Don’t be fooled by its size
Review by Paul Vnuk Jr.
Based in Cornwall, UK, Allen & Heath has been crafting professional mixing desks since 1969 and digital mixers since 1998. Today, we are looking at the compact CQ-18T. Despite its entry-level status, the CQ-18T is full of the digital features and DNA that make Allen & Heath so respected on professional stages around the world.
The CQ Family
The Allen & Heath CQ line comprises three models:
- CQ-12T – 12 in/8 out
- CQ-18T – 18 in/8 out
- CQ-20B – 20in/8 out
The CQ-12T and CQ-18T feature a 7″ full-color tablet-style touchscreen for control, while the CQ-20B requires app-based remote control (also available for the CQ-12T and CQ-18T). Beyond that, each model functions similarly.
Past Featured Reviews
A Tour of the CQ-18T
The CQ-18T is a 6.6 lbs desktop-style compact digital mixer measuring 3.5″ (T) x 9.5″ (D) x 13.6″ (W). Its chassis features all-metal construction with thick plastic end caps and stylish “wings” that double as handles.
The mixer rests on four thick rubber 0.25″ feet, which offer an air gap for the nearly silent cooling fan underneath.
All of the controls and I/O and housed on the top, with a pair of front-facing 1/4” headphone outs and a rear 12V DC input socket for an external switching power brick.
Analog I/O
Channels 1–8 feature balanced XLR inputs, while channels 9–16 are XLR-TRS 1/4” combi inputs (mic, line or instrument). Additionally, channels 17 and 18 have a pair of 1/4” TRS stereo inputs.
The main stereo analog outs are on L/R XLR sockets, alongside six assignable balanced 1/4” outputs for stage or headphone monitors, external effects or alternate mix bus outs.
There is also an assignable 1/4” footswitch input and the aforementioned dual headphone outputs.
Digital I/O
The CQ-18T includes Type A and Type B USB ports, plus an Ethernet port for direct network connection. There is also an SD card slot (32 GB, 120 MB recommended) offering multitrack and stereo recording and playback at 48 or 96 kHz.
Finally, the CQ mixers can also receive Bluetooth audio.
Controls
The CQ-18T is primarily controlled via a 7″ full-color touch screen, supplemented by four LED-equipped rotary encoders (three assignable), five function buttons (Config, Processing, Fader, FX and Home) and three assignable soft keys.
Remote Control
Each CQ-Series mixer can be controlled remotely on an iOS, Android, Windows or Mac device with the CQ MixPad or CQ4You apps. The CQ-12T requires a direct network connection via its onboard Ethernet port, while the CQ-18T and CQ-20B have their own built-in Wi-Fi network complete with a foldable top-side antenna.
On my Apple iPad Pro, the controls were essentially 1:1 and precise.
Functions and Features
When first powered up, users can select a quick start menu featuring Quick Channels with seven pre-configured modes such as Rock, Pop, Country or even Conference. Not only does this pre-assign the channels (Kick, Snare, Bass, Keys and so forth), but each of those Quick Channels uses simplified “macro” style EQ, compression and effects—complete with graphical representations of the drums, instruments and so forth.
Those familiar with the workflow and functions of a digital mixer (or even most DAW mixers and stock plugins) should feel right at home in full mode.
Config
The Config menu allows for channel assignments and naming, plus basic input controls (gain, phantom power and polarity). You will also find the input level sensing and setting Gain Assistant and Auto Gain, which monitors and rides the input gain in real time.
It’s also here that you can assign outputs, set Bluetooth, SD card and USB options, set up the popular Allen & Heath Auto Mic Mixer (AMM), make control and network adjustments, setup soft key functions, mute groups and DCA assignments and create custom fader layers.
Processing and Faders
In these related pages, you can select a bank of eight faders at a time (ins, outs and DCA), with the Main LR fader always visible. Each channel offers level, panning, mute and solo. You can also access mute groups and the internal FX returns.
Pressing the Processing button grants access to each channel’s gain, high-pass filter, gate, EQ, compression and effect sends, as well as direct access to that channel’s output routing.
Effects
The FX page offers four send effects slots that can be filled with various reverb, delay or modulation effects. Each slot has a post EQ and a healthy selection of routing options.
These are very much “bread and butter” offerings that, while not vibey, vintage-flavored and esoteric, are quite usable, especially live.
Home
The Home button returns users to the start screen, which oddly is where the headphone outs are adjusted (although they can be assigned to the customizable rotary encoders), stereo and multi-track SD card recordings are accessed, and shows and scenes are stored, among other functions.
USB and SD
In addition to being a digital mixer, the CQ-18T is also a full-featured multi-channel USB-based audio interface supporting 24-bit at 48 kHz or 96 kHz sample rates.
It is also capable of stereo and/or multi-track recording and playback via an HD SD card. Allen & Heath recommends a 32 GB card max for speed reasons; however, at 96 kHz, this will limit recording time. I used a 64 GB card with zero issues as well.
For an extra $129, the company offers a custom padded carry bag, which, trust me, you will want.
In Use
I explore my hands-on experience with the CQ-18T in more depth in my article about recording a traditional Celtic band live on tour in Ireland on page 38. In that scenario, the CQ-18T functioned flawlessly serving as both an iPad-controlled live mixer and USB recording interface simultaneously.
The CQ-18T is much more powerful than its petite size might imply. I mix twice weekly in a house of worship on a 64-channel Allen & Heath Avantis, and while it is indeed fuller-featured and powerful, the CQ-18T never once felt or sounded second-rate. In fact, I quite appreciated the intuitive way Allen & Heath has skillfully distilled the features of its upper-end models into a well-crafted and curated experience.
While the CQ-18T won’t be replacing the Avantis in the main sanctuary anytime soon, the worship pastor has already expressed interest in acquiring one for one of our B-rooms and for portable setups.
Beyond its role as a front-of-house mixer and live USB recording device, I will also say that as a live touring electronic musician who used to require a full-size 16-channel compact analog mixer with six external effects sends, the CQ-18T is a true godsend in every sense of the word. It’s smaller and offers the perfect number of inputs and sends to be a killer live sub mixer/recorder. Along those lines, I may have just found the new keyboard submixer for my studio.
Wrap Up
It’s pretty easy to see that I am quite impressed with the compact footprint, sound and features of the CQ-18T. In my opinion, it really is that impressive. At $1,199, it’s also quite affordable considering its capabilities. The Allen & Heath CQ-18T wears many hats and wears them well.
Price: $1,199 CQ-18T; $899 CQ-12T; $999 CQ-20B
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