up the Qu directory structure.

• Copy audio WAV files on to USB from your computer. Place these in the AHQU / USBPLAY directory. Plug the USB drive into Qu-Drive.

• Patch the playback to the ST3 channel using the Processing / Preamp screen Fn key to open the Preamp Source screen. Make sure Qu-Drive is selected as the ‘Global USB Source’. Select USB as the source for ST3.

• Once you have selected Qu-Drive as the global USB source you can also use the panel USB key in the  Preamp section to toggle between the ST3 preamp and USB source.

• Select the track to playback by touching the name box. You can choose a track from the Playback or the Recordings directory. Touch Select to confirm.

• Press the Fn key for options to choose playback mode:

The FX

Qu features 4 internal stereo FX (effects) processors. Each can be loaded from a library of different effects types and presets. These are the same as found in the flagship Allen & Heath iLive digital mix system and are based on emulations of popular industry standard effects.

The FX screen

• Press the FX key next to the Touch Screen to open the FX screen. You work with the FX in the same way you would with a traditional outboard rack. Start with an empty rack as shown here. Each of the 4 FX has a rack slot. Touch the tabs at the top to select each slot.
• Library – Press the Fn key to open the Library page.
• Scroll through and select the FX type you wish to load into the rack. The effects are arranged in types on the left with available presets for each in the right hand window. Touch Recall to load the FX.
• Listen to and experiment with the different presets and their parameters available.

FX types

• Reverb – This is the most popular effect in live sound mixing. The SMR Live (Spatial Modelling Reverberator) features 4 fully configurable spatial models – Classic, Hall, Room and EMT plate. Each of these use different reflection and decay algorithms to add natural sounding space to the dry signal whether subtle small room echo, vintage vocal plate or a massive arena. Reverb can make a vocal sound spacious and smooth in the mix or add body to an instrument such as acoustic guitar or flute. There are plenty of factory presets available. The 4 buttons at the top control the main parameters if you wish to make adjustments. HF and LF cut shape the response, and Expert opens up a host of parameters for fine control if you wish to experiment further. You also have the 4-band PEQ available in the FX Return channel processing.
• Delay – Generates separate left and right tap delay outputs from the input. Delay time can be dialled in using the screen rotary, tapped on screen or tapped  using a SoftKey. The left and right delay taps can be linked to produce a mono effect. Feedback addsregeneration for a repeating echo effect. Set a short delay time around 80 to 160ms for the classic slapback effect.
• ADT – An Automatic Double Tracking module capable of creating short echo/chorusing, classic double tracking and ‘slapback’ tape delay loops. It includes a stereo width enhancer and auto panning within the stereo field. The ADT is perfect for creating classic doubling effects, thickening programme on stage or developing a stereo sound field as an alternative to chorusing.
• Chorus – Chorus derives from the late 80’s where different stereo field creation techniques influenced the sound of each chorusing unit. Chorus recreates the classics using 3 stereo-field emulations. These emulations can be switched in any combination creating many different stereo fields.
• Symphonic Chorus – A faithful emulation of the 80’s classic chorus effect. Simple to use and frequently requested. The unit has just two controls, Frequency and Depth controlling the rate and delay range of the stereo modulator. The unit produces a rich, lively and wide chorus sound with a suggestion of very mild phasing / flanging. Live engineers commonly use this for thickening vocals and strings and creating a spatial sound from a mono source. This has led to two factory presets ‘SymphonicVox’ and ‘SymphonyStrings’.
• Flanger – Qu provides three classic flanger effect emulations – ‘Ambient’, ‘Vintage’ and ‘Wild’. During research of classic pedal flangers we found numerous LFO modulators and stereo splitting techniques. We implemented them all. For classic deep flange set Stereo Split and Stereo Spread off, pick triangular modulation, Vintage type and adjust Depth and Regeneration.
• Phaser – A classic 12 stage emulation producing rich textured phasing with plenty of control. You can control the number of stages, feed forward and feed back, and ‘zero’ depth manual mode to manually sweep the Phaser using the offset control.
• Gated Verb- An accurate emulation of the popular 80’s Gated Reverb plus two other variants called ‘Panned’ and ‘Powerbox’. The user interface gives instant access to Lo-cut Hi-cut decay spectrum filters and the gate envelope controls – predelay, attack, hold and release.

Patching the FX

Touch the top right tab to select the Back Panel view. Open the option list to select the type of FX. Touch

Apply to confirm any changes:

• Mix >Return – Known as a ‘system effect’ this uses a bus to Send a mix of the channels to the effect, and a dedicated stereo FX Return channel to add the ‘wet’ effect to the ‘dry’ original sound. This is used for effects such as reverb and delay. Choose which mix bus to use as its input. FX1 and FX2 have dedicated FX buses. If you want to use FX3 or FX4 as another system effect you could patch one of the Mix1-10 buses as its input.
• Ch >Return – This is similar to a Mix>Return system effect but fed from one channel rather than a mix of channels. It uses the assigned input channel Direct Output as its source. Examples include a vocal channel delay, gated verb on a snare, or chorus added to guitar.
• Insert – Here the effect is patched in line with an input channel or mix master. It is switched in or out using the channel Insert switch. Inserted FX provide a Dry/Wet control to balance the effect with the original signal.

FX processing view

• Press an FX Send or Return strip Sel key while the Processing screen is active to view and work with its parameters. Touch the top of the screen to open the PEQ view and adjust its return channel equaliser.

Working with FX – Adding vocal reverb:

Scene Memories

• Qu provides 100 Scene memories.
• These store and recall a snapshot of all live Mix parameters.
• Scenes have many applications.
• They can be used to store settings for bands during sound check for recall before they take to the stage during the show.
• Scenes can also be used for cue recall during theatre shows, or to provide a known starting point for different events or users in a multi-purpose venue.

The Scenes screen

Press the Scenes key next to the Touch Screen to open the Scenes screen.

• Scene list – Scroll through the list of 100 Scenes using the screen rotary. The currently selected Scene is highlighted. The last scene recalled may be shown in the lower toolbar.
• Name – Touch the Name box to open the screen keypad. Touch characters to name the selected  Scene. Touch OK to accept.

A confirmation screen appears for the following functions:

• Store – Touch this button to store the current mix settings to the Scene selected in the list.
• Recall – Touch this button to recall the scene and overwrite the current mixer settings.
• Reset Mix Settings – This provides a quick way to ‘zero the board’ by resetting the mix and processing to a typical starting point. To avoid accidental operation the button must be touched for 1 second or more to action the reset.

A Scene stores the following:

• Preamp settings
• Channel processing and linking
• Channel patch and routing
• Channel sends
• Channel mutes
• Channel faders/pan
• Mix processing
• Mix mutes
• Mix faders
• FX parameters
• Output patch
• Talkback assign and filter
• Mute Groups
• Custom strip assign
• SoftKey assign

A Scene does not store:

• PAFL settings
• Signal generator settings
• USB record/playback settings
• Scene preferences
• User profile settings
• Network settings

The Global Filter screen

• A scene stores all mix parameters. A Recall Filter can be set to protect (block) chosen parameters from being overwritten when the scene is recalled.
• The Global Filter protects parameters from being overwritten by any of the 100 scenes.
• A red dot o appears in the tab if one or more items have been blocked.
• Custom Layer – Protects the strip assignments and settings of the Custom fader layer from being changed when any scene is recalled.
• SoftKeys – Protects the assignments of the 4 SoftKeys from being changed when any scene is recalled.
• Note – The full Scene Filter function is not available with firmware V1.1.
  • A Recall Filter protects one parameter type for all channels.
  • A Recall Safe protects all parameters for one channel.

The Safes screen

• Scene recall affects all input channels, FX, and mixes.
• You can make one or more of these ‘Scene Safe’ so that none of their parameters are overwritten by any of the 100 scenes. For example, walk-in music and continuity microphone channels.
• A blue dot o appears in the tab if one or more channels have been made safe.

Input Safes – Make any combination of the sources to the mixes safe:

• Mono inputs CH1-16
• Stereo inputs ST1-3
• FX returns FX1-3

This protects its:

• Channel processing,
• Channel fader and pan
• Routing and sending to all the mixes
• Mute Group assignments

Mix Safes – Make any combination of the mixes safe:

• Mono Mix1-4
• Stereo Mix5-10
• FX sends FX1-2
• Main LR mix

This protects its:

• Master processing,
• Master fader and balance
• Routing and sends from the channels
• Global channel send source
• Mute Group assignments

Touch Screen Setup Functions

Press the Setup key next to the Touch Screen to open the Setup screens.

Audio Setup -PAFL Choose how you want PAFL to work:

• Additive mode – Select to listen to more than one channel at a time. Pressing a PAFL key adds to the previous selection. When off, the mode is Auto-cancel to listen to one channel at a time where pressing a PAFL key cancels the previous selection.

• Input/Output PFL (pre-fade listen) – Monitor the signal before the fader, for example, to check it and set its gain before you bring up the fader. This is the default.

• Input/Output AFL (after-fade listen) – Monitor the signal in stereo after the fader and pan so that you can hear its contribution and position in the LR mix.
  Sel follow PAFL – Link the Sel switch so that pressing PAFL automatically selects the processing for that channel.

• LR to PAFL – Routes the main LR mix to the monitor when there is no PAFL selected.

• PAFL Delay – Delay the monitor to time-align it with the acoustic sound from the source when the mixer is a long distance away from the stage. Start with 1ms per foot.

• PAFL Trim – Attenuate the PFL (pre-fade) signal by up to 24dB to match it with the average AFL (after-fade) signal which is often much lower than PFL.

Audio Setup – Talkback

Set up and assign Talkback to talk to the musicians via their monitors, or make announcements via the house (PA) mix:

• HPF – Dial in the High Pass Filter to remove low-frequency pops and resonance while talking.
• 48V – Hold for 1 second to switch on phantom power.
• Gain – Adjust the talkback mic level.
• Assign – Touch to toggle the assignments to the LR and Mixes 1-10 on or off. Press the surface Talk key to talk to the musicians or house.

Audio Setup –Signal Generator

• Set up and assign the Signal Generator to test loudspeakers and align levels between equipment.

Source – Touch to open the list of sources available:

• Sine – Pure tone with adjustable frequency. Set to 1kHz and use meters to match equipment levels.
• White Noise – Equal energy per Hz.
• Pink Noise – Filtered white noise for equal energy per octave. This is a good source to use for testing loudspeaker drivers and phase. Its response matches the way we hear frequencies.
• Band-pass Noise – Pink noise filtered around a frequency which can be swept from low to high.
• Level – Start with the level set low to avoid unexpected loud sounds when you assign to the mixes.
• Mute – Turns the signal off.
• Assign – Touch to toggle the assignments to the LR and Mixes 1-10 on or off.
• Note – To avoid noise in the system remember to turn the assignments off when you are finished using the generator.

Audio Setup – Output Patch

Use this screen to patch signals to the outputs. Touch a box to open up the list of available options. Changes are applied instantly.

• Qu-Drive Stereo – Choose the source for the top panel Qu-Drive stereo recording. Use the LR main mix if you want to record your desk mix.
• Alt Out – Choose the source for the rear panel stereo Alt Out jacks.
• AES Out – Choose the source for the rear panel AES digital output.
• Multitrack – This section shows the sources for the top panel Qu-Drive multitrack recording and rear panelUSB B streaming. They share the same sources. Tracks 1-16 are permanently sourced from CH1-16 post-preamp Insert sends.
• Qu-Drive is 18-tracks with one patchable stereo pair for track 17-18. USB B is 24 channel with three patchable stereo pairs including the same track 17-18 as Qu-Drive and the LR post-fade mix on track 23-24.

Audio Setup – dSNAKE Output Patch

Control Setup – Custom Strip

Control Setup – SoftKeys

• Qu features 4 SoftKeys. These are called ‘Soft’ because they can be assigned to different functions by the user.
• Function – Touch the box to open and choose from the list of available functions. Touch Apply to confirm the changes.

USB Data – Show transfer

A Show stores the following:

• Current mixer settings
• Mixer setup and preferences
• All Scenes

A Show does not store:

• Network settings
• User profile settings

Qu mixer settings can be stored to a USB device (key or drive) plugged into the Qu-Drive port. Data can be archived to computer and transferred between Qu mixers.

• Note – Firmware version V1.1 supports Show transfer only. Scenes and Libraries transfer is not yet available.
• A ‘Show’ stores all the Qu mixer settings and memories. It is stored as a set of files in a numbered folder on the USB device. Shows are not stored in the Qu mixer.
• The Qu mixer displays a list of Shows found on the USB device. Shows are numbered from ‘0’. They can be named. Both the number and name will appear in the USB list.
• Make sure the USB device has been previously formatted using the Qu mixer Utility / Qu-Drive screen (described later in this guide).
• Store New – Touch to store a new Show folder on the USB device. This opens the screen keypad for naming the Show.
• Recall – Select a Show in the USB list. Touch the button to overwrite the current Qu mixer settings with the contents of the USB Show. A popup will appear .
• Note – If you want to keep your existing Qu settings then store these first as a new Show before recalling another Show.
• Overwrite – Existing USB Shows can be overwritten with the current mixer settings. Touch to overwrite the highlighted Show in the USB list with the current Qu mixer settings.
• Name – Touch the Name box to open the screen keypad and rename the Show highlighted in the USB list.

The Show folder

• Each Show is stored as a set of data files within a numbered folder in the AHQU / SHOWS directory. The first show is numbered ‘0’.
• Do not rename or edit the Show folder or its files.
• If you want to archive the Show on your computer we recommend you copy the numbered Show folder to a new named directory on your computer.
• To use the Show again copy just the numbered Show folder back into the SHOW directory of the USB device.
• Do not change the format of the Show folder. Its name must have 8 characters = SHOWnnnn where nnn is a number from 0000 upwards.
• Note – The Show name is stored within a data file in the numbered Show folder on the USB device. The name is not part of the folder name. It is held within the SHOW.DAT file in the folder.
• To view the Show name on your computer – Open the numbered Show folder and find its SHOW.DAT text file at the end of the list. Open the file to view the Show name.

Network Setup

• Use this screen to set the TCP/IP address for the Network port.
• This address must be compatible with the addresses of equipment connected to the port, for example, a laptop providing MIDI control of mixer parameters, or a wireless router providing remote control using the Qu-Pad iPad app.
• The typical setting is to enable DHCP as most wireless routers will be set to allocate an IP address to the mixer automatically.

Utility – Calibration

• Use the routines here to calibrate the touch accuracy of the Touch Screen and positional accuracy of the Motor Faders.
• Follow the on-screen instructions.

Utility – Qu-Drive

Utility – Firmware Update

Resetting the Mixer

There are two ways to reset the Qu settings:

Reset Mix Settings – A starting point for mixing

System Hard Reset

System hard reset:

• Source Preamp, Gain 28dB, 48V off
• ST1-3 trim 0dB
• HPF out, 100Hz
• PEQ and GEQ in, flat
• Gates out, thres -36dB, depth 20dB
• Comp out, thres 0dB, ratio 3.2:1
• Delays 0ms
• Mix source post-EQ
• Sends to Mixes -Inf and pre-fade
• Sends to FX -Inf and post-fade
• Direct Out post-fade/mute, trim 0dB
• Mutes off
• Channel faders -Inf
• FX return faders 0dB
• FX send and Mix master faders -4dB
• LR master fader -Inf
• FX1 = Mix>Return, Reverb (EMT250)
• FX2 = Mix>Return, Delay (Vocal)
• FX 3 and 4 = unassigned
• Mute Groups unassigned
• AES, Alt Out patch LR post-fade
• Qu-Drive stereo patch LR post-fade
• USB patch CH1-16, ST1-3, LR
• Talkback unassigned, HPF 120Hz
• Custom Strip unassigned
• SoftKeys = Mute Groups 1-4
• Input PAFL = PFL, mix = AFL
• PAFL additive mode off
• Sel follow PAFL on, LR to PAFL on
• PAFL trim 0dB, delay 0ms
• The Talkback mic gain 27dB
• Sig Gen Pink Noise, unassigned
• Clears all scene Safes (not in V1.0)
• Clears all Scene memories
• Clears all User Libraries (not in V1.0)
• Resets Network address to DHCP
• Resets touch screen calibration

A power-up reset is available if you need to fully reset the Qu mixer settings and memories. This could be done to clear the system out before sending the mixer to a client, or if you suspect a system problem. To reset mix parameters before starting a show or sound check, use a Scene or the Reset Mix Setting function described earlier in this guide.
Note – A hard reset clears all current settings, all Scenes, and all User Libraries. First, turn off the system including amplifiers and powered speakers. To hard reset the Qu mixer – Press and hold the touch screen Reset and Setup keys together and then power up the mixer. Keep the keys pressed for at least 3 seconds while the mixer boots. Release the keys.

The hard reset:

• Resets the current settings as described by the Reset Mix Settings button,
• Resets non-scene parameters and user preferences to a factory default,
• Clears scene recall Safes,
• Clears all memories including Scenes and User Libraries
• Resets the Network IP address and the touchscreen calibration

Specifications

Inputs|
---|---
|
XLR Mic/Line Inputs 1‐16| Balanced, 48V phantom power
Mic/Line Preamp| Fully recallable
Input Sensitivity| ‐60 to +5dBu
Analogue Gain| ‐5 to +60dB, 1dB steps
Maximum Input Level| +19dBu
Input Impedance| >5kΩ
|
TRS jack Line inputs 1‐16| Balanced
Input Sensitivity| ‐50 to +20dBu
Analogue Gain| ‐10 to +60dB, 1dB steps
Maximum Input Level| +29dBu
Input Impedance| >10kΩ
|
Stereo ST1, ST2 Line Inputs| Balanced, 1/4″ TRS jack
Mono capability| L normals through R for Mono input
Input Sensitivity| Nominal +4dBu
Trim| +/‐24dB
Maximum Input Level| +22dBu
Input Impedance| >7kΩ
|
Stereo ST3 Line Input| Unbalanced, 3.5mm Mini Jack
Input Sensitivity| Nominal 0dBu
Trim| +/‐24dB
Maximum Input Level| +18dBu
Input Impedance| >7kΩ
|
Mic/Line Channel noise| 20‐20kHz, Direct Out
Mic EIN| ‐126 dB with 150Ω source
Unity gain 0dB| ‐92 dBu
Mid gain +30dB| ‐85 dBu
|
Mic/Line Channel THD+N| 20‐20kHz, Direct Out @0dBu 1kHz
Unity gain 0dB| 0.0005 % ‐89 dBu
Low gain +10dB| 0.001% ‐83dBu
Mid gain +30dB| 0.001% ‐83dBu
|
Talkback Mic Input| Balanced, 48V phantom power
Input Sensitivity| ‐55 to +6dBu
Maximum Input Level| +10dBu
Input Impedance| >5kΩ
|
System|
---|---
|
Measured balanced XLR in to XLR out, 0dB gain, 0dBu input
Dynamic Range| 112 dB
System Signal to Noise| 90 dB (@+4dBu, 22Hz ‐ 22kHz)
Frequency Response| +0/‐0.5dB 20Hz to 20kHz
|
Headroom| +18dB
Internal operating Level| 0dBu
dBFS Alignment| +18dBu = 0dBFS (+22dBu at XLR output)
Meter Calibration| 0dB meter = ‐18dBFS (+4dBu at XLR out)
Meter Peak indication| ‐3dBFS (+19dBu at XLR out), multi sensing
Meter Signal indication| ‐48dBFS (‐26dBu at XLR out)
Main meter Type| 12 LED, Fast (peak) response
Strip meter Type| 3 LED, Fast (peak) response
|
Sampling Rate| 48kHz +/‐100PPM
ADC| 24‐bit Delta‐Sigma
DAC| 24‐bit Delta‐Sigma
Latency| 1.2 ms (local XLR in to XLR out)
| 0.7 ms (local XLR in to AES out)
|
Operating Temperature Range| 0 deg C to 35 deg C (32 deg F to 95 deg F)
|
Outputs|
---|---
|
Mix1‐10 and LR Outputs| Balanced, XLR
Output Impedance| <75Ω
Nominal Output| +4dBu = 0dB meter reading
Maximum Output Level| +22dBu
Residual Output Noise| ‐90 dBu (muted, 20‐20kHz)
|
Stereo Alt Output| Balanced, 1/4″ TRS jack
Source| Patchable
Output Impedance| <75Ω
Nominal Output| +4dBu = 0dB meter reading
Maximum Output Level| +22dBu
Residual Output Noise| ‐92 dBu (mid level, source muted, 20‐20kHz)
|
Stereo 2Trk Output| Balanced, 1/4″ TRS jack
Source| LR post‐fade
Output Impedance| <75Ω
Nominal Output| +4dBu = 0dB meter reading
Maximum Output Level| +22dBu
Residual Output Noise| ‐90 dBu (muted, 20‐20kHz)
|
AES Digital Output| 2 channel, XLR
Sampling rate| 48kHz
Output| 2.5Vpp balanced terminated 110Ω
|
USB Audio|
---|---
|
Qu‐Drive Stereo| Q‐Drive
Device| USB hard drive required for recording
Stereo Record| 2 channel, WAV, 48kHz, 24‐bit, patchable
Stereo Playback| 2 channel, WAV, 44.1/48kHz, 16/24‐bit, to ST3
|
Qu‐Drive Multitrack| Q‐Drive
Device| USB hard drive only
Multitrack Record| 18 channel, WAV, 48kHz, 24‐bit
| CH1‐16 + patchable stereo pair
Multitrack Playback| 18 channel, WAV, 48kHz, 24‐bit
| CH1‐16, ST1
|
USB B Streaming| USB 2.0 MAC compliant only
Send (upstream)| 24 channel, WAV, 48kHz, 24‐bit
Return (downstream)| 22 channel, WAV, 48kHz, 24‐bit
|
|
Mains Power|
|
Qu‐16| 100‐240V AC, 50/60Hz, 82W max
Fuse rating| T1.6 AL 20mm
|
|
Dimensions and Weights|
|
Qu‐16 Mixer| Width x Depth x Height
Desk mounted| 440 x 500 x 186 mm (17.4″ x 19.7″ x 7.4″)
Rack mounted| 483 x 486 x 190 mm (19″ x 19.1″ x 7.5″), 11U
Packed in shipping box| 610 x 680 x 380 mm (24″ x 27″ x 15″)
Packed weight| 13.5 kg (30 lbs)
Unpacked weight| 10 kg (22 lbs)
|

System Block Diagram

Mechanical Details

The following provides information for mixer installation. The Qu-16 can be operated on a flat surface, mounted in a 19” equipment rack or plinth, or fitted into a flightcase.

• For Firmware Version V1.1
• Check www.allen-heath.com. for the latest version available
• Publication AP9031

Manufacturer’s Warranty

Limited One Year Manufacturer’s Warranty

• This product is warranted to be free from defects in materials or workmanship for one year from the date of purchase by the original owner.
• To ensure a high level of performance and reliability for which this equipment has been designed and manufactured, read this User Guide before operating.
• In the event of a failure, notify and return the defective unit to the place of purchase. If this is not possible then please contact the authorized ALLEN & HEATH distributor or agent in your country as soon as possible for repair under warranty subject to the following conditions:

Conditions Of Warranty

• The equipment has been installed and operated per the instructions in this User Guide.
• The equipment has not been subject to misuse either intended or accidental, neglect, or alteration other than as described in the User Guide or Service Manual or approved by ALLEN & HEATH.
• Any necessary adjustment, alteration, or repair has been carried out by an authorized
• ALLEN & HEATH distributor or agent.
• This warranty does not cover fader wear and tear.
• The defective unit is to be returned carriage prepaid to the place of purchase, an authorized ALLEN & HEATH distributor or agent with proof of purchase. Please discuss this with the distributor or the agent before shipping.
• If the unit is to be repaired in a different country to that of its purchase the repair may take longer than normal, whilst the warranty is confirmed and parts are sourced. Units returned should be packed to avoid transit damage.
• In certain territories, the terms may vary. Check with your ALLEN & HEATH distributor or agent for any additional warranty that may apply.
• If further assistance is required please contact Allen & Heath Ltd.
• Qu Series products complies with the European Electromagnetic Compatibility directives 2004/108/EC and the European Low Voltage directives 2006/95/EC.
• Any changes or modifications to the equipment not approved by Allen & Heath could void the compliance of the product and therefore the users authority to operate it.

CONTACT

• Qu-16 User Guide AP9031 Issue 2
• Copyright © 2013 Allen & Heath. All rights reserved
• Allen & Heath Limited, Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
• http://www.allen-heath.com.

References

• Allen & Heath - Heard Everywhere
• ME-1 - Allen & Heath
• Manual-Hub.com – Free PDF manuals!

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