Allen & Heath ZED10FX review

geokie8 · #1 11-15-2010, 08:45 PM

I finally found time with my sound guy to spend a few hours setting up my new equipment. There’s a short review of the K10 and K8 speakers elsewhere. This covers the Allen & Heath ZED10FX.

Right out of the chute, I can understand why this unit would not be everyone’s first choice. There have been some major compromises in the reinforcement arena in order to deliver some cool recording options; however, since I don’t record, it’s wasted on me. My sound guy does spend a lot of time recording and is duly impressed with the layout; however, he would have liked mute buttons and channel inserts for a live mixer (although he’s not sure how much bigger or expensive the unit would be with them).

For me, there are three things I am concerned about in a mixer – and probably in this order: 1) The quality of the preamps; 2) The quality of the effects; and 3) The quality of the EQ. (There is an assumption that there are going to be enough ways to patch things together). The ZED10FX delivers big time in all three areas.

I can honestly say I don’t think my voice has sounded better than when singing through the system I now have. (I know that’s not saying much

). The QSC speakers and VX10 mic have something to do with it, but I think the mixer is really at the heart of the sound I am hearing. (I’ve had the mic for awhile). My voice has plenty of limitations, but the mixer downplays all of them -- or at least doesn't accentuate them.

The effects are nice. My ears aren’t tuned as well as some others so I can’t say that they’re better than X or Z -- but they do sound pretty good. We found the best setting to be #2 (delay + reverb). The result is a thickening of the vocals as well as the verb. (In fact, it made the doubling effect of the TC Helicon Harmony G/XT redundant – one of the best things I liked about the unit!).

The sweepable mid is a big plus. It’s wasted on my guitars since I run them thru an SPS-1, but it can dial out some of the nasal tone in my voice. (Also, thanks to whoever mentioned that moving the mic below the chin and away from the nose helps out as well. I think it does help).

Anyway, I’m really pleased, to say the least. I’ve researched and saved up for almost two years for good powered speakers and a decent mixer. I’m done for awhile.

geokie8

kramster · #2 11-16-2010, 11:17 AM

Thanks for the report, I'll probably get one to try.

BoB/335 · #3 11-16-2010, 01:09 PM

geokie8,
I notice you have a "sound guy" that you keep referring to. You have a soundman for a Solo act, are you in a band with a soundman, or is this an expert friend helping you out?

I think if I set up a deep cell battery performance unit, I will probably pick up one of these also.

El Conquistador · #4 11-16-2010, 03:35 PM

Quote:

Originally Posted by geokie8

.

There have been some major compromises in the reinforcement arena in order to deliver some cool recording options;

geokie8

Can you elaborate on this statement, please?
Steve

geokie8 · #5 11-16-2010, 04:22 PM

Quote:

Originally Posted by BoB/335

geokie8,
I notice you have a "sound guy" that you keep referring to. You have a soundman for a Solo act, are you in a band with a soundman, or is this an expert friend helping you out?

Expert friend who helps me out when he has the time (so I usually have to wait on his availability). That "friend" changes over time. He is currently 18 yrs old, multi-instrumentalist, recording guru, and fulltime student working on a music degree.

I have enough experience to get thru most situations, but in a major equipment overhaul -- which I just went thru -- I want another perspective.

geokie8

geokie8 · #6 11-16-2010, 05:46 PM

Quote:

Originally Posted by El Conquistador

Can you elaborate on this statement, please?
Steve

The negatives have been mentioned: No channel mutes and no channel inserts. If you need an effect on one instrument (e.g., compressor), it will be a challenge.

Not doing much recording myself -- especially in the digital arena -- I'll have to try my best to point out the recording plusses. (I was just listening with one ear while he was jabbering about the recording extras).

I guess the biggest plus would be the USB connection. There are the normal jacks which you would not want to use if you're using the USB connection. Your software will identify your mixer and audio streams both ways. (I'm already using terms I'm not completely comfortable with).

There are channel record buttons (which replace the mutes). I assume these are handy (but not as handy as mute buttons on a live board).

You've got two separate stereo record outs (which I am assuming that people want, but for reasons which elude me).

So ..... for such a little mixer, it does a lot.

Hope that's helpful. If you need more, A&H has a manual you can download.

geokie8

grybrd1 · #7 11-17-2010, 12:52 AM

How does the ZED10fx compare to the Yamaha MG82cx 8?

geokie8 · #8 11-17-2010, 05:56 AM

Quote:

Originally Posted by grybrd1

How does the ZED10fx compare to the Yamaha MG82cx 8?

I just sold mine.

The Yamaha unit is one of the best values out there, but this is a step up. In the three areas I think are most important, the A&H has an edge even my ears can hear. It may have something to do with the whole "Brit" sound, I don't know.

Over the years I have noticed a loose connection between the weight of a piece of an electronic equipment and its quality. Some of it might just be the quality of the construction material -- I think JBL's choice of lightweight plastics was a step backwards -- but it seems to extend to the choice of a lot of other stuff inside as well. Sometimes the push for miniaturization -- including weight -- just goes too far. The Yamaha weighs 3 1/2 lbs and the A&H weighs almost 7 1/2 lbs. I think it's more than just the plastic case.

geokie8

BoB/335 · #9 11-17-2010, 06:51 AM

What is a "Brit" sound?

kendallhadden · #10 11-17-2010, 06:55 AM

Quote:

Originally Posted by BoB/335

What is a "Brit" sound?

I would say it's a warmer sounding preamp/EQ.
kwh

grybrd1 · #11 11-17-2010, 10:23 AM

Any ideas for a ZED10fx case for transport/protection and for a mounting method/stand?

geokie8 · #12 11-17-2010, 11:11 AM

Quote:

Originally Posted by BoB/335

What is a "Brit" sound?

In simplistic terms, it refers to the sound associated with the British invasion. Electric guitarists would say it’s the difference between a Fender amp (USA) and a VOX (UK). They would reduce it even further to the choice of the tube (USA) or valve (UK) but a lot more goes into the amp than just the valve (e.g., Celestion speakers). Jim Marshall confused the issue as he was a Brit who built amplifiers in the UK but engineered them – literally copied them -- after the Fender Bassman (one of the most important inventions in the history of rock). He tweaked until the “Marshall” sound emerged, but it was a hybrid using British valves and speakers with the guts (transformers, etc) USA made.

Although British bands performed with USA made equipment – and vice-verse – it stands to reason that things just developed differently on both sides of the Atlantic, and the differences emerged in more areas than just electric guitar amps. Producers looking for a particular sound would gravitate to a specific recording studio where they thought they had a decent chance at capturing what they were after. Arguably the two most famous recording studios of the era was Columbia (USA) – built in an abandoned church known for its acoustics – and Abbey Road (UK) of Beatles fame. They had “trademark” sounds.

I think the old distinctions electric guitarists made still defines the two sounds the best. Although I’m speaking in highly generic terms, USA made amps stress the highs and lows while UK amps have more complex mids. It’s easy to see how this distinction would manifest itself in a mixer in a positive way – especially on vocals and acoustic instruments that are so mid-frequency dependent.

geokie8

P.S. Please don’t ask me to define the differences on the two sides of the Pacific.

BoB/335 · #13 11-17-2010, 11:40 AM

I believe the term is 'both sides of the POND". You must be on this side.

As an electric player most of my life and a fan of Vintage Fender amps (I have 3) I understand the mids vs scooped mids in tube amps. Didn't think that difference translates into PA boards were a flat signal is most appreciated.

BoB/335 · #14 11-17-2010, 11:42 AM

Quote:

Originally Posted by grybrd1

Any ideas for a ZED10fx case for transport/protection and for a mounting method/stand?

I believe the Yamaha mg82cx has an optional adapter to mount on a mic stand. What do you ZED10FX owners do.

I believe that Gator has some good buys on bags. I have one for my ZED12FX.

geokie8 · #15 11-17-2010, 12:22 PM

Quote:

Originally Posted by BoB/335

I believe the term is 'both sides of the POND". You must be on this side.

As an electric player most of my life and a fan of Vintage Fender amps (I have 3) I understand the mids vs scooped mids in tube amps. Didn't think that difference translates into PA boards were a flat signal is most appreciated.

I don't think it's so much the flatness of the signal as the complexity. To state the obvious, not all boards with the EQ set flat will sound the same.

I could have easily said "warmth" as one poster did (but that'd be redundant, wouldn't it?). My emphasis should have probably been on the "complexity" of the mids (harmonic content/ overtones?) as opposed to the scooping of the frequencies. And maybe others with far more experience with various boards have better language to describe the differences.

From my perspective, my voice and Gibson J45 have never sounded better. Ironically -- or maybe not -- I think the Goodall still needs some more tweaking, but that instrument has more overtones to begin with.

geokie8