HH Q16FX
Digital mixing might be all the rage, but sometimes a simple analogue desk is exactly what you need.
While we now have a variety of digital mixers from which to choose, many with quite different modes of operation, there’s something reassuring about a conventional, knob-laden analogue desk that you can pick up and use straight away with barely a glance at the operation manual. The HH Q16FX is exactly such a product, offering all the essentials for hands-on mixing. It is solidly built in a metal case with a lifting handle inset into the left-hand side, and has direct mains power (100-240 Volts) rather than an annoying external PSU. Practical colour coding is used for the control knob caps to aid navigation.
HH Q16FX
£419
pros
• Rugged construction.
• Intuitive layout.
• Good audio quality with sensible effects.
cons
• No obvious cons, as long as you don’t need more than one foldback monitor mix.
summary
A straightforward and easy-to-use mixer that will serve well on a range of gigs. The USB interfacing and built-in feedback detection are handy extras to have!
If you’re not familiar with the HH name, the original company launched some of the first solid-state guitar amps and PA systems, their most distinctive feature being their electroluminescent front panels. Today the name belongs to UK brand Headstock. Designed in the UK and then built ‘off shore’, the HH Q16FX is one of a range of Q-series analogue mixers offering from six to 16 channels. These seem to be designed primarily for live-sound applications, though they also function as 2-in/2-out 24-bit audio interfaces running at 48kHz.
In the Q16FX, the 16 channels are deployed as eight mono mic/line channels, two stereo line-only channels and two stereo/mono mic/line channels. Channels 1-8 include a single-knob compressor, and every channel has a three-band EQ operating at 12kHz, 2.5kHz and 80Hz. The mono channels have a separate 75Hz low-cut filter too. DSP effects are included, with a choice of 16 effect types based around the mainstays of reverb, delay and echo. A nine-band graphic EQ is available to process the main or monitor mix, and this includes a feedback detection feature so you know which band is causing the problem. Channels can be routed to the man output and/or to a pair of subgroups — useful if you want to control the whole drum mix using a single fader. There’s a single pre-fader aux send per channel for setting up a monitor mix, and there’s also
a post-fader send for the internal effects, but with the option to also send that signal to an external effects unit. The mono mic inputs and main mix outputs are on balanced XLRs, with all the other connections being quarter-inch jacks, other than the inputs for the USB/phono channel (which are on RCA phono sockets and USB-B).
Channel Features
The eight mono channels have identical features, starting with separate inputs for mic (XLR) and line (jack) sources. A further TRS jack functions as an insert point. Phantom power is toggled globally from a rear-panel switch. The input gain control and low-cut button are at the top of the channel strip, followed by the one-knob compressor and the three-band EQ, which has a ±15dB range. The aux and effect sends come next, followed by the pan knob. The single pre-fader send means you can only set up one dedicated monitor mix, though for smaller gigs I have to confess that I usually take the lazy approach and just feed a copy of the main mix taken from the monitor outs to the foldback speakers.
Stereo/mono channels 9+10 and 11+12 lose the insert point and compressor but otherwise have similar appointments to the first eight channels. Stereo operation is for the line inputs only — if used as a mic channel, then the channel is mono. That leaves channels 13+14 and 15+16, which are line-only stereo channels with no input gain control and no low-cut filter. All the controls from EQ downwards are the same as for the other channels.
PAUL WHITE
The channel faders run from ∞ to +10 dB, and a peak LED warns of overloading. There are the usual mute and solo buttons, as well as routing buttons for main and submix, with the pan control steering between sub 1 and sub 2. The solo mode can be switched between solo in place and PFL modes (the latter routes soloed channels to the monitor and headphone outs) using a button next to the main output meters. A channel’s signal can be sent to the subgroups and/or main bus (or neither), and the subgroups can themselves be sent to either the left or right channel of the main stereo bus, or both (the former scenario allowing for a single stereo bus; the latter for two mono busses feeding the main mix).
Master Section
The master section of the mixer is dominated by a nine band graphic equaliser, which may be inserted into the main output or the aux output. There are rotary controls for the effects send and aux return, and a volume control for the phono/USB inputs, with a button to route these to the main mix bus. The headphone output can carry the main output, the phono/USB input or the subgroups (and also the solo signal when solo/PFL is in use).
The graphic EQ panel houses buttons for Feedback Detection, EQ bypass
the same thing as automatic feedback suppression: red LEDs within the sliders illuminate if the energy in that band seems excessive, indicating that feedback may be occurring, leaving it up to the engineer to pull that band down. If the feedback detection is turned off, all the fader LEDs stay illuminated.
Faders are used for the aux and effects sends, the two subgroups and the main left/right outputs, with a pair of 12 section LED meters showing the output, PFL or solo levels. The effects section is tucked away in the top right‑hand corner of the panel with a rotary switch selecting which of the 16 effects is in use. These are all variations on delay and reverb, which is by far the most sensible choice for a live desk. A button activates the effects and there’s a knob that adjusts one key parameter for each effect type — typically delay repeats or reverb decay time. I would have liked a tap tempo button for the delays as that’s a feature I use a lot when mixing live shows, but here you have to use the parameter knob to set the delay time. A footswitch jack allows for remote effects bypass.
All the connections for the master section run along the top edge of the panel, and these comprise stereo returns for the aux and effects (if using an external processor), the mono aux and effects send
The two main outs are XLRs and there are also stereo RCA phono ins and outs. The USB‑B socket for interfacing is on the rear panel, along with an IEC mains inlet, power switch and the 48V phantom power switch.
Impressions
This mixer is delightfully predictable and intuitive with status LEDs where needed, which is just what you need when mixing live sound. The bright red LEDs can be a bit dazzling when working in a dark corner, but then that’s true of most similar mixers too. As long as you pay heed to gain structure when setting the input and fader levels, the mixer operates with minimal background noise, and the one knob compressors work really well, even on electric guitar.
The effects section offers useful delay and reverb treatments, but note that when you change presets it can take a couple of seconds for the new parameters to settle down. Having a footswitch option to bypass the effects is very welcome.
The built in USB audio interface means that you can record a stereo mix, either at gigs or as part of a recording project at home. The interface is class compliant so should work without the need for additional drivers, and the USB return could come in handy for backing tracks or intermission music. It worked right away on my Mac, identifying itself as an HH Q Series Mixer in System Settings.
For most applications the fixed three band EQ works fine, and unless you are a seasoned sound engineer, dealing with a pair of fully parametric mid bands can sometimes be more trouble than it is worth anyway. The EQ frequencies are chosen and there’s plenty of range to get the job done. The graphic EQ can help smooth out room issues, and the feedback detection could be useful if you’re not certain which frequency band is howling away. Taming feedback with a graphic EQ isn’t as benign as an automatic feedback suppressor that deploys very narrow notches, but on a mixer of this type it is welcome and practical addition.
To summarise then, there’s nothing revolutionary about this mixer but it offers all the essentials, plus sensible effects and feedback detection, in a very practical and affordable package. It is solidly built, well thought out and should meet a range of live sound and basic recording needs.
All the controls and connections are on the top panel, with the exception of the power and phantom power switches, the IEC mains inlet, and the USB port, which are on the rear.
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