Lexicon PCM96 A Reverb Masterclass? - Audio Media

ALLEN & HEATH ZED R-16
Analogue Mixer/DAW Interface/Controller
Things can only get better
and better for A&H, as this
welcome return to the studio
proves. SIMON TILLBROOK
has his expectations exceeded
with A&H's new mixer.
THE REVIEWER
SIMON TILLBROOK is the Principal
Music Tutor at Islington Music
Workshop in London. The rest of
his time is spent as a freelance
engineer, mainly in the USA.
Some of my early ventures into audio recording and
mixing involved manufacturers that, at the time,
dominated the home/semi-professional market, but
have since been absorbed by larger competitors or simply
vanished without trace. A few seem to have changed the
direction of their development and, as a result, I have had
little if any contact with the equipment they have
subsequently produced.
Cornwall-based Allen & Heath is such a manufacturer
for me. I have fond memories of using the Saber, System
8, and GL2800 mixing consoles on many projects, but
that seemed to be the end of the line for its studio mixers.
So, some ten years later Allen & Heath has re-entered this
field with the ZED R-16, and I have been looking forward
to checking one out.
T h e A&H ZED R-16 is a 16x2 analogue mixer
with integrated MIDI based DAW
control and 18x18 digital
connectivity via Firewire
and ADAT optical.
You
also
have a
section
with a
variety
of
MIDI
controllers (linear,
rotary encoders, and
switches) that can be mapped to
your system requirements. Supplied
along with the Allen & Heath ZED R-16 is a
full working copy of Sonar LE (PC-based DAW)
and drivers for both Windows and Apple computers,
based on standard device drivers from TC Applied
Technologies.
The ZED R-16 occupies a compact 704x470mm
footprint, and weighs a solid 13kg.
Channel Strip
From the top down we start with a balanced XLR mic
input and balanced TRS line input. These two connectors
are summed together at different levels (using
attenuating resistors and coupling capacitors), so you
cannot have plugs in both at the same time. Below these
is an unbalanced TRS insert socket, and a 48v phantom
power switch.
The gain rotary control works the preamplifier that
is based on those used by Allen & Heath’s GL2800 and
GL3800 console preamps.
A dual scale indicates a range of +6 to +60dB for
mic, and -14dB to +40dB for line signals. The input
type is selected when a plug is inserted into the
appropriate socket.
A high pass filter switch with a turnover frequency set
to 100Hz and 12dB per octave slope sits immediately after
the input preamp.
Next we have the equaliser with high and low
frequency shelving featuring +/-15dB at 12kHz, and
+/-15dB at 80Hz respectively. High and low mid sections
are fully parametric. Both have +/-15dB cut and boost and
a Q range from 0.8 to 6. High mid sweeps from 400Hz to
18kHz and low mid from 18Hz to 1kHz.
The entire equaliser can be switched in and out of
signal flow with the EQ in button.
There are four auxiliary sends on the ZED R-16 channels
strip. Sends 1 and 2 are set pre fader, and sends 3 and 4
post fader, but all sends are pre the fader mute switch.
It is possible to change the pre/post configuration in
pairs using jumpers on the circuit boards, but not easy
to access.
The channel pan and mute controls sit above the PFL
switch. This feeds the signal to the ZED R-16 PFL bus.
There are LED indicators for signal present
triggered at a threshold of -14dB, and another when
within 5dB of clipping. These LED indicators come after
the EQ in switch.
The ZED R-16 channel strip 60mm fader can be used
to either feed the analogue L-R bus outputs using the L-R
routing button, or switched to act as a continuous MIDI
controller via Firewire to your DAW when Fader=MIDI is
depressed. When in MIDI mode the audio is bypassed at
unity gain.
Three switches next to the fader determine the mode
of operation and digital routing for the ZED R-16, which
I will address shortly.
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AUDIO MEDIA OCTOBER 2008