Allen & Heath Zed -22FX Analogue Sound Console

• 16 mono channels


• 16 internal time-delay effects


• Neutrik mic XLR


• Neutrik 1/4 inch jacks


• Channel insert


• Super wide gain ‘DuoPre’ mic line input


• 3 band EQ with MusiQ


• 2 pre-fade Aux sends


• 1 post-fade Aux send


• 1 internal FX send


• Illuminated mute


• Sound image pan


• Illuminated PFL & peak warning indicator


• ALPS 100mm faders


• 4 stereo channels with 2-band EQ and inputs for extra sources


• Stereo returns & playback


• All inputs with level control


• 12 bar meters


• Mono/stereo function on auxes 1&2


• Monitor output section


• Alt stereo output source


• Configurable USB stereo audio in/out


• Cakewalk SONAR X1 LE bundled with mixer

USB audio flexibility
Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented 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! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

Send options:

1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-FX
Return options:
1) To Stereo 3 channel

MusiQ
ZED-22FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ – with optimised slope (or Q factor) for equalising individual instruments.

DuoPre™
Based on the proven pre-amps from the hugely successful PA series, ZED-22FX has DuoPre pre-amps, which 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. Line level signals are simply plugged into the second stage of