Allen & Heath ZED-24 vs Rivals: Analogue Mixer Guide 2026
Allen & Heath ZED-24 vs Rivals: Analogue Mixer Guide 2026
Buying an analogue mixing console in 2026 is a genuinely different decision to what it was a decade ago. Digital consoles have absorbed most of the mid-market, app control is everywhere, and yet a large chunk of Australian venues, churches, schools, rehearsal rooms and function bands keep coming back to a well-built analogue desk. The reasons are consistent: no boot time, no menu diving, no firmware surprises, and any volunteer or fill-in engineer can walk up and understand it in thirty seconds.
The Allen & Heath ZED-24 sits right in the middle of that conversation. It is a 24-input analogue desk from a British manufacturer with a long track record in live sound, and it competes against strong offerings from Yamaha, Soundcraft, Mackie and Behringer. This guide compares it fairly against those alternatives, explains where it wins, where it genuinely loses, and helps you work out whether it is the right console for your specific situation — or whether your money belongs somewhere else entirely.
The Analogue Mixer Market in Australia: Where Everything Sits
Before comparing individual models, it helps to understand the tiers. Analogue mixers in the 16–24 input range fall into roughly four bands, and the differences between them are real rather than marketing.
| Tier | Typical Buyer | What You Get | What You Give Up |
|---|---|---|---|
| Budget | Home studios, small rehearsal rooms, occasional use | High input counts for low outlay, onboard FX, USB recording | Preamp headroom, fader feel, long-term reliability, resale value |
| Mid-market | Function bands, schools, small venues, houses of worship | Solid build, decent preamps, useful routing, onboard FX common | Refinement under pressure, EQ musicality, serviceability |
| Upper mid / semi-pro (ZED-24 lives here) | Working venues, touring support desks, install monitor positions | Genuinely good preamps, 100mm faders, robust chassis, long service life | Onboard effects in some models, multitrack USB, digital conveniences |
| Professional analogue | Large venues, theatres, broadcast | Subgroups, matrix, VCA-style control, extensive routing | Cost, footprint, weight, complexity |
The critical insight for most buyers: the jump from budget to mid-market buys you input count and features. The jump from mid-market to upper mid-market buys you sound and durability, not spec sheet lines. That distinction matters enormously when comparing the ZED-24 to cheaper desks with bigger feature lists.
What the Allen & Heath ZED-24 Actually Offers
The ZED-24 is a 24-input analogue console built around 16 mono microphone/line channels plus four stereo channels. It uses Allen & Heath's DuoPre two-stage preamp design, which spreads gain across two stages rather than pushing a single stage hard — the practical result is more usable headroom and less noise when you are running high-gain sources like quiet vocalists or condenser overheads.
| Feature Area | ZED-24 Implementation | Why It Matters Live |
|---|---|---|
| Input configuration | 16 mono mic/line + 4 stereo channels | Handles a full band plus playback, wireless and backing tracks without running out |
| Preamps | DuoPre two-stage design with 48V phantom power | Headroom and low noise floor; forgiving when gain staging is rushed |
| Mono channel EQ | Three-band with swept mid, plus high-pass filter | The swept mid is the single most useful tool for taming boxy vocals and honky guitars |
| Stereo channel EQ | Four-band fixed | Fast tonal shaping for keys, playback and stereo sources |
| Aux sends | Four sends with pre/post flexibility | Two or three monitor mixes plus an effects send, without compromise |
| Faders | 100mm | Far better resolution and feel than the 60mm faders on cheaper desks |
| USB | Stereo USB in and out | Record the main mix to a laptop; play back from the same connection |
| Onboard effects | None | The biggest trade-off — see the section below |
A practical note: analogue ranges get revised, and regional stock can differ. Confirm the current channel routing, aux configuration and USB specification against the manufacturer datasheet on the product page before you commit, particularly if a specific aux count is critical to your monitor plan.
View full ZED-24 specifications and current Australian pricing
The Elephant in the Room: No Onboard Effects
This deserves its own section because it is where the ZED-24 loses buyers who should probably be buying something else — and wins buyers who know exactly what they are doing.
Within Allen & Heath's own ZED range, the FX-equipped models (such as the ZED-22FX and ZED-16FX) include a digital effects engine with reverbs, delays and modulation. The ZED-24 does not. You get an aux send, and you supply your own reverb.
Why that is a genuine disadvantage
- One less box, one less power supply, two fewer cables at every load-in
- Volunteers and casual operators can dial in a vocal reverb without understanding send-and-return routing
- Cheaper overall if you do not already own an outboard unit
- Nothing to forget in the van
Why experienced engineers choose it anyway
- Onboard FX in this price class are competent, not great — a dedicated outboard reverb comfortably outperforms them
- Your effects travel with you between consoles and venues, so your sound stays consistent
- Failed digital FX sections have historically been a service point on FX-equipped desks; there is nothing there to fail on the ZED-24
- The panel is less cluttered, which genuinely speeds up operation under pressure
The honest verdict: if you do not already own outboard effects and have no intention of buying any, an FX-equipped desk is the better purchase and you should not talk yourself out of it. If you own a decent reverb unit — or you are running a venue where FX live permanently in a rack — the ZED-24 is the smarter buy.
ZED-24 vs the Rest of the Allen & Heath ZED Range
Plenty of buyers get stuck choosing within the range rather than between brands, so this comparison comes first.
| Model | Approx. Inputs | Onboard FX | Best For | Main Compromise |
|---|---|---|---|---|
| ZED-16FX | 16 | Yes | Small bands, mobile DJs, compact venue installs | Runs out of channels fast once drums are miked |
| ZED-18 | 18 | No | Rehearsal rooms and venues with existing outboard | Modest headroom in channel count for growing setups |
| ZED-22FX | 22 | Yes | All-in-one live rigs where simplicity wins | FX quality is adequate rather than excellent |
| ZED-24 | 24 | No | Full bands, multi-act venues, engineers with outboard racks | You must supply your own effects |
| ZED-4-series (420/428/436) | 20–36 | Varies | Larger productions needing subgroups and deeper routing | Significantly bigger footprint, weight and cost |
The pattern is clear: the ZED-24 is the range's answer for maximum clean input count without stepping up to a large-format frame. If you are choosing between the ZED-18 and the ZED-24, choose the ZED-24 unless space is genuinely tight — the six extra inputs are the cheapest future-proofing you will ever buy, and running a desk permanently full is miserable.
Cross-Brand Comparison: The Real Competition
These are the desks Australian buyers realistically cross-shop against the ZED-24 in the 20–24 input analogue class.
| Consideration | Allen & Heath ZED-24 | Yamaha MG-series (20–24ch) | Soundcraft Signature MTK series | Mackie ProFX v3 (22–30ch) |
|---|---|---|---|---|
| Preamp character | Warm, forgiving, high headroom | Clean, neutral, very consistent | Ghost preamps — punchy, characterful | Clean and modern, slightly brighter |
| EQ usefulness | Swept mid on mono channels is excellent | Effective but more conservative | Strong British-voiced EQ | Serviceable; fewer sweepable options at price |
| Onboard FX | No | Yes on XU models | Yes (Lexicon) | Yes (GigFX) |
| USB recording | Stereo in/out | Stereo in/out | Multitrack — its headline advantage | Stereo (multitrack on some models) |
| Fader quality | 100mm, excellent feel | Good | Good | Adequate |
| Build and longevity | Excellent — a genuine long-term buy | Excellent — legendary reliability | Very good | Good |
| Resale in Australia | Strong | Strong | Moderate | Moderate |
| Best single reason to choose | Sound quality and durability per dollar | Bulletproof consistency | Multitrack recording built in | Feature count for the money |
How to read that table
Each of these desks wins on something real:
- Choose Yamaha if the console will be operated by many different people, needs to survive a school or community hall for a decade, and neutrality matters more than character.
- Choose Soundcraft Signature MTK if recording every channel separately is part of the job. Multitrack USB is a genuinely different capability, not a spec-sheet flourish, and no amount of ZED-24 sound quality replaces it.
- Choose Mackie ProFX if you need the highest channel count and feature list for the lowest outlay and the desk will not be worked hard every week.
- Choose the ZED-24 if audio quality per dollar and long service life are your top two priorities, and you can supply your own effects.
Sound Quality: What Actually Separates These Desks
Analogue mixer comparisons often collapse into vague talk about "warmth". Here is what genuinely differs in practice.
Headroom under real conditions. The moment that separates good desks from cheap ones is the unexpected one — a guitarist who doubles their volume mid-set, a drummer who hits harder on the last song. Desks with generous headroom absorb that gracefully. The ZED-24's two-stage preamp design is specifically aimed at this, and it is the single most defensible reason to pay more than budget-tier money.
Noise floor with many channels open. Noise accumulates. On a 24-input desk with everything live, a mixer that measures fine on one channel can hiss noticeably across the full mix. Better preamps and summing pay off exactly here, which is why input count and preamp quality should be judged together, not separately.
Midrange EQ. Live sound problems are overwhelmingly midrange problems — boxiness at 300–500Hz, harshness at 2–4kHz. A swept mid control lets you find and fix the specific offending frequency. A fixed mid lets you make it louder or quieter and hope. On a busy stage this is not subtle.
Situation-Specific Recommendations
Best for a working function or covers band
The ZED-24 is a strong fit. Twenty-four inputs covers a full band with miked drums, plus playback and spare channels for guest artists. The 100mm faders make live riding practical, and the build survives repeated load-ins. Budget for a compact outboard reverb and a padded case.
Best for a small to mid-sized venue
Excellent fit, provided FX live in the house rack. Multiple acts per night means the desk needs to be re-patched fast by different people; the ZED-24's uncluttered layout is an advantage over feature-dense competitors here.
Best for a church or community hall with volunteers
Consider carefully. The sound quality is ideal and the layout is teachable, but volunteers benefit enormously from an all-in-one desk with onboard reverb. Either commit to a permanently patched outboard FX unit with a labelled send, or look at an FX-equipped model instead. Be honest about who will actually operate it on a Sunday.
Best for a band wanting live multitrack recordings
Not the right desk. The ZED-24 records a stereo mix, and that is all. If capturing every channel for later mixing is a real goal — not an aspiration — a multitrack-capable console or a small digital desk serves you far better for similar money.
Best for a home or project studio
Good if you want a monitoring and summing hub with quality preamps and lots of hardware routing. Less compelling if your workflow is entirely in-the-box, where a dedicated multi-input audio interface is the more sensible spend.
Best for schools and education
Very strong on durability and simplicity, and the visible signal path is genuinely valuable for teaching. The lack of FX is a minor issue in a teaching context where an outboard unit becomes another useful lesson.
Value Analysis: Is the Premium Justified?
The ZED-24 typically costs more than budget desks with similar or higher input counts. Whether that premium is worth paying depends entirely on usage intensity.
| Usage Pattern | Is the Premium Worth It? | Reasoning |
|---|---|---|
| Weekly gigs or services | Yes, clearly | Build quality and preamp headroom are consumed every single use; longevity amortises the cost |
| Permanent venue install | Yes | Replacement means downtime and labour, not just hardware cost |
| Monthly or occasional use | Marginal | A mid-market desk will likely outlast your need for it |
| Rehearsal room only | Probably not | Nobody is critically listening; spend the difference on monitors |
| Recording is a core requirement | No | Money is better placed in a multitrack-capable option |
There is also a resale factor Australian buyers consistently underestimate. Allen & Heath desks hold value well on the secondhand market here, which meaningfully reduces the true cost of ownership if you later move to digital. Budget-tier consoles depreciate hard and sell slowly.
Your Decision Framework: Six Questions
- How many inputs will I need in two years, not today? Count your worst-case night and add four. Running a desk permanently full is the most common regret in this category.
- Do I already own effects, or will I buy them? This question alone resolves the ZED-24 versus ZED-22FX decision.
- How many separate monitor mixes do I need? Confirm the aux configuration matches your requirement before ordering — this is the spec most often assumed rather than checked.
- Is recording a genuine requirement or a nice-to-have? If genuine, and multitrack matters, look elsewhere without hesitation.
- Who operates it? Trained engineers reward a clean, quality desk. Rotating volunteers reward onboard everything.
- Will it be transported? If yes, factor a case into the budget from the start, and check the frame dimensions against your vehicle and any existing racks.
Common Mistakes When Comparing Analogue Mixers
- Buying on channel count alone. Twenty-four mediocre channels are worth less than sixteen excellent ones for most working bands.
- Assuming all USB is equal. Stereo USB and multitrack USB are completely different capabilities that appear almost identical on a feature list.
- Ignoring fader length. The difference between 60mm and 100mm faders is felt every time you ride a vocal. It rarely appears in comparison charts and matters more than most specs that do.
- Overlooking the effects question until after purchase. Discovering your new desk has no reverb on gig day is an avoidable and expensive lesson.
- Comparing analogue to digital purely on price. They are different tools. A digital desk of similar cost offers recall and processing but demands a different operator skill set and a boot sequence you have to plan around.
- Forgetting total system cost. Case, cabling, outboard FX and stands can add meaningfully to the desk price. Budget for the system, not the box.
The Honest Final Recommendation
The Allen & Heath ZED-24 is not the most feature-rich analogue console in its price bracket, and it is not trying to be. It deliberately spends its budget on preamp quality, EQ usefulness, fader feel and chassis durability rather than onboard effects and headline specifications. For buyers who understand that trade-off, it represents some of the best value in the analogue mixer market — and for buyers who do not, it will feel like paying more for less.
Buy the ZED-24 if: you gig or run services regularly, you value sound quality and long service life above feature count, you already own or will buy outboard effects, and 24 inputs comfortably covers your worst-case night.
Look elsewhere if: you need multitrack recording, you want everything in one box for volunteer operators, or the console will see only occasional light use where a mid-market desk serves just as well.
Get those questions right and the ZED-24 is a console you will still be using in ten years — which is ultimately the fairest measure of value in this category.
Check current Allen & Heath ZED-24 availability and pricing in Australia
Still weighing the ZED-24 against an FX-equipped model or a compact digital alternative? Compare the full specifications here and match them against the six decision questions above before you commit.