Allen and Heath Sq5 article
Allen and Heath Sq5 for Beginners: A Complete Guide
New to the SQ-5? This guide covers layer organisation, gain structure, routing, on-board FX and tablet control in a logical order.
The Allen and Heath SQ5 has a capable feature set and a learning curve that rewards structured progress. This guide takes a practical approach: what to set up first, what to learn in which order, and how to avoid the errors that cost new users time and confidence early on.
Physical Layout
The console surface has 25 motorised faders arranged in banks. Not all channels are visible simultaneously — the desk uses layers to access the full 48-channel count across fewer physical faders. The layer buttons on the left of the surface switch between fader assignments. Before your first session, set up the layer assignments to match your most common input configuration: band or PA inputs on layer 1, FX returns and auxiliaries on layer 2. This reduces layer switching during a show and builds muscle memory quickly.
The 7-inch touchscreen in the centre of the meter bridge is the primary navigation surface. It accesses channel parameters, the FX rack, routing and system settings. Familiarise yourself with the HOME button — it returns the screen to the main channel overview from anywhere in the menu structure. This is your reset when you get lost navigating.
First Session: Gain Structure
The most important skill to develop first is gain structure — setting each input's preamp gain so that signal levels are healthy throughout the processing chain without clipping. On the SQ-5, set the preamp gain so the channel meter reads approximately -18 to -12 dBFS during average performance. This leaves headroom for transients while keeping the signal well above the noise floor. Incorrect gain structure causes more mix problems than any other single factor, and it cannot be fixed at the fader.
Set gains on the Allen and Heath SQ5 with the source performing at typical performance level — not the loudest possible signal, but a representative average. Use the preamp gain knob (accessible by pressing the channel's SEL button and navigating to the Input tab) rather than the channel fader for this adjustment.
Routing: Inputs, Busses and Outputs
The routing architecture on the Allen and Heath SQ5 is flexible and worth understanding early. Each input channel feeds the stereo main mix by default, but also feeds any of the 12 mono mix busses (typically used for monitor sends or subgroup routing) and the 3 stereo mix busses. To send a channel to a monitor mix, press the MIX button for that bus and adjust the send level with the channel fader. This is the core workflow for building monitor mixes and it becomes fast once the process is clear.
Using the FX Engines
The four on-board FX engines run independently and do not consume DSP budget. Load a reverb on FX1, a delay on FX2, and leave FX3 and FX4 available. Return each FX engine to a stereo input channel on layer 2. To apply reverb to a vocal, send the vocal channel's aux send to FX1 at an appropriate level. This keeps the dry signal at unity on the main mix and adds the effect in parallel — the standard technique that gives you independent control of wet and dry levels.
SQ-MixPad and Remote Control
The SQ-5 tablet control app, SQ-MixPad, runs on any recent iPad over Wi-Fi. Connect the console to a wireless router via its Ethernet port and open the app. It provides full mixing control with the same parameter access as the physical surface. For monitor applications, multiple devices can connect simultaneously at different permission levels — a monitor engineer on stage can control their own sends without affecting the front-of-house mix. Set up user permissions in the app before the show to prevent accidental changes.
For comparisons against other consoles, see our buyer's guide. For common errors to avoid as you develop confidence with the desk, see our guide to common mistakes.
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