Mio console headphone feeds8/27/2023 ![]() ![]() The knobs are bolted securely to the front panel. The signal can be your headphone feed or the main mix, while you also have a button to redirect the signal from PFL monitoring to any of the main outputs, thus allowing you so monitor the mix from the control room.Ĭontrols and connections are housed conveniently on the top panel – apart from the mains input and switch. The ZEDi-10/ZEDi-10FX has a stereo RCA/phono pairing with a level knob for monitoring. ![]() But note the latter TRS FX out is from FX sends, not built-in FX wet signal. Your main outputs are XLR with a 60mm master fader, a TRS Auxiliary out that has its own level, and a TRS FX out that doubles as a foot-switch input for muting built-in FX. The eight LED stereo level meters are not as good as the ZED 10's 12, but it is no dealbreaker. Alternatively, you can choose to monitor the FX Send, Aux Send or Stereo 3 in. It defaults to the main mix, but engaging PFL for any channel cuts the main mix monitoring. The 1/4-inch headphone monitoring has plenty of level. Also, you can't route the FX internally to a free channel for basic EQ'ing of effects, or to send FX out via USB. There is a momentary interval when changing presets, a second or two until the next effect is engaged, and this is a little annoying. You've got just one controllable parameter for each and a tap tempo button. There are 61 FX presets split between delays, verb-delays, echo verbs, plate verbs, hall verbs, chorus/doublers, phaser flangers symphony and gated verbs. The system is good and versatile, ideal for studio or live show situations Helpfully for those just starting out with their own recordings, there are download codes for Cubase LE for PC/Mac and Cubasis LE Mobile for iOS. It's a smart choice that the USB Mix outputs bypass mixer and EQ controls (apart from low-cut). The system is good and versatile, ideal for studio or live show situations. There is a camera connection kit that makes the unit compatible with iOS devices. The sound quality in and out really is superb, with inputs wired into ST2 and ST3 and three output configurations on the ZEDi-10/ZEDi-10FX: Mic1-Mic2-AUX-FX, Mic1-Mic2-MainL-MainR and, by default, Mic1-Mic2-Mic3-Mic4. The ZEDi-8 and ZEDi-10/ZEDi-10FX models' USB port is class compliant for Mac users but PCs require a driver. Stereo 2's level knob is shared with the onboard FX.Īlso, given that a portable and compact mixer such as this is obviously going to appeal to small bars and restaurants, the absence of any RCA/phono inputs is odd. The first stereo channel offers only high and low EQ and 15dB of gain the second and third offer only mix level. The stereo channels aren't quite so fully featured. Keeping things smooth, the MusiQ system automatically adjusts the Q in response to the amount of gain. The original ZED 10's swept-mid band is now fixed with centre frequencies of 80Hz, 600Hz, and 12kHz, which is obviously spec'd for live mixing. With 5-60dB of gain, the mono channels have more than enough juice for sensible purposes, and there are controls for balance, mix level, FX-send, auxiliary send plus a 3-band EQ. We've also got a low-cut button (100Hz) here that works across all four channels. On the next two channels you will find a Line/Pad button that drops the mic input level 20dB. That means less kit to carry about on the road and less chance of your precious EMO 520 going missing on the job. The first two channels have mode dedicated for guitar, with high impedance DI inputs. Well, they sound very nice on everything that we have put through them – even our own voice. The official word from Allen & Heath HQ is that they were "developed from the revered GS-R24" desk. The is ample headroom in the GSPre preamps – in the silent stakes, they could go toe to toe with a dropped pin. ![]() There are separate balanced/unbalanced TRS and XLR inputs on the four mono channels. You also have a trio of stereo inputs and onboard FX. ZEDi-10FX offers up four mono mic/line channels, each with phantom power.
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