Best Allen Heath Audio Mixers For Bands: Compact Digital and Analog Picks

Choosing an Allen & Heath mixer for a band comes down to how many sources you need to mix, how you handle monitor mixes, and whether you want hands-on controls or a digital workflow. The options below range from a compact digital mixer with Wi-Fi and Bluetooth to larger consoles built for complex live setups. The supplied product information marks four listings as unavailable, so check the listing before planning a purchase around one of them.

Quick Comparison

Our Picks: Best Allen Heath Audio Mixers For Bands reviews

Allen & Heath CQ-18T: A Compact Digital Mixer With Flexible Recording

The CQ-18T is a digital mixer for bands that want a relatively compact control surface with recording and wireless features built in. It provides 16 mic-or-line inputs, eight of them with combination connectors, plus a stereo line input. That gives a band room to connect a mix of microphones and line-level sources, though you should count your inputs before deciding it will cover every instrument and vocal.

A 7-inch touchscreen and rotary control provide a central way to work with the mixer. Built-in 2.4GHz and 5GHz Wi-Fi includes automatic channel selection, and Bluetooth supports stereo input. The mixer also offers four effects engines, a 24×22 USB interface, and 24×22 SD recording and playback. Those connection options make it useful for rehearsals and live work where you may want to capture more than just a stereo mix.

The trade-off is that a digital surface relies more on its screen and menus than an analog mixer with a separate knob for each adjustment. Bands that want instant, visible access to every control may prefer a traditional layout. Still, among these five choices, the CQ-18T is the clearest fit for a band seeking a compact digital mixer with wireless connectivity and several recording paths.

Pros:

• 16 mic-or-line inputs, including eight combination inputs
• Wi-Fi and Bluetooth stereo input are built in
• USB and SD support multichannel recording and playback
• Touchscreen, rotary control, and four effects engines

Cons:

• The screen-based workflow may not suit people who prefer dedicated physical controls
• Its input count may be limiting for a large band with many microphones and instruments

Verdict: Choose the CQ-18T if you want a compact digital mixer with wireless features and multichannel recording, and its input count fits your band.

Allen & Heath ZED-14: An Analog Mixer With USB and Flexible Aux Sends

The ZED-14 is an analog mixer for bands that want hands-on channel controls without moving to a digital console. Its listed inputs include six mic channels, six line/instrument channels, and four stereo inputs. That layout can work well for a group mixing vocals, instruments, and stereo playback, but check the individual input types against your actual stage setup.

On the mono channels, DuoPre mic preamps provide up to 69dB of gain and 48V phantom power. A 100Hz high-pass filter and three-band MusiQ EQ with a swept midrange give you tools to shape vocals and instruments. Two pre-fade auxiliary outputs can feed monitor mixes independently of the main mix, while two post-fade outputs can serve effects or other feeds.

The routable stereo USB connection can send the main mix or selected channels to a connected device, and it can return stereo audio to the mixer. The key limitation is availability: the supplied product information marks this listing unavailable. It also has no built-in effects described in the supplied data, unlike the ZED60-14FX, so you may need external effects if those are important to your setup.

Pros:

• Physical analog controls and channel EQ
• Two pre-fade and two post-fade auxiliary outputs
• USB audio supports recording and stereo return
• Phantom power is available for condenser microphones

Cons:

• The supplied listing data marks it unavailable
• No onboard effects are specified

Verdict: The ZED-14 is a sensible analog option for bands that need aux flexibility and USB audio, but verify that you can obtain it before making it your plan.

Allen & Heath Qu-5: A Digital Console for Larger, More Complex Mixes

The Qu-5 is a digital mixer with up to 38 inputs to mix and 12 configurable mixes. Its 16 XLR/TRS combination mic-line inputs, 12 XLR outputs, four matrix outputs, and AES3 digital output provide options for a band with more routing needs than a small rehearsal rig. The supplied listing describes it as a 38-in/24-out mixer.

Its 7-inch touchscreen works alongside 17 motorized faders, eight programmable SoftKeys, and customizable channel layers. These features can help you organize a complex mix, but they also mean there is more to learn than with a straightforward analog desk. The mixer includes six multi-effects engines, stereo USB-A recording and playback, USB-C multitrack recording, and SD-card support for up to 32-channel capture.

The Qu-5 is a strong feature match for bands recording live sets or managing multiple mixes, but its full capabilities may be more than a small group needs. The supplied product data marks the listing unavailable, so confirm availability before building a system around it. Compared with the CQ-18T, it offers more listed mixing capacity and motorized faders, while the CQ-18T specifically lists built-in Wi-Fi and Bluetooth.

Pros:

• Up to 38 inputs to mix and 12 configurable mixes
• Motorized faders and customizable channel layers
• USB-C multitrack recording and SD capture support
• Multiple output types, including matrix and AES3 outputs

Cons:

• The supplied listing data marks it unavailable
• Its extensive controls and routing may be unnecessary for a simple band setup

Verdict: Consider the Qu-5 if your band needs extensive routing, multiple mixes, and multitrack capture, provided you can confirm the listing is available.

Allen & Heath ZED60-14FX: Analog Controls With Built-In Effects

The ZED60-14FX is an analog mixer aimed at users who want physical controls and onboard effects. Its listed layout includes eight mic inputs, eight line/instrument inputs, and two stereo inputs. Two mono channels also have Hi-Z connections, which let you connect high-impedance sources directly without a separate DI box.

Its built-in effects unit includes 16 adjustable types, such as reverbs, delays, and modulation effects, with tap tempo. The mixer also has a routable stereo USB connection for recording or streaming the main mix, aux and effects sends, or a dedicated record bus. That selection can suit bands that want to capture chosen sources without moving to a multitrack digital console.

Compared with the ZED-14, this model adds built-in effects and two Hi-Z connections, while the ZED-14 listing describes four auxiliary outputs. The ZED60-14FX is still an analog mixer, so its feature set is less focused on the extensive digital routing and multitrack capture found on the Qu-5. The supplied product information marks this listing unavailable.

Pros:

• Built-in effects include reverb, delay, and modulation types
• Two Hi-Z inputs support direct connection of high-impedance sources
• USB routing can support recording or streaming different signal groups
• Physical controls suit bands that prefer an analog workflow

Cons:

• The supplied listing data marks it unavailable
• Its analog USB connection is stereo rather than the multichannel USB recording listed for the Qu-5 and CQ-18T

Verdict: Choose the ZED60-14FX if you want an analog mixer with onboard effects and direct Hi-Z inputs, but check whether the listing is obtainable.

Allen & Heath SQ-7: Extensive Mixes for Demanding Live Setups

The SQ-7 is a digital mixer designed for demanding live sound and monitor setups. The supplied product title describes it as a 48-channel, 36-bus console. Its 96kHz XCVI FPGA processing is specified with latency below 0.7ms, and the mixer provides 12 stereo mixes. That combination makes it worth considering for bands that need several separate monitor mixes, including in-ear setups.

The SQ-7 can expand to a total of 48 mic inputs using compatible rack and stage-box expanders. It can also connect to another SQ, Qu, or dLive system for two-way audio patching. An I/O port supports optional audio networking cards such as Dante or Waves. These options can be valuable for larger productions, but they add system planning beyond what many small bands need.

Its DEEP processing architecture allows selected compressor and preamp emulations to be embedded in input and mix channels. The supplied product data marks this listing unavailable, so treat it as a feature-rich option to investigate rather than a guaranteed purchase. Compared with the Qu-5, the SQ-7 is especially compelling on paper for stereo monitor mixes and expansion, while the Qu-5 lists built-in multitrack USB-C and SD capture features.

Pros:

• 12 stereo mixes support detailed monitor setups
• Can expand to 48 mic inputs with compatible expanders
• Supports optional Dante or Waves networking cards
• DEEP processing can add selected processing options within the mixer

Cons:

• The supplied listing data marks it unavailable
• Expansion and networking options can make setup more involved than a basic band mixer

Verdict: The SQ-7 is the most suitable choice here for a band that needs extensive monitor mixing and system expansion, if you can find the listed model available.

How to Choose an Allen & Heath Mixer for Your Band

Count your sources before choosing a channel layout

Write down every source you need to connect: vocals, drum microphones, instrument microphones, direct instrument signals, keyboards, and stereo playback. Then check which inputs each source needs. A mixer’s channel or input count does not always mean every input has the same connector or function. For example, the CQ-18T lists 16 mic-or-line inputs plus a stereo line input, while the ZED-14 lists mic, line/instrument, and stereo inputs separately.

Decide how many monitor mixes your band needs

If everyone shares one monitor mix, you may not need many separate sends. If singers and instrumentalists want different monitor balances, count the independent mixes you need. The ZED-14 lists two pre-fade aux outputs, while the SQ-7 lists 12 stereo mixes. The right choice depends on your band’s monitoring plan, not just the number of channels.

Choose between analog controls and a digital workflow

An analog mixer gives you a direct, physical control layout, as seen on the ZED-14 and ZED60-14FX. A digital mixer such as the CQ-18T, Qu-5, or SQ-7 offers screen-based controls and more advanced routing features. Think about who will operate the mixer and whether they will be comfortable navigating a touchscreen, channel layers, or programmable controls.

Match the recording features to your plans

If you only need a stereo recording of the main mix, a stereo USB connection may be enough. If you want to capture separate sources for editing later, look closely at the multichannel options. The CQ-18T lists a 24×22 USB interface and 24×22 SD recording and playback; the Qu-5 lists USB-C multitrack recording and SD capture for up to 32 channels. Check your intended recording device and workflow before choosing.

Consider effects and instrument connections

Onboard effects can reduce the need for external gear, but only if the included effects fit your use. The ZED60-14FX lists 16 adjustable effects, while the CQ-18T and Qu-5 list multiple effects engines. If you connect high-impedance instruments directly, the ZED60-14FX specifically lists two Hi-Z connections. Compare these details with the gear you already own.

Check availability and expansion needs

The supplied product data marks the CQ-18T as available and the other four listings as unavailable. Availability can change, so confirm the listing before you make plans. For larger setups, also consider whether you may need to add inputs or connect to other equipment later. The SQ-7 describes expansion through compatible rack and stage-box units, while the Qu-5 lists an SLink expansion port.

Frequently Asked Questions

Which mixer in this guide is the best fit for most small bands?

The CQ-18T is a practical starting point for a small band that wants a digital mixer, built-in Wi-Fi and Bluetooth, and USB or SD recording. First make sure its 16 mic-or-line inputs cover all your sources.

Which option is best for separate in-ear monitor mixes?

The SQ-7 lists 12 stereo mixes and is the strongest match in this group for a band with extensive in-ear monitoring needs. Its supplied listing is marked unavailable, so confirm availability before choosing it.

Which mixers include recording features?

All five product descriptions list some form of USB audio connection or recording capability. The CQ-18T and Qu-5 list multichannel recording features, while the ZED-14 and ZED60-14FX describe routable stereo USB audio. The SQ-7 product information emphasizes its processing and expansion features.

Do any of these mixers have built-in effects?

Yes. The CQ-18T lists four effects engines, the Qu-5 lists six multi-effects engines, and the ZED60-14FX lists 16 adjustable effects. The supplied ZED-14 and SQ-7 descriptions do not specify onboard effects in the same way.

Can I connect a guitar directly to one of these mixers?

The ZED60-14FX lists two Hi-Z connections for high-impedance sources. For other models, check the input requirements of your instrument and whether you need a DI box or another interface.

Are all five mixers currently available?

No. The supplied product data marks the CQ-18T as available and the ZED-14, Qu-5, ZED60-14FX, and SQ-7 as unavailable. Check each listing for current availability before buying.

Final Recommendation

For a band seeking a compact digital mixer with built-in wireless connectivity and multichannel recording features, the Allen & Heath CQ-18T is the clearest pick in this group, and its supplied listing is marked available. Choose the Qu-5 or SQ-7 only if their larger routing and monitoring features match your needs and you can confirm availability. If you prefer physical analog controls, compare the ZED-14 and ZED60-14FX by their auxiliary sends, effects, and input types before deciding.