ZED-24 vs Mackie & Soundcraft: Aussie Analogue Mixer Guide 2026

Digital mixing gets all the headlines, but a huge number of Australian venues, churches, schools, function bands and home studios still reach for an analogue desk first. The reasons are simple: every control is in front of you, there is no menu diving, nothing crashes mid-set, and the learning curve is gentle enough that a volunteer can run sound without a week of training. In that world, the Allen & Heath ZED-24 is one of the most quietly respected mixers you can buy.

But it is not the only option in its size and price bracket. Mackie, Soundcraft and Yamaha all build 22-to-24 input analogue desks aimed at the same buyer, and each makes different trade-offs around effects, recording and tone. This guide puts the ZED-24 side by side with its main rivals, explains where it genuinely wins, where it falls behind, and which desk actually suits your situation. The goal is not to crown one winner for everyone, but to help you choose correctly for your needs.

Allen & Heath ZED-24 24-channel analogue USB mixer top panel

Why a quality analogue desk still makes sense in 2026

Before comparing models, it helps to be clear on who an analogue mixer like the ZED-24 is really for. Digital mixers offer scene recall, onboard processing, app control and tiny footprints, and for touring engineers running complex shows they are usually the better tool. Analogue desks earn their place for different reasons:

Speed and simplicity: one knob, one function. No layers, no saving scenes, no firmware updates before soundcheck.
Reliability under pressure: there is no operating system to freeze. Power on and you are mixing.
Shared use: ideal where multiple people of varying skill run the system – community halls, schools, houses of worship, rehearsal rooms.
Sound character: a good analogue front end with quality preamps still delivers a smooth, musical result that many engineers prefer.

If those points describe your situation, a 24-input analogue mixer is a smart, long-life investment. The question then becomes which one.

Where the Allen & Heath ZED-24 sits in the market

The ZED-24 belongs to Allen & Heath's well-established ZED range, a family of analogue mixers built in the UK-designed tradition the brand is known for. Within the line-up it sits near the top of the compact format: 16 mono mic/line channels plus stereo inputs for a total of 24 sources, USB connectivity for two-track recording and playback, four aux sends, and Allen & Heath's GSPRE microphone preamps.

The single most important thing to understand about the ZED-24 is what it deliberately leaves out: onboard effects. Allen & Heath offers an effects-equipped sibling, the ZED-22FX, for buyers who want reverb and delay built in. The ZED-24 instead spends that space and budget on extra input capability and a clean signal path, expecting you to add outboard effects via the aux sends if you need them. That is a defining choice and it shapes the entire comparison below.

In Australian retail terms the ZED-24 typically lands in the upper-mid analogue tier – more than entry desks from Behringer or budget Yamaha, roughly level with comparable Mackie and Soundcraft models, and a fraction of what an equivalent-channel digital console costs. You are paying for preamp quality and build, not features-per-dollar.

ZED-24 at a glance

Inputs: 16 mono mic/line channels plus stereo line channels, 24 sources total
Preamps: Allen & Heath GSPRE mic preamps with generous clean gain and high headroom
EQ: 3-band with swept (sweepable) mid on the mono channels, plus a high-pass filter to clean up low-end rumble
Aux sends: 4, with pre/post flexibility for monitor mixes and effects
USB: bidirectional stereo recording and playback to/from a computer
Faders: 100mm long-throw for precise level control
Phantom power: 48V for condenser microphones and active DI boxes
Onboard FX: none (choose the ZED-22FX if you need them)

Head-to-head: ZED-24 vs the main rivals

The ZED-24's closest competitors are the Mackie ProFX22v3, the Soundcraft Signature 22 / Signature 22 MTK, and Yamaha's MG-series desks (such as the MG20XU). The table below summarises the headline differences. Treat it as a starting point – the analysis underneath explains what the numbers actually mean for you.

Feature	A&H ZED-24	Mackie ProFX22v3	Soundcraft Signature 22 MTK	Yamaha MG20XU
Total inputs	24	22	22	20
Mic preamps	GSPRE (premium)	Onyx	Ghost (premium)	D-PRE (premium)
Onboard FX	No	Yes (GigFX)	Yes (Lexicon)	Yes (SPX)
USB recording	Stereo 2-in/2-out	Stereo (v3)	Multitrack (22 in/out)	Stereo 2-in/2-out
Mid EQ	Swept mid	Swept mid	Swept mid	Swept mid
Aux sends	4	Multiple	4	4
Best known for	Preamp quality, build	FX and value	Multitrack recording	Bulletproof reliability

Specifications vary between model revisions, so always confirm the exact configuration with the retailer before purchase. With the landscape mapped, here is what separates these desks in real use.

Preamps and sound quality

This is the ZED-24's strongest argument. Allen & Heath's GSPRE preamps are a genuine highlight: clean, quiet at high gain, and forgiving with quiet sources such as ribbon mics or acoustic instruments. In a same-budget comparison the ZED-24 and the Soundcraft (with its Ghost preamps) tend to sit at the top for front-end quality, with Yamaha's D-PRE close behind and well regarded for its natural character. Mackie's Onyx preamps are perfectly good and arguably the value pick, but seasoned engineers often rank the A&H and Soundcraft front ends a notch higher for headroom and openness.

Verdict: if pristine preamps and headroom matter most – for example, recording acoustic acts or running detailed vocal-heavy mixes – the ZED-24 is a leader here.

EQ and tone shaping

All four desks offer three-band EQ with a sweepable midrange on the mono channels, which is the feature that really lets you carve out problem frequencies. The ZED-24's EQ is musical and predictable, with a useful high-pass filter for removing stage rumble and handling noise. There is no dramatic winner here – the differences are subtle voicing preferences rather than capability gaps – but the ZED-24 holds its own comfortably against all rivals.

Onboard effects: the decisive trade-off

Here the ZED-24 is at a clear disadvantage on paper, and it is the single most important factor in this comparison. The Mackie (GigFX), Soundcraft (Lexicon) and Yamaha (SPX) all include built-in reverb, delay and modulation effects. The ZED-24 has none.

Whether that matters depends entirely on you:

If you want plug-and-play vocal reverb for a function band, school or church with no outboard rack, a rival with onboard FX (or Allen & Heath's own ZED-22FX) is the more sensible choice.
If you already own or prefer outboard effects, or you record dry and add effects later in software, the ZED-24's four aux sends give you clean, flexible routing and you lose nothing.

Verdict: the Soundcraft's Lexicon effects are the standout among the FX-equipped desks. If you specifically want an Allen & Heath with effects, look at the ZED-22FX rather than forcing the ZED-24 into a role it was not designed for.

USB recording and computer connectivity

All four can record to a computer, but the depth of that capability varies enormously. The ZED-24, Mackie and Yamaha all offer stereo USB – a two-channel mix down to your DAW and two channels back for playback. That is ideal for capturing a live gig as a finished stereo recording or playing backing tracks.

The Soundcraft Signature 22 MTK is the outlier and the clear winner for one specific job: it streams every channel to your computer as separate tracks for full multitrack recording. If your plan is to capture a live show and remix it later, that is a transformative feature the ZED-24 simply does not match.

Verdict: for stereo capture and backing-track playback the ZED-24 is excellent. If multitrack recording is a core need, the Soundcraft MTK is purpose-built for it.

Build quality and reliability

Analogue mixers live hard lives – gigging, transport, dust, spilled drinks – so durability is real value. The ZED-24 has a strong reputation for solid construction and long service life, which is a major reason venues keep buying them. Yamaha's MG series is famously bulletproof and the benchmark for set-and-forget reliability. Soundcraft and Mackie are both dependable in this tier too. None of these are fragile, but if you want a desk that quietly works for a decade, the ZED-24 and the Yamaha are the two safest bets.

Aux sends and routing

With four aux sends and pre/post flexibility, the ZED-24 handles monitor mixes and effects routing well for its class. This is where the absence of onboard FX is partly offset – you can dedicate auxes to external reverb units and keep full control. For bands needing several distinct foldback mixes plus an effects send, the ZED-24's routing is genuinely capable.

Check current ZED-24 pricing and availability at MusiconStage.

Pros and cons of the ZED-24

Strengths:

Premium GSPRE preamps with excellent headroom and low noise
Generous 24-input count – more sources than most rivals at the price
Robust build aimed at years of real-world gigging
Clean, uncluttered signal path with no menu diving
Flexible four-aux routing for monitors and outboard effects
Useful stereo USB for recording and backing tracks

Trade-offs:

No onboard effects – you must add outboard FX or step up to the ZED-22FX
Stereo-only USB, so no multitrack capture like the Soundcraft MTK
Larger footprint than the most compact rivals
You pay for preamp and build quality, not for sheer feature count

Which mixer is right for you?

Rather than declaring a single overall winner, it is far more useful to match each desk to a buyer.

Best for clean sound and channel count – Allen & Heath ZED-24: the pick if preamp quality, headroom, build and a high input count matter more than built-in effects. Ideal for venues, bands and engineers who already have outboard FX or record dry.
Best for built-in effects on a budget – Mackie ProFX22v3: strong value with capable onboard FX, good for mobile setups that want everything in one box at a keen price.
Best for multitrack recording – Soundcraft Signature 22 MTK: the choice if capturing every channel for later mixing is central to your plans, with quality Lexicon effects as a bonus.
Best for set-and-forget reliability – Yamaha MG20XU: the safe option for installs and shared-use situations where it simply must work, every time, for years.
Want Allen & Heath sound plus onboard FX? Look at the ZED-22FX rather than the ZED-24 – same family pedigree with effects built in.

Price vs value: what you are really paying for

In the Australian market these desks cluster in a similar price band, with Mackie usually the most affordable, Yamaha and Soundcraft in the middle, and the ZED-24 toward the premium end of analogue. That premium is not arbitrary – it buys you better preamps, more inputs and a build designed to outlast cheaper rivals.

The honest way to judge value is cost over the life of the desk, not the sticker price today. A mixer that sounds better, survives more gigs and still works in ten years is cheaper per year than a budget unit replaced twice in the same period. For buyers who will use the ZED-24 heavily, the value case is genuinely strong. For occasional, FX-dependent users, a cheaper desk with onboard effects may deliver better value for their specific needs – and that is a perfectly valid choice.

Common mistakes when choosing an analogue mixer

Buying for channel count alone: count your actual sources, then add a few for growth. Paying for 24 inputs you will never use is wasted money – but running out of channels mid-project is worse.
Assuming all USB is equal: stereo and multitrack USB are completely different capabilities. Confirm which you need before you buy.
Overlooking the FX question: the ZED-24 has none. If you have no outboard reverb and want it built in, choose accordingly rather than being disappointed later.
Ignoring preamp quality: the front end colours everything. Cheap preamps cannot be fixed downstream.
Forgetting physical space: a 24-channel desk needs real estate in the booth, the rack and the car. Measure before you commit.

Questions to ask before you buy

How many microphones and line sources do I run at my biggest gig, plus headroom for growth?
Do I need effects built in, or do I already have (or prefer) outboard units?
Is stereo recording enough, or do I genuinely need multitrack capture?
How many separate monitor mixes do I need from the aux sends?
Will multiple people of varying skill operate this desk?
How long do I expect this mixer to last, and does the build justify the price over that period?

Frequently asked questions

Does the Allen & Heath ZED-24 have built-in effects?

No. The ZED-24 has no onboard effects – it prioritises input count and a clean signal path. If you want built-in reverb and delay from Allen & Heath, choose the ZED-22FX, or add outboard effects to the ZED-24 via its aux sends.

Can the ZED-24 record to a computer?

Yes, via bidirectional stereo USB. You can record a two-channel mix to your DAW and play two channels back. For separate per-channel multitrack recording you would need a different desk, such as the Soundcraft Signature 22 MTK.

Is the ZED-24 better than the Mackie ProFX22v3?

It depends on priorities. The ZED-24 generally has higher-regarded preamps, more inputs and a tougher build; the Mackie includes onboard effects and is usually cheaper. Choose the ZED-24 for sound quality and channel count, the Mackie for built-in FX at a lower price.

Who is the ZED-24 ideal for?

Australian venues, function bands, schools, houses of worship and home studios that want premium preamps, plenty of inputs and rock-solid reliability, and who either own outboard effects or record their sources dry.

Why choose analogue over a digital mixer at this price?

For speed, simplicity, shared use and dependability. There are no menus, no scenes to save and nothing to crash. If you do not need scene recall or onboard processing, an analogue desk like the ZED-24 is often the more practical long-term tool.

Final verdict

The Allen & Heath ZED-24 is not trying to be the most feature-packed mixer in its class, and judged on a spec sheet alone it can look outgunned by rivals that pile on onboard effects. Look closer and a clear identity emerges: this is a desk built around preamp quality, generous input count and long-term reliability, with the deliberate trade-off that you bring your own effects.

If that philosophy matches how you work, the ZED-24 is one of the best analogue choices you can make in 2026, and it will reward you with clean, musical sound for many years. If you need onboard effects, look to the ZED-22FX or an FX-equipped rival; if multitrack recording is essential, the Soundcraft MTK is purpose-built for it. There is no single right answer for everyone – only the right answer for your needs – but for buyers who value sound and durability above feature count, the ZED-24 earns its place at the top of the shortlist.

View the Allen & Heath ZED-24 at MusiconStage for full specifications and current Australian pricing, or talk to the team about whether the ZED-24 or an alternative is the right fit for your setup.