AP7236-ISS-3_ZED_R16_USER_GUIDE_colour

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 regula-
tions 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 3

Copyright © 2018 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:
2 TRACK 1 OUT
STUDIO OUT 1 STUDIO OUT 2 L
ST1 ST2 AUX 1 R CRM L 2 TRACK 1 IN
L L L L L
AUX 2 CRM R
MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC
R R R R R
LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN
2 TRACK 2 IN
AUX 3 ALT L
L
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ST1 L ST2 L ST3 L ST4 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 INSERT R R
48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V ST1 R ST2 R ST3 R ST4 R
0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30
20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40
ST1 -5 ST2 -5 ST3 -5 ST4 -5
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN LEV -10 LEV -10 LEV -10 LEV -10
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 0 0 0 0 POWER
-20 -20 -20 -20
-14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 5 5 5 5
-30 -30 -30 -30 AUX MASTER +16 +16
HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF HPF
100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz
OO 10 OO 10 OO 10 OO 10
1 +9
+6
+9
+6
+3 +3
HF HF HF HF HF HF HF HF HF HF HF HF HF HF HF HF HF HF 0 0
PFL PFL -3 -3
OO +6 -6 -6
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k -9 -9
AFL -12 -12
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 +15 -15 +15 L-R L-R -16 -16
LF LF -20 -20
AUX MASTER -30 -30
Q Q Q Q Q Q Q Q Q Q Q Q Q Q Q Q 80Hz 80Hz 2 L R
0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 0.8 2k 6 -15 +15 -15 +15
F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k F 1k 4k MIX L-R MIX L-R PFL/AFL ACTIVE
AUX1 AUX1 OO +6
ALLEN&HEATH
700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k 700 6k PRE PRE
HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM HM AFL
400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k 400Hz 18k AUX 1 AUX 1
OO +6 OO +6 AUX MASTER 2 TO 1
G G G G G G G G G G G G G G G G 2 TRACK DUB
AUX2
PRE
AUX2
PRE
AUX 2 AUX 2 3 1 TO 2
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15
OO +6 OO +6
AUX 3 AUX 3 OO +6
= =
2 TRACK 1
BAL BAL REPLACE L-R
Q Q Q Q Q Q Q Q Q Q Q Q Q Q Q Q AFL
AUX 4 AUX 4
0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6
AUX MASTER TALK
F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 F 60 300 L R L R LEV
30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600
LEV
-10
-5
0
LEV
-10
-5
0
LEV -10
-5
0
LEV -10
-5
0
4
LM LM LM LM LM LM LM LM LM LM LM LM LM LM LM LM -20 -20 -20 -20
18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k 18Hz 1k
5 5 5 5 MIN MAX
-30 -30 -30 -30 OO +6
G G G G G G G G G G G G G G G G OO 10 OO 10 OO 10 OO 10
AFL
PFL PFL AFL AFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
LF LF LF LF LF LF LF LF LF LF LF LF LF LF LF LF
STUDIO 1 STUDIO 2 TALK
L-R L-R
STUDIO MONITOR FEEDS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN EQ IN TO STUDIO
MIDI control
AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 AUX1 TO AUX 1 & 2
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
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 PHONES
AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 AUX2 LEVEL
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 MIN MAX
AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 AUX3
POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST 2 TRACK 2
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 2 TRACK 1
POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST
DIG MASTER
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
= = = = = = = = = = = = = = = = MAIN MIX L-R
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
CRM
LEVEL
+
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
MIN MAX
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
RW STOP PLAY FF REC INC SHIFT
PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL MONO
HI 1 HI 2 HI 3 HI 4 HI 5 HI 6 HI 7 HI 8 HI 9 HI 10 HI 11 HI 12 HI 13 HI 14 HI 15 HI 16 MIDI 1 MIDI 2 MIDI 3 MIDI 4 L R ALT SPKRS

SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 127 127 127 127 10 10

DIG MASTER
TO L-R
L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
PHONES
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
DIG RET
Pre-INS
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
DIG RET
Post-EQ
FADER
=MIDI
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO O O O O OO OO
ZED-R16 MIXER
6 pin to 6 pin FireWire cable. 6 pin to 4 pin FireWire cable.
Mains Lead
Check that the correct mains
plug is fitted.

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 warn-
ings 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 ap-
propriate 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 mois-
ture 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 be-
come 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 connect-
ors and plugs only for their intended purpose.

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
E
NEUTRAL
EARTH GND
BLUE
GREEN & YELLOW
WHITE
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 ap-
pliance 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 re-
moved 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 ade-
quate packing if you need to ship the unit.
Hearing : To avoid damage to your hearing do not operate any sound system at exces-
sively 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.

!

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
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
MIDI Implementation……………………................... 42
Wiring diagrams for audio leads…….. .................. 44
Product Support ............................................... 45

PANEL DRAWINGS ZED-R16
This device complies with Part 15 of the FCC Rules.

CAUTION Operation is subject to the following two conditions:
RISK OF ELECTRIC SHOCK (1) this device may not cause harmful interference, and
DO NOT OPEN (2) this device must accept any interference received,
including interference that may cause undesired operation.
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.
ALLEN&HEATH
ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING: THIS APPARATUS MUST BE EARTHED CET APPAREIL DOIT ETRE MIS A LA TERRE
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan
Apparatet må tilkoples jordet stikkontakt
Apparaten skall anslutas till jordat uttag FUSE
AC MAINS IN ~
T1.6A L 250V 20mm ADAT OUT ADAT IN
OFF ON 100 - 240V~ 47-63Hz 55W MAX
MIDI OUT 9-16 1-8 9-16 1-8
0 I
FIREWIRE
ADAT
Serial No.
44.1kHz
48kHz
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED.
2 TRACK 1 OUT
L L L L L
AUX 2 CRM R
R R R R R
2 TRACK 2 IN
AUX 3 ALT L
L
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ST1 L ST2 L ST3 L ST4 L
2 TRACK 2 OUT R
L
AUX 4 ALT R
INSERT L INSERT R R
0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30 0 30
20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40
ST1 -5 ST2 -5 ST3 -5 ST4 -5
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN LEV -10 LEV -10 LEV -10 LEV -10
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 0 0 0 0 POWER
-20 -20 -20 -20
-14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 5 5 5 5
-30 -30 -30 -30 AUX MASTER +16 +16
OO 10 OO 10 OO 10 OO 10
1 +9
+6
+9
+6
+3 +3
PFL PFL -3 -3
OO +6 -6 -6
AFL -12 -12
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 +15 -15 +15 L-R L-R -16 -16
LF LF -20 -20
AUX MASTER -30 -30
AUX1 AUX1 OO +6
ALLEN&HEATH
OO +6 OO +6 AUX MASTER 2 TO 1
AUX2
PRE
AUX2
PRE
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15
OO +6 OO +6
AUX 3 AUX 3 OO +6
= =
2 TRACK 1
BAL BAL REPLACE L-R
AUX 4 AUX 4
0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6
AUX MASTER TALK
30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600
LEV
-10
-5
0
LEV
-10
-5
0
LEV -10
-5
0
LEV -10
-5
0
4
5 5 5 5 MIN MAX
-30 -30 -30 -30 OO +6
AFL
PFL PFL AFL AFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
L-R L-R
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
MIDI control
DIG MASTER
= = = = = = = = = = = = = = = = MAIN MIX L-R
CRM
LEVEL
+
MIN MAX
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL MONO

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 127 127 127 127 10 10

DIG MASTER
TO L-R
L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
PHONES
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
DIG RET
Pre-INS
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
DIG RET
Post-EQ
FADER
=MIDI

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 examin-
ing how modern recording methods, equipment and software applications have changed the way musicians and sound engi-
neers 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 work-
ing. 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 flexibil-
ity 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, provid-
ing 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 soft-
ware 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 chan-
nel 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. Cou-
pled 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.

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 48W

102mm (4.0”) DIMENSIONS
470mm (18.5”)
(3.7”)
93mm
704mm (27.7”)
465mm (18.3”)
704mm (27.7”)
Weight kg (lb)
Unpacked Packed
ZED-R16 13 (29lb) 15 (33 lb)

ZED-R16 User Guide
DIGITAL SEND
ZED-R 16 BLOCK DIAGRAM
POST-EQ
MAIN MIX R
MAIN MIX L
PFL/AFL R
PFL/AFL L
AUX 1
AUX 2
AUX 3
AUX 4
ADC FIREWIRE BUS DAC DIGITAL MASTER
PEAK TO MIX L-R
PHANTOM POWER SWITCH
SIGNAL
ADC DAC DIGITAL MASTER IN
DIGITAL RETURN FIREWIRE BUS
+48V POST-EQ
PFL
DIGITAL RETURN
PRE-INSERT ENABLE MIDI
GAIN EQ AUDIO
HPF
4 BAND PARAMETRIC EQUALISER
IN FADER BYPASS FADER MUTE L INSERT
TIP SEND
MAIN LR BALANCED
+4dBu NOMINAL
100Hz INSERT LF LM HM HF PAN
L-R
+10dB
MIC IN +
-
2 Track 1
Replace Mix LEFT
R INSERT
g g f q g f q g MIDI
TIP SEND 2 TO 1 MAIN (2TRK 1) OUT
MIDI DATA
LINE IN RIGHT
BLOCK DIAGRAM
DUBBING SWITCHES
MONO CHANNEL AUX1
2 TRK 1 IN
L
GROUND COMPENSATED
-2dBu NOMINAL
R
AUX 2 LEFT
1 TO 2
AUX3 2TRK 2 OUT
L +
- RIGHT
AUX 4 2 TRK 2 IN
R +
-
STEREO INPUTS 1 & 2 L R
12
L PFL
ST1 & 2 RCA R PFL/AFL
MONO
2 BAND EQUALISER 2 TRACK 2 IN
GAIN LF HF LEVEL 2 TRACK 1 IN
BAL L-R
L DIGITAL MASTER IN +
ST1 & 2 JACK g g
R
AUX1
CRM
LEVEL LEFT
MONO CHANNELS 1 - 16 MONO CHANNELS 1 - 16 +
AUX 2 CONTROL ROOM MONITORS
STEREO 2 TRACK OUT 1 DIGITAL MASTER L - R
RIGHT
PFL ACTIVE
STEREO INPUTS 3 & 4 PFL ALT
LEFT
PHONES
LEVEL ALTERNATE SPEAKERS
L LEVEL
L-R
RIGHT
ST3 & 4
AFL
R
FIREWIRE & ADAT
AUX1
MASTER LEVEL
AUX OUT
+10dB
1-4
STUDIO AUX 1 - 2 MAIN MIX L-R (POSTFADE)
TALKBACK AUX 1(POSTFADE) LEFT
GAIN TALK
AUX 2 (POSTFADE) STUDIO OUT 1 - 2
TALKBACK
MIC AUX 3 (POSTFADE)
Allen & Heath

AUX 4 (POSTFADE) RIGHT
AFL
MONO INPUT CHANNEL
Microphone Input Socket

1 Standard 3-Pin XLR socket wired as Pin 1=Chassis, Pin 2=hot (+),
Pin 3=Cold (-).
1 Line Input Jack Socket

2 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 attenu-
ating resistors and coupling capacitors, in other words the two in-
MIC puts are summed together at different levels. If Only the Mic input
signal is required, make sure nothing is plugged into the Line jack and
2 vice versa.
LINE IN
Insert Jack Socket
3 Standard 1/4” (6.25mm) Jack socket for unbalanced insert send and
1 return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. Nomi-

nal level is 0dBu. The insert point is after the 100Hz filter and before
the EQ.
3 INSERT 4 48V Phantom Power Switch

Applies +48V to pins 2 and 3 of the XLR input though 6k8 resistors
for phantom powered condenser microphones.
4 48V Gain Control

5 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
0 30 plugged in to the xlr socket (Mic Input) and –14dB to +40dB for
20 40
signals plugged into the Line input jack.
5 GAIN
50
-14 6 60 40
HPF
6 100Hz
HF ZED-R 16 Hi Pass Filter
dBr
5.00 6 100Hz Hi-pass Filter
0.00
The Hi-pass filter is used for reducing pop noise and
-5.00 rumble from microphone signals. It is a 2-pole (12dB
-10.00
per octave) filter with a corner frequency set at
100Hz.
-15.00
The filter affects signals from both Mic XLR and Line
-20.00 jack socket.
-25.00
-30.00
-35.00
-40.00
10.00 Hz 100.00 1000.00 10000.00

MONO INPUT CHANNEL
HF EQ
HF 7 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.
7 12k
ZED-R 16 HF EQ
dBr
-15 1 +15 20.00
15.00
10.00
Q 5.00
0.8 2k 6 0.00
F 1k 4k
-5.00
700 6k
-10.00
HM
400Hz 18k -15.00
8 G
-20.00
20.00 Hz 100.00 1000.00 10000.00 30000.00
HMF EQ
-15 +15
8 The HMF (High Mid Frequency) equaliser affects the upper middle
1 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
0.8 120 6 dBr

20.00
F 60 300
15.00
30 600
10.00
LM
18Hz 1k 5.00
0.00
G
-5.00
-10.00
-15 +15
LF -15.00
-20.00
20.00 Hz 100.00 1000.00 10000.00 30000.00
80Hz
-15 +15
EQ IN

MONO INPUT CHANNEL
9 LMF EQ
The LMF (Low Mid Frequency) equaliser affects the lower middle of
HF 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
12k shows the Q setting in the minimum, middle and maximum posi-
tions, and the extents of the frequency range.
-15 1 +15
ZED-R 16 LMF EQ
dBr
20.00
Q 15.00
0.8 2k 6 10.00
F 1k 4k 5.00
700 6k
0.00
HM
400Hz 18k -5.00
-10.00
G
-15.00
-20.00
-15 1 +15 10.00 Hz 100.00 1000.00 10000.00
LF EQ
10 The LF (Low Frequency) equaliser affects the frequency response of
the lower audible (bass) frequencies. The corner frequency of 60Hz
Q is around 3dB from the maximum cut or boost of the circuit.
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
9 G
-15 +15
LF
10
80Hz
-15 +15
11 EQ IN 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.

MONO INPUT CHANNEL
12 Auxes 1 & 2
AUX1 Each of these controls sends a signal to an auxiliary bus. The signal is
PRE sourced pre-fade which means that the level is independent of, and un-
affected by the fader. Auxes 1 & 2 are primarily used for foldback moni-
toring purposes, as the fader does not affect the level.
12 OO +6
These sends are affected by the Mute switch, so muting the channel will
also mute the Aux sends.
AUX2 The control varies the signal level to the bus from off (fully attenuated)
PRE 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.
OO +6
AUX3 13 Auxes 3 & 4
POST 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.
13 OO +6
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 Aux-
AUX4 es 3 & 4 to be pre-fade sources.
POST
These are not easy to get to however, and involve taking out the chan-
nels from the mixer to access. We will try to improve this with future
updates to the circuit board.
OO +6
=
PAN PAN
14 The pan control adjusts how the signal from the mono input channel is
14 shared between the left and right buses and subsequently the main ste-
reo outputs.
L R
15 Mute Switch
This mutes or cuts the signal to the main L-R bus and the Auxes. A
15 MUTE rectangular LED illuminates to show the Mute switch is pressed.
16 PFL Switch
16 PFL The PFL (Pre-Fade Listen) switch sends the channel signal to the PFL
bus and subsequently to the headphones and the main left & right me-
ters. Used for checking the audio signal before raising the fader or un-
HI 1 muting the channel.
18 SIG L-R Routing Switch

17 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
10 bus summing amplifier, leave the switches in their up positions if
the channel signal is not required on the bus.
17 L-R Signal & High level indicators

18 The Signal LED illuminates dimly at a threshold of –14dB nominal level
5
and gets brighter with higher level signal. The source for the signal &
peak LED’s is just after the EQ IN switch.
0
The HI signal LED illuminates when the signal just after the EQ IN
switch is within 5dB of clipping.

MONO INPUT CHANNEL
Fader
19 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 post-
fade auxes. There is 10dB of gain at the top of the travel.
The fader can also be used as a MIDI controller if the FAD-
= ER=MIDI switch is pressed on that channel. In this case, the au-
PAN dio is bypassed at unity gain and a continuous controller mes-
sage is sent to the FireWire bus and the MIDI output DIN con-
nector.
DIG SND Post EQ switch

L R 20 This switch determines the source for the digital output for each
channel. In the up position the source is just after the pre-amp
MUTE 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.
PFL
21 DIG RET Pre INSert switch
This switches the digital input for that channel into the channel
1
path, replacing the signal from the pre-amp. The digital input is
HI switched in just before the insert point. The switch below over-
rides this switch and the indicating LED is turned off if the
SIG switch below is pressed.
22 DIG RET Post EQ switch

10 The digital input for that channel can also be switched in after
the equaliser. This switch overrides the one above it as the digi-
tal input is switched in later in the signal path of the channel, and
L-R hence the LED extinguishes the one above it.
5
19
0 FADER=MIDI switch
23 The 60mm fader can also be used as a MIDI controller if the
DIG SND FADER=MIDI switch is pressed on that channel. When pressed
20 Post-EQ
in, the audio is bypassed at unity gain and a continuous control-
5 ler message is sent to the FireWire bus and the MIDI output
DIN connector which can be assigned to control functions in
DIG RET
21 Pre-INS your software application, or to control external MIDI equip-
ment.
10
DIG RET
22 Post-EQ 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,
FADER and once set should not get in the way of normal operation.
23 =MIDI
OO

STEREO INPUT CHANNEL
ST1 1 ST1 (& ST2) Phono & Jack sockets
Standard RCA phono sockets and 1/4” jack sockets for unbalanced stereo
inputs. The RCA phono sockets normally connect through the jack break
L 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.
R ST1 (& ST2) Level

2 The input level control varies the level of the signal from off (fully attenu-
ated) to +10dB of gain at the maximum position.
3 STEREO Channel EQ
The EQ on the stereo Channel is 2 band shelving equaliser with fixed cor-
ST1 L ner frequencies of 12kHz and 60 Hz.
ZEDR 16 Stereo Input EQ
dBr
ST1 R 20.00
15.00
ST1 -5
10.00
LEV -10
0 5.00
-20
2 5 0.00
-30
OO 10 -5.00
-10.00
HF
-15.00
12k -20.00
10.00 Hz 100.00 1000.00 10000.00 30000.00
3 -15 +15
LF
80Hz
-15 +15

STEREO INPUT CHANNEL
HF 4 Auxiliaries 1 & 2
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
12k
The control varies the signal level to the bus from off (fully attenuated)
to +6dB, with unity gain at the arrow.
-15 +15 There are master level controls for all of the Aux outputs situated in
LF the master section of the mixer.
80Hz Stereo Balance control

5 The balance control adjusts the relative levels of the left and right sig-
-15 +15 nals to the main stereo bus.
AUX1
PRE
Level control
6 Adjusts level of the left & right signals sent to the main L-R mix bus.
4 OO +6 There is 10dB of gain at the clockwise setting.
AUX2
PRE
PFL
7 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
OO
= +6 Level control.
BAL
5 8
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
L R not in use, then leave the switch in its up position.
LEV -5
-10
0
-20
6
5
-30
OO 10
7 PFL
8 L-R

STUDIO OUTPUTS & ST3 & 4 INPUTS
STUDIO OUT 1 STUDIO OUT 2 ST3 & 4 Inputs

9 These stereo inputs have limited features and are provided for
additional stereo sources that need to be added to the main L-R
L L 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.
R R
Studio Monitor Outputs

10 The Studio Outputs allow a selection of signals to be sent as out-
puts for artists monitors.
The selection switches enable the main L-R mix (post fader) and
ST3 L ST4 L auxes 1 to 4 (post master level) to the studio outputs. If more
than one switch is pressed the signals mix together.
ST3 R ST4 R Studio Monitor Level control

11 The level control adjusts the output level of the Studio Outputs
from off (fully attenuated) to +10dB maximum.
ST3 -5 ST4 -5
LEV -10 LEV -10
0 0
-20 -20
9 -30
OO 10
5
-30
OO 10
5
12 Studio Monitor AFL

The After Fade Listen switch sends the post level control Studio
Output signals to the PFL/AFL monitoring system allowing them
PFL PFL to be checked in the engineers headphones and control room
monitor speakers.
L-R L-R
MIX L-R MIX L-R
AUX 1 AUX 1
10 AUX 2 AUX 2
AUX 3 AUX 3
AUX 4 AUX 4
LEV -5 LEV -5
-10 -10
0 0
-20 -20
11 -30
5
-30
5
OO 10 OO 10
12 AFL AFL
STUDIO 1 STUDIO 2

AUX MASTERS & MAIN OUTPUTS.
2 TRACK 1 OUT
2 Track 1 Output XLR connectors
AUX 1 L R 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
AUX 2 phono inputs if the Replace Mix switch is pressed (for
1 background music or monitoring), also from 2 Track 2
jack inputs for dubbing or monitoring.
AUX 3
2
L 2 TRACK 2 OUT R 2 2 Track 2 Output jack sockets
Standard 1/4” (6.25mm) Jack sockets.
Ground compensated (noise balanced).
Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
3 The 2 Track 2 outputs are normally fed from the main
AUX 4 L-R mix, but can be sourced from the 2 Track 1 phono
INSERT L INSERT R inputs for dubbing purposes.
4 3 Insert L & R jack sockets

Standard 1/4” (6.25mm) Jack sockets.
The main L-R mix insert connectors for inserting signal
processing equipment such as compressors or equalis-
AUX MASTER ers. They are placed just before the main L-R faders in
1 5
the signal path.
Wired Tip=send, Ring=return, Sleeve=Chassis. Nomi-
nal level is 0dBu.
OO +6
AFL 6
AUX MASTER
4 Auxiliary Output jack sockets.
2 Standard 1/4” (6.25mm) Jack sockets for the Aux outputs 1—4.
Impedance balanced. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
OO +6
AFL
5 Auxiliary Output Master Level controls
AUX MASTER The Aux master level controls adjust the overall level of each of the Aux mixes 1
3 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.
OO +6
AFL
Auxiliary AFL
AUX MASTER 6 The After Fade Listen switch sends the post master level control Aux signal to the
4 PFL/AFL monitoring system allowing it to be checked in the engineers headphones
and control room monitor speakers.
OO +6
AFL

MASTER SECTION
CRM L 2 TRACK 1 IN
1 Control Room Monitor jack sockets
Standard 1/4” (6.25mm) Jack socket for connecting powered monitor
L speakers or an amplifier for the engineers control room monitor
1 speakers. Impedance balanced. Wired Tip=Hot(+), Ring=cold (-),
CRM R 3 Sleeve=Chassis.
R
2 Alternate Monitor jack sockets

Standard 1/4” (6.25mm) Jack socket for connecting powered monitor
2 TRACK 2 IN speakers or an amplifier for an alternative set of speakers to the main
ALT L
CRM speakers. Typically these would be nearfield monitors or speak-
ers in close proximity to the engineer.
L Impedance balanced. Wired Tip=Hot(+), Ring=cold (-),
2 Sleeve=Chassis.
ALT R 4
R 3 2 Track 1 Input phono sockets
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.
POWER
+16 +16
+9 +9
4 2 Track 2 Input jack sockets
+6
+3
+6
+3
Standard 1/4” (6.25mm) Jack socket for connecting balanced or unbal-
0 0 anced stereo sources. The 2 Track 2 inputs are available to be
5 -3
-6
-9
-3
-6
-9
switched to the 2 Track 1 (main xlr) outputs for dubbing or copying
purposes.
-12 -12
-16 -16
-20 -20
-30 -30
5 Main meters
L R The main stereo 12 segment peak response slow decay meters are fed
with the control room monitor signal (pre CRM Level). The selection
6 PFL/AFL ACTIVE 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.
2 TO 1
7 2 TRACK DUB 6 PFL/AFL Active LED

1 TO 2 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
8 REPLACE L-R
7 2 TRACK DUB switches
TALK Allow dubbing or copying from one stereo source to another.
LEV If 2 to 1 is pressed then 2 Track 2 input jack sockets will be routed to
the 2 Track 1 output xlr’s.
MIN MAX
If 1 to 2 is pressed then 2 Track 1 input phono inputs will be routed
to the 2 Track 2 output jacks.
8 2 TRACK 1 replace L-R switch

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,
TALK
so any inserted processing will still have effect, as will the main L-R
faders.
TO STUDIO
TO AUX 1 & 2

MASTER SECTION
2 TRACK 1 9 Talkback Section

REPLACE L-R 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 con-
TALK trol adjusts the gain of the amplifier, be wary of feedback if the talkback
LEV 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.
MIN MAX
The To Studio and To Aux 1 & 2 switches route the talkback signal to the
9 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

TO STUDIO
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
TO AUX 1 & 2 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.
PHONES The DIG MASTER switch monitors the digital 17 & 18 inputs a separate
LEVEL
stereo digital input from the channel digital inputs and useful for monitoring
13 a stereo mix from your digital audio workstation.
MIN MAX
Control Room Monitor Level Control

2 TRACK 2
11 Adjusts the level of the signal to the CRM speakers from off (fully attenuat-
ed) to unity gain.
2 TRACK 1
10
DIG MASTER 12 MONO & ALT SPKRS switches
The MONO switch converts the stereo CRM signal to a mono signal, a sum
MAIN MIX L-R of the left and right channels is fed to both left & right CRM outputs as well
CRM
as the headphones output, and the main meters.
LEVEL 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
11 switched between two sets of speakers.
MIN MAX
13 PHONES LEVEL control

MONO Adjusts the level of signal from the CRM selection switches to the head-
12 phones jack sockets. There is 18dB of gain at the maximum setting.
ALT SPKRS
PHONES jack sockets

14 Standard 1/4 inch and 3.5mm TRS jack sockets for stereo headphones.
DIG MASTER Tip = Left.
TO L-R
15
DIG MASTER TO L-R switch
PHONES
15 In addition to the digital inputs to the 16 mono channels there is a further
14 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.

DIGITAL CONNECTIONS & SWITCHES
4 5
1 2 3 MIDI OUT
ADAT OUT ADAT IN
9-16 1-8 9-16 1-8
FIREWIRE
ADAT
44.1kHz
48kHz
FireWire/ADAT configuration switch

This switch determines whether the digital interface is predominantly FireWire or ADAT and will be dependent
1 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 de-
sired setting BEFORE switching on power to the ZED-R16 because the switch is only read on power up.
ADAT sample rate switch

2 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
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.
4 MIDI OUT DIN connector

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 re-
quired in the computer and the computer is connected to ZED-R16 using FireWire.
5 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:
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

DIGITAL INPUT & OUTPUT CONFIGURATIONS
DIGITAL I/O CONFIGURATIONS:
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.
ZED-R16
1 FireWire mode 44.1 or 48kHz
DAW
MONO CHANNELS 1 -16 ANALOGUE I/O STEREO MASTER
1-8 9-16 1-8 9-16 17-18 17-18
FIREWIRE
ADAT
A-D A-D D-A D-A CODEC
FIREWIRE
STREAMING
CONTROLLER
DAW
DEVICE CHANNELS 1-16 = MIXER CH 1-16
SAMPLE RATES 44.1 & 48kHz DEVICE CHANNELS 17-18 = MIXER DIG L-R
1-8 9-16 1-8 9-16 DEVICE CHANNELS 19-26 = ADAT 1-8
ADAT OUT ADAT IN (ADAT CHANNELS ACCESSED VIA DAW)
2 FireWire mode 88.2 or 96kHz
ZED-R16
DAW
1-8 9-16 1-8 9-16 17-18 17-18
FIREWIRE
ADAT
FIREWIRE
STREAMING
CONTROLLER
1-8 9-16 1-8 9-16

SAMPLE RATEs 88.2 & 96kHz
DAW
ADAT OUT ADAT IN
DEVICE CHANNELS 1-16 = MIXER CH 1-16
3 ADAT mode 44.1 or 48kHz

ADAT EQUIPMENT
ZED-R16

1-8 9-16 1-8 9-16 17-18 17-18
FIREWIRE
ADAT
ADAT RECORDER
FIREWIRE
STREAMING
CONTROLLER
SYNC CONTROL
1-8 9-16 1-8 9-16

SAMPLE RATE 44.1 or 48kHz
ADAT OUT ADAT IN INTERNAL SYNC
4 ADAT mode 44.1 or 48kHz

+ PC/MAC
ADAT EQUIPMENT
ZED-R16
FireWire used to control sync source

1-8 9-16 1-8 9-16 17-18 17-18 COMPUTER USED TO SWITCH CLOCK SYNC SOURCE
FIREWIRE
ADAT
A-D A-D D-A D-A CODEC ADAT RECORDER
FIREWIRE
STREAMING
CONTROLLER
SYNC CONTROL
SAMPLE RATE 44.1 or 48kHz
1-8 9-16 1-8 9-16
ADAT OUT ADAT IN SYNC EITHER INTERNAL OR ADAT IN

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 au-
dio streaming performance crippled by certain network drivers, system functions or power hungry applications, and especial-
ly 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 FL Studio

Cubase Studio 4 Audition 3
Logic Express 8 Ableton Live (MMC not tested)
ACID Pro 6

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.

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 ad-
justed.
The control panel will run only if ZED-R16 is connected to your comput-
er 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.

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.

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 opera-
tion 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.

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. Basical-
ly 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 proces-
sor 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 drop-
outs, 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.

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 hov-
ered over the relevant parameter box.
To access these parameter settings, the audio applica-
tion should be closed and re-opened after the settings
are made.

ZED-R16 User Guide
APPLICATION DRAWING: STUDIO
SM
fx
fx
33
ST1 ST2
STUDIO OUT 1 STUDIO OUT 2
AUX 1 L
2 TRACK 1 OUT
R CRM L 2 TRACK 1 IN KT-88
L L L L L
AUX 2 CRM R
R R R R R
KEY: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ST1 L ST2 L ST3 L ST4 L
AUX 3
L 2 TRACK 2 OUT R
ALT L
2 TRACK 2 IN
L
AUX 4
INSERT L INSERT R
ALT R
R
Amp
MICROPHONE SIGNAL GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
ST1
LEV -10
-5
0
ST2
LEV -10
-5
0
ST3
LEV -10
-5
0
ST4
LEV -10
-5
0 POWER
-20 -20 -20 -20
-14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 5 5 5 5
-30 -30 -30 -30 AUX MASTER +16 +16
OO 10 OO 10 OO 10 OO 10
1 +9
+6
+9
+6
+3 +3
PFL PFL -3 -3
FROM DIRECT BOX
OO +6 -6 -6
AFL -12 -12
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 +15 -15 +15 L-R L-R -16 -16
LF LF -20 -20
AUX MASTER -30 -30
AUX1 AUX1 OO +6
ALLEN&HEATH
LINE LEVEL SIGNALS +6 +6 2 TO 1
OO OO AUX MASTER
AUX2
PRE
AUX2
PRE
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15
OO +6 OO +6
AUX 3 AUX 3 OO +6
= =
2 TRACK 1
BAL BAL REPLACE L-R
AUX 4 AUX 4
0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6
AUX MASTER TALK
LEV -5 LEV -5 LEV -5 LEV -5 4
EFFECTS RETURN
30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 -10 -10 -10 -10
0 0 0 0
5 5 5 5 MIN MAX
-30 -30 -30 -30 OO +6
AFL
PFL PFL AFL AFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
L-R L-R
EFFECTS SEND
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
MIDI control
ARTISTS STUDIO MONITOR
SIGNALS (LINE LEVEL) AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
AUX4
POST
OO +6
DIG MASTER
= = = = = = = = = = = = = = = = MAIN MIX L-R
CRM
LEVEL
+
FIREWIRE CONNECTION MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL

MIN MAX
MONO
DIG MASTER
MAIN CRM SIGNALS L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
L-R
10
5
127 127 127 127 10

5
10
5
PHONES
TO L-R
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
DIG SND
Post-EQ
Allen & Heath

MAIN CRM SIGNALS
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
DIG RET
Pre-INS
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
DIG RET
Post-EQ
FADER
=MIDI
ZED-R16 User Guide
APPLICATION DRAWING: LIVE SOUND
CD
fx
fx
34
2 TRACK 1 OUT
L L L L L
AUX 2 CRM R
R R R R R
KEY: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ST1 L ST2 L ST3 L ST4 L
AUX 3
L 2 TRACK 2 OUT R
ALT L
2 TRACK 2 IN
L
AUX 4 ALT R
INSERT L INSERT R R
MICROPHONE SIGNAL GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
GAIN
0
20
30
40
50
ST1
LEV -10
-5
0
ST2
LEV -10
-5
0
ST3
LEV -10
-5
0
ST4
LEV -10
-5
0 POWER
-20 -20 -20 -20
-14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 -14 6 60 40 5 5 5 5
-30 -30 -30 -30 AUX MASTER +16 +16
OO 10 OO 10 OO 10 OO 10
1 +9
+6
+9
+6
+3 +3
PFL PFL -3 -3
FROM DIRECT BOX
OO +6 -6 -6
AFL -12 -12
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 +15 -15 +15 L-R L-R -16 -16
LF LF -20 -20
AUX MASTER -30 -30
AUX1 AUX1 OO +6
ALLEN&HEATH
LINE LEVEL SIGNALS OO +6 OO +6 AUX MASTER 2 TO 1
AUX2
PRE
AUX2
PRE
-15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15 -15 1 +15
OO +6 OO +6
AUX 3 AUX 3 OO +6
= =
2 TRACK 1
BAL BAL REPLACE L-R
AUX 4 AUX 4
0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6 0.8 120 6
AUX MASTER TALK
LEV -5 LEV -5 LEV -5 LEV -5 4
EFFECTS RETURN
30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 30 600 -10 -10 -10 -10
0 0 0 0
5 5 5 5 MIN MAX
-30 -30 -30 -30 OO +6
AFL
PFL PFL AFL AFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
L-R L-R
EFFECTS SEND
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
MIDI control
STAGE MONITOR SIGNALS
DIG MASTER
= = = = = = = = = = = = = = = = MAIN MIX L-R
CRM
LEVEL
+
FIREWIRE CONNECTION MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL
MUTE
PFL

MIN MAX
MONO
DIG MASTER
MAIN PA SIGNALS 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
L-R
10
L-R
10
L-R
10
L-R
10
L-R
10 127 127 127 127 10 10

TO L-R
Allen & Heath

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
PHONES
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
DIG RET
Pre-INS
BACKGROUND MUSIC
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
DIG RET
Post-EQ
FADER
=MIDI
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 operat-
ed 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
INSERT Analogue signal converted to digital after the Pre-amp
48V
and sent to the FireWire Bus or ADAT output.
0 30
20 40
GAIN
50
-14 6 60 40
HPF
100Hz DIGITAL SIGNAL
HF
ADC (FIREWIRE OR ADAT)
12k
-15 1 +15
Q
0.8 2k 6
F 1k 4k
700 6k
HM
400Hz 18k
-15 1 +15
Analogue signal continues
Q
through channel path to fader &
F 60
0.8 120 6
300
routing.
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6
AUX2
PRE
OO +6
AUX3
POST
OO +6
AUX4
POST
OO +6
=
PAN
L R
MUTE
The clean pre-eq channel signal is available

PFL
HI 1 to record either in a Digital Audio Work-

SIG
ANALOGUE MIX station or by using recording equipment
L-R
10
equipped with ADAT inputs.
5
DIG SND
Post-EQ
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
ALL UP
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 rec-
orded.
ANALOGUE SIGNAL
MIC
LINE IN
1
INSERT
48V
0 30
20 40
GAIN
50
-14 6 60 40
HPF
100Hz
HF
12k
-15 1 +15
DIGITAL SIGNAL
Q
0.8 2k 6
(FIREWIRE OR ADAT)
F 1k 4k
700 6k
HM
400Hz 18k
-15 1 +15
Q
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6
ADC
AUX2
PRE
+6
Analogue signal converted
OO
AUX3
to digital after the EQ and

POST
AUX4
OO +6
sent to the FireWire Bus or
ADAT output.
POST
OO +6
=
PAN
L R
MUTE
PFL
HI 1
The ZED-R16 channel EQ can be used to
SIG
10
equalise the signal being recorded.
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

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 applica-
tion 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
LINE IN
Analogue signal converted to digital after the Pre-amp
and sent to the FireWire Bus or ADAT output.
1
INSERT
48V
0
20
30
40
ADC
GAIN
50
-14 6 60 40
HPF
DIGITAL FIREWIRE BUS

100Hz
DAC
HF
12k
-15 1 +15
Digital input from FireWire or

0.8 2k 6
F 1k 4k
ADAT is converted to analogue

700 6k
HM
400Hz 18k
G and sent to the channel path

-15 1 +15
just before the insert point.
Q
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6
AUX2
PRE
OO +6
AUX3
POST
OO +6
AUX4
POST
OO +6
=
PAN
L R
MUTE
PFL
HI 1 Signal processing plug-ins such as noise

SIG
gates or compressors can be used in
10
your Digital Audio Workstation routing
L-R
ANALOGUE MIX the signal back to the same ZED-R16
channel as the source. Your DAW be-
5
DIG SND
Post-EQ comes a flexible “outboard rack”.
5
DIG RET
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS DIG RETURN = PRE INSERT

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 tra-
ditional 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
Analogue signal converted to digital after the Pre-amp

INSERT
48V and sent to the FireWire Bus or ADAT output.

0 30
20 40
GAIN
50
-14 6 60 40
HPF
100Hz
ADC
HF
12k
-15 1 +15
Q
0.8 2k 6
F 1k 4k
700 6k
HM
400Hz 18k
DIGITAL SIGNAL
G
(FIREWIRE OR ADAT)
-15 1 +15
Q
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
DAC
AUX1
PRE
OO +6
AUX2
PRE
Digital input from FireWire
OO +6
or ADAT is converted to
analogue and sent to the
AUX3
POST
AUX4
OO +6
channel path after the EQ.
POST
OO +6
=
PAN
L R
MUTE
PFL
Select the inputs to the tracks in the DAW to
HI 1 be the required channels from ZED R 16.
Select the track outputs to go to the corre-
SIG
10
sponding ZED R 16 channels for monitoring.
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

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.

MIC Could be used for overdubbing the recorded track.
LINE IN
1 ADC
INSERT
48V
0 30
20 40
DAC
GAIN
50
-14 6 60 40
HPF
100Hz
HF
Digital input from FireWire DIGITAL SIGNAL

12k
-15 1 +15
or ADAT is converted to (FIREWIRE OR ADAT)

analogue and sent to the
Q
0.8 2k 6
channel path before the EQ

F 1k 4k
700 6k
HM
400Hz 18k
at the channel insert point.
G
This replaces the signal
-15 1 +15
from the pre-amp.
Q
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6
AUX2
PRE
OO +6
AUX3
POST
OO +6
AUX4
POST
OO +6
=
PAN
L R
MUTE
PFL
Play the multitrack from the DAW or an ADAT

1
machine to the ZED-R16 and mix in analogue
HI
SIG
as you would do with a traditional 16 track

tape machine.
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

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 oth-
er parameter within the Digital Audio Workstation or software application. The analogue part of the fader is by-
passed at unity gain, so it is still possible to route signals to the mix bus if required. Also, the other parts of the chan-
nel 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

INSERT Could be used for overdubbing the recorded track.
48V
0 30
20 40
GAIN
50
-14 6 60 40
HPF
ADC
DIGITAL SIGNAL
100Hz
HF
12k (FIREWIRE OR ADAT)

-15 1 +15
MIDI data is carried by the FireWire bus. If the
audio connection is ADAT then use the MIDI
DAC
Q
F 1k
0.8 2k 6
4k
out from the ZED-R16 for control.
700 6k
HM
400Hz 18k
-15 1 +15 DIGITAL INPUT NOT SWITCHED

IN So the signal from the pre-
Q
amp can be used for foldback Assign the MIDI controllers
in the DAW.
0.8 120 6
F
30
60 300
600 purposes with zero latency.

LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6
AUX2
PRE
OO +6
AUX3
POST
OO +6
AUX4
POST
OO +6
=
PAN
L R
MUTE
PFL
HI 1 Listening to a stereo mix from the DAW can be done

SIG
by selecting ZED R 16 MAIN L R as the output for the
10 master track in your DAW and returning this to the
L-R
5
ZED-R16 in the master section.
Automating MIDI controlled parameter moves in your

0
DIG SND
Post-EQ
DIG RET
5
application can be done using either pick-up mode or
jump-to mode for the MIDI control.
Pre-INS
10
DIG RET
Post-EQ
FADER
=MIDI
OO
PRESS FADER = MIDI

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
INSERT
48V
channel pre-amp
0 30
20 40
GAIN
50
-14 6 60 40
HPF
100Hz
HF
12k DAC
-15 1 +15
Q
DIGITAL SIGNAL
(FIREWIRE OR ADAT)
0.8 2k 6
F 1k 4k
700 6k
HM
400Hz 18k
-15 1 +15
Q
0.8 120 6
F 60 300
30 600
LM
18Hz 1k
-15 +15
LF
80Hz
-15 +15
EQ IN
AUX1
PRE
OO +6 ADC
AUX2
PRE
OO +6
AUX3
DIGITAL SEND FROM

POST
AUX4
OO +6
AFTER EQ
POST
The post EQ signal is
PAN
OO
=
+6
sent back to the DAW.
L R
MUTE
PFL
HI 1
Create a new track in the DAW to return the EQ’d
SIG
10
signal, arm the track and record it as required.
L-R
5
0 Monitor the post-EQ signal either using the channel

DIG SND
Post-EQ PFL or the SOLO function in your DAW, returning the
master stereo track to the ZED-R16 in the master
5
DIG RET
Pre-INS
DIG RET
Post-EQ
10
section.
FADER
=MIDI
OO
PRESS DIG SEND = POST EQ AND DIG RETURN = PRE-INSERT

ZED-R MIDI IMPLEMENTATION
MIDI MESSAGE DATA 1 DATA 2 MIDI MESSAGE TYPE DATA 1 DATA 2

CONTROLLER TYPE CONTROLLER
FADER CH1 CC 01 0-127 SWITCH 1 NOTE ON/OFF 01 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 MIDI 1 CC 11 0-127 SWITCH 17 NOTE ON/OFF 11 7F/00
FADER MIDI 2 CC 12 0-127

* = Resends command if held down
MIDI control
1 2 3 4
ROTARY 1 CC 65 0-127
ROTARY 3 CC 67 0-127 5 6 7 8
ROTARY 5 CC 69 0-127 9 10 11 12
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 RW STOP PLAY FF REC INC SHIFT
ROTARY 11 CC 6F 0-127
ROTARY 12 CC 70 0-127 MIDI 1 MIDI 2 MIDI 3 MIDI 4 L R

127 127 127 127 10 10
5 5
0 0
5 5
10 10
O O O O OO OO

ZED-R MIDI IMPLEMENTATION
Changing MIDI Channel

The default MIDI channel is 16.
To change the MIDI channel follow the following procedure:
1. With ZED-R16 powered off, press & hold down the PLAY button and switch on the mains power to ZED-R16.
2. Release the PLAY button.
3. Press & hold down the MIDI switches 1,3,5 & 7 in a combination from the table below.
4. Press and release the PLAY button again.
5. Release the switches 1,3,5 & 7, if any are pressed from step 3.
6. Turn off the mains power.
7. 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 7
3 5
4 5+7
5 3
6 3+7
7 3+5
8 3+5+7
9 1
10 1+7
11 1+5
12 1+5+7
13 1+3
14 1+3+7
15 1+3+5
16 1+3+5+7
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 de-
vices set to that MIDI channel.

WIRING NOTES
PROCESSOR
Insert cable wiring
RETURN OUT
S T
INSERT R
T S
R
SEND
GROUND S T
RETURN R
IN
SEND
LINK RING TO SLEEVE TO UNBALANCE
Y-Adapter Y-Adapter
2 Outputs to 1 Input RCA phono jacks adapter 1 Output to 2 Inputs
RCA PHONO CABLE
UNBALANCED
No ! UNBALANCED INSTRUMENT CABLE UNBALANCED Yes
BALANCED TRS JACK CABLE BALANCED
Sleeve=ground Sleeve=ground
Ring=cold (-) Ring=cold (-)
Tip=hot (+) Tip=hot (+)
MIC CABLE 1=ground 2=hot (+)

TO 2=hot (+) 1=ground
BALANCED BALANCED FROM
INPUT OUTPUT
XLR MALE XLR FEMALE
3=cold (-)
3=cold (-)
TRS to XLR-F CABLE 1=ground 2=hot (+)

BALANCED BALANCED
General Sleeve=ground XLR FEMALE

Wiring Ring=cold (-)
Tip=hot (+)
3=cold (-)
Information 2=hot (+) 1=ground TRS to XLR-M CABLE

BALANCED BALANCED
XLR MALE Sleeve=ground

3=cold (-) Ring=cold (-)
Tip=hot (+)

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://support.allen-heath.com

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USER GUIDE

ZED-R16 User Guide AP7236 Issue 3

Allen & Heath Limited

Allen & Heath 3 ZED-R16 User Guide

Check that you have received the following:

HI 1 HI 2 HI 3 HI 4 HI 5 HI 6 HI 7 HI 8 HI 9 HI 10 HI 11 HI 12 HI 13 HI 14 HI 15 HI 16 MIDI 1 MIDI 2 MIDI 3 MIDI 4 L R ALT SPKRS

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 127 127 127 127 10 10

6 pin to 6 pin FireWire cable. 6 pin to 4 pin FireWire cable.

Allen & Heath 4 ZED-R16 User Guide

WARNINGS - Read the following before proceeding :

ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR

! WARNING: This equipment must be earthed.

Allen & Heath 5 ZED-R16 User Guide

Important Mains plug wiring instructions

The console is supplied with a moulded mains plug fitted to the AC

TERMINAL WIRE COLOUR

Allen & Heath 6 ZED-R16 User Guide

Allen & Heath 7 ZED-R16 User Guide

This device complies with Part 15 of the FCC Rules.

HI 1 HI 2 HI 3 HI 4 HI 5 HI 6 HI 7 HI 8 HI 9 HI 10 HI 11 HI 12 HI 13 HI 14 HI 15 HI 16 MIDI 1 MIDI 2 MIDI 3 MIDI 4 L R ALT SPKRS

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 127 127 127 127 10 10

Allen & Heath 8 ZED-R16 User Guide

FireWire & ADAT:

Allen & Heath 9 ZED-R16 User Guide

Mono channel (XLR) Input -6 to –60dBu for nominal (+14dBu in max)

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

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

Analogue Headroom from nominal (0Vu) 21dB

Digital converter headroom from nominal analogue (0Vu) 16dB

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

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%

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

Mic Pre EIN @ 60dB gain 150R input Z 22-22kHz -128.5dBu

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 48W

Allen & Heath 10 ZED-R16 User Guide

Allen & Heath 11 ZED-R16 User Guide

Allen & Heath

Microphone Input Socket

1 Line Input Jack Socket

1 return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. Nomi-

3 INSERT 4 48V Phantom Power Switch

4 48V Gain Control

HF ZED-R 16 Hi Pass Filter

Allen & Heath 13 ZED-R16 User Guide