Q-AUDIO Q-MIX 8FX - Paul Bouzan
The market for traditional analogue mixers is still very much in existence.
On test here today is the Q-Audio Q-Mix8FX – essentially 8 primary channels, 6 of which are identical mono mic/line with the last two channels overlapped with stereo inputs on each.
In recent years and with the advent of Digital Signal Processing (DSP) being able to buy into large numbers of audio channels – all in one box, complex digital routing and patching and 1001 digital effects has become a lot easier to do. Whilst that will strike many of you as value for money. Unfortunately and to use modern electric cars as an analogy, the traditional human interface is being sacrificed in favour of being able to deliver these innovations. In the world of audio engineering creativity is the key and to retain the unique ‘feel’ of a mix the human hand still needs to operate a fader or tweak an effect. This is no substitute! To this end the market for traditional analogue mixers is still very much in existence.
Enter Q-Audio’s new range of analogue mixers. Q-Audio has made a very good name for itself in the professional audio market – mainly with DJs and semi-professional PA suppliers. On test here today is the 8FX – essentially 8 primary channels, 6 of which are identical mono mic/ line with the last two channels overlapped with stereo inputs on each. The Q-Mix8FX has two overlapping stereo inputs, the 6FX has 4 mic channels, the 4FX 2 mics and in the other direction the 10FX, 8 mics and12FX, 10 mics.
Unlike the majority this new range features a USB-C socket on the rear panel that not only creates a high quality audio link between the device and desk, it also charges the device at the same time. Obviously a good quality combined data and power lead is required (such as the one provided by the manufacturer) but online retailers can come to the rescue if needed. The Q-Mix8FX/10FX and 12FX models feature a built-in mains power supply and include a 3 pin UK power lead with IEC connector.
Staying with the tradition analogue inputs, each of the mono channels has an XLR and ¼” jack connector for microphones and line inputs. Following the strip downwards a small black knobbed gain control sits below the jack socket and allows for ‘trimming’ the incoming signal for the best signal to noise ratio (SNR). High, midrange (with sweepable centre frequency) and low EQ controls feature next. Oddly the 80Hz high pass filter button is adjacent to the high control whereas it’s action is more a case of low cut but that’s just me – and semantics!
Below the EQ controls there is a single AUX send control and an FX control. Starting with the AUX control, this allows you to send the equalised signal produced by that channel out to the AUX socket on the top panel. This signal is sent AFTER (or POST) the fader i.e. any adjustment of the channel fader will also affect the signal being sent. Adjacent to the AUX control is a PRE button. With this pressed in the signal will be sent from BEFORE the fader instead. This means the signal will not be affected by adjustment of the fader. I often get asked ‘Why is this PRE/POST so important?”
PRE sends are for foldback and monitoring use. Adjustment of the fader will only affect the front of house signals and not the signals the artist is relying on.
POST sends are for effects. Any effect like echo or delays still need to be heard after a fader has been closed otherwise you cut off the bit you want! The FX control is like a fixed POST send AUX channel dedicated to the built-in effects section.
NOTE: The AUX bus has an overall master AUX OUT rotary control on a row of four controls positioned between the effects panel and the media panel. This can be easy to overlook (as did I at first!).
The PAN control adjusts where the mono signal is placed in the stereo image (to represent their position on stage). A MUTE button (present on all channels) will simply mute that channel, handy for turning performer mics off when not needed without having to remember their fader settings.
The corresponding LED makes it clear who has been muted.
Surrounding the fader are various functions that affect how the signal is routed. The PFL button should not be unfamiliar with most, pressing this button routes the channel to the headphones and control room outputs (for monitor speakers etc). The master headphone/ control room level control is next to the AUX OUT control. Frustratingly there is no LED to signify PFL is active on the console which can lead to confusion when monitoring signals. The final three buttons ‘assign’ the channel to any combination of three output groups, ‘1/2’, ‘3/4’ or ‘Main Mix L/R’ – all with respective master faders at the lower right of the top panel.
Two major features of the 8FX and above are a digital effects section and a media/Bluetooth replay section. The digital effects carry all major effects you would need for productions of the size handled with a desk of this calibre. Personally for any karaoke-related work a ‘room’ effect adds body to the vocal without muddiness. Stage vocalists often call for reverbs combined with delay.
Although a ‘delay’ effect is present the absence of a ‘TAP’ button to align the delay to the beat makes it rather useless as the stock effect would be out of sync. There is an ‘FX to AUX’ button that will route the effects to the AUX bus, perfect for performers to hear the effects if the bus is used for foldback. Turning all levels up to maximum did not elect any excessive noise – digital or otherwise from this FX unit which is good to see (or not hear!). Overall control of the effects output is via the red FX fader.
As with the channel faders there are group assign buttons to direct the effects to the group(s) they want to be heard on. If unselected you will not hear any effects. The one thing that strikes you with the 8FX when first powering up is the extremely bright media controller screen under the digital effects panel.
There are also five illuminated media transport buttons with a nice tactile click feedback. All audio replay from this section is handled by the white BT/USB panel and fader front-central on the top panel (again don’t forget to set the group assign buttons otherwise no audio will be heard!). Four feature icons are displayed on the screen and are selectable by the rotary function control (rotate then press);
Media Replay. Simply insert an SD card or USB stick loaded with music and the transport controls will allow you to select and play the media Bluetooth. The screen will display the status of the connection.
Press the BT PAIR button to the left under the LED meters to begin pairing. If a device has been previously paired the button will pair and unpair this connection.
NOTE when Bluetooth has been paired the rotary function control will double as a volume control for the BT connection. At first I thought this was odd but realised if a paired device has itself been set to a low volume level you can take control and increase the level at the desk to match other inputs. Just be aware if low levels are a problem!
Pressing a PFL button on a channel switches the VU display to that channel which is important as you need to adjust the input gain of the channel to deliver a good signal without distortion (targeting 0dB to +3dB in most cases). The peak indicator on the channels themselves did not activate until I forced the channel to peak on the VU meter (above +16dB).
This seemed rather excessive and unexpectedly led to a distorted signal. The desire to have such focus on excessive signal is rather strange when the norm is to dedicate a larger proportion of such metering to the usable range instead. As a guide, using an SM58 and adjusting the input channel to occasionally register +3dB on PFL appears to translate to a steady +6dB to +10dB at the master output with all controls set to 0dB.
There’s a LOT of gain in this mixer so tread carefully when feeding onwards especially into active speakers with their own DSP units. Multiples of EQ settings can very easily cause excessive drive so be sure to set all DSP EQs to flat before employing a mixer further back. Overall this mixer is sonically clean, the effects DSP doesn’t add any noise to the signal chain. I did attach it to a known problem laptop of mine that loves to dump its digital noise onto the audio bus but the integral power supply carries suitable isolation and didn’t entertain the monster!
A good testament to the build quality at least.
I wasn’t privy to any technical information either so without taking it apart there’s no way to know if the faders are directly in the audio path or if the design is using DSP control with the faders providing control voltages.
There’s no audible crackles or control irregularities and I can hear a relay actuate deep within when PFL is used so there is still conventional technology inside. Invariably it’s a one-board design though so be ultra-careful not to spill anything on the top surface as this will hit the board directly.
My only gripe, that massively bright blue display! When it’s dark the display blinds you so much it’s impossible to see legends on the other controls.
If Q-Audio can add a brightness control to the unit then it’ll be a hit I’m sure.
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