Glossary

Short for 'auxiliary.' An additional mix bus separate from the main LR mix. Used for monitor mixes, IEM feeds, or effects sends. Each aux mix is independently controlled and can be pre-fader or post-fader.

How much data the stream sends per second. Higher looks better and needs more upload headroom.

An internal audio pathway that collects signals from multiple channels and combines them. The SQ-6 has 36 buses total: 1 main LR stereo bus, 12 mix buses (configurable as aux or group), 3 stereo matrix buses, and 4 FX send buses.

A dynamics processor that reduces the volume difference between the loudest and quietest parts of a signal. Makes vocals more consistent in level. Controlled by threshold (when compression starts), ratio (how much compression), attack, release, and makeup gain.

Dante lets you run uncompressed, multi‐channel, low‐latency digital audio over a standard Ethernet network using Cat 5e or fiber optic cable and simple network Gigabit switches. See this link for more details: https://www.uaudio.com/blogs/ua/dante-for-dummies

Digitally Controlled Amplifier. A virtual grouping tool where no audio passes through — it is purely a control mechanism. Assigning channels to a DCA allows one fader to adjust all assigned channels proportionally. Muting a DCA mutes all its channels at once. The SQ-6 has 8 DCAs.

Decibels relative to Full Scale. The measurement scale used in digital audio. 0 dBFS is the absolute maximum — any signal above this clips (distorts digitally). The SQ-6 meters read in dBFS. Aim to peak at -18 dBFS (the 0 dBVU mark) to preserve headroom.

Decibels relative to Volume Units. A traditional analog reference level. On the SQ-6, 0 dBVU equals -18 dBFS internally. This is the target peak level for gain staging — it keeps signals healthy while leaving 18 dB of digital headroom.

The box that turns the camera feed into a stream the platform can publish.

The sliding level control on each channel strip. Moving it up increases the channel's level in the mix; moving it down decreases it. The SQ-6 uses motorized faders that move automatically when layers change or Sends on Faders mode is activated.

A mode that temporarily reassigns the 24 motorized faders to control the bands of the graphic EQ (GEQ) on the selected mix bus. Low-frequency bands appear on the left faders, high-frequency on the right. Press the Fader Flip key again to exit.

The analog input sensitivity control on the preamp stage. Setting gain correctly is the foundation of all other processing. Aim for channel meter peaks at 0 dBVU (the 0 mark) with the performer at their loudest. Gain should be set once during soundcheck and not adjusted during performance except to correct a problem.

A noise gate that silences a channel when the signal drops below a threshold level. Used to mute drum mics between hits or prevent a vocal mic from picking up bleed when the singer is not singing. Key controls: threshold, attack, hold, release, depth.

Graphic Equalizer. A 28-band equalizer available on each mix bus output. Each band is at a fixed frequency (31 Hz to 16 kHz, in 1/3-octave steps) with up to +/-12 dB of boost or cut. Used to tune monitor mixes and address feedback frequencies. Accessed via Fader Flip mode on the surface.

One of the 12 configurable mix buses set to Group mode. Channels assigned to a group are all controlled together through the group fader, which feeds into the LR or other outputs. Common groups: Drums, Vocals, Band. Unlike an aux, a group does not have variable per-channel send levels — channels are simply assigned on or off.

The gap between the current signal level and the maximum (0 dBFS) before digital clipping. The SQ-6 is designed to operate at 0 dBVU = -18 dBFS, providing 18 dB of headroom. Headroom allows for unexpected loud moments (a singer belting a high note, a drummer hitting hard) without distortion.

High-Pass Filter. A filter that allows frequencies above a set point to pass through while cutting everything below. Removes low-frequency rumble, handling noise, and stage vibration. Standard starting point: 80–100 Hz on vocal channels. Enable the HPF on every channel as a default.

In-Ear Monitor. Small earphones worn by performers on stage that deliver a custom personal monitor mix. IEMs use a wireless transmitter and receiver. The mix fed to each IEM comes from a dedicated aux mix on the console, set up in the same way as a monitor wedge mix.

A set of assignments that maps the 24 physical fader strips to a different group of channels or buses. The SQ-6 has 6 layers. Pressing a Layer key causes the motorized faders to move to match the new layer positions. Layer 1 is typically input channels 1–24.

A caption strip across the bottom of the screen, typically a speaker's name and title.

Left-Right. The main stereo house mix output fed to the front-of-house speakers. The LR bus receives channels that have been routed to it. The LR master fader is on the right side of the console (the master section).

A secondary output bus that receives signal from mix buses (not directly from input channels). Used to feed delay speakers, lobby speakers, video broadcast, or overflow rooms. The SQ-6 has 3 stereo matrix buses.

A logic control that silences a group of channels simultaneously with one button. The SQ-6 has 8 mute groups. Unlike a DCA, a mute group only provides on/off muting — it has no fader for level control. Useful for muting all stage mics between songs.

Pre/After Fade Listen. Pressing the PAFL key on any channel routes that channel to the engineer's headphone output for isolated monitoring. Pre-Fader mode lets you hear the channel signal regardless of fader position. After-Fader mode hears the channel as it contributes to the mix. Essential for diagnosing channel problems without affecting the house.

Positions a mono source between the left and right outputs in the stereo field. Center sends equal signal to both sides. A source panned left appears only in the left speaker. In a typical church setting, most sources are centered or near-center.

+48V DC voltage sent through an XLR cable to power condenser microphones and many DI boxes. Required for most condenser mics; never enable on ribbon mics (it can destroy them). Enable only after the cable is connected and disable before disconnecting. Toggle on each channel's Preamp tab.

Parametric Equalizer. A 4-band EQ where each band's frequency, gain, and Q (width) are fully adjustable. The SQ-6 includes an RTA (real-time analyzer) overlay that displays the frequency content of the channel while you adjust the EQ curve. Used to correct tonal imbalances or cut feedback frequencies.

An aux send configuration where the send to a monitor mix is tapped before the channel fader. This means adjusting the channel fader in the main house mix does not affect the performer's monitor. Pre-fader is the standard setting for all monitor and IEM auxiliary mixes.

An aux send configuration where the send to a mix tracks the channel fader position. If you lower the fader, the aux send level also decreases. Used for FX sends — if a vocal is quieter in the mix, you want less reverb too.

A setting that prevents certain parameter types from being overwritten when a scene is recalled. For example, enabling a Recall Filter for preamp gain means scene recalls will never change your gain settings. Essential for protecting time-consuming soundcheck work.

The process of assigning a channel's signal to one or more output destinations — LR, a mix bus, a matrix, or a recording output. On the SQ-6, routing is configured per-channel on the Routing tab of the touchscreen, or via the Sel + Mix key shortcut on the surface.

Real-Time Analyzer. A visual display overlaid on the PEQ screen showing the frequency spectrum of the current channel's signal in real time. Green bars show which frequencies are present and at what level. Use it to find problem frequencies before applying EQ cuts.

Another name for channel safes or recall filters that protect specific channels or parameters from being changed by a scene recall. A channel marked as Safe is completely immune to any scene recall changes.

A snapshot of all (or selected) mixer settings stored in memory. Recalling a scene instantly restores levels, routing, processing, and names to their saved state. Up to 300 scenes per show. Use scenes to save the console state between events and to recall known-good starting points.

A mode activated by pressing a blue Mix key. All 24 motorized faders switch to display and control the send levels from each channel to the selected mix bus. The master fader controls the mix master level. Press the Mix key again to return to normal mode.

A master file that contains all scenes, global settings, recall filter configurations, and channel safe assignments for a production. Loading a Show loads its entire context. The SQ-6 can store multiple shows — one per venue, series, or event type.

A secondary audio input that controls a processor rather than passing through it. On the SQ-6 gate, the sidechain input triggers the gate to open — you can use any signal (even from a different channel) to trigger the gate. For example, use the kick drum's direct out to trigger a gate on the kick's room mic.

Allen and Heath's proprietary high-channel-count digital audio link. Used to connect AR, GX, or DX stage boxes (providing more physical inputs and outputs at the stage end) or the ME personal monitor mixing system.

One of the 16 user-assignable illuminated buttons on the SQ-6 surface. Each can be configured to trigger any function: scene recall, tap tempo, DCA mute, mute group toggle, talkback, and more. SoftKey assignments are saved with the Show file.

The USB-A recording and playback system on the SQ-6. Insert a FAT32-formatted USB drive into the rear USB-A port to record the stereo LR mix (or a multitrack session) directly to the drive without a computer. Also used to play back stereo audio for a virtual soundcheck.

The official Allen and Heath iPad and Android app for full remote control of the SQ-6 over a WiFi network. Engineers can adjust all channel processing, routing, levels, and routing from anywhere in the venue. Requires the console to be connected to a network router.

Allen and Heath's performer monitor app for smartphones. Each performer connects to their specific aux mix and controls their own monitor blend — independently of the FOH engineer. Requires the console to be on a WiFi network.

A built-in microphone or XLR talkback input on the SQ-6 that allows the FOH engineer to speak through the monitor speakers or IEMs to communicate with performers on stage. The Talk key (momentary or latching) activates the talkback signal. Route it only to monitor mixes, never to the house LR.

The 0 dB fader position, marked 'U' on the fader track. At unity, the fader neither boosts nor cuts the signal. It is the standard starting position for channel faders and the LR master. Building a mix from unity positions gives a predictable starting reference.

Allen and Heath's name for the SQ series' 96 kHz FPGA (Field-Programmable Gate Array) processing engine. The XCVI Core provides the computing power for all 48 input channels, all mix bus processing, 8 FX engines, optional DEEP plug-ins, and the sub-millisecond latency that makes the SQ-6 suitable for live performance.