SQ7 48 Ch Digital Mixer and 4816 Stagebox

Hire Allen & Heath SQ7 Digital Mixer with GX4816 Stagebox

48 Channel High-Performance Mixing System

The Allen & Heath SQ7 with GX4816 stagebox is Edwards NZ's highest-specification digital mixing configuration — the full 32-fader SQ7 console paired with a 48-input, 96kHz native stagebox carrying dLive-grade preamps. Combined the system provides 80 physical input sockets: 32 on the console's own rear panel and 48 on the GX4816 at the stage position, all connected via a single Cat5e cable up to 100 metres away. Hire code MXSQ7GX.

Where the AR2412 stagebox is excellent for corporate events and live bands, the GX4816 is the step up for productions requiring more inputs, higher preamp quality, or 96kHz end-to-end audio for broadcast and recording applications. The GX4816's preamps are the same hardware specified for the Allen and Heath dLive system — the flagship touring console used on major international productions. Lower noise floor, greater headroom, and noticeably better performance on dynamic microphones at low gain settings, quiet acoustic sources, and any recording scenario where the noise floor ends up in the final mix.

The GX4816 operates at 96kHz natively, matching the SQ7's processing engine for full-resolution audio from microphone capsule to console output. For productions being recorded for broadcast or release this is the configuration to use — the captured multitrack has twice the frequency bandwidth headroom of a 48kHz system. For live sound only, 48kHz is indistinguishable in the output, but the preamp quality difference remains audible regardless of sample rate.

One important setup note: the SQ7 SLink port defaults to dSNAKE mode for the AR2412. When using the GX4816 the protocol must be changed to GX mode in Setup before connecting. If the GX4816 Link LED does not illuminate after connection, protocol mismatch is almost always the cause.

Every SQ7 channel carries the full processing chain — high-pass filter, noise gate, compressor, four-band parametric EQ, and delay. Eight stereo FX engines, 16 SoftKeys, 8 Soft Rotaries, 32 motorised faders across six assignable layers, and the 7" colour touchscreen. Remote control via the SQ MixPad app on iOS, Android, and macOS. USB multi-track recording up to 32 channels at 48kHz or 16 channels at 96kHz.

What is included:

• Allen & Heath SQ7 48-channel digital mixing console
• Allen & Heath GX4816 48×16 remote stagebox
• Cat5e STP connection cable
• IEC mains cables for console and stagebox
• USB drive with Edwards standard show file

Specifications at a glance:

• 48 processing channels
• 32 onboard mic/line preamps + 48 via GX4816 = 80 physical input sockets
• 32 motorised faders across 6 assignable layers
• 12 stereo mix buses plus LR main and 3 stereo matrix outputs
• 16 local XLR outputs on console + 16 on GX4816 = 32 physical output sockets
• 96kHz XCVI FPGA engine end-to-end, under 0.7ms latency
• 8 stereo FX engines, 16 SoftKeys, 8 Soft Rotaries
• 48-channel Automatic Mic Mixer
• USB multi-track recording — 32 channels at 48kHz, 16 channels at 96kHz
• GX4816 stagebox: 48 XLR inputs, 16 XLR outputs, dLive-grade preamps, 96kHz native, Cat5e connected up to 100m
• Remote control via SQ MixPad app

Ideal for: Large live music productions and concert touring, major corporate events with complex input requirements, theatre and performing arts productions, broadcast and streaming events requiring 96kHz recording, large conferences with extensive wireless microphone setups, any production where preamp quality and input count are both critical. The definitive Edwards mixing system for major productions alongside the EVENT28-6 through EVENT28-9 line array packages.

Available for self-collection or delivery and setup by an Edwards technician.

Frequently Asked Questions — Allen & Heath SQ7 + GX4816 Hire

What is the difference between the GX4816 and the AR2412 stagebox?

Both connect to the SQ7 via a single Cat5e cable up to 100 metres. The AR2412 provides 24 inputs and 12 outputs running at 48kHz using the dSNAKE protocol — excellent for corporate events and live bands up to around 40 inputs total. The GX4816 provides 48 inputs and 16 outputs running at 96kHz natively using the GX protocol, with dLive-grade preamps — the same preamp hardware specified for Allen and Heath's flagship touring system. For productions requiring more than 40 inputs, 96kHz recording, or the highest available preamp quality, the GX4816 is the correct choice. For most corporate and conference events the AR2412 is more than adequate and more cost-effective.

How many inputs does this system provide?

The SQ7 has 32 onboard XLR mic and line preamps. The GX4816 adds 48 XLR mic and line inputs at the stage position. Total physical input sockets are 80. The SQ7 processes 48 channels — patch the most important sources to the 48 processing channels and the remainder are available as overflow. Combined output sockets are 32 — 16 on the console and 16 on the GX4816 — more than enough for main PA, monitoring, fills, and recording feeds simultaneously.

What does 96kHz mean in practice?

The SQ7 processes at 96kHz and the GX4816 connects at 96kHz natively, meaning the entire signal path from microphone preamp to console output runs at full resolution with no sample rate conversion. For live sound the audible difference from 48kHz is minimal in the final output — the real benefit is in recording and broadcast. A 96kHz multitrack recording has twice the frequency bandwidth headroom of a 48kHz recording, which matters in post-production and broadcast delivery. If the show is being recorded for release, broadcast, or post-production, this is the configuration to use.

What are dLive-grade preamps and why do they matter?

The GX4816's preamps are the same hardware specified for the Allen and Heath dLive system — the flagship professional touring console used on major international concert productions. In practical terms this means a lower noise floor and greater headroom than the standard preamps in the AR2412. The difference is most audible on dynamic microphones at low gain settings, quiet acoustic sources such as acoustic instruments and orchestral work, and in recording scenarios where the noise floor is captured in the multitrack. For loud live events at high gain the difference is less critical. For recording, broadcast, and critical listening applications it is meaningful.

Is there a protocol setup step required?

Yes — this is the most important setup difference from the AR2412 configuration. The SQ7 SLink port defaults to dSNAKE mode for use with the AR2412. When connecting the GX4816 the protocol must be changed to GX mode in Setup → I/O → SLink on the SQ7 console before connection. If the GX4816 Link LED does not illuminate after connecting the Cat5e cable, protocol mismatch is almost always the cause — change the SLink protocol to GX and power-cycle the GX4816. This is covered in the setup documentation supplied with the hire.

Does the GX4816 need its own mains power?

Yes — unlike the AR2412, the GX4816 requires its own IEC mains connection. It does not draw power from the Cat5e cable. A mains feed at the stage position is required. This is an important logistics consideration for outdoor events where getting power to the stage position needs to be planned in advance.

Can it record the show at 96kHz?

Yes. The SQ7 records 16 channels simultaneously at 96kHz to a USB drive via the SQ-Drive port, or up to 32 channels at 48kHz. For full 96kHz multitrack capture beyond 16 channels, a connected computer via USB is required — the SQ7 operates as a class-compliant 32×32 USB audio interface on macOS without driver installation. For broadcast or post-production work requiring the full channel count at 96kHz, a DAW running on a connected laptop is the standard approach.

What productions is this configuration best suited to?

The SQ7 with GX4816 is the correct choice when any of the following apply: the input count exceeds 40 sources, the production is being recorded for broadcast or release and 96kHz is required, preamp quality is critical such as orchestral work, acoustic performance, or studio-quality live recording, or the event is a major concert or theatre production where the full capability of the SQ platform is needed. For corporate events, conferences, and standard live band work where these factors are not critical, the SQ7 with AR2412 is more cost-effective.

What line array packages pair with this system?

The SQ7 with GX4816 is the standard recommendation for the largest EVENT series packages — EVENT28-6, EVENT28-7, EVENT28-8, and EVENT28-9 — and for major theatre and concert productions where the full input count and preamp quality of the GX4816 match the scale of the event. For mid-to-large corporate events using EVENT28-3 through EVENT28-5, the SQ7 with AR2412 is generally a better-matched and more cost-effective pairing.

Is delivery and setup available?

Yes. The SQ7 and GX4816 are available for self-collection or delivery and professional setup by an Edwards technician. For large productions where the console will be operated by Edwards staff, we can quote full mixing services alongside the hire. Contact our hire team at (09) 571 0551 or hire@edwardsnz.co.nz to discuss your production requirements.