Allen & Heath SQ-7 48-Channel Digital Mixer

Allen & Heath SQ-7 48-Channel Digital Mixer – 48-Channel 96 kHz Digital Mixer

The Allen & Heath SQ-7 48-Channel Digital Mixer is a 48-channel, 36-bus digital mixer built on Allen and Heath’s XCVI 96 kHz FPGA core, with latency under 0.7 ms. The SQ-7 is the largest surface in the range, with 32 local preamps and 33 motorised faders, for engineers who want the most channels under their hands at once. Every SQ shares the same processing engine, effects library and expansion system, so the choice between models is about local inputs, faders and surface controls rather than sound or channel count.

Each input channel provides a high-pass filter, gate, 4-band parametric EQ and a Peak/RMS compressor. Mixes add parametric and 28-band graphic EQ plus compression, and DEEP readiness allows optional boutique models to be embedded in channels without added latency.

Key features

• 48 input channels and 36 buses on a 96 kHz XCVI FPGA engine, latency under 0.7 ms
• 32 plus 1 recallable local mic/line preamps plus talkback input
• 33 motorised faders across 6 layers
• 12 stereo mixes plus LR, configurable as groups or auxes, and 3 stereo matrix mixes
• 8 stereo FX engines with dedicated returns and RackExtra FX library
• 7-inch capacitive touchscreen with 16 assignable SoftKeys and 8 assignable SoftRotaries
• SLink port for remote audio and a 64×64 I/O port for optional networking cards
• 32×32 USB audio interface at 96 kHz plus SQ-Drive direct recording to USB

Mixing for monitors and in-ears

Twelve stereo mixes are the practical heart of the SQ in live work, configurable as groups or as auxes for monitor and in-ear sends, giving each performer a true stereo mix. Three stereo matrix mixes, splittable to mono, feed delay fills, zones or a broadcast feed. Automatic Mic Mixing helps with conferences and panel discussions, keeping open microphones under control.

Expansion and recording

The SLink port connects Allen and Heath remote audio units using dSnake, DX or gigaACE/GX protocols, adding stage preamps while the console stays at front of house. The separate I/O port accepts optional 64×64 cards for Dante, Waves, MADI or additional SLink, so the desk can join a networked system later without replacement. For recording, the USB-B interface carries 32 inputs and 32 outputs to a computer, while SQ-Drive records directly to USB storage, up to 16 channels at 96 kHz or 32 channels at 48 kHz.

Workflow on the surface

Dedicated physical controls for gain, high-pass filter, gate, compressor, pan and EQ keep the selected channel adjustable without touching the screen, and chromatic channel metering and backlit LCD scribble strips keep sources identifiable in dark venues. Custom layers place key sources where you expect them, and the SQ-MixPad and SQ4You apps extend control to engineers and performers.

Who this model suits

Choose the SQ-7 for larger bands, theatre productions and worship systems where 32 local preamps can cover most or all of the input list without a stage box, and where keeping whole sections of the mix visible across 33 faders is worth the wider footprint. Allow for the extra desk or flight-case space it needs.

Whichever frame size you choose, you get the same 48-channel SQ engine, the same effects and the same expansion path, in a surface sized for the job.