USER GUIDE

Publication AP7028
Limited One Year Warranty
This product is warranted to be free from defects in materials or workmanship for period of one year from the date of purchase by the original owner. To ensure a high level of performance and reliability for which this equipment has been designed and manufactured, read this User Guide before operating. In the event of a failure, notify and return the defective unit to ALLEN & HEATH Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions Conditions Of Warranty The equipment has been installed and operated in accordance with the instructions in this User Guide. The equipment has not been subject to misuse either intended or accidental, neglect, or alteration other than as described in the User Guide or Service Manual, or approved by ALLEN & HEATH. Any necessary adjustment, alteration or repair has been carried out by ALLEN & HEATH or its authorised agent. This warranty does not cover fader wear and tear. The defective unit is to be returned carriage prepaid to ALLEN & HEATH or its authorised agent with proof of purchase. Units returned should be packed to avoid transit damage. In certain territories the terms may vary. Check with your ALLEN & HEATH agent for any additional warranty which may apply.
This product complies with the European Electro magnetic Compatibility directives 89/336/EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC & 93/68/EEC. This product has been tested to EN55103 Parts 1 & for use in Environments E1, E2, E3, and E4 to demonstrate compliance with the protection requirements in the European EMC directive 89/336/EEC. During some tests the specified performance figures of the product were affected. This is considered permissible and the product has been passed as acceptable for its intended use. Allen & Heath has a strict policy of ensuring all products are tested to the latest safety and EMC standards. Customers requiring more information about EMC and safety issues can contact Allen & Heath.
ZED 4 BUS User Guide AP7028 Issue 1 Copyright 2007 Allen & Heath Limited. All rights reserved
Allen & Heath Limited Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK http://www.allen-heath.com
Allen & Heath 3 ZED-4 BUS User Guide

PACKED ITEMS

Check that you have received the following:

DIR OUT

M IC 4

MIC 10

M IC 11

MIC 12

M IC 13

MIC 14

MIC 15

MIC 16

AUX OUT

ST1 IN

ST3 IN

MAIN OUT MIC 17

MIC 18

MIC 19

MIC 20

MIC 21

M IC 22

MIC 23

MIC 24

GROUP OUT

INSERT

2TRK IN L

48V LINE IN

L/M INSERT

LINE IN

ST2 IN

ST4 IN

R M TX

2TRK OUT INSERT
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

MTX 2 M ATRIX OUT

STEREO INPUTS

RETURN SEN D

R PHONES

0 MIC LINE -10 -6

-20 -30

ST3 INPUT SOURCE

-10 -5

M IC LINE -10 -6

MIC LIN E -10 -6

MIC LINE -10 -6

ST3 IN USB 2TRK USB PLAYBACK SOURCE TB LEVEL USB SEND SOURCE

TB MIC

10 To LR To CH

100H z

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

ST2 -10

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

12k -15 +15

MTX 1-2 AUX 1-2

1k 700 500Hz

Talk to AUX 1-4

HM Talk to LRM

-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 35H z 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 -15 +15 2k5

2k5 -15 +15

AUX 5-6 LR pre-fade All up =LR post
+16 +9 +6 +-3 -6 -9 -12 -16 -20 -30

180 +400 1k

-45 35Hz

-45 35H z

250Hz -15 +15

PLAYBACK LEVEL

80Hz -15 +15 -15 +15

PLAYBACK To LR

EQ IN AUX1

AFL M ATRIX

AFL M ATRIX 2

PFL/AFL ACTIVE

ALLEN&HEATH
OO +10 OO +10 OO +10 OO +10 OO +10 OO +10

PHONES LEVEL

P OST P RE AUX5

POST PRE AUX5

POST = M IN M AX

POST L R L R L R L R

PK! +SIG

R EVEN

L O DD

L OD D

PK ! SIG
5 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0
5 L-R L-R L-R 0 L-R 0 L-R 0 L-R 0 L-R 0 L-R 0

M 1-2 3-4

ZED-420, ZED428 or ZED-436 MIXER
Mains Lead Check that the correct mains plug is fitted.
Type A-B USB Lead To connect the ZED to your computer.

SONAR LE

SONAR LE Music Software Install disk.

INSTALL cakewalk

Allen & Heath

ZED-4 BUS User Guide

SAFETY INSTRUCTIONS
WARNINGS Read the following before proceeding :

CAUTION

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
Read instructions: Do not remove cover: Power sources:
Retain these safety and operating instructions for future reference. Adhere to all warnings printed here and on the console. Follow the operating instructions printed in this User Guide. Operate the console with its covers correctly fitted.
Connect the console to a mains power unit only of the type described in this User Guide and marked on the rear panel. Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console. If the provided plug does not fit into your outlet consult your service agent for assistance. Route the power cord so that it is not likely to be walked on, stretched or pinched by items placed upon or against it.

Power cord routing:

Grounding:
Do not defeat the grounding and polarisation means of the power cord plug. Do not remove or tamper with the ground connection in the power cord.
Water and moisture: Ventilation: Heat and vibration: Servicing: Installation:
WARNING: This equipment must be earthed.
To reduce the risk of fire or electric shock do not expose the console to rain or moisture or use it in damp or wet conditions. Do not place containers of liquids on it which might spill into any openings. Do not obstruct the ventilation slots or position the console where the air flow required for ventilation is impeded. If the console is to be operated in a rack unit or flightcase ensure that it is constructed to allow adequate ventilation. Do not locate the console in a place subject to excessive heat or direct sunlight as this could be a fire hazard. Locate the console away from any equipment which produces heat or causes excessive vibration. Switch off the equipment and unplug the power cord immediately if it is exposed to moisture, spilled liquid, objects fallen into the openings, the power cord or plug become damaged, during lightening storms, or if smoke, odour or noise is noticed. Refer servicing to qualified technical personnel only. Install the console in accordance with the instructions printed in this User Guide. Do not connect the output of power amplifiers directly to the console. Use audio connectors and plugs only for their intended purpose.
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.

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

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

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

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.

PFL Switch

The PFL (Pre-Fade Listen) switch sends the channel signal to the PFL bus and subsequently to the headphones and the main L R meters. Used for checking the audio signal before raising the fader or un-muting the channel.

L-R M 0

Signal & PK! LED
The Signal LED illuminates dimly at a threshold of 16dB nominal level and gets brighter with higher level signal. The source for the signal & peak LEDs is just after the EQ IN switch. The PK! LED illuminates when the signal just after the EQ IN switch is within 5dB of clipping.

1-2 3-4

Routing Switches
The routing switches connect the post-fade signal to the mix buses via the pan control for the main LR bus and the group buses. For minimum noise from the mix bus summing amplifier, leave the switches in their up positions if the channel signal is not required on the bus.
The 100mm fader affects the level of the channel signal to the left & right, mono and group buses and Auxes 5 & 6. Also Auxes 3 & 4 if switched to post-fade. There is 10dB of gain at the top and the unity gain position is marked by 0.

STEREO INPUT CHANNEL

ST1 (& ST3) Phono sockets
These are stereo inputs additional to the main stereo channel inputs (below). The gain is varied by the ST1 (& ST3) level control and these inputs can be sent to either the stereo channels or straight to the L R main bus, depending on the setting of the underpanel switch. These inputs are unbalanced. The source for the ST3 input can be switched from the phono sockets to the USB return signal with the selector switch below the USB socket.
Stereo Inputs 1 (& 3) Level control
Adjust the level of the stereo inputs 1 & 3 from off (fully attenuated) to maximum where it has 10dB of gain.
ST1 (& 3) Routing selector switch
This switch selects whether the ST1 (or ST3) signal is sent to the L R bus directly, or the stereo channel below. When it is pressed in, the ST1 (or ST3) signal sums together with the main stereo inputs ST2 (or ST4).
ST2 (& ST4) input jack sockets
Standard 1/4 jack sockets for line level stereo signals. Can be used with a mono input where the L/M input will also connect to the R input if nothing is plugged in to R. The Stereo 1 inputs accept unbalanced or balanced signals.
Stereo Input ST2 (& ST4) Level control
Adjusts the level of the ST2 (& ST4) input. The range is from off to +10dB.

STEREO Channel EQ

The EQ on the stereo Channel is 4 band, fixed frequency and comprises a shelving high frequency section, a shelving low frequency section and two fixed mid frequency controls.

STEREO HF EQ

STEREO LF EQ
-20.00 10.00 Hz 100.00 1000.00 10000.00

dBr 20.00 15.00 10.00

STEREO LMF AND HMF EQ
Auxes 1 & 2 send a mono sum of the stereo channel left & right signals sourced from pre-fader.
Again, a mono sum of the stereo channel left & right signals, the source being switchable pre or post fader.

cakewalk

DIGITAL AUDIO WORKSTATION

SONAR LE Overview.

SONAR LE is a software application from Cakewalk and is included free of charge with your new ZED mixing console. SONAR LE is a powerful first step into the world of sequencing and hard disk recording on the Windows platform. Youll be able to record from your ZED mixer, create tracks and arrange songs, then play back to your ZED mixer via the USB port. You can decide whether the SONAR family of products is right for you. If you choose to upgrade your copy of SONAR LE to a more full-featured version, like SONAR Producer or Home Studio Editions, youll now be able to do so at significant savings. We will describe the basic steps of installing the software and getting started here, for more comprehensive help or technical support please use the Help files in SONAR LE or visit the SONAR LE website:
http://www.cakewalk.com/owners/sonarle/
The website will have details on registering your product and upgrading it should you wish. There are also tutorials to get you started.
SONAR LE is the most complete OEM production software solution available today. Unlike other OEM applications, SONAR LE has been designed to provide a simple yet complete solution for creating music. You wont feel the need to upgrade just to get started. With support for up to 64 tracks and 24 track effects, 8 physical in/outs at 24bit/192kHz, SONAR LE is able to offer a powerful pc based recording studio. The package also includes 2 instruments, 6 MIDI effects, and 14 audio effects. SONAR LE has been updated with new features from its acclaimed SONAR Producer, making SONAR LE the first native Windows DAW for Windows XP, Windows x64, and Windows Vista. Todays Cakewalk SONAR LE is the definitive choice for creating the most complete hardware and software solution.

SONAR LE Key Features.

64 audio tracks 256 MIDI tracks 8 simultaneous inputs and outputs 24-bit/192 kHz audio quality 24 simultaneous effects 8 simultaneous virtual instruments Integrated VST/VSTi support, without need for VST adapter Support for ACID-format loops Support for ReWire clients such as Project5, Live, or Reason Elegant user interfaceNEW Active Controller Technology automatically maps MIDI keyboards and control surfaces to the parameters you need most on effects, instruments, volume, pan, and other mix elementsNEW Easier integration of virtual instruments with Synth RackNEW Support for Windows Vista (32-bit & 64-bit) NEW , Windows XP Professional x64 EditionNEW, and Windows XP operating systems

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.
Click Play (or spacebar) and the recorded audio should play to the USB port on your ZED mixing console where you can select USB return to Playback or to the ST3 input.
You can use SONAR LE and your ZED mixer together in many ways, for example straightforward recording of a stereo mix, recording tracks individually to build up a song, or sending a postfade mix from ZED and inserting an effects plug-in from SONAR LE, returning the post-effects signal to the mix in ZED. It is a very versatile combination and we hope you find it a creative and enjoyable product partnership.

USING USB FOR EFFECTS

ST3 INPUT SOURCE ST3 IN USB 2TRK USB PLAYBACK SOURCE
Use post fade Aux 5 & 6 as the sends from ZED so when you move the channel fader the effects level stays in proportion. Select Aux 5-6 on the USB output selector switches. USB lead carries the digital signals to & from the computer. Select USB Device Left for Aux 3 or Right for Aux 4 as the input for the track in the software package. You can use a send bus in software as you would a hardware mixer. Assign an effect from your software plug-in list. If using reverb, its a good idea to have 100% wet mix level and reduce the predelay in order to compensate for any latency in USB. Send the output of the software group or bus to USB Device. In this case, and probably with most reverbs, it will be stereo so it will go to left & right. Set the USB return to be sent to ST3. It can then be sent directly to LR or to the stereo channel by pressing in the under-panel switch below the ST3 Level control.

ALLEN&HEATH 7

WIRING NOTES

Insert cable wiring

RETURN

PROCESSOR OUT

GROUND RETURN SEND
LINK RING TO SLEEVE TO UNBALANCE

Y-Adapter

2 Outputs to 1 Input RCA phono jacks adapter

1 Output to 2 Inputs

RCA PHONO CABLE

UNBALANCED

INSTRUMENT CABLE

TRS JACK CABLE

Sleeve=ground Ring=cold (-) Tip=hot (+)

TO INPUT

2=hot (+) 1=ground

MIC CABLE

1=ground

2=hot (+)

FROM OUTPUT

XLR MALE 3=cold (-)

XLR FEMALE

3=cold (-)

TRS to XLR-F CABLE
General Wiring Information
Sleeve=ground Ring=cold (-) Tip=hot (+) 2=hot (+) 1=ground

TRS to XLR-M CABLE

PRODUCT SUPPORT
Investigate ALLEN & HEATHs other ranges at www.allen-heath.com
Large Live Sound mixers iLive digital, ML and GL Series
Small Format Live Sound mixers ZED, MixWizards and PA Series

DJ products Xone Series

Sound Management Series iDR Series

Registering your product

Thank you for buying the Allen & Heath ZED-4 mixer. We hope that you are happy with it and that you enjoy many years of faithful service with it. Please go to www.allen-heath.com/register.asp and register your products serial number and your details. By registering with us and becoming an official Registered User, you will ensure that any warranty claim you might make is actioned quickly and with the minimum delay. Alternatively, you may either copy or cut off this section of the page, fill in the details, and return it by mail to: Allen & Heath Ltd, Kernick Industrial Estate, Penryn, Cornwall TR10 9LU, UK

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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.

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