Lexicon PCM96 A Reverb Masterclass? - Audio Media

Allen & Heath | ZED R-16
Stereo Channels/Returns
If you need to add any external stereo sources
to your analogue stereo output bus, or just to be
used as analogue fx returns, then the ZED R-16
provides four stereo channels to allow for this.
The first pair, stereo 1 and 2, can accept input
sources through either unbalanced TS jack or RCA
phono sockets. You have control over the input
gain from -30 to +10dB. High and low frequency
shelving equalisation with the same specification
as those on the ZED R-16 channel strips as well as
auxiliary sends 1 and 2, again set pre as with those
on the main strips.
Rotary controls for both stereo balance and
level follow with the latter having the range -30
to +10dB.
PFL and L-R routing buttons complete the
feature set for the first two stereo channels.
Stereo 3 and 4 are much more limited.
Unbalanced input is accessed via TS jacks only,
and your only controls for this pair of stereo
channels is a rotary level control, PFL, and L-R
routing buttons.
Studio/Artist Monitors
Two studio/artist monitor feeds are catered
for with the ZED R-16. Both are identical and
independently controlled. You can choose either
the main L-R stereo bus, or any of the four auxiliary
sends as your source.
Selecting more than one source results in
them getting mixed together. A master rotary
level control and AFL button complete this
section. Output to your studio/artists is through
TRS jack sockets.
Control Room/Master Section
The four master auxiliary sends with AFL buttons
control the signal leaving the ZED R-16 through
the balanced TRS jack sockets for each.
Up to two pairs of control room monitor
speakers can be connected via balanced TRS
output sockets. Selection between them, volume,
and mono summing into the monitors are
controlled alongside an associated headphone
socket and volume control.
The source feeding both your control room
monitors and headphones are controlled with
three buttons. The default selection is the
main analogue L-R output bus, but this can be
overridden to monitor one of two 2-track external
sources plugged into the unbalanced TS or RCA
phono sockets, or 2-channel DAW digital feed.
There is a built in talkback microphone, with
level control and momentary routing switches for
both artist headphone or artist stage monitors if
the ZED R-16 is used in a live scenario.
Twelve-segment LED peak response meters
follow the control room monitor selection switches
(showing output pre level control) unless a PFL or
AFL switch is depressed elsewhere. This selection
will override the control room setting.
The main L-R output bus feeds both balanced
XLR and TRS sockets. These can also be utilised to
copy between the two 2-track sources connected
to your ZED R-16 by buttons located next to your
meters. A quick and easy way to copy things
between external machines without any fiddly
re-patching. There are also unbalanced TRS
insert point jacks for both the left and right main
output buses.
Digital/MIDI Connection
There are four ADAT optical connectors to cover
the 16 inputs and 16 outputs, two Firewire sockets,
and a single MIDI output.
Two switches next to the Firewire ports
determine which digital interface is principally
used, and in the case of that being the
ADAT option, provide a sample rate of either 44.1
or 48kHz.
With either of those two rates the Firewire
connection can run 18 input/output feeds, as well
as eight ADAT input/outputs, giving a total of 26
possible simultaneous inputs and outputs.
The A&H ZED R-16 provides a MIDI control
section that feeds both the MIDI output and
Firewire connections.
Transport controls, along with four linear, 12
rotary, and 12 switches, can be mapped as required
with your preferred system setup.
In Use
At this point the only DAW system that the Allen &
Heath ZED R-16 has a set-up template for is Sonar,
and as it is the supplied DAW system, I used this
for the basis of my testing.
A&H says it will be providing more templates
for other applications very soon, and these will be
available for download from its website.
Installation of both the Sonar LE application
and drivers for the ZED R-16 are explained with
some detail in the well written accompanying
manual, and all went exactly as described.
Getting Sonar to recognise the ZED R-16 Input/
output and MIDI systems was straightforward.
I was expecting this to be a little trickier than it
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AUDIO MEDIA OCTOBER 2008