Allen & Heath ZED-22FX

I spent several weeks running the RCF F 10 XR as the hub for small rehearsals, acoustic duo gigs and direct-to-laptop recordings, and it quickly became my go-to when I needed a no-nonsense, portable console with useful built-in features. From my perspective - someone who needs clean mic preamps, basic dynamics control and simple USB recording without hauling an interface and external FX - the F 10 XR fits that niche very neatly.

First Impressions

Out of the case the F 10 XR feels solid - the metal chassis gives it a reassuring heft for its size, and the knobs and faders are laid out logically so I could get comfortable with it in minutes. My initial expectations were modest: a compact mixer that could handle a couple of mics, a couple of line sources and give me stereo USB recording - but the inclusion of two single-knob compressors and the PRO DSP with 16 presets made me curious to test it live rather than just on paper.

Design & Features

The F 10 XR is a 10-channel analog mixer with four mic inputs, two mono line channels and four stereo line inputs - all of which are very clearly labeled on the top panel. Channels 1 and 2 include single-knob compressors and three-band EQs, while the stereo channels get two-band EQs; there is also one post-FX auxiliary send, balanced main outputs on XLR and TRS, and a USB Type-B stereo interface that supports 44.1/48 kHz recording and playback. I appreciated the small touches like an 80 Hz low-cut on mic channels, footswitch input for the FX, and global +48 V phantom power - they make the mixer punch above its size class for live-use practicality.

Build Quality & Protection

RCF didn’t skimp on enclosure quality - the metal shell resists flex and the paint finish holds up against the usual knocks from stands and bags. The knobs and faders feel robust enough for regular gigging and rehearsal use; if you’re tossing this in a backpack between shows you won’t be nervous about dings or loose controls. The external universal power supply keeps heat and weight off the chassis, which I liked for long rehearsal sessions.

Comfort & Portability

At about 2.8 kg (6.17 lb) and roughly 11.6" wide the F 10 XR is genuinely easy to carry and fits comfortably on small tabletops or a small mixing stand. I found it straightforward to pack into a gig bag and set up in tight venues where a full-sized console would be impractical. The external PSU adds one more cable to manage, but it does help keep the unit lighter and cooler during long sessions.

Real-World Experience

I used this board as the front-end for an acoustic duo and also for direct stereo recording to my laptop; the preamps produced clean, neutral gain with enough headroom that I didn’t have to chase noise on typical condenser mics. The single-knob compressors on channels 1 and 2 were great for taming vocal dynamics quickly on stage without lengthy parameter tweaking, and the onboard FX - especially the hall and plate reverbs - sounded surprisingly full for a compact DSP. Routing to the USB was painless - stereo in/out is plug-and-play on Mac and Windows for basic live-to-disk or streaming workflows.

The Trade-Offs

The F 10 XR isn’t trying to be a multi-bus studio desk or a feature-packed digital console, and I ran into those limits quickly - you get only one auxiliary (post-FX) send and the USB interface is stereo only, so no multitrack recording from separate channels. Also, only channels 1 and 2 have compressors and full 3-band EQs, which means you’ll still need external processing for more complex mixes or if you need compression on multiple mics simultaneously. Finally, if you need many monitor mixes or lots of sends, this mixer’s simplicity becomes a constraint rather than a benefit.

Workflow Tips

To get the most from the F 10 XR I set the gain structure conservatively - 0 to -30 dB gain settings on line channels and watching the main out meters - and used the single-knob compressors sparingly on lead vocal and acoustic guitar. I routed click/ backing tracks via the stereo line inputs and used the USB playback for quick song reference; for larger monitoring needs I patched an external headphone amp from the control room output. For live gigs where I needed more than one monitor mix, I kept the FOH feed simple on the F 10 XR and sent individual monitor wedges from a small external headphone distribution solution.

Final Verdict

The RCF F 10 XR is an excellent small-format analogue mixer for performers, podcasters and small-venue operators who value sound quality, built-in FX and the convenience of stereo USB recording without the fuss of an interface and separate FX unit. I recommend it to singer-songwriters, acoustic duos, small houses of worship and rehearsal spaces that need a reliable, portable mixer with useful onboard tools - just be honest about the limitations if you need multi-aux or multitrack USB recording. For what it is - a compact, well-engineered 10-channel analog console - I found it to be a solid, musical performer.

I spent several weeks running the the t.mix mix 802 through rehearsals, a handful of coffee-shop gigs, and a couple of podcast sessions, and I came away impressed by how much useful functionality this small analogue desk packs into a lightweight package. It’s clearly designed for users who need straightforward routing - four mic/line channels with switchable phantom power, two stereo line channels, basic 3-band EQ per channel, a separate headphone feed and control-room output - but it’s the way those essentials are implemented that determines whether it’s worth a spot on your rig.

First Impressions

My first few minutes with the mix 802 told me this is a budget-oriented yet sensible tool - the layout is compact and logical, knobs are pleasantly grippy, and the markings are readable even under dim stage lights. Powering it up felt reassuringly simple thanks to the included external PSU, and the global phantom power switch is easy to access - a nice touch for quick condenser mic changes in smaller setups. It doesn’t try to be clever - no built-in effects or USB interface - and I liked that straight away because it makes the signal path predictable and fast to set up.

Design & Features

The board gives you four mono channels with XLR/line inputs and two stereo channels each with two jack inputs - that mix of connectivity covers everything I needed for vocals, an acoustic guitar, and a keyboard simultaneously. Every channel has a 3-band fixed-frequency EQ - the low, mid and high bands are set at sensible points for quick corrective work - and there’s a simple pan/mono, level and a master level with a multi-LED meter for the main output. I appreciated the separate control-room output and independently adjustable headphone level when I needed to cue or check takes without disturbing the house mix. The lack of aux sends beyond a single monitor/AUX path and no onboard FX keeps things deliberately minimal, but for small FOH or recording-to-two-track workflows that simplicity is a strength.

Build Quality & Protection

Physically the chassis is light and compact, with a plastic top but a metal base that helps keep things stable - I wouldn’t call it indestructible, but it’s more than adequate for regular transport in a gig bag or padded case. The knobs and switches feel secure and haven’t loosened after multiple setups; that said, there’s a little flex if you press hard on the faceplate, so I treated it gently when stacking gear. The external PSU reduces internal heat and weight and also means this desk stays slim and portable.

Comfort & Portability

One of the mix 802’s best attributes is how invisible it becomes in the workflow - its footprint fits on a small table or keyboard stand and the controls are spaced so you can make quick, accurate adjustments without digging around. At roughly a kilogram or two and with tidy rear jacks, it’s easy to throw in a bag and carry to a rehearsal or a small gig, and routing is clean enough that setup and teardown were consistently fast. For solo performers, podcasters, or small ensembles who value low friction, it’s a very convenient desk.

Real-World Experience

I used the mix 802 across three use cases - podcasting with two dynamic mics, a rehearsal with vocals and acoustic instruments, and a quiet café gig running FOH for a duo - and the mixer handled each with predictable behaviour. Vocals sat cleanly in the mix once I set reasonable gain staging, and the EQ bands let me cut through muddiness or brighten up presence quickly; the onboard preamps are adequate for most dynamics and many condenser mics when phantom is engaged, although very quiet tube condensers sometimes needed a touch more gain than this board comfortably provides. When pushed hard the desk will show some noise and a touch of saturation, so I made it a habit to keep peaks out of the red which preserved clarity during the sets.

The Trade-Offs

The mix 802 is intentionally simple, and that comes with compromises - there are no built-in effects, no multi-channel USB interface, limited auxiliary routing, and the EQ is fixed-frequency which reduces surgical control. If you need multiple high-gain preamps for very loud sources or want integrated multitrack recording, this isn’t the desk for you. However, if your primary need is a compact, reliable analogue mixer for small live rigs or straightforward recording tasks, the trade-offs are reasonable and make the unit affordable and easy to use.

Final Verdict

After several weeks of practical use I find the the t.mix mix 802 a very credible option for entry-level live engineers, solo performers, podcasters and small rehearsal spaces - it does the essentials well, is highly portable, and keeps setups fast. I wouldn’t expect studio-grade preamps or advanced routing from this price class, but within its intended role it’s a sensible, good-sounding, no-nonsense mixer that represents strong value if you need a compact analogue desk without bells and whistles.

I spent several weeks running the Yamaha MG20 XU through rehearsals, small live gigs, and a handful of home-studio tracking sessions - and came away impressed by how much conventional analogue mixing you get with thoughtful modern extras. From my perspective as someone who splits time between live sound and recording, this mixer sits in a useful middle ground - plenty of inputs and routing, solid mic pres, on-board SPX effects and USB I/O that actually make multitrack recording / playback practical.

First Impressions

My first moments with the MG20 XU confirmed what the spec sheet promises - it feels like an honest workhorse. The faceplate is logically laid out with color-coded sections and ergonomic spacing between knobs and faders, and the metal chassis gives a reassuring heft without being cumbersome - I had it on a tabletop and in a rack with equal confidence. I liked that Yamaha kept familiar analog controls but added helpful modern touches - D-PRE preamps, one-knob compressors on channels, and a clear FX section so you can reach for reverb or delay quickly.

Design & Features

The MG20 XU is a 20-channel console laid out as 12 mono channels with combo jacks plus four stereo channels, offering up to 16 mic inputs and 20 line inputs in total. I appreciated the D-PRE mic preamps - they deliver an open, slightly forward top end that works well on vocal and acoustic sources without getting harsh. The channel strip includes a PAD, a three-band EQ, high-pass filter, and a one-knob compressor that is genuinely useful for tightening dynamics on vocals and guitars with minimal fuss. Bussing is generous for this class - 4 group buses plus a stereo bus and four AUX sends that I used for monitors and FX - which made submixing and monitor sends straightforward for my small ensembles. The onboard SPX effects engine (24 programs) is a practical addition for quick stage reverb/delay and the 2-in/2-out USB interface runs up to 24-bit/192 kHz for simple stereo recording and playback.

Build Quality & Protection

Yamaha used a metal chassis and sensible internal layout here, and you can feel that on the knobs and the rack ears - this is not a toy. Faders are smooth but I did notice they don't have the same heavy action as higher-end digital desks; they are fine for live mixes but I would be a touch gentler during transport. Fans are not intrusive in my experience and the internal universal power supply removes the clumsy external brick, which is a nice detail for rack installs. Overall, the mixer feels built for regular use rather than occasional hobby tinkering.

Usability & Workflow

What sold me on the MG20 XU day-to-day was the workflow - everything is where you expect it to be, and the one-knob compressors let me tame peaks quickly without having to dive into multiple parameters. The SPX effects are easy to assign and the FX return channel on the board is simple to route into groups or the stereo bus. I did have to remind myself that channel inserts are not present on every channel - so if you rely heavily on inserts for external multi-effects or processors you will need to plan for that around routing and group sends. The USB I/O made it easy to record stereo mixes or bring backing tracks to gigs, though I tested it with a couple of different laptops and had to check sample-rate settings to avoid occasional playback hiccups.

Real-World Experience

I used the MG20 XU across a rehearsal, a coffeehouse gig, and several overdub sessions at home. On vocals and acoustic guitar the D-PRE pres gave a clean, musical character that sat nicely in the mix without adding grit, and the onboard compressor on vocal channels saved me from reaching for external compression during the live set. For monitor mixes I relied on the 4 AUX sends - they were flexible enough to create separate wedges and an IEM mix for the drummer. When I recorded via USB, stereo capture was straightforward and sounded very clean, but while playing back longer stereo tracks from a laptop I experienced one instance of intermittent crackling until I matched sample rates and driver settings - after that it ran cleanly for the rest of my sessions. For live use the metal chassis and rack-mount kit are welcome - I mounted it in a shallow rack for the gig and it behaved reliably throughout.

The Trade-Offs

The MG20 XU is not without compromises - there are no channel insert points on every channel, so complex external outboard routing is less convenient than on larger consoles. The faders, while perfectly usable, feel lighter than pro touring desks and I would treat them with a little more care during heavy-handed stage use. The onboard DSP and one-knob compressors are fantastic for convenience, but if you crave deep editing or recallable scenes you will miss a digital desk - this is an analogue mixer with modern conveniences, not a hybrid digital console. Finally, if you plan to use the USB interface for long multitrack sessions, remember it is a 2-in/2-out stereo interface - for multitrack recording you will need a separate audio interface.

Final Verdict

The Yamaha MG20 XU is a thoughtful, well-built 20-channel analogue console that balances hands-on control with modern necessities - quality D-PRE mic preamps, usable one-knob compressors, SPX effects and high-resolution USB I/O. I recommend it for bands, houses of worship, and small-to-medium rehearsal rooms or project studios that need lots of analogue I/O and dependable live workflow without stepping up to a large-format desk. If you need full recall, multitrack USB inputs beyond stereo, or heavy insert-based outboard processing you should budget for additional gear, but for straightforward mixing, monitoring and stereo recording the MG20 XU is a solid, practical choice.