I currently use it as my main audio interface in my little studio, and it works well enough for that. As an interface it's not as user friendly as the scarlett suite, but it makes up for it in versatility. All ZED mixers are designed and built to Allen & Heath's legendary touring grade standards to ensure a long life in the toughest environments. All channels are on individual, vertical circuit boards and all rotary controls are secured to the front panel with a steel nut to guard against impact damage. The EQ certainly don’t give you as much control as you might want, but they sound pretty good nonetheless. There’s no denying that in studio situations you may want to rely more on plugins for your EQ needs, as you’ll be able to get much more surgical. In live situations, however, the ZEDi-10FX is more than capable — sure, you don’t get to set the Q, but the Q the console sets for itself is very musical. Last but not least, the Allen & Heath ZEDi-10FX is built to last. It should be able to handle most of the reasonable abuse you can throw at it, which is good news considering the people who will buy a small-format console like this are probably people who are also on a budget. Sound

Behringer has 61 plug-ins to choose from. This ranges from reverb and delay to modulation effects, graphic equalizers, exciters, and transient designers. The M channels feature 3-band EQ, with shelving HF and LF bands (12 kHz and 80 Hz corner frequencies) and a broad bell MF band centered on 600 Hz. These are slightly unusual frequency choices — it’s more common to see Mid control around 1 kHz and Highs at 10 kHz — but they sound quite musical. MF adds body and heft to guitars and vocals, and the HF shelf is nice for taming overly sparkly condenser mics or adding a touch of “air” where needed. Conclusively, with the ZEDi-10FX, Allen & Heath offers a small mixer in proven quality. The 4 × 4 audio interface, the very good microphone preamps, and the good sounding effects processor are the highlights of the equipment. A pad circuit is available for channels 1-4, which lowers the input signal by 26 dB. Also, channels 1-8 have a high-pass filter working at 12 dB octave. It cuts off frequencies below 80 Hz. If an item can not be repaired, a similar alternative product or cash discount (as defined in this policy) will be offeredThis licence shall be governed and construed in accordance with the laws of England and Wales. Subject to Allen & Heath being entitled to enforce the terms of this EULA in any court or jurisdiction that it sees fit, any dispute arising from or related to this EULA shall be subject to the non-exclusive jurisdiction of the courts of England and Wales. Where You use the Software outside of England and Wales, the local law may impose greater restrictions on You that You must comply with. Without prejudice to any other rights, Allen & Heath may terminate this EULA if You fail to comply with any of the terms of this EULA. In such an event, all rights granted to You under this EULA shall cease, You must cease all activities authorised by this EULA and You must destroy all copies of the Software and all of its component parts within your control. Two further differences can be seen: For channels one and two, simple on/off limiters from dbx can be switched on, channels five and six also have Hi-Z levels at the touch of a button. I think that's a clever distribution of the goodies. This way, I can prevent two microphones from clipping and still supply the electric bass and electric guitar. Gone are the days when, to get started with audio recording, you needed to carefully select each and every component in the recording chain: yes, there are still plenty of options if you want to do that, but in recent years we've seen a glut of well‑specified analogue mixers with on‑board A‑D and D‑A conversion, and either Firewire or USB connectivity — so that they can be plugged straight into your computer without the need for a third‑party audio interface. That leaves you needing only a microphone and a set of monitors or decent headphones to complete a basic hardware setup. In consideration of your paying any price charged for the Software or product sold by Allen & Heath to You which contained the Software at point of sale (“ Product”) and/or your use of any free Software and your compliance with these terms, Allen & Heath grants to You the non-exclusive right to install and/or use the Software as specified in this EULA and in accordance with any documentation that accompanies the Software or Product online or in paper format (and which includes, without limitation, the terms and conditions upon which Allen & Heath sold the Product to You) (“ Documentation ”).

Credit subject to status and affordability. Terms & Conditions Apply. Guitar Guitar Limited is a credit broker and is Authorised All ZED mixers are designed and built to Allen & Heath’s legendary touring grade standards to ensure a long life in the toughest environments. All channels are on individual, vertical circuit boards and all rotary controls are secured to the front panel with a steel nut to guard against impact damage. Made for Guitars ALLEN & HEATH DOES NOT WARRANT THAT THE SOFTWARE IS FREE OF BUGS OR ERRORS, AND THE EXISTENCE OF SUCH WILL NOT RESULT IN ALLEN & HEATH (i) BEING IN BREACH OF THIS EULA OR (ii) INCURRING ANY LIABILITY.There are three stereo channels, each with its own I/O and features. ST1 is a full-on input channel with a pair of 1/4″ TRS inputs, Gain control, 2-band EQ (HF and LF shelving identical to what’s on the M channels), Aux and FX sends, Pan, Mix, and PFL. ALLEN & HEATH’S ENTIRE LIABILITY, AND YOUR EXCLUSIVE REMEDY, UNDER THE LIMITED WARRANTY PROVIDED IN THIS CLAUSE, OR FOR ANY OTHER BREACH OF THIS EULA, OR FOR ANY OTHER LIABILITY RELATING TO THE SOFTWARE, SHALL BE (AT ALLEN & HEATH’S OPTION), (I) RETURN OF THE AMOUNT PAID (IF ANY) FOR THE SOFTWARE, OR (II) REPAIR OR REPLACEMENT OF THE SOFTWARE, TO THE EXTENT THAT IT DOES NOT MEET THE LIMITED WARRANTY. Featuring the new GSPre boutique preamp design, developed from the revered GS-R24 studio recording console, the ZED boasts exceptionally low noise and massive headroom, with a signature analogue warmth and depth. ZEDi-10FX includes a specially created suite of studio quality reverbs, delays and special multi-model FX, crafted by Allen & Heath’s acclaimed in-house effects aficionados. Guitarists will be pleased to know that two of ZEDi-10FX’s mono channels feature Guitar DI high impedance inputs, allowing guitars to be plugged straight into the mixer without the hassle and expense of carrying separate DI boxes. not to translate, merge, adapt, vary or modify the Software or Documentation, assign the benefit or burden of this Licence in whole or in part, or to allow the Software to become the subject of a charge, lien or encumbrance; The only remaining channel controls concern the Aux and FX channels. The aux channel, as you'd expect, has a knob to control the level, but no more than that. The FX channel includes both a level knob and, usefully, a tap‑tempo button, as well as up/down buttons used to select the required effect.

ii) the Software links to LGPL Libraries and reverse engineering of the Software is essential for debugging any modifications You have made to the LGPL Libraries.The ZEDi-10FX includes a specially created suite of studio quality reverbs, delays and special multi-model FX. Two of ZEDi-10FX’s mono channels feature Guitar DI high impedance inputs, allowing guitars to be plugged straight into the mixer without the hassle and expense of carrying separate DI boxes. The ZEDi-10FX comes with the acclaimed Cubase LE software. Cubase LE offers powerful yet easy-to-use software tools for audio recording, editing, MIDI sequencing and mixing.