| Content | ZED-14 is a fantastic entry-level mixer for small bands, solo performers or AV applications. Its comprehensive feature set, compact size and fine lines combine to make it one of the best small mixers around. Provided with configurable USB audio in/out makes it easy to capture stereo recordings, 6 mic or line inputs, 4 stereo inputs with EQ, there are an incredible 157 controls on the front panel of the ZED-14.
This is a mixer for anyone, from entry-level to professionals, who appreciates fantastic sound, rugged build quality and imaginative feature sets. Itʼll be equally happy running your gig on stage, recording live or mixing down in your studio at home.
Weʼve teamed up with major software supplier, Cakewalk, to bundle its SONAR X1 LE music creation and audio production software with ZED, giving you a fantastic, high spec digital audio workstation.
6 mono channels
Neutrik mic XLR
Neutrik 1/4 inch jacks
Channel insert
Super wide gain ʽDuoPreʼ mic line input
3 band EQ with MusiQ
4 auxes
Illuminated mute
Sound image pan
Illuminated PFL & peak warning indicator
ALPS 100mm faders
4 stereo channels with 2-band EQ and inputs for extra sources
Stereo returns & playback
All inputs with level control
12 bar meters
Mono/stereo function on auxes 1&2
Monitor output section
Alt stereo output source
Configurable USB stereo audio in/out
Cakewalk SONAR X1 LE bundled with mixer
Rack ears available
USB audio flexibility
Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-
Send options:
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4
Return options:
1) To Stereo 3 channel
MusiQ
ZED-14 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ – with optimised slope (or Q factor) for equalising individual instruments.
DuoPre™
Based on the proven pre-amps from the hugely successful PA series, ZED-14 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a
higher input impedance.
SONAR X1 LE – Provided Free!
Weʼve included Cakewalk SONAR X1 LE with ZED-14 so you can immediately start to use it to create your own music – just add a PC and it couldnʼt be easier to get going. Youʼll be able to record from your ZED mixer, create tracks and arrange songs, then play back to ZED via the USB port. You can use SONAR X1 LE and your ZED mixer together in many ways – e.g. straightforward recording of a stereo mix, recording tracks individually to build up a song, or using the USB port and software as an effects loop.
Key Features
• Powered by SONAR X1
• 32 audio tracks
• 64 MIDI tracks
• 8 simultaneous inputs and outputs
• 24-bit/96 kHz audio quality
• 24 simultaneous effects
• 8 simultaneous virtual instruments |
MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units. |
The LX7 combines the essential Soundcraft live mixer qualities
with basic recording-oriented features, in a compact frame that's
light enough for one person to carry yet easy to configure and use.
This makes it especially suitable for multi-purpose use in venues
such as small halls and community centres, while its direct channel
outputs make the LX7 an ideal choice for bands who need a live desk
that can double up in the studio.
Housed in a choice of 16, 24 or 32 channel frame, LX7 provides 24,
32 or 40 inputs - with no less than 7 separate bus outputs including
mix, 4 groups and a dedicated mono bus for centre speaker clusters,
side or rear fills. The output count rises to 29 with the inclusion of direct
outs on the first 16 mono inputs and six auxiliary busses.
LX7's balanced mic inputs all use patented Ultramic preamps,
providing 60dB of gain range and 22dBu of headroom. Each input
also includes 4 band EQ with two swept mid frequency controls.
In addition, EQ In/Out switch and steep 18dB/Octave High Pass Filter,
allow effective audio control in difficult venues whilst the six auxiliary sends
are pre-post switchable in pairs from each channel, providing a maximum of
4 pre-fader and six post-fader. This makes LX7 equally applicable
for foldback - heavy performance or in situations where more effects are required.
LX7's groups section houses two further stereo inputs - with EQ, auxiliaries
for keyboards or stereo recording devices - as well as two FX returns. All four
groups are routable to mix and include 12 segment bargraph metering for
accurate monitoring and inserts. Six auxiliary masters on rotary controls also
included AFL soloing.
In the master section there is talkback provision to all pre-fade auxiliaries and
the mix. Global phantom power and a two track return for pre-show music are
also present. A "two-track" to mix switch allows the engineer to play CD's over
the main PA whilst back-stage set-up is going on, with one press of a button.
The mix is also routable to the separate mono bus if mono PAs are required.
LX7 is built in a rugged wedge-shaped steel chassis with an internal power supply,
professional all-metal jackfield and connectors on the rear of the console. All inputs and outputs are balanced.
Applications:
* Gigging Bands
* Small installations
* Small venues
* Theatres
* Houses of Worship
* Live and studio recording
* 100mm faders
* +48V phantom power
* 16, 24 or 32 channel frame sizes
* Up to 40 inputs (including stereo inputs and returns)
* 18dB/octave high-pass filter
* 6 aux sends, 4 of them pre/post switchable
* Group and mix inserts
* 12-segment LED metering
* Integral PSU
|
MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units. |
The highly-acclaimed and successful Soundcraft GB Series has gained another new member, the Soundcraft GB2R.
This 19” rack-mountable mixer is designed specifically for smaller installations in churches and performance venues, or for small portable PA systems. It will also find friends in Broadcast where its high quality and feature set will be very appealing.
Available in two variants, the GB2R offers either 16 mono inputs to a stereo mix output, or a 12.2 version with 12 mono inputs, two full-feature stereo inputs and 2 group busses, each model having 6 auxiliary sends.
As always with Soundcraft consoles, emphasis has been placed on operational simplicity, clear and intuitive layout and the highest possible audio performance. The Soundcraft GB2R inherits both the GB30 Mic preamplifier and GB30 Equaliser designs from the GB4 and GB8.
For ease of installation, the connector section is contained in a rotatable pod, allowing cable access from the top of the mixer if sat on a table-top, or from the rear when mounted in a 19” rack.
On the stereo inputs on the 12.2 model, connectors are provided for both Mic and Line inputs. With Mic signals routed to the local channel, the Line inputs are available as stereo returns to the main mix bus. Two stereo returns and a 2-track (for example CD replay) input are provided, which means that the GB2R-12.2 model can offer up to 26 inputs to mix in a mixer just 19” (485mm) wide.
Every input has a pre/post switchable direct output for recording or effects sends, while an internal universal voltage PSU avoids external power supply connections.
The whole GB Series carries the high quality hallmark with which Soundcraft is synonymous, with engineering and design as youʼd expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability and ruggedness under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcbʼs, fitted to the steel chassis front panel with individually-nutted potentiometers. - Technical Specifications
- Frequency Response Mic/Line Input to any output, 20Hz - 20kHz..
- THD + N Mic sens. -30dBu, +20dBu at all outputs @1kHz..
- Noise Measured RMS, 22Hz to 22kHz Bandwidth
- Mic E.I.N. @ unity gain,150Ω source impedance.. -128dBu
- Mix Output, 40 inputs routed to mix..
- Group & Centre Outputs..
- Aux Outputs (GB2 Groups only)..
- Matrix Outputs..
- Crosstalk Input Channel Mute..
- (@1kHz, typical) Input Fader cut-off..
- Pan isolation..
- Mix route isolation..
- Group route isolation..
- Adjacent channel crosstalk..
- Group to Mix..
- Aux Send pots offness (typical)..
- Matrix Send pots offness (typical)
- CMRR Typical @ 1kHz.. 80dB
- Input & Output Mono & Stereo Mic Inputs.. +15dBu
- Max Levels Mono & Stereo Line Inputs.. +30dBu
- Stereo Returns & Insert Returns.. +20dBu
- Any output.. +20dBu
- Nominal Operating Level.. 0dBu
- Headphone Power.. 2 x 250mW into 200Ω
- Input & Output Mic Inputs.. 2kΩ
- Impedances Line Inputs and Stereo Returns.. 10kΩ
- Input channels Insert Return.. 5kΩ with EQ in, otherwise 3kΩ
- Mix, Group, Aux, Matrix & Direct outputs.. 150Ω
- Insert sends.. 75Ω
- Recommended Headphone Impedance.. 100 - 600Ω
- High pass filter (Mono input).. 100Hz, 18dB per octave
- EQ (Mono input) HF.. 13kHz, +/-15dB, 2nd order shelving
- Hi-Mid.. 550Hz-13kHz, +/-15dB, Q=1.5
- Lo-Mid.. 80Hz-1.9kHz, +/-15dB, Q=1.5
- LF.. 80Hz, +/-15dB, 2nd order shelving
- EQ (Stereo input) HF.. 13kHz, +/-15dB, 2nd order shelving
- Hi-Mid.. 2.5kHz, +/-15dB, Q=0.8
- Lo-Mid.. 450Hz, +/-15dB, Q=0.8
- LF.. 80Hz, +/-15dB, 2nd order shelving
- Metering Input channels (GB4/GB8).. Single tri-colour 4-segment LED bargraph
- Outputs (GB4).. 7 tri-colour 12-segment LED bargraphs
- Outputs (GB8).. 11 tri-colour 12-segment LED bargraphs,
- + Meterpod with 3 VU meters (L/R/C)
- Outputs (GB2/GB2R).. 2 tri-coloured 12-segment LED bargraphs,
- (indicates monitor source level)
- Power consumption AC mains supply (internal PSU) 85V-270V AC, 50/60Hz universal input
- Power consumption.. Less than 150W
- Operating conditions Temperature range.. -10ºC to +30ºC
- Relative humidity.. 0% to 80%
- Features
- * 19” Rackmountable console
- * 16 channel version, with 16 mono inputs, Stereo Mix and Mono Sum Outputs and 6 Aux Outputs. - Total Inputs to Mix: 22
- * 12.2 channel version, with 12 mono inputs and 2 stereo inputs, 1 Stereo Sub Group Output, Mix and Mono Sum Outputs, and 6 Aux Outputs - Total Inputs to Mix: 26 (when Mics used on stereo input)
- * Rotatable connector pod for top or rear cable entry
- * 8 (GB2R-16) or 10 (GB2R-12.2) busses
- * 2 full feature stereo inputs (GB2R-12.2 version)
- * GB30 Mic preamp and precision EQ on inputs
- * Switchable +48V phantom power on every mic input
- * 100Hz Hi-pass filter
- * Direct outputs on every channel
- * 100mm faders
- * Stereo Mix Output and separate Mono Sum output
- * Record output
- * Internal Universal switched mode PSU
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Κονσόλα ήχου με νέας γενιάς προενισχυτές GB30, σχεδιασμένη για διπλή χρήση σαν front of house ή stage monitor. Διαθέτει 16 mono εισόδους (mic) με EQ 4 περιοχών (παραμετρικό για mid&low mid), 2 stereo εισόδους με EQ 4 περιοχών, 4 group, 8 AUX, με δυνατότητα εναλλαγής (SWAP) μεταξύ AUX 1-4 & group. Διαθέτει επίσης 4 mute groups, matrix 7x5, direct εξόδους σε κάθε mono είσοδο, ενδεικτικά στάθμης με 12-LED και REC out με limiter. Εσωτερικό τροφοδοτικό με link out για δεύτερο εξωτερικό. Βάρος 22kg. Κατάλληλη για μόνιμες εγκαταστάσεις, θέατρα, live p.a. |
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