Allen & Heath ZED R16 USER GUIDE

USER GUIDE

Publication AP7236

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.

Restrictions: Software in this product is confidential copyrighted information of TCAT and Allen & Heath and title is retained by TCAT and/or its licensors. The customer shall not modify, decompile, disassemble, decrypt, extract or otherwise reverse engineer the software. Please read the End User Licence Agreement on Allen & Heath's website for the use of software in and to support this product. Export Regulations: Software, including technical data, is subject to U.S. export control laws, including the U.S. Export Administration Act and its associated regulations, and may be subject to export or import regulations in other countries. The Customer agrees to comply strictly with all such regulations and acknowledges that it has the responsibility to obtain licenses to export, re-export, or import software.

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 & 2 1996 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.

NOTE: Any changes or modifications to the console not approved by Allen & Heath could void the compliance of the console and therefore the users authority to operate it.

ZED-R16 User Guide AP7236 Issue 1

Allen & Heath Limited

Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK

http://www.allen-heath.com

Allen & Heath 3 ZED-R16 User Guide

PACKED ITEMS

Check that you have received the following:

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

MIC

LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

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LINE

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LINE

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LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

1

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48V

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30

40

20

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12k

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0.8

1k

F

700

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400Hz

G

-15 +15

Q

0.8

60

F

30

LM

18Hz

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80Hz

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AUX2

PRE

OO

AUX3

POST

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AUX4

POST

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PAN

L R

HI

SIG

L-R

DIG SND Post-EQ

DIG RET Pre-INS

DIG RET Post-EQ

FADER =MIDI

40

20

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50

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HPF

100Hz

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120

60

300

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AUX1

PRE

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AUX2

PRE

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AUX3

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AUX4

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SIG

10

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0

5

10

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30

40

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400Hz

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AUX2

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AUX3

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AUX4

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L R

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SIG

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40

20

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6k

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SIG

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100Hz

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40

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ZED-R16 MIXER

IN

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SIG

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ST1

ST2

L

R

ST1 L

ST2 L

ST3 L

ST1 R

ST2 R

ST3 R

ST1

ST2

-5

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50

0

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LF

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BAL

L R

LEV

-5

600

-10

0

-20

5

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10

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PFL

L-R

MIDI control

RW STOP PLAY FF REC SHIFTINC

MIDI MIDI MIDI MIDI

127O127O127O127

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STUDIO OUT 1

ST3

-5

-10

LEV

-20

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-5

LEV

-10

-20

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STUDIO

STUDIO MONITOR FEEDS

STUDIO OUT 2

L

R

ST4 L

ST4 R

ST4

-10

LEV

0

-20

5

-30

10

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PFL

L-R

MIX L-R

AUX 1

AUX 2

AUX 3

AUX 4

LEV

-10

0

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5

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10

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AFL

STUDIO

2 TRACK 1 OUT

L

2 TRACK 2 OUTLR

INSERT L INSERT R

10

5

0

5

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CRM L

R

2 TRACK 1 IN

L

CRM R

R

2 TRACK 2 IN

ALT L

L

ALT R

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POWER

+16

+9

+6

+3

0

-3

-6

-9

-12

-16

-20

-30

L

R

PFL/AFL ACTIVE

2 TO 1

2 TRACK DUB 1 TO 2

2 TRACK 1 REPLACE L-R

TALK

LEV

MIN MAX

TALK

ALLEN&HEATH

TO STUDIO

TO AUX 1 & 2

PHONES LEVEL

MIN MAX

2 TRACK 2

2 TRACK 1

DIG MASTER

MAIN MIX L-R

CRM LEVEL

MIN MAX

MONO

ALT SPKRS

DIG MASTER

TO L-R

PHONES

AUX 1

L

AUX 2

R

AUX 3

AUX 4

-5

0

5

AUX MASTER

10

1

PFL

+6

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AFL

L-R

AUX MASTER

2

MIX L-R

OO

+6

AFL

AUX 1

AUX MASTER

AUX 2

3

AUX 3

OO

+6

AFL

AUX 4

AUX MASTER

-5

4

0

5

OO

+6

10

AFL

21

+

LR123 4

10

5

0

5

10

OO

Mains Lead

Check that the correct mains

6 pin to 6 pin FireWire cable.

6 pin to 4 pin FireWire cable.

plug is fitted.

SONAR LE

Music Software Install disk.

INSTALL

cakewalk

Allen & Heath 4 ZED-R16 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: Operate the console with its covers correctly fitted.

Power sources: Connect the console to a mains power unit only of the type described in this User

Power cord routing: Route the power cord so that it is not likely to be walked on, stretched or pinched by

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.

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.

items placed upon or against it.

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: To reduce the risk of fire or electric shock do not expose the console to rain or mois-

Ventilation: Do not obstruct the ventilation slots or position the console where the air flow required

Heat and vibration: Do not locate the console in a place subject to excessive heat or direct sunlight as this

Servicing: Switch off the equipment and unplug the power cord immediately if it is exposed to

Installation: Install the console in accordance with the instructions printed in this User Guide. Do

!

WARNING: This equipment must be earthed.

ture or use it in damp or wet conditions. Do not place containers of liquids on it which might spill into any openings.

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.

could be a fire hazard. Locate the console away from any equipment which produces heat or causes excessive vibration.

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.

not connect the output of power amplifiers directly to the console. Use audio connectors and plugs only for their intended purpose.

Allen & Heath 5 ZED-R16 User Guide

8

SAFETY INSTRUCTIONS

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 WIRE COLOUR

European USA/Canada

LIVE BROWN BLACK

L

!

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.

NEUTRAL BLUE WHITE

N

EARTH GND GREEN & YELLOW

E

GREEN

General Precautions:

Damage : To prevent damage to the controls and cosmetics avoid placing heavy objects

Environment : Protect from excessive dirt, dust, heat and vibration when operating and stor-

Cleaning : Avoid the use of chemicals, abrasives or solvents. The control panel is best

Transporting : The console may be transported as a free-standing unit or mounted in a rack or

Hearing : To avoid damage to your hearing do not operate any sound system at exces-

on the control surface, scratching the surface with sharp objects, or rough handling and vibration.

ing. 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.

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.

flightcase. Protect the controls from damage during transit. Use adequate packing if you need to ship the unit.

sively 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.

2

Allen & Heath 6 ZED-R16 User Guide

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 ........................................ 3

Packed Items .................................. 4

Safety Instructions .......................... 5

Contents......................................... 7

Panel Drawings ............................... 8

Introduction to ZED-R16 .................. 9

Specifications .................................. 10

Dimensions ..................................... 11

Block Diagram................................. 12

Mono Input Channel ........................ 13

Stereo Input Channel....................... 18

Studio Outputs & ST3 & 4 Inputs...... 20

Aux Masters and main Outputs ......... 21

Master Section ................................ 22

Digital connections & switches.......... 24

Connecting to a Computer................ 25

Loading Drivers ............................... 25

Applications Drawings...................... 26

Modes of Operation ......................... 28

SONAR LE Overview ........................ 35

SONAR LE installation ...................... 36

Configuring SONAR LE with ZED-R.... 36

Latency, Dropouts & buffer size........ 38

Enabling MIDI with SONAR LE .......... 39

MIDI Implementation……………………. 40 Wiring diagrams for audio leads…….. 41

Product Support .............................. 42

Allen & Heath 7 ZED-R16 User Guide

PANEL DRAWINGS ZED-R16

CAUTION

RISK OF ELECTRIC SHOCK

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

ATTENTION: REMPLACER PAR UN FUSI BLE STRICTEMENT IDENTIQUE EN VALEURS. REFER SERVICING TO QUALIFI ED SERVICE PERSONNEL. WARNING: THIS APPARATUS MUST BE EARTHED Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan Apparatet må tilkoples jordet stikkontakt Apparaten skall anslutas till jordat uttag

OFF

ON

0

ENGINEERED IN ENGLAND BY ALL EN & HEATH LIMITED.

MIC

LINE

IN

1

INSERT

48V

0

30

40

20

GAIN

6040-14 6

HPF

100Hz

HF

12k

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2k

1k

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SIG

10

L-R

5

0

DIG SND Post-EQ

5

DIG RET Pre-INS

10

DIG RET Post-EQ

FADER =MIDI

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This device complies with P art 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,

DO NOT OPEN

including interference that may cause undesired operation.

REPLACE FUSE WITH SAME TYPE AND RATING.CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE

CET APPAREIL DOIT ETRE MIS A LA TERRE

FUSE

T1.6A L 250V 20mm

AC MAINS IN ~

100 - 240V~ 47-63Hz 55W MAX

I

Serial No.

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

IN

ALLEN&HEATH

LINE

IN

LINE

IN

LINE

IN

LINE

IN

LINE

IN

FIREWIRE

ADAT

44.1kHz 48kHz

LINE

IN

LINE

IN

LINE

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LINE

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INSERT

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INSERT

48V

0

30

40

20

GAIN

50

6040-14 6

HPF

100Hz

HF

12k

-15 +15

Q

0.8

6

2k

1k

4k

F

6k

700

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700

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G

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6

120

60

300

F

600

30

600

30

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AUX1

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AUX2

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30

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40

20

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50

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100Hz

HF

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2k

1k

4k

F

6k

700

6k

HM

400Hz

18k

G

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6

120

60

300

F

600

30

600

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1k

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AUX1

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PRE

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PRE

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POST

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100Hz

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12k

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0.8

6

2k

1k

4k

F

700

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700

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G

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6

120

60

300

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30

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AUX1

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PRE

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POST

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5

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120

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6k

700

6k

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6

120

60

300

F

600

30

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GAIN

50

6040-14 6

HPF

100Hz

HF

HM

LM

80Hz

AUX1

PRE

AUX2

PRE

AUX3

POST

AUX4

POST

PAN

L-R

100Hz

HF

12k

-15 +15

Q

0.8

6

2k

1k

4k

F

700

6k

700

HM

400Hz

18k

G

-15 +15

Q

0.8

6

120

60

300

F

30

600

30

LM

1k

18Hz

G

-15 +15

80Hz

-15LF+15

EQ IN

AUX1

PRE

OO

+6

AUX2

PRE

OO

+6

AUX3

POST

OO

+6

AUX4

POST

OO

+6

=

PAN

L R

MUTE

PFL

HI

SIG

10

L-R

5

0

5

10

OO

0

30

40

20

GAIN

50

6040-14 6

HPF

100Hz

HF

12k

-15 +15

Q

0.8

6

2k

1k

4k

F

6k

700

6k

700

HM

400Hz

18k

G

-15 +15

Q

0.8

6

120

60

300

F

600

30

600

30

LM

1k

18Hz

G

-15 +15

80Hz

-15LF+15

EQ IN

AUX1

PRE

OO

+6

AUX2

PRE

OO

+6

AUX3

POST

OO

+6

AUX4

POST

OO

+6

=

PAN

L R

MUTE

PFL

HI

SIG

10

L-R

5

0

5

10

OO

48V

0

30

40

20

GAIN

50

6040-14 6

HPF

100Hz

HF

12k

-15 +15

Q

0.8

6

2k

1k

4k

F

6k

700

6k

700

HM

400Hz

18k

6

1k

EQ IN

+6

=

MUTE

PFL

5

0

5

OO

400Hz

18k

G

-15 +15

Q

0.8 6

120

60

300

F

600

30

600

30

LM

1k

18Hz

G

-15 +15

80Hz

-15LF+15

EQ IN

AUX1

PRE

OO

+6

AUX2

PRE

OO

+6

AUX3

POST

OO

+6

AUX4

POST

OO

+6

=

PAN

L R

MUTE

PFL

HI

SIG

10

L-R

5

0

5

10

OO

0

20

-15 +15

0.8

1k

400Hz

-15 +15

0.8

60

18Hz

-15 +15

-15LF+15

OO

L R

HI

SIG

MIDI OUT

L

R

LINE

IN

ST1 L

INSERT

ST1 R

48V

0

30

40

20

ST1

GAIN

-10

LEV

50

6040-14 6

HPF

100Hz

6

2k

4k

18k

6

120

300

1k

EQ IN

+6

=

MUTE

PFL

10

5

0

5

10

OO

-20

6040-14 6

-30

HPF

100Hz

HF

12k

-15 +15

LF

Q

80Hz

0.8 6

-15

2k

1k

4k

F

AUX1

6k

700

6k

PRE

HM

400Hz

18k

G

AUX2

PRE

-15 +15

BAL

Q

0.8 6

120

60

300

F

LEV

600

-10

30

600

LM

-20

1k

18Hz

-30

G

-15 +15

80Hz

-15LF+15

EQ IN

AUX1

PRE

OO

+6

AUX2

PRE

OO

+6

AUX3

POST

OO

+6

AUX4

POST

OO

+6

=

PAN

L R

MUTE

PFL

HI

SIG

127

10

L-R

5

0

5

10

OO

ADAT OUT ADAT IN

ST1

OO

-15 +15

OO

L R

OO

-5

=

-5

PFL

L-R

STUDIO OUT 1

ST2

-10

OO

-15 +15

-15

OO

L R

-10

OO

-5

10

+15

+6

=

-5

10

PFL

L-R

ST3 L

ST3 R

ST3

LEV

0

-20

5

-30

LEV

0

-20

5

-30

STUDIO

L

R

ST4 L

ST4 R

-5

-10

0

5

10

OO

PFL

L-R

MIX L-R

AUX 1

AUX 2

AUX 3

AUX 4

-5

-10

0

5

OO

10

AFL

STUDIO MONITOR FEEDS

L

R

ST2 L

ST2 R

ST2

LEV

0

-20

5

-30

10

HF

12k

LF

80Hz

+15

AUX1

PRE

+6

AUX2

PRE

+6

BAL

LEV

0

-20

5

-30

10

MIDI control

RW STOP PLAY FF REC SHIFTINC

MIDI MIDI MIDI MIDI

127O127O127

O

STUDIO OUT 2

ST4

LEV

1-89-161-89-16

2 TRACK 1 OUT

L

AUX 1

L

AUX 2

R

AUX 3

AUX 4

INSERT L INSERT R

-5

-10

0

-20

5

-30

AUX MASTER

10

OO

1

PFL

OO

+6

AFL

L-R

AUX MASTER

2

MIX L-R

OO

+6

AFL

AUX 1

AUX MASTER

AUX 2

3

AUX 3

OO

+6

AFL

AUX 4

AUX MASTER

-5

4

-10

0

-20

5

-30

OO

+6

OO

10

AFL

STUDIO

21

+

LR123 4

10

5

0

5

10

OO

R

2 TRACK 2 OUTLR

CRM L

2 TRACK 1 IN

L

CRM R

R

2 TRACK 2 IN

ALT L

ALT R

TALK

ALLEN&HEATH

PHONES LEVEL

CRM LEVEL

LEV

POWER

PFL/AFL ACTIVE

MIN MAX

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

L

2 TO 1

2 TRACK DUB 1 TO 2

2 TRACK 1 REPLACE L-R

TALK

TO STUDIO

TO AUX 1 & 2

2 TRACK 2

2 TRACK 1

DIG MASTER

MAIN MIX L-R

MONO

ALT SPKRS

DIG MASTER

TO L-R

L

R

+16 +9 +6 +3

0

-3

-6

-9

-12

-16

-20

-30

R

PHONES

Allen & Heath 8 ZED-R16 User Guide

INTRODUCTION TO THE ZED-R16

A Technical Overview:

The Allen & Heath ZED-R16 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. Allen & Heath has a long history of making classic recording mixers such as the Sigma, Syncon, System 8, Saber and the GS3000, but for a few years have concentrated on the live sound, installation and pro DJ markets. Re-entering the world of recording mixers is a very exciting prospect for us and our customers. We spent a long time examining how modern recording methods, equipment and software applications have changed the way musicians and sound engineers work, then over a pizza lunch at one PLASA show we cemented the ideas together as the original concept for ZED-R16.

ZED-R16 is designed to fulfil the needs of musicians and sound engineers with many requirements and different ways of working, such as:

• Recording multi-channel via FireWire or ADAT.

• Monitoring each record track via the FireWire inputs.

• Using the FireWire connections to and from each channel for inserting processing plug-ins.

• Using the ZED-R16 to mix a live show and record it to multi-track (Either ADAT or FireWire).

• Mixing in analogue using the FireWire inputs, pre or post EQ.

• Mixing in digital using MIDI faders, rotaries and switches provided on the ZED-R16.

• Using analogue EQ as an analogue plug-in to a digital system.

• Using the professional studio features to control monitoring and artists feeds as well as transport control.

In many ways the ZED-R16 is a modern classic recording console. It has attributes of an old fashioned in-line recording mixer but with digital sends from each channel as the record path and digital returns being the monitor path. Add to this the flexibility of where you send or return the digital connections within the channel strip, and then the ability to use the faders and the other MIDI controllers to mix in your software application, it all adds up to a unique and mouth watering product.

The components used in ZED series are predominantly 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.

Mic/Line Pre-amps:

The ultimate performing pre-amps are fitted to ZED-R16. Similar only to those used in GL2800 & GL3800, they comprise a symmetrical circuit with individual linearising feedback to both phases, along with the lowest noise transistors available, providing astoundingly low distortion and noise which translates to superior clarity and dynamic range.

EQ:

Some may say that the ZED-R16 has too much EQ for this size of mixer with two fully parametric mid sections and yes it is powerful, but try it and you’ll love it, especially the low mid-great for rich punchy bass guitar and powerful kick drum sounds.

MIDI Control:

There is a MIDI controller area in the master where 12 rotary, 4 linear and 12 switches can be mapped to control your software functions. In addition there are 5 dedicated transport keys, plus each of the 16 channel faders can be switched to MIDI control.

FireWire & ADAT:

Each of the 16 main channels plus the master left & right mix has a digital send and return. These are flexible in that the channel signals can be sent pre-insert or post EQ and the return can be switched into pre-insert or pre-fader or not switched in at all. The FireWire controller we use in ZED-R16 is the DICE Jr from TC Applied Technologies and is capable of streaming up to 64 channels at a sample rate of up to 192kHz. The device employs a patented low jitter phase locked loop using its JET™PLL technology and is able to interface to the optical ADAT connectors giving a maximum of 16 ADAT inputs and outputs. Coupled to this are high quality 24 bit 114dB and 118dB ADC’s and DAC’s providing a super high quality link between the worlds of analogue and digital.

SONAR LE:

Included with your ZED-R16 is SONAR LE, a fully working light version (limited to 8 simultaneous inputs & outputs) of the award winning SONAR Producer audio workstation software from Cakewalk.

Allen & Heath 9 ZED-R16 User Guide

SPECIFICATIONS

Operating Levels

Inputs

Mono channel (XLR) Input -6 to –60dBu for nominal (+14dBu in max)

Mono channel Line Input (Jack socket) +14 to –40dBu (+34dBu maximum)

Insert point (TRS Jack socket) 0dBu nominal +21dBu maximum

Stereo Input (Jack sockets) 0dBu nominal (control = Off to +10dB)

Stereo input (phono sockets) 0dBu nominal (control = Off to +10dB)

2 Track Input (phono sockets) 0dBu nominal +21dBu maximum

Outputs

Main (2 Track 1) L-R (XLR) +4dBu nominal. +27dBu maximum.

L-R Insert (TRS Jack socket) 0dBu nominal +21dBu maximum

2 Track 2 Outputs (Jack sockets) 0dBu nominal. +21dBu maximum.

All other analogue outputs 0 nominal +21dBu maximum

Headroom

Analogue Headroom from nominal (0Vu) 21dB

Digital converter headroom from nominal analogue (0Vu) 16dB

Frequency Response

Mic in to Mix L/R Out, 30dB gain +/-0.5dB 20Hz to 140kHz.

Line in to Mix L/R out 0dB gain +/-0.5dB 20Hz to 20kHz

Stereo in to Mix L/R out +/-0.5dB 20Hz to 40kHz

THD+n

Mic in to Mix L/R Out, 6dB gain 1kHz +10dBu out 0.0025%

Mic in to Mix L/R Out, 30dB gain 1kHz 0.0045%

Line in to Mix L/R out 0dB gain +10dBu 1kHz 0.003%

Stereo in to Mix L/R out 0dB gain +10dBu 1kHz 0.004%

Digital Performance

Analogue to Digital conversion 24bit 114dB dynamic range (A wtd)

Digital to Analogue conversion 24bit 118dB dynamic range (A wtd)

Sample Rate 44.1, 48, 88.2, 96kHz

Noise

Mix Noise, LR out, 16 channels routed, Ref +4dBu, 22-22kHz -88dB (-84dBu)

Mix Noise, Aux 1-4 out, sends minimum, masters at unity 22-22kHz -86dBu

Mic Pre EIN @ 60dB gain 150R input Z 22-22kHz -128.5dBu

MIDI

Fader and Rotary values 0-127

MIDI switches Note on/note off

Transport control MIDI machine control

MIDI channel Default = 16. User settable

Power consumption 48W

Allen & Heath 10 ZED-R16 User Guide

DIMENSIONS

102mm (4.0”)

470mm (18.5”)

93mm

(3.7”)

704mm (27.7”)

465mm (18.3”)

704mm (27.7”)

Weight kg (lb)

Unpacked Packed

ZED-R16 13 (29lb) 15 (33 lb)

Allen & Heath 11 ZED-R16 User Guide

BLOCK DIAGRAM

LINE IN

MIC IN

MONO CHANNELS 1 - 16

STEREO 2 TRACK OUT 1

FIREWIRE & ADAT

MONO CHANNELS 1 - 16

DIGITAL MASTER L - R

ST1 & 2 JACK

ST1 & 2 RCA

STEREO INPUTS 3 & 4

R

L

R

L

ST3 & 4

TALKBACK

MIC

GAIN

TALK

STUDIO AU X 1 - 2

R

L

g

PFL

+

LEVEL

AUX1

AUX 2

STEREO INPUTS 1 & 2

GAIN

2 BAND EQUALISER

LF

HF

LEVEL

PFL

AUX 4

MONO CHANNEL

MIDI DATA

AUX1

AUX3

AUX 2

ggfqgfqg

MIDI

GAIN

+

-

100Hz

HPF

DIGITAL RETURN

PRE-INSERT

INSERT

LF

4 BAND PARAMETRIC EQUALISER

LM

HM

HF

EQ

IN

FADER

AUDIO

ENABLE MIDI

BYPASS FADER

MUTE

PHANTOM POWER SWITCH

+48V

DIGITAL SEND

POST-EQ

FIREWIRE BUS

DACADC

DIGITAL RETURN

POST-EQ

ZED-R 16 BLOCK DIAGRAM

PEAK

SIGNAL

PFL

BAL

L-R

MAIN MIX L-R (POSTFADE)

AUX 1(POSTFADE)

AUX 2 (POSTFADE)

AUX 3 (POSTFADE)

AUX 4 (POSTFADE)

AFL

MASTER LEVEL

AUX1

+10dB

AFL

STUDIO OUT 1 - 2

RIGHT

LEFT

AUX OUT

1 - 4

PFL ACTIVE

LEVEL

PHONES

LEVEL

ALTERNATE SPEAKERS

LEFT

RIGHT

CRM

ALT

CONTROL ROOM MONITORS

LEFT

RIGHT

L-R

2 TRK 2 IN

DIGITAL MASTER IN

2 TRACK 1 IN

+

R

2 TRACK 2 IN

-

PFL/AFL

MONO

LR

2 TRK 1 IN

L

R

L

+-+

1 TO 2

DUBBING SWITCHES

GROUND COMPENSATED

-2dBu NOMINAL

2TRK 2 OUT

RIGHT

LEFT

PAN

L-R

MAIN MIX L MAIN MIX R

AUX 1 AUX 2 AUX 3 AUX 4

PFL/AFL L

PFL/AFL R

DIGITAL MASTER

TO MIX L-R

2 Track 1

Replace Mix

L INSERT

R INSERT

TIP SEND

+10dB

MAIN LR

2 TO 1

+4dBu NOMINAL

BALANCED

MAIN (2TRK 1) OUT

LEFT

RIGHT

FIREWIRE BUS

DACADC

DIGITAL MASTER IN

Allen & Heath 12 ZED-R16 User Guide

MONO INPUT CHANNEL

Microphone Input Socket

1

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

1

2

3

LINE

IN

INSERT

1

MIC

Line Input Jack Socket

Standard 1/4” (6.25mm) Jack socket for balanced or unbalanced line

2

level signals. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.

IMPORTANT NOTE:

The Line input signal is connected to the XLR input through attenuating resistors and coupling capacitors, in other words the two inputs are summed together at different levels. If Only the Mic input signal is required, make sure nothing is plugged into the Line jack and vice versa.

Insert Jack Socket

3

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.

48V Phantom Power Switch

4

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

4

5

48V

GAIN

0

30

20

40

50

60 40-14 6

HPF

6

dBr

5.00

0.00

-5.00

-10.00

-15.00

-20.00

-25.00

-30.00

-35.00

-40.00

10.00 Hz 100.00 1000.00 10000.00

ZED-R 16 Hi Pass Filter

100Hz

Gain Control

5

This adjusts the gain of the input amplifier to match the signal level of the input. The gain is varied from +6dB to +60dB for signals plugged in to the xlr socket (Mic Input) and –14dB to +40dB for signals plugged into the Line input jack.

6

100Hz Hi-pass Filter

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.

Allen & Heath 13 ZED-R16 User Guide

MONO INPUT CHANNEL

HF EQ

The HF (High Frequency) equaliser affects the frequency response

20.00

15.00

10.00

7

of the higher audible frequencies. The corner frequency of 12kHz is around 3dB from the maximum cut or boost of the circuit.

ZED-R 16 HF EQ

dBr

7

HF

12k

-15 +15 1

8

HM

LM

Q

F

700

G

Q

F

1k

400Hz

30

0.8 2k

6

18k

-15 +15 1

0.8 120

6

60

18Hz

1k

4k

300

6k

600

5.00

0.00

-5.00

-10.00

-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

8

of the audible frequency range. The frequency graduations on the sweep control are the centre frequencies of the EQ. The Q factor is the width of the equaliser curve and is variable from a wide 0.8 to a sharp 6.

ZED-R 16 HMF EQ

20.00

15.00

10.00

5.00

dBr

0.00

G

-15 +15

LF

-5.00

-10.00

-15.00

-20.00

20.00 Hz 100.00 1000.00 10000.00 3 0000.00

80Hz

-15

+15

EQ IN

Allen & Heath 14 ZED-R16 User Guide

MONO INPUT CHANNEL

LMF EQ

9

The LMF (Low Mid Frequency) equaliser affects the lower middle of

HF

12k

-15 +15 1

dBr

20.00

the audible frequency range. The frequency graduations on the sweep control are the centre frequencies of the EQ. As with the HMF section, the Q factor is variable from 0.8 to 6. The graph shows the Q setting in the minimum, middle and maximum positions, and the extents of the frequency range.

ZED-R 16 LMF EQ

Q

F

700

HM

400Hz

G

Q

F

30

0.8 2k

1k

18k

-15 +15 1

0.8 120

60

6

4k

300

6k

600

15.00

10.00

5.00

0.00

-5.00

-10.00

-15.00

-20.00

10.00 Hz 100.00 1000.00 10000.00

LF EQ

The LF (Low Frequency) equaliser affects the frequency response of the lower audible (bass) frequencies. The corner frequency of 60Hz is around 3dB from the maximum cut or boost of the circuit.

20.00

15.00

10

dBr

9

10

11

LM

G

LF

80Hz

18Hz

1k

-15 +15

-15

+15

EQ IN

10.00

5.00

0.00

-5.00

-10.00

-15.00

-20.00

10.00 Hz 100.00 1000.00 10000.00

11

EQ IN

The EQ IN switch enables the equaliser when pushed in. The EQ is bypassed when the switch is in its up position.

Allen & Heath 15 ZED-R16 User Guide

12

AUX1

PRE

AUX2

PRE

MONO INPUT CHANNEL

Auxes 1 & 2

12

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.

OO

+6

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.

13

14

15

AUX3

POST

AUX4

POST

PAN

OO

=

L R

MUTE

+6

13

14

15

Auxes 3 & 4

The source for Aux sends 3 & 4 is post-fader. They are also muted by the Mute switch. Auxes 3 & 4 are primarily used for effects sends.

Jumper Link Options. There are optional positions for fitting link wires on the mono input channel circuit boards to change Auxes 1 & 2 to be post fade and Auxes 3 & 4 to be pre-fade sources. These are not easy to get to however, and involve taking out the channels from the mixer to access. We will try to improve this with future updates to the circuit board.

PAN

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.

Mute Switch

This mutes or cuts the signal to the main L-R bus and the Auxes. 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 left & right meters. Used for checking the audio signal before raising the fader or unmuting the channel.

L-R Routing Switch

The L-R switch connects the post-fade signal to the main L-R mix bus via the pan control. 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.

Signal & High level indicators

The Signal LED illuminates dimly at a threshold of –14dB nominal level and gets brighter with higher level signal. The source for the signal & peak LED’s is just after the EQ IN switch.

The HI signal LED illuminates when the signal just after the EQ IN switch is within 5dB of clipping.

16

18

HI

SIG

PFL

1

16

17

10

17

Allen & Heath 16 ZED-R16 User Guide

L-R

5

0

18

MONO INPUT CHANNEL

Fader

19

=

PAN

The 60mm fader can be used as a normal channel fader where it will affect the level of signal to the main L-R bus and the postfade auxes. There is 10dB of gain at the top of the travel. The fader can also be used as a MIDI controller if the FADER=MIDI switch is pressed on that channel. In this case, the audio is bypassed at unity gain and a continuous controller message is sent to the FireWire bus and the MIDI output DIN connector.

20

21

22

23

DIG SND Post-EQ

DIG RET

Pre-INS

DIG RET Post-EQ

FADER =MIDI

L-R

L R

HI

SIG

10

5

19

0

5

10

OO

MUTE

PFL

1

20

21

22

23

DIG SND Post EQ switch

This switch determines the source for the digital output for each channel. In the up position the source is just after the pre-amp and Hi pass filter. If pressed in, then the source is from after the EQ IN switch. One or the other signal will always be sent for digital conversion.

DIG RET Pre INSert switch

This switches the digital input for that channel into the channel path, replacing the signal from the pre-amp. The digital input is switched in just before the insert point. The switch below overrides this switch and the indicating LED is turned off if the switch below is pressed.

DIG RET Post EQ switch

The digital input for that channel can also be switched in after the equaliser. This switch overrides the one above it as the digital input is switched in later in the signal path of the channel, and hence the LED extinguishes the one above it.

FADER=MIDI switch

The 60mm fader can also be used as a MIDI controller if the FADER=MIDI switch is pressed on that channel. When pressed in, the audio is bypassed at unity gain and a continuous controller message is sent to the FireWire bus and the MIDI output DIN connector which can be assigned to control functions in your software application, or to control external MIDI equipment.

These configuration switches determine the mode of operation for ZED-R16 and are usually not required to be changed while the desk is in use. For this reason they are placed near the fader, and once set should not get in the way of normal operation.

Allen & Heath 17 ZED-R16 User Guide

STEREO INPUT CHANNEL

1

ST1 L

ST1 R

ST1

L

R

ST1 (& ST2) Phono & Jack sockets

1

Standard RCA phono sockets and 1/4” jack sockets for unbalanced stereo inputs. The RCA phono sockets normally connect through the jack break contacts so giving a choice of which connector type to use. The left signal does not connect to the right if nothing is plugged into the right socket though, as with some of our other products. If inputs are plugged into the jack sockets, the RCA phonos will be disconnected.

ST1 (& ST2) Level

2

The input level control varies the level of the signal from off (fully attenuated) to +10dB of gain at the maximum position.

STEREO Channel EQ

3

The EQ on the stereo Channel is 2 band shelving equaliser with fixed corner frequencies of 12kHz and 60 Hz.

ZEDR 16 Stereo Input EQ

20.00

dBr

2

3

ST1

LEV

-20

-30

HF

12k

LF

80Hz

-5

-10

OO

-15 +15

-15

10

+15

15.00

10.00

0

5

5.00

0.00

-5.00

-10.00

-15.00

-20.00

10.00 Hz 100.00 1000.00 10000.00 30000.00

Allen & Heath 18 ZED-R16 User Guide

STEREO INPUT CHANNEL

4

HF

12k

LF

80Hz

AUX1

PRE

AUX2

PRE

BAL

-15 +15

-15

OO

=

+15

+6

Auxiliaries 1 & 2

4

Each of these controls sends a mono signal to an auxiliary bus (a sum of the left & right inputs). The signal is sourced pre-fade which means that the level is independent of, and unaffected by the master level control 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.

Stereo Balance control

5

The balance control adjusts the relative levels of the left and right signals to the main stereo bus.

Level control

Adjusts level of the left & right signals sent to the main L-R mix bus.

6

There is 10dB of gain at the clockwise setting.

PFL

The pre-fade-listen switch sends the stereo signal to the PFL bus (in

7

stereo) and activates the PFL monitor system in the master section. This allows the stereo channel signal to be checked before the master Level control.

5

6

7

8

LEV

-20

-30

L R

-5

-10

OO

PFL

L-R

10

L-R Routing Switch

Press this switch to send the stereo channel signals to the main L-R bus.

8

For best performance, if the signals are not required or the channel is not in use, then leave the switch in its up position.

0

5

Allen & Heath 19 ZED-R16 User Guide

STUDIO OUTPUTS & ST3 & 4 INPUTS

9

STUDIO OUT 1

ST3 L

ST3 R

ST3

LEV

-20

-30

-10

L

STUDIO OUT 2

L

ST3 & 4 Inputs

These stereo inputs have limited features and are provided for

9

additional stereo sources that need to be added to the main L-R mix. The left input jack socket normalises or connects through the break contacts of the right input jack socket, enabling a mono input to be fed to both left and right mix paths.

R

Studio Monitor Outputs

10

ST4 L

ST4 R

11

-5

OO

PFL

L-R

ST4

LEV

0

5

10

-20

-30

-10

-5

0

5

OO

10

PFL

L-R

12

The Studio Outputs allow a selection of signals to be sent as outputs for artists monitors. The selection switches enable the main L-R mix (post fader) and auxes 1 to 4 (post master level) to the studio outputs. If more than one switch is pressed the signals mix together.

Studio Monitor Level control

The level control adjusts the output level of the Studio Outputs from off (fully attenuated) to +10dB maximum.

Studio Monitor AFL

The After Fade Listen switch sends the post level control Studio Output signals to the PFL/AFL monitoring system allowing them to be checked in the engineers headphones and control room monitor speakers.

10

11

12

MIX L-R

AUX 1

AUX 2

AUX 3

AUX 4

-20

-30

-10

-5

OO

AFL

LEV

0

-20

5

-30

10

LEV

STUDIO

STUDIO MONITOR FEEDS

-5

-10

OO

STUDIO

MIX L-R

AUX 1

AUX 2

AUX 3

AUX 4

0

5

10

AFL

21

Allen & Heath 20 ZED-R16 User Guide

AUX MASTERS & MAIN OUTPUTS.

AUX 1

AUX 2

AUX 3

AUX 4

AUX MASTER

1

OO

+6

2 TRACK 1 OUT

L

1

2

L

2 TRACK 2 OUT

3

INSERT L INSERT R

4

5

R

2 Track 1 Output XLR connectors

1

Standard 3-Pin XLR panel plug wired as Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (-). Electronically balanced, +4dBu = 0VU. These are the main stereo outputs, normally fed from the main L-R mix, they can be fed from the 2 Track 1 phono inputs if the Replace Mix switch is pressed (for background music or monitoring), also from 2 Track 2 jack inputs for dubbing or monitoring.

2 Track 2 Output jack sockets

2

Standard 1/4” (6.25mm) Jack sockets. Ground compensated (noise balanced). Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis. The 2 Track 2 outputs are normally fed from the main L-R mix, but can be sourced from the 2 Track 1 phono inputs for dubbing purposes.

Insert L & R jack sockets

3

Standard 1/4” (6.25mm) Jack sockets. The main L-R mix insert connectors for inserting signal processing equipment such as compressors or equalisers. They are placed just before the main L-R faders in the signal path. Wired Tip=send, Ring=return, Sleeve=Chassis. Nominal level is 0dBu.

AUX MASTER

2

OO

AUX MASTER

3

OO

AUX MASTER

4

OO

AFL

+6

AFL

+6

AFL

+6

AFL

6

Auxiliary Output jack sockets.

4

Standard 1/4” (6.25mm) Jack sockets for the Aux outputs 1—4. Impedance balanced. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.

Auxiliary Output Master Level controls

5

The Aux master level controls adjust the overall level of each of the Aux mixes 1 to 4. The range of control is from off (fully attenuated) to +6dB. There is an AFL (after fade listen) switch on each Aux mix to check the signal after the master level control.

Auxiliary AFL

6

The After Fade Listen switch sends the post master level control Aux signal to the PFL/AFL monitoring system allowing it to be checked in the engineers headphones and control room monitor speakers.

Allen & Heath 21 ZED-R16 User Guide

MASTER SECTION

1

2

6

5

CRM L

CRM R

ALT L

ALT R

POWER

+16

+9

+6

+3

0

-3

-6

-9

-12

-16

-20

-30

L

R

PFL/AFL ACTIVE

2 TRACK 1 IN

2 TRACK 2 IN

Control Room Monitor jack sockets

1

Standard 1/4” (6.25mm) Jack socket for connecting powered monitor

L

3

R

L

speakers or an amplifier for the engineers control room monitor speakers. Impedance balanced. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.

Alternate Monitor jack sockets

2

Standard 1/4” (6.25mm) Jack socket for connecting powered monitor speakers or an amplifier for an alternative set of speakers to the main CRM speakers. Typically these would be nearfield monitors or speakers in close proximity to the engineer. Impedance balanced. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.

4

R

2 Track 1 Input phono sockets

3

Standard RCA phono sockets for unbalanced stereo sources. Useful for connecting equipment with stereo analogue outputs such as CD players and DAT machines for playing backing music, copying from one machine to another or simply listening to that machine.

2 Track 2 Input jack sockets

4

Standard 1/4” (6.25mm) Jack socket for connecting balanced or unbalanced stereo sources. The 2 Track 2 inputs are available to be switched to the 2 Track 1 (main xlr) outputs for dubbing or copying purposes.

Main meters

5

The main stereo 12 segment peak response slow decay meters are fed with the control room monitor signal (pre CRM Level). The selection switches for the CRM source are located below the Phones Level control and is over-ridden by the PFL or AFL signal if any listen switch is pressed.

7

8

TALK

LEV

MIN MAX

2 TO 1

2 TRACK DUB

1 TO 2

2 TRACK 1 REPLACE L-R

TALK

TO STUDIO

TO AUX 1 & 2

PFL/AFL Active LED

6

Illuminates when any PFL or AFL switch is pressed. It indicates that the meters will show the PFL or AFL signal, or the mix of signals if more than one switch is pressed.

2 TRACK DUB switches

7

Allow dubbing or copying from one stereo source to another. If 2 to 1 is pressed then 2 Track 2 input jack sockets will be routed to the 2 Track 1 output xlr’s. If 1 to 2 is pressed then 2 Track 1 input phono inputs will be routed to the 2 Track 2 output jacks.

2 TRACK 1 replace L-R switch

8

If this switch is pressed the main L-R mix is replaced by the 2 Track 1 input. The switch is situated before the insert points in the signal path, so any inserted processing will still have effect, as will the main L-R faders.

Allen & Heath 22 ZED-R16 User Guide

MASTER SECTION

9

TALK

LEV

MIN MAX

PHONES LEVEL

MIN MAX

2 TRACK 1 REPLACE L-R

TALK

TO STUDIO

TO AUX 1 & 2

13

9

10

Talkback Section

A built in microphone and talkback system allows the engineer to talk to the artists in the studio or foldback monitors on stage. The Talk Level control adjusts the gain of the amplifier, be wary of feedback if the talkback signal is routed to the local monitors via the AFL system or the proximity of the studio monitors is such that they are able to feedback to the talkback microphone. The To Studio and To Aux 1 & 2 switches route the talkback signal to the studio monitor outputs for artists monitor talkback or to the Auxes 1 & 2 for stage monitor talkback. The non-latching TALK button enables the system and sends the signal from the microphone to the selected destination.

Control Room Monitor selection switches

These determine the source signal for the CRM system. With all the switches in the up position then the main L-R mix will be fed to the CRM speakers unless a PFL of AFL switch is pressed in which case the signal from the PFL or AFL switch will override. The switches work on a priority method, with the 2 Track 2 switch having priority over the others. The DIG MASTER switch monitors the digital 17 & 18 inputs a separate stereo digital input from the channel digital inputs and useful for monitoring a stereo mix from your digital audio workstation.

10

CRM LEVEL

12

PHONES

2 TRACK 2

2 TRACK 1

DIG MASTER

MAIN MIX L-R

MIN MAX

MONO

ALT SPKRS

DIG MASTER

TO L-R

11

14

15

11

12

13

14

15

Control Room Monitor Level Control

Adjusts the level of the signal to the CRM speakers from off (fully attenuated) to unity gain.

MONO & ALT SPKRS switches

The MONO switch converts the stereo CRM signal to a mono signal, a sum of the left and right channels is fed to both left & right CRM outputs as well as the headphones output, and the main meters. The Alternative speakers switch changes the CRM outputs from the main CRM jack sockets to the ALT jack sockets so that the outputs can be switched between two sets of speakers.

PHONES LEVEL control

Adjusts the level of signal from the CRM selection switches to the headphones jack sockets. There is 18dB of gain at the maximum setting.

PHONES jack sockets

Standard 1/4 inch and 3.5mm TRS jack sockets for stereo headphones. Tip = Left.

DIG MASTER TO L-R switch

In addition to the digital inputs to the 16 mono channels there is a further stereo digital input that can be routed to the main L-R mix bus with this switch. It can be used to monitor a stereo output from your digital audio workstation or audio application and listen to a final stereo mix from your computer.

Allen & Heath 23 ZED-R16 User Guide

DIGITAL CONNECTIONS & SWITCHES

FIREWIRE

ADAT

44.1kHz 48kHz

1

2

3

5

1-89-161-89-16

1 2 3

4

ADAT OUT ADAT IN

MIDI OUT

FireWire/ADAT configuration switch

This switch determines whether the digital interface is predominantly FireWire or ADAT and will be dependent on what type of external equipment is used. Set to FireWire if a computer or equipment with IEEE 1394 FireWire connection is to be used or ADAT if an ADAT machine only is to be connected.

ADAT sample rate switch

If ADAT is selected as the digital interface, the sample rate is set using this switch to either 44.1kHz or 48kHz.

FireWire connectors

Standard 6 pin IEEE 1394 FireWire connectors for connecting ZED-R to a FireWire bus. Normally only one connector is used, however two are provided for connecting more than one ZED-R together for expanded capability.

4

5

MIDI OUT DIN connector

A standard 5 pin DIN connector to output the MIDI data generated by the controllers on ZED-R to external equipment with MIDI functionality, for example when using ZED-R as a MIDI control surface. The MIDI data is also sent on the FireWire bus, so there is no need to use the DIN connector if MIDI is only required in the computer and the computer is connected to ZED-R using FireWire.

ADAT In & OUT connectors

Standard ADAT optical connectors for connecting external equipment with ADAT inputs and outputs.

DIGITAL I/O CONFIGURATION:

The number of digital channels and range of sample rate options are dependent on the configuration of ZED-R. Here is a table of the options:

FireWire/ADAT Sw Sample Rate (kHz) FireWire Channels ADAT Channels

FireWire 44.1 & 48 18 + 18 8 + 8

FireWire 88.2 & 96 16 + 16 None

ADAT 44.1 None 16 + 16

ADAT 48 None 16 + 16

Allen & Heath 24 ZED-R16 User Guide

CONNECTING TO A COMPUTER

Downloading the Drivers

Your ZED-R16 has software installed and working already, but in order for your Windows or MAC computer to be able to communicate with the FireWire device in ZED-R you’ll need to load some Drivers onto your computer. The installer software is available on the Allen & Heath website at:

http://www.allen-heath.com/zed/

Windows XP Installation:

Make sure that the ZED-R16 is not connected to your computer.

Save the installer program to your computer desktop.

Re-start your computer.

Switch on your ZED-R16 and connect the FireWire lead to your computer and your ZED-R.

Microsoft Windows XP installation:

You will be asked if Windows can connect to Windows Update to search for software—click No,not this time…..

The Hardware Wizard will ask to install automatically or from a specific location—click automatically…..

You may get a message about Windows icons, click Continue Anyway.

Click Finish to complete the installation.

The Drivers for ZED-R16 will now be installed and ready to use, a message may appear in the system tray to tell you.

The ZED-R Device control panel shortcut icon will appear on your desktop which enables the device settings like sample rate and buffer size to be adjusted.

In your programs list the control panel program will appear under Allen and Heath Ltd, and also an uninstaller should you need to remove the drivers at any stage.

Allen & Heath 25 ZED-R16 User Guide

APPLICATION DRAWING: STUDIO

MAIN CRM SIGNALS

SIGNALS (LINE LEVEL)

ARTISTS STUDIO MONITOR

FIREWIRE CONNECTION

MAIN CRM SIGNALS

EFFECTS SEND

EFFECTS RETURN

LINE LEVEL SIGNALS

FROM DIRECT BOX

KEY:

MICROPHONE SIGNAL

fx

fxfxSMfx

KT-88

Amp

Allen & Heath 26 ZED-R16 User Guide

APPLICATION DRAWING: LIVE SOUND

FIREWIRE CONNECTION

MAIN PA SIGNALS

BACKGROUND MUSIC

STAGE MONITOR SIGNALS

EFFECTS RETURN

EFFECTS SEND

FROM DIRECT BOX

LINE LEVEL SIGNALS

KEY:

MICROPHONE SIGNAL

fx

fxfxCDfx

Allen & Heath 27 ZED-R16 User Guide

MODES OF OPERATION

RECORDING PRE-EQ FROM AN ANALOGUE MIX

The basic mode for ZED-R16 with all the configuration switches in the up position (not pressed). ZED-R16 can be operated as a traditional analogue mixer, using the main L-R mix as a stereo monitor mix for the multitrack recording, or as a PA mix if working live. A clean recording feed will be sent on the FireWire bus or the ADAT outputs for recording each channel, sourced from just after the pre-amp and hi-pass filter.

ANALOGUE SIGNAL

Analogue signal converted to digital after the Pre-amp and sent to the FireWire Bus or ADAT output.

ADC

Analogue signal continues through channel path to fader & routing.

DIGITAL SIGNAL (FIREWIRE OR ADAT)

The clean pre-eq channel signal is avail-

ANALOGUE MIX

ALL UP

Allen & Heath 28 ZED-R16 User Guide

able to record either in a Digital Audio Workstation or by using recording equipment equipped with ADAT inputs.

MODES OF OPERATION

RECORDING POST-EQ FROM AN ANALOGUE MIX

If the DIG SEND = POST EQ switch is pressed then the digital output from the channel will be sourced from after the equaliser. Use this mode if you want to use ZED-R16 as an analogue mixer and want to EQ the signal being recorded.

ANALOGUE SIGNAL

DIGITAL SIGNAL (FIREWIRE OR ADAT)

ADC

Analogue signal converted to digital after the EQ and sent to the FireWire Bus or ADAT output.

ANALOGUE MIX

The ZED-R16 channel EQ can be used to equalise the signal being recorded.

PRESS DIG SEND = POST EQ

Allen & Heath 29 ZED-R16 User Guide

MODES OF OPERATION

USING DIGITAL PROCESSING PLUG-INS IN AN ANALOGUE MIX

The digital channel inputs and outputs are used to send a signal to the Digital Audio Workstation of software application where processing plug-ins such as noise gates or compressors can be used, almost as if they were plugged into the insert point on the channel.

ANALOGUE SIGNAL

Analogue signal converted to digital after the Pre-amp and sent to the FireWire Bus or ADAT output.

ADC

DAC

Digital input from FireWire or ADAT is converted to analogue and sent to the channel path just before the insert point.

DIGITAL FIREWIRE BUS

Signal processing plug-ins such as noise gates or compressors can be used in

ANALOGUE MIX

PRESS DIG RETURN = PRE INSERT

Allen & Heath 30 ZED-R16 User Guide

your Digital Audio Workstation routing the signal back to the same ZED-R16 channel as the source. Your DAW becomes a flexible “outboard rack”.

MODES OF OPERATION

IN LINE MULTITRACK RECORDING AND MONITORING

The signal for recording is send pre EQ (it can be post EQ if the DIG SND = post EQ switch is pressed) and the track can be monitored by pressing the DIG RET = post EQ configuration switch. Using this mode emulates the traditional method of monitoring from the replay head of a tape machine which is a reliable way of monitoring what is being recorded.

ANALOGUE SIGNAL

Analogue signal converted to digital after the Pre-amp and sent to the FireWire Bus or ADAT output.

ADC

DAC

Digital input from FireWire or ADAT is converted to analogue and sent to the channel path after the EQ.

DIGITAL SIGNAL (FIREWIRE OR ADAT)

Select the inputs to the tracks in the DAW to be the required channels from ZED R 16. Select the track outputs to go to the corre-

ANALOGUE MIX

PRESS DIG RETURN = POST EQ

Allen & Heath 31 ZED-R16 User Guide

sponding ZED R 16 channels for monitoring.

MODES OF OPERATION

ANALOGUE MIXDOWN FROM DIGITAL SOURCE

Here, the digital inputs to the channels are selected to go to the channel just before the insert point (replacing the signal from the pre-amp). This mode allows for analogue mixing from a multi-track digital source using the simply gorgeous analogue EQ on the ZED-R16. It is also a great mode to use when overdubbing tracks, using the digital inputs for monitor & foldback purposes whilst using the PRE-INSert digital send to do the overdub recording.

The analogue signal from the pre-amp is sent to FireWire or ADAT. Could be used for overdubbing the recorded track.

ADC

DAC

Digital input from FireWire or ADAT is converted to analogue and sent to the channel path after the EQ. This replaces the signal from the pre-amp.

ANALOGUE MIX

DIGITAL SIGNAL (FIREWIRE OR ADAT)

Play the multitrack from the DAW or an ADAT machine to the ZED-R16 and mix in analogue as you would do with a traditional 16 track tape machine.

PRESS DIG RETURN = PRE-INSERT

Allen & Heath 32 ZED-R16 User Guide

MODES OF OPERATION

DIGITAL MIXDOWN USING FADERS AS MIDI CONTROLLERS

Many people will want to stay in the digital domain once their tracks are recorded. The ZED-R16 appreciates this and allows the channel faders to be used as MIDI controllers where they can be assigned to control the level or other parameter within the Digital Audio Workstation or software application. The analogue part of the fader is bypassed at unity gain, so it is still possible to route signals to the mix bus if required. Also, the other parts of the channel are available for things like sending audio to the DAW for additional tracks or overdubbing whilst monitoring this signal using the Auxes, which would be at zero latency with respect to the input to the pre-amp.

DIGITAL SEND FROM AFTER PRE-AMP Could be used for overdubbing the recorded track.

ADC

DAC

DIGITAL INPUT NOT SWITCHED IN So the signal from the preamp can be used for foldback purposes.

DIGITAL SIGNAL (FIREWIRE OR ADAT) MIDI data is carried by the FireWire bus. If the audio connection is ADAT then use the MIDI out from the ZED-R16 for control.

Assign the MIDI controllers in the DAW.

Listening to a stereo mix from the DAW can be done by selecting ZED R 16 MAIN L R as the output for the master track in your DAW and returning this to the ZED-R16 in the master section.

Automating MIDI controlled parameter moves in your application can be done using either pick-up mode or jump-to mode for the MIDI control.

PRESS FADER = MIDI

Allen & Heath 33 ZED-R16 User Guide

MODES OF OPERATION

EXTREME FLEXIBILITY—ANALOGUE PLUG-INS!

You can even use the EQ in the ZED-R16 channel as an analogue plug-in for your Digital Audio Workstation! To do this press both the DIG RET = PRE INS to source the channel from your DAW and the DIG SND = POST EQ, so the output of the EQ goes back to the DAW. You may need to create a new track in your software application for the equalised audio, otherwise a feedback loop could easily be created between the ZED-R16 and the DAW.

DIGITAL INPUT = PRE INSERT The digital input from the DAW replaces the signal from the channel pre-amp

DAC

ADC

DIGITAL SEND FROM AFTER EQ The post EQ signal is sent back to the DAW.

DIGITAL SIGNAL (FIREWIRE OR ADAT)

Create a new track in the DAW to return the EQ’d signal, arm the track and record it as required.

Monitor the post-EQ signal either using the channel PFL or the SOLO function in your DAW, returning the master stereo track to the ZED-R16 in the master section.

PRESS DIG SEND = POST EQ AND DIG RETURN = PRE-INSERT

Allen & Heath 34 ZED-R16 User Guide

cakewalk SONAR LE

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. You’ll 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, you’ll 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 won’t 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. Today’s 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 interface Active Controller Technology™ automatically maps MIDI keyboards and control surfaces to the parameters you need most on effects, instruments, volume, pan, and other mix elements Easier integration of virtual instruments with Synth Rack Support for Windows Vista (32-bit & 64-bit), Windows XP Professional x64 Edition, and Windows XP operating systems

Allen & Heath 35 ZED-R16 User Guide

System Requirements (For SONAR LE).

System Requirements

Operating System Windows XP Windows XP/Vista/Vista x64

Minimum Recommended

Processor Speed Intel® Pentium® 4 1.3 GHz,

or AMD™ Athlon XP 1500+

or higher

Intel® Pentium® 4 2.8 GHz

[EM64T], or AMD™ Athlon 64

2800+or higher

RAM 256 MB 1 GB or higher

Graphics (resolution, color depth)

Hard Disk Space 100 MB for core program 2 GB for program and content

Hard Disk Type

MIDI Interface Windows-compatible Windows-compatible

Audio Interface Windows-compatible WDM- or ASIO-compatible, includ-

Optical Drive DVD-ROM, DVD+/-R, or DVD+/-RW for installation, CD-R or CD-

Any EIDE/Ultra DMA (7200 RPM) or

1024 x 768, 16-bit colour 1280 x 960, 32-bit colour

SATA

ing WaveRT for Vista

RW capability required for CD audio disc burning

SONAR LE Installation.

Put disk into CD or DVD ROM drive and follow instructions on screen.

SONAR LE Audio Configuration with ZED-R16.

To configure your SONAR LE software to communicate audio to and from your ZED-R16 mixing console, follow the sequence below.

Ensure the Driver software is installed on your computer. Please refer to the section titled Installing Drivers.

Ensure the ZED-R16 is powered on. Connect the FireWire lead from the computer to the FireWire port on ZED-R.

First check that your computer has recognised the connection of the ZED-R FireWire device by clicking Settings/Control Panel/Sounds and Audio Devices/Audio.

ZED R Audio should appear as an option in the drop-down menu for Sound playback devices as shown on the right:

It is also a good idea to select “No Sounds” in the Sounds window.

Allen & Heath 36 ZED-R16 User Guide

Next, launch SONAR LE.

Click Options/Audio and click on the Drivers tab. The Input and Output Drivers for ZED R should appear in the option boxes. If they don’t, click the Advanced tab and check that the Driver Mode is set to ASIO.

The Input drivers are the audio sources to the computer. Using SONAR LE, only 8 simultaneous inputs can be used at one time and these are shown in the screenshot enabled in pairs. Unfortunately with the current version of SONAR LE, the inputs and outputs are only enabled in pairs, but the inputs can be chosen as a mono source in the application ie CH1/2 Left would be channel 1.

The Output Drivers are the audio outputs from the Computer. Again, only 8 of the 18 possible FireWire channels are enabled simultaneously using SONAR LE.

If you scroll down the list of Input & Output Drivers, you will see there are 8 ADAT input channels and 8 ADAT output channels that can be enabled as well as choosing from the 18 FireWire inputs and 18 outputs. These can be enabled and used in conjunction with the 18 FireWire inputs and outputs, connecting ADAT equipment to the ADAT input and output connectors 1-8. SONAR LE will only allow 8 simultaneous inputs and 8 outputs at one time, so the ADAT channels will count towards that number, but with applications with a higher number of simultaneous inputs & outputs, then the number of FireWire and ADAT channels that can be used will be according to the table on p24.

In order to show how to select inputs to SONAR tracks, here is a basic Cakewalk 16 track project (.cwp). This is created by clicking File/New/16 Track Audio. Click on the I/O tab near the bottom of the window, then click the expand buttons in the audio track panes. The track 1 shows the drop down menu for the track inputs and if we select LEFT ZED R16 CH1/2, then the source for that track will be channel 1 from ZED-R16.

If audio is present, click the Input Echo buttons (lit up yellow here) to monitor the signals on the Master Bus.

The output for of the track is automatically routed to the master bus in SONAR LE, but could be routed back to your ZED-R16 using the drop-down menu for the outputs. Note that in SONAR LE that there are only 8 outputs available simultaneously, in pairs. If a mono output is required then select the relevant pair and pan the output of that track to be a mono output, so to route back to ZED-R16 channel 1, select CH1/2 and pan 100% left.

You should now be able to send audio between your computer and your ZED-R16 using SONAR LE.

To test this, let’s do a recording….

Allen & Heath 37 ZED-R16 User Guide

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 de-selecting the R buttons.

Click Play (or spacebar) and the recorded audio should play to the selected outputs on the track which if you have selected CH1/2 and panned left for track 1 and CH1/2 panned right for track 2 will be the same channels on ZED-R16 supplying the audio to the tracks.

A note about digital audio drop-outs, latency and buffer sizes.

Digital audio recording and playback using a FireWire equipped computer relies on high frequency “streaming” of data along the bi-directional FireWire connection lead. The data consists of packets or chunks of sampled audio data which is held in buffer memory and sent to the receiver where it is then buffered again so that the receiving equipment can process it and decode it into audio data that the receiving system can understand. This streaming process is very dependent on the ability of the processor to handle it. The specific processor in ZED-R is optimised for the task, but processors in computers vary widely and for this reason an element of tweaking may be required. When the ZED-R device drivers are installed on your computer, a Control Panel is also installed and should appear as an icon on your computer desktop. The Control Panel enables customisation of the digital audio settings as well as device name changing. If your DAW is suffering from audio drop-outs, try increasing the buffer size or try a different Operation Mode. If latency is a problem and your computer processor is fast enough to handle it, try reducing the buffer size in Normal Operation Mode. You may need to close your audio application and launch it again once adjustments are made.

Changing sample rate and buffer size may cause clicks in the audio. Remember to protect your speakers by turning the amps down or muting the outputs from ZED-R.

Allen & Heath 38 ZED-R16 User Guide

Enabling MIDI Control with SONAR LE

With SONAR LE running and ZED-R16 connected via FireWire, click Options in the main menu toolbar, then MIDI Devices. Enable ZED-R as a MIDI input device to SONAR by clicking on it as below.

Click OK and return to the main Options menu and click Controllers/Surfaces where you can choose the MIDI control source for your project. If none appear then click the Add New button (yellow star) and select the controller surface type as MMC-1 and the In port as ZED-R. This will set the MIDI Machine Control transport keys on ZED-R16 to operate the transport functions in SONAR LE. Click Add New again and select ACT MIDI Controller-1 to be the controller and select the In port to ZED-R. The pane should look like:

You are now able to assign the MIDI controllers on ZED-R to functions in SONAR LE. This is a very brief overview of how to get started, if you need to know more about MIDI control in SONAR LE, then the Cakewalk website is a great source of information. To get started though, click the Controller/Surface selection window on the main toolbar (you may need to enable it in Views/Toolbars), and select ACT MIDI Controller-1. Then to the right of this click the Controller/Surface Properties button and the controller properties assignment pane opens.

To assign the ZED-R channel 1 fader to control the fader on track 1 of the project we have open, click the lower half of the S1 pane just under T1 Vol. It is set to learn a MIDI controller. Press the CH1 Fader=MIDI switch and move the fader and you will see the dB value changing and also the fader moving on track 1. The rotary MIDI controllers and MIDI switches on ZED-R can be assigned in a similar way, the controls being mapped to different functions in the Options tab and choosing from the menus.

Allen & Heath 39 ZED-R16 User Guide

ZED-R MIDI IMPLEMENTATION

MIDI

CONTROLLER

FADER CH1 CC 01 0-127

FADER CH2 CC 02 0-127

FADER CH3 CC 03 0-127

FADER CH4 CC 04 0-127

FADER CH5

FADER CH6 CC 06 0-127

FADER CH7

FADER CH8

FADER CH9

FADER CH10

FADER CH11

FADER CH12

FADER CH13

FADER CH14

FADER CH15

FADER CH16

FADER MIDI 1

FADER MIDI 2

FADER MIDI 3

FADER MIDI 4

ROTARY 1

ROTARY 2

ROTARY 3

ROTARY 4

ROTARY 5 CC 69 0-127

ROTARY 6

ROTARY 7

ROTARY 8

ROTARY 9

ROTARY 10

ROTARY 11

ROTARY 12 CC 70 0-127

MESSAGE

TYPE

CC

DATA 1 DATA 2

05 0-127

07 0-127

08 0-127

09 0-127

0A 0-127

0B 0-127

0C 0-127

0D 0-127

0E 0-127

0F 0-127

10 0-127

11 0-127

12 0-127

13 0-127

14 0-127

65 0-127

66 0-127

67 0-127

68 0-127

6A 0-127

6B 0-127

6C 0-127

6D 0-127

6E 0-127

6F 0-127

MIDI

CONTROLLER

SWITCH 1

SWITCH 2 NOTE ON/OFF 02 7F/00

SWITCH 3 NOTE ON/OFF 03 7F/00

SWITCH 4 NOTE ON/OFF 04 7F/00

SWITCH 5

SWITCH 6 NOTE ON/OFF 06 7F/00

SWITCH 7

SWITCH 8

SWITCH 9

SWITCH 10 NOTE ON/OFF 0A 7F/00 *

SWITCH 11 MMC REWIND

SWITCH 12 MMC STOP

SWITCH 13

SWITCH 14

SWITCH 15

SWITCH 16 NOTE ON/OFF 10 7F/00

SWITCH 17 NOTE ON/OFF 11 7F/00

MESSAGE TYPE DATA 1 DATA 2

NOTE ON/OFF

MMC

01 7F/00

05 7F/00

07 7F/00

08 7F/00

09 7F/00 *

PLAY

FFW

REC

* = Resends command if held down

MIDI control

1 2

5 6

9 1

3

7

11

4

8

12

+

RW STOP PLAY FF REC SHIFTINC

MIDI MIDI MIDI MIDI

LR123 4

Changing MIDI Channel

The default MIDI channel is 16. To change this, hold PLAY on power up, then press in the binary code of the required MIDI channel into switches 1,3,5,7. (1 = MSB). MIDI channel = binary code + 1. Hold the code switches down and press PLAY

127

10

5

0

10

5

0

5

10

again and the MIDI channel will be reset. eg MIDI channel 1 = no switches pressed. MIDI channel 2 = switch 7 pressed.

O

OO

MIDI channel 10 = switch 7 and 1 pressed.

Allen & Heath 40 ZED-R16 User Guide

WIRING NOTES

Insert cable wiring

RETURN

SEND

Y-Adapter

2 Outputs to 1 Input

No !

INSERT

R

GROUND

Sleeve=ground

Ring=cold (-)

Tip=hot (+)

T

S

UNBALANCED

BALANCED

RETURN

T

S

R

SEND

T

S

R

LINK RING TO SLEEVE TO UNBALANCE

RCA PHONO CABLE

UNBALANCED

INSTRUMENT CABLE

TRS JACK CABLE

RCA phono jacks

UNBALANCED

BALANCED

PROCESSOR

adapter

Sleeve=ground

Ring=cold (-)

Tip=hot (+)

OUT

IN

Y-Adapter

1 Output to 2 Inputs

Yes

General Wiring Information

TO

INPUT

2=hot (+)

3=cold (-)

Tip=hot (+)

2=hot (+)

1=ground

Ring=cold (-)

1=ground

3=cold (-)

Sleeve=ground

BALANCED

XLR MALE

BALANCED

XLR MALE

MIC CABLE

TRS to XLR-F CABLE

TRS to XLR-M CABLE

BALANCED

XLR FEMALE

BALANCED

XLR FEMALE

BALANCED

Sleeve=ground

1=ground

3=cold (-)

1=ground

3=cold (-)

Ring=cold (-)

Tip=hot (+)

2=hot (+)

FROM

OUTPUT

Allen & Heath 41 ZED-R16 User Guide

PRODUCT SUPPORT

Investigate ALLEN & HEATH’s 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

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Registering your product

Thank you for buying the Allen & Heath ZED-R16 mixer. We hope that you are happy with it and that you enjoy many years of faithful service with it, and record and mix some great music.

Please go to www.allen-heath.com/register.asp and register your product’s 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 42 ZED-R16 User Guide

Allen & Heath ZED R16 USER GUIDE

Specifications and Main Features

Frequently Asked Questions

User Manual