The Penn Group Introduction: Big Console Sound in a Rack-Friendly Package
When Allen & Heath launched the SQ series, the professional audio world took notice. Here was a company with decades of analog heritage and a proven digital track record with the dLive platform, distilling that flagship technology into a more accessible format. The SQ-5 sits at the entry point of the range, and calling it an entry-level console would be a disservice. With 48 input channels, 36 buses, a 96kHz XCVI processing core, and 17 faders packed into a form factor that fits in a standard 19-inch rack, the SQ-5 punches so far above its weight class that it regularly displaces consoles costing twice as much.
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Having deployed the SQ-5 across houses of worship, corporate boardrooms, small touring rigs, and theater installations over the past several years, I can say with confidence that this console has earned its reputation. It is not perfect — no console is — but for its price point and footprint, it delivers a combination of audio quality, processing power, and workflow efficiency that is genuinely difficult to beat.
This review covers the SQ-5 in depth: the hardware, the processing engine, the I/O flexibility, the workflow, and the real-world scenarios where it excels and where you might want to look at its bigger siblings or competitors instead.
Hardware and Build Quality
Chassis and Construction
The SQ-5 ships in a steel and aluminum chassis that feels substantial without being excessively heavy. At roughly 15 kg (33 lbs), it is light enough for a single person to carry and rack-mount without assistance, which matters when you are the integrator doing the install or the engineer hauling gear to a corporate event. The console occupies a 7U rack space if you use the optional rack ears, though many users deploy it on a tabletop or in a doghouse position.
The build quality is what you would expect from Allen & Heath — solid, no flex in the fader panel, good knob feel, and a general sense that this console will survive years of use without developing the wobbles and rattles that plague some competitors. The faders are 100mm motorized Alps units with smooth, consistent travel and reliable motor recall. After thousands of scene changes across multiple SQ-5 units I have deployed, I have yet to see a fader motor fail, which is more than I can say for some consoles in this price bracket.
The 17-Fader Layout
Seventeen faders is the defining physical characteristic of the SQ-5, and it is worth discussing honestly. You get 16 channel faders arranged in a single bank plus one dedicated master fader. With 48 input channels and 36 buses to manage, that means heavy reliance on layer switching. Allen & Heath provides soft keys and a logical layer structure to navigate between channel banks, aux sends, groups, matrices, and DCA assignments, but there is no escaping the fact that on a complex show, you will be pressing layer buttons frequently.
For many applications, this is perfectly acceptable. A house of worship running 24 inputs with a handful of aux mixes can organize their channel layout so that the most critical faders are always visible on the top layer, with less frequently adjusted channels relegated to deeper layers. Corporate AV applications often use even fewer channels, making the 17-fader layout more than sufficient. Small touring acts running their own sound can get comfortable with the layer structure quickly.
Where the 17-fader layout starts to feel constraining is on larger, more dynamic shows — a 40-channel theater production, a multi-act festival with rapid changeovers, or a broadcast mix where you need simultaneous visual access to many channels. In those scenarios, the SQ-6 or SQ-7 starts to make more sense, or you compensate with an iPad running the SQ MixPad app as a secondary control surface.
The 7-Inch Touchscreen
The capacitive touchscreen is responsive, bright, and well-organized. Allen & Heath clearly studied what engineers actually need to see and touch during a live mix, and the result is an interface that becomes intuitive quickly. The processing screens — EQ, dynamics, DEEP plugins — are well-laid-out with large enough touch targets that you can make adjustments mid-show without hunting for tiny virtual knobs.
The screen is flanked by a rotary encoder and navigation keys that work in tandem with the touch interface. This hybrid approach — touch for broad navigation and selection, physical encoder for precise parameter adjustment — is one of the SQ platform’s strongest ergonomic decisions. Trying to dial in a precise compressor threshold on a purely touchscreen interface during a live show is an exercise in frustration, and Allen & Heath wisely avoided that trap.
One criticism: the 7-inch screen, while perfectly usable, can feel slightly cramped when you are deep in the routing matrix or trying to view a full overview of your mix. The SQ-6 and SQ-7 share the same screen size, so this is a platform-wide consideration rather than an SQ-5-specific limitation.
Connectivity
The rear panel of the SQ-5 provides a solid complement of local I/O. You get 16 onboard mic/line inputs (XLR) with recallable preamps, 12 line outputs (XLR), and a headphone output. There is a USB-B port for 32×32 channel recording and playback to a connected computer, a USB-A port for Qu-Drive stereo recording to a USB stick, and an SLink port for connecting to Allen & Heath stage boxes and I/O expanders.
The rear panel also houses the option card slot, which is one of the SQ platform’s most important features for integration flexibility. This single slot accepts a range of I/O cards including Dante (64×64 at 96kHz), Waves SoundGrid, MADI, and additional analog or AES I/O. The option card slot transforms the SQ-5 from a standalone mixer into a networked audio hub.
The XCVI Processing Core: 96kHz Makes a Difference
Why 96kHz Matters in Live Sound
The SQ series runs its entire signal path at 96kHz, which was a significant differentiator when the platform launched and remains relatively uncommon at this price point. The XCVI core is a custom FPGA-based processing engine derived from the dLive platform, and it handles all 48 channels and 36 buses at 96kHz with a total system latency of approximately 0.7ms — fast enough that latency is never a practical concern, even for in-ear monitoring applications.
The 96kHz sample rate delivers audible benefits that are most apparent in the high-frequency response and the behavior of the onboard processing. EQ adjustments sound smoother, particularly in the upper registers. The dynamics processing — compressors, gates, de-essers — responds more naturally because the processing engine is seeing twice as many samples per second as a 48kHz system. Transient response is improved, which is particularly noticeable on percussion and acoustic instruments.
Is the difference between 96kHz and 48kHz dramatic enough that an audience will hear it in a noisy live venue? Honestly, in many cases, no. But the engineer hears it in the headphones, the processing tools behave better because of it, and in quieter, more critical listening environments — a theater, a corporate keynote, a broadcast feed — the improved resolution is genuinely beneficial. It is one of those specifications that elevates the overall experience of working on the console, even when the end result is subtle.
Processing Power Per Channel
Every input channel on the SQ-5 gets a comprehensive processing chain: trim, polarity, HPF, gate, 4-band parametric EQ, compressor, delay, and direct out. The EQ is smooth and musical — very much in the Allen & Heath tradition — with fully parametric bands that offer enough Q range for both broad tonal shaping and surgical notch filtering. The compressor is versatile, offering a wide ratio range and adjustable knee that lets you go from gentle bus glue to aggressive limiting.
The output processing is equally thorough, with graphic EQ (on mixes), parametric EQ, compressor, delay, and matrix routing available on every bus. You are unlikely to run out of processing on any given channel or bus, which is not always the case with competitors at this price point.
DEEP Processing: Plugin-Quality Tools Built In
What DEEP Processing Offers
DEEP processing is Allen & Heath’s library of channel processing plugins that model classic analog hardware and add specialized processing tools beyond the standard channel strip. On the SQ platform, DEEP processing units can be inserted on any input channel or mix bus, replacing the standard compressor or EQ with a modeled alternative.
The DEEP library includes models of classic optical compressors, FET limiters, tube preamp saturation, analog EQ curves, de-essers, and multiband processors. These are not afterthought additions — each DEEP processor has been carefully modeled and they sound genuinely good. The optical compressor model, for example, has that smooth, program-dependent compression character that works beautifully on vocals and acoustic instruments. The FET limiter model delivers the aggressive, fast-attack compression that is essential for taming snare drums and bass guitars in a live mix.
The dPack Expansion
Allen & Heath offers the dPack as an optional firmware license that unlocks additional DEEP processors and expands the effects library. The dPack adds models of several iconic hardware processors and is well worth the investment if you plan to use the SQ-5 as your primary mixing platform. The additional compressor and EQ models give you a wider palette of tonal options, and the expanded effects engines provide more reverb and delay algorithms.
One of the practical advantages of DEEP processing over external plugin systems like Waves SoundGrid is simplicity. There is no external server to manage, no network configuration to troubleshoot, no software licenses to track across multiple machines. The DEEP processors are part of the console firmware, they recall with scenes, and they just work. For integrators deploying consoles in environments where volunteer operators or rotating engineers will be using the system, this reliability and simplicity is invaluable.
Onboard Effects Engines
The SQ-5 provides 8 stereo effects engines that can be configured as insert or send effects. The library includes reverbs, delays, chorus, flanger, and other standard effects, and the quality is good enough that most users will never need to connect an external effects processor. The reverb algorithms, in particular, are smooth and well-behaved — no metallic artifacts or unnatural decay characteristics that sometimes plague built-in console effects.
Each effects engine can be assigned to a dedicated return channel with full processing, giving you complete control over effects levels, EQ, and dynamics on your effects returns. The send routing is flexible, allowing any channel to send to any effects engine at independent levels.
AMM: Automatic Mic Mixing Done Right
The SQ series includes Allen & Heath’s AMM (Automatic Mic Mixing) functionality, and it is one of the features that makes this console particularly appealing for corporate AV and installed sound applications. The AMM system operates on a gain-sharing principle, automatically managing gain distribution across multiple open microphones to maintain consistent overall gain and minimize comb filtering and background noise.
In a boardroom with 12 boundary microphones on a conference table, AMM is transformative. Without it, you are either riding faders constantly to manage open mics or accepting the degraded sound quality that comes from having too many open microphones. With AMM engaged, the system transparently manages the gain distribution so that active talkers are heard clearly while inactive microphones are attenuated. The result is cleaner, more intelligible audio with dramatically reduced ambient noise pickup.
The AMM implementation on the SQ is configurable, with adjustable parameters for priority weighting (you can designate certain microphones as higher priority), hold time, and depth of attenuation. For house of worship applications where a podium mic should always take priority over a handheld, or corporate environments where the CEO’s mic should never be gated down, these priority settings are essential.
Compared to dedicated automatic mixer hardware from companies like Dan Dugan or Shure, the SQ’s AMM is not quite as sophisticated in its algorithm, but it is good enough for the vast majority of installed applications and eliminates the need for a separate piece of hardware in the signal chain.
SLink and Networking: Scalable I/O
SLink Digital Snake Capability
SLink is Allen & Heath’s proprietary digital audio transport protocol, carried over Cat5e or fiber connections. The SQ-5’s SLink port allows you to connect Allen & Heath stage boxes — the AR2412 and AR84 remote audio racks — creating a digital snake system that eliminates long analog cable runs and provides remote-controllable preamps at the stage.
The SLink connection carries up to 128 channels of audio (depending on the configuration and sample rate) along with preamp control data, all over a single cable. For installations where the console is in a booth or control room and the inputs are on a stage 50 meters away, SLink with an AR2412 is a clean, reliable solution that saves significant cable infrastructure costs compared to running 24+ analog XLR lines.
The SLink system also enables daisy-chaining and expanding I/O, so you can add additional stage boxes as your input count grows. This scalability is one of the SQ platform’s strengths for installed applications where future expansion is likely.
Option Card: Dante, Waves, and More
The single option card slot on the SQ-5 is both a strength and a limitation. It is a strength because it provides access to professional networking standards — Dante (64×64 at 96kHz via the SQ SLink card or dedicated Dante card), Waves SoundGrid (for those who want to use Waves plugins), MADI, and additional analog I/O. It is a limitation because you can only install one card at a time, so you have to choose your networking protocol.
For most integrators, Dante is the obvious choice. The Dante card transforms the SQ-5 into a full Dante endpoint, allowing it to send and receive audio to and from any other Dante device on the network. This is enormously useful in installed environments where the SQ-5 might need to share audio with DSP processors, recording systems, broadcast infrastructure, or other mixing consoles.
The Waves SoundGrid option appeals to engineers who want access to the full Waves plugin library for live sound processing. A SoundGrid server connects to the option card, and plugins can be inserted on any channel or bus with round-trip latency low enough for live use. This is a powerful option for touring engineers who have built their workflow around specific Waves processors, but it does add complexity and another point of failure to the signal chain.
Recording and Playback
32×32 USB Audio Interface
The SQ-5 functions as a 32×32 USB audio interface at 96kHz, which is a significant capability for recording and virtual soundcheck workflows. Connect the console to a laptop running any standard DAW, and you have 32 discrete channels of recording available. The routing is fully configurable — you can record direct outputs from individual channels, bus outputs, or any combination thereof.
For houses of worship that want to multitrack their services for later mixing, or for corporate clients who need to capture a multi-microphone event for archival purposes, this built-in USB recording capability eliminates the need for a separate recording interface. The 96kHz sample rate means you are capturing at higher resolution than most dedicated recording interfaces in this price range offer.
Virtual soundcheck is where the USB recording capability really shines for live sound applications. Record a service or event, then play it back through the console the next day to refine your mix, adjust processing, and tune the system without requiring the band or presenters to be present. This workflow is invaluable for volunteer-operated sound systems where mix time with the actual performers is limited.
Qu-Drive USB Recording
In addition to the computer-based USB recording, the SQ-5 includes Qu-Drive functionality for recording stereo audio directly to a USB thumb drive. This is a simple, reliable way to capture a stereo mix of a service, event, or performance without involving a computer. Press record, and the console writes a WAV file to the USB drive. It is not glamorous, but it is reliable and requires zero technical expertise from the operator — which matters in volunteer-run environments.
ME Personal Monitoring Compatibility
The SQ-5 is compatible with Allen & Heath’s ME personal monitoring system, which allows musicians on stage to control their own monitor mix using compact ME-1 or ME-500 personal mixers. The ME system connects via the SLink port or a network switch, and each musician gets a hardware unit with a simple interface for adjusting the levels of various audio groups in their monitor mix.
This is a significant workflow improvement for houses of worship and other environments where managing multiple monitor mixes from the front-of-house position is impractical. Instead of the sound engineer fielding constant requests for more guitar, less drums, more vocals in the monitors, each musician has direct control over their own balance. The engineer sends a set of audio groups (drums, bass, guitars, keys, vocals, etc.) to the ME system, and the musicians adjust their own blend.
Having deployed ME systems with SQ consoles in several worship environments, I can attest that the impact on workflow is dramatic. Monitor mix requests from the stage drop to near zero, musicians are happier with their mixes because they have direct control, and the front-of-house engineer can focus entirely on the audience mix.
Remote Control and IP Integration
SQ MixPad App
Allen & Heath provides the SQ MixPad app for iPad, which offers nearly complete remote control of the console over a Wi-Fi network. The app is well-designed, responsive, and stable — three attributes that should not be taken for granted in console remote apps. The interface mirrors the console’s own screen layout closely enough that moving between the physical console and the iPad feels natural.
For the SQ-5 specifically, the MixPad app serves as a critical workflow enhancement because it effectively gives you a second control surface. While you are working at the console adjusting the main mix, a monitor engineer or assistant can use the iPad to manage auxiliary sends or adjust processing on specific channels. In installations where the console is in a fixed position but the engineer needs to walk the room during tuning, the iPad provides full mixing capability from anywhere in the venue.
The app supports multiple simultaneous connections with configurable access permissions, so you can give the worship leader an iPad with access only to their personal monitor mix while the sound engineer has full control from a separate device. This permission system is well-implemented and essential for environments where non-technical users will interact with the system.
Custom Control via TCP/IP
For integration with third-party control systems like Crestron, Extron, or Q-SYS, the SQ-5 supports TCP/IP control via its Ethernet port. Allen & Heath publishes a MIDI/TCP protocol document that allows integrators to build custom control interfaces for recalling scenes, adjusting levels, muting channels, and other common operations. This is essential for corporate AV installations where the mixing console is part of a larger automated system controlled from a touch panel.
The protocol is well-documented and straightforward to implement. I have built Crestron modules for SQ control in several corporate installations, and the console responds reliably to commands with minimal latency. Scene recall via TCP is particularly useful for conference rooms where different room configurations (presentation mode, video conference mode, panel discussion mode) each require a different console setup.
Firmware and Software Updates
Allen & Heath has maintained an active firmware development cycle for the SQ platform since its launch, regularly adding features, processing options, and workflow improvements through free firmware updates. This ongoing development is one of the platform’s significant advantages — the console you buy today will gain capabilities over time without additional cost.
Notable firmware additions over the life of the platform have included additional DEEP processors, enhanced scene management features, improved USB recording functionality, and expanded routing options. Allen & Heath’s track record of supporting their digital platforms with long-term firmware development — as demonstrated with the Qu and dLive series — gives confidence that the SQ platform will continue to receive meaningful updates.
Real-World Use Cases
Houses of Worship
The SQ-5 has become one of the most popular consoles in the house of worship market, and for good reason. The combination of processing power, ease of use, compact size, and price makes it ideal for small to mid-sized worship environments. A typical deployment might see the SQ-5 handling a 6-piece worship band (drums, bass, electric guitar, acoustic guitar, keys, and 3-4 vocal microphones), a pastor’s microphone, media playback, and 4-6 auxiliary mixes for stage monitors or in-ear systems.
The scene recall system is particularly valuable in worship applications where different services or events require different console configurations. A Sunday morning contemporary service, a Wednesday evening acoustic set, a youth group event, and a funeral service might each have completely different channel layouts, processing settings, and routing. The SQ-5’s scene system allows each configuration to be stored and recalled with a few button presses, which is essential when volunteer operators with varying levels of experience are running the system.
The AMM functionality also finds heavy use in worship environments for managing multiple podium or lectern microphones during spoken word portions of the service. Rather than requiring the operator to manually mute and unmute microphones as different speakers approach the podium, AMM handles the transitions automatically.
Corporate AV
In corporate installations — boardrooms, conference centers, multi-purpose event spaces — the SQ-5’s compact form factor is a major advantage. It fits in a standard AV rack alongside video switchers, DSP processors, and amplifiers, presenting a clean, organized equipment layout. The Dante option card integrates the console into a networked audio infrastructure, and TCP/IP control enables integration with room control systems.
For corporate applications, I often deploy the SQ-5 with most of its processing pre-configured and scene recall set up for common room configurations. The operator — who may be an office manager or IT person with minimal audio training — simply recalls the appropriate scene for the type of event and makes minor level adjustments as needed. The console’s logical interface and touchscreen make it approachable enough for non-specialist operators, while still providing the processing depth that an experienced engineer needs when a high-profile event requires hands-on mixing.
Small Touring and Events
For solo operators, small production companies, and touring acts carrying their own sound system, the SQ-5 offers an impressive capability-to-weight ratio. The console, a laptop for multitrack recording, and an AR2412 stage box give you a complete 24-input digital snake and mixing system that fits in a small vehicle and sets up quickly. The 32×32 USB recording lets you capture every show for later review or content creation, and the virtual soundcheck capability means you can refine your mix at venue after venue using recordings from previous shows.
The SQ-5’s 96kHz processing and DEEP plugins mean you are not sacrificing audio quality for portability. I have used SQ-5 consoles on corporate event tours where the console traveled in a pelican case with a laptop and a small stage box, and the audio quality was indistinguishable from what we would achieve with a much larger, more expensive console.
Theater
Theater applications are where the SQ-5’s 17-fader limitation becomes most apparent. A typical community theater production might use 16-24 wireless microphones, several area microphones, sound effects playback, and a small orchestra — easily exceeding 30 input channels with complex cue-based scene changes. While the SQ-5 can handle the channel count and processing, the limited fader count means heavy reliance on DCA groups and layer switching to manage the mix during a show.
For smaller theater productions with fewer inputs, the SQ-5 can work well, particularly if the operator builds their mix around DCA groups and uses scenes to manage cue-based changes. But for more complex productions, the SQ-6 or SQ-7 provides a more comfortable operating experience.
Comparison to Competitors
Yamaha TF Series
The Yamaha TF1 is the most direct competitor to the SQ-5 in terms of form factor and price. The TF1 offers 16 faders and a large touchscreen with Yamaha’s TouchFlow interface, which prioritizes simplicity and visual feedback. The TF series runs at 48kHz, which puts it at a processing resolution disadvantage compared to the SQ-5’s 96kHz engine. The TF’s built-in effects and processing are competent but lack the depth and character of the SQ’s DEEP processing library.
Where the TF series has an advantage is in its Dan Dugan automatic mixing integration (available as an option) and its extremely intuitive interface for inexperienced operators. The TF was designed from the ground up to be easy to use, and it succeeds at that goal. But the trade-off is reduced flexibility for experienced engineers who want deeper control over their processing and routing.
For most professional applications, the SQ-5 is the stronger choice. It offers more processing power, higher audio quality, greater routing flexibility, and better expansion options. The TF might edge ahead in installations where the absolute simplest possible operator experience is the top priority and audio quality can be slightly compromised.
Midas M32R
The Midas M32R is the rack-mount variant of the M32, offering a similar compact form factor to the SQ-5 with 16 motorized faders and Midas preamps. The M32 platform runs at 48kHz and uses an older processing architecture that, while capable, does not match the SQ’s XCVI core in terms of raw audio quality or processing latency.
The M32 platform has a large and loyal user base, and its integration with the Behringer ecosystem (P16 personal monitoring, S32 stage boxes) provides affordable system building options. However, the Allen & Heath SQ platform offers superior audio quality, more sophisticated processing (particularly with DEEP), and better build quality. The M32’s advantage is primarily in its installed base and the familiarity that many engineers have with the X32/M32 workflow.
PreSonus StudioLive Series
PreSonus StudioLive consoles compete at a lower price point and target a slightly different market — primarily recording-focused users and smaller live sound applications. The StudioLive’s tight integration with PreSonus’s Studio One DAW is a genuine advantage for users in that ecosystem, but the live sound processing and workflow do not match the SQ-5’s capabilities for dedicated live and installed sound applications.
Behringer Wing
The Behringer Wing is an interesting competitor that offers a large touchscreen-centric workflow and flexible routing at an aggressive price point. The Wing provides more physical faders than the SQ-5 in a larger chassis, and its touchscreen interface is visually impressive. However, the build quality, long-term reliability, and processing quality do not match the SQ-5 in my experience. The Wing is worth considering for budget-constrained applications, but for professional installations where reliability and audio quality are priorities, the SQ-5 is the safer choice.
Workflow Tips for SQ-5 Operators
Optimize Your Layer Structure
With only 17 faders, layer management is critical on the SQ-5. Take time before your first show to organize your channel layout so that your most frequently adjusted channels are on the top layer. Use the custom layer feature to create a layer that puts your most critical faders — lead vocals, pastor mic, music submix — all in one view, regardless of their actual channel numbers. This custom layer becomes your home base during the show.
Leverage DCA Groups
DCA groups are your best friend on the SQ-5. Instead of individually adjusting 6 drum channels, assign them all to a single DCA and control the overall drum level with one fader. A typical worship setup might use DCAs for drums, bass, guitars, keys, vocals, and media playback — giving you complete mix control from just 6 faders. The SQ-5 supports 16 DCA groups, which is more than enough for even complex channel configurations.
Use the iPad as a Second Surface
If the 17-fader count feels limiting, the SQ MixPad app on an iPad effectively doubles your control surface. Mount the iPad next to the console and use it for auxiliary send management, effects adjustment, or monitoring a channel overview while the physical faders handle your main mix. This two-surface approach is how many experienced SQ-5 operators compensate for the smaller fader count.
Build Robust Scene Libraries
Invest time in building a comprehensive scene library with per-parameter recall filtering. The SQ’s scene system allows you to specify exactly which parameters are recalled with each scene — you might want a scene that changes the EQ and gate settings for the drum channels without affecting fader levels or aux sends. This selective recall is powerful but requires thoughtful setup.
Virtual Soundcheck Everything
The 32×32 USB recording capability makes virtual soundcheck trivially easy. Record every show, rehearsal, and soundcheck. Use those recordings for virtual soundcheck sessions where you can experiment with processing changes, try different effects, and refine your mix without time pressure. This is particularly valuable in houses of worship where live soundcheck time is often limited.
Pros and Cons
Strengths
- 96kHz audio quality — The XCVI core delivers flagship-caliber audio that exceeds expectations at this price point
- Compact form factor — Rack-mountable and portable without sacrificing channel count or processing power
- DEEP processing — Plugin-quality channel processing built into the console firmware with no external hardware required
- Expansion flexibility — SLink, option card slot (Dante, Waves, MADI), and ME monitoring compatibility provide room to grow
- Build quality — Solid construction with reliable motorized faders and a responsive touchscreen
- USB recording — 32×32 multitrack recording at 96kHz built in
- AMM auto mixing — Genuine automatic mic mixing for corporate and installed applications
- Firmware support — Ongoing free firmware updates add features and processing options over time
- Remote control — Excellent iPad app and TCP/IP integration for control system compatibility
- Price-to-performance ratio — Delivers capabilities that match or exceed consoles at significantly higher price points
Weaknesses
- 17 faders is limiting for complex shows — Heavy layer switching required for productions with many active channels
- Single option card slot — You have to choose between Dante, Waves, MADI, or additional analog I/O — you cannot have multiple simultaneously
- 7-inch screen could be larger — While functional, the screen feels cramped for detailed routing and overview displays
- No built-in Dante — Dante requires the purchase and installation of an option card, adding cost and using your only expansion slot
- Learning curve for Allen & Heath newcomers — Engineers accustomed to Yamaha or Midas workflows will need time to adjust to the SQ’s navigation and terminology
Who Should Buy the SQ-5
The Allen & Heath SQ-5 is the right console for users who need professional-grade processing power and audio quality in a compact, rack-friendly format. It excels in houses of worship with modest input counts, corporate AV installations where rack space is at a premium, small touring rigs where portability matters, and any application where a single operator manages a reasonably sized channel count.
If you regularly mix shows with more than 24 active channels that need simultaneous fader access, look at the SQ-6 or SQ-7 instead. If you need built-in Dante without sacrificing your option card slot, look at the dLive or Avantis platforms. But if the SQ-5’s form factor and feature set align with your needs, you are getting a console that will deliver exceptional audio quality, rock-solid reliability, and years of firmware-driven feature growth.
Final Verdict
The Allen & Heath SQ-5 is one of the best values in professional digital mixing today. Its 96kHz XCVI processing core, comprehensive DEEP processing library, flexible I/O expansion, and compact form factor make it a serious tool for serious applications. It has limitations — the fader count, the single option slot, the modest screen size — but these are thoughtful design trade-offs that keep the console compact and affordable while preserving the processing power and audio quality that matter most.
After deploying dozens of SQ-5 consoles across a wide range of applications, I can recommend it without hesitation for any installation or production that fits within its operational envelope. It punches well above its price class, it sounds excellent, it is built to last, and Allen & Heath’s ongoing firmware support means it will continue to improve over time. For a compact digital mixer that does not compromise on audio quality, the SQ-5 sets the standard.
