When I first saw the ZED R16 last year, I initially wrote it off for the FOH audience. A 16-channel recording mixer did not seem like an FOH product. But I took a second look and am glad I did. This is one instance where things are not all that they appear on the surface.
The Gear
First, it’s red. Really, really red. Second, lurking under the guise of a small recording mixer is a really nice small live mixer. No, you are not going to use it for a big show, but every soundco I know has small B rigs or what they call DJ racks. Though not rackable, the R16 will fill either of those bills nicely.
Everything except power and the recording outs is top-mounted, so you don’t have to go mucking around behind the mixer to make patch changes. The setup is straightforward with four-band EQ on each mic channel including two fully parametric mids. Four auxes are provided with two intended as FX sends and two for use as monitor mixes.
What is immediately noticeable is the set of transport controls in the master section along with four “open” faders. The transport and the faders (which are assignable to multiple functions) send MIDI CC and MMC data for the control of any ASIO-compliant computer recording system (pretty much anything except Pro Tools). The board ships with a copy of Sonar LE so you are ready to rock out of the box.
As for recording the show, you get a FireWire port carrying eighteen channels (bi-directional) or ADAT connections for the 16 mono channels. I dug this feature because I use an Alesis HD 24 for live recording.
Speaking of outputs, you also get a second pair of L-R monitor outs so you can switch between monitors while in the studio. I dug it live as a way to get the house mix in my PMs. Each fader also has a set of buttons next to it for determining at what point in the signal chain the recording signal exits the board.
Couple of other cool bits with the faders. First, each one doubles as MIDI controller, so you can use the R16 for your mixes instead of being stuck mixing with a mouse. Second, those routing buttons? If you depress both button 2 and button 3 then the channel EQ acts like an EQ plug-in with the signal entering the console pre-EQ and going back out the digital outs post-EQ. Which means you basically get 16 analog EQ “plug-ins.” Important note: There is not one set of master routing buttons. Each mono channel gets its own set so you can run channels in different configurations which makes the R16 really flexible.
You also get a pair of stereo line inputs and RCA for connecting your CD Player or iPod. (When is someone gonna make one of these with an actual iPod Dock connector on it?)
The Gigs
Like I said, with 16 mic channels, you are limited to smaller gigs, so I used this for a couple of months doing rehearsals with the rhythm section and vocals for a larger horn band.
I took it out of the box about 20 mins before the players were set to arrive and had no issues getting it set up. (On the other hand, I had another local band use it at a club gig and they could not figure out the FX sends and returns, as they were not used to U.K. labeling.)
It was quiet, easy to set up, the EQ was very “musical” and what I had planned as a once-or-twice-around-the-block use turned into a handful and then two fistfuls of sessions.
As my recording setup is Pro Tools, I was not able to put it through its control paces, but I did use the ADAT outs for recording some of the sessions. I am loath to give the board up just because the tracks sounded substantially better than what I am used to from another ADAT-equipped small board.
All in all, the ZED R16 is one of those “double duty” items I like so much. While it is very much set up to be a recording board, it is lightweight and durable enough to pull the recording snake, tuck it under your arm and head out to a coffee house or even small rock band gig. If you are doing a typical five or six piece band with, say, three vocals, you have enough inputs for all but the “have to mic every drum” gigs.
Allen & Heath ZED R16
What it is: Small live console masquerading as a recording board
Who it’s for: Anyone doing recording and live gigs and long as you don’t need a ton of inputs and don’t use Pro Tools
Pros: Quiet, good sound, lot of firepower in a pretty small package
Cons: A couple more auxes would have been nice for live use and the Pro Tools thing is a drag (Not A&H’s fault, this is a Pro Tools issue).
How Much: $3,499 (MSRP), $2,999 (MAP)
