Mixers/Consoles Allen & Heath QU-16
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Gobokat
Active Member
Ray,
First off I'll assume that you don't normall need all 24 channels of input? If so the QU-24 has the additional back-panel inputs and faders and offers some additional face panel controls (and the QU-32 offers a couple more than the 24 channel version.) Software wise they're all identical it's a matter of face panel controls.
I'm currently running two Qu-24s in my 200 seat venues and am looking to pick up the QU-16s for my smaller studio spaces. What I really love about the QU line is the USB interface capabilities and the direct interfacing with QLab on the Mac.
As far as a FOH audio desk I've found the QU line to be very responsive and pretty quick to set up once you get used to the way it routes signals (especially for the built in FX engines) but I've not had any complaints on the board and love the "dSnake" digital stage box accessory that gives me full I/O access and routing over a single CAT5/6 cable.
Let me know if you have certain performance specific behavior questions.
peacefulone61
Active Member
Thanks for the quick reply. Current mixer used in church setting with at least 10 live mic channels during a service. Service is fed to areas outside the sanctuary as well. Service is also streamd via Internet. Venue is also used for concerts . I'm concerned that QU 16 will not have enough sends or channels for expansion
Ray
Gobokat
Active Member
If you're worried about future-proofing well, we all know you can grow your inputs to whatever limits any surface presents and then ask for more but if you're already using 10 live mics and want more room for guitar, keys, and drum sets look at the QU-24 or QU-32 - they don't multiply the price and if you really run out of room with 32 inputs, 10 mix busses (mono and stereo), 4 FX engines built in, etc. you're ready for a board above the QU line already. One feature I didn't mention with the QU line that I've found really helpful, is the board setup "snap shots" - there are 6 scenes available for instant recall - so you can go from band setup with all monitor mixes and stereo layers to mains, balconies, etc. and then recall another scene that instantly pulls out FX's, monitor, and has the pastor's mic EQ'd just the way he likes it. You might also want to take a look at the QU board with the Digital Stage Box and a dedicated WiFi router so the band can run the apps on their phones to do their own mixes (if you trust them, LOL.)
These boards have a lot of features, it's really just a question of how many inputs do you really need and how fast do you predict that input list would grow.
Dionysus
Well-Known Member
I would recommend the QU series, works great on many levels. There are a lot of great choices out there of course.
I would personally steer away from the 16, and go for either the 24 or 32. What's the point in laying down money for a digital console when 16 channels of in simply may not be enough sometimes. Even if its only once in a while. Personally most of the work I do if 16 channels works its very close to the wire.
For the extra price for me it's worth getting twice the inputs (or more) that way I never run into that situation.
There are tonnes of outs on the QU, with 12 outputs, setup for 7 mixes plus mains.
I would personally steer away from the 16, and go for either the 24 or 32. What's the point in laying down money for a digital console when 16 channels of in simply may not be enough sometimes. Even if its only once in a while. Personally most of the work I do if 16 channels works its very close to the wire.
For the extra price for me it's worth getting twice the inputs (or more) that way I never run into that situation.
There are tonnes of outs on the QU, with 12 outputs, setup for 7 mixes plus mains.
Jay Ashworth
Well-Known Member
I'll admit, I'm an A&H guy. I love the feel of their layout, config, and software, it just makes sense to me. I have two GLD's (112 and 80) in my main stage space, and I love them. I also recently got a Qu-16 for a much smaller ~165 seat space that may have some smaller performances in it. While I have used the Qu-16 much less than the GLDs, again, it was very straightforward (to me) and just made sense. I haven't tried their new SQ series, but have read some good things. I've played briefly with the dLive stuff, and it was also really nice, but was/is more mixer than I need most of the time.
I will echo what has been said though about upgrades or future-proofing. The Qu series is really (like really) limited to it's channel designation (16, 24, or 32). Even if you connect a dsnake audio rack (AB168 or AR2412 etc.), you can only assign them, you cannot expand the unit's channel input. While the Qu-16 is great for nearly everything I needed it for, shortly after I got it, a scenario came up where I could have used like 20 channels... and I would have loved to use the Qu-16 because of it's size and portability etc... but it just can't do it. Not saying I wish I had gotten the 24, because I have/had other options available, but if this is being considered as a primary board, you just never know what the future will throw at you...
Anyway, good luck, but the Qu series (and the A&H stuff in general) are a fine pick in my opinion.
I will echo what has been said though about upgrades or future-proofing. The Qu series is really (like really) limited to it's channel designation (16, 24, or 32). Even if you connect a dsnake audio rack (AB168 or AR2412 etc.), you can only assign them, you cannot expand the unit's channel input. While the Qu-16 is great for nearly everything I needed it for, shortly after I got it, a scenario came up where I could have used like 20 channels... and I would have loved to use the Qu-16 because of it's size and portability etc... but it just can't do it. Not saying I wish I had gotten the 24, because I have/had other options available, but if this is being considered as a primary board, you just never know what the future will throw at you...
Anyway, good luck, but the Qu series (and the A&H stuff in general) are a fine pick in my opinion.
Jay Ashworth
Well-Known Member
I've just become Not an Allen and Heath guy... after trying to mix a live show with an... SC-24?
Two "FB" sends... that are fixed pre-fade, which makes using them for monitors and rear fill really hard unless you have 6 finger hands...
And I cannot find *any* way to listen to stereo-program in the cans; they are apparently for channel PFL and buss AFL *only*; if all the cue buttons are up, they're silent.
My boss is lucky I didn't have an C-4 in the car.
Two "FB" sends... that are fixed pre-fade, which makes using them for monitors and rear fill really hard unless you have 6 finger hands...
And I cannot find *any* way to listen to stereo-program in the cans; they are apparently for channel PFL and buss AFL *only*; if all the cue buttons are up, they're silent.
My boss is lucky I didn't have an C-4 in the car.
Søren Steinmetz
Member
Doubt it was the SC 24, as that one went out of production in the early 1990'ies 
It had 4 sends, two pre and two post (could be changed pr send pr channel by moving a jumper inside the console)
Apart from the GLD range I find most of their consoles quite fine, although I prefer using Yamaha as their syntax are embedded in my spine after using them since the late 1990's
(O3D, 01V96 v2, LS9 and CL5)
It had 4 sends, two pre and two post (could be changed pr send pr channel by moving a jumper inside the console)
Apart from the GLD range I find most of their consoles quite fine, although I prefer using Yamaha as their syntax are embedded in my spine after using them since the late 1990's
(O3D, 01V96 v2, LS9 and CL5)
Jay Ashworth
Well-Known Member
PA-24, or maybe PA-16.
Sorry I didn't look at the time.
Sorry I didn't look at the time.
I have a lot of time on last-gen Yamahas - M7, 01v96, etc., and I have run on the A&H GLD platform since 2012. They require "un-Yamahaing" your brain a bit, but once you have the desk setup, they are SOOO much faster than the Yamaha workflow - especially for monitors. The new SQ series brings some really useful improvements over the Qu series at a really low price.
Jay, hopefully you can agree that the issue was an "inadequate tool for the job" situation - something that could happen from any vendor - rather than "All Allen&Heath mixers are bad." I assure you that other than the very lowest feature/price analog desks, switching between pre-fade and post-fade for mixes isn't a problem.
Jay, hopefully you can agree that the issue was an "inadequate tool for the job" situation - something that could happen from any vendor - rather than "All Allen&Heath mixers are bad." I assure you that other than the very lowest feature/price analog desks, switching between pre-fade and post-fade for mixes isn't a problem.
I do like A&H and have spent a lot of time with their GL2400 analog board and the GLD80 and can also say I like the layout. It does take some learning/unlearning to switch to other makes, but what it does it does well and I really enjoy mixing on it for shows large and small.
Something I recently learned though is somewhat troubling. A friend has an older iLive console and is having trouble with it and come to find out they soldered the CMOS battery to the board, something I thought died with the dinosaurs back in the Atari age. I don't know how long that practice lasted (or if it extended to consoles other than the iLive), but post-1985 it's downright criminal to solder a battery to a main board like that. Something I'd definitely look into if purchasing a used model.
Something I recently learned though is somewhat troubling. A friend has an older iLive console and is having trouble with it and come to find out they soldered the CMOS battery to the board, something I thought died with the dinosaurs back in the Atari age. I don't know how long that practice lasted (or if it extended to consoles other than the iLive), but post-1985 it's downright criminal to solder a battery to a main board like that. Something I'd definitely look into if purchasing a used model.
Jay Ashworth
Well-Known Member
Certainly, TJ; not my first board, or rodeo.
Simply a case of "I can be stuck with a crappy board, but I don't have to like it".
That said, I'm not all that fond of the QU-16 either, and it wasn't my first, or even second, digital board. Some of that, admittedly, is because we're using it in a blackbox, in quad... but not all.
Simply a case of "I can be stuck with a crappy board, but I don't have to like it".
That said, I'm not all that fond of the QU-16 either, and it wasn't my first, or even second, digital board. Some of that, admittedly, is because we're using it in a blackbox, in quad... but not all.
Søren Steinmetz
Member
Instead of the Qu16, I would recommend the SQ5 after having a chance to finally see it with my own fingers
Much much more versatile, and easy worth the extra money
(after all you get the possibility for 48 channels, and a build in 32 channel USB soundcard plus you have free patch wich I miss on a lot of the smaller consoles)
It has made me think very seriously to change my old trusty LS9/16 to the SQ5 for the smaller shows, as it comes at a price here in Denmark on 40% of the price for a QL1 (and just above half the price of a new LS9/16)
Much much more versatile, and easy worth the extra money
(after all you get the possibility for 48 channels, and a build in 32 channel USB soundcard plus you have free patch wich I miss on a lot of the smaller consoles)
It has made me think very seriously to change my old trusty LS9/16 to the SQ5 for the smaller shows, as it comes at a price here in Denmark on 40% of the price for a QL1 (and just above half the price of a new LS9/16)
Jay Ashworth
Well-Known Member
Not my budget, alas. I can recommend, but only occasionally specify.
soundtech193746
Active Member
Being someone who has used the QU line of products. They are absolutely amazing!! I would recommend them second place! (First place i recommend Soundcraft)
Anyways, it has iPad control and a ton of awesome features!!
