not to disassemble, decompile, reverse engineer or create derivative works based on the whole, or any part, of the Software nor attempt to do any such things except to the extent that: Please note that this extended warranty is currently only available on products sold within the UK, EU or EEA, and is subject to the terms and conditions as detailed on the extended warranty certificate provided. This EULA and any amendment or addendum to this EULA applies to updates, supplements, or add-on components of the Software that Allen & Heath may provide to You, including in accordance with clauses 2.2 and 2.3, or make available to You after the date You obtain your initial copy of the Software unless a further EULA is provided with these. The monitors can be fed by the main mix or by the headphones mix, your choice being enacted via a single button that appears just before the monitor level control in the signal path. The level is indicated by a 12‑section stereo (so 24 sections in total) LED meter, which is clearly calibrated. The ZEDi10FX also features a built-in effects engine, boasting a brand new suite of studio quality reverbs and delays, painstakingly crafted to enhance your recordings and performances. Special multi-model effects provide uniquely dynamic combinations of reverbs and delays. Features

I worked with the ZEDi-10FX for a few weeks, integrating it into my portable DAW rig as I collected material for a new album I’m working on, with voice, nylon-string (piezo input) and electric guitar and bass, keyboards, and hand percussion. Apart from little things like that, however, the Allen & Heath ZEDi-10FX is a very capable and useful little mixer. We tried recording a range of different instruments on the console, and while we’ll go into how that sounded later on, the experience was very fluid and easy. TheGSPre micr pres have a ton of headroom for almost all situations, and the EQ’s, which have a smart Q that’s automatically controlled by the console, are absolutely simple. The monitor system on the ZEDi-10FX is also pretty darn easy to use — it gives you a ton of control over the monitors, and while some might need more monitor outputs to have individual control,The unit’s new GSPre mic preamps have tons of headroom and a very clean sound, as good as or better than anything you’ll hear in this price range. As I said before, the EQ is very musical and easy to use, and encourages experimentation, especially in combination with the PFL system. It was easy (and fun!) to get the sounds I was after. The multiple monitor routing options spoiled me for choice in a very short time, eliminating a lot of guesswork. The mixer includes a maximum of six microphones or twelve-line inputs, the latter of which are divided into four mono and four stereo inputs. There is also a group channel. The whole thing is rounded off by two aux channels, which also include an internal effects engine. The “SPX processor” offers 24 effect programs, which the manufacturer advertises as “high quality”. Conclusively, with the ZEDi-10FX, Allen & Heath offers a small mixer in proven quality. The 4 × 4 audio interface, the very good microphone preamps, and the good sounding effects processor are the highlights of the equipment. The first two channels also offer a “ guitar mode,” which basically engages high impedance inputs, which cuts out the need to bring your own DIs on the road. The other two channels replace the guitar mode button with a Line/Pad button — one that cuts the input level by a handy 20dB. Directly under those buttons, on all four channels, you’ll get a low cut filter, which sits at around 100Hz. The EQ certainly don’t give you as much control as you might want, but they sound pretty good nonetheless. There’s no denying that in studio situations you may want to rely more on plugins for your EQ needs, as you’ll be able to get much more surgical. In live situations, however, the ZEDi-10FX is more than capable — sure, you don’t get to set the Q, but the Q the console sets for itself is very musical.

The inputs coming from the computer are fixed/hardwired, going from USB channels 1&2 to the ST2 channel and USB channels 3&4 to the ST3 channel. To send something from the computer to the mixer then, you would simply send stereo signals from, say Logic, to USB channels 1&2 and/or 3&4. They can then be added into the main mix or sent to the Aux out using the pots on the ST2 and ST3 channels. There are many similarities between these mixers, so the following tables show only the main differences. Third, the built-in FX are not only actually optimized for send/return use (no distortions or harmonizers or other stuff you’d never strap across an entire bus in a conventional mix!), but they’re actually adjustable. The engine features 61 presets with delays, reverbs, and modulation effects, alone and in combination. Each has one internal parameter that can be adjusted to taste and saved with the preset. While the standards are all here, I particularly enjoyed some of the unusual choices like the LF-adjustable Thunder Verb and the mixtures of reverb and modulation like Ambient Phase and Plate Symphonic.Allen and Heath will not be liable or responsible for any failure to perform, or delay in performance of, any of its obligations under this Licence that are caused by an event outside of its reasonable control