36 documented inputs
¼-inch TRS + XLR female
- Arrives as
- 36 documented inputs
- Connector
- ¼-inch TRS + XLR female
- Signal
- analog audio
Digital Mixer
Allen & Heath Qu-SB 16-channel Portable Digital Mixer. Plan its source-defined physical connections and placement in your rig.
01 · What it does—and what that changes in your rig.
Start with the payoff, then work through how it functions, where it fits, and the details that change a real build.
Allen & Heath Qu-SB 16-channel Portable Digital Mixer. Plan its source-defined physical connections and placement in your rig.
02 · Know the whole path before you buy.
Learn the route as a block diagram: source, product function, transport, and destination. Select any block to see what enters, what changes, and what leaves.
Each block answers the same three questions: what arrives, what changes here, and what leaves.
¼-inch TRS + XLR female
03 · What this product asks of the rest of the system.
Treat connector names as the start of the check—not the answer. These are the boundaries that determine a complete working path.
Use it when 4U and 161 mm of depth fit the case.
Complete the path with upstream and downstream gear that matches connector, direction, signal type, protocol, and wiring standard.
Documented connectors: ¼-inch TRS, XLR female, XLR male, RJ45. Match connector, direction, and signal type—not shape alone.
04 · Every connector, grouped by job.
Switch the product view and the documented port inventory updates with it—hardware and data stay side by side.
Switch panels to keep the hardware view and the documented port list in sync.
| Port | Panel | Connector | Direction | Signal | Channels |
|---|---|---|---|---|---|
| LINE 1 | front | ¼-inch TRS | input | analog audio | — |
| MIC 1 | front | XLR female | input | analog audio | — |
| LINE 2 | front | ¼-inch TRS | input | analog audio | — |
| MIC 2 | front | XLR female | input | analog audio | — |
| LINE 3 | front | ¼-inch TRS | input | analog audio | — |
| MIC 3 | front | XLR female | input | analog audio | — |
| LINE 4 | front | ¼-inch TRS | input | analog audio | — |
| MIC 4 | front | XLR female | input | analog audio | — |
| LINE 5 | front | ¼-inch TRS | input | analog audio | — |
| MIC 5 | front | XLR female | input | analog audio | — |
| LINE 6 | front | ¼-inch TRS | input | analog audio | — |
| MIC 6 | front | XLR female | input | analog audio | — |
| LINE 7 | front | ¼-inch TRS | input | analog audio | — |
| MIC 7 | front | XLR female | input | analog audio | — |
| LINE 8 | front | ¼-inch TRS | input | analog audio | — |
| MIC 8 | front | XLR female | input | analog audio | — |
| LINE 9 | front | ¼-inch TRS | input | analog audio | — |
| MIC 9 | front | XLR female | input | analog audio | — |
| LINE 10 | front | ¼-inch TRS | input | analog audio | — |
| MIC 10 | front | XLR female | input | analog audio | — |
| LINE 11 | front | ¼-inch TRS | input | analog audio | — |
| MIC 11 | front | XLR female | input | analog audio | — |
| LINE 12 | front | ¼-inch TRS | input | analog audio | — |
| MIC 12 | front | XLR female | input | analog audio | — |
| LINE 13 | front | ¼-inch TRS | input | analog audio | — |
| MIC 13 | front | XLR female | input | analog audio | — |
| LINE 14 | front | ¼-inch TRS | input | analog audio | — |
| MIC 14 | front | XLR female | input | analog audio | — |
| LINE 15 | front | ¼-inch TRS | input | analog audio | — |
| MIC 15 | front | XLR female | input | analog audio | — |
| LINE 16 | front | ¼-inch TRS | input | analog audio | — |
| MIC 16 | front | XLR female | input | analog audio | — |
| MIX 1 | front | XLR male | output | analog audio | — |
| MIX 2 | front | XLR male | output | analog audio | — |
| MIX 3 | front | XLR male | output | analog audio | — |
| MIX 4 | front | XLR male | output | analog audio | — |
| MIX 5 | front | XLR male | output | analog audio | — |
| MIX 6 | front | XLR male | output | analog audio | — |
| MIX 7 | front | XLR male | output | analog audio | — |
| MIX 8 | front | XLR male | output | analog audio | — |
| MIX 9 | front | XLR male | output | analog audio | — |
| MIX 10 | front | XLR male | output | analog audio | — |
| MAIN L | front | XLR male | output | analog audio | — |
| MAIN R | front | XLR male | output | analog audio | — |
| MTX1-2 1(L) | front | ¼-inch TRS | output | analog audio | — |
| MTX1-2 2(R) | front | ¼-inch TRS | output | analog audio | — |
| ST1 IN L/M | front | ¼-inch TRS | input | analog audio | — |
| ST1 IN R | front | ¼-inch TRS | input | analog audio | — |
| PHONES | front | ¼-inch TRS | output | analog audio | — |
| FOOTSWITCH | front | ¼-inch TRS | input | data | — |
| NETWORK | front | RJ45 | bidirectional | data | — |
| dSNAKE | front | etherCON | bidirectional | data | — |
| Qu-Drive | front | usb a | bidirectional | data | — |
| USB B | front | usb b | bidirectional | data | — |
| AC MAINS IN | rear | IEC C14 | input | power | — |
Showing 55 of 55 documented physical ports. Scroll to review the remaining rows.
05 · Compare the decision, not just the price.
The rows are organized around fit, power, I/O, and system role so a cheaper unit cannot hide a more expensive workflow.
| Compare | ![]() | ![]() | ![]() | |
|---|---|---|---|---|
| Fit | 📐 4U | 📐 Outside rack | 📐 5U | 📐 Outside rack |
| Power | ⚡ Unverified | ⚡ 120W | ⚡ 100W | ⚡ 120W |
| Weight | ⚖️ Unlisted | ⚖️ 45.4 lb | ⚖️ 31.5 lb | ⚖️ 55.1 lb |
| I/O | 🔌 55 | 🔌 83 | 🔌 30 | 🔌 84 |
| Estimate | 💵 ~$999.99 | 💵 ~$2,799 | 💵 ~$2,999 | 💵 ~$4,499 |
| Deep dive | Current selection | Full comparison → | Full comparison → | Full comparison → |
06 · Resolve the questions that can change the purchase or build plan.
Short, source-backed answers surface rack fit, power, cabling, and connection details before they become surprises.
It occupies 4U. Its documented depth is 161 mm.
Its power requirement is not yet verified in the catalog.
55 documented physical ports, including LINE 1, MIC 1, LINE 2, MIC 2, LINE 3, MIC 3.
07 · See this unit inside a real rack plan.
08 · Related gear, in the order you may need it.
Planning guides for digital mixer systems.
Fundamentals · 6 min
A walking tour of the signal path from microphone to in-ear monitor, with what every box in the rack actually does to the audio along the way.
Fundamentals · 8 min
Why sealed IEMs make you feel disconnected from the room — and exactly how to put the audience back into your mix with one or two well-placed mics.
Workflow · 10 min
Step-by-step: linking aux buses into stereo pairs, pre-fader vs post-fader, routing buses to Ultranet vs physical XLRs vs AES50, and adding a bus-level limiter.
Networking · 9 min
A practical comparison of the three audio-over-network protocols you’ll encounter in a rack rig, with guidance on when each one is the right pick.