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Allen & Heath ZED-14

Mar 1, 2008 12:00 PM, By Rusty Cutchin
The ZED-14 is an analog/USB mixer. BONUS MATERIAL Click to read more about the Allen & Heath ZED-14. Check the specs! Click for a PDF of the product specifications for the ZED-14. With the ZED series, Allen & Heath has channeled the company's expertise in large-format hardware mixers with recognizably British EQ into a line of budget mixers. The ZED-14 is the baby of the family in size and price, but its sound and feature set are all grown up. The ZED-14 and its larger siblings (the ZED-420, ZED428, and ZED-436) are designed primarily for live sound; their USB 1.1 implementation allows for sending two tracks to a computer for recording and monitoring two return channels simultaneously. But flexibility in the routing scheme lets you control the digitized signal in a couple of ways, making the ZED-14 useful for live-band or solo-artist recording. The mixer ships with a copy of Cakewalk Sonar LE for PC users. For Mac users, Allen & Heath suggests using Apple GarageBand.

Analog Heart

The ZED-14 follows the form of several currently available analog mixers with digital interfaces (see Fig. 1). The rackmountable unit's first six channels are mono mic/line channels with XLR mic, -inch line, and TRS insert connectors. All connections are at the top of the mixer's face; there are no rear-panel controls.
The 3-band EQ on channels 1 through 6 includes fixed low-frequency and high-frequency settings, at 80 Hz and 12 kHz, respectively, with 15 dB of cut or boost available for each. The midrange EQ, labeled HM, can be swept from 120 Hz to 4 kHz, also with 15 dB of cut or boost. Each of channels 1 through 6's attenuation pots offers a generous supply of gain: -6 to 63 dB for line sources, and -10 to 26 dB for mics. There's also a switch that engages the 2-pole low-cut filter (12 dB per octave with a 100 Hz corner frequency). The four blue-capped faders control stereo channels from 7-8 to 13-14. The stereo channels have only fixed LF and HF EQs set to 80 Hz and 12 kHz, respectively. All channels have illuminated mute buttons along with PFL solo buttons whose LEDs double as peak indicators. All of the channels also can access the four aux sends. Sends 1 and 2 are hardwired as prefader sends, and sends 3 and 4 are postfader. An interesting design scheme places the controls for the mixer's ST and 2TRK returns (both on RCA jacks) right above stereo channels 7-8 and 9-10. These returns are normally routed direct to the stereo bus. A volume pot for each rests in the spot occupied on channels 1 through 6 by the gain pot. There's also the same rectangular button that engages the low-cut filter on the other channels. However, on the first three stereo channels, this button routes the ST or 2TRK returns to the stereo channel below, allowing you to use the channel's 2-band EQ or aux sends on whatever sources you have in the RCA jacks.
FIG. 1: Allen & Heaths ZED-14 mixer features six mic/line channels, four dedicated stereo channels, and stereo recording to computers using a built-in USB interface.

Digital Brains

The ZED-14 also has a set of related controls above stereo channel 11-12, but these control the USB return from your computer. By pushing the gray button, you can route the stereo mix from your DAW through an aux send on 11-12 to headphones, or you could apply some basic overall EQ, as well as conveniently hit an outboard compressor strapped across the mix insert points. The USB connector and three selector buttons sit above stereo channel 13-14. You can send the main pre- or postfader mix to your computer if you're recording in your studio. Or you can send the prefader aux 1 and 2 signals over USB if you're recording while using the mixer live. The third option is to send the postfader aux 3 and 4 sends over USB a great way to get your live effects from applications or plug-ins. The ZED-14's master section (see Fig. 2) offers conveniences for both live and studio operation.
Using one of four gray buttons under the headphone controls, you can assign the signal from either the aux 1 or aux 2 send (or both) to the two headphone jacks (one standard, one mini). Or you can feed the 2TRK RTN signal or the USB RTN signal to headphones. You can set up the Alt Out pot, which controls the level at the Alt Out RCA jacks above stereo channel 13-14, to send the pre- or postfader L/R or monitor L/R signals out these jacks. You also get master controls for the aux 1 and 2 sends. Some important switches, like the ones for 48V phantom power and Alt Out configuration, are below panel, meaning you probably need a tool to press them. An -inch miniplug works great.

Is It Live?

I was very impressed by the sound quality of the ZED-14 but not surprised; Allen & Heath mixers have a reputation for clean and quiet analog operation, and the ZED-14 upholds this tradition. Even with mics plugged in, the noise floor of the ZED-14 was virtually inaudible, becoming apparent only with channel and master faders all the way up. This may be in part due to Allen & Heath's DuoPre technology. Based on the company's P.A. series mixers, the DuoPre preamps use a 2-stage design with controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the preamps FIG. 2: All the ZED-14s connections, supply a 69 dB gain range. Most of the gain comes from including the mixers USB port, are on the first stage, which helps keep noise levels low. Linethe top panel. level signals enter the second stage of the preamp, which helps keep noise low on sources like keyboards and submixers. Unfortunately, the ZED-14 offers no dedicated guitar input (unusual for a modern mixer in this price range), so guitarists will have to go old school by miking their amp, using a direct box, or hooking up a guitar processor. I tried out the ZED-14 with a dynamic mic on a small combo tube amp and recorded both male and female vocalists with different large-diaphragm condensers. I also recorded an acoustic guitarist-singer with large- and small-diaphragm condensers simultaneously over the mixer's USB connection. For these sessions, I used MOTU Digital Performer 5.13 on a dual 2 GHz Mac G5 running Leopard (Mac OS X 10.5.1). The ZED-14 operated as seamlessly and sounded as good as any small-format mixer I've worked with and much better than a few I've seen at this price. It interfaced smoothly with the Mac's USB audio codec, and its channels popped right up in DP's tracks-window input columns. The digitized signals exhibited no evidence of crosstalk on playback. Best of all, the mic preamps sounded way better than they had any right to on a mixer with this price tag.

Future ZED

I have zero complaints about the ZED-14 given its price, but if I had one wish, I'd love to see a FireWire or high-speed USB version in the ZED series that sends individual channels to discrete tracks in a DAW. (Even the 32-channel ZED-436 offers only 2-channel USB recording and playback.) I'd be surprised if a more robust digital interface weren't on the drawing board (see the online bonus material at www.emusician.com for more on the digital recording capabilities of the ZED series and other analog mixers). But if your goal is to record live-band performances in stereo off the board, the wish list above is irrelevant. The ZED-14's USB implementation provides a lot of flexibility for getting signals to and from a computer without disturbing a stage mix. If I needed to record a live gig, I can't imagine a more flexible or cost-effective combination than a ZED-14 and a laptop. Rusty Cutchin is a producer, engineer, and music journalist in the New York City area.

PRODUCT SUMMARY

> analog/USB mixer PROS: Excellent sound clean and quiet. Flexible routing options. Good preamps. CONS: USB 1.1 interface restricts I/O to two channels each way. > FEATURES EASE OF USE AUDIO QUALITY VALUE Allen & Heath www.allen-heath.com $499
BONUS MATERIAL Click to read more about the Allen & Heath ZED-14. Check the specs! Click for a PDF of the product specifications for the ZED-14.

Find this article at:

http://www.emusician.com/consoles/allenheath_zed-14/index.html
c d e f g Check the box to include the list of links referenced in the article.

Important Mains plug wiring instructions
The console is supplied with a moulded mains plug fitted to the AC mains power lead. Follow the instructions below if the mains plug has to be replaced. The wires in the mains lead are coloured in accordance with the following code:

TERMINAL European

WIRE COLOUR USA/Canada BLACK WHITE GREEN BROWN BLUE GREEN & YELLOW

LIVE NEUTRAL EARTH GND

The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or with the Earth symbol. This appliance must be earthed. The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N. The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L. Ensure that these colour codes are followed carefully in the event of the plug being changed.

General Precautions:

Damage : Environment :
To prevent damage to the controls and cosmetics avoid placing heavy objects on the control surface, scratching the surface with sharp objects, or rough handling and vibration. Protect from excessive dirt, dust, heat and vibration when operating and storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain and moisture. If the console becomes wet, switch off and remove mains power immediately. Allow to dry out thoroughly before using again. Avoid the use of chemicals, abrasives or solvents. The control panel is best cleaned with a soft brush and dry lint-free cloth. The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on these parts is not recommended. The fader and potentiometer knobs may be removed for cleaning with a warm soapy solution. Rinse and allow to dry fully before refitting them. The console may be transported as a free-standing unit or mounted in a rack or flightcase. Protect the controls from damage during transit. Use adequate packing if you need to ship the unit. To avoid damage to your hearing do not operate any sound system at excessively high volume. This applies particularly to close-to-ear monitoring such as headphones and in-ear systems. Continued exposure to high volume sound can cause frequency selective or wide range hearing loss.

Cleaning :

Transporting : Hearing :

CONTENTS

Thank you for purchasing your Allen & Heath ZED mixer. To ensure that you get the maximum benefit from the unit please spare a few minutes familiarizing yourself with the controls and setup procedures outlined in this user guide. For further information please refer to the additional information available on our web site, or contact our technical support team. http://www.allen-heath.com http://www.allen-heath.com/zed http://www.myspace.com/thezedspace
Warranty.. Packed Items.. Safety Instructions.. Contents... Panel Drawings.. Introduction to ZED.. Specifications.. Dimensions... Block Diagram. Mono Input Channel.. Stereo Input Channel. Matrix Outputs & Aux Masters. Group Masters.. L R & M Masters & Headphones. Main Meters and Talkback. USB Selection and Playback. USB Connection.. SONAR LE software introduction. SONAR LE installation. Configuring SONAR LE with ZED. Using USB for effects. Wiring Notes.. Product Support..

PANEL DRAWINGSZED420

FUSE OFF
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

AC MAINS IN ~

100 - 240V~ 47-63Hz 60W MAX

T1.6A L 250V 20mm

RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
Serial No. CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS. WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. WARNING: THIS APPARATUS MUST BE EARTHED
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED.

MIC 11

MIC 13

MAIN OUT

2TRK OUT INSERT L

MATRIX OUT

RETURN SEND

To LR To CH

-45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 2k5 -15 +15

Talk to LRM

AFL MATRIX

POST PRE M AUX5

POST = = = =

+6 L R L R L R L R

(1) this device m ay not cause harmful interference, and (2) this device m ust accept any interference received, including interference that may cause undesired operation.
This device com plies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
100 - 240V~ 47-63Hz 60W MAX 0 I
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS. WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING: THIS APPARATUS MUST BE EARTHED

Serial No.

PANEL DRAWINGSZED428
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 MIC 9 MIC 10 MIC 11 MIC 12 MIC 13 MIC 14 MIC 15 MIC 16

MIC 22

48V LINE IN LINE IN L/M L/M INSERT INSERT
48V LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN

R 16 ST2 IN

R INSERT

2 ST4 IN

R LINE IN

18 M M

0 MIC LINE -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE 0 MIC LINE

MIC LINE

-10 -26 -10 -26 -10 -26 -10 -26

ST3 IN USB

-10 -6

2TRK USB HPF HPF HPF HPF

100Hz 100Hz 100Hz 100Hz
50 -10 -6 To LR To CH To LR To CH 63 26

50 -10 -6

0 MIC LINE
100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz

HPF HF

12k 12k -15 1k 6k 700 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 15k 1k 1k 1k 1k 1k 1k 1k 1k 1k 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k 6k 12k 12k 12k 12k 12k 12k 12k 12k 12k -15 1k 700 500Hz

HPF HF HF HF HF HF HF HF HF HF HF
12k 3k +15 4k 6k 15k -15 1k 700 500Hz 15k 3k +15 4k 6k

PLAYBACK SOURCE HF

HPF TB LEVEL HF HF
12k -15 1k 700 500Hz 15k 3k +15 4k

ST4 -10

HF GRP GRP

12k 12k

USB SEND SOURCE

-15 +6

MTX 1-2 HF HM HM HM HM HM

3k +15 4k

-15 1k

+6 -15 +15

Talk to AUX 1-4 AUX 1-2

700 500Hz 15k

700 500Hz

HM L HM HM

-+15 -+15 -+15 -+15 -+15 -+250

HM L AUX 5-6 Talk to LRM

-15 +15
-1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 45 35Hz 35Hz
+15 -15 -15 -15 -15 -15 -15 -15 -15 -15

+400 1k

2k35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 400 -15 +15
R LM LM LM LM LM LM LM LM

All up =LR post

+16 +9 +6 +-3 -6 -9 -12 -16 -20 -30 +16 +9 +6 +-3 -6 -9 -12 -16 -20 -30
250Hz -15 +15 250Hz -15 +15

35Hz +6

LM M M PLAYBACK LEVEL
80Hz -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz -15

80Hz +15

80Hz -15 +15

+6 80Hz -15 +15

LF LEVEL LEVEL

+6 80Hz 80Hz

PLAYBACK To LR EQ IN AUX1
PRE PRE PRE PRE PRE PRE PRE PRE
EQ IN AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1

AFL MATRIX AFL PFL

MATRIX

OO OO OO OO OO OO

PRE PRE PRE PRE PRE PRE PRE

OO OO OO OO OO

AUX1 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3

+10 +6

AUX4 PHONES LEVEL

OO OO OO OO

L-R POST PRE AUX5

POST POST POST POST POST

POST PRE AUX5 AUX5 AUX5 AUX5

POST PRE

POST PRE M M M

MIN MAX

POST PRE AUX5 PAN PAN PAN PAN LR M

OO OO OO

POST POST POST POST

+6 = =

L ODD R EVEN R EVEN R EVEN
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

PK ! SIG SIG

5 L-R 0 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2 L-R 0 M 1-2

5 L-R 0 M 5 1-2 L-R

LR pre-fade

180 70

(1) this device may not cause harmful interference, and (2) this device must accept any interference received, inclu ding interference that may cause u ndesired operation.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two condit ions:
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLAC E FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS. WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

PANEL DRAWINGSZED436

1 ST1 IN

2 ST3 IN

MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 MIC 9 MIC 10 MIC 11 MIC 12 MIC 13 MIC 14 MIC 15 MIC 16

AUX OUT AUX

MIC 25

MIC 26

MIC 27

MIC 28

MIC 29

MIC 30

MIC 31

MIC 32

L/M L/M INSERT INSERT
48V LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN

R 1 ST2 IN

R LINE IN LINE IN LINE IN LINE IN LINE IN
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
L INSERT INSERT INSERT INSERT INSERT
26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 -10 -26 MIC LINE 50 MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE MIC LINE 0 MIC LINE -10 -6 MIC LINE

-20 -30 -10

-10 -26 -10 -26

GAIN 2TRK USB

MIC LINE -10 -26 -10 -6
100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz
12k 12k -15 1k 700 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 15k 500Hz 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 15k 1k 1k 1k 1k 1k 1k 1k 1k 1k 1k 1k 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k -15 3k +15 4k 6k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k -15 1k 700 500Hz
HPF HF HF HF HF HF HF HF HF HF HF HF HF

PLAYBACK SOURCE

HPF TB LEVEL HF HF HF HF HF HF
12k -15 1k 700 500Hz 15k 6k 3k +15 4k

12k 12k 12k 12k 12k 12k

HF HM HM HM

MTX 1-2

-45 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 35Hz 1k 180 ++180 +180 +180 +180 +180 +180 +180 +180 +180 +-15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -+400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 -45 35Hz 1k 180 +400 2k5 -15 +15

AUX 5-6 LR pre-fade

-+-+-+-+-+-15

180 +15 250

R LM LM LM LM LM LM
80Hz -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz -15

+6 80Hz 80Hz 80Hz

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
EQ IN AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1
AFL MATRIX AFL PFL PFL/AFL ACTIVE
PRE PRE PRE PRE PRE PRE PRE PRE PRE

OO O O O O O O OO OO OO

AUX1 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3

O O +6

POST POST POST POST POST POST POST
POST PRE AUX5 AUX5 AUX5 AUX5 AUX5 AUX5
POST POST POST POST POST POST

OO O O O O O O OO

+6 = = = =

PK ! SIG SIG SIG SIG

5 L-R 0 M M 0 L-R L-R 0 L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M
5 L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R 0 M L-R
INTRODUCTION TO THE ZED-4 BUS MIXERS

A Technical Overview:

The Allen & Heath ZED-4 mixer has been carefully and lovingly designed in the beautiful county of Cornwall in the UK and is manufactured alongside a wide range of professional audio mixing consoles. Many of the components used in ZED are exactly the same as in the larger Allen & Heath products and the construction methods are also very similar utilising individual vertically mounted channel circuit boards with each rotary control fixed with a metal nut to the front panel. This provides a very robust product that will resist damage and give years of reliable use. It also makes servicing much easier should it be required, with the ability to remove one particular channel from the mixer at a time, or easily change a fader. The audio circuitry is based on years of continual development and refinement, the performance of all the elements within the mixer scrutinised and perfected to ensure the very best sound quality possible.

Mic/Line Pre-amps:

Based on the pre-amps from the PA series, the ZED series pre-amps use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge 69dB of range to be exact and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. There is no pad switch, or pad circuit line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket. This has the great advantage of lower noise when using the line input. (It is common to attenuate line level signals, the amplify them back up again which can give more noise or hiss).
The ZED-4 series mixers are equipped with a 4-band equaliser circuit on each input, based closely on the acclaimed GL2400 EQ. The frequency and response of each has been carefully chosen to give the maximum performance when using the EQ on a variety of sources.

AUX system:

Six auxiliary sends are provided, two pre-fade, two post fade, and two switched pre or post fade. The Aux master level controls are grouped nicely together in the master section and have AFL (after fade listen) switches for monitoring.

Groups:

The four sub-groups can be used for easy control of groups of inputs, or for applying signal processing such as compression to groups of signals using the Group Insert connector. The groups have individual outputs and can also be sub-mixed to the main L-R and Mono mixes.

Main Mix:

In addition to the main L-R stereo bus, there is a Mono bus which can be routed to individually, ideal for feeding low frequency speaker systems, or creating a mono PA mix.
Mono and Stereo Channels:
The ZED-420, 428 and 436 models have a full complement of 16, 24 and 32 mono inputs respectively, plus two stereo channels, maximising the number of inputs you get. The Stereo channels are dual, so you can get 4 stereo inputs to mix before you need to use any mono channels. USB: Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way we have implemented this on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and thats it! Quality audio to and from your PC or MAC. As you can tell, were very proud of this product we hope you like it too!

SPECIFICATIONS

Operating Levels

Inputs

Mono channel (XLR) Input Mono channel Line Input (Jack socket) Insert point (TRS Jack socket) Stereo Input (Jack sockets) Stereo input (phono sockets) 2 Track Input (phono sockets) +6 to 63dBu for nominal (+17dBu in max) +10 to 26dBu (+30dBu maximum) 0dBu nominal +21dBu maximum 0dBu nominal (control = Off to +10dB) 0dBu nominal (control = Off to +10dB) 0dBu nominal +21dBu maximum

Outputs

L, R & Mono Outputs (XLR) L, R & M Insert (TRS Jack socket) Group Outputs (Jack sockets) Group Insert (TRS Jack socket) Aux Outputs (Jack sockets) Matrix Outputs (TRS Jack socket) 2 Track Output (phono sockets) Direct Out (TRS Jack socket) +4dBu nominal. +27dBu maximum. -2dBu nominal +21dBu maximum +4dBu nominal. +27dBu maximum. -2dBu nominal +21dBu maximum -2dBu nominal +21dBu maximum (Bal Option +4) -2dBu nominal. +21dBu maximum. (Bal Option +4) 0dBu nominal. +21dBu maximum. 0dBu nominal. +21dBu maximum.

Headroom

Analogue Headroom from nominal (0Vu) USB in & out headroom from nominal (0Vu) 21dB 14dB

Frequency Response

Mic in to Mix L/R Out, 30dB gain Line in to Mix L/R out 0dB gain Stereo in to Mix L/R out +0.5/-1dB 20Hz to 20kHz. +0.5/-1dB 10Hz to 30kHz +0.5/-1dB 10Hz to 30kHz
Mic in to Mix L/R Out, 0dB gain 1kHz +10dBu out Mic in to Mix L/R Out, 30dB gain 1kHz Line in to Mix L/R out 0dB gain 0dBu 1kHz Stereo in to Mix L/R out 0dB gain +10dBu 1kHz 0.004% 0.014% 0.005% 0.003%
USB Audio CODEC (Coder/Decoder)
USB Audio In/Out Sample Rate USB 1.1 compliant 16bit. 32, 44.1, or 48kHz
Mix Noise, LR out, 16 channels routed, Ref +4dBu, 22-22kHz Mix Noise, LR out, 24 channels routed, Ref +4dBu, 22-22kHz Mix Noise, LR out, 32 channels routed, Ref +4dBu, 22-22kHz Mic Pre EIN @ max gain 150R input Z 22-22kHz -90dB (-86dBu) -89dB (-85dBu) -88dB (-84dBu) -127dBu

Dimensions

DIR OUT DIR OUT

48V LINE I N

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

I NSERT

MTX 2 MATRIX OUT

-10 -20 -30

ST3 INPUT SOURCE GRP GRP

10 0Hz

100 Hz

1 00Hz

1 2k -15 1k Hz 15k 3 k +15 4k 6k
1 2k -15 1k Hz 15k 3k +15 4k 6k
1 2k - 15 1k Hz 15k 3 k +15 4k 6k

12 k - 15 3k +4k 6k 1 5k

12 k - 15 1k 5 00Hz 1 5k 3k +4k 6k
12 k -1k 5 00Hz 1 5k 3k +4k 6k
12 k - 15 1k 5 00Hz 15 k 3k +4k 6k
12 k -1k 5 00Hz 15 k 3k +4k 6k

1 2k -15 +15

1k 5 00Hz
-45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +-45 35Hz 1k +0 -45 35Hz 1k +0 -45 35Hz 1k +-45 35Hz 1k +0 -45 35Hz 1k 180 +-45 35Hz 1k +0 -45 35Hz 1k +-15 +k5

2k5 -15 +1 5

250 Hz

2 50Hz -15 +15 -15 +1 5

560mm (22.1 inches)

80Hz -15 +15 - 15 +1 5

++9 +6 +-3 -6 -9 -12 -16 -20 -30

AFL MATRIX 2

PFL/AFL AC TIVE
OO +10 OO +OO +10 OO +10 OO +10 OO +1 0

PRIORITY SWITCHING

USB DEVICE

USB I/O

MTX 1-2 AUX5 AUX 6

FROM MATRIX 2

AUX 1-2

FROM AUX 2

FROM AUX 5 FROM AUX 6

AUX 5-6

USB OUTPUT USB RETURN

L-R PRE

L-R POST LR / M

48V PHANTOM POWER OFF ON

METERS

TALKBACK

TALKBACK MIC IN
PFL/AFL GAIN AUX 1-4 L-R-M

PFL ACTIVE

BALANCED

RECORD OUTPUT

USB OUTPUT

HEADPHONES

STEREO CHANNEL

MONO INPUT CHANNEL

Direct Output Socket
Standard 1/4 (6.25mm) Jack socket. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis. For recording individual channels, factory default is prefade signal (post mute). The nominal level is 0dBu and the output is impedance balanced.

Microphone Input Socket

Standard 3-Pin XLR socket wired as Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (-).

48V Phantom Power Switch

Applies +48V to pins 2 and 3 of the XLR input though 6k8 resistors for phantom powered condenser microphones.

Line Input Jack Socket

Standard 1/4 (6.25mm) Jack socket for balanced or unbalanced line level signals. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis. The Line input overrides the Mic input, so if you want to hear something plugged in to the xlr socket, make sure nothing is plugged into the Line input.

Insert Jack Socket

Standard 1/4 (6.25mm) Jack socket for unbalanced insert send and return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. Nominal level is 0dBu. The insert point is after the 100Hz filter and before the EQ.

Gain Control

This adjusts the gain of the input amplifier to match the signal level of the input. The gain is varied from 6dB (attenuation) to +63dB for signals plugged in to the xlr socket (Mic Input) and 10dB to +26dB for signals plugged into the Line input jack.

dBr 10.00

100Hz Hi-pass Filter

-10.00

The Hi-pass filter is used for reducing pop noise and rumble from microphone signals. It is a 2-pole (12dB per octave) filter with a corner frequency set at 100Hz. The filter affects signals from both Mic XLR and Line jack socket.

-20.00

-30.00

-40.00

-50.00 10.00 Hz 100.00 1000.00 10000.00 30000.00

-15 1k 3k +15 4k 6k 15k

The HF (High Frequency) equaliser affects the frequency response of the higher audible frequencies. The corner frequency of 12kHz is around 3dB from the maximum cut or boost of the circuit.

dBr 20.00

-15.00
-20.00 20.00 Hz 100.00 1000.00 10000.00 30000.00

HMF EQ

The HMF (High Mid Frequency) equaliser affects the upper middle of the audible frequency range. The frequency graduations on the sweep control are the centre frequencies of the EQ.

-5.00 -10.00

LMF EQ
The LMF (Lower Mid Frequency) equaliser affects the lower middle of the audible frequency range.
-20.00 20.00 Hz 100.00 1000.00 10000.00

MONO INPUT CHANNEL 9

The LF (Low Frequency) equaliser affects the response at the low end of the audio range. The graph shows the response of the LF EQ at maximum cut and boost. The corner frequency is 80Hz.
The EQ IN switch enables the equaliser when pushed in. The EQ is bypassed when the switch is in its up position.

Auxes 1 & 2

Each of these controls sends a signal to an auxiliary bus. The signal is sourced pre-fade which means that the level is independent of, and unaffected by the fader. Auxes 1 & 2 are primarily used for foldback monitoring purposes, as the fader does not affect the level. They can also be used as feeds for recording and are available sources to the USB interface for this purpose. These sends are affected by the Mute switch, so muting the channel will also mute the Aux sends. The control varies the signal level to the bus from off (fully attenuated) to +6dB, with unity gain at the arrow. There are master level controls for all of the Aux outputs situated in the master section of the mixer.

Auxes 3 & 4

These are switched pre or post-fade so they can be used as either monitor sends or effects sends.

Auxes 5 & 6

Sourced post fade, so that the level is set with the send control but will be affected by the fader position. Mainly used for effects.

L ODD R EVEN

The pan control adjusts how the signal from the mono input channel is shared between the left and right buses and subsequently the main stereo outputs, similarly to pairs of Groups. Set to the mid position, equal amounts of signal are fed to left and right, with pan set to L, none is sent to the Right bus.

Mute Switch

This mutes or cuts the signal to the buses and the Direct Out. A rectangular LED illuminates to show the Mute switch is pressed.

Auxiliary Output Master Level controls
The Aux master level controls adjust the overall level of each of the Aux mixes 1 to 6. The range of control is from off (fully attenuated) to +10dB. There is an AFL (after fade listen) switch on each Aux mix to check the signal after the master level control.

GROUP MASTERS

L-R L-R M

Group Fader

The Group fader is fed with the Group mix signal via the Group Insert point. The fader has 100mm of travel and there is +10dB of gain at its maximum position.

M PAN PAN

L R L R L R L R

Group AFL

The AFL switch allows monitoring of the Group signal after the fader but before the Mute switch.

Group Mute

The illuminated Mute switch cuts the Group signal from the Group output, sub routing and the Group meter. The Group signal to the Matrix outputs is also cut with the Mute switch.

Group Meter

A 4 LED bar meter to show the level of signal on the Group output. The thresholds are: Sig = -18dB nominal, 0dB, +6dB, Pk=+16dB. 0dB on the meter = +4dBu at the balanced output.

Group Pan

The Pan controls how the Group signal is shared between the Left & Right main mix buses when subrouted. The Group output is unaffected by the Pan control.

Group Sub Routing

The L-R switch routes the panned Group signal to the main LR mix and the M switch routes the unpanned Group signal to the mono bus. If you want to set up a stereo pair of sub-groups and route them to the main LR mix, make sure the odd numbered Group is panned Left and the Even Group is panned Right.
L R & M MASTERS and HEADPHONES

Main Mix Fader

The L, R & M faders follow the mix insert points. The faders have 100mm of travel and 10dB of gain at the top.

Main Mix Mute

Cuts the signal from the main mix output. Illuminates red when cut. Also cuts the signal from the associated Matrix feed and the headphones monitor.

Main Mix Meter

A 4 LED bar meter to show the level of signal on the associated output. The thresholds are: Sig = -18dB nominal, 0dB, +6dB, Pk=+16dB. 0dB on the meter = +4dBu at the balanced output.
Headphones Source & Level
The LR/M switch selects the signal source for the headphones, out for Left & Right, in for Mono. If any AFL or PFL switch is pressed then this will override the source selection. The level control adjusts the volume of the headphone signal.
Warning ! To avoid damage to your hearing do not operate the headphones or sound system at excessively high volume. Continued exposure to high volume sound can cause frequency selective or wide range hearing loss.
MAIN METERS & TALKBACK

PHONES

Main Meters
The main Left & Right meters will show the signal level at the main LR mix outputs or the main M mix output depending on the selector switch below the Phones Level control. If any PFL or AFL switch is pressed the meters will show that signal level. Basically, the meters show the headphones monitor signal pre the headphones level control. The PFL/AFL active LED illuminates if any PFL or AFL switch is pressed. Note that PFL and AFL monitoring will be in mono.

TB LEVEL

Talkback
A microphone xlr connector is provided with phantom power applied as a factory default. The TB Level control varies the gain of the talkback amplifier from 20dB (MIN) to 55dB (MAX). The two switches send the talkback signal to Auxes 1 to 4 and to the main L, R & M mixes. When not using talkback, it is best to leave these switches in their out position.

Headphone Jack Sockets

Standard 1/4 inch and 3.5mm TRS jack sockets for stereo headphones. Tip = Left.
USB SECTION & PLAYBACK 1
USB Send Source Selection
The USB source selection switches determine which signals are sent out on the USB interface. If all the switches are up the main LR mix post-fade signal is sent. Other sources available are the pre-fade main LR mix, Auxes 5&6, Auxes 1&2 and Matrix 1&2. The switches work on a priority system with the upper switch taking priorityso if all the switches are pressed in for example, the Matrix 1&2 would be selected as the source.
ST3 IN USB 2TRK USB PLAYBACK SOURCE
ST3 Input Source Selector
This switch determines the signal source for the ST3 input. In the out position the source is the ST3 phono connectors, the in position is the stereo USB return.
USB SEND SOURCE MTX 1-2 AUX 1-2 AUX 5-6 LR pre-fade All up =LR post
Playback Input Source Selector
This switch determines the signal source for the Playback input. In the out position the source is the 2TRK IN phono connectors, the in position is the stereo USB return.

USB Connector

Standard B type USB connector.

Playback Input Level

Controls the level of the playback signal from off (fully attenuated) to +6dB.

Playback To LR

Routes the Playback signal (2 TRK IN or USB return) to the main LR mix.

PLAYBACK To LR PFL

Playback PFL
Allows monitoring of the Playback signal (pre-Level) in headphones and on the main LR meters. Note the monitoring will be in mono.

USB CONNECTION

GROUP OUT GRP

2TRK IN L INSERT

2TRK OUT INSERT L MTX
ST3 INPUT SOURCE GRP GRP ST3 IN USB 2TRK USB PLAYBACK SOURCE TB LEVEL USB SEND SOURCE

USB Audio Interface

Next, fire up SONAR LE. Click Options/Audio and click on the Drivers tab. The Input drivers are the audio sources to the computer, here we have enabled the USB Audio Device which is the ZED mixing console USB device, and disabled the audio from the soundcard in the pc. So the computer is set up to receive audio from ZED.
The Output Drivers are the audio outputs from the computer. Here you can see that the pc soundcard has 4 stereo outputs (all disabled) and the software has located the USB Audio Device which is ZED. Tick to enable it. You will now be able to select your ZED USB left & right outputs as inputs to SONAR LE and be able to send audio to your ZED from SONAR outputs.
In order to show how to select inputs to SONAR tracks, here is a basic Cakewalk project (.cwp). This is created by clicking File/New/Normal and then inserting a second audio track by clicking Insert/Audio Track from the main toolbar. Click on the I/O tab near the bottom of the window, then click the expand buttons in the audio track panes. The tracks 1 & 2 have been re-named ZED Left and ZED Right by double clicking the name field. Click the I and the O fields to select inputs and outputs for the track. Here we have selected the USB Left signal to go to Track 1 (ZED Left) and the USB Right signal to go to track 2 (ZED Right), panned them accordingly and selected the track outputs to be the Master Bus. If audio is present, click the Input Echo buttons (lit up yellow here) to monitor the signals on the Master Bus. The output for the Master Bus is displayed in the field marked O in the Master Bus pane below the input tracks. You can see here it says USB Audio Device, which is the ZED USB input. SONAR will configure this automatically if there is only one output device enabled in the Output Drivers Options window (above).
You should now be able to send audio to and from your ZED mixing console using SONAR LE. To test this, lets do a recording.
To record the audio on tracks 1 & 2, click the R buttons so they light up red, then the record button (circle) on the transport controls on the top icon toolbar. (Or select larger transport controls from Views). The audio wave profile will show in the track panes. Click stop (Square) when finished. To listen to the recording, click rewind, then de-select the input echo buttons (to the right of the R buttons. Also disarm the tracks by deselecting the R buttons.