Proportional Q.

SQ has a GEQ for whatever you throw at it – whether it’s tuning FOH, ringing out monitors or shaping the tone of a group bus.

DEEP Graphic EQs provide 28 bands of surgical graphic equalisation – with +/- 12dB of boost and cut – that can be used in place of the stock (Constant-Q) GEQ on the LR mix and every AUX, GROUP and MTX.

Up to 16 different instances can be used at once, and as they’re embedded directly into the channel, there’s no added latency.

Proportional Q provides smooth wide Q for low cut/boost, which progressively tightens beyond 1/3rd octave for max boost/cut.

Can be used in place of any mix GEQ.

Musical. Classy. Smooth. The optical compressor dream factory.

What happens when you take the characteristics of a rack-full of highly desirable optical compressors and combine them into one killer unit? You get the Opto.

Famous for their smooth and musical sound and ability to tame vocals, bass, and even drums, optical compression is an essential addition to your compressor toolkit.

This Allen & Heath original brings the best in optical compression to your SQ.

Can be used in place of any input or mix channel compressor with zero-latency.

Multiband compression. Powerful audio tools for your SQ.

Two MultiBD models with comprehensive control to tame and enhance dynamics in any situation. At one time found only in high end mastering studios, multiband compression has now become something every engineer wants at the ready.

This powerful add-on runs in the SQ’s built in RackExtra FX engine, giving you up to 8 independent FX units which can be inserted on any input or mix channel as required. No need to carry or set up any extra equipment, it’s just there when you need it.

Available in any of the 8 FX units.

Your new secret weapon. Explosive compression with a unique sound.

Inspired by a classic transistor array VCA dynamics processor, the Mighty puts aggressive compression with a unique character inside your SQ.

Used in anger,  the explosive characteristics of the Mighty have made it the “must have” tool for engineers who need to make a sound “pop” out of the speakers, or those who want to crush a drum bus into submission for ‘New York’-style parallel compression.

Can be used in place of any input or mix channel compressor with zero-latency.

It’s all about the bass. How low can you go?

Unleash the deep bass.

A sub-harmonic synthesizer that can generate infra (lower than 36Hz) and sub bass (36-70Hz) from weaker bass programme. It features very low distortion and sophisticated filtering stages.

Independent control of the two frequency spectrums helps preventing speaker damage and dealing with resonant acoustics or speaker resonance with LF cabinet porting.

The meters are peak detecting from both Left and Right signal paths.

Available in any of the 8 FX units.

BEWARE: Extreme care is needed. Driving high infra bass levels into insufficient speakers can lead to speaker equipment damage.

HYBRID combines two other DEEP GEQ’s for the best of both worlds. The boost is Proportional Q for smooth and warm small boost settings, while the cut is Constant-Q providing clinical 1/3rd Octave attenuation.

SQ has a GEQ for whatever you throw at it – whether it’s tuning FOH, ringing out monitors or shaping the tone of a group bus.

DEEP Graphic EQs provide 28 bands of surgical graphic equalisation – with +/- 12dB of boost and cut – that can be used in place of the stock (Constant-Q) GEQ on the LR mix and every AUX, GROUP and MTX.

Up to 16 different instances can be used at once, and as they’re embedded directly into the channel, there’s no added latency.

HYBRID combines two other DEEP GEQ’s for the best of both worlds. The boost is Proportional Q for smooth and warm small boost settings, while the cut is Constant-Q providing clinical 1/3rd Octave attenuation.

Can be used in place of any mix GEQ.

Echoes from the past. Our acclaimed tape echo model.

Can we get a little space in here?

Echo faithfully models the classic tape echo including the many non-linear attributes of the original hardware, such as frequency warping whilst adjusting the Repeat Rate, harmonic content at extreme intensity levels, saturation and high frequency characteristics of the record head on tape, and other idiosyncrasies associated with motor speed inaccuracies, tape drift, self-oscillation and instability.

Available in any of the 8 FX units.

Dynamic Equalisation. Powerful audio tools for your SQ.

DynEQ4 is a problem solver. Use it to remove unwanted frequencies, or add body, warmth, clarity or sparkle to an otherwise dead sound. All based on the frequency dynamics of the source, with four completely configurable bands.

Resonant frequencies when the bassist plays too hard – solved. Dull and lifeless mix – solved. Harsh frequencies when a singer pushes their voice – solved. Bottom end disappears when playing softly – solved.

This powerful add-on runs in the SQ’s built in FX rack, giving you up to 8 independent FX units which can be inserted on any input or mix channel as required. No need to carry or set up any extra equipment, just there when you need it.

Available in any of the 8 FX units.

Gain and width are optimised to minimise band interaction and to provide a frequency response as close to the slider positions as possible.

SQ has a GEQ for whatever you throw at it – whether it’s tuning FOH, ringing out monitors or shaping the tone of a group bus.

DEEP Graphic EQs provide 28 bands of surgical graphic equalisation – with +/- 12dB of boost and cut – that can be used in place of the stock (Constant-Q) GEQ on the LR mix and every AUX, GROUP and MTX.

Up to 16 different instances can be used at once, and as they’re embedded directly into the channel, there’s no added latency.

With DiGi-GEQ, gain and width are optimised to minimise band interaction and to provide a frequency response as close to the slider positions as possible.

Can be used in place of any mix GEQ.

Warm. Dynamic. Unmistakable. Glorious Bucket Brigade delays.

Bucket Brigade is an emulation of vintage delay units which relied on bucket brigade chip technology to give their distinctive sound.

The signal degradation expected from such device and nonlinearities in the feedback path can be minimised or accentuated with the Distortion switch.

Unlike the originals however, this digital model benefits from long delay lines of up to 2.7s. There are controls for both input and feedback filters, with the latter having individual slope settings.

An essential echo flavour. Warm, smooth and dynamic.

Available in any of the 8 FX units.

Old-school. Forever cool. Legendary VCA-based RMS compression.

Inspired by the performance and character of a legendary solid-state VCA compressor, the 16VU captures the spirit of this classic sound and serves it up within your SQ.

An essential addition to every engineer’s sonic arsenal, the original hardware was a mainstay of every recording studio from the late 1970s onwards and featured on countless classic albums, becoming regarded as one of the best drum compressors ever made. 16VU puts our recreation of this highly sought-after sound at your fingertips.

Can be used in place of any input or mix channel compressor with zero-latency.

Industry standard. Inspired by the workhorse live sound compressor.

Taking its sonic cues from the industry standard compressor limiter found in every live and studio rack, 16T produces tight, punchy compression with a character that is immediately recognisable.

Offering hard and soft knee compression and simple use controls, the 16T brings all the personality – and ease of use – of the original hardware unit to your DEEP enabled SQ mixer.

Can be used in place of any input or mix channel compressor with zero-latency.