Allen & Heath ZED-10FX Bundle

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  • Equalizing
  • Percussion Room
  • Voc Reverb

Further information

Incl. Effects Unit Yes
19" Rack Compatible No
Mic Preamps 4
Stereo Inputs 2
Aux 2
Phantom power Yes
Integrated Power Supply Yes
Parametric Yes
Digital Interface Yes
37 customer ratings:
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4.6 / 5.0
  • handling
  • features
  • sound
  • quality
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Excellent micro mixer sits between the stairs.

DrNI, 07.12.2013
The ZED-10FX is a mixing console that meets the good reputation of Allen & Heath. The processing is predominantly high quality: All potentiators are screwed, the XLR sockets are from Neutrik, the case is made of solid sheet metal. Only the plastic sides are a bit cheap. Immediately a big plus has the console with me through its built-in power supply.

From the sound I am quite satisfied. The preamps I feel as precise. Of course, a 3-band EQ is not an all-purpose weapon, but for example, with an SM58 the Mumpf something rauszunehmen and the missing brilliance of the Mics something to compensate is the equipment of the ZED10 exactly fitting. As usual from A & H, the EQs do well. The effects device does not play in the upper league, but is good for live from the sound. For each effect you can set a parameter, in addition, the delay tempo can be taped - contemporary. The essential foot switch connector is on board for the self-sounding musicians, with which you can switch off the reverb during the announcement.

Conclusion: The A & H ZED-10FX offers all the necessary functions with good sound in a compact format on the live chair for very small assignments, eg Singer / Sognwriter with guitar, vocals or even stage piano up to Cajon. Purchase recommendation for it!

But now to the other chair on which the desk would like to sit: Recording. The record-out and monitor-out is as Cinch executed, the USB interface can only 16bit. For this, it runs smoothly under Linux. The functions of the console, namely a special record bus and a playback channel, are designed for overdub with up to 2 tracks. The USB interface should however have 24bit and the outputs should be symmetrical jacks, so that a high quality audio interface or a mobile recorder as well as its Studoboxoxen can connect trouble-free. In this point, A & H is inconsistent. However, there are also situations in which this desk would be completely sufficient, for example, in the production of a radiobox. There is the hally space vs Sprecherkabine anyway more the problem than a 16bit transducer.

It is annoying that there is no mono option on the stereo inputs, here you have to build a Y-cable. Nice would be a switch per channel not only for record and PFL, but also for the main mix. This could serve as a mute switch for live as well as allow to add something to the record bus, which does not go over the PA, but should be recorded at the recording. A simple mute switch is missing me.

Again a conclusion: For recording is the ZED-10FX not unsuitable, but not optimal. For live at the very least, it is a good and practical tool for all those who are finally fed up with the sound and the difficult reliability of the "Billigheimer". With the features there would be even more possibilities for improvement.
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England vs. USA: Comparison ZED-10FX with Mackie 1202 VLZ3

Wernie, 23.02.2013
With the ZED-10FX, A & H finally has a cheap small mixer for homestudio and mini-gigs on offer. The ZED-10FX is essentially the same as the Mackie 1204 VLZ3, which has been on the market for almost 10 years, with a built-in USB audio codec (stereo I / O, 16 bit, up to To 48 kHz). There is also an additional recording bus associated with the codec. This is not a full-fledged bus, he has no mix controls, only switches. But what Applefreaks will look forward to: The USB port is core audio compatible and funzt with Mac and iPad (via camera kit). However, it always occurs again and again, that individual crackers occur. For important shots therefore only conditionally recommendable.

The Mackie does not have such nonsense, only 4 monocanals with insects, but without HiZ for instruments. The ZED has no inserts, but there are 2 HiZ inputs with simple FET preamps, which sound slightly warmer than the usual opamps. The distortion factor is already very good with a higher level of control. The likes of the electric guitarist, but can be almost too much of a good thing for acoustic guitars. The microphone preamplifiers are almost equally good and low-noise with both mixers, the Mackies perhaps sounding more transparent. The Mackie has no adjustable midrange controls.

While the Macke has the same stereo channels, the ZED has only two of them, one of which is assigned to the USB codec by default. The third is called Playback-In and usually also hangs at the output of the USB audio codec, which is somewhat confusing. Channel-wise overload displays are not available with both mixers, you have to adjust via the PFL / list switches.

The effect device of the ZED is simple knitted but well thought out and sounds quite passable. In essence, there is a multi-layered reverb, each with an adjustable parameter, a delay in several variations, and a few other effects such as Doppler, Flanger, and Chorus. However, these are not very variable. The operation is simple. On the stage, the effects are quite useful, in the studio you will prefer an external reverberation if you have higher requirements. This can be locked parallel to the built-in effect device.

The ZED-10FX unfortunately has only 4 balanced connections (Mic channels 1 - 4). All other inputs and outputs are unbalanced, even the two XLR outputs! The jack jacks are three-pole, but the ring connection is connected to ground via a resistor. Impedance balancing is called the ... So for long cable distances is not thought. The monitor outputs are even cynch. In contrast, the Mackie has 8 fully balanced inputs and 2 symm. XLR outputs. The rest is unbalanced. You can also use it on larger stages.

There are no worlds between the mixers. Overall, the Mackie from USA makes a somewhat clearer and more professional impression, the microphone amplifiers are about 2.5 dB less radioactive and amplify somewhat more. This may be important for owners of ribbon microphones. Also keyboards will prefer the Mackie because of its four adjustable stereo inputs.

But the ZED uses the screwed potentiometers, the HiZ inputs, the parametric mids, the effects device and the USB connection. But since the latter two do not satisfy particularly high demands, one should consider this rather as a triad.

In the end, the cheaper price of the Englishman decides.
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