User manual ALLEN & HEATH ZED 428

[. . . ] USER GUIDE Publication AP7028 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. [. . . ] For recording individual channels, factory default is prefade signal (post mute). The nominal level is 0dBu and the output is impedance balanced. 1 MIC 1 2 2 3 3 4 48V LINE IN Microphone Input Socket Standard 3-Pin XLR socket wired as Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (-). 48V Phantom Power Switch Applies +48V to pins 2 and 3 of the XLR input though 6k8 resistors for phantom powered condenser microphones. Line Input Jack Socket 1 4 Standard 1/4" (6. 25mm) Jack socket for balanced or unbalanced line level signals. Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis. The Line input overrides the Mic input, so if you want to hear something plugged in to the xlr socket, make sure nothing is plugged into the Line input. INSERT 5 1 Insert Jack Socket 5 0 20 10 Standard 1/4" (6. 25mm) Jack socket for unbalanced insert send and return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. The insert point is after the 100Hz filter and before the EQ. 6 GAIN 10 30 40 50 63 26 0 MIC LINE -10 -6 6 Gain Control This adjusts the gain of the input amplifier to match the signal level of the input. The gain is varied from ­6dB (attenuation) to +63dB for signals plugged in to the xlr socket (Mic Input) and ­10dB to +26dB for signals plugged into the Line input jack. 7 dBr 10. 00 HPF 100Hz 100Hz Hi-pass Filter 0. 00 7 -10. 00 The Hi-pass filter is used for reducing pop noise and rumble from microphone signals. It is a 2-pole (12dB per octave) filter with a corner frequency set at 100Hz. The filter affects signals from both Mic XLR and Line jack socket. -20. 00 -30. 00 -40. 00 -50. 00 10. 00 Hz 100. 00 1000. 00 10000. 00 30000. 00 Allen & Heath 15 ZED-4 BUS User Guide MONO INPUT CHANNEL HF HF EQ 6 -15 1k 3k +15 4k 6k 15k 6 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. dBr 20. 00 12k 15. 00 10. 00 700 500Hz 5. 00 0. 00 7 HM -5. 00 -10. 00 -15. 00 -20. 00 20. 00 Hz 100. 00 1000. 00 10000. 00 30000. 00 -15 70 45 180 +15 250 400 1k 7 HMF EQ The HMF (High Mid Frequency) equaliser affects the upper middle of the audible frequency range. The frequency graduations on the sweep control are the centre frequencies of the EQ. dBr 20. 00 8 LM 35Hz 15. 00 10. 00 5. 00 0. 00 LF 80Hz -15 +15 -5. 00 -10. 00 -15. 00 -20. 00 20. 00 Hz 100. 00 1000. 00 10000. 00 30000. 00 -15 +15 EQ IN 8 LMF EQ The LMF (Lower Mid Frequency) equaliser affects the lower middle of the audible frequency range. dBr 20. 00 15. 00 10. 00 5. 00 0. 00 -5. 00 -10. 00 -15. 00 -20. 00 20. 00 Hz 100. 00 1000. 00 10000. 00 Allen & Heath 16 ZED-4 BUS User Guide MONO INPUT CHANNEL 9 LF EQ The LF (Low Frequency) equaliser affects the response at the low end of the audio range. The graph shows the response of the LF EQ at maximum cut and boost. The corner frequency is 80Hz. dBr 20. 00 LF 9 80Hz -15 +15 15. 00 10 AUX1 PRE EQ IN 10. 00 5. 00 0. 00 -5. 00 -10. 00 11 AUX2 PRE -15. 00 OO +6 -20. 00 20. 00 Hz 100. 00 1000. 00 10000. 00 OO +6 10 EQ IN The EQ IN switch enables the equaliser when pushed in. The EQ is bypassed when the switch is in its up position. AUX3 12 11 OO Auxes 1 & 2 Each of these controls sends a signal to an auxiliary bus. The signal is sourced pre-fade which means that the level is independent of, and unaffected by the fader. Auxes 1 & 2 are primarily used for foldback monitoring purposes, as the fader does not affect the level. They can also be used as feeds for recording and are available sources to the USB interface for this purpose. These sends are affected by the Mute switch, so muting the channel will also mute the Aux sends. The control varies the signal level to the bus from off (fully attenuated) to +6dB, with unity gain at the arrow. There are master level controls for all of the Aux outputs situated in the master section of the mixer. +6 AUX4 OO +6 POST PRE AUX5 POST 12 OO Auxes 3 & 4 These are switched pre or post-fade so they can be used as either monitor sends or effects sends. 13 +6 AUX6 POST Auxes 5 & 6 13 OO Sourced post fade, so that the level is set with the send control but will be affected by the fader position. Mainly used for effects. +6 Allen & Heath 17 ZED-4 BUS User Guide MONO INPUT CHANNEL = PAN PAN 14 L ODD R EVEN 14 MUTE The pan control adjusts how the signal from the mono input channel is shared between the left and right buses and subsequently the main stereo outputs, similarly to pairs of Groups. Set to the mid position, equal amounts of signal are fed to left and right, with pan set to L, none is sent to the Right bus. 15 16 PK ! 15 PFL Mute Switch This mutes or cuts the signal to the buses and the Direct Out. [. . . ] Here we have selected the USB Left signal to go to Track 1 (ZED Left) and the USB Right signal to go to track 2 (ZED Right), panned them accordingly and selected the track outputs to be the Master Bus. If audio is present, click the Input Echo buttons (lit up yellow here) to monitor the signals on the Master Bus. The output for the Master Bus is displayed in the field marked "O" in the Master Bus pane below the input tracks. You can see here it says USB Audio Device, which is the ZED USB input. [. . . ]