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Allen & Heath

Allen & Heath is a audio equipment manufacturer specializing in professional mixing consoles, founded in 1969 in during the height of the city's vibrant music scene. Headquartered in , , the company designs and produces a range of digital and analogue mixers for live sound, installation, DJ, and studio applications, serving global markets from major touring artists to houses of worship and superclubs. From its origins hand-building custom mixers for iconic bands such as , , and The Who, Allen & Heath quickly established itself as a in the British audio industry. By the mid-1990s, the company expanded into installation products to meet growing demands in fixed venues, while continuing to innovate for touring and performance sound. Key milestones include the 2020 launch of the AHM-64 audio matrix processor for corporate and hospitality sectors, followed by the AHM-32 and AHM-16 models in 2022, enhancing its portfolio for scalable audio distribution. As of 2025, Allen & Heath's product lineup features flagship digital systems like the and Avantis series for high-end touring and theatre—used by artists including and —the compact and Qu series (with next-generation models launched in May 2025 featuring 96 kHz processing) for versatile live and rehearsal use, analogue options such as ZEDi and MixWizard for studios and portable setups, and the Xone range of DJ mixers favored in clubs. The company maintains one of the largest teams in the audio sector, ensuring its consoles are renowned for reliability, sound quality, and integration in diverse environments worldwide.

Company Overview

Founding and Operations

Allen & Heath was founded in 1969 in London, at the epicenter of the thriving British music scene, where the company initially hand-built custom mixing consoles for renowned bands including Genesis, Pink Floyd, and The Who. To support manufacturing growth, the company relocated from London to Penryn, Cornwall, England, in 1981. Today, Allen & Heath operates from its headquarters in , where it designs and manufactures professional audio mixing consoles tailored for live sound, , broadcast, and DJ applications, supported by a global distribution network. The company employs approximately 140 people as of 2025, with a strong emphasis on in both and analogue audio technologies. Its core markets encompass live touring, houses of worship, clubs, theaters, and corporate events.

Ownership and Global Presence

Allen & Heath was initially established as a privately owned company in 1969, remaining under private control until its acquisition in 1991. In 1991, the company was acquired by Industries, which facilitated its entry into the U.S. market through Harman's established distribution networks and provided resources for expanded production capabilities. During this period, Allen & Heath's turnover grew significantly, increasing tenfold by 2001. The company underwent a in July 2001 for £9 million, backed by 3i and the , allowing the existing management team to regain independence from Harman. This transition spurred further growth, with turnover reaching £15 million by 2006 amid expanded product development and . In 2008, Allen & Heath was sold to D&M Holdings Inc., a move that created synergies in global distribution and complemented D&M's existing audio brands like Calrec. By 2013, Electra Partners (now Epiris) acquired Allen & Heath for £43 million, marking a shift toward consolidation in the sector. This led to the formation of the Group in 2014, integrating Allen & Heath with fellow brands Calrec and to foster shared R&D and operational efficiencies. Ownership of evolved subsequently, with Astorg acquiring a majority stake in 2017, followed by Ardian taking over in 2019 (with Astorg retaining a ). In April 2024, acquired a majority stake from Ardian, continuing to support the group's expansion while Ardian and management held minority positions. Allen & Heath maintains a robust global presence, with its headquarters in , UK, and dedicated offices in key regions including the . The company operates through an extensive network of authorized distributors covering over 90 countries, enabling widespread availability of its products in major markets across , , and . Recent enhancements include exclusive distribution partnerships in (2025) and (2024), underscoring ongoing efforts to strengthen its footprint in emerging and established regions. These ownership changes have profoundly influenced Allen & Heath's stability and growth, particularly post-2014 under , where increased investment in has driven product diversification and technological advancements. As part of the Group, which reported group turnover exceeding £300 million for the year ending March 2024, Allen & Heath benefits from collaborative resources that support its operations and pipeline.

Historical Development

Early Years and Innovations (1969–1990)

Allen & Heath was established in 1969 in London, UK, at the epicenter of the city's vibrant music scene, initially as AB Audio by engineer Andy Bereza, who was later joined by Ivor Taylor and Andrew Stirling to formalize the company. The firm began by hand-building custom analogue mixing consoles tailored to the demands of the emerging live music and recording industries, including a 6/2 miniature mixer. These early designs emphasized modular construction for flexibility in small venues and touring setups, quickly earning a reputation for reliability among British acts navigating the post-psychedelic rock landscape. In the 1970s, Allen & Heath pioneered advancements in multitrack audio processing with the introduction of the Black Range modular mixers, which allowed customizable channel configurations and were adopted by bands such as the New Seekers and King Crimson for live and studio use. In 1976, the company acquired Brenell Engineering, expanding into tape machines that supported broadcast and recording applications. A significant innovation came in 1971 with the custom-built MOD1 quadrophonic console, a 28/4-channel design crafted by Bereza and Taylor specifically for Pink Floyd's immersive live performances, including the Live at Pompeii recording and early Dark Side of the Moon tours, where it was operated by engineer Alan Parsons to achieve spatial audio effects. The company further expanded its offerings with the Modular I series in 1973, featuring innovative thumbwheel routing for efficient signal management, followed by the Syncon inline console in 1977, which supported seamless 16- and 24-track recording and mixdown modes for professional studios. By the late 1970s, as demand surged from the growing multitrack recording trend, Allen & Heath had evolved from a small operation into a key player, producing off-the-shelf mixers that undercut competitors while maintaining high build quality. The 1980s marked a period of infrastructural and product evolution, beginning with the company's relocation to larger facilities in Penryn, Cornwall, in 1981 to accommodate booming production amid outgrowing London spaces. This move supported the launch of refined modular systems like the Modular III in 1979—carrying into the decade with features such as EQ in/out switches and insertion points for enhanced signal processing—and broader applications in sound reinforcement. Allen & Heath also ventured into broadcast mixing by establishing a Brighton office in the early 1980s to serve the expanding local radio market, integrating their consoles with tape machines like the Brenell Mini-8. Facing intensifying competition in the 8-track and PA console sectors from fellow British manufacturers, the company prioritized robust, touring-grade engineering to ensure durability under rigorous live conditions, solidifying its niche in professional audio reliability.

Growth Through Acquisitions (1991–2013)

In 1991, Allen & Heath was acquired by Industries, which provided access to established U.S. manufacturing facilities and global distribution networks, facilitating greater in and beyond. This ownership enabled the company to introduce the GS series of consoles in the early , representing early prototypes of hybrid analog-digital mixing technology that bridged traditional analogue workflows with emerging digital capabilities. Under Harman, Allen & Heath also established a dedicated installation division in the mid-1990s, focusing on fixed audio systems for commercial and broadcast applications, which diversified its product offerings beyond live sound. The acquisition spurred significant financial growth, with annual turnover rising from approximately £1.5 million in 1991 to £15 million by 2006, driven by expanded production and international sales. In 2001, Allen & Heath underwent a management buy-out (MBO) backed by 3i Group, regaining independence from Harman and allowing for more targeted investment in . This shift emphasized innovation in technologies, culminating in the debut of the iLive digital mixing console series in early 2006, which utilized advanced processing for modular, high-channel-count live sound applications. The MBO period also saw the launch of the series of compact analogue mixers with integrated interfaces in the mid-2000s, further blending analogue warmth with features to appeal to studio and small-venue users. In March 2006, Close Brothers Growth Capital acquired a stake in a secondary buy-out valued at £9 million, funding facility expansions at the company's headquarters and supporting a hiring surge to 180 employees, which bolstered operational capacity for product development. The 2008 acquisition by Japan's D&M Holdings Inc. integrated Allen & Heath into a portfolio that included hi-fi brands like and , enabling synergies in components and for professional and consumer markets. This move enhanced presence in through D&M's regional manufacturing and distribution infrastructure, while fostering shared R&D for audio processing technologies. In the early , these resources supported the development of Qu series prototypes, compact digital mixers designed for accessible live and use, with initial announcements preceding full . By 2013, the company's growth trajectory led to a buy-out by Electra Partners for £43 million, including equity and debt financing, which positioned Allen & Heath for further standalone expansion while marking the end of D&M ownership. Overall, these acquisitions accelerated the transition from predominantly analogue products to hybrid digital-analogue solutions, solidifying Allen & Heath's role in professional audio diversification.

Modern Expansion and Integration (2014–present)

In 2014, Allen & Heath collaborated with and Calrec to form , a holding group designed to pool resources for shared in technologies. This partnership accelerated innovation across the brands, culminating in the 2015 launch of the full digital mixing series, which incorporated processing plugins for enhanced effects and dynamics control. Ownership of Audiotonix underwent several transitions during this period, beginning with Astorg's acquisition in 2017, followed by Ardian's buyout in 2019 that included reinvestment from Astorg. In 2024, acquired a , with Ardian retaining a minority position, providing substantial funding exceeding £100 million to support expansions in manufacturing, R&D, and global operations. These changes strengthened Audiotonix's position, enabling Allen & Heath to invest in advanced infrastructure and talent acquisition. The 2020s marked key milestones for Allen & Heath amid evolving market demands. The AHM-64 matrix processor launched in 2020 at ISE, offering scalable 64-zone audio management with 96 kHz FPGA processing tailored for large-scale installations in corporate, hospitality, and education sectors. The COVID-19 pandemic prompted a swift pivot to remote mixing capabilities, including the dLive Director app, which allowed sound engineers to control mixes over IP networks from remote locations despite travel restrictions. Building on this, the AHM-32 and AHM-16 matrix processors were released in 2022, providing 32x32 and 16x16 processing options with integrated echo cancellation and Dante networking for multi-room environments like hotels and conference venues. In 2023, the Avantis Solo was introduced as a compact variant of the Avantis console, retaining the full 64-channel/42-bus engine in a reduced-footprint design suitable for smaller productions. By 2025, Allen & Heath unveiled significant updates to its product ecosystem. A new generation of Qu mixers arrived with 96 kHz FPGA cores, optional Dante card integration for expanded networking, and comprehensive UI overhauls for streamlined workflows across live sound and installation applications. The SQ Rack made its debut at NAMM 2025, delivering a rack-mountable 48-channel/36-bus digital mixer with compact I/O expansion for space-constrained touring and fixed installations. Integration within the group has yielded tangible benefits, including access to shared technologies such as KLANG immersion processing, which enables spatial in-ear monitoring directly compatible with Allen & Heath consoles like for more natural performer mixes. Global R&D hubs across the and beyond have facilitated cross-brand knowledge exchange, speeding up development cycles. efforts have also advanced, with initiatives emphasizing energy-efficient designs, such as low-power FPGA architectures and recyclable materials in product lifecycles to reduce environmental impact. Currently, Allen & Heath is addressing challenges in a live and market by prioritizing AI-assisted mixing tools for automated sharing and optimization, alongside analogue- workflows that blend classic warmth with digital precision. The company anticipates sustained growth, aligning with broader pro audio market projections of around 8% CAGR through 2025, driven by demand for networked and immersive solutions.

Product Portfolio

Analogue Mixers

The series represents Allen & Heath's longstanding commitment to analogue mixing, launched in the early 2000s as a versatile range of compact consoles suitable for live sound, , and podcasting applications. Models in the series span from entry-level options like the ZED-10FX, with 10 channels including effects, to larger formats such as the ZED-436, offering 32 mic/line inputs, 4-band on channels, and 4 sub-groups for more demanding setups. These mixers emphasize straightforward analogue signal paths, drawing from the company's heritage in custom analogue designs developed since the late . Key features across the ZED lineup include Class-A discrete FET preamplifiers, renowned for their low noise, high headroom, and warm analogue character, which provide exceptional clarity for vocals and instruments without the need for external processing. Channels typically feature a musical 3-band EQ with sweepable mids on mono inputs, optimized for shaping tones in live and recording environments, alongside high-impedance DI inputs that allow direct connection of guitars or basses, eliminating the requirement for separate DI boxes. Built-in USB connectivity enables seamless integration with DAWs for multitrack recording or playback, supporting up to 24-bit/96kHz audio in select models, making the series ideal for hybrid workflows. Variants within the ZED family extend functionality for specialized needs, such as the ZEDi models, which incorporate integrated USB audio interfaces—ranging from 2x2 on the ZEDi-8 to 4x4 on the ZEDi-10FX—for direct computer connectivity in studio or live settings. These ZEDi units also include bundled software like Cubase LE, enhancing their utility for content creators and performers requiring on-the-fly recording capabilities. The series finds widespread use in small venues, home studios, and educational environments, where its reliable analogue design delivers warm, latency-free sound reproduction praised by users for maintaining sonic integrity in budget-conscious setups. In the , the lineup has seen iterative enhancements, including refined fader mechanisms and expanded compact models like the ZED Mini for portable applications, though no significant overhauls were reported as of 2025. Positioned as an affordable entry into professional analogue mixing, ZED consoles typically range from £200 for basic 6-channel models like the ZED-6 to £800 for mid-sized units such as the ZED-16FX, offering competitive value against rivals like Soundcraft's EPM and Notepad series in terms of build quality and audio performance.

Compact Digital Mixers

Allen & Heath's compact digital mixers are designed for portability and ease of use in small to medium-sized events, featuring touchscreen interfaces and wireless control options that enable efficient mixing without complex setups. These models emphasize high-quality audio processing in a rugged, affordable package, making them suitable for musicians, professionals, and installers who require reliable performance in dynamic environments. The CQ series, introduced in 2023, represents Allen & Heath's entry into ultra-compact digital mixing with a focus on intuitive operation for beginners and pros alike. Models include the CQ-12T (10 mono + 3 stereo inputs), CQ-18T (16 mono + 3 stereo inputs), and CQ-20B (16 mono + 4 stereo inputs), all built around a 96 kHz engine for pristine audio quality. Key features of the CQ series include studio-grade preamps, graphic EQ, and on each channel, along with built-in effects like reverb, delay, and modulation, enhanced by instrument-specific presets and tools such as Gain Assistant and Feedback Assistant with up to 16 filters per output. USB connectivity supports up to 24 tracks at 48 kHz or 16 tracks at 96 kHz, while an SD card slot enables standalone playback and streaming. Control is facilitated via the free CQ MixPad app for and devices over built-in dual-band , allowing remote adjustments without an external router. Applications span band rehearsals, small gigs, , streaming, churches, and corporate events, with the compact desktop form factors (e.g., CQ-12T at 11.4" x 13.2" x 5.7") ensuring easy transport and setup. Pricing for CQ models typically ranges from £700 to £900. The Qu series, debuting in 2014, has established itself as a benchmark for compact mixing, with the 2025 updates elevating its capabilities through a 96 kHz XCVI FPGA core that supports DEEP Processing plugins, including emulations of compressors and preamps. Updated models such as the Qu-5 (17 faders, 16 inputs), Qu-6 (25 faders, 24 inputs), and Qu-7 (33 faders, 32 inputs) join legacy options like the Qu-16 and rack-mountable Qu-SB, offering up to 38 inputs to mix (32 mono/linkable + 3 ) and 12 mixes plus 4 matrices. Dante integration is available on -D variants with 16x16 channels at 48/96 kHz, while the dSNAKE via SLink port enables remote I/O over Cat5e cables up to 100 meters. Central to the Qu series are per-channel preamp control, 4-band parametric , graphic on outputs, and multiband , complemented by 6 engines and USB recording up to 32x32 tracks for multitrack capture. The Qu-Pad app provides full / wireless control, enhancing flexibility for live scenarios. 2025 innovations include enhanced I/O expandability to 128 channels via the Everything I/O family (e.g., expanders), workflow shortcuts like 4 custom fader layers, more assignable SoftKeys, and a refreshed for faster live mixing. These mixers suit bands, houses of worship, and corporate applications, with compact, 19" rackable designs like the Qu-16 (22.4" x 20.5" x 7.5") prioritizing portability. Pricing ranges from approximately £1,700 to £2,500 for core models.

Mid-Range Digital Consoles

Allen & Heath's mid-range digital consoles, such as the and Avantis series, provide scalable processing power for professional live sound applications in mid-sized venues, emphasizing expandability and integrated digital workflows. The series, launched in 2017, features models ranging from the compact SQ-5 to the larger SQ-7, along with the SLink port for expansion. These consoles utilize a 96 kHz XCVI FPGA core to deliver 48 input channels with ultra-low of 0.7 ms, enabling high-fidelity audio processing suitable for live performances. The intuitive touchscreen interface includes customizable layers for efficient channel access and mix control, supporting up to 36 mix buses and 12 stereo FX engines. Introduced in , the Avantis series builds on this foundation with models offering 64 channels expandable to 96 via optional cards, powered by the same 96 kHz XCVI FPGA engine for 0.7 ms and 42 configurable buses. Key innovations include PAFL (pre/post fader listening) for flexible monitoring and compatibility with DT Dante expanders for networked audio distribution, allowing seamless integration into larger systems. The dual touchscreen design enhances workflow continuity, with motorized and scene management tailored for system engineers handling dynamic environments. Shared features across these consoles include , which emulate classic analog compressors and EQs for authentic sound shaping, enabled by the XCVI core's paths. Additional capabilities encompass 1:1 GPIO for external control integration and Wavefront Calibration software for optimizing speaker array coverage and even sound distribution in venues. The SQ series specifically supports expansion to 96 inputs/outputs through DX stagebox units, providing modular scalability without compromising audio quality. These consoles find applications in theaters for precise cue management, festivals for robust , and broadcast setups requiring low- monitoring. The Avantis series excels in scenarios demanding advanced scene recall and for engineers, while the SQ line suits portable live sound rigs with its rack-mountable options. In 2025, Allen & Heath introduced the SQ-Rack at NAMM, a headless 4U rackmount version of the SQ engine offering 48 channels of I/O with the same 96 kHz processing and support, ideal for remote or installed . Firmware updates have further refined USB to below 0.7 ms in certain configurations, enhancing with DAWs and personal monitoring. The modular design of these mid-range consoles allows for surface swaps and expander additions, providing a cost-effective range from approximately £4,000 for entry-level models to £15,000 for fully expanded Avantis setups, positioning them as versatile choices for without the complexity of flagship systems.

Flagship Digital Consoles

The series, launched in 2015, represents Allen & Heath's digital mixing platform, designed for high-stakes live sound environments with a modular that separates processing from control surfaces. The debuted with S-Class surfaces for modular scalability, followed by the more compact C-Class surfaces in 2017, enabling flexible configurations for front-of-house (FOH) and applications in large-scale productions. At its core is the XCVI FPGA-based engine operating at 96 kHz, supporting 128 input channels expandable to over 800 I/O via networked stageboxes, with a configurable 64-bus for precise routing. Central to the dLive ecosystem are the CDM MixRacks, available in CDM32, CDM48, and CDM64 models offering 32, 48, or 64 onboard mic preamps respectively, all sharing the full 128-channel processing capacity. These racks feature redundant power supplies via hot-swappable MPS16 units for uninterrupted operation during extended tours, alongside dual gigaACE ports for low-latency, deterministic audio distribution up to 456x456 channels at 96 kHz. processing integrates zero-latency emulations of classic analog compressors and EQs directly on every channel, complemented by 16 RackExtra FX slots for premium effects like reverbs and delays, enhanced by the RackUltra FX card, introduced in , adding 10 studio-grade algorithms such as Vocal Shifter. Networking flexibility includes optional cards for (64x64 at 96 kHz), Dante (up to 128x128), and Waves SoundGrid (128x128), facilitating seamless integration with broadcast and workflows. For remote and distributed control, supports Wing surfaces like the CTi1500 for lightweight touring setups and the software for touchscreen-based operation on laptops or tablets, allowing up to four surfaces to connect to a single rack in multi-operator mode. The IP8 controller, updated in recent firmware releases, provides eight motorized faders for hands-on adjustments in compact or installed systems. These elements enable rack-based scalability for mega-events, distinguishing from integrated mid-tier options like Avantis. In practice, dLive has become a preferred choice for FOH on major tours, including support acts for stadium-filling productions like Coldplay's Music of the Spheres World Tour, where S7000 surfaces handled mixing duties. Systems are routinely deployed in arenas and broadcast studios for their reliability in high-channel-count scenarios, such as Nothing More's 2022 tour with dual S5000 surfaces or Sabrina Carpenter's 2017 outing utilizing CDM racks for 96-channel stems. For immersive audio, dLive integrates with third-party tools like FLUX:: Spat Revolution to support formats including , routing object-based mixes via Dante or for spatial rendering in live and studio settings. Full systems typically range from £20,000 for basic rack-and-wing configurations to over £100,000 for expansive modular deployments with multiple surfaces and expansion cards.

DJ Mixers and Controllers

The Xone series, introduced by Allen & Heath in the late 1990s as an evolution of earlier mixers like the Xone:62, has become a cornerstone of professional DJ equipment, blending analogue warmth with performance-focused design. Originating from innovations in voltage-controlled filtering and during that era, the series gained prominence with the 2003 launch of the Xone:92, which set new standards for creative sound manipulation in environments. This continues in models ranging from the Xone:96 to compact analogue options like the Xone:23, emphasizing tactile control and sonic purity for DJs seeking an "analogue feel" amid digital workflows. Key features across the Xone lineup include the renowned Xone:VCF voltage-controlled filters, offering 12 dB or 24 dB per octave slopes in high-pass, low-pass, and band-pass modes for dynamic frequency shaping. Dual cue systems enable independent monitoring of channels and master outputs, facilitating seamless transitions in live sets. USB integration provides multi-channel audio routing, supporting up to 32 channels at 96 kHz for 4-track recording and playback, with recent models incorporating low-latency connectivity. Controllers like the and the 2025-released Xone:K3 offer customizable mapping, including 4-band control, to extend hands-on parameter adjustment for software-based performances. Notable models include the Xone:96, an analogue/ with four stereo channels featuring 4-band , two returns, and USB interfaces for versatile routing in back-to-back DJ setups. The Xone:92, optimized for use, incorporates rotary faders in its R variant for precise level control and a customizable crossfader with adjustable curve response for and blending. The compact Xone:23 delivers analogue essentials in a 2+2 channel format, with 3-band and VCF filtering tailored for mobile and smaller . Earlier niche offerings, such as the Xone:V19, featured vintage-style preamps for added harmonic warmth, appealing to audiophiles emulating classic tones. The Xone:24 and Xone:24C, launched in October 2025, expand the compact analogue options with a 2+1 channel design featuring low-noise RIAA phono preamps, 3-band isolator EQ, and the signature Xone:VCF filter for precise sound sculpting. The Xone:24C adds a 4x4 USB audio interface at 24-bit/96kHz for hybrid DAW integration, supporting multitrack recording and playback. These models target mobile DJs and small clubs, with pricing around £500–£600 as of late 2025. These mixers and controllers are widely applied in nightclubs, festivals, and mobile DJ rigs, where their robust build and intuitive support extended performances. Integration with DJ software like Serato DJ and is seamless, with certified DVS support on models like the Xone:96 and Xone:43C, allowing timecode control alongside analogue inputs. In the 2020s, updates such as enhanced firmware for and software tools for VCF modeling have maintained relevance. The Xone series enjoys a among DJs for its uncompromising analogue character in an increasingly landscape, prized for punchy, warm audio that enhances creative expression. Pricing typically ranges from £800 for entry-level compact models like the Xone:23 to £2,500 for flagship club units like the Xone:92.

Installation and Networking Solutions

Allen & Heath's installation and networking solutions center on the AHM series of audio matrix processors, designed for fixed-installation environments requiring scalable audio distribution and processing. Introduced in 2020, the AHM-64 offers a 64×64 matrix configuration with 12 local analog inputs and outputs, enabling comprehensive zoning and signal routing for medium to large venues. This model supports Dante networking via an optional 128×128 I/O card, allowing seamless integration into broader IP-based audio systems. Subsequent expansions in 2022 brought the AHM-32 (32×32 matrix) and AHM-16 (16×16 matrix), providing cost-effective options for smaller setups while maintaining the same high-quality 96kHz FPGA processing core. All models feature an intuitive GUI accessible through the AHM System Manager software or a web/app interface, facilitating remote configuration without specialized training. Complementing the AHM processors is a of networking expanders for flexible I/O expansion in permanent installations. The DX series provides local analog and digital I/O, with each DX connection supporting up to 32×32 channels at 96kHz, accommodating units like the DX32 (modular 32-channel expander) or combinations such as two DX168 units (16 inputs/8 outputs each). These are ideal for rack-mounted, wired extensions up to 100 meters from the processor, enhancing signal distribution in distributed systems. For Dante-specific networking, the DT series offers compact interfaces, such as the DT168 (16 preamps/8 line outputs at 96kHz), enabling direct integration into Dante ecosystems for multi-room audio routing. The GX series, including the GX4816 (48 inputs/16 outputs), serves as a high-density option for semi-portable or hybrid installs, connecting via gigaACE for low-latency performance and supporting additional DX expanders for expanded channel counts. Key features across these solutions emphasize reliability and integration for professional fixed installs. is available as an optional 12-channel module for AHM-32 and AHM-64, providing up to 150ms of processing per channel to mitigate feedback in conferencing scenarios. is built-in, with up to 8 instances on the AHM-64 for dynamic gain sharing among multiple mics. GPIO connectivity (2×2 on all AHM models) allows interfacing with external control systems, while dedicated drivers enable compatibility with Crestron and AMX panels for automated room control. These elements support scalable systems from 16 channels in small zones to over 200 with stacked units and expanders, ensuring adaptability without performance compromise. The solutions find primary application in environments demanding robust, permanent audio management, such as conference centers for multi-zone paging and video conferencing, stadiums for distributed systems, and houses of worship for services with volunteer operation. For instance, AHM processors handle in corporate boardrooms or campus-wide audio in educational facilities, while expanders extend coverage to remote areas like sports venues or large auditoriums. This ecosystem complements Allen & Heath's and consoles in hybrid installs, where fixed I/O feeds touring or broadcast needs. Post-2020, the segment has seen growth driven by demand for IP-integrated systems, with individual AHM units priced from approximately £2,000 to £4,000, scaling to £10,000–£20,000 for full networked setups including expanders. In 2025, version 1.6 for the AHM series introduced Unit Stacking, allowing multiple processors to be managed as a single system for enhanced in large installations, alongside improved third-party protocols and suppression on select models. These updates further solidify the platform's role in IP audio environments, supporting up to 96 controllers per system for comprehensive monitoring and automation.

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