ALLEN & HEATH ZED-R16 User guide

ALLEN & HEATH ZED-R16 User guide
USER GUIDE
Publication AP7236
Limited One Year Warranty
This product is warranted to be free from defects in materials or workmanship for
period of one year from the date of purchase by the original owner.
To ensure a high level of performance and reliability for which this equipment has
been designed and manufactured, read this User Guide before operating. In the
event of a failure, notify and return the defective unit to ALLEN & HEATH Limited or
its authorised agent as soon as possible for repair under warranty subject to the
following conditions
Conditions Of Warranty
The equipment has been installed and operated in accordance with the instructions in
this User Guide.
The equipment has not been subject to misuse either intended or accidental, neglect,
or alteration other than as described in the User Guide or Service Manual, or approved
by ALLEN & HEATH.
Any necessary adjustment, alteration or repair has been carried out by ALLEN &
HEATH or its authorised agent.
This warranty does not cover fader wear and tear.
The defective unit is to be returned carriage prepaid to ALLEN & HEATH or its
authorised agent with proof of purchase.
Units returned should be packed to avoid transit damage.
In certain territories the terms may vary. Check with your ALLEN & HEATH agent for
any additional warranty which may apply.
Restrictions: Software in this product is confidential copyrighted information of TCAT and Allen & Heath
and title is retained by TCAT and/or its licensors. The customer shall not modify, decompile, disassemble,
decrypt, extract or otherwise reverse engineer the software. Please read the End User Licence Agreement on
Allen & Heath's website for the use of software in and to support this product.
Export Regulations: Software, including technical data, is subject to U.S. export control laws, including the
U.S. Export Administration Act and its associated regulations, and may be subject to export or import regulations in other countries. The Customer agrees to comply strictly with all such regulations and acknowledges
that it has the responsibility to obtain licenses to export, re-export, or import software.
This product complies with the European Electro magnetic Compatibility directives 89/336/
EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC & 93/68/EEC.
This product has been tested to EN55103 Parts 1 & 2 1996 for use in Environments E1, E2, E3, and E4 to
demonstrate compliance with the protection requirements in the European EMC directive 89/336/EEC.
During some tests the specified performance figures of the product were affected. This is considered
permissible and the product has been passed as acceptable for its intended use. Allen & Heath has a strict
policy of ensuring all products are tested to the latest safety and EMC standards. Customers requiring
more information about EMC and safety issues can contact Allen & Heath.
NOTE: Any changes or modifications to the console not approved by Allen & Heath could
void the compliance of the console and therefore the users authority to operate it.
ZED-R16 User Guide AP7236 Issue 2
Copyright © 2008 Allen & Heath Limited. All rights reserved
Allen & Heath Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
Allen & Heath
3
ZED-R16 User Guide
PACKED ITEMS
Check that you have received the following:
ST1
STUDIO OUT 1
ST2
L
L
2 TRACK 1 OUT
STUDIO OUT 2
L
L
AUX 1
CRM L
R
LINE IN
MIC
LINE IN
LINE IN
1
MIC
2
MIC
LINE IN
3
MIC
LINE IN
4
MIC
LINE IN
5
MIC
LINE IN
6
MIC
LINE IN
7
MIC
LINE IN
8
MIC
LINE IN
9
MIC
LINE IN
10
MIC
LINE IN
11
MIC
LINE IN
12
MIC
LINE IN
13
MIC
LINE IN
14
R
R
2 TRACK 1 IN
L
L
AUX 2
MIC
MIC
R
CRM R
R
R
LINE IN
15
AUX 3
16
ST1 L
ST2 L
ST3 L
ST4 L
ST1 R
ST2 R
ST3 R
ST4 R
2 TRACK 2 IN
ALT L
L
2 TRACK 2 OUT
R
L
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
AUX 4
ALT R
INSERT L
48V
48V
0
20
30
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
0
40
20
GAIN
50
30
40
ST1
GAIN
50
-10
LEV
ST2
-5
6
60 40
-14
6
60 40
HPF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
LEV
0
-20
5
-30
HPF
100Hz
HF
ST3
-5
-10
LEV
0
-20
-14
OO
10
-15
+15
ST4
-5
-10
LEV
0
-20
5
-30
12k
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
12k
+15
1
-15
OO
10
-15
+15
0
POWER
10
OO
5
-30
10
OO
HF
HF
PFL
PFL
L-R
L-R
AUX MASTER
-15
12k
12k
+15
1
-15
+15
1
-15
+6
12k
+15
1
LF
Q
Q
0.8 2k
4k
700
HM
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8 2k
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
4k
700
HM
18k
400Hz
Q
0.8
6
2k
1k
F
6k
700
HM
18k
400Hz
4k
6k
6k
+15
G
G
AUX1
G
+15
1
-15
+15
1
G
-15
+15
1
F
Q
6
0.8 120
G
-15
+15
1
300
30
F
600
LM
0.8 120
300
30
1k
F
600
LM
18Hz
Q
6
60
60
G
-15
+15
1
0.8 120
300
30
1k
F
600
LM
18Hz
Q
6
60
G
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
F
600
LM
18Hz
Q
6
60
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
-15
G
+15
1
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
-15
G
+15
1
-15
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
G
+15
1
-15
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
G
+15
1
-15
0.8 120
300
30
1k
-15
+15
60
F
600
LM
18Hz
Q
6
+6
0.8 120
300
30
1k
-15
+15
F
600
LM
18Hz
60
-15
0.8 120
300
30
1k
-15
+15
F
600
LM
18Hz
0.8 120
PRE
G
-15
+15
G
-15
LF
+15
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
300
30
1k
-15
+15
F
600
LM
18Hz
G
LF
1k
-15
+15
300
30
600
LEV
L
-10
R
-5
LEV
0
-20
18Hz
1k
-15
+15
G
LF
+6
=
AUX 2
AUX 2
AUX 3
AUX 3
AUX 4
AUX 4
L
R
-5
-10
LEV
0
-20
5
-5
-10
LEV
80Hz
-15
+15
80Hz
-15
+15
EQ IN
AUX1
+6
OO
OO
+6
OO
+6
AUX3
+6
OO
AUX2
OO
+6
OO
+6
OO
+6
OO
+6
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
+6
OO
OO
+6
OO
+6
+15
10
OO
+6
OO
OO
+6
OO
+6
0
5
L-R
1
+6
OO
AFL
AFL
STUDIO
2
STUDIO MONITOR FEEDS
+15
2 TRACK DUB
1 TO 2
2 TRACK 1
REPLACE L-R
TALK
LEV
MIN
TO STUDIO
EQ IN
+6
OO
MAX
TALK
MIDI control
TO AUX 1 & 2
PRE
OO
+6
OO
+6
OO
+6
PHONES
LEVEL
AUX2
PRE
PRE
OO
+6
OO
+6
AUX3
POST
AFL
10
OO
R
2 TO 1
AUX1
AUX2
AUX3
+6
OO
4
-5
-30
AFL
PFL
L-R
-15
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
80Hz
EQ IN
PRE
PRE
POST
-15
AUX1
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
PRE
AUX3
POST
-15
AUX1
AUX2
PRE
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
OO
PRE
-15
AUX1
PRE
AUX2
PRE
+15
80Hz
EQ IN
AUX1
PRE
AUX2
-15
EQ IN
AUX1
PRE
80Hz
3
-20
5
-30
10
OO
PFL
-10
0
-20
5
-30
10
OO
STUDIO
80Hz
L
AUX MASTER
LM
18Hz
G
LF
OO
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
PFL/AFL ACTIVE
+6
AFL
BAL
6
60
-30
G
LF
AUX 1
AUX MASTER
AUX2
+6
=
BAL
6
60
AUX 1
OO
+15
1
Q
6
MIX L-R
+6
OO
AUX2
+15
1
Q
6
MIX L-R
PRE
OO
Q
0.8 120
+15
AUX1
PRE
PRE
-15
60
2
-15
18k
400Hz
OO
Q
AUX MASTER
80Hz
-15
4k
700
HM
18k
400Hz
6
2k
1k
F
AFL
LF
80Hz
0.8
6
2k
1k
F
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
1
100Hz
HF
12k
+15
1
R
-5
-10
-20
5
-30
OO
12k
INSERT R
ALLEN&HEATH
48V
MIN
MAX
AUX3
POST
POST
2 TRACK 2
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
2 TRACK 1
DIG MASTER
OO
=
OO
+6
PAN
=
R
OO
+6
PAN
L
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
+6
MAIN MIX L-R
PAN
L
R
MUTE
CRM
LEVEL
L
R
MUTE
+
MUTE
RW
PFL
PFL
1
HI
PFL
2
HI
PFL
3
HI
SIG
SIG
PFL
4
HI
SIG
PFL
5
HI
SIG
PFL
6
HI
SIG
PFL
7
HI
SIG
PFL
8
HI
SIG
PFL
9
HI
SIG
PFL
10
HI
SIG
PFL
11
HI
SIG
PFL
12
HI
SIG
PFL
13
HI
SIG
PFL
14
HI
SIG
STOP
PLAY
FF
REC
INC
MONO
16
HI
SIG
MIDI
SIG
1
MIDI
MIDI
L
R
10
10
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
127
4
5
10
L-R
127
3
5
10
L-R
127
2
5
10
L-R
127
MIDI
5
10
L-R
MAX
SHIFT
PFL
15
HI
SIG
MIN
ALT SPKRS
DIG MASTER
TO L-R
L-R
PHONES
DIG SND
Post-EQ
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
DIG RET
Pre-INS
DIG RET
Post- EQ
FADER
=MIDI
O
O
O
O
ZED-R16 MIXER
Mains Lead
Check that the correct mains
plug is fitted.
6 pin to 6 pin FireWire cable.
6 pin to 4 pin FireWire cable.
SONAR LE
SONAR LE
Music Software Install disk.
INSTALL
cakewalk
Allen & Heath
4
ZED-R16 User Guide
SAFETY INSTRUCTIONS
WARNINGS -
Read the following before proceeding :
CAUTION
ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR
Read instructions:
Retain these safety and operating instructions for future reference. Adhere to all warnings printed here and on the console. Follow the operating instructions printed in this
User Guide.
Do not remove cover:
Operate the console with its covers correctly fitted.
Power sources:
Connect the console to a mains power unit only of the type described in this User
Guide and marked on the rear panel. Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console. If the provided plug
does not fit into your outlet consult your service agent for assistance.
Power cord routing:
Route the power cord so that it is not likely to be walked on, stretched or pinched by
items placed upon or against it.
Grounding:
Do not defeat the grounding and polarisation means of the power cord plug. Do not
remove or tamper with the ground connection in the power cord.
!
WARNING: This equipment must be earthed.
Water and moisture:
To reduce the risk of fire or electric shock do not expose the console to rain or moisture or use it in damp or wet conditions. Do not place containers of liquids on it which
might spill into any openings.
Ventilation:
Do not obstruct the ventilation slots or position the console where the air flow required
for ventilation is impeded. If the console is to be operated in a rack unit or flightcase
ensure that it is constructed to allow adequate ventilation.
Heat and vibration:
Do not locate the console in a place subject to excessive heat or direct sunlight as this
could be a fire hazard. Locate the console away from any equipment which produces
heat or causes excessive vibration.
Servicing:
Switch off the equipment and unplug the power cord immediately if it is exposed to
moisture, spilled liquid, objects fallen into the openings, the power cord or plug become damaged, during lightening storms, or if smoke, odour or noise is noticed. Refer
servicing to qualified technical personnel only.
Installation:
Install the console in accordance with the instructions printed in this User Guide. Do
not connect the output of power amplifiers directly to the console. Use audio connectors and plugs only for their intended purpose.
Allen & Heath
5
ZED-R16 User Guide
SAFETY INSTRUCTIONS
Important Mains plug wiring instructions
The console is supplied with a moulded mains plug fitted to the AC
mains power lead. Follow the instructions below if the mains plug has to
be replaced. The wires in the mains lead are coloured in accordance
with the following code:
TERMINAL
!
WIRE COLOUR
European
USA/Canada
L
LIVE
BROWN
BLACK
N
NEUTRAL
BLUE
WHITE
E
EARTH GND
GREEN & YELLOW
GREEN
The wire which is coloured Green and Yellow must be connected to the terminal
in the plug which is marked with the letter E or with the Earth symbol. This appliance must be earthed.
The wire which is coloured Blue must be connected to the terminal in the plug
which is marked with the letter N.
The wire which is coloured Brown must be connected to the terminal in the plug
which is marked with the letter L.
Ensure that these colour codes are followed carefully in the event of the plug
being changed.
General Precautions:
Damage :
To prevent damage to the controls and cosmetics avoid placing heavy objects
on the control surface, scratching the surface with sharp objects, or rough handling and vibration.
Environment :
Protect from excessive dirt, dust, heat and vibration when operating and storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain and moisture. If the console becomes wet, switch off and remove mains power immediately. Allow to dry out thoroughly before using again.
Cleaning :
Avoid the use of chemicals, abrasives or solvents. The control panel is best
cleaned with a soft brush and dry lint-free cloth. The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on these
parts is not recommended. The fader and potentiometer knobs may be removed for cleaning with a warm soapy solution. Rinse and allow to dry fully
before refitting them.
Transporting :
The console may be transported as a free-standing unit or mounted in a rack or
flightcase. Protect the controls from damage during transit. Use adequate
packing if you need to ship the unit.
Hearing :
To avoid damage to your hearing do not operate any sound system at excessively high volume. This applies particularly to close-to-ear monitoring such as
headphones and in-ear systems. Continued exposure to high volume sound can
cause frequency selective or wide range hearing loss.
Allen & Heath
6
ZED-R16 User Guide
CONTENTS
Thank you for purchasing your Allen & Heath ZED-R16. To ensure that you get the
maximum benefit from the unit please spare a few minutes familiarizing yourself with the
controls and setup procedures outlined in this user guide. For further information please
refer to the additional information available on our web site, or contact our technical
support team.
http://www.allen-heath.com
http://www.allen-heath.com/zed
http://www.myspace.com/thezedspace
Allen & Heath
Warranty ..........................................................
3
Packed Items ....................................................
4
Safety Instructions ............................................
5
Contents...........................................................
7
Panel Drawings .................................................
8
Introduction to ZED-R16 ....................................
9
Specifications ....................................................
10
Dimensions .......................................................
11
Block Diagram...................................................
12
Mono Input Channel ..........................................
13
Stereo Input Channel.........................................
18
Studio Outputs & ST3 & 4 Inputs ........................
20
Aux Masters and main Outputs ...........................
21
Master Section ..................................................
22
Digital connections & switches............................
24
Digital I/O Configuration Specification .................
24
Digital I/O Configuration Diagrams......................
25
System Compatibility .........................................
26
Connecting to a Computer & Loading Drivers .......
27
ZED DICE Control Panel ....................................
29
Applications Drawings........................................
33
Modes of Operation ...........................................
35
SONAR LE Overview ..........................................
42
SONAR LE installation ........................................
43
Configuring SONAR LE with ZED-R......................
43
Latency, Dropouts & buffer size ..........................
45
Enabling MIDI with SONAR LE ............................
46
MIDI Implementation……………………. ..................
47
Wiring diagrams for audio leads…….. ..................
49
Product Support ................................................
50
7
ZED-R16 User Guide
PANEL DRAWINGS ZED-R16
This device complies with Part 15 of the FCC Rules.
Operation is subject to the following two conditions:
CAUTION
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received,
including interference that may cause undesired operation.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
CET APPAREIL DOIT ETRE MIS A LA TERRE
WARNING: THIS APPARATUS MUST BE EARTHED
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan
Apparatet må tilkoples jordet stikkontakt
Apparaten skall anslutas till jordat uttag
OFF
ON
0
I
ALLEN&HEATH
FUSE
T1.6A L 250V 20mm
AC MAINS IN ~
100 - 240V~ 47-63Hz 55W MAX
ADAT OUT
9-16
1-8
MIDI OUT
ADAT IN
9-16
1-8
FIREWIRE
ADAT
44.1kHz
48kHz
Serial No.
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED.
ST1
MIC
MIC
LINE IN
MIC
LINE IN
LINE IN
1
2
MIC
LINE IN
3
MIC
LINE IN
4
INSERT
INSERT
INSERT
MIC
LINE IN
5
INSERT
MIC
LINE IN
6
INSERT
MIC
LINE IN
7
INSERT
MIC
LINE IN
8
INSERT
MIC
LINE IN
9
INSERT
MIC
LINE IN
10
INSERT
MIC
LINE IN
11
INSERT
MIC
LINE IN
12
INSERT
MIC
LINE IN
13
INSERT
MIC
14
INSERT
L
AUX 1
L
L
R
R
R
R
CRM L
R
L
CRM R
R
AUX 3
16
INSERT
ST1 L
ST2 L
ST3 L
ST4 L
ST1 R
ST2 R
ST3 R
ST4 R
2 TRACK 2 OUT
R
L
INSERT
ALT R
INSERT L
20
30
0
40
20
50
30
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
0
40
20
GAIN
50
30
40
ST1
GAIN
50
-10
LEV
ST2
-5
LEV
0
-20
-14
6
60 40
-14
6
60 40
HPF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
LEV
0
-20
5
-30
HPF
100Hz
HF
ST3
-5
-10
LEV
0
-20
5
-30
10
OO
ST4
-5
-10
0
POWER
-20
5
-30
10
OO
HF
5
-30
10
OO
HF
PFL
AUX MASTER
12k
-15
-15
F
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
6k
400Hz
F
18k
-15
0.8 2k
1k
4k
6k
400Hz
F
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
6k
400Hz
F
18k
-15
0.8 2k
1k
4k
6k
400Hz
F
18k
-15
0.8 2k
1k
4k
6k
400Hz
F
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
-15
0.8 2k
1k
4k
F
6k
400Hz
18k
4k
700
HM
-15
0.8 2k
1k
F
6k
400Hz
18k
-15
PFL
+6
0.8 2k
1k
4k
6k
400Hz
F
18k
4k
700
HM
0.8 2k
1k
6
6k
400Hz
F
18k
LF
80Hz
+15
-15
4k
6k
400Hz
+15
LF
80Hz
6
700
HM
12k
-15
+15
1
Q
6
700
HM
+15
1
Q
6
12k
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
HM
12k
+15
1
Q
6
700
12k
+15
1
Q
0.8 2k
1k
HM
12k
+15
1
Q
AUX1
G
+15
1
G
-15
G
+15
1
-15
G
+15
1
-15
G
+15
1
-15
G
+15
1
-15
+15
1
G
-15
G
+15
1
-15
G
+15
1
-15
G
+15
1
-15
G
+15
1
-15
G
+15
1
-15
+15
1
G
-15
G
+15
1
-15
-15
-15
Q
Q
0.8 120
60
F
Q
0.8 120
6
300
30
F
600
60
18Hz
Q
0.8 120
6
300
30
F
600
LM
1k
18Hz
Q
0.8 120
6
60
300
30
F
600
LM
1k
60
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
F
600
LM
1k
60
18Hz
Q
0.8 120
6
300
30
F
600
LM
1k
60
18Hz
Q
0.8 120
6
300
30
F
600
LM
1k
60
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
60
F
600
LM
1k
18Hz
Q
0.8 120
6
300
30
F
600
LM
1k
60
300
18Hz
F
600
60
300
18Hz
F
600
60
18Hz
+6
=
G
G
-15
+15
LF
G
-15
+15
G
-15
LF
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
G
-15
+15
LF
600
+15
LF
OO
LEV
L
-10
R
-5
LEV
0
-20
18Hz
AUX 2
AUX 3
AUX 3
AUX MASTER
+6
=
L
R
-5
-10
LEV
0
-20
5
10
OO
-15
5
-30
80Hz
-15
+15
80Hz
-15
+15
EQ IN
AUX1
AUX1
PRE
OO
+6
OO
+6
AUX3
OO
+6
OO
+6
AUX4
AUX4
POST
OO
+6
OO
+6
AUX4
POST
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
OO
+6
5
10
OO
OO
+6
OO
+6
10
OO
L-R
1
+6
OO
AFL
AFL
STUDIO
R
2
STUDIO MONITOR FEEDS
2 TO 1
2 TRACK DUB
1 TO 2
2 TRACK 1
REPLACE L-R
TALK
LEV
MIN
MAX
TALK
TO STUDIO
MIDI control
TO AUX 1 & 2
PRE
OO
+6
OO
+6
OO
+6
PHONES
LEVEL
PRE
OO
+6
OO
+6
MIN
MAX
AUX3
POST
POST
AUX4
POST
5
-30
AUX2
AUX3
AUX4
POST
0
AFL
+15
EQ IN
+6
OO
PRE
POST
AFL
4
-5
-10
-20
PFL
L-R
-15
+6
OO
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
AUX4
POST
+15
EQ IN
+6
OO
PRE
POST
80Hz
-15
AUX1
PRE
AUX2
AUX3
POST
+15
EQ IN
+6
OO
PRE
AUX3
POST
80Hz
-15
AUX1
PRE
AUX2
PRE
AUX3
POST
+15
EQ IN
+6
OO
AUX2
PRE
80Hz
-15
AUX1
PRE
+6
OO
AUX2
PRE
+15
EQ IN
AUX1
PRE
+6
OO
AUX2
80Hz
-15
EQ IN
3
AUX 4
LEV
0
-30
10
OO
PFL
+15
-5
-10
-20
STUDIO
80Hz
L
AFL
AUX MASTER
300
1k
G
-15
AUX 1
AUX 2
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
PFL/AFL ACTIVE
+6
OO
BAL
-30
LF
AUX 1
+6
OO
PRE
6
30
LM
1k
MIX L-R
AUX 4
0.8 120
6
30
LM
1k
MIX L-R
AUX2
BAL
Q
0.8 120
6
30
LM
1k
2
+15
1
OO
LM
AFL
L-R
AUX MASTER
+6
AUX2
+15
1
L-R
18k
G
+15
1
+15
+15
PRE
PRE
-15
-15
-15
AUX1
PRE
OO
G
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
1
10
OO
OO
12k
R
-5
-10
100Hz
HF
INSERT R
ALLEN&HEATH
0
GAIN
48V
2 TRACK 2 IN
ALT L
L
AUX 4
48V
48V
48V
2 TRACK 1 IN
LINE IN
15
INSERT
2 TRACK 1 OUT
STUDIO OUT 2
L
AUX 2
MIC
LINE IN
STUDIO OUT 1
ST2
L
2 TRACK 2
2 TRACK 1
AUX4
POST
POST
DIG MASTER
OO
=
+6
PAN
OO
=
+6
PAN
L
R
+6
OO
=
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
MAIN MIX L-R
PAN
L
R
MUTE
CRM
LEVEL
L
R
MUTE
+
MUTE
RW
PFL
PFL
1
HI
PFL
2
HI
10
10
L-R
L-R
PFL
4
HI
SIG
SIG
SIG
PFL
3
HI
SIG
10
L-R
PFL
5
HI
SIG
10
L-R
PFL
6
HI
SIG
10
L-R
PFL
7
HI
SIG
10
L-R
PFL
8
HI
SIG
10
L-R
PFL
9
HI
SIG
10
L-R
PFL
10
HI
SIG
10
L-R
PFL
11
HI
SIG
10
L-R
PFL
12
HI
SIG
10
L-R
PFL
13
HI
SIG
10
L-R
PFL
14
HI
SIG
10
L-R
L-R
MIDI
SIG
10
L-R
PLAY
FF
REC
INC
10
MAX
SHIFT
MONO
16
HI
SIG
10
STOP
PFL
15
HI
MIN
127
1
MIDI
127
2
MIDI
127
3
MIDI
127
4
L
R
10
10
ALT SPKRS
DIG MASTER
TO L-R
L-R
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
PHONES
DIG SND
Post-EQ
DIG RET
Pre-INS
DIG RET
Post-EQ
FADER
=MIDI
Allen & Heath
8
O
O
O
O
ZED-R16 User Guide
INTRODUCTION TO THE ZED-R16
A Technical Overview:
The Allen & Heath ZED-R16 mixer has been carefully and lovingly designed in the beautiful county of Cornwall in the UK and
is manufactured alongside a wide range of professional audio mixing consoles.
Allen & Heath has a long history of making classic recording mixers such as the Sigma, Syncon, System 8, Saber and the
GS3000, but for a few years have concentrated on the live sound, installation and pro DJ markets.
Re-entering the world of recording mixers is a very exciting prospect for us and our customers. We spent a long time examining how modern recording methods, equipment and software applications have changed the way musicians and sound engineers work, then over a pizza lunch at one PLASA show we cemented the ideas together as the original concept for ZED-R16.
ZED-R16 is designed to fulfil the needs of musicians and sound engineers with many requirements and different ways of working. With your ZED-R16 you can:
•
Record multi-channel via FireWire or ADAT.
•
Monitor each recording track via the FireWire inputs.
•
Use the FireWire connections to and from each channel to insert processing plug-ins such as gates or compressors.
•
Use the ZED-R16 to mix a live show and record it to multi-track (Either ADAT or FireWire).
•
Mix in analogue using the FireWire inputs, pre or post EQ.
•
Mix in digital using MIDI faders, rotaries and switches provided on the ZED-R16.
•
Use analogue EQ as an analogue plug-in to a digital system.
•
Use the professional studio features to control monitoring and artists feeds as well as transport control.
In many ways the ZED-R16 is a modern classic recording console. It has attributes of an old fashioned in-line recording mixer
but with digital sends from each channel as the record path and digital returns being the monitor path. Add to this the flexibility of where you send or return the digital connections within the channel strip, and then the ability to use the faders and the
other MIDI controllers to mix in your software application, it all adds up to a unique and mouth watering product.
The components used in ZED series are predominantly the same as in the larger Allen & Heath products and the construction
methods are also very similar — utilising individual vertically mounted channel circuit boards with each rotary control fixed
with a metal nut to the front panel. This provides a very robust product that will resist damage and give years of reliable use. It
also makes servicing easier should it be required.
Mic/Line Pre-amps:
The ultimate performing pre-amps are fitted to ZED-R16. Similar only to those used in GL2800 & GL3800, they comprise a
symmetrical circuit with individual linearising feedback to both phases, along with the lowest noise transistors available, providing astoundingly low distortion and noise which translates to superior clarity and dynamic range.
EQ:
Some may say that the ZED-R16 has too much EQ for this size of mixer with two fully parametric mid sections and yes it is
powerful, but try it and you’ll love it, especially the low mid-great for rich punchy bass guitar and powerful kick drum sounds.
MIDI Control:
There is a MIDI controller area in the master where 12 rotary, 4 linear and 12 switches can be mapped to control your software functions. In addition there are 5 dedicated transport keys, plus each of the 16 channel faders can be switched to MIDI
control.
FireWire & ADAT:
Each of the 16 main channels plus the master left & right mix has a digital send and return. These are flexible in that the channel signals can be sent pre-insert or post EQ and the return can be switched into pre-insert or pre-fader or not switched in at
all.
The FireWire controller we use in ZED-R16 is the DICE Jr from TC Applied Technologies and is capable of streaming up to
64 channels at a sample rate of up to 192kHz. The device employs a patented low jitter phase locked loop using its JET™PLL
technology and is able to interface to the optical ADAT connectors giving a maximum of 16 ADAT inputs and outputs. Coupled to this are high quality 24 bit 114dB and 118dB ADC’s and DAC’s providing a super high quality link between the worlds
of analogue and digital.
SONAR LE:
Included with your ZED-R16 is SONAR LE, a fully working light version (limited to 8 simultaneous inputs & outputs) of the
award winning SONAR Producer audio workstation software from Cakewalk. Now you have SONAR LE, a discounted upgrade is possible once you’ve registered at cakewalk.com.
Allen & Heath
9
ZED-R16 User Guide
SPECIFICATIONS
Operating Levels
Inputs
Mono channel (XLR) Input
-6 to –60dBu for nominal (+14dBu in max)
Mono channel Line Input (Jack socket)
+14 to –40dBu (+34dBu maximum)
Insert point (TRS Jack socket)
0dBu nominal +21dBu maximum
Stereo Input (Jack sockets)
0dBu nominal (control = Off to +10dB)
Stereo input (phono sockets)
0dBu nominal (control = Off to +10dB)
2 Track Input (phono sockets)
0dBu nominal +21dBu maximum
Outputs
Main (2 Track 1) L-R (XLR)
+4dBu nominal. +27dBu maximum.
L-R Insert (TRS Jack socket)
0dBu nominal +21dBu maximum
2 Track 2 Outputs (Jack sockets)
0dBu nominal. +21dBu maximum.
All other analogue outputs
0 nominal +21dBu maximum
Headroom
Analogue Headroom from nominal (0Vu)
21dB
Digital converter headroom from nominal analogue (0Vu)
16dB
Frequency Response
Mic in to Mix L/R Out, 30dB gain
+/-0.5dB 20Hz to 140kHz.
Line in to Mix L/R out 0dB gain
+/-0.5dB 20Hz to 20kHz
Stereo in to Mix L/R out
+/-0.5dB 20Hz to 40kHz
THD+n
Mic in to Mix L/R Out, 6dB gain 1kHz +10dBu out
0.0025%
Mic in to Mix L/R Out, 30dB gain 1kHz
0.0045%
Line in to Mix L/R out 0dB gain +10dBu 1kHz
0.003%
Stereo in to Mix L/R out 0dB gain +10dBu 1kHz
0.004%
Digital Performance
Analogue to Digital conversion
24bit 114dB dynamic range (A wtd)
Digital to Analogue conversion
24bit 118dB dynamic range (A wtd)
Sample Rate
44.1, 48, 88.2, 96kHz
Noise
Mix Noise, LR out, 16 channels routed, Ref +4dBu, 22-22kHz
-88dB (-84dBu)
Mix Noise, Aux 1-4 out, sends minimum, masters at unity 22-22kHz
-86dBu
Mic Pre EIN @ 60dB gain 150R input Z 22-22kHz
-128.5dBu
MIDI
Fader and Rotary values
0-127
MIDI switches
Note on/note off
Transport control
MIDI Machine Control
MIDI channel
Default = 16. User settable
Power consumption
Allen & Heath
48W
10
ZED-R16 User Guide
102mm (4.0”)
DIMENSIONS
93mm
(3.7”)
470mm (18.5”)
465mm (18.3”)
704mm (27.7”)
704mm (27.7”)
Weight kg (lb)
ZED-R16
Allen & Heath
Unpacked
Packed
13 (29lb)
15 (33 lb)
11
ZED-R16 User Guide
ZED-R16 User Guide
SIGNAL
+48V
PFL/AFL R
PEAK
DIGITAL RETURN
POST-EQ
PFL/AFL L
DAC
FIREWIRE BUS
PHANTOM POWER SWITCH
AUX 1
AUX 2
AUX 3
AUX 4
ADC
MAIN MIX L
MAIN MIX R
ZED-R 16 BLOCK DIAGRAM
DIGITAL SEND
POST-EQ
DIGITAL MASTER
TO MIX L-R
ADC
DIGITAL MASTER IN
DAC
FIREWIRE BUS
PFL
DIGITAL RETURN
PRE-INSERT
GAIN
EQ
IN
HPF
4 BAND PARAMETRIC EQUALISER
MIC IN
+
-
100Hz
INSERT
LF
LM
g
g
f
HM
q
g
f
AUDIO
FADER
ENABLE MIDI
BYPASS FADER
MAIN LR
L INSERT
MUTE
TIP SEND
PAN
HF
q
2 Track 1
Replace Mix
LEFT
R INSERT
MIDI
g
BALANCED
+4dBu NOMINAL
+10dB
L-R
TIP SEND
MAIN (2TRK 1) OUT
2 TO 1
MIDI DATA
RIGHT
MONO CHANNEL
DUBBING SWITCHES
L
AUX1
2 TRK 1 IN
GROUND COMPENSATED
-2dBu NOMINAL
R
LEFT
AUX 2
1 TO 2
AUX3
AUX 4
L
+
-
R
+
-
2TRK 2 OUT
RIGHT
2 TRK 2 IN
L
ST1 & 2 RCA
L
R
12
STEREO INPUTS 1 & 2
PFL
MONO
PFL/AFL
R
2 BAND EQUALISER
GAIN
LF
HF
g
g
2 TRACK 2 IN
2 TRACK 1 IN
LEVEL
BAL
L
ST1 & 2 JACK
L-R
+
DIGITAL MASTER IN
R
AUX1
MONO CHANNELS 1 - 16
STEREO 2 TRACK OUT 1
+
MONO CHANNELS 1 - 16
DIGITAL MASTER L - R
CRM
LEVEL
LEFT
AUX 2
CONTROL ROOM MONITORS
RIGHT
PFL ACTIVE
STEREO INPUTS 3 & 4
ALT
PFL
PHONES
LEVEL
LEVEL
L
L-R
LEFT
ALTERNATE SPEAKERS
RIGHT
ST3 & 4
AFL
R
FIREWIRE & ADAT
AUX1
MASTER LEVEL
AUX OUT
1-4
+10dB
STUDIO
TALKBACK
GAIN
TALKBACK
MIC
AUX 1 - 2
MAIN MIX L-R (POSTFADE)
AUX 1(POSTFADE)
TALK
LEFT
AUX 2 (POSTFADE)
STUDIO OUT 1 - 2
AUX 3 (POSTFADE)
RIGHT
AUX 4 (POSTFADE)
AFL
Allen & Heath
BLOCK DIAGRAM
LINE IN
MONO INPUT CHANNEL
1
1
2
Microphone Input Socket
Standard 3-Pin XLR socket wired as Pin 1=Chassis, Pin 2=hot (+),
Pin 3=Cold (-).
Line Input Jack Socket
Standard 1/4” (6.25mm) Jack socket for balanced or unbalanced line
level signals. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
IMPORTANT NOTE:
The Line input signal is connected to the XLR input through attenuating resistors and coupling capacitors, in other words the two inputs are summed together at different levels. If Only the Mic input
signal is required, make sure nothing is plugged into the Line jack and
vice versa.
MIC
2
LINE IN
3
Insert Jack Socket
4
48V Phantom Power Switch
5
Gain Control
1
3
INSERT
48V
4
0
20
5
30
40
GAIN
-14
Standard 1/4” (6.25mm) Jack socket for unbalanced insert send and
return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. Nominal level is 0dBu. The insert point is after the 100Hz filter and before
the EQ.
Applies +48V to pins 2 and 3 of the XLR input though 6k8 resistors
for phantom powered condenser microphones.
This adjusts the gain of the input amplifier to match the signal level
of the input. The gain is varied from +6dB to +60dB for signals
plugged in to the xlr socket (Mic Input) and –14dB to +40dB for
signals plugged into the Line input jack.
50
6
60 40
HPF
6
100Hz
HF
ZED-R 16 Hi Pass Filter
6
dBr
5.00
100Hz Hi-pass Filter
The Hi-pass filter is used for reducing pop noise and
rumble from microphone signals. It is a 2-pole (12dB
per octave) filter with a corner frequency set at
100Hz.
The filter affects signals from both Mic XLR and Line
jack socket.
0.00
-5.00
-10.00
-15.00
-20.00
-25.00
-30.00
-35.00
-40.00
10.00 Hz
Allen & Heath
100.00
1000.00
10000.00
13
ZED-R16 User Guide
MONO INPUT CHANNEL
7
HF
7
HF EQ
The HF (High Frequency) equaliser affects the frequency response
of the higher audible frequencies. The corner frequency of 12kHz is
around 3dB from the maximum cut or boost of the circuit.
12k
ZED-R 16 HF EQ
-15
dBr
20.00
+15
1
15.00
10.00
Q
5.00
0.8 2k
1k
F
6
0.00
4k
-5.00
700
6k
-10.00
HM
400Hz
8
18k
-15.00
-20.00
20.00 Hz
G
-15
+15
1
8
100.00
1000.00
10000.00
30000.00
HMF EQ
The HMF (High Mid Frequency) equaliser affects the upper middle
of the audible frequency range. The frequency graduations on the
sweep control are the centre frequencies of the EQ. The Q factor
is the width of the equaliser curve and is variable from a wide 0.8 to
a sharp 6.
Q
ZED-R 16 HMF EQ
F
0.8 120
60
6
dBr
20.00
300
15.00
30
600
10.00
LM
18Hz
1k
5.00
0.00
G
-5.00
-10.00
LF
-15
+15
-15.00
-20.00
20.00 Hz
100.00
1000.00
10000.00
30000.00
80Hz
-15
+15
EQ IN
Allen & Heath
14
ZED-R16 User Guide
MONO INPUT CHANNEL
9
HF
12k
-15
LMF EQ
The LMF (Low Mid Frequency) equaliser affects the lower middle of
the audible frequency range. The frequency graduations on the
sweep control are the centre frequencies of the EQ. As with the
HMF section, the Q factor is variable from 0.8 to 6. The graph
shows the Q setting in the minimum, middle and maximum positions, and the extents of the frequency range.
+15
1
ZED-R 16 LMF EQ
dBr
20.00
Q
15.00
0.8 2k
1k
F
6
10.00
4k
700
6k
5.00
0.00
HM
400Hz
18k
-5.00
-10.00
G
-15.00
-20.00
-15
+15
1
10.00 Hz
100.00
10
Q
F
0.8 120
60
300
600
18Hz
10000.00
LF EQ
The LF (Low Frequency) equaliser affects the frequency response of
the lower audible (bass) frequencies. The corner frequency of 60Hz
is around 3dB from the maximum cut or boost of the circuit.
6
30
LM
1000.00
1k
dBr
20.00
15.00
10.00
5.00
9
G
0.00
-5.00
LF
10
-15
+15
-10.00
-15.00
80Hz
-20.00
10.00 Hz
-15
11
1000.00
10000.00
+15
EQ IN
Allen & Heath
100.00
11
EQ IN
The EQ IN switch enables the equaliser when pushed in. The EQ is
bypassed when the switch is in its up position.
15
ZED-R16 User Guide
MONO INPUT CHANNEL
AUX1
12
Auxes 1 & 2
13
Auxes 3 & 4
PRE
12
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
13
AUX4
POST
OO
=
+6
PAN
14
14
L
MUTE
16
PFL
15
SIG
L-R
5
0
Mute Switch
This mutes or cuts the signal to the main L-R bus and the Auxes. A
rectangular LED illuminates to show the Mute switch is pressed.
PFL Switch
17
L-R Routing Switch
18
Signal & High level indicators
10
Allen & Heath
The pan control adjusts how the signal from the mono input channel is
shared between the left and right buses and subsequently the main stereo outputs.
16
1
HI
17
PAN
R
15
18
The source for Aux sends 3 & 4 is post-fader. They are also muted by
the Mute switch. Auxes 3 & 4 are primarily used for effects sends.
Jumper Link Options.
There are optional positions for fitting link wires on the mono input
channel circuit boards to change Auxes 1 & 2 to be post fade and
Auxes 3 & 4 to be pre-fade sources.
These are not easy to get to however, and involve taking out the channels from the mixer to access. We will try to improve this with future
updates to the circuit board.
+6
OO
Each of these controls sends a signal to an auxiliary bus. The signal is
sourced pre-fade which means that the level is independent of, and unaffected by the fader. Auxes 1 & 2 are primarily used for foldback monitoring purposes, as the fader does not affect the level.
These sends are affected by the Mute switch, so muting the channel will
also mute the Aux sends.
The control varies the signal level to the bus from off (fully attenuated)
to +6dB, with unity gain at the arrow.
There are master level controls for all of the Aux outputs situated in
the master section of the mixer.
The PFL (Pre-Fade Listen) switch sends the channel signal to the PFL
bus and subsequently to the headphones and the main left & right meters. Used for checking the audio signal before raising the fader or unmuting the channel.
The L-R switch connects the post-fade signal to the main L-R
mix bus via the pan control. For minimum noise from the mix
bus summing amplifier, leave the switches in their up positions if
the channel signal is not required on the bus.
The Signal LED illuminates dimly at a threshold of –14dB nominal level
and gets brighter with higher level signal. The source for the signal &
peak LED’s is just after the EQ IN switch.
The HI signal LED illuminates when the signal just after the EQ IN
switch is within 5dB of clipping.
16
ZED-R16 User Guide
MONO INPUT CHANNEL
19
Fader
20
DIG SND Post EQ switch
21
DIG RET Pre INSert switch
22
DIG RET Post EQ switch
23
FADER=MIDI switch
=
PAN
L
R
MUTE
PFL
1
HI
SIG
10
L-R
The 60mm fader can be used as a normal channel fader where it
will affect the level of signal to the main L-R bus and the postfade auxes. There is 10dB of gain at the top of the travel.
The fader can also be used as a MIDI controller if the
FADER=MIDI switch is pressed on that channel. In this case, the
audio is bypassed at unity gain and a continuous controller message is sent to the FireWire bus and the MIDI output DIN connector.
This switch determines the source for the digital output for each
channel. In the up position the source is just after the pre-amp
and Hi pass filter. If pressed in, then the source is from after the
EQ IN switch. One or the other signal will always be sent for
digital conversion.
This switches the digital input for that channel into the channel
path, replacing the signal from the pre-amp. The digital input is
switched in just before the insert point. The switch below overrides this switch and the indicating LED is turned off if the
switch below is pressed.
The digital input for that channel can also be switched in after
the equaliser. This switch overrides the one above it as the digital input is switched in later in the signal path of the channel, and
hence the LED extinguishes the one above it.
5
19
0
20
DIG SND
Post-EQ
5
21
DIG RET
Pre-INS
The 60mm fader can also be used as a MIDI controller if the
FADER=MIDI switch is pressed on that channel. When pressed
in, the audio is bypassed at unity gain and a continuous controller message is sent to the FireWire bus and the MIDI output
DIN connector which can be assigned to control functions in
your software application, or to control external MIDI equipment.
10
22
DIG RET
Post-EQ
23
FADER
=MIDI
These configuration switches determine the mode of operation
for ZED-R16 and are usually not required to be changed while
the desk is in use. For this reason they are placed near the fader,
and once set should not get in the way of normal operation.
OO
Allen & Heath
17
ZED-R16 User Guide
STEREO INPUT CHANNEL
ST1
1
ST1 (& ST2) Phono & Jack sockets
2
ST1 (& ST2) Level
3
STEREO Channel EQ
L
R
Standard RCA phono sockets and 1/4” jack sockets for unbalanced stereo
inputs. The RCA phono sockets normally connect through the jack break
contacts so giving a choice of which connector type to use. The left signal
does not connect to the right if nothing is plugged into the right socket
though, as with some of our other products. If inputs are plugged into the
jack sockets, the RCA phonos will be disconnected.
The input level control varies the level of the signal from off (fully attenuated) to +10dB of gain at the maximum position.
1
ST1 L
The EQ on the stereo Channel is 2 band shelving equaliser with fixed corner frequencies of 12kHz and 60 Hz.
ZEDR 16 Stereo Input EQ
dBr
20.00
ST1 R
15.00
ST1
10.00
-10
LEV
2
-5
0
5.00
-20
5
-30
OO
10
0.00
-5.00
-10.00
HF
-15.00
12k
-20.00
10.00 Hz
3
-15
+15
-15
+15
100.00
1000.00
10000.00
30000.00
LF
80Hz
Allen & Heath
18
ZED-R16 User Guide
STEREO INPUT CHANNEL
HF
4
Auxiliaries 1 & 2
5
Stereo Balance control
12k
-15
+15
LF
80Hz
-15
+15
Each of these controls sends a mono signal to an auxiliary bus (a sum of
the left & right inputs). The signal is sourced pre-fade which means that
the level is independent of, and unaffected by the master level control
The control varies the signal level to the bus from off (fully attenuated)
to +6dB, with unity gain at the arrow.
There are master level controls for all of the Aux outputs situated in
the master section of the mixer.
The balance control adjusts the relative levels of the left and right signals to the main stereo bus.
AUX1
PRE
6
4
+6
OO
Level control
Adjusts level of the left & right signals sent to the main L-R mix bus.
There is 10dB of gain at the clockwise setting.
AUX2
PRE
7
OO
=
+6
PFL
The pre-fade-listen switch sends the stereo signal to the PFL bus (in
stereo) and activates the PFL monitor system in the master section.
This allows the stereo channel signal to be checked before the master
Level control.
BAL
5
8
LEV
6
L
-10
R
L-R Routing Switch
Press this switch to send the stereo channel signals to the main L-R bus.
For best performance, if the signals are not required or the channel is
not in use, then leave the switch in its up position.
-5
0
-20
5
-30
OO
10
7
PFL
8
L-R
Allen & Heath
19
ZED-R16 User Guide
STUDIO OUTPUTS & ST3 & 4 INPUTS
STUDIO OUT 1
STUDIO OUT 2
9
L
L
R
R
10
ST3 L
ST4 L
ST3 R
ST4 R
ST3
LEV
-10
ST4
-5
LEV
0
-20
9
5
Studio Monitor Outputs
The Studio Outputs allow a selection of signals to be sent as outputs for artists monitors.
The selection switches enable the main L-R mix (post fader) and
auxes 1 to 4 (post master level) to the studio outputs. If more
than one switch is pressed the signals mix together.
Studio Monitor Level control
The level control adjusts the output level of the Studio Outputs
from off (fully attenuated) to +10dB maximum.
-5
0
10
-10
5
-30
10
OO
11
-10
These stereo inputs have limited features and are provided for
additional stereo sources that need to be added to the main L-R
mix. The left input jack socket normalises or connects through
the break contacts of the right input jack socket, enabling a mono
input to be fed to both left and right mix paths.
-20
-30
LEV
11
ST3 & 4 Inputs
12
10
OO
PFL
PFL
L-R
L-R
MIX L-R
MIX L-R
AUX 1
AUX 1
AUX 2
AUX 2
AUX 3
AUX 3
AUX 4
AUX 4
-5
LEV
0
-20
-10
Studio Monitor AFL
The After Fade Listen switch sends the post level control Studio
Output signals to the PFL/AFL monitoring system allowing them
to be checked in the engineers headphones and control room
monitor speakers.
-5
0
-20
5
-30
OO
12
10
AFL
STUDIO 1
5
-30
10
OO
AFL
STUDIO
2
STUDIO MONITOR FEEDS
Allen & Heath
20
ZED-R16 User Guide
AUX MASTERS & MAIN OUTPUTS.
2 TRACK 1 OUT
L
AUX 1
R
AUX 2
1
2 Track 1 Output XLR connectors
2
2 Track 2 Output jack sockets
3
Insert L & R jack sockets
1
Standard 3-Pin XLR panel plug wired as Pin 1=Chassis,
Pin 2=hot (+), Pin 3=Cold (-).
Electronically balanced, +4dBu = 0VU.
These are the main stereo outputs, normally fed from
the main L-R mix, they can be fed from the 2 Track 1
phono inputs if the Replace Mix switch is pressed (for
background music or monitoring), also from 2 Track 2
jack inputs for dubbing or monitoring.
2
AUX 3
L
2 TRACK 2 OUT
R
3
AUX 4
INSERT L
INSERT R
4
AUX MASTER
1
5
Standard 1/4” (6.25mm) Jack sockets.
Ground compensated (noise balanced).
Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
The 2 Track 2 outputs are normally fed from the main
L-R mix, but can be sourced from the 2 Track 1 phono
inputs for dubbing purposes.
Standard 1/4” (6.25mm) Jack sockets.
The main L-R mix insert connectors for inserting signal
processing equipment such as compressors or equalisers. They are placed just before the main L-R faders in
the signal path.
Wired Tip=send, Ring=return, Sleeve=Chassis. Nominal level is 0dBu.
+6
OO
AFL
AUX MASTER
6
4
2
Auxiliary Output jack sockets.
Standard 1/4” (6.25mm) Jack sockets for the Aux outputs 1—4.
Impedance balanced. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
+6
OO
AFL
5
AUX MASTER
3
Auxiliary Output Master Level controls
The Aux master level controls adjust the overall level of each of the Aux mixes 1
to 4. The range of control is from off (fully attenuated) to +6dB.
There is an AFL (after fade listen) switch on each Aux mix to check the signal after
the master level control.
+6
OO
AFL
6
AUX MASTER
4
OO
Auxiliary AFL
The After Fade Listen switch sends the post master level control Aux signal to the
PFL/AFL monitoring system allowing it to be checked in the engineers headphones
and control room monitor speakers.
+6
AFL
Allen & Heath
21
ZED-R16 User Guide
MASTER SECTION
CRM L
2 TRACK 1 IN
1
Control Room Monitor jack sockets
2
Alternate Monitor jack sockets
3
2 Track 1 Input phono sockets
4
2 Track 2 Input jack sockets
5
Main meters
6
PFL/AFL Active LED
7
2 TRACK DUB switches
8
2 TRACK 1 replace L-R switch
L
1
3
CRM R
Standard 1/4” (6.25mm) Jack socket for connecting powered monitor
speakers or an amplifier for the engineers control room monitor
speakers. Impedance balanced. Wired Tip=Hot(+), Ring=cold (-),
Sleeve=Chassis.
R
2 TRACK 2 IN
ALT L
L
2
4
ALT R
R
POWER
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
5
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
L
6
R
PFL/AFL ACTIVE
2 TO 1
7
2 TRACK DUB
1 TO 2
Standard 1/4” (6.25mm) Jack socket for connecting powered monitor
speakers or an amplifier for an alternative set of speakers to the main
CRM speakers. Typically these would be nearfield monitors or speakers in close proximity to the engineer.
Impedance balanced. Wired Tip=Hot(+),
Ring=cold (-),
Sleeve=Chassis.
Standard RCA phono sockets for unbalanced stereo sources. Useful
for connecting equipment with stereo analogue outputs such as CD
players and DAT machines for playing backing music, copying from
one machine to another or simply listening to that machine.
Standard 1/4” (6.25mm) Jack socket for connecting balanced or unbalanced stereo sources. The 2 Track 2 inputs are available to be
switched to the 2 Track 1 (main xlr) outputs for dubbing or copying
purposes.
The main stereo 12 segment peak response slow decay meters are fed
with the control room monitor signal (pre CRM Level). The selection
switches for the CRM source are located below the Phones Level
control and is over-ridden by the PFL or AFL signal if any listen switch
is pressed.
Illuminates when any PFL or AFL switch is pressed. It indicates that
the meters will show the PFL or AFL signal, or the mix of signals if
more than one switch is pressed.
2 TRACK 1
REPLACE L-R
8
TALK
LEV
MIN
MAX
TALK
Allow dubbing or copying from one stereo source to another.
If 2 to 1 is pressed then 2 Track 2 input jack sockets will be routed to
the 2 Track 1 output xlr’s.
If 1 to 2 is pressed then 2 Track 1 input phono inputs will be routed
to the 2 Track 2 output jacks.
If this switch is pressed the main L-R mix is replaced by the 2 Track 1
input. The switch is situated before the insert points in the signal path,
so any inserted processing will still have effect, as will the main L-R
faders.
TO STUDIO
TO AUX 1 & 2
Allen & Heath
22
ZED-R16 User Guide
MASTER SECTION
9
2 TRACK 1
REPLACE L-R
TALK
LEV
MIN
MAX
9
Talkback Section
A built in microphone and talkback system allows the engineer to talk to
the artists in the studio or foldback monitors on stage. The Talk Level control adjusts the gain of the amplifier, be wary of feedback if the talkback
signal is routed to the local monitors via the AFL system or the proximity
of the studio monitors is such that they are able to feedback to the talkback
microphone.
The To Studio and To Aux 1 & 2 switches route the talkback signal to the
studio monitor outputs for artists monitor talkback or to the Auxes 1 & 2
for stage monitor talkback.
The non-latching TALK button enables the system and sends the signal from
the microphone to the selected destination.
TALK
10
Control Room Monitor selection switches
11
Control Room Monitor Level Control
12
MONO & ALT SPKRS switches
13
PHONES LEVEL control
14
PHONES jack sockets
15
DIG MASTER TO L-R switch
TO STUDIO
TO AUX 1 & 2
PHONES
LEVEL
13
MIN
MAX
2 TRACK 2
2 TRACK 1
10
These determine the source signal for the CRM system. With all the
switches in the up position then the main L-R mix will be fed to the CRM
speakers unless a PFL of AFL switch is pressed in which case the signal from
the PFL or AFL switch will override.
The switches work on a priority method, with the 2 Track 2 switch having
priority over the others.
The DIG MASTER switch monitors the digital 17 & 18 inputs a separate
stereo digital input from the channel digital inputs and useful for monitoring
a stereo mix from your digital audio workstation.
DIG MASTER
MAIN MIX L-R
CRM
LEVEL
11
MIN
Adjusts the level of the signal to the CRM speakers from off (fully attenuated) to unity gain.
The MONO switch converts the stereo CRM signal to a mono signal, a sum
of the left and right channels is fed to both left & right CRM outputs as well
as the headphones output, and the main meters.
The Alternative speakers switch changes the CRM outputs from the main
CRM jack sockets to the ALT jack sockets so that the outputs can be
switched between two sets of speakers.
MAX
MONO
12
Adjusts the level of signal from the CRM selection switches to the headphones jack sockets. There is 18dB of gain at the maximum setting.
ALT SPKRS
DIG MASTER
TO L-R
PHONES
14
Allen & Heath
15
Standard 1/4 inch and 3.5mm TRS jack sockets for stereo headphones.
Tip = Left.
In addition to the digital inputs to the 16 mono channels there is a further
stereo digital input that can be routed to the main L-R mix bus with this
switch. It can be used to monitor a stereo output from your digital audio
workstation or audio application and listen to a final stereo mix from your
computer.
23
ZED-R16 User Guide
DIGITAL CONNECTIONS & SWITCHES
1
2
5
4
3
MIDI OUT
ADAT OUT
9-16
1-8
ADAT IN
9-16
1-8
FIREWIRE
ADAT
44.1kHz
48kHz
FireWire/ADAT configuration switch
1
2
This switch determines whether the digital interface is predominantly FireWire or ADAT and will be dependent
on what type of external equipment is used. Set to FireWire if a computer or equipment with IEEE 1394 FireWire
connection is to be used or ADAT if an ADAT machine only is to be connected. Select the switch to your desired setting BEFORE switching on power to the ZED-R16 because the switch is only read on power up.
ADAT sample rate switch
If ADAT is selected as the digital interface, the sample rate is set using this switch to either 44.1kHz or 48kHz.
Again, select this switch to your desired setting BEFORE turning on power to the ZED-R16.
3
FireWire connectors
4
MIDI OUT DIN connector
5
Standard 6 pin IEEE 1394 FireWire connectors for connecting ZED-R16 to a FireWire bus. Normally only one
connector is used, however two are provided for connecting more than one ZED-R16 together for expanded
capability. It is usually a more reliable method to connect to the FireWire bus once the ZED-R16 is powered on,
rather than switching on the power with the FireWire bus already connected.
A standard 5 pin DIN connector to output the MIDI data generated by the controllers on ZED-R to external
equipment with MIDI functionality, for example when using ZED-R16 as a MIDI control surface.
The MIDI data is also sent on the FireWire bus, so there is no need to use the DIN connector if MIDI is only required in the computer and the computer is connected to ZED-R16 using FireWire.
ADAT In & OUT connectors
Standard ADAT optical connectors for connecting external equipment with ADAT inputs and outputs.
DIGITAL I/O CONFIGURATION:
The number of digital channels and range of sample rate options are dependent on the configuration of ZED-R16.
Here is a table of the options:
Allen & Heath
FireWire/ADAT Sw
Sample Rate (kHz)
FireWire Channels
ADAT Channels
FireWire
44.1 & 48
18 + 18
8+8
FireWire
88.2 & 96
16 + 16
None
ADAT
44.1
None
16 + 16
ADAT
48
None
16 + 16
24
ZED-R16 User Guide
DIGITAL INPUT & OUTPUT CONFIGURATIONS
DIGITAL I/O CONFIGURATIONS:
1 FireWire mode 44.1 or 48kHz
MONO CHANNELS 1 -16 ANALOGUE I/O
1-8
9-16
1-8
STEREO MASTER
9-16
17-18 17-18
FIREWIRE
ADAT
A-D
A-D
D-A
D-A
DAW
ZED-R16
The following four set-up configuration diagrams show a schematic representation of the ZED-R16 digital I/O section
connected to the recording/playback equipment. Note the FireWire channel differences at higher sample rate settings.
CODEC
FIREWIRE
STREAMING
CONTROLLER
DAW
DEVICE CHANNELS 1-16 = MIXER CH 1-16
SAMPLE RATES 44.1 & 48kHz
1-8
9-16
1-8
DEVICE CHANNELS 17-18 = MIXER DIG L-R
DEVICE CHANNELS 19-26 = ADAT 1-8
(ADAT CHANNELS ACCESSED VIA DAW)
9-16
MONO CHANNELS 1 -16 ANALOGUE I/O
1-8
9-16
1-8
ZED-R16
2 FireWire mode 88.2 or 96kHz
STEREO MASTER
9-16
17-18 17-18
FIREWIRE
ADAT
A-D
A-D
D-A
D-A
CODEC
DAW
ADAT OUT ADAT IN
FIREWIRE
STREAMING
CONTROLLER
9-16
DAW
SAMPLE RATEs 88.2 & 96kHz
3 ADAT mode 44.1 or 48kHz
STEREO MASTER
MONO CHANNELS 1 -16 ANALOGUE I/O
1-8
9-16
1-8
9-16
17-18 17-18
FIREWIRE
ADAT
A-D
A-D
D-A
D-A
CODEC
ADAT EQUIPMENT
DEVICE CHANNELS 1-16 = MIXER CH 1-16
ADAT EQUIPMENT
+ PC/MAC
1-8
ZED-R16
9-16
ZED-R16
1-8
ADAT OUT ADAT IN
FIREWIRE
STREAMING
CONTROLLER
SYNC CONTROL
1-8
9-16
1-8
SAMPLE RATE 44.1 or 48kHz
INTERNAL SYNC
9-16
ADAT OUT ADAT IN
4 ADAT mode 44.1 or 48kHz
FireWire used to control sync source
STEREO MASTER
MONO CHANNELS 1 -16 ANALOGUE I/O
1-8
9-16
1-8
9-16
17-18 17-18
FIREWIRE
ADAT
A-D
A-D
D-A
D-A
CODEC
ADAT RECORDER
COMPUTER USED TO SWITCH CLOCK SYNC SOURCE
ADAT RECORDER
FIREWIRE
STREAMING
CONTROLLER
SYNC CONTROL
1-8
9-16
1-8
9-16
ADAT OUT ADAT IN
Allen & Heath
SAMPLE RATE 44.1 or 48kHz
SYNC EITHER INTERNAL OR ADAT IN
25
ZED-R16 User Guide
ZED DICE DRIVERS: SYSTEM COMPATIBILTY
DRIVER RELEASE VERSION: V3.3.2
The ZED DICE drivers are supplied to Allen & Heath by TC Applied Technologies Ltd. They are customised versions of
drivers used in generic FireWire devices used extensively throughout the Pro Audio industry.
We at A&H endeavour to verify the stability and function of these drivers with different computers, operating systems and
applications, however certain configurations of computer hardware and operating systems may not have been verified here
at A&H.
Windows
Operating System
Status
A&H Verified
XP/32-bit
Delivered
Yes
XP/64-bit
Delivered
No
Vista/32-bit
Delivered
Yes
Vista/64-bit
Delivered
No
Mac (Intel & PPC Platforms)
Operating System
Status
A&H Verified
OSX 10.4.11 & up
Delivered
Yes
OSX 10.5.2 & up
Delivered
Yes
Computer System Specification Recommendations
It is difficult to specify minimum computer system requirements because we would be specifying the requirement for your
computer and OS to connect to the ZED-R16 and transfer the audio data on the AS400 compliant FireWire bus which is
only part of a digital audio recording, editing and playback system. Also, the fastest, most modern computer can have its audio streaming performance crippled by certain network drivers, system functions or power hungry applications, and especially the dreaded anti-virus software.
If we were to recommend a minimum general system it would be:
Operating System
CPU
Speed
RAM
XP
P4/equiv or higher
2.8GHz or higher
1GB or higher
Vista
Core 2 Duo or higher
2GHz or higher
2GB or higher
OSX 10.4.11/10.5.2+
Intel or PPC
2 GHz or higher
1GB or higher
Audio software & DAW compatibility
We are constantly updating the list of software applications that the ZED-R16 can be used with, so it’s best to check the
website for the up to date list. Also you should be able to find project templates already setup for ZED-R16, along with MIDI
maps or mapping information for various DAWs and audio applications.
At the time of writing this guide, we have successfully tested ZED-R16 audio and MIDI communication with:
SONAR LE & Producer 7
Cubase Studio 4
Logic Express 8
ACID Pro 6
Allen & Heath
FL Studio
Audition 3
Ableton Live (MMC not tested)
26
ZED-R16 User Guide
CONNECTING TO A COMPUTER
Downloading the Drivers
Your ZED-R16 has software installed and working already, but in order for your Windows or MAC computer to be able
to communicate with the FireWire device in ZED-R you’ll need to load some Drivers onto your computer.
The installer software is available on the Allen & Heath website at:
http://www.allen-heath.com/zed/
Microsoft Windows XP + Vista Installation:
Make sure that the ZED-R16 is not connected to your
computer.
Save the installer program to your computer desktop.
Run the Installer program by double clicking it
(the ZED-R16 should still be disconnected),
following the prompts.
Run, Next, Next, Next, Install, Continue Anyway, Finish.
Re-start your computer.
Switch on your ZED-R16 and connect the FireWire lead to
your computer and your ZED-R.
Vista is now set up and ready to go. See Below.
Microsoft Windows XP installation:
You will be asked if Windows can connect to Windows Update to
search for software—click No, not this time…..
Click Next
The Hardware Wizard will ask to install automatically or from a
specific location—click automatically…..
Click Next
You may get a message or warning about Windows logo
compatibility, click Continue Anyway.
Click Finish to complete the installation.
Microsoft Windows XP + Vista Installation:
The Drivers for ZED-R16 will now be installed and ready to use, a
message may appear in the system tray to tell you.
The ZED-R Device control panel shortcut icon will appear on your
desktop which enables the device settings like sample rate and buffer
size to be adjusted.
The control panel will run only if ZED-R16 is connected to your
computer via FireWire. If there is a connection problem you will get
the message “Error in communicating with Driver”
In your programs list the control panel program will appear under Allen and Heath Ltd, and also an uninstaller should you
need to remove the drivers at any stage.
Allen & Heath
27
ZED-R16 User Guide
CONNECTING TO A MAC
Downloading the Drivers
Your ZED-R16 has firmware installed and working already, but in order for your MAC computer to be able to communicate
with the FireWire device in ZED-R you’ll need to load some Drivers onto your computer.
The installer software is available on the Allen & Heath website at:
http://www.allen-heath.com/zed/
MAC Installation:
Make sure that the ZED-R16 is not connected to your
computer.
Save the DMG file to your MAC desktop.
Run the Installer program by double clicking it
(the ZED-R16 should still be disconnected).
Select the PKG application.
Click Continue.
Click Install.
Click Continue Installation.
Click Restart to complete the installation.
Switch on your ZED-R16 and connect the FireWire lead to
your MAC and your ZED-R.
The Drivers for ZED-R16 will now be installed and ready to use.
The MAC is now set up and ready to go.
The ZED-R Device control panel icon will appear in your application
which enables the device settings like sample rate and modes to be adjusted.
The control panel will run only if ZED-R16 is connected to your computer via FireWire. If there is a connection problem you will get the message “Error in communicating with Driver”
An uninstaller should you need to remove the drivers at any stage is
included in the same DMG file as the install package.
Allen & Heath
28
ZED-R16 User Guide
ZED DICE CONTROL PANEL
A description of the Control Panel for the ZED DICE driver v3.3.2.
Both the Windows & Mac versions are covered by this guide, the differences are highlighted where relevant.
The Windows or Mac installer program will install the driver software for the ZED DICE audio streaming device onto your
computer, and a control panel application which can be used to check and set up certain parameters such as sample rate and
synchronisation source.
The following is an overview of the control panel with an outline of its features and functions:
Screenshot of the Windows (XP & Vista) control panel.
The Mac version does not have the buffer size option box, the WDM tab or the DPC tab.
Allen & Heath
29
ZED-R16 User Guide
ZED DICE CONTROL PANEL
The control panel is divided into two main sections, Global Settings and Device Settings.
Global Settings
All system related settings are here, grouped into four Tabs for Windows, two for the Mac version.
Bus Tab:
Contains controls for choosing the system clock master device, sample rate, synchronisation source, buffer size, and operation mode.
When the mouse pointer hovers over the Master combo box, a ToolTip will display the IEEE1394 unique ID of the device.
The sample rate and sync source always refer to the selected clock master. When the device is not locked (synchronised and
working at the selected sample rate), a warning icon will appear under the Master display box. Hovering the mouse pointer
over the text will display a message stating whether the master device is locked or not.
The Buffer Size (Windows only) option box contains a number of predefined sizes in its drop-down menu, or you may type in
a value. Depending on the setting, the driver may round the value and the current Operation Mode will enforce limits on the
buffer size, so the resulting value may not always be the same as what is entered.
The Operation Mode enforces buffer levels which help prevent performance-related dropouts when using audio on computers.
The higher the Mode number, the less chance of audio artefacts, with the sacrifice of increased system latency. Dropouts are
caused by the configuration of the computer, and also by what other applications are running at the time, and lastly by the
worst-case DPC latency caused by other drivers. Network drivers, for example, are a notorious source of latency on an
otherwise high-performance computer.
Allen & Heath
30
ZED-R16 User Guide
ZED DICE CONTROL PANEL
The WDM tab (Windows only) can be used for enabling or disabling the Windows Driver Model audio channels, configuring
them as mono, stereo or surround, depending on your computer’s capability, and mapping the WDM channels to the required
channels on your ZED-R16. For example you can map the stereo WDM channels to the master L-R channels (17-18) on your
mixer so that your computer CD player and general audio will be played to the Master L-R channels for monitoring.
Drag the speaker channels
from here….
….To here.
The DPC tab (Windows only) allows a utility to check your computer for excessive Deferred Procedure Call latencies. Basically it checks the capability of your computer to handle real time audio streams by looking at how quickly your computer can
get around to processing the audio data streamed into the buffers and if there are any hold-ups caused by other drivers or
processor interrupts. The result of a high DPC latency measurement (this is not the overall FireWire latency), would be clicks
in the audio or dropouts in communication with the computer or audio application.
Once enabled, the checker will continue to measure if another tab is selected, or the control panel is minimised and the peak
measurement is displayed in the box below the bargraph.
The measurement may be affected by other applications running on the computer, especially if they use a lot of processor
power.
If high latency measurements are reported, the recommended operation mode may be one of the safe modes to prevent dropouts, at the expense of FireWire bus latency timings.
The Info tab displays the Driver version number of the driver and the PAL number of the version compiled for the application.
Allen & Heath
31
ZED-R16 User Guide
ZED DICE CONTROL PANEL
Device Settings
This area of the control panel shows information for the ZED-R16 if connected to the FireWire bus. The device (mixer) is
shown in the Devices list on the right, the clock symbol is displayed if it is the clock master and a padlock symbol shows if
the device is locked or unlocked (synchronised or not).
On the left of the Device Settings area are two Tabs, General and Firmware Loader.
The General tab displays the device description which should be set to Allen & Heath Ltd. ZED R 16 if connected, and the
Nickname box allows the user to give a particular name to the mixer connected which is useful if different mixers are being
used, or if two are connected together (this is possible but is not described in this control panel guide).
Underneath the device Nickname, the actual measured sample rate is displayed along with the device status.
An alert icon will appear on the device list item to show that certain
events have been logged which apply to the device shown such as the
device being locked or unlocked temporarily. The icon will fade, but if the
mouse is hovered over the icon before it fades the reported events will
appear as a ToolTip. When the icon has faded, shift+clicking over the
device box in the Devices list will show the most recent 40 events logged.
The Firmware Loader tab allows the user to upload new Firmware to the ZED-R16. The procedure for doing this is not
described in this control panel guide.
Parameter Locking:
When an audio application is running on the computer,
certain functions are locked by the control panel for
example the sample rate setting. A ToolTip will appear
to inform the user of this if the mouse pointer is hovered over the relevant parameter box.
To access these parameter settings, the audio application should be closed and re-opened after the settings
are made.
Allen & Heath
32
ZED-R16 User Guide
ZED-R16 User Guide
fx
33
fx
ST1
STUDIO OUT 1
ST2
LINE IN
KEY:
MIC
LINE IN
1
MIC
LINE IN
2
MIC
LINE IN
3
MIC
LINE IN
4
MIC
LINE IN
5
MIC
LINE IN
6
MIC
LINE IN
7
MIC
LINE IN
8
MIC
LINE IN
9
MIC
LINE IN
10
MIC
LINE IN
11
MIC
LINE IN
12
MIC
LINE IN
13
MIC
LINE IN
14
KT-88
2 TRACK 1 OUT
STUDIO OUT 2
L
AUX 1
L
L
L
L
R
R
R
R
ST1 L
ST2 L
ST3 L
ST4 L
ST1 R
ST2 R
ST3 R
ST4 R
CRM L
R
2 TRACK 1 IN
L
AUX 2
MIC
MIC
CRM R
R
LINE IN
15
AUX 3
16
2 TRACK 2 IN
ALT L
L
2 TRACK 2 OUT
R
L
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
AUX 4
ALT R
INSERT L
48V
MICROPHONE SIGNAL
48V
48V
0
20
30
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
GAIN
20
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
0
40
GAIN
20
50
30
40
ST1
GAIN
50
-10
LEV
ST2
-5
-20
-14
6
60 40
-14
6
60 40
HPF
6
60 40
HPF
100Hz
HF
FROM DIRECT BOX
-14
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
LEV
0
-20
5
-30
HPF
100Hz
HF
ST3
-5
-10
LEV
0
OO
10
-15
+15
ST4
-5
-10
LEV
0
-20
5
-30
12k
-15
1
-15
0.8
2k
-15
0.8
4k
700
6k
HM
0.8
4k
700
6k
HM
400Hz
-15
0.8 2k
4k
400Hz
700
6k
0.8 2k
4k
700
6k
HM
18k
400Hz
1
-15
400Hz
1
0.8 2k
4k
700
-15
6k
400Hz
1
0.8
4k
700
-15
6k
2k
400Hz
1
0. 8 2k
4k
700
-15
6k
0. 8 2k
4k
400Hz
700
-15
6k
0.8 2k
4k
400Hz
700
-15
6k
0.8 2k
4k
400Hz
700
-15
6k
0.8 2k
4k
400Hz
700
-15
OO
10
-15
+15
-20
5
-30
6k
400Hz
-15
0.8 2k
4k
700
HF
6k
0. 8 2k
4k
400Hz
700
-15
6k
400Hz
1
5
-30
10
OO
HF
0. 8 2k
4k
700
-15
6k
6
1k
F
0.8
4k
700
6k
HM
18k
400Hz
12k
+15
PFL
L-R
LF
LF
80Hz
80Hz
6
2k
1k
F
-15
4k
700
+15
G
G
G
G
G
G
G
G
G
G
G
G
6k
400Hz
18k
400Hz
G
PRE
1
+15
120
6
-15
1
+15
120
6
OO
+6
AUX2
-15
1
+15
120
6
EFFECTS RETURN
1k
30
-15
1k
18Hz
30
F
600
LM
1
+15
120
6
-15
1
+15
120
6
-15
1k
18Hz
Q
0.8
300
60
F
600
LM
Q
0.8
300
60
F
600
18Hz
Q
0.8
300
30
1
+15
120
6
F
600
1k
18Hz
Q
0.8
300
60
30
LM
-15
1
+15
120
6
F
600
1k
18Hz
Q
0.8
300
60
30
LM
-15
1
+15
120
6
F
600
1k
18Hz
Q
0.8
300
60
30
LM
-15
1
+15
120
6
1k
30
-15
1k
18Hz
30
F
600
LM
1
+15
120
6
-15
1
+15
120
6
-15
1k
18Hz
Q
0.8
300
60
F
600
LM
Q
0. 8
300
60
F
600
18Hz
Q
0. 8
300
60
30
LM
1
+15
120
6
-15
F
600
1k
18Hz
Q
0.8
300
60
30
LM
1
+15
120
6
F
600
1k
18Hz
Q
0.8
300
60
30
LM
-15
1
+15
120
6
F
600
1k
18Hz
Q
0.8
300
60
30
LM
-15
1
+15
120
6
-15
F
600
1k
18Hz
Q
0. 8
300
60
30
LM
1
+15
120
6
1k
18Hz
30
1k
18Hz
30
LEV
600
LM
G
-15
+15
-15
+15
LF
80Hz
EFFECTS SEND
G
-15
+15
-15
+15
LF
80Hz
ARTISTS STUDIO MONITOR
SIGNALS (LINE LEVEL)
POST
POST
POST
+6
OO
+6
OO
POST
+6
OO
POST
+6
OO
POST
5
3
AUX 3
+6
OO
AFL
AUX 4
R
-5
LEV
0
-5
-10
LEV
0
-20
5
-30
PFL
PFL
L-R
L-R
5
-30
10
OO
10
OO
4
-5
-10
0
-20
5
-30
+6
OO
10
OO
AFL
AFL
STUDIO 1
STUDIO 2
AFL
STUDIO MONITOR FEEDS
1 TO 2
2 TRACK 1
REPLACE L-R
TALK
LEV
MIN
MAX
TALK
TO STUDIO
EQ IN
MIDI control
TO AUX 1 & 2
OO
+6
OO
+6
OO
+6
PHONES
LEVEL
AUX2
PRE
+6
OO
MIN
MAX
AUX3
POS T
+6
OO
AUX 3
+6
=
L
-10
2 TRACK DUB
AUX1
AUX3
+6
OO
+15
+15
R
2 TO 1
PRE
+6
POST
+6
OO
-15
-15
LF
+6
OO
PRE
OO
10
OO
EQ IN
PRE
AUX2
AUX3
OO
LEV
0
-20
80Hz
AUX1
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
EQ IN
PRE
AUX2
AUX3
LF
L
PFL/AFL ACTIVE
+6
AFL
BAL
R
-5
1k
18Hz
G
80Hz
AUX1
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
EQ IN
PRE
AUX2
AUX3
LF
G
80Hz
AUX1
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
EQ IN
PRE
AUX2
AUX3
LF
G
80Hz
AUX1
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
EQ IN
PRE
AUX2
AUX3
LF
G
80Hz
AUX1
+6
OO
+15
+15
+6
OO
PRE
AUX3
-15
-15
EQ IN
PRE
AUX2
+6
LF
G
80Hz
AUX1
PRE
OO
+15
+15
+6
OO
AUX2
AUX3
-15
-15
EQ IN
PRE
+6
LF
G
80Hz
AUX1
PRE
OO
+15
+15
+6
OO
AUX2
AUX3
-15
-15
LF
EQ IN
PRE
+6
G
80Hz
AUX1
PRE
POST
+6
OO
+15
+15
+6
OO
AUX2
OO
-15
-15
EQ IN
AUX1
AUX3
LF
G
80Hz
PRE
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
LF
EQ IN
PRE
AUX2
AUX3
G
80Hz
AUX1
+6
POST
+6
OO
+15
+15
+6
OO
PRE
OO
-15
-15
EQ IN
PRE
AUX2
AUX3
LF
G
80Hz
AUX1
+6
OO
+15
+15
+6
OO
PRE
AUX3
-15
-15
EQ IN
PRE
AUX2
+6
OO
AUX3
LF
G
80Hz
AUX1
PRE
+6
OO
AUX3
+15
+15
+6
OO
AUX2
PRE
-15
-15
EQ IN
PRE
+6
OO
AUX2
LF
G
80Hz
AUX1
PRE
+6
OO
PRE
+15
+15
EQ IN
AUX1
PRE
AUX2
-15
-15
80Hz
EQ IN
AUX1
LF
G
AUX 2
AUX MASTER
PRE
+6
=
L
-10
-20
-30
G
AUX 1
AUX 2
OO
AUX MASTER
300
60
F
600
LM
AUX 1
AUX 4
0.8
300
60
F
600
BAL
Q
0. 8
300
60
30
LM
MIX L-R
+6
AUX2
OO
Q
0.8
60
F
MIX L-R
PRE
18k
G
PRE
-15
Q
LM
2
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
+15
AUX1
HM
18k
G
+6
AFL
AUX MASTER
-15
AUX1
OO
G
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
1
10
OO
PFL
L-R
AUX MASTER
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
Q
6
1k
F
HM
18k
1
Amp
POWER
0
100Hz
HF
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
1
Q
6
1k
F
HM
18k
12k
+15
Q
6
1k
F
HM
18k
12k
+15
Q
6
1k
F
HM
18k
12k
+15
Q
6
1k
F
HM
18k
12k
+15
Q
6
1k
F
HM
18k
-15
Q
6
2k
1k
F
12k
+15
1
Q
6
2k
1k
F
12k
+15
1
Q
6
1k
12k
+15
1
Q
F
LINE LEVEL SIGNALS
12k
+15
Q
R
-5
-10
OO
12k
INSERT R
ALLEN&HEATH
POS T
2 TRACK 2
+6
OO
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POS T
POS T
2 TRACK 1
DIG MASTER
OO
=
OO
+6
PAN
=
R
OO
+6
PAN
L
FIREWIRE CONNECTION
=
R
OO
+6
PAN
L
=
R
OO
+6
PAN
L
=
R
OO
+6
PAN
L
=
R
MUTE
MUTE
MUTE
MUTE
PFL
PFL
PFL
PFL
OO
+6
PAN
L
MUTE
PFL
=
R
OO
+6
PAN
L
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
R
MUTE
PFL
OO
+6
PAN
L
MUTE
PFL
=
R
OO
+6
PAN
L
=
R
OO
+6
PAN
L
MUTE
=
R
OO
+6
PAN
L
MUTE
=
+6
MAIN MIX L-R
PAN
L
R
MUTE
C RM
LEVEL
L
R
MUTE
+
MUTE
RW
1
HI
2
HI
3
HI
SIG
SIG
MAIN CRM SIGNALS
4
HI
SIG
5
HI
SIG
PFL
6
HI
SIG
PFL
7
HI
SIG
PFL
8
HI
SIG
PFL
9
HI
SIG
10
HI
SIG
11
HI
SIG
PFL
12
HI
SIG
PFL
13
HI
SIG
PFL
14
HI
SIG
PFL
15
HI
SIG
STOP
PLAY
FF
REC
MIN
INC
MONO
16
HI
SIG
MIDI
SIG
MIDI
MIDI
MIDI
L
R
10
10
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10
127
4
5
10
L-R
127
3
5
10
L-R
127
2
5
10
L-R
127
1
5
10
L-R
MAX
SHIFT
PFL
ALT SPKRS
DIG MASTER
TO L-R
L-R
PHONES
DIG SND
P ost-EQ
MAIN CRM SIGNALS
DI G RET
Pre-INS
DIG RET
Post-EQ
FADER
=MIDI
O
O
O
O
Allen & Heath
APPLICATION DRAWING: STUDIO
SM
ZED-R16 User Guide
fx
34
fx
ST1
STUDIO OUT 1
ST2
STUDIO OUT 2
L
L
L
R
R
R
R
ST1 L
ST2 L
ST3 L
ST4 L
ST1 R
ST2 R
ST3 R
ST4 R
2 TRACK 1 OUT
R
L
AUX 1
L
CRM L
LINE IN
KEY:
MIC
LINE IN
1
LINE IN
2
INSERT
MIC
LINE IN
3
INSERT
MIC
LINE IN
4
INSERT
MIC
LINE IN
5
INSERT
MIC
LINE IN
6
INSERT
MIC
LINE IN
7
INSERT
MIC
LINE IN
8
INSERT
MIC
LINE IN
9
INSERT
MIC
LINE IN
10
INSERT
MIC
LINE IN
11
INSERT
MIC
LINE IN
12
INSERT
MIC
LINE IN
13
INSERT
MIC
LINE IN
14
INSERT
MIC
R
LINE IN
15
INSERT
CRM R
AUX 3
16
INSERT
L
2 TRACK 2 OUT
L
INSERT
ALT R
INSERT L
MICROPHONE SIGNAL
48V
0
20
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
40
20
GAIN
50
30
48V
0
20
40
GAIN
50
30
48V
0
40
20
GAIN
50
30
0
20
40
GAIN
50
30
40
ST1
GAIN
50
LEV
-10
ST2
-5
LEV
0
-20
-14
6
60 40
-14
6
60 40
HPF
6
60 40
HPF
100Hz
HF
FROM DIRECT BOX
-14
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
-14
6
60 40
HPF
100Hz
HF
- 14
6
60 40
HPF
100Hz
HF
HPF
100Hz
HF
ST3
-5
-10
LEV
0
-20
5
-30
OO
10
-15
+15
ST4
-5
-10
LEV
0
-20
5
-30
12k
-15
-15
Q
-15
2k
4k
1k
F
700
6k
-15
2k
4k
1k
F
700
6k
400Hz
-15
2k
4k
1k
F
700
6k
400Hz
-15
F
4k
700
F
6k
400Hz
-15
4k
700
6k
400Hz
-15
F
4k
700
2k
4k
1k
F
6k
400Hz
-15
700
2k
4k
1k
F
6k
400Hz
-15
700
2k
4k
1k
F
6k
400Hz
-15
700
2k
4k
1k
F
6k
400Hz
-15
700
2k
4k
1k
F
6k
400Hz
-15
700
HF
2k
4k
1k
F
6k
400Hz
700
6k
400Hz
-15
OO
10
-15
+15
10
OO
HF
F
4k
700
6k
400Hz
-15
POWER
0
5
F
4k
700
6k
F
4k
700
F
6k
HM
18k
400Hz
0. 8 2k
1k
6
LF
LF
80Hz
80Hz
6
PFL
G
G
G
G
G
G
G
G
G
G
G
G
400Hz
G
-15
4k
700
6k
+ 15
+6
18k
400Hz
G
+15
1
-15
+15
1
OO
-15
+15
1
EFFECTS RETURN
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+ 15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+ 15
60
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
-15
+ 15
1
18Hz
1k
-15
+15
300
F
600
LM
Q
0.8 120
6
60
30
-15
+15
1
18Hz
1k
-15
+15
300
F
600
LM
Q
0.8 120
6
60
30
-15
+15
1
-15
18Hz
1k
-15
+15
300
F
600
LM
Q
0.8 120
6
60
30
18Hz
1k
-15
+ 15
60
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
+15
1
300
18Hz
1k
-15
+15
60
F
600
LM
Q
0.8 120
6
30
-15
+15
1
300
F
600
LM
Q
0.8 120
6
30
18Hz
1k
-15
+15
60
-15
300
F
600
LM
18Hz
1k
-15
+15
60
300
F
600
G
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
G
LF
LF
G
G
LF
LM
18Hz
1k
-15
+15
G
LF
EFFECTS SEND
80Hz
-15
+15
80Hz
-15
+15
EQ IN
AUX1
AUX2
STAGE MONITOR SIGNALS
OO
+6
OO
+6
AUX3
+6
OO
+6
AUX3
POST
+6
OO
+6
AUX3
POST
+6
OO
+6
+6
OO
+6
+6
OO
+6
+6
OO
+6
+6
OO
+6
+6
OO
+6
+6
OO
+6
+6
OO
+6
LM
L
-10
R
LEV
-5
AUX 3
+6
=
1k
-15
+ 15
L
R
-5
-10
0
-20
18Hz
LEV
0
-20
5
10
OO
LF
-5
-10
+6
OO
+6
+6
OO
+6
+6
OO
+6
0
-20
5
10
OO
PFL
5
-30
L-R
1
OO
10
OO
AFL
+6
AFL
AFL
2
STUDIO
STUDIO MONITOR FEEDS
+15
1 TO 2
2 TRACK 1
REPLACE L-R
TALK
LEV
MIN
MAX
TALK
TO STUDIO
EQ IN
MIDI control
TO AUX 1 & 2
OO
+6
OO
+6
OO
+6
PHONES
LEVEL
AUX2
PRE
OO
+6
OO
+6
AUX3
POST
AFL
4
-5
-10
2 TRACK DUB
PRE
+6
PRE
OO
+6
OO
AUX 4
0
-30
10
OO
L-R
-15
R
2 TO 1
AUX1
OO
AUX2
AUX3
POST
+15
EQ IN
PRE
PRE
OO
-15
AUX1
+6
AUX2
AUX3
POST
+15
OO
3
AUX 3
LEV
-20
5
-30
PFL
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+ 15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
- 15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
- 15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
AUX3
POST
+ 15
80Hz
EQ IN
PRE
+6
PRE
OO
-15
AUX1
OO
AUX2
PRE
OO
+ 15
80Hz
EQ IN
PRE
+6
AUX2
PRE
-15
AUX1
OO
+6
AUX2
PRE
+15
PRE
OO
+6
80Hz
EQ IN
AUX1
PRE
OO
-15
EQ IN
AUX1
PRE
80Hz
AFL
AUX MASTER
LEV
600
G
LF
OO
AUX 4
300
STUDIO
80Hz
L
PFL/AFL ACTIVE
+6
OO
BAL
6
60
30
-30
G
LF
AUX 2
AUX MASTER
PRE
+6
=
BAL
0. 8 120
6
30
AUX 1
AUX 2
+ 15
1
Q
0.8 120
6
30
MIX L-R
AUX 1
+6
AUX2
OO
Q
0.8 120
60
F
MIX L-R
PRE
+6
+ 16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
+ 15
AUX1
PRE
AUX2
PRE
-15
Q
2
18k
G
AFL
L-R
AUX MASTER
-15
AUX1
L-R
HM
18k
OO
G
+16
+9
+6
+3
0
-3
-6
-9
-12
-16
-20
-30
1
10
OO
PFL
AUX MASTER
12k
+ 15
1
Q
0.8 2k
1k
6
HM
18k
12k
+15
1
Q
0.8 2k
1k
6
HM
18k
12k
+15
1
Q
0.8 2k
1k
6
HM
18k
-15
R
-5
-10
-30
100Hz
HF
12k
+15
1
Q
0.8
6
HM
18k
12k
+15
1
Q
0.8
6
HM
18k
12k
+15
1
Q
0.8
6
HM
18k
12k
+15
1
Q
0.8
6
HM
18k
12k
+ 15
1
Q
0.8
6
HM
18k
12k
+15
1
Q
0.8
6
HM
18k
12k
+15
1
Q
0.8 2k
1k
6
HM
18k
12k
+15
1
Q
0.8 2k
1k
6
HM
18k
12k
+ 15
1
Q
0.8 2k
1k
6
HM
18k
12k
+15
1
Q
0.8
6
HM
400Hz
12k
+15
1
Q
0.8
6
HM
12k
+15
1
Q
0.8
LINE LEVEL SIGNALS
12k
+15
1
INSERT R
-20
5
-30
OO
12k
2 TRACK 2 IN
ALT L
R
AUX 4
48V
2 TRACK 1 IN
L
AUX 2
MIC
MIC
ALLEN&HEATH
MIN
MAX
AUX3
POST
POST
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
AUX4
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
2 TRACK 2
2 TRACK 1
DIG MASTER
OO
=
+6
PAN
OO
=
+6
PAN
L
R
FIREWIRE CONNECTION
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
PAN
L
R
MUTE
OO
=
+6
MAIN MIX L-R
PAN
L
R
MUTE
CRM
LEVEL
L
R
MUTE
+
MUTE
RW
PFL
PFL
1
HI
MAIN PA SIGNALS
PFL
2
HI
L-R
PFL
L-R
PFL
4
HI
SIG
10
10
3
HI
SIG
SIG
L-R
PFL
5
HI
SIG
10
L-R
PFL
6
HI
SIG
10
L-R
PFL
7
HI
SIG
10
L-R
PFL
8
HI
SIG
10
L-R
PFL
9
HI
SIG
10
L-R
PFL
10
HI
SIG
10
L-R
PFL
11
HI
SIG
10
L-R
PFL
12
HI
SIG
10
L-R
PFL
13
HI
SIG
10
L-R
PFL
14
HI
SIG
10
L-R
L-R
MIDI
SIG
10
L-R
10
PLAY
FF
REC
INC
127
1
MIDI
127
2
MIDI
127
3
MIDI
127
SHIFT
4
L
R
10
10
ALT SPKRS
DIG MASTER
TO L-R
L-R
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
DIG SND
Post-EQ
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
DIG RET
Pre-INS
BACKGROUND MUSIC
MAX
MONO
16
HI
SIG
10
STOP
PFL
15
HI
SIG
10
MIN
DIG RET
Post-EQ
FADER
=MIDI
O
O
O
O
PHONES
Allen & Heath
APPLICATION DRAWING: LIVE SOUND
CD
MODES OF OPERATION
RECORDING PRE-EQ FROM AN ANALOGUE MIX
The basic mode for ZED-R16 with all the configuration switches in the up position (not pressed). ZED-R16 can be operated as a traditional analogue mixer, using the main L-R mix as a stereo monitor mix for the multitrack recording, or as a
PA mix if working live. A clean recording feed will be sent on the FireWire bus or the ADAT outputs for recording each
channel, sourced from just after the pre-amp and hi-pass filter.
ANALOGUE SIGNAL
MIC
LINE IN
1
Analogue signal converted to digital after the Pre-amp
and sent to the FireWire Bus or ADAT output.
INSERT
48V
0
20
30
40
GAIN
50
-14
6
60 40
HPF
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
100Hz
HF
ADC
12k
-15
+15
1
Q
0.8 2k
6
1k
F
4k
700
6k
HM
400Hz
18k
G
-15
+15
1
Q
0.8 120
F
60
6
300
30
600
LM
18Hz
1k
-15
+15
Analogue signal continues
through channel path to fader &
routing.
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
R
MUTE
PFL
The clean pre-eq channel signal is available
to record either in a Digital Audio Workstation or by using recording equipment
equipped with ADAT inputs.
1
HI
SIG
ANALOGUE MIX
10
L-R
5
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
ALL UP
Allen & Heath
35
ZED-R16 User Guide
MODES OF OPERATION
RECORDING POST-EQ FROM AN ANALOGUE MIX
If the DIG SEND = POST EQ switch is pressed then the digital output from the channel will be sourced from after
the equaliser. Use this mode if you want to use ZED-R16 as an analogue mixer and want to EQ the signal being recorded.
ANALOGUE SIGNAL
MIC
LINE IN
1
INSERT
48V
0
20
30
40
GAIN
50
-14
6
60 40
HPF
100Hz
HF
12k
-15
+15
1
Q
0.8 2k
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
6
4k
1k
F
700
6k
HM
400Hz
18k
G
-15
+15
1
Q
0.8 120
60
F
6
300
30
600
LM
18Hz
1k
-15
+15
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
ADC
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
Analogue signal converted
to digital after the EQ and
sent to the FireWire Bus or
ADAT output.
R
MUTE
PFL
1
HI
SIG
The ZED-R16 channel EQ can be used to
equalise the signal being recorded.
10
L-R
5
ANALOGUE MIX
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS DIG SEND = POST EQ
Allen & Heath
36
ZED-R16 User Guide
MODES OF OPERATION
USING DIGITAL PROCESSING PLUG-INS IN AN ANALOGUE MIX
The digital channel inputs and outputs are used to send a signal to the Digital Audio Workstation of software application where processing plug-ins such as noise gates or compressors can be used, almost as if they were plugged into
the insert point on the channel.
ANALOGUE SIGNAL
MIC
Analogue signal converted to digital after the Pre-amp
and sent to the FireWire Bus or ADAT output.
LINE IN
1
INSERT
48V
0
20
30
ADC
40
GAIN
50
-14
6
60 40
HPF
100Hz
DIGITAL FIREWIRE BUS
HF
DAC
12k
-15
+15
1
Q
0.8 2k
6
4k
1k
F
700
6k
HM
400Hz
18k
G
-15
+15
1
Digital input from FireWire or
ADAT is converted to analogue
and sent to the channel path
just before the insert point.
Q
0.8 120
60
F
6
300
30
600
LM
18Hz
1k
-15
+15
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
R
MUTE
PFL
1
HI
Signal processing plug-ins such as noise
gates or compressors can be used in
your Digital Audio Workstation routing
the signal back to the same ZED-R16
channel as the source. Your DAW becomes a flexible “outboard rack”.
SIG
10
L-R
5
ANALOGUE MIX
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS DIG RETURN = PRE INSERT
Allen & Heath
37
ZED-R16 User Guide
MODES OF OPERATION
IN LINE MULTITRACK RECORDING AND MONITORING
The signal for recording is send pre EQ (it can be post EQ if the DIG SND = post EQ switch is pressed) and the
track can be monitored by pressing the DIG RET = post EQ configuration switch. Using this mode emulates the traditional method of monitoring from the replay head of a tape machine which is a reliable way of monitoring what is
being recorded.
ANALOGUE SIGNAL
MIC
LINE IN
1
INSERT
Analogue signal converted to digital after the Pre-amp
and sent to the FireWire Bus or ADAT output.
48V
0
20
30
40
GAIN
50
-14
6
60 40
HPF
100Hz
HF
ADC
12k
-15
+15
1
Q
0.8 2k
6
4k
1k
F
700
6k
HM
18k
400Hz
G
-15
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
+15
1
Q
0.8 120
F
60
6
300
30
600
LM
18Hz
1k
-15
+15
G
LF
80Hz
-15
+15
EQ IN
AUX1
DAC
PRE
OO
+6
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
Digital input from FireWire
or ADAT is converted to
analogue and sent to the
channel path after the EQ.
+6
PAN
L
R
MUTE
PFL
Select the inputs to the tracks in the DAW to
be the required channels from ZED R 16.
Select the track outputs to go to the corresponding ZED R 16 channels for monitoring.
1
HI
SIG
10
L-R
5
ANALOGUE MIX
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS DIG RETURN = POST EQ
Allen & Heath
38
ZED-R16 User Guide
MODES OF OPERATION
ANALOGUE MIXDOWN FROM DIGITAL SOURCE
Here, the digital inputs to the channels are selected to go to the channel just before the insert point (replacing the
signal from the pre-amp). This mode allows for analogue mixing from a multi-track digital source using the simply
gorgeous analogue EQ on the ZED-R16.
It is also a great mode to use when overdubbing tracks, using the digital inputs for monitor & foldback purposes
whilst using the PRE-INSert digital send to do the overdub recording.
The analogue signal from the pre-amp is sent to FireWire or ADAT.
Could be used for overdubbing the recorded track.
MIC
LINE IN
1
ADC
INSERT
48V
0
20
30
40
GAIN
50
-14
6
60 40
DAC
HPF
100Hz
HF
12k
-15
+15
1
Q
0.8 2k
6
1k
F
4k
700
6k
HM
400Hz
18k
G
-15
+15
1
Q
0.8 120
F
60
Digital input from FireWire
or ADAT is converted to
analogue and sent to the
channel path before the EQ
at the channel insert point.
This replaces the signal
from the pre-amp.
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
6
300
30
600
LM
18Hz
1k
-15
+15
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
R
MUTE
PFL
Play the multitrack from the DAW or an ADAT
machine to the ZED-R16 and mix in analogue
as you would do with a traditional 16 track
tape machine.
1
HI
SIG
10
L-R
5
ANALOGUE MIX
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS DIG RETURN = PRE-INSERT
Allen & Heath
39
ZED-R16 User Guide
MODES OF OPERATION
DIGITAL MIXDOWN USING FADERS AS MIDI CONTROLLERS
Many people will want to stay in the digital domain once their tracks are recorded. The ZED-R16 appreciates this
and allows the channel faders to be used as MIDI controllers where they can be assigned to control the level or
other parameter within the Digital Audio Workstation or software application. The analogue part of the fader is bypassed at unity gain, so it is still possible to route signals to the mix bus if required. Also, the other parts of the channel are available for things like sending audio to the DAW for additional tracks or overdubbing whilst monitoring this
signal using the Auxes, which would be at zero latency with respect to the input to the pre-amp.
MIC
LINE IN
1
DIGITAL SEND FROM AFTER PRE-AMP
Could be used for overdubbing the recorded track.
INSERT
48V
0
20
30
40
GAIN
50
-14
6
60 40
HPF
100Hz
ADC
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
MIDI data is carried by the FireWire bus. If the
audio connection is ADAT then use the MIDI
out from the ZED-R16 for control.
HF
12k
-15
+15
1
Q
0.8 2k
DAC
6
4k
1k
F
700
6k
HM
18k
400Hz
G
-15
+15
1
Q
0.8 120
F
60
6
300
30
600
LM
18Hz
1k
-15
+15
DIGITAL INPUT NOT SWITCHED
IN So the signal from the preamp can be used for foldback
purposes with zero latency.
Assign the MIDI controllers
in the DAW.
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
AUX2
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
R
MUTE
PFL
1
HI
SIG
10
L-R
5
0
Listening to a stereo mix from the DAW can be done
by selecting ZED R 16 MAIN L R as the output for the
master track in your DAW and returning this to the
ZED-R16 in the master section.
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
Automating MIDI controlled parameter moves in your
application can be done using either pick-up mode or
jump-to mode for the MIDI control.
OO
PRESS FADER = MIDI
Allen & Heath
40
ZED-R16 User Guide
MODES OF OPERATION
EXTREME FLEXIBILITY—ANALOGUE PLUG-INS!
You can even use the EQ in the ZED-R16 channel as an analogue plug-in for your Digital Audio Workstation!
To do this press both the DIG RET = PRE INS to source the channel from your DAW and the DIG SND = POST EQ,
so the output of the EQ goes back to the DAW. You may need to create a new track in your software application for
the equalised audio, otherwise a feedback loop could easily be created between the ZED-R16 and the DAW.
MIC
LINE IN
1
DIGITAL INPUT = PRE INSERT
The digital input from the DAW
replaces the signal from the
channel pre-amp
INSERT
48V
0
20
30
40
GAIN
50
-14
6
60 40
HPF
100Hz
HF
DAC
12k
-15
+15
1
Q
0.8 2k
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
6
1k
F
4k
700
6k
HM
400Hz
18k
G
-15
+15
1
Q
0.8 120
F
60
6
300
30
600
LM
18Hz
1k
-15
+15
G
LF
80Hz
-15
+15
EQ IN
AUX1
PRE
OO
+6
OO
+6
OO
+6
AUX2
ADC
PRE
AUX3
POST
AUX4
POST
OO
=
+6
PAN
L
DIGITAL SEND FROM
AFTER EQ
The post EQ signal is
sent back to the DAW.
R
MUTE
PFL
1
HI
SIG
10
L-R
Create a new track in the DAW to return the EQ’d
signal, arm the track and record it as required.
5
0
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
Monitor the post-EQ signal either using the channel
PFL or the SOLO function in your DAW, returning the
master stereo track to the ZED-R16 in the master
section.
OO
PRESS DIG SEND = POST EQ AND DIG RETURN = PRE-INSERT
Allen & Heath
41
ZED-R16 User Guide
cakewalk
SONAR LE
DIGITAL AUDIO WORKSTATION
SONAR LE Overview.
SONAR LE is a software application from Cakewalk and is included free of charge with your new ZED-R16 mixing console.
SONAR LE is a first step into the world of sequencing and hard disk recording on the Windows platform. You’ll be able
to record 8 tracks simultaneously from your ZED-R16 mixer, arrange songs, then play back 8 tracks simultaneously to
your ZED-R16 mixer via the FireWire bus. You can decide whether the SONAR family of products is right for you. If
you choose to upgrade your copy of SONAR LE to a more full-featured version, like SONAR Producer or Home Studio Editions, you’ll now be able to do so at significant savings.
We will describe the basic steps of installing the software and getting started here, for more comprehensive help or
technical support please use the Help files in SONAR LE or visit the SONAR LE website:
http://www.cakewalk.com/owners/sonarle/
The website will have details on registering your product and upgrading it should you wish. There are also tutorials to
get you started.
SONAR LE is the most complete OEM production software solution available today. Unlike other OEM applications,
SONAR LE has been designed to provide a simple yet complete solution for creating music. You won’t feel the need to
upgrade just to get started.
With support for up to 64 tracks and 24 track effects, 8 physical in/outs at 24bit/192kHz (96kHz maximum sample rate
using ZED-R16), SONAR LE is able to offer a powerful pc based recording studio. The package also includes 2 instruments, 6 MIDI effects, and 14 audio effects.
SONAR LE has been updated with new features from its acclaimed SONAR Producer, making SONAR LE the first native Windows DAW for Windows XP, Windows x64, and Windows Vista.
SONAR LE Key Features.
64 audio tracks
256 MIDI tracks
8 simultaneous inputs and outputs
24-bit/192 kHz audio quality
24 simultaneous effects
8 simultaneous virtual instruments
Integrated VST/VSTi support, without need for VST adapter
Support for ACID™-format loops
Support for ReWire clients such as Project5, Live, or Reason
Elegant user interface
Active Controller Technology™ automatically maps MIDI keyboards and control surfaces to the parameters
you need most on effects, instruments, volume, pan, and other mix elements
Easier integration of virtual instruments with Synth Rack
Support for Windows Vista (32-bit & 64-bit), Windows XP Professional x64 Edition, and
Windows XP operating systems
Allen & Heath
42
ZED-R16 User Guide
System Requirements (For SONAR LE)
(For running SONAR LE on a Windows computer. The system requirements for connecting to ZED-R16 are documented separately)
System Requirements
Minimum
Recommended
Windows XP
Windows XP/Vista/Vista x64
Intel® Pentium® 4 1.3 GHz,
or AMD™ Athlon XP 1500+
or higher
Intel® Pentium® 4 2.8 GHz
[EM64T], or AMD™ Athlon 64
2800+or higher
256 MB
1 GB or higher
Graphics (resolution,
color depth)
1024 x 768, 16-bit colour
1280 x 960, 32-bit colour
Hard Disk Space
100 MB for core program
2 GB for program and content
Hard Disk Type
Any
EIDE/Ultra DMA (7200 RPM) or
SATA
MIDI Interface
Windows-compatible
Windows-compatible
Audio Interface
Windows-compatible
WDM- or ASIO-compatible, including WaveRT for Vista
Operating System
Processor Speed
RAM
Optical Drive
DVD-ROM, DVD+/-R, or DVD+/-RW for installation, CD-R or CDRW capability required for CD audio disc burning
SONAR LE Installation.
Put disk into CD or DVD ROM drive and follow instructions on screen.
SONAR LE Audio Configuration with ZED-R16.
To configure your SONAR LE software to communicate
audio to and from your ZED-R16 mixing console, follow the
sequence below.
Ensure the Driver software is installed on your computer.
Please refer to the section titled Installing Drivers.
Ensure the ZED-R16 is powered on.
Connect the FireWire lead from the computer to either
FireWire port on ZED-R16.
First check that your computer has recognised
the connection of the ZED-R FireWire device by clicking
Settings/Control Panel/Sounds and Audio Devices/Audio.
ZED R Audio should appear as an option in the drop-down
menu for Sound playback devices as shown on the right:
It is also a good idea to select “No Sounds” in the
Sounds window so you don’t get the Windows beeps etc.
through your monitors.
Allen & Heath
43
ZED-R16 User Guide
Next, launch SONAR LE.
Click Options/Audio and click on the Drivers tab.
The Input and Output Drivers for ZED R should appear
in the option boxes. If they don’t, click the Advanced tab
and check that the Driver Mode is set to ASIO.
The Input drivers are the audio sources to the computer.
Using SONAR LE, only 8 simultaneous inputs can be used
at one time and these are shown in the screenshot enabled in pairs. Unfortunately with the current version of
SONAR LE, the inputs and outputs are only enabled in
pairs, but the inputs can be chosen as a mono source in
the application ie CH1/2 Left would be channel 1.
The Output Drivers are the audio outputs from the
Computer. Again, only 8 of the 18 possible FireWire
channels are enabled simultaneously using SONAR LE.
If you scroll down the list of Input & Output Drivers, you
will see there are 8 ADAT input channels and 8 ADAT
output channels that can be enabled as well as choosing
from the 18 FireWire inputs and 18 outputs.
These can be enabled and used in conjunction with the 18 FireWire inputs and outputs, connecting ADAT equipment to
the ADAT input and output connectors 1-8. SONAR LE will only allow 8 simultaneous inputs and 8 outputs at one time,
so the ADAT channels will count towards that number, but with applications with a higher number of simultaneous inputs
& outputs, then the number of FireWire and ADAT
channels that can be used will be according to the table
on p24.
In order to show how to select inputs to SONAR
tracks, here is a basic Cakewalk 16 track project (.cwp).
This is created by clicking File/New/16 Track Audio.
Click on the I/O tab near the bottom of the window,
then click the expand buttons in the audio track panes.
The track 1 shows the drop down menu for the track
inputs and if we select LEFT ZED R16 CH1/2, then the
source for that track will be channel 1 from ZED-R16.
If audio is present, click the Input Echo buttons (lit up
yellow here) to monitor the signals on the Master Bus.
The output for of the track is automatically routed to the master
bus in SONAR LE, but could be routed back to your ZED-R16 using
the drop-down menu for the outputs. Note that in SONAR LE that
there are only 8 outputs available simultaneously, in pairs. If a mono
output is required then select the relevant pair and pan the output
of that track to be a mono output, so to route back to ZED-R16
channel 1, select CH1/2 and pan 100% left.
You should now be able to send audio between your computer and your
ZED-R16 using SONAR LE.
To test this, let’s do a recording….
Allen & Heath
44
ZED-R16 User Guide
To record the audio on tracks 1 & 2, click
the R buttons so they light up red, then the
record button (circle) on the transport controls on the top icon toolbar. (Or select larger transport controls from Views).
The audio wave profile will show in the track
panes.
Click stop (Square) when finished.
To listen to the recording, click rewind, then
de-select the input echo buttons (to the right
of the R buttons. Also disarm the tracks by
de-selecting the R buttons.
Click Play (or spacebar) and the recorded
audio should play to the selected outputs on
the track which if you have selected CH1/2
and panned left for track 1 and CH1/2
panned right for track 2 will be the same
channels on ZED-R16 supplying the audio to
the tracks.
Dropouts and Latency
A common problem of a poorly set up digital audio system is audio dropout, either temporary or permanent, and clicks or
artefacts. These can be caused by various inadequacies of the system which can be either hardware or software. If you experience audio dropouts or clicks, the first thing to do is to analyse your computer system and test its ability to process
streamed audio data.
A good tool to use is the DPC checker described on p31, which checks for excessive computer processor timings caused by
certain drivers or applications running on the computer. As a general guideline a DPC measurement of below 100uS should
enable audio streaming to run with reasonable buffer sizes.
If excessively high measurements are reported by the DPC checker, it is a good idea to investigate the cause. Disconnect
peripherals (ZED-R16, printers etc) and any network if possible and look for improvement. In addition it is often beneficial
to disable drivers for unused network connections such as wireless network drivers. For more tips and diagnostic advice
please check our website, or contact our Tech Support department by logging onto http://allen-heath.helpserve.com .
For many people low latency is important, especially for artists’ monitoring purposes. ZED-R16 is ideal because it offers the
ability to monitor the signal from the pre-amp using the Aux buses in the analogue domain, whilst recording to digital, providing zero latency foldback.
Sometimes low latency from the FireWire bus audio transfer is required, so as a guide here is a table showing latency figures
at different sample rates and buffer sizes.
Allen & Heath
Sample Rate
Buffer Size
Each way latency
48kHz
128 bytes
4.5mS
48kHz
256 bytes
7ms
96kHz
256 bytes
4mS
96kHz
512 bytes
7mS
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ZED-R16 User Guide
Enabling MIDI Control with SONAR LE
With SONAR LE running and ZED-R16 connected via FireWire, click Options in the main menu toolbar, then MIDI Devices. Enable ZED-R as a MIDI input device to SONAR by clicking on it as below.
Click OK and return to the main Options menu and click Controllers/Surfaces where you can choose the MIDI control
source for your project. If none appear then click the Add New button (yellow star) and select the controller surface type
as MMC-1 and the In port as ZED-R. This will set the MIDI Machine Control transport keys on ZED-R16 to operate the
transport functions in SONAR LE. Click Add New again and select ACT MIDI Controller-1 to be the controller and select
the In port to ZED-R. The pane should look like:
You are now able to assign the MIDI controllers on ZED-R to functions in SONAR LE. This is a very brief overview of how
to get started, if you need to know more about MIDI control in SONAR LE, then the Cakewalk website is a great source
of information. To get started though, click the Controller/Surface selection window on the main toolbar (you may need to
enable it in Views/Toolbars), and select ACT MIDI Controller-1. Then to the right of this click the Controller/Surface
Properties button and the controller properties assignment pane opens.
To assign the ZED-R channel 1 fader to control the fader on track 1 of the project we have open, click the lower half of
the S1 pane just under T1 Vol. It is set to learn a MIDI controller. Press the CH1 Fader=MIDI switch and move the fader
and you will see the dB value changing and also the fader moving on track 1.
The rotary MIDI controllers and MIDI switches on ZED-R can be assigned in a similar way, the controls being mapped to
different functions in the Options tab and choosing from the menus.
Allen & Heath
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ZED-R16 User Guide
ZED-R MIDI IMPLEMENTATION
MIDI
CONTROLLER
MESSAGE
TYPE
DATA 1
DATA 2
MIDI
CONTROLLER
MESSAGE TYPE
DATA 1
DATA 2
FADER CH1
CC
01
0-127
SWITCH 1
NOTE ON/OFF
01
7F/00
FADER CH2
CC
02
0-127
SWITCH 2
NOTE ON/OFF
02
7F/00
FADER CH3
CC
03
0-127
SWITCH 3
NOTE ON/OFF
03
7F/00
FADER CH4
CC
04
0-127
SWITCH 4
NOTE ON/OFF
04
7F/00
FADER CH5
CC
05
0-127
SWITCH 5
NOTE ON/OFF
05
7F/00
FADER CH6
CC
06
0-127
SWITCH 6
NOTE ON/OFF
06
7F/00
FADER CH7
CC
07
0-127
SWITCH 7
NOTE ON/OFF
07
7F/00
FADER CH8
CC
08
0-127
SWITCH 8
NOTE ON/OFF
08
7F/00
FADER CH9
CC
09
0-127
SWITCH 9
NOTE ON/OFF
09
7F/00 *
FADER CH10
CC
0A
0-127
SWITCH 10
NOTE ON/OFF
0A
7F/00 *
FADER CH11
CC
0B
0-127
SWITCH 11
MMC
REWIND
FADER CH12
CC
0C
0-127
SWITCH 12
MMC
STOP
FADER CH13
CC
0D
0-127
SWITCH 13
MMC
PLAY
FADER CH14
CC
0E
0-127
SWITCH 14
MMC
FFW
FADER CH15
CC
0F
0-127
SWITCH 15
MMC
REC
FADER CH16
CC
10
0-127
SWITCH 16
NOTE ON/OFF
10
7F/00
FADER MIDI 1
CC
11
0-127
SWITCH 17
NOTE ON/OFF
11
7F/00
FADER MIDI 2
CC
12
0-127
FADER MIDI 3
CC
13
0-127
FADER MIDI 4
CC
14
0-127
ROTARY 1
CC
65
0-127
ROTARY 2
CC
66
0-127
ROTARY 3
CC
67
0-127
ROTARY 4
CC
68
0-127
ROTARY 5
CC
69
0-127
ROTARY 6
CC
6A
0-127
ROTARY 7
CC
6B
0-127
ROTARY 8
CC
6C
0-127
ROTARY 9
CC
6D
0-127
ROTARY 10
CC
6E
0-127
ROTARY 11
CC
6F
0-127
ROTARY 12
CC
70
0-127
* = Resends command if held down
MIDI control
1
2
3
4
5
6
7
8
9
10
+
RW
MIDI
1
STOP
MIDI
127
127
O
Allen & Heath
12
11
O
47
PLAY
2
FF
MIDI
127
O
3
REC
MIDI
127
O
INC
SHIFT
4
L
10
R
10
5
5
0
0
5
5
10
10
OO
OO
ZED-R16 User Guide
ZED-R MIDI IMPLEMENTATION
Changing MIDI Channel
The default MIDI channel is 16.
To change the MIDI channel follow the following procedure:
1.
2.
3.
4.
5.
6.
7.
With ZED-R16 powered off, press & hold down the PLAY button and switch on the mains power to ZED-R16.
Release the PLAY button.
Press & hold down the MIDI switches 1,3,5 & 7 in a combination from the table below.
Press and release the PLAY button again.
Release the switches 1,3,5 & 7, if any are pressed from step 3.
Turn off the mains power.
Turn the mains power back on and the MIDI channel should be set to your required selection.
Table of switch 1,3,5 & 7 press for MIDI channel selection.
MIDI channel required.
Switch combination pressed
1
NONE
2
1
3
3
4
1+3
5
5
6
5+1
7
5+3
8
5+3+1
9
7
10
7+1
11
7+3
12
7+3+1
13
7+5
14
7+5+1
15
7+5+3
16
7+5+3+1
Notes on MIDI Channel selection.
The ZED-R16 will remember the MIDI channel that was last set on power up. The factory setting is CH16.
The MMC Transport control message will be an “all call” or “all device ID” message if the ZED-R16 is set to transmit on
MIDI channel 16. If set to transmit on MIDI channels 1 to 15, the MMC Transport control message will be specific to devices set to that MIDI channel.
Allen & Heath
48
ZED-R16 User Guide
WIRING NOTES
PROCESSOR
Insert cable wiring
RETURN
S
INSERT
T
OUT
T
R
S
R
SEND
GROUND
RETURN
SEND
S
T
R
IN
LINK RING TO SLEEVE TO UNBALANCE
Y-Adapter
Y-Adapter
RCA phono jacks
2 Outputs to 1 Input
adapter
1 Output to 2 Inputs
RCA PHONO CABLE
UNBALANCED
No !
UNBALANCED
INSTRUMENT CABLE
UNBALANCED
BALANCED
TRS JACK CABLE
BALANCED
Sleeve=ground
Sleeve=ground
Ring=cold (-)
Ring=cold (-)
Tip=hot (+)
TO
INPUT
Tip=hot (+)
2=hot (+) 1=ground
BALANCED
MIC CABLE
1=ground
BALANCED
XLR FEMALE
XLR MALE
BALANCED
TRS to XLR-F CABLE
Sleeve=ground
2=hot (+)
FROM
OUTPUT
3=cold (-)
3=cold (-)
General
Wiring
Information
Yes
1=ground
BALANCED
XLR FEMALE
2=hot (+)
3=cold (-)
Ring=cold (-)
Tip=hot (+)
2=hot (+) 1=ground
BALANCED
TRS to XLR-M CABLE
BALANCED
Sleeve=ground
XLR MALE
3=cold (-)
Ring=cold (-)
Tip=hot (+)
Allen & Heath
49
ZED-R16 User Guide
PRODUCT SUPPORT
Investigate ALLEN & HEATH’s other ranges at www.allen-heath.com
Large Live Sound mixers — iLive digital, ML and GL Series
Small Format Live Sound mixers — ZED, MixWizards and PA Series
DJ products — Xone Series
Sound Management Series — iDR Series
Registering your product
Thank you for buying the Allen & Heath ZED-R16 mixer. We hope that you are happy with it and that you enjoy many years
of faithful service with it, and record and mix some great music.
Please go to www.allen-heath.com/register.asp and register your product’s serial number and your details. By registering with
us and becoming an official Registered User, you will ensure that any warranty claim you might make is actioned quickly and
with the minimum delay.
Alternatively, you may either copy or cut off this section of the page, fill in the details, and return it by mail to:
Allen & Heath Ltd, Kernick Industrial Estate, Penryn, Cornwall TR10 9LU, UK
Product Support: You can access Allen & Heath Tech Support by logging onto http://allen-heath.helpserve.com
Allen & Heath
50
ZED-R16 User Guide
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