These offer no digital input or output but can be put to use as effects returns or perhaps to connect hardware synths. What you get is a standard set of transport controls for a DAW using the MMC protocol plus 12 rotary controls, four faders and 12 switches. Besides the 16 mono channels you also get four stereo channels. Image 1 of 2 The ZED16 will do a job for you on stage and in the studio. The default setting of two pre-fade and two post-fade auxes allows for two foldback sends plus a couple of effects sends – a configuration that many users will be very comfortable with.
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What all this means is that the ZED R16 can be assigned to multiple roles. Besides the 16 mono channels you also get four stereo channels. Connecting the mixer to computer via FireWire makes all the digital ins and outs instantly available to your recording software, enabling ultra-smooth transfer of audio back-and-forth and opening up a real flexibility in working methods that is likely to endear the ZED R16 to many different users.
If you wish to keep the sound ‘as is’, the EQ section is switchable but there is plenty of scope for both broad and intricate tweaking with the very comprehensive EQ – two swept, fully-parametric mids, plus high and low-shelving EQ on each channel. For those who prefer to mix ‘in the box’, the R16 could still be utilised for its MIDI control facilities.
Allen & Heath Zed-r16 – 16 Channel FireWire Mixer
A centre section offers a fairly comprehensive set of facilities for the small studio. Effortless digital audio interfacing.
If it is preferred to monitor the signal actually being recorded in the computer, this could be sent back from the computer to the faders. All-access artist interviews, in-depth gear reviews, essential production tutorials and zee more.
These offer no digital input or output but can be put to use as effects returns or perhaps to connect hardware synths. The default setting of two pre-fade and two post-fade auxes allows for two foldback sends plus a couple of effects sends – a configuration that many users will be very comfortable with. Where a conventional analogue mixer would have more routing buttons sending the signal to a numbered group bus, the ZED R16 automatically digitally outputs the signal from each ane to zeed same-numbered channel on the FireWire buss or ADAT output.
Four aux sends on each channel offer plenty of possibilities for various ways of working.
Allen & Heath ZED R16 review | MusicRadar
That’s not to say that the R16 is not suitable for live, but its versatility should see it sitting proudly as the nerve-centre in home, project and even small commercial studios.
A whole section of dedicated user-assignable MIDI controllers is ezd located in an area between the input channels and the master faders. What you get is a standard set of transport hesth for a DAW using the MMC protocol plus 12 rotary controls, four faders and 12 switches. Our Verdict A very versatile mixer that would make the perfect centrepiece in a project studio. Image 1 of 2 The ZED16 will do a job for you on stage and in the studio. However, there is the possibility of changing the pre and post configuration of the auxes by putting link wires on the circuit boards – not as straightforward as having the switches on the panel heahh do-able if you need to.
Pros Great sounding mic pres and EQ. Another scenario sees the R16 being used as an analogue mixer but able to utilise a computer as an outboard rack by using the FireWire send and returns on each channel to route the signal through, say, compressor or gate plug-ins. A similar but reversed situation would see the ZED R16’s analogue mixing facilities applied to the tracks recorded on computer with the ZED R16 working as a summing mixer.
Similarly, another pair of buttons takes care of routing back the associated digital output from the computer or ADAT to the ZED R16 channel either after the EQ or just after the preamp to take advantage of the channel’s insert point and EQ. Physically, the ZED R16 is about as solidly built as these things can be, with great attention to the small details and a work surface that is laid out with everything just where you’d expect.
This signal is taken directly from the mic preamp, but if you want to take advantage of the ZED R16’s channel EQ, the digital signal can instead be sent post-EQ by a routing button next to the main fader.