Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX

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Write a review Q&A SKU: ZED-12FX Solotech ID#: 50054
Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX - PSSL ProSound and Stage Lighting
Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX - PSSL ProSound and Stage Lighting
Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX - PSSL ProSound and Stage Lighting
Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX - PSSL ProSound and Stage Lighting
Allen & Heath ZED-12FX 12x2 LIVE MIXER with USB/EFX - PSSL ProSound and Stage Lighting
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Description

Allen & Heath ZED-12FX 12x2 Mixer with USB and DSP Effects

Complementing the existing ZED series, the ZED FX has been developed around an FX chipset purely for the new model. Our DSP engineers have been working hard, crafting and refining beautiful reverb algorithms. The effects are available nowhere else - this quality and integration is only available from the ZED FX.

16 essential time-delay effects add to the already bulging feature set. The mixer is ideal for small groups who don’t want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings.

What's great about the ZED-12FX?

In addition to the DuoPre mic pre-amps, 100mm faders and MusiQ EQ section which are shared with the whole ZED range, the ZED FX has 16 unique effects

ZED FX are easily controlled using 3 buttons and 9 LEDs. Quickly tap the ideal delay time or ‘dial-in’ the per fect amount of reverb on the lead vocal. One-stop navigation and editing… In fact, just as easy as your effects pedals. Hold down the TAP button and press the up or down button to alter the effects parameter, for example on patch (9) Plate, this would adjust the decay length. The ZED FX is designed to fulfil all the functions a small band would need without their own sound engineer. The layout and features have been arranged to be logical and instantly recognisable at a dark gig- a mixer you can trust to per form.

The USB audio interface, with its uniquely flexible capability, allows different signals to be sent to USB, from LR or from selected aux buses. The USB return signal can be routed straight to the LR mix or to a stereo channel. The connectors are placed on the top surface for easy plugging & patching, and the construction, with individual circuit boards firmly nutted to the top panel, is as rock solid as Allen & Heath’s top of the range ML Series mixers.

The ZED FX range currently comprises of the ZED-12FX and the 22FX. Between them they offer a solution for any small group or singer songwriter needing up to 16 mono inputs and 3 stereo inputs. Keyboards, microphones, samplers, the sky is the limit. Each mono channel has an insert point, allowing in-line effects such as compressors to be added to the signal chain, just like our large format mixers.

Internal FX
16 separate effects have been crafted into the ZED-FX range. These include Delay and Reverb, Ping-Pong delay, a selection of reverbs with different room/hall/arena properties, a flanger and a chorus. All have been designed to complement the material the engineer is working with. Each of the effects has a parameter which can be altered: pre-delay can be adjusted, room sizes tweaked, and flanger speed dialled-in. Five of the effects can have their tempo tapped in, and the output auditioned by the FX PFL.

Inputs
One of the great things about the ZED series is the number and variety of things you can plug in. In addition to the sixteen mono channels there are two dual stereo channels, each with a main stereo input on jack sockets and with additional inputs on phono sockets. The USB return can be selected to one of the additional inputs so that it feeds either the main LR bus or the stereo channel.

DuoPre
Based on the proven pre-amps from the hugely successful PA series, the ZED series has new DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using t

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