PSC M6 Retro Specification

PSC M6 Retro Specification
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Section3
Mixers
Portable
Kamesan ..............................354-355
PSC .......................................356-357
Sony .....................................358-359
Shure....................................360-363
Analog
Alesis ...........................................364
TL Audio .....................................365
Behringer .............................366-371
Mackie .................................372-379
Samson ................................380-383
Soundcraft ...........................384-385
Yamaha ................................386-389
Digital
Mackie .................................390-395
Sony .....................................396-399
Tascam .................................400-403
Yamaha ................................404-413
KAMESAN
KS-T2000
AUDIO MIXERS
Compact 3-channel Mixer
The KS-T2000 is a compact 3-channel mixer that is small
and light enough to go anywhere. This product is made
and guaranteed by Kamesan and is ideal for all audio
applications in professional broadcast and film work.
Camcorders are shrinking but that doesn’t mean audio
requirements are getting any less demanding. Despite
being one-third smaller and about one pound lighter than
any comparable mixer, the Kamesan KS-T2000 offers all the flexibility you’ll need to engineer precise location sound. True
‘Pack and Go’ design. At first sight, a 3-in / 2-out configuration does not appear to be a very comprehensive mixer specification.
But on location, ease-of-use and adaptability count as the most valued features. You need to interface with varied signal
levels, provide multiple feeds, and cope with awkward working conditions. Attention to smallest design details in the
KS-T2000 has resulted in a mixer that can be relied on to excel in every situation.
354
FEATURES
Accommodating Inputs
3 switchable XLR-balanced mic/line inputs
with 48v and A-B (12V) phantom powering.
◆ A variable input sensitivity control adjusts
the input amplifier gain to optimize its
amplification for any level, from a hot
condenser to a low output ribbon mic.
◆ Inputs will match a wide variation in line
signal levels. This means that the normal
physical position of the main channel faders
can be 'trimmed' to be at 2/3 rotation –
providing adequate rotation range to 'ride'
actual variations in signal levels.
◆ Switchable 160Hz high pass filters eliminate
most low-frequency noise problems.
◆ Separate left / right output switches route
the signal to the main faders and outputs.
◆
Versatile Outputs
◆
To achieve such a compact size, a single
meter is provided though the mixer has full
stereo capability.
◆
The transformer-balanced XLR outputs,
can drive at a professional line level
(+4dBm) or can be switched down to a low
mic signal level. (-60dBm).
◆
Two RCA connectors for connection to a
consumer camcorder’s mic input.
◆
Low channel crosstalk and output isolation
allow the mixer to be configured for multiple feeds as the situation demands.
◆
1kHz tone oscillator provides a useful calibration signal.
KS-107 Lip Checker
A unique product, the KS-107 helps to track and eliminate
broadcast signal time differences between audio and
image signals and also multiple audio signals. At
the receiving site, audio is easily captured via
a microphone or direct line connection.
Video bursts are detected directly from a
monitor screen using an exclusive image
probe, which is manually pointed at the flashing
image on the monitor. The calculated delay is displayed on the unit’s large LCD to an
accuracy of within one millisecond, allowing the operator to make necessary adjustments.
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Versatile Monitoring
◆
Both headphone output and metering can
be switched to left or right outputs, or to a
mono mix of both. When used for
multi-mono applications, one of the main
outputs can be designated as a separate live
feed and monitored independently.
◆
The side panel reveals just how convenient
operation is. Only the three main and
monitor faders have tall knobs. It is virtually impossible to ‘knock’ any of the other
controls inadvertently during operation.
◆
Even the main faders have been located on
the side of the mixer allowing the operator
to set and forget – a useful feature when
inexperienced operators use the mixer.
◆
Wide knob spacing means that the channel
fader provides for an easy grip under all
conditions.
◆
An all-weather case allows the mixer to be
slung around the neck or shoulder and
operated beneath a transparent cover
under all conditions.
◆
The KS-T2000 runs five hours on four AA
batteries. Higher voltages can provide
higher output levels.
◆
Alternatively, the KS-T2000 will accept and
regulate any external DC supply in the
range of 10 to 15-volts.
Exceptional Ease Of Use
KAMESAN
KS-342
4-Channel Compact Mixer
FEATURES
Input Facilities
Selectable mic/line inputs providing 12- or
48-volt phantom power as required.
◆
Level trim at both sensitivities means the
main channel faders can be set at optimum
rotation for normal working.
◆
Massive 30dB pre-fader headroom plus
continuously variable hi-pass filtering
ensure signals never get out of hand.
◆
Channels can be ganged for true stereo
operation and switched to the left or right
mix busses.
Outputs
◆
◆
◆
Thumb-knob master level controls prevent
accidental adjustment and the signal passes
through switchable compressors before the
final output stages.
Fast attack, compound release circuitry
provides a comfortable safety margin for
distortion free operation.
Independent as well as ganged settings
ensure maximum flexibility for stereo and
dual-mono setups. This design philosophy
is carried through to the isolated outputs,
which are not a luxury but a necessity in
many situations. With a choice of levels
(left/right independent), symmetry and
connectors, four isolated two-channel feeds
are provided.
Comprehensive Monitoring
◆
◆
Backlit, jam-proof, level meters offer a clear
visual indication of the main output signal.
The headphone circuit can be switched to
monitor any combination of the outputs in
mono or stereo.
◆ Additionally, an
indispensable PFL function,
which appears on the right meter as well as
at the headphone output, is included.
Smaller and lighter than any comparably
featured mixer, the front and side panels are
uncluttered and easy to use.
◆
The most-important channel faders feature
latex knobs for all-temperature comfort and
are easily gripped, even in gloves. Kamesan's
trademark bar-grip knobs are used for all
presets and never obstruct easy operation.
◆
◆
The nature of location recording is that
there will always be situations that require
more channels or more processing. The
KS-342 features a multi-way link socket that
can be used to cascade a stereo input from
another mixer without sacrificing channels.
◆
Secondly, a discrete connector and sturdy
locks attach and integrate a range of
specialized modules that expand capabilities
instantly. Currently two variations are
available; the KS-6001, a four channel sub
mixer with identical features, and the
KS-6002, a block of four parametric
equalizers and compressors.
Runs 8 hours on NP-1 battery in a quickchange compartment, which also accepts a
battery pack using 8 AA batteries. Plus up to
16v DC can be applied to the mixer power
circuit, which also provides an auxiliary
regulated output for powering receivers, etc.
KS-342
KS-T2000
INPUT
Mic Input Level (3kΩ)
-70 ~-30dBm (Balanced)
-70 ~-30dBm (Balanced)
Line Input Level (600Ω)
-20 ~ +4dBm (Balanced)
-20 ~ +4dBm (Balanced)
Aux Input Level (10kΩ)
-20 ~ +4dBs (Balanced)
Ext Mon Input Level
Low Cut Filter
0dBs/600Ω x 2
20 to 200Hz (Cont. Var/12dB/octave)
160Hz (12dB/octave)
> 34dB (Pre-fader input)
> 30dB (Pre-fader input)
Main L/R (600Ω, Trans. Output)
Selectable +4/0/-20/-60dBm
Selectable +4/-60dBm
Sub L/R (600Ω Load, Elec. Bal.)
Selectable -20/-60dBm
–
-60dBs (>10kΩ at full load)
-60dBs (600Ω ~10kΩ)
0dBs/50Ω
-10dBs/50Ω
+24dBm (at 12V), +20dBm (at 8V)
+23dBm (at 6V)
Headroom
OUTPUT: Output level
Unbalanced Output
Monitor(Max Load, 8Ω, Stereo)
OUTPUT: Maximum Output
Main (600Ω Load, +4)
Sub L/R (600Ω Load, -20)
Monitor(50Ω Load)
AES/EBU Digital Output
Compressor
AUDIO Frequency Response
Distortion (T.H.D)
POWER:
Internal Battery
Operating Time (Continuous)
Dimensions (WDH)
Weight (no case or batteries)
+8dBm (at 12V)
+6dBs (at 12V)
+5dBs (at 6V)
Selectable 44.1/48/96 kHz (20 bit A-to-D)
No
Yes
30Hz~40kHz ±1.0dB
50Hz~15kHz ±0.5dB
<0.1% (+4dBm output 50Hz~15kHz)
<0.1% (+4dBm output 50Hz~15kHz)
‘AA’ x 8 (BP-3/8 Case Included)
NP-1 NiCd Battery (opt. Sigma case)
‘AA’ x 4 (Holder Included)
>8 hrs (Alkaline Batteries)
>8 hrs (Alkaline Batteries at 77°F)
8.46 x 6.99 x 2.64˝
6.26 x 5.67 x 1.85˝
Approx 4.4 lbs.
Approx 2.2 lbs.
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355
◆
Small and Light and Expandable
◆
AUDIO MIXERS
The KS-342 is a no compromise high-performance mixer
that adapts to your needs—since no two location projects
are ever the same, and often, they have demands beyond
the traditional sound mixing techniques. Ideal for all audio
application in professional broadcast and film work.
PSC
ALPHAMIX
356
AUDIO MIXERS
Portable 4-Channel Audio Mixer
The AlphaMix contains all of the features required by today’s most
demanding ENG recordist. Do you regularly do two camera shoots,
work with demanding producers or have complicated IFB feeds? No
problem. The AlphaMix features four switchable mic/line inputs,
12T or 48v phantom power, low noise pre-amplifiers with continuously variable gain trims, active low cut filters, balanced
line level outputs per input channel, pre-fader-listens and simple three LED meters per input channel.
The AlphaMix uses NP-1 style batteries and is equipped with selectable low battery monitoring. In addition, it is equipped with four Hirose 4-pin power output connectors that
allow it to power up to four wireless receivers. And unlike other external battery distribution boxes, each of the power outputs is individually filtered for quiet wireless operation.
The AlphaMix was also designed from day one to feed and monitor audio returns from
two cameras. Outputs include special, custom made, dual isolated output transformers
that are the largest in the industry. Finally, the AlphaMix is the only mixer to offer twocamera support, and it utilizes a custom-made peak reading LCD meter that emulates
most of today’s cameras. For further convenience, it is equipped with a boom pole mounted remote control that can be used to
control the gain of the first input channel, thus allowing you to boom with both hands.
◆
Four line or mic level switchable inputs
◆
12T and 48v phantom powering
◆
Active 12dB/octave low cut filters.
◆
Retractable gain trims on each pre-amp
◆
Retractable pan pots
◆
Individual balanced outputs per input
channel
◆
Individual 3 LED meters per input channel
◆
Pre-fade listens per input channel
◆
Boom pole mounted remote control slide
fader allows booming with two hands
◆
Custom made (properly sized) dual
isolated output transformers
◆
Two Hirose 10 pin connectors for dual
camera support, line/mic level switchable
◆
Two 3.5mm stereo auxiliary outputs, line
or microphone level switchable
◆
Two XLR balanced outputs
◆
Output limiters, switchable separate or
ganged
◆
Additional output that provides balanced
mono feed
◆
Built in 4-way power distribution for wireless receivers
◆
Built in slate microphone
◆
Built in reference tone oscillator
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◆
Built in battery monitoring, switchable
calibration for all NP-1 battery types
◆
Aircraft aluminum housing with epoxy
powder coat finish.
◆
Switchable headphone monitoring left,
stereo, right, mono, MS as well as tape
returns from 2 cameras.
◆
Lexan overlays with wear-proof subsurface
silk-screening.
◆
Includes Porta Brace case and strap
MJR
2-Channel Mixer
Perfect for use with today’s small DV camcorders,
DAT and Minidisc recorders, the PSC MJR
Mixer offers the features of full size mixer
in a small, portable format. The MJR
Mixer contains two high quality mic
preamps, each with switchable line or
mic inputs, high pass filters, channel
assignment pan switches, and 48v phantom
power. It also offers a slate microphone, reference tone oscillator, headphone
amplifier with tape/direct switch, sunlight readable LED meters and a multi-pin
connector for use with PSC’s BetaSnake cables. All of this housed in a rugged
aircraft aluminum case barely 4.75 x 6˝ and weighing less than 1.5 lbs. In
addition, the entire mixer can be mounted to the bottom of a small video camera
via the supplied 1/4-20 thumb screw. And the whole mixer/camera combination
can be mounted to any standard tripod as well via 1/4-20 threaded attachment
point. Runs on a single 9-volt battery for more than five hours.
PSC
M3
3-Channel ENG Audio Mixer
◆
Additional outputs include two 10-pin
Hirose connectors for use with Beta snake
cables (mic or line switchable) for conveniently connecting to two cameras, and two
Auxiliary outputs for transcription or RF
feeds (mic or line switchable). The 10-pin
connector provides audio signal flow as well
as tape return signal flow for monitoring.
◆
Ganging input and output connectors allow
you to use two M3 mixers tied together.
◆
Low cut filters eliminate low frequency noise
and rumble.
◆
Channels 3 and 4 can be linked for stereo
recording using 2 mics in either M-S or X-Y
configurations. The “Gang“ switch links
inputs 3 and 4 and both input levels are
then controlled by Pot 4.
◆
The momentary “Slate” button activates a
built in slate microphone for recording
notes and information related to editing.
◆
Headphone monitoring selections include
Left to both ears, Stereo, Right to both ears,
Mono, Pre Fade Listen of channels 1,2 and 3
and MS Stereo as well as Tape returns from
two Betacams.
◆
A handy boom-pole remote control attaches
to any boom pole. This allows sound engineers to adjust recording level without
reaching for the mixer.
◆
“Separate” and “Ganged” switches allow
independent or linked operation of both
limiters.
◆
The LCD Peak meters emulate the peak
reading attributes found in many Betacams.
This ensures the meters accuracy no matter
how the mixer and camera are connected.
M6
6-Channel Portable Mixer for Location Sound Recording
The M6 Mixer was designed for extreme field operating conditions (utilizes rotary
pot faders because of their immunity to dirty and dusty conditions). In addition,
it offers provisions for direct mounting of a DAT or DVD recorder. This
allows for a simple and convenient means of recording in the field
whether you are working on a sound stage, in an insert car, or at
some other remote location.
The M6 Mixer offers six inputs each with switchable mic powering, line or
mic inputs, phase reversal, 2-way EQ, pan pot and two aux sends. Its output
section contains two large, easy to read LCD peak meters, slate microphone, private line to
boom operators, full duplex boom communication, recorder remote rolls, reference oscillator, four selectable headphone feeds,
two main outputs, two aux outputs, and a selectable video assist output.
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357
◆
Three high quality transformer-balanced
XLR inputs (with switchable “T”, Dynamic
or 48v phantom powering) and outputs for
pristine audio with low noise. All inputs and
outputs are mic/line switchable and have a
3-way input pad: Dynamic 0dB Pad,
Condenser -15dB Pad, Line Level -50dB Pad.
AUDIO MIXERS
A cost effective, flexible portable mixer that combines
rugged construction, high quality componentry, and
ease of use ergonomics in a compact package, the M3
is perfect for ENG and EFP applications, digital and
desktop recording and editing. The M3 features 3 highquality, transformer-balanced XLR inputs and 2 (L/R) stereo
paired XLR outputs capable of both mic and line level operation. Output limiters
eliminate transient peaking caused by signal overload. The dual limiters can either be used independently or “gang” them
together for applying the limiter to stereo signals. The M3 is powered via AA batteries offers 48-volt phantom power, and
has a dual multi-pin connector for a single interface between the M3 and Betacam cameras. A convenient on board slate
microphone is standard and a supplied boom pole remote control allows engineers the freedom of adjusting record levels
while handling the boom pole.
SONY
DMX-P01
358
AUDIO MIXERS
Digital Portable Field Mixer
Effective audio quality is now more important
than ever for ENG and EFP applications, because
even with high-quality video, lackluster audio
performance will result in a mediocre production.
The DMX-P01 is Sony’s answer to these high-quality
audio requirements. Not only does it offer outstanding
audio quality, it is also one of the most user-friendly
mixers in the ENG and EFP markets. With full 24-bit processing
and 48kHz or 96kHz sampling rate, the DMX-P01 provides sound quality
comparable to high-end production mixers. Its front panel is engineered to allow fast, easy,
and accurate setting adjustments - essential when working in the field. It also includes other useful features, such as panellock and parameter-lock functions, selectable meter scales, camera-audio return-level check, memory function, digital cascade
capability, and digital outputs. All of this functionality and versatility is packaged into one sleek, compact, and lightweight
body that can be used effortlessly in field productions.
Digital Benefits of the DMX-P01
Excellent Sound Quality
◆
In order to provide outstanding sound
quality, the DMX-P01 offers full digitalaudio processing. Its 24-bit A/D and D/A
converters provide a high level of linearity
for analog inputs and outputs. Internally,
the unit utilizes 32-bit digital processing for
maximum throughput. In addition, the
DMX-P01 has a sampling rate that is selectable from either 48kHz or 96kHz.
Panel-Lock
One major concern for engineers in the
field is the accidental bumping of controls,
which can change the sound settings. The
DMX-P01 safeguards against this with its
panel-lock feature, which can be set to
secure all of the control settings, or selected
individual control settings.
◆
The DMX-P01 is equipped with a digital
output, which can be used to send audio to
digital equipment such as DAT recorders.
AES/EBU and S/PDIF coaxial interfaces are
available.
◆
In addition, a Parameter-Lock feature also
avoids inadvertent parameter changes.
◆
Easily store and recall parameters from
the setup menu. There are two memory
functions:
◆
Being digital, meter calibrations can be
easily changed from one type to another
without the need to replace the entire
meter. Six easy-to-change meter scale sheets
are supplied:
VU, PPM1 (BBC-type), PPM2 (DIN-type),
PPM3, PPM4 (IEC-type1) and dBFS.
Simply insert the desired scale sheet and
select the right meter type. The DMX-P01
will display the audio level according to the
scale selected.
Digital Limiters/Compressors
◆
By using digital limiters and compressors,
the DMX-P01 can provide extremely highquality sound in one small package.
Limiters are available at the input, and both
limiters and compressors are available at the
output for maximum flexibility.
Flexible Meter Scales
Full Parameter Controls
◆
The DMX-P01’s front panel puts all of its
controls at your fingertips with an organized and logical layout. The DMX-P01
processes audio digitally, so parameters that
are used less frequently are stored internally
and accessed only when needed. Using the
front-panel controls and easy-to-read backlit LCD allows full control of every parameter without the need to remove the unit
from its audio-organizer case.
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Digital Output
◆
Memory Function
– Power-On Memory Recall - When the
DMX-P01 is powered on, the system can
recall parameters in three ways: default
factory settings, the last settings used, or
with the parameters of one specific scene
memory.
– Scene Memory Recall - This allows users to
recall up to ten different user-defined
parameter settings or the factory default
settings. Invaluable in situations where a
single unit is required to serve multiple
users or multiple shooting scenarios
Camera-Audio Return Check
◆
The DMX-P01 enables users to visually verify that the mixer’s audio level matches the
level recorded to the camcorder tape. This is
done using the camera return-level mode,
available in the setup menu.
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Digital Cascade
◆
When additional inputs are required, DMXP01 mixers can be cascaded using a digital
connection between mixers. Best of all.
sound quality isn’t degraded, as it would be
when cascading analog mixers.
SONY
DMX-P01
Link/M-S Operation
Inputs
Outputs
Decodes M-S microphone inputs, and links
the input levels of channels 1/2 and 3/4
◆ Phase reverse on channels 2 and 4
(M-S decode)
◆
LCD Panel
Various level-meter displays: VU, PPM1
(BBC-type), PPM2 (DIN-type), PPM3
(NORDIC-type), PPM4 (IEC-type1), dBFS
◆ Displays setup menus and allows various
parameter settings
◆ Three quick-recall memory settings for
immediate mixer setup
◆
Ten user-scene memory settings
(each including level meter, LCF,
limiter/compressor, and link status)
◆ Six scale sheets supplied for different
level-meter calibrations
◆ Back light
◆ Heated LCD for low-temperature conditions
◆
Panning
◆
Variable pan controls
Oscillator/Talkback
(selectable)
Monitoring
Low Cut Filters
Adjustable (50 to 200 Hz) cut-off
frequencies for 2 user settings (A/B)
◆ Quick parameter-recall switch with
OFF/A/B positions
◆
Limiters/Compressors
Digital limiters on both inputs and outputs
◆ Digital compressors on outputs
◆ Precise parameter control on threshold and
ratio value, attack and release time
◆ Link function (ON/OFF switchable)
◆ LED indicators for output
limiter/compressor operation
2 outputs: 1/4˝ phone jack and 3.5-mm
mini jack
◆ Six monitoring modes: left output, right
output, stereo output, left/right-mixed
monaural, M/S decode and camera return
◆ Level-control knob
◆
◆
Camera-Audio
Send/Return-Level Control
Stereo return from a camcorder via 12-pin
Tajimi balanced connector
◆ Precise level control on LED with autoevaluation function for return level
◆ Monitoring capability with headphones
◆
Oscillator: 1-kHz pilot-tone signal into all
outputs
◆ Talkback: slate into all outputs
◆ Momentary and alternative modes for both
oscillator and talkback
◆
Power
External DC 10 to 15v input with 4-pin
XLR connector
◆ External DC 12 V input with jack connector
◆ DC 12 V output on 4-pin Hirose connector
◆ 8 internal AA-size (LR6) alkaline batteries
for 5 hours of continuous operation
◆
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2 balanced outputs on XLR-type balanced
connectors
◆ Digital AES/EBU output (stereo) on XLRtype balanced connector
◆ Coaxial output connector for mix-bus output (for cascade) or S/PDIF digital output
(selectable)
◆ Stereo tape output on unbalanced 3.5 mm
TRS jack
◆ Switchable output mode: stereo or monaural
◆ Selectable output-level control for L/R
master outputs and camera send
◆ Selectable sampling rate (48 kHz or 96
kHz) for D/A converters
◆
Links input levels, LCFs, and PAN controls
for channels 1/2 and 3/4
◆ Links output levels and limiter/compressor
settings for master left/right outputs
◆
SYSTEM EXAMPLE
Four XLR-balanced mic/line inputs
◆ +48 V power for each mic input
◆ Digital cascade input with phono connector
◆ Microphone/line gain-level control
◆ Level control knobs with stereo-link facility
◆ Selectable sampling rate (48 kHz or 96
kHz) for A/D converters
◆
AUDIO MIXERS
Side views of
the DMX-P01
SHURE
FP-33
AUDIO MIXERS
Portable 3-Channel Stereo Mixer
The standard by which portable mixers are measured, the
FP-33 is used all over the world for remote audio recording,
ENG/EFP applications and location film production. Built
upon the benchmark FP32 and FP32A field mixers, the
FP33 is light enough, small enough and rugged enough to
take anywhere. It features three XLR-balanced mic/line
inputs and two outputs, center detented pan pot for each
input channel, oscillator, two headphone jacks, 48v/12v
phantom and 12v T (A-B) power, tape out jack, and a monitor
input for the headphone circuit. Exceptional low noise design and
wide dynamic range make the FP-33 ideal for use with digital transmission links or digital video/audio media, including
DAT and recordable CD.
360
FEATURES
Inputs
Controls and Indicators
Three XLR-balanced inputs; switchable to
low-impedance mic or line level.
◆ Phantom or A-B (T) power for condenser
mics is available at each mic input.
◆ Built~in tone oscillator for level checks or
line tests.
◆ Slate microphone with automatic gain control (AGC) for take identification or for
emergency use. Slate tone for identifying
take locations during editing.
◆ Stereo monitor input allows headphone
monitoring of external sources without
interruption of mixer functions.
◆ Link switch couples mixer inputs 2 and 3
into stereo pair
◆
◆
◆
◆
◆
Center detented pop-up pan pots on each
input. Color-coded, soft touch rubberized
knobs with tactile position indicators
◆ Active, feedback~type
input gain controls
permit direct input of high-level sources
without input attenuators.
◆
Dual clutched Master gain control for individually adjusting left and right levels at
line/mic and tape outputs, as well as tone
oscillator and slate mic levels.
◆
150Hz (6dB/octave) Lo-cut filters at each
input reduces extraneous low~frequency
interference.
◆
Built-in limiter with adjustable threshold
prevents output clipping of mixer or input
overload of amp or tape deck.
Performance
◆ Wide, flat
response with extremely low
distortion and up to +1dBm output level
for studio-quality performance.
◆
Small and lightweight, the FP-33 offers
sealed input potentiometers and a steel
chassis, making it extremely rugged and
durable as well.
◆
Mix bus jack for connecting additional
FP33 or FP32A mixers
◆
Internal DIP switches provide over 4,000
different set-ups
Power
◆
Powered by two standard 9v batteries (up to
8-hours under normal conditions) that can
also supply 48v or 12v phantom power to
condenser microphones.
◆
Can also be externally powered from any 11
to 30v DC source such as battery belt pack
or car battery.
Outputs
◆
Left and right XLR-balanced outputs are
mic/line switchable.
LED indication of input level, peak output
level, limiter action, and battery.
◆
Left and right tape outputs are available to
feed tape recorder inputs or other unbalanced aux-level inputs.
Illuminated VU meters for left/right channels. Preset for 0 VU = +4 dB, adjustable for
other levels.
◆
1/4˝ and 3.5 mm headphone jacks are
driven by a stereo headphone power amp
with separate level control.
Headphone monitoring mode switch and
headphone MS matrix.
FP-33 with carrying case, shoulder strap and mix bus cable.................................................1199.95
◆A
third 9v battery can be used for condenser
mics that require A-B power.
Applications Include:
◆
PHOTO - VIDEO - PRO AUDIO
Remote audio recording
◆
Electronic field production (EFP)
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
◆
Electronic news gathering (ENG)
◆
Film production
SHURE
FP-410
Portable Automatic 4-Channel Mic Mixer with IntelliMix
Noise-Adaptive Threshold:
MaxBus:
Eliminates the poor audio quality that results
when a speaker is picked up by more than one
microphone. It does this by controlling the
number of microphones that may be activated
for a single sound source. With MaxBus, one
talker will activate only one FP-410 channel,
even if multiple microphones are “hearing”
that talker.
Last Mic Lock-On:
Maintains a seamless audio mix by keeping the
most recently activated microphone open until
a newly activated mic takes its place. Without
this function, a long pause in conversation
might cause all mics to turn off and sound as
if the audio signal has been lost. With Last
Mic Lock-On, background ambience is always
present.
“IntelliMix”—How it Works
◆
Multiple miking situations—with a number of talkers
participating—have always presented problems for the audio
technician. If too few mics are used, the coverage of each talker
may vary, with one talker (nearest the mic) being louder and
clearer than the next. Talkers farthest from the mics will sound
“echoey” and reverberant, as very little of the direct sound from
their mouths reaches the microphones. If too many mics are
used, there’s more background noise and reverberation pickup,
as well as less gain before feedback if a sound reinforcement
(PA) system is used.
The FP-410 automatically attenuates any microphone not being
used, greatly reducing excess reverberation and feedback problems.
When a new talker starts, the FP-410 immediately selects and silently
activates the most appropriate microphone. “IntelliMix” electronic
processing enables the FP-410 to provide clear, natural voice pickup.
The FP-410 significantly reduces the problems of “boomy” or
“muddy” sound, insufficient sound level (because of feedback or
“howling”), and operator errors. In fact, errors are virtually eliminated
because the FP-410 doesn’t need an operator or technician for
continual adjustment—once set up, it is completely self-sufficient.
It’s somewhat like having multiple video cameras all focused on
the same subject. If the camera signals are combined, the result
is a blurred image. When multiple microphones are open for a
single talker, the result is a blurred audio signal. But it’s often
not practical for someone to turn mics on when they are
needed and off when they are not. The answer is the FP-410.
The FP-410 has numerous applications in video production and
audio recording, broadcasting, and sound reinforcement. In any
speech pickup application with multiple microphones, the FP-410
dramatically improves audio quality. Switching from manual to
automatic operation allows an individual’s voice to rise above background noise and reverberation to become clearer and more intelligible.
Four XLR-balanced inputs and two XLRbalanced outputs. Each can be individually
set for microphone or line-level signals.
◆ Any
high quality, low-impedance, balanced
mic (dynamic or condenser) can be used,
including wireless and shotguns
◆ Additional
FP-410 mixers can be interconnected. Linked systems can contain over 25
mixers and 100 microphones.
◆
Front-panel channel gain and master controls operate as in conventional mixers.
Selectable hold time keeps microphones on
during short pauses in speech.
◆ Automatic gain adjusts as additional
microphones are activated.
◆ Wide, flat frequency response and low distortion up to +18 dB output.
◆ LED indication of mic channel mix levels,
output level and limiter action.
◆ Automatic muting prevents annoying
thumps and loudspeaker damage when the
FP-410 is turned on and off.
◆
Separate monitor input and tape output
(aux-level) jacks.
◆ Front panel headphone monitor jacks with
level control.
◆ 48-volt phantom powering for condenser
microphones.
◆ Operates on AC or two 9-volt batteries.
◆ Includes optional bumpers (feet) for use
on horizontal surfaces; a short cable for
linking two FP-410’s; and a rack mount kit
for installation in a 19˝ rack.
◆
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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PHOTO - VIDEO - PRO AUDIO
361
Distinguishes between constant background noise (such as air-conditioning) and rapidly changing sound (such
as speech). This function continuously
adjusts the activation threshold so only
speech levels that are louder than background noise will activate an FP-410
channel.
AUDIO MIXERS
A portable automatic mixer, the FP-410 is equipped with
Shure’s patented “IntelliMix” to deliver flawless automatic
microphone mixing. The remarkable operating concept
behind the FP-410, “Intellimix” combines three unique
functions: Noise-Adaptive Threshold, MaxBus and Last
Mic Lock-On, to provide greater gain before feedback,
reduce pickup of ambient noise and eliminate comb filtering effects. Ideal for video production, broadcast, conference recording
and field production, the FP-410 is also useful for convention facilities, hotels and sound installations.
SHURE
FP-24
362
AUDIO MIXERS
Portable 2-Channel Stereo Preamp and Mixer
The FP-24 is a studio-quality, two-channel, portable stereo microphone
mixer, designed for active use in demanding broadcast environments.
Features including assignable L-C-R inputs, built-in slate microphone,
1kHz tone oscillator, and headphone monitoring render this mixer
extremely adaptable in application. The remarkable audio performance
and comprehensive attributes of the FP-24 make it an appropriate choice
for studio or field production engineers. Due to its compact and rugged
mechanical and electrical construction, the FP-24 excels in no-compromise settings such as radio, television and film production.
◆
Two transformer-balanced microphone
inputs with left, center, and right position
mixing capabilities
◆
Unique 7-segment peak output meters, with
three selectable levels of LED brightness—
readable even in direct sunlight
◆
High current balanced output drivers provide signal integrity over long cable runs
◆
Headphone preamplifier enables monitoring
of program audio or external tape return
◆
Powered with two AA alkaline batteries for
11-12 hours) or 4-14v DC power (PS20)
◆
"Unclippable" input peak limiters with
adjustable threshold (each input)
◆
The FP-24 has the ability to link with the
Shure FP33 mixer using the optional A33LK
cable kit to create a highly portable, flexible,
and cost-effective 5 x 2 audio production
system. (The A33LK kit can also be used
with the Shure FP23 to create a 4 X 2 setup.)
◆
Selectable 15v and 48v phantom power
◆
Switchable low-cut filters with 80 and 160
Hz corner frequencies, 6dB per octave
M367
Portable 6-Channel Mic/Line Mixer
An industry standard, the M367 is a six-input mono mic/line
mixer/remote preamplifier specifically designed for professional
applications. A complete and compact console, the M367’s excellent
performance, versatility and features make it ideal for studio, remote,
video deposition and sound reinforcement applications as well as an
add-on mixer for expanding existing facilities. Built to meet the requirements of the most demanding field production applications.
◆
Six switchable XLR-balanced mic or line level
inputs with individual gain controls and
low-frequency roll-off switches
◆
Two XLR-balanced outputs; one selectable
mic/line output and one dedicated line
output
◆
Metal XLR connectors on both inputs and
outputs, detachable AC cable
◆
Feedback-type input gain controls for
maximum clipping levels and dynamic range
◆
◆
Built-in switchable peak limiter cuts output
overload distortion and adapts to power
supply voltage
LED indicator shows limiter operation or
overload with limiter defeated
PHOTO - VIDEO - PRO AUDIO
◆
Externally adjustable limiter threshold (-4 to
+18dB)
◆
Wide, flat frequency response (20Hz to 20
kHz) and extremely low distortion up to
+16dBm line level output
◆
VU meter is calibrated for +4 and +8dB with
range switch. Meter is also illuminated during AC operation
◆
Phantom power for condenser mic operation
◆
◆
◆
Automatic muting prevents speaker damage
during power on/off
◆
Highly stable, low-distortion tone oscillator
provides for line test and level checks
◆
Front-panel headphone level control and
monitor jack; can drive almost any stereo or
mono headphones
Rear panel Mix Bus jack facilitates stacking
multiple M367’s for additional input capability without losing any inputs. Two M367’s
connected, provides two independent master
gain controls and two isolated line amplifiers
with eight individually controlled inputs
◆
Headphone output level is high enough to be
used as an auxiliary unbalanced line feed to
drive a tape recorder or power amplifier
Selectable 120 or 240 v AC operation as well
as portable DC capability (three 9v batteries
required)
M367 ..........................................................524.50
EQUIPMENT LEASING AVAILABLE
SHURE
FP-42
Portable 4-Channel Stereo Mic Mixer
◆
Four XLR-balanced inputs, each mic/line
switchable with low-cut filters and cueing
options
◆
Left and right XLR-balanced outputs with
mic/line and mono/stereo switches
◆ Active
feedback-type input gain controls
for high level signals without input
attenuators
◆
Pull-pot cueing on all inputs provides
channel previewing
◆ VU
meters with range switch and battery
check function
◆
Built-in tone oscillator permits level
checking and line testing
◆
Left and right channel master level controls
and ganged headphone level control
◆
Parallel stereo headphone jacks (1/4˝ and
mini) with level control
◆
Powered by three 9v batteries or via
internally selectable) 120 or 240v AC power
AUDIO MIXERS
The FP-42 is a four-input, two-output, compact self-contained stereo
mixer with all the features and ruggedness that have made Shure
mixers the industry standard. Perfect for mixdown in video editing
suites, it integrates all the operating features and reliability of a
professional studio mixer in a single unit that is small and light
enough for location use.
◆ Adjustable-threshold
limiter with left and
right channel peak indicators
FP-33
FP-42
FP-410
FP-24
Yes
—
Yes
Yes
—
Yes
Yes
—
Yes
48v
Yes
—
Yes
Yes
Yes
—
Yes
—
AC/DC
Yes
—
Yes
Yes
—
Yes
Yes
—
Yes
48v
Yes
—
Yes
Yes
Yes
Yes
Yes
Yes
DC Only
Yes
—
Yes
Yes
—
Yes
Yes
—
Yes
Yes
Yes
—
Yes
Yes
Yes
—
Yes
Yes
AC/DC
Yes
—
Yes
Yes
—
Yes
Yes
—
Yes
48v
Yes
Yes
Yes
Yes
Yes
—
Yes
—
AC/DC
Yes
Yes
Yes
—
Yes
—
Yes
Yes
Yes
Yes
—
Yes
Yes
Yes
To FP33
Yes
Yes
Yes
DC Only
TYPICAL APPLICATIONS
Automatic Microphone Activation
Church Sound
Broadcast
Field ENG/EFP
Basic Microphone Mixing, Basic PA
Distance Learning
Video Editing Suite
Conference Rooms, Round Table Discussion
—
Yes
Yes
Yes
Yes
Yes
Yes
Yes
—
—
Yes
Yes
—
—
—
—
—
—
Yes
Yes
—
—
Yes
—
Yes
—
Yes
Yes
—
Yes
—
Yes
—
—
Yes
Yes
—
—
Yes
—
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
363
M367
Transformer-Balanced Inputs and Outputs
Active-Balanced Outputs
Low-Z Mic-Level Input
Line Level Input
Aux Level Input
Mic Level Output
Line Level Output
Phono Jack Aux Level Output
Headphone Output
Phantom Power
VU Meter
Peak Meter
EQ
Tone Oscillator
Linkable
Slate Mic & Tone
Limiter
Stereo Operation
Power Options
ALESIS
364
AUDIO MIXERS
MULTIMIX SERIES
Alesis’ MultiMix series is a line of powerful, portable, affordable mixers designed for a wide range of operating environments
and applications. Available in 4 different tabletop mixers, plus a powerful rack mixer, all feature the high quality and high
performance that Alesis is known for. Each mixer features 99 on-board 24-bit Alesis digital effects, for incredible control and
creativity, as well as an intuitive interface design with superior feel. And each mixer has been designed from the inside out to
provide the level of performance users expect from Alesis, at incredible prices.
MultiMix 6FX
MultiMix 12FX
A super compact analog mixer for performing or recording applications, with digital effects. An incredible value (under $100), the
MultiMix 6FX includes 2 mic/line inputs, 2 stereo line inputs, a 3-band
EQ on each channel, plus 99 high quality 24-bit Alesis digital effects.
A portable analog mixer that can handle a wide range of PA and
recording applications, such as live performances for small bands,
ensembles, and general PA, or recording applications such as live to
2-track, simple multi-track, etc. The low cost, yet powerful MultiMix
12FX includes a 12-input, 4-buss analog mixer featuring 4 mic preamps with switchable 75Hz high-pass filters, 60mm linear faders on
each channel, 4 stereo line channels, a 3-band EQ on each channel, 99
high quality 24-bit Alesis digital effects, and much more.
MultiMix 8FX
A highly compact analog mixer, designed for live applications such as
piano bar, single musician, duets, etc., or for simple recording applications such as live to 2-track, etc. Delivering powerful mixing capabilities at a very low price, the MultiMix 8 FX includes 99 high quality 24bit Alesis digital effects, and is small enough to fit in a “gig bag.”
Featuring 8-input, 2-buss analog mixing with 4 mic preamps with
switchable 75Hz high-pass filters, 2 stereo line channels, a 3 band EQ
on each channel, and more.
MultiMix 12FX D
The MultiMix 12FXD is the same as the MultiMix 12FX plus it adds a
44.1kHz digital S/PDIF digital output—making it ideal for those seeking a low-cost, yet powerful mixing solution with digital output.
MultiMix 12R
The world’s most affordable 12-input, 2-buss analog rack mixer featuring
8 mic preamps with 2 stereo line channels, all in a compact, 3-U rack
mount configuration. The MultiMix 12R has 2-band, fixed frequency EQ
on each channel, 1 pre-fader aux send and 1 post-fader aux send per
channel, and 60mm linear potentiometers (faders) for master level of
each channel. The master section features an external stereo aux return
level, stereo LED bar graph meters, stereo master L/R buss 60mm fader,
and a separate phones/monitor level control.
◆
12-channel analog mixer in compact 3U rackmount design
◆
Insert points on 8 channels, plus 2 channels of stereo line inputs
◆
8 XLR mic inputs with phantom power
◆
2-band shelving EQ at 80Hz and 12 kHz
◆
2 aux sends (pre-and post-fader) for monitor returns and effects
◆
60mm linear faders on each channel
PHOTO - VIDEO - PRO AUDIO
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
TL AUDIO
M-3 TUBETRACKER
8/2 Tube Mixer
◆
Balanced XLR mic and 1/4” jack line inputs
◆
Drive and Peak LEDs
◆
Balanced XLR L/R mix outputs
◆
Balanced internal signal busses
◆
Optional AES, S/PDIF and TOSLINK optical
digital outputs
◆
Stereo main fader with VU metering
◆
Unbalanced 1/4˝ jack inserts
◆
◆
◆
Sovtek ECC83/12AX7A tubes
Phantom power, 90Hz filter, phase reverse
and mic/line switch
100mm faders with pan, mute and solo
◆ Word
Clock input
AUDIO MIXERS
The M-3 is an 8-channel compact tube mixer, ideal for all tracking and mixing applications. Each channel features discrete tube mic preamps, a 4-band
EQ with swept mids, 2 aux sends and a post-fader direct output for multitrack
recording. The master section has tube stages in the main mix bus, together
with 2 aux returns, monitoring, metering and an optional 24-bit/96kHz stereo
digital output. When linking multiple M-3 mixers, the stereo, PFL and aux
busses are also linked, providing an unlimited number of channels.
◆
Headphone output
◆
External linear PSU
◆
Switchable level direct outputs
◆
200v DC stabilized supply
◆
Link facility via 15-way D-type connectors
◆
19˝rack-mountable or table-top use
365
SM PRO AUDIO DI4V/DI8
4- and 8-Channel DI/Line Mixers
Multi-function direct injection boxes and stereo
line mixers in one single unit rackmount chassis,
the half-rack SM DI4v and full-rack SM DI8
feature 4 and 8 channels of unbalanced to
balanced converters with 10dB pad and earth lift
selector provided per channel. They are suitable for
many applications right out of the box but it is the addition of a built
in line mixer (volume and pan control for each channel and master volume), that
makes them unique problem solvers. If you are a keyboard player, electronic drummer, PA/Studio
owner, pro musician or a hobby player, the SM DI4v or SM DI8 will find a place in your rack. Imagine running your
4 keyboard or modules on stage directly onto them and being able to send off balanced signal to the front of house rig
while providing your own dedicated monitoring mix...all on a single rackmount direct injection box/line mixer! SM
DI4v includes a headphone amplifier so you can monitor your own signal, the SM DI8 includes a LINK function so
that multiple units can be linked to a single stereo output. So if you have more than 8-16-24.... inputs of unbalanced
signal they can all be routed and monitored through the one output pair!
• 4- and 8-channel DI Box
• Earth lift per channel
• Pan control per channel
• Headphone Amp (SM DI4v)
• 4- and 8-channel Mixer
• 10dB pad per channel
• Master Volume control
• Stereo Link Input (SM DI8)
• Each input has a balanced output
• Volume control per channel
• Stereo Line Out
• 110v-240v external power supply
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
BEHRINGER
UB SERIES
366
AUDIO MIXERS
Ultra Low-Noise Eurorack Mixers
By continuously responding to the suggestions of their customers, Behringer has developed a range of mixers that offer more bang
for the buck without compromising on audio quality. Built to exacting standards, they are rugged and reliable, and offer the flexibility and sonic integrity demanded by the most discerning end users. Ultra-low noise circuitry and transparent audio, balanced
mic/line inputs, invisible mic preamps, solid steel chassis, sealed potentiometers make the UB Series Euroracks ready for broadcast production as well as MIDI rigs, home/project studios, video editing suites, and live sound reinforcement. And with ten mixers in the line, there is sure one to meet your requirements.
With the UB Series, Behringer takes mixing to the next level. From the miniscule UB502 to the largest UB2442FX-PRO, all mixers combine the same high-quality components and innovative features with affordable pricing. They all feature premium IMPs
(“Invisible” Mic Preamps) and ULN (Ultra Low-Noise) circuitry design, and with a feature set of impact-resistant pots and firstrate faders from ALPS, and low-tolerance components, the UB Series provide uncompromising quality under their sleek and
sturdy roadproof skin. In addition, the PRO models feature an internal autorange (80-240v) switch-mode power supply and all
FX PRO models feature award-winning 24-bit digital and 24-bit/46 kHz internal processing Virtualizer technology with 99
breathtaking stereo effects.
The state-of-the-art, studio-grade IMPs provide 130 dB dynamic range for 24-bit, 192 kHz sampling rate inputs, ultra-wide
60dB gain range and +30dBu line input capacity for crystal-clear audio and ample headroom. With their extreme bandwidth
and amazingly neutral, noise- and distortion-free circuitry, the mic preamps deliver crystal-clear audio for awesome sound without any coloration. ULN low impedance circuitry design coupled with high-quality 4580 op amps provides maximum headroom,
minimal noise and stunningly transparent audio.
THEY
Five years in the making, the Invisible Mic
Preamp (IMP) is a superior mic preamp that
delivers crystal-clear audio with incredible
reproduction of the slightest nuances. It
matches or exceeds the performance of outboard mic preamps. You get extreme bandwidth of 5Hz to 100kHz coupled to unusually
neutral, noise- and distortion-free circuitry.
FEATURE:
Ultra Low-Noise (ULN)
Invisible Mic Preamp (IMP)
◆
ALL
◆
ULN stands for the Ultra low-noise design of
their circuitry. It is based on extremely lowimpedance components that keep
thermal inherent noise and crosstalk at an
absolute minimum. The result: your console is
considerably less noisy and crosstalk between
neighboring channels is virtually non-existent.
◆
High quality ALPS sealed rotary controls and
faders keep out dust and moisture to ensure
long lasting, reliable performance. Steel chassis
and horizontally mounted fiberglass circuit
boards are used for their ruggedness, whether
on the road or bouncing from studio to studio.
◆
Digital recordings done at 16-bit depths break
up the dynamic range between the loudest
and quietest portions of a signal
into 65,536 steps. Behringer uses 24-bit
resolution (dividing the signals’ dynamic
range into 16,777,216 steps) allowing for far
more accurate rendering of the quieter parts
of the audio.
◆
Audio signals change constantly, so a digital
device must capture these changes as faithfully
as possible. The higher the sampling rate, the
better. UB Series mixers use a sampling rate of
46kHz (46,000 times per second). Since the
sampling rate should be twice that frequency,
46 kHz is more than adequate for capturing
all signals in the audible range—the human
ear can not hear sounds whose frequency is
higher than 20 kHz.
24-bit / 46kHz
Switch-Mode Power Supply
(SMPS)
◆
◆
PHOTO - VIDEO - PRO AUDIO
High-Quality Construction
All PRO series mixers (UB1204-PRO and up)
use a state-of-the-art, over-sized, switch-mode
power supply with lots of headroom. The
advantage, compared to conventional circuits,
is that a switch-mode power supply automatically adapts to AC voltages between 100 and
240 volts. Furthermore, due to its much
greater efficiency, it consumes much less energy than a conventional supply unit.
Even more important is the fact that
conventional transformers always induce
50 Hz hum (check it out on other mixers
when you turn up all volume controls).
Behringer’s switch-mode supply operates at
very high frequency and therefore keeps the
mixer “dead” quiet.
EQUIPMENT LEASING AVAILABLE
BEHRINGER
UB502 • UB802 • UB1002 • UB1202
5-, 8, 10- and 12-Input 2-Bus Mixers
UB802
FEATURES
One (UB502), two (UB802, UB1002) or four (UB1202)
XLR-balanced discrete inputs featuring studio-grade “Invisible Mic
Preamps” with:
- 130dB dynamic range for 24-bit, 192kHZ sampling rate inputs
- Ultra-wide 60dB gain range
- Lowest distortion 0.0007% (20Hz -20kHz)
- A bandwidth ranging from below 10Hz to over 20kHz for crystalclear reproduction of even the finest nuances
◆ Ultra-low noise ULN design, highest possible headroom, ultratransparent audio
◆ Effective, extremely-musical 3-band EQ (2-band on the UB502) and
peak LED on mono channel
◆ 5 (UB502), 6 (UB802) balanced high-headroom 1/4˝ line inputs
◆ Main mix outputs plus separate headphones and stereo tape outputs
◆ Tape inputs assignable to main mix or phones outputs
◆ External power supply for noise-free audio and superior transient
response
UB 802 Step-up Features:
◆
◆
Switchable +48v phantom power for condenser mics
◆
1 post fader FX send per channel for external FX devices
◆
1 stereo aux return for FX applications or a as separate stereo input
◆
Main mix outputs plus separate control room, headphones and
stereo tape outputs
◆
Tape inputs assignable to main mix or control room/phones outputs
UB1002/UB1202 Step-up Features:
◆
10 (UB1002) or 12 (UB1202) balanced high-headroom 1/4˝ line
inputs with +4/-10 level selection on all stereo channels
◆
3-band EQ plus switchable low-cut filter on all mono channels
◆
FX to control room function helps to monitor effects signal via
headphones and control room outputs
◆
Long-wearing 60mm logarithmic-taper ALPS master fader and
sealed rotary controls
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
367
The 10-input UB1002 features two mic
preamps), while the 12-input 1202 is
equipped with four. Both feature
an effective, extremely musical
3-band EQ plus switchable
low-cut filter on all mono
channels. There is 1 post
2
fader FX send per channel for
UB120
▲
UB1002
external FX devices, main mix outputs
plus separate control room, headphones and stereo tape outputs. Tape inputs are
assignable to main mix or control room/phones outputs. These are extremely versatile mixers with possibilities ranging from
connecting a DAT recorder and monitor speakers to running permanent video and audio installations.
AUDIO MIXERS
▲
UB502
▲
It may be small, but the UB502 features the same state-of-the-art Invisible Mic
Premap (IMP) and the same Ultra low-noise (ULN) design for highest possible
headroom as its larger brethren. Its one mono channel plus 2 stereo channels with
a 2-band EQ on the mono channel make it ideal for use with fixed audio installations as well as keyboards, samplers and computer application. Hobby musicians
and video makers will also find lots of use for this ultra-compact mixer. A shade
larger than the UB502, the UB802 features 2 mic preamps, 6 balanced
high-headroom line inputs, 1 post fader FX send per channel for external FX devices and 1 stereo aux return for FX applications or as separate stereo input. There is also an extremely musical 3-band EQ on all
channels. The UB802 is well-suited for use with fixed audio and video
installations as well as keyboards, samplers and computer application.
BEHRINGER
UB1204-PRO • UB1204FX-PRO
AUDIO MIXERS
12-Input 2/2-Bus Mic/Line Mixers
These are mixers whose small size belies their incredible versatility and audio
performance. You get 8 balanced high-headroom line inputs, 4 Invisible Mic
Preamps, 2 aux sends per channel (1 pre fader for monitoring applications and
1 post fader for external FX devices). There are 2 subgroups with separate
outputs for added routing flexibility and 2 multi-functional stereo aux
returns with flexible routing round off the list of high-quality features.
The UB1204FX-PRO has all the same features plus a 24-bit digital stereo
FX processor with 99 great-sounding VIRTUALIZER presets including reverb, delay,
chorus, compressor, tube distortion, vinylizer and more, plus a 1kHz test tone generator. There are
also solo and PFL functions on all channels as well as a pre/post fader switchable aux send for monitoring/FX applications.
STEP-UP FEATURES (FROM THE UB1202):
Only 8 balanced high-headroom 1/4˝ line
inputs (not 12) with +4/-10 level selection
on all stereo channels
◆ 2 aux sends per channel:
1 pre fader for monitoring applications
1 post fader for external FX devices
◆ Peak LEDs and mute/alt 3-4 function on all
channels routes signal to subgroup instead
of main outs
368
◆
◆
Tape inputs assignable to main mix or
control room/phones outputs
◆
2 subgroups with separate outputs for added
routing flexibility
◆
2 multi-functional stereo aux returns with
flexible routing
◆
Control room/phones outputs with multiinput source matrix
◆
Balanced main mix outputs with gold-plated
XLR connectors plus separate control room,
headphones and stereo tape outputs
◆
Internal switch-mode power supply for
maximum flexibility (100-240v), noise-free
audio, superior transient response plus
lowest possible power consumption
◆
Includes rackmount brackets
UB1622FX-PRO
16-Input 2/2-Bus Mic/Line Mixer and
24-bit Multi-FX Processor
You get all the important elements right here in a 19˝ form-factor. This
compact mixer offers 12 balanced high-headroom line inputs, 4 Invisible
Mic Preamps, 2 aux sends per channel (1 pre/post fader switchable for
monitoring/FX applications and 1 post fader for internal FX or as external
send). You also get an extremely musical 3-band EQ with semi-parametric
mid-band plus switchable low-cut filter on all mono channels. The integrated 24-bit digital
stereo FX processor offers 99 great-sounding VIRTUALIZER presets as well as a 1kHz test tone generator. There are 2 subgroups
with separate outputs for added routing flexibility and 2 multi-functional stereo aux returns with flexible routing.
STEP-UP FEATURES (FROM THE UB1204 FX-PRO):
Inserts on each mono channel for flexible
connection of outboard equipment
◆ 3-band EQ with semi-parametric mid-band plus
switchable low-cut filter on all mono channels
◆
PHOTO - VIDEO - PRO AUDIO
12 balanced high-headroom 1/4˝ line inputs
with +4/-10 level selection on stereo channels
◆ Peak LEDs, mute, main mix and subgroup
routing switches
◆
www.bhphotovideo.com
◆
Main mix outputs with jack and
gold-plated XLR connectors,
separate control room, headphones
and stereo tape outputs
BEHRINGER
UB1832FX-PRO
If you are looking for a capable compact mixer with a breathtaking
3D XPQ stereo surround effect and a 9-band stereo graphic EQ,
this is your machine. Of course, you also get 14 balanced
high-headroom line inputs, 6 “Invisible” Mic Preamps, and 3
aux sends per channel and extremely musical 3-band EQs with
semi-parametric mid bands plus switchable low-cut filters on all mono channels.
There are 2 subgroups with separate outputs for added routing flexibility and 2 multi-functional
stereo aux returns with flexible routing are also there for your convenience. You will also find the integrated 24-bit digital
stereo FX processor with 99 great-sounding VIRTUALIZER presets.
AUDIO MIXERS
18-Input 3/2-Bus Mic/Line Mixer
and 24-bit Multi-FX Processor
STEP-UP FEATURES (FROM THE UB1622 FX-PRO):
◆
6-XLR-balanced discrete inputs featuring
studio-grade “Invisible Mic Preamps”
◆ 14
balanced high headroom 1/4˝ line inputs
with +4/-10 level selection on stereo channels
◆
9-band stereo graphic EQ allows precise frequency correction of monitor or main mixes
◆
3 aux sends per channel (Pre fader for monitoring, Pre/post fader switchable for monitoring/FX applications, Post fader for internal FX or as external send).
◆
Balanced TRS and gold-plated XLR main
mix outputs, separate control room, headphones and stereo tape outputs
With their extensive and carefully thought-out routing possibilities, the FX-PRO mixers are perfect for both live and studio use. The prime
suspects are high-quality recording studios as well as MIDI-studio applications, small-size PA applications (solo entertainers, duos to quartets,
small bands), video edits and similar setups.
UB2222FX-PRO
22-Input 2/2-Bus Mic/Line Mixer and
24-bit Multi-FX Processor
The second-largest mixer in the UB Series, the UB2222FX-PRO
has 16 balanced high-headroom line inputs, 8 Invisible Mic
Preamps, 3 aux sends per channel, 3-band EQs with
semi-parametric mid bands plus switchable low-cut filters on
all mono channels, and integrated 24-bit digital stereo FX
processor with 99 great-sounding VIRTUALIZER presets. There
are 2 subgroups with separate outputs for added routing flexibility as well as 3
multi-functional stereo aux returns with flexible routing.
STEP-UP FEATURES (FROM THE UB1832 FX-PRO):
◆
8-XLR-balanced discrete inputs featuring
studio-grade “Invisible Mic Preamps”
◆ 16
balanced high headroom 1/4˝ line inputs
with +4/-10 level selection on stereo channels
• 3 multi-functional stereo aux returns with
flexible routing
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
369
Breathtaking XPQ 3D stereo surround effect
widens the stereo image and adds life and
transparency to your sound—an easy way to
put a unique final polish on your music and
turn your performance into an incomparable experience.
◆
BEHRINGER
AUDIO MIXERS
UB2442FX-PRO
24-Input 4-Bus Mic/Line Mixer
and 24-bit Multi-FX Processor
This is the big cajuna of the whole UB Series. You get all the features
you’d expect in an ultra high-quality compact mixer: 16 balanced
high-headroom line inputs with dedicated gain controls on
stereo channels 13-16, 10 studio-grade IMP “Invisible” Mic
Preamps, and an effective, extremely musical 3-band EQ with
semi-parametric mid band plus switchable low-cut filter on all
mono channels. There is also an integrated 24-bit digital stereo FX processor
with 99 great-sounding VIRTUALIZER presets.
STEP-UP FEATURES (FROM THE UB2222 FX-PRO):
10-XLR-balanced discrete inputs featuring
studio-grade “Invisible Mic Preamps”
◆ 16 balanced high-headroom 1/4˝ line
inputs with dedicated gain controls on
stereo channels 13-16
◆ 2 headphone outputs
370
◆
◆
Channel inserts and direct outputs on each
mono channel plus main mix inserts for flexible
connection of outboard equipment
◆
4 aux sends per channel: 2 pre/post fader
switchable for monitoring/FX applications;
2 post fader (for internal FX or as external send
4 subgroups with separate outputs for
added routing flexibility
◆ 4 multi-functional stereo aux returns
with flexible routing
◆ BNC connector for standard gooseneck
lamps
◆
UB502
UB802
UB1002
UB1202
UB1204
PRO
UB1204
FX-PRO
B1622
FX-PRO
UB1832
FX-PRO
UB2222
FX-PRO
UB2442
FX-PRO
Channels
1 mono+
2 stereo
2 mono+
2 stereo
2 mono+
4 stereo
4 mono+
4 stereo
4 mono+
2 stereo
4 mono+
2 stereo
4 mono+
4 stereo
6 mono+
4 stereo
8 mono+
4 stereo
10 (8 + 2)
mono +
4 stereo
Mono mic/line
channel inputs
1 (XLR +
1/4˝ TRS)
2 (XLR +
1/4˝ TRS)
2 (XLR +
1/4˝ TRS)
4 (XLR +
1/4˝ TRS)
4 (XLR +
1/4˝ TRS)
4 (XLR +
1/4˝ TRS)
4 (XLR +
1/4˝ TRS)
6 (XLR +
1/4˝ TRS)
8 (XLR +
1/4˝ TRS)
8 (XLR +
1/4˝ TRS)
Stereo line
channel inputs
2
(1/4˝ TRS)
2
(1/4˝ TRS)
4
(1/4˝ TRS)
4
(1/4˝ TRS)
2
(1/4˝ TRS)
2
(1/4˝ TRS)
4
(1/4˝ TRS)
4
(1/4˝ TRS)
4
(1/4˝ TRS)
2 (1/4˝ TRS
& 2 (XLR +
1/ 4˝ TRS)
Channel inserts
(pre EQ, pre fader)
—
—
—
—
—
—
channel
1-4
channel
1-6
channel
1-8
channel
1-8
EQ mono channels
2-band
3-band
3-band + Low cut
EQ stereo channels
—
3-band
—
—
3-band
3-band
4-band
4-band
4-band
4-band
Phantom power (+48V)
—
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Main outputs
1/4˝ TRS connectors
3-band + Low cut
1/4˝ TRS connectors
3-band mid-sweep + low cut
XLR connectors
XLR & 1/4˝ TRS connectors
✓
✓
✓
✓
✓
✓
✓
✓
✓
2
2-Track I/O
(RCA connectors)
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
Control room outputs*
—
✓
✓
✓
✓
✓
✓
✓
✓
✓
PFL/solo section
—
—
—
—
—
✓
✓
✓
✓
✓
FX unit**
—
—
—
—
—
✓
✓
✓
Switch-mode PSU
—
—
—
—
✓
✓
✓
✓
✓
Rack-mount kit inc.
—
—
—
—
✓
✓
✓
✓
✓
Dimensions (W x D):
5 ⁄4 x 7˝
7 ⁄5 x 8 ⁄3˝
7 ⁄5 x 8 ⁄3˝
9 ⁄2 x 8 ⁄3˝
Height (front/rear):
1 ⁄2 x 1 ⁄4˝
1 ⁄2 x 1 ⁄4˝
1 ⁄2 x 1 ⁄4˝
1 ⁄2 x 1 ⁄4˝
3 ⁄16 x 5˝
3 ⁄16 x 5˝
3 x 5˝
3 x 5˝
3 x 5˝
23⁄4 x 51⁄2˝
1 ⁄5 lbs.
2 ⁄5 lbs.
2 ⁄8 lbs.
3 lbs.
5 ⁄8 lbs.
5 ⁄4 lbs.
7 ⁄4 lbs.
10 ⁄8 lbs.
10 ⁄8 lbs.
13 lbs.
Headphones output*
Weight
* 1/4˝ TRS connector
PHOTO - VIDEO - PRO AUDIO
1
1
3
1
2
2
1
3
1
** with footswitch connector
2
2
1
3
3
1
1
2
3
9 ⁄16 x 13 ⁄32˝ 9 ⁄16 x 13 ⁄32˝
11
5
1
5
11
5
1
3
11 ⁄8 x 13 ⁄8˝
7
7
1
with separate FX output
✓
✓
16 ⁄16 x 14 ⁄16˝ 16 ⁄16 x 14 ⁄16˝ 16 ⁄2 x 171⁄4˝
1
1
3
1
1
5
1
BEHRINGER
DDX3216
Fully Automated 32-Channel,
16-Bus Digital Mixing Console
◆
◆
◆
32 full-fledged channels and 12 high-end
ultra low-noise “Invisible” Mic Preamps with
phantom power deliver crystal-clear audio
with incredible reproduction of the slightest
sound nuances and ample headroom.
16 busses, 8 aux sends and internal
input/output patchbay for comprehensive
routing options
Ultra high-resolution 24-bit AKM A/D and
CRYSTAL D/A converters provide optimum
audio quality bound to please even the most
discerning user.
floating point DSP technology
(32-/40-bit) ensures virtually unlimited
internal dynamic range
◆
◆
Fully featured dynamic and snapshot
automation
◆
4-band fully parametric EQ, compressor,
gate, sweepable high-pass filter and phase
inverter on all 32 channels — with additional
delay function on the first 16 channels —
provide effective dynamic processing.
◆
Six master controllers with comfortable
push-and-turn functionality
◆
Analog feel, intuitive user interface
◆
Large, easy-to-read LCD display with
adjustable contrast
17 precise, low-noise 100mm motorized
ALPS faders
◆
Synchronization via SMPTE, MTC or
internal clock
compressor/limiter (switchable
pre/post) and EQ for stereo main mix
◆
Dither, word length and noise shaping
adjustable for digital main outputs
Freely configurable built-in level meters on
all channels and channel controls with LED
rings facilitate editing of any of nine selectable parameters per channel.
◆
PCMCIA slot for saving/loading various
libraries and other settings
◆
Routing of complex signal configurations is
accomplished by an internal input/output
patchbay.
◆ Additional
◆
◆ High-power
◆
Four (simultaneously operable) groundbreaking effects processors, accessible from
all 32 channels, provide first-class algorithms, such as chorus, delay flanger, LFO
filter, phaser, pitch shifter, reverb, tremolo,
and many more.
◆
◆
Four freely assignable analog outputs on
balanced 1/4" TRS and MIDI plus RS232
connectors round out the I/O options by
allowing interfacing with a wide variety of
external devices.
Extensive MIDI implementation capability
enables program and control changes, MIDI
sysex and MMC.
◆ Two
extension slots for installation of
optionally available digital interfaces for
virtually unlimited connectivity:
• ADT1616 16-channel ADAT interface
• TDF1616 16-channel TDIF interface
• AES808 8-channel AES/EBU interface
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
371
FEATURES
AUDIO MIXERS
The DDX3216 offers a feature set you won’t find in any other
product in its class. 32 channels, 16 internal busses and 8 aux
sends. Each channel features a fully parametric 4-band
equalizer, sweepable high-pass filter, gate, compressor/
limiter and phase inversion—all simultaneously operable.
The first 16 channels also offer a delay function. Add
four on-board effects processors that put just about any
imaginable effect type at your fingertips, in top quality —
and simultaneously accessible. Then full-fledged dynamic and static automation functions, extensive synchronization
options and MIDI implementation, a comprehensive internal I/O patchbay, full digital compatibility and functionality. Plus
unusually flexible connectivity and expandability, supported via two expansion slots for ADAT, TDIF, AES/EBU interfaces
and more. All based on 32-bit floating-point processing (40-bit for the EQ’s).
This all comes in a rack-mountable case and with an intuitive, logically
laid out user interface based on excellent software and effective control
elements, like motorized ALPS faders, assignable channel controls with
LED rings, push-and-turn master controllers and a large, backlit LCD
display. Ideal for almost any application including recording, live sound,
multimedia, audio for video, broadcasting and installations.
MACKIE
1202-VLZ PRO • 1402-VLZ PRO
AUDIO MIXERS
12 x 2 and 14 x 2 Compact Mixers
Providing maximum performance in minimum sizes, the 1202-VLZ
Pro and 1402-VLZ Pro are the mixers of choice for tens of thousands
of musicians and sound engineers who need equipment to serve “double
duty” in studios and on the road. With 12 or 14 balanced
input channels divided between 4 (1202) or 6 (1402) mono
mic/line inputs and 4 stereo line input channels, these mixers
excel in the field or in the studio. Video suites doing dialog
recording, voiceover or sound effects and project studios will find
the range of bussing flexibility a blessing. For live gigging, the
rugged steel chassis will stand up to the abuse of the road and the 2
aux sends are perfect for monitor and or effects sends.
FEATURES
372
Input Channels
◆
4 mono balanced XLR mic/ 1/4˝ line
inputs with inserts, trim and rotary level
controls.
◆
4 balanced 1/4˝ stereo line inputs with
rotary level controls.
◆
2 Aux sends per channel can be used as
effects sends or for creating monitor mixes
and offer 15dB of extra gain above Unity
◆
Each input has 3 bands of EQ at 80Hz,
2.5kHz and 12kHz with a ±15dB boost/cut.
◆
Inputs have a -18dB/oct. 75Hz Lo Cut filter
that eliminates stage rumble, wind noise,
P-pops and other low frequency noise
◆
◆
◆
The Mute/Alt 3-4 buttons located on each
input channel serve two functions: muting
the input channel from the main mix, and
signal routing, where they act as your
gateway to an extra stereo bus
The1202 and 1402-VLZ PRO are the standard for small-to-medium video post production
suites. They’re the most popular mixers for home project studios. They’re in touring racks
of performers. They record location sound for major Hollywood movies. They’re on duty
at major-league football games, recording the crunch of bodies and the sportscasters’
breathless play-by-play. They are also used as live field mixers by the news departments of
every major network.
Outputs
◆
Main stereo outputs are XLR-balanced
switchable from +4dBu to mic level
◆
1/4˝ balanced alternate outputs (alt 3/4) are
assignable from mute buttons on input
channels
◆
2 balanced 1/4˝ auxiliary sends
◆
Additional Features
◆
Gain knobs have Unity gain detents, when
input levels are properly set, the highest
headroom and lowest noise floor is at unity
gain
◆
12 segment LED’s give accurate level status
of main outputs or soloed channels
1/4˝ TRS balanced stereo control room outputs
◆
48-volt phantom power for condenser mics
◆
Built-in power supply–no wall wart!
◆
Stereo RCA (2 track) tape outputs
◆
◆
Multi-input source matrix with level control
lets you route any combination of Main
Mix, Tape In and Alt 3-4 to the Control
Room/Phones bus. Routings can be used for
submixes, monitoring or tracking and can
be subsequently routed to the main mix
Rude Solo Light LED bluntly advises that a
channel is soloed
◆
Tape input level control and Tape To Main
Mix switch
◆
3-year parts and labor warranty.
◆
Optional RM1202VLZ rackmount ears
Constant-loudness pan pots on each input
channel keep sound at a consistent volume
when panning between left, center and
right positions
PFL Stereo in-place Solo on each channel
1402-VLZ PRO Step-up Features
Aux Inputs
◆
2 balanced 1/4˝ stereo returns with EFX to
Monitor switch
◆ Aux
1 master control with Monitor/Post
assign switch
◆
Stereo RCA 2 track tape return
◆
6 mono balanced XLR mic/1/4˝ line
inputs instead of 4
◆
Switchable AFL/PFL Solo
◆
Optional RM1402VLZ rackmount ears
60mm long-wearing log-taper faders ensure a consistent, smooth accurate response through
the length of the fader travel
ONE HOUR FREE PARKING
PHOTO - VIDEO - PRO AUDIO
◆
AT 349 W. 34th STREET (with purchase of $100 or more)
MACKIE
MACKIE MIXER TECHNOLOGY
Very Low Impedance
◆
EQ
Very low impedance is achieved by scaling
down resistor values by a factor of three or
four, resulting in a corresponding reduction
in thermal noise.
XDR Mic Preamps
◆
◆
◆
130dB dynamic range and extremely flat frequency response allows the XDR mic preamps to handle inputs from 192kHz workstations without added coloration.
◆
Knobs ride just thousandths of an inch from
the metal surface of a mixer chassis.
Mid-range frequency is placed at 2.5kHz
(1202/1402-VLZ PRO), harmonics of vocals
and instruments are enhanced without
becoming strident or fatiguing.
◆
Brutal knob impact is absorbed by broad
pressure on a tough circuit board
◆
Ultra-tight lip seal design provides a continuously-sealed barrier against dust and liquid
Sweepable Mid-Band EQ (1604/1642-VLZ
PRO) from 100Hz to 8kHz for specific EQ
treatment of a broad range of frequencies.
◆
A braced, horizontal circuit board and
shock-absorbing structure eliminates force
transferred to the circuit board.
◆
Positioned at 80Hz, the Low Shelving EQ
emphasizes the fundamental lows of kick
drums, and other bass instruments while
allowing you to fatten up male vocals and
instruments like guitars.
◆
◆
1642-VLZ PRO
Negative gain mix amplifier architecture sets
standard mixing levels at -6dB. This offers a
greater amount of headroom, allowing up to
4 times as many hot signals to be summed at
the main mix bus without clipping
Positioned at 12kHz, the Hi Shelving EQ
adds sheen and presence to instruments and
vocals, enhancing the textures of sounds
without contributing to aural fatigue.
Impact Resistance
16 x 4 x 2 Compact Mixer
Bridging the gap between the 1604-VLZ Pro (next page) and the smaller 1402-VLZ Pro,
the 1642-VLZ Pro gives you 4-bus mixing flexibility, ten XDR mic preamps and four
stereo line-level channels—fewer mic preamps and more line-level inputs at your
fingertips. Yet it also has live-sound features like EFX to monitor, AFL/PFL
solo, pre-fader aux sends, and built like a tank construction. The ideal mixer
if you record with lots of keyboards, samplers and drum machines. Perfect
for home and project studios as well as video post-production applications.
All The Features of the 1402 VLZ Pro PLUS—
Additional
Features
Input Channels
◆
16 input channels total— channels 1-8 are mono
and channels 9 - 16 are stereo.
◆
Channels 1 - 8 feature balanced XLR mic/ 1/4˝ line
with inserts, direct outputs and 3 band EQ
◆
Each channel features input trim, 4 aux sends (aux
1 & 2 assignable pre/post), -20dB pad, 75Hz HPF,
Solo (PFL and Solo-In-Place), mute, pan, bus 1/2,
3/4 and L/R assignment buttons and overload LEDs
◆
2 stereo balanced XLR mic/ 1/4˝ line inputs, 2 balanced stereo 1/4˝ line inputs
◆
4-band active EQ on stereo channels
Outputs
◆
Four 1/4˝ balanced subgroup outputs have 60mm
faders, switchable L/R assignment to the main mix bus.
◆
Four 1/4˝ balanced aux sends. Aux send 1-2 master
section with level controls and solo
◆
Two 1/4˝ stereo headphone outputs
◆
1/4˝ balanced mono output with level control
◆
Four 1/4˝ balanced stereo
aux returns with level
controls and solo.
◆
Switchable AFL/PFL Solo
with level control
◆
Optional rack ears are
allow mounting in a
standard 19˝ rack.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
373
Ultra-high-speed, large-geometry input
diodes protect the XDR mic preamps from
hot-patching and direct short circuits in
cables carrying phantom power.
◆
◆
DC pulse transformer reject RFI without
attenuating frequencies of 15kHz and above.
Mix Amp Headroom
AUDIO MIXERS
Mackie revolutionized the compact mixer market by applying features and audio quality previously reserved for high-end, large format mixers.
From the smallest to the largest of their models, Mackie puts their best effort into every phase of board design. For example, XDR (Extended
Dynamic Range) mic preamps offer over 130dB of headroom, exceeding the performance of outboard preamps costing $1000 to $2000 per channel.
Project studios, video suites, multimedia authors, live venues, broadcast facilities and houses of worship seeking uncompromising sonic quality and
maximum flexibility will find what they are looking for in Mackie’s VLZ PRO mixer line.
MACKIE
1604-VLZ PRO
AUDIO MIXERS
16 x 4 Compact Mixer
The highest headroom and lowest noise of any mixer in its class, the 1604’s
flexible 4-bus architecture is ready for just about any project recording studio
or live venue. Post production and broadcast facilities will also appreciate
the myriad routing possibilities. VLZ design ensures quiet mixes with all
16 channels open during mix down, while the XDR mic preamps reveal
all of the subtleties and nuances of your favorite condenser mic. Mackie’s
rotopod design and supplied rackmount hardware allows you to configure
the mixer 5 ways by allowing you to rotate the input and output jacks to the top, back or
front of the mixer with or without rackmounting. With unprecedented sonic performance, bandwidth, dynamic range and versatility,
the 1604-VLZ meets the demands of the most sophisticated digital audio workstations —while remaining totally affordable.
ALL THE FEATURES OF THE 1642 VLZ Pro PLUS—
Input Channels
374
◆
16 mono balanced XLR mic/ 1/4˝ line
inputs with inserts, input trim, 6 aux
sends/4 per channel (aux 1 & 2
assignable pre/post), -20dB pad, Solo
(PFL and Solo-In-Place), mute, pan,
bus 1/2, 3/4 and L/R assignment
buttons and overload LEDs
Outputs
◆
Each input channel features 3-band active EQ
with sweepable midrange (12kHz high shelving,
mid eq sweep between 100Hz - 8kHz, 80Hz low
shelving eq ±15dB) and 75Hz HPF
◆
◆
Input channels 1-8 feature 1/4˝
balanced direct outputs
◆
1/4˝ balanced main outputs with inserts
◆ 6 balanced 1/4˝ auxiliary send
◆ Single 1/4˝ headphone output with level control
Additional Features
5 physical configurations via rotating I/O pod
◆ Rack mount kit included
DFX-6 / DFX-12
Compact Live Sound Mixers with EFX
Combining Mackie’s sound quality with an extensive feature set, the DFX-6 and DFX-12 are
designed specifically for solo or small performing groups that don’t have the luxury of a front-ofhouse sound technician. All knobs are color-coded and can be easily identified at a glance.
Channel faders are white. Effects and Monitor Sends are red. Master level faders are blue. The
jack field is on the top surface so connections are immediate and every channel has a level set and
overload LED that can be easily seen on a dark stage. Both include a combination of mic/line and
stereo line inputs, silky smooth 60mm faders, and Mackie’s proprietary 32-bit EMAC custom
digital effects processor with 16 effects. Each also offers low-noise, low-distortion, studio-grade
mic preamps wrapped in a box rugged enough to withstand years of on-the-road wear and tear.
◆ Low noise, high headroom mic preamps with
switchable phantom power
◆ 5-band stereo graphic equalizer with 12dB
boost/cut, Bypass and Aux/Main Assign
◆ 2-band channel strip shelving EQ at 80Hz
and 12kHz
◆ 75Hz Low Cut filters and inserts on mono
mic/line channels
PHOTO - VIDEO - PRO AUDIO
◆ 32-bit Digital EFX Processor with 16 effects
◆ Input trim controls with LED level set indica-
tors
◆ Separate Aux Send and Effects Send for each
channel
◆ 2 stereo Aux Returns
◆ Master Aux 1, Aux 2/EFX and CD/Tape
Return faders
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
◆ Effects to Monitor feature with separate
rotary level control
◆ Tape/CD inputs and Tape outputs
◆ Vocal Eliminator switch for “Karaoke” use
◆ Break switch for playing music between sets
◆ Headphone output with level control
◆ Bal./unbal. XLR and 1/4˝ main stereo outputs
MACKIE
CFX-SERIES
12-, 16- and 20-Channel Audio Mixers
with Digital Effects
Input Channels
Subgroup
Level-setting LED for each channel.
◆
Low-noise, high-headroom mic preamps
with 50dB of gain; 48v phantom power
◆
+30dB of line level gain and a full 15dB of
attenuation to "pad" hot signals.
◆
Two Aux Sends with balanced 1/4˝ outs,
switchable to pre-fader for monitor use
and post-fader for use as effects sends
◆
◆
◆
One external and one internal EFX Send.
◆
Pan, Mute, PFL solo on each channel
◆
Pre-Fader Solo switch allows channel monitoring via headphones
Outputs
Four Subgroup buses with 1/4˝ balanced
direct outputs and L/R assign "collect"
channel signals assigned to them so you
can submix vocals, drums and other audio
signals for monitoring or tracking.
◆
Balanced/unbalanced 1/4˝ TRS and balanced XLR outputs for mains with inserts.
◆
Headphone jack w/level control.
◆
XLR balanced subwoofer output from
built-in 18dB/oct. 75Hz crossover!
Effects
◆
32-bit digital FX with 9 reverbs, 4 delays,
phaser, chorus, flange; 2 parameter controls and an EFX wide spatial expander
and bypass switch
Extra 1/4˝ balanced utility stereo outputs
with level control (post-Main Fader).
◆
Break Switch mutes all channels and routes
Tape input to the mains while you're on
break so you don't have to worry about
feedback during breaks
◆
Long-wearing 60mm logarithmic taper
faders give you smooth, linear control
throughout the fader's entire travel.
◆
Rude Solo Light alerts of any current
soloed channels
Master Section
3-band EQ (12kHz shelving HF, ultra-wide
100Hz to 8kHz bandwidth sweepable
peaking Midrange EQ and 80Hz LF).
◆
Studio-quality, 9-band stereo graphic EQ
◆
Tape/CD inputs with level control assignable to Main Mix via Break switch
◆
Inserts and 100Hz 18 db/octave low-cut filters on all mic/line channels
◆
RCA tape/CD inputs and tape outputs.
◆
◆
4-band EQ on stereo line channels
Two stereo effects returns with balanced
1/4˝ inputs
◆
Total Channels
Buses
Conveniences
1202-VLZ Pro
1402-VLZ Pro
1642-VLZ Pro
1604-VLZ Pro
CFX-12
CFX-16
CFX-20
12
14
16
16
12
16
20
2
2
4
4
4
4
4
Mono Inputs
4 Mic/Line
6 Mic/Line
8 Mic/Line
16 Mic/Line
8 Mic/Line
12 Mic/Line
16 Mic/Line
Stereo Inputs
4 Line
4 Line
2 Mic/Line, 2 Line
–
2 Line
2 Line
2 Line
XDR Mic Preamps
✓
✓
✓
✓
–
–
–
EQ Mono Channels
3-Band (Fixed)
3-Band (Fixed)
EQ Stereo Channels
3-Band (Fixed)
3-Band (Fixed)
4-Band (Fixed)
–
4-Band (Fixed)
4-Band (Fixed)
4-Band (Fixed)
Aux Sends/Channel
2 Mono
2 Mono
4 Mono
6 Mono
2 Mono
2 Mono
2 Mono
Aux Returns
2 Stereo
3-Band (Mid-Sweep) 3-Band (Mid-Sweep) 3-Band (Mid-Sweep) 3-Band (Mid-Sweep) 3-Band (Mid-Sweep)
2 Stereo
2 Stereo
4 Stereo
4 Stereo
2 Stereo
2 Stereo
Direct Outputs
–
–
8
8
–
–
–
Main Outputs
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
XLR, 1/4˝ Bal.
1/4˝ Bal.
1/4˝ Bal.
XLR Bal.
XLR Bal.
XLR Bal.
Internal Effects
–
–
–
–
✓
✓
✓
9-Band Graphic EQ
–
–
–
–
✓
✓
✓
Mono Output
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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375
◆
CFX-16
AUDIO MIXERS
Available in 12 (CFX-12), 16 (CFX-16) and 20-channel (CFX-20) configurations, the CFX mixers incorporate digital effects and a 9-band
graphic EQ to offer all-in-one compact mixing solutions. Sounding clean
and realistic, the effects processor rivals many outboard processors, while
the graphic EQ on the output section is of “audiophile-quality” which means low
noise, free of phase distortion. The mixers also feature low noise and high headroom as well
as balanced I/Os and multiple busing options. For live performance, a unique break switch can mute
the entire mixer (except for the two-track return input) as well as the effects and graphic EQ sections.
MACKIE
376
AUDIO MIXERS
24•4-VLZ PRO/32•4-VLZ PRO
24- and 32-Channel Sound
Reinforcement Consoles
32•4-VLZ PRO
First introduced almost five years ago (but
updated many times since), Mackie’s
SR24•4 and SR32•4 have totally redefined
the 24-and 32-input/4-bus mixer.
Feature-packed, extremely affordable,
American-made mixing consoles, complete with
awesome sonic performance, they incorporate the very latest in
manufacturing technology plus Mackie’s own proven horizontal,
multichannel front circuit board design. They are also designed to stand up to the
rigors of day-in and day-out live sound reinforcement, yet still have the required dependability
and pristine audio quality for professional studio applications as well.
The SR24•4 and SR32•4 provide superior mixing and recording. They feature major headroom, thanks to Mackie’s VLZ
circuitry. Main and submix amplifiers use distinctive negative-gain mix architecture to double the mix headroom of
conventional designs. Ultra-quiet high-headroom mic preamps on 20 (SR24•4) or 28 (SR32•4) mono channels mean
great-sounding vocals or instruments. Low-cut filter (on mono channels) centered at 75Hz allows you to cut out mic
thumps and wind noise. Four buses make live mixing a breeze by letting you control the overall level of those channels with
one fader. Six aux sends per channel offer the flexibility to handle multiple chores at once. Two aux sends are switchable to
pre- or post-fader so you can have 4 pre-fader aux sends, or 4 post-fader aux sends. They also feature a sweepable midrange
EQ (on mono channels) with midrange centering anywhere from 100 Hz to 8 kHz.
FEATURES
◆
They combine premium XDR mic preamps
with 60dB gain range, 130dB dynamic range
for hot 24-bit digital signals, massive +22dB
input handling capacity, 192kHz bandwidth
and 0.0007% THD with the best RFI resistance of any compact SR mixer in the galaxy
thanks to advanced DC-pulse transformers.
◆
20 (SR24) and 28 (SR32) XDR mic preamps
are impedance-independent, so the frequency
response remains constant whether the mic
preamp is presented with an extremely
high- or low-impedance load. Additionally
each channel has its own switchable low-cut
filter (18dB/octave at 75Hz), allowing you to
cut out mic thumps and wind noise that can
enter your mix and rob you of amp power.
◆
They have 20 (SR24) and 28 (SR32) mono
mic/line input channels, with XLR mic
inputs and 1/4˝ TRS line inputs, and 2
stereo line input channels with 1/4˝ TRS
inputs.
PHOTO - VIDEO - PRO AUDIO
◆
Each channel strip has an input trim, 6
aux sends (2 prefader, 2 post-fader and
2 switchable pre or post), 3-band EQ
with sweepable mid-range (4-band EQ
on the stereo channels), pan control,
and mute, solo and bus assign switches.
A 60mm fader provides output gain for
each channel.
◆
The mono channel EQs provide a range
of ±15dB at the following frequencies:
12kHz shelving high-frequency EQ,
100Hz to8kHz sweepable peaking midfrequency EQ, and 80Hz shelving lowfrequency EQ.
◆
Stereo channels (21-24) provide ±15dB
of boost and cut at the following frequencies: 12kHz shelving high-frequency EQ, 3 kHz peaking high-mid frequency EQ, 800Hz peaking low-mid
frequency EQ, and 80Hz shelving lowfrequency EQ.
EQUIPMENT LEASING AVAILABLE
◆
You can mix any combination of channel
strips down to a single submix bus—or any
combination of the four submix buses.
Channels can be assigned to buses 1-2, 3-4,
and Main Mix L/R, and the 4 sub can be
assigned to Left and Right Main Mix, or
fed directly to a multitrack recorder. This is
incredibly helpful, not only in a live
situation, but in the studio as well.
Furthermore, each bus is “double-bused”
providing 8 eight outputs that can be
connected to an 8-track recorder without
repatching anything.
◆
Each sub out (1-4) and main out (L/R) has
a TRS insert jack. Furthermore, Mackie’s
unique “AIR” EQ circuit is included on each
of the four subgroups. This peaking EQ
circuit, centered at 16kHz, enhances guitars,
vocals, percussion, whatever, giving a gentle
“lift” to the extreme high end. The result is
extra detail and fidelity in the high end.
MACKIE
24•4-VLZ PRO/32•4-VLZ PRO
◆
The Phones/Control Room switch and
level control are connected to stereo headphone outputs and left and right Control
Room output, allowing the stereo Tape
Return, Left/Right Main Mix, and Solo to
be monitored.
◆
A stereo playback device can be monitored
via the Tape Return inputs. Tape Return to
Phones/C-R routes the tape playback signal
into the monitor system and meters, and
the Tape Return knob adjusts the level of
playback, which can be monitored via
headphones.
◆
Tape return signals can also be assigned
directly to the Main Mix. This not only
routes Tape Returns to Main L/R outputs
but also disables all other inputs to the
mains. You can play a tape or CD between
sets without losing a channel and submaster settings. They also have RCA-style tape
outs for output to conventional stereo
recording devices.
◆
Each of the six aux sends has its own individual master send control, driving 1/4˝
TRS output jacks. Six stereo aux returns
are provided, with 1/4˝ TRS input jacks.
Two aux returns can be folded back into
AuxSends 1 and 2 via their own volume
controls to add effects in stage monitors.
◆
An XLR input is provided for a talkback
mic, which can be assigned to the Main
Mix (for making announcements over the
mains) or Aux 1-2. The talkback mic has a
level control in the talkback section.
◆
Like all Mackie mixers, the SR24•4 and SR
32•4 are designed for rugged 24-hour-aday use. With their multiple input/output
configurations, true 4-bus architecture, 6
aux send and extensive routing capabilities,
they can be used in a variety of live sound
and recording applications. Their sturdy
steel construction houses rugged, doublesided SMT-plated fiberglass circuit boards,
and 60mm faders with ultra-tight lip seals
for keeping out dust and other contaminants. Impact-resistant knob are mounted
so they “ride” just above the steel chassis.
8-Bus Recording/PA Mixers
Designed to eliminate the last
barrier between you and audio
creativity – Mackie’s 8-Bus
mixers have recorded
more platinum albums
and major motion
picture soundtracks
than any other mixer in
their class – in fact, they
set the standard for
24•8 Mixer
affordable 8-bus consoles.
shown with
optional
Excellent for project
stand
studios and digital
multitrack recording, when
combined with digital multitrack or hard disk recording
systems, they feature low-noise/high-headroom mic preamps
on every channel, as well as channel inserts and direct outs.
In the channel strip you’ll find Mackie’s truly musical EQ –
with Hi and Lo shelving EQ, parametric Hi-Mid, and sweepable Low-Mid
EQ – as well as a Low Cut Filter, which allows you to eliminate mic thumps
and room rumble from your mix, and use your EQ for music and vocals.
With Mix B, “in-line monitoring” is a breeze. Six aux sends and six aux
returns allow you to use all the effects you want. And the 8•Bus’s complete
talkback and phones level controls make communicating with the talent a snap.
And besides being built like tanks, the 24•8 and 32•8 can grow along with
your budget and input requirements. Both can be expanded in increments of
24 channels with the 24E Channel Expander Console. You can also add meter
bridges, stands, and even a “sidecar” for patchbays.
Total Channels
Buses
Mix B Inputs
Mic Preamps
EQ
Aux sends/ch.
Aux Returns
Tape Outputs
Channel Inserts
Faders
32• Bus
24• Bus
16• Bus
32
8
32
32
4-band parametric
6
4
24
32
100mm
24
8
24
24
4-band parametric
6
4
24
24
100mm
16
8
16
16
4-band parametric
6
4
24
16
100mm
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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377
◆
16/24/32•8
AUDIO MIXERS
Outputs include XLR and 1/4˝ TRS line
outputs for the left and right mains, 1/4˝
TRS line outputs for subs 1-4, and an XLR
mono main output. The mono main out
has its own level control so a mono mix
can sent to another zone and adjusted
accordingly.
MACKIE
378
AUDIO MIXERS
16•8 / 24•8 / 32•8
8•BUS MIXERS
Channel Strip
◆
◆
In-line FLIP reverses tape and mic/line inputs between channel strip
and Mix-B/Monitor section
Mix-B Source selects from flip switch or channel strip (pre-fader) for
in-line monitoring while recording or gives an extra stereo aux bus
◆
Constant power, buffered panpot for rock-solid panning
◆
Each channel strip has 6 mono auxiliary sends with several routing
options:
◆
◆
Auxes 1 & 2 have two independent level controls that share a common Pre/Post switch.
+22dB Overload LED (monitors three critical points in the signal
chain, and displays the one that’s highest at any given time) and
Hyperactive -20dB Signal Present LED (can also tell you at a glance
what vocal or instrument is on what channel)
◆
Aux 3-4/5-6 are accessible from two level controls: A ‘shift’ button
changes Auxes 3 4 to 5-6. A ‘source’ switch selects signal source of Aux
3-4/5-6 from channel strip or channel’s Mix B/Monitor send so you
can build and effects mixer (pre or post-Mix-B level) to assign to
phones during tracking.
◆
Selectable Solo with Channel Metering allows soloing in full stereo
perspective: displays soloed channel operating level on master L/R
meters so input trims can be adjusted for optimum levels.
Top of the Channel Strip (not shown)
◆
True parametric, 3-control Hi Mid EQ with ±15dB boost/cut:
Ultra-wide 500Hz to 18kHz frequency sweep range; bandwidth
can be adjusted from a very wide 3-octave width to a very narrow
1/12-octave width.
◆ DC phantom power for condenser microphones is applied to channel
strips in groups of eight. It has a “ramping” function that gradually
increases from 0 to 48v power when you turn it on preventing
thumps and pops.
◆
Low Mid EQ with ultra -wide 45Hz to 3kHz sweep, ±15dB boost/cut
◆ Two BNC sockets for 12v gooseneck lamps
◆
±15dB shelving Hi (12kHz) and low (80Hz) EQ
◆
Multi-purpose 18dB/oct. low cut filter cleans up “mix mud”, cuts PA
rumble, creates a “neo-peaking” bass control when used with LO
shelving boosts
◆ Balanced mic inputs lead to the VLZ mic preamps. Mackie’s VLZ
(Very Low Impedance) design provides terrific dynamic range with
an EIN of -129 dB and 10Hz to 300 kHz bandwidth.
◆
Independent Mix-B (Monitor) section—think of it as as discrete
“channel strip within a channel strip”—with its own pan, level, EQ
and source capabilities. During mixdown, use as extra pre-fader
stereo Aux send or double your inputs
◆
Mix-B Split EQ assigns Hi and LO EQ to Mix-B
◆
Main and submaster
inserts allow you to
insert a compressor
or EQ into main L/R
or any of the 8•Bus
submaster circuits.
◆ Balanced/unbalanced 1/4˝ jacks with 40dB range handle everything
from hot digital inputs to older keyboards with low output voltages.
◆ 1/4˝ 4dB direct out jack (connected to the output of the channel,
post-EQ/post-fader/post-mute switch
◆ Channel Insert allows you to insert external serial processing equipment (eg. compressor, gate) into the main signal path of the input.
Master I/O Section
◆
Aux Returns are
unbalanced stereo
with a L&R input
for each return channel. If you only have one return signal, plugging it
into the Mono/L jack will cause it to be connected t both the left and
right return inputs and end up centered in your stereo image.
◆
Control Room output, Main Mix output, Mix-B output and Studio output
◆
2-Tk Input and External Inputs offer you the ability to listen to two
stereo sources directly, without patching through input channels.
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For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Rear Panel
◆
Three tape output jacks per bus (total of 24). Balanced outputs, switchable from +4/-10.
◆
+4dBu balanced Tape Returns, switchable to -10dBV in banks
of 8 returns
◆
“Triple busing” allows you to feed a 24-track deck without
having to constantly repatch. When you send a signal to
Submaster 1 output, for instance, it will appear as Submaster
Outputs 1, 9, and 17. If you have a 16-or 24-track deck, simply
patch these outputs to the corresponding multitrack inputs.
Now the tracks on your multitrack that are in Record mode
will accept the signal, while the tracks in Safe mode won’t.
MACKIE
16•8 / 24•8 / 32•8
8•BUS MIXERS
Master Section
◆
6 Aux Sends with Solo and Solo LED
◆
Talkback assigns to all submasters, main mix,
Aux 1, Aux 2 or Phones 1&2
◆
Solo level adjust and ultra-rude LED
◆
Monitor section with separate control room and
studio levels, source selection between L/R mix,
Mix-B, tape and external. Can be switched to
mono.
◆
Two separate headphone sections can be used
totally independent of each other. Each features
source selection between control room and any
combination of Aux 3/4, Aux 5/6, Mix-B or
external source. Solo allows control room to
hear what musicians are hearing in their
headphones.
◆
Mix-B/Monitor section can be used as an
independent stereo out for PA monitor mix,
2-track recording, video/broadcast feed or
assigned to L/R mix.
◆
-40 to +10 bar graph LED displays for each
sub-master and Solo/Main (with main L/R
+22dB Clip LEDs)
◆
Expansion consoles let you add channels in
banks of 24 to either the 24•8or 32•8.
Expanders have their own internal mix
amps so the main board only “sees” one
extra channel per expansion console.
◆
Trick Bus Solo switches send odd-numbered buses to the left speaker and evennumbered buses to the right speaker—
unless you’ve pressed the respective Mono
L/R button. When a bus has been mono-ed,
Solo sends the bus to both speakers
◆
L Mix/R Mix and Mono L&R buttons assign
buses to main L/R stereo bus
◆
Built-in Talkback Mic with level control lets
you scream engineering commands to any
combination of Aux Send 1, Aux Send 2,
Tape/Submasters (L/R Mix and the eight
submasters) and Phones/Studio. When
Talkback is engaged, control room outputs
are padded by 20dB to avoid feedback.
379
Six Stereo Aux Returns. All have 20dB gain, Solo,
and can be used in stereo and mono. Aux return
1 & 2 are pannable and bussable. 3 & 4 are
assignable to the phones for ‘wet’ monitoring.
AUDIO MIXERS
◆
8•BUS SERIES ACCESSORIES
Meter Bridges
Matching meter bridges (MB•16, MB•24, MB•32)
are available for each mixer. Each provides 12-segment LED ladders for each input channel, and
lighted VU meters for master Left/Right output.
Like the mixers’ integral meter sections, the LEDs in
the bridges are with Lexan to resist dust and
humidity. On each meter bridge, input buttons
allow you to globally switch between Tape Return
input and Channel Strip post-fader output. Each
meter attaches in minutes and can be tilted as
desired (up to 90°). They also tilt down fully flat to
save you inches of road case depth—and from having to buy another case just for the meter bridge.
The Stand
Any 8•Bus (including the 24•E Expander) can be floor-mounted via the optional The
Stand. Made of rugged steel with ultra-tough, 2-part polyurethane coating, The Stand
assembles in minutes.
24•E Expander Console (for 24•8, 32•8 only)
The 24•E is essentially another 24-channel 8•Bus mixer—but without a master output
section. You get 24 complete input channel strips and 24 more tape returns. The 24•E
connects to the 24•8 or 32•8 via a multi-pin connector. Additional 24•E’s can be
daisy-chained to create 48, 56, 72, 80 or 96 more input channels. The 24•E’s outputs are
pre-mixed in the expander to reduce line and thermal noise and to maintain maximum
sonic quality at the main console. The connecting cables are long enough so that you can
place one or Expanders on each side of your main 8•Bus mixer.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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SAMSON
MIXPAD 4
380
AUDIO MIXERS
Compact 4-Channel Audio Mixer
An incredibly compact 4-input stereo mic/line mixer with exceptional sound and a host
of features, the Mixpad 4 also offers AC/DC capability, making it ideal for use in ENG
and field recording applications as well as in the studio. Exceptionally professional from
its high headroom design (+27dB) to its durable extruded aluminum chassis, the Mixpad
4 also shines as a sub-mixer in live and recording settings.
Features include 3-band EQ and pan/balance and level controls on each channel, a
front-panel stereo headphone jack, two balanced mic/line inputs (XLR and 1/4˝
connectors), 1/4˝ stereo line input, CD/tape input, 48-volt phantom power, an Aux send
and a stereo Aux return (with level control which can be used as 2 mono aux returns),
as well as a main level control and power and peak LEDs.
Two balanced (XLR and 1/4˝) mic/ line and
one stereo input (4 channels total)
◆ Trim controls on mic input channels
◆ 48v phantom powered mic inputs
◆ Independent 3-band EQ for each channel,
with ±15 dB of cut/boost for low (80 Hz)
and high (12 kHz) frequencies, and ±12 dB
of cut/boost for mid (2.5 kHz) frequency
◆ Independent CD/tape input; signal is routed
via channel EQ
◆
◆
Constant-level pan controls (mono channels) and balance controls (stereo channel)
◆
Balanced stereo output with 1/4˝ jacks for
connection to amps and other gear
◆
One Aux send (pre-fader)
◆
Front-panel headphone output
◆
One stereo effects return with front panel
level control
◆
An inline power supply maintains the
mixer's low profile while eliminating hum.
◆
Peak overload LEDs on left and right main
outputs for monitoring
◆
◆
High slew rate allows it to react quickly to
transients and to maintain crisp sound.
Battery operated, the mixer can run for 12
hours on three 9V batteries (the front-panel
Power LED also indicates battery strength).
◆
Includes a carrying strap for easy portability.
MPL-1602
Rackmount 16x2 Line Mixer
The MPL-1602 provides a 16 x 2 stereo mic/line
mixer in an easily installed 2RU high package.
Equipped with 2-band EQ and balance and
level controls on each channel, the MPL-1602 is
ideal for recording, keyboard setups, broadcasting, live concert and contracting applications. It also
features 2 main left/right faders, a stereo headphone jack with dedicated level control, 16 electronically-balanced 1/4˝ line inputs, 2 XLR mic inputs with trim
controls, 2 pre-fade Aux sends and 2 stereo Aux returns, along with 6 channel insert and 2 main bus insert patch points.
A highly practical audio tool for all kinds of professionals, the MPL-1602 is a great way to add more inputs with mixing
capability to keyboard setups, small live sound systems, Techno bands and multimedia situations.
◆
8 balanced stereo line input channels
◆
◆
2 XLR-balanced mic inputs with trim
controls on rear panel
◆
Level and balance controls on each
channel
2-band equalization on all channels
◆
2 balanced main L/R bus outs
◆
2 aux sends on each channel
◆
◆
2 stereo aux returns (which have independent level and balance controls allowing for use as 4 mono Aux returns)
Front-panel stereo headphone output
with dedicated level control
◆
6 channel inserts and 2 main bus inserts
for increased flexibility
ONE HOUR FREE PARKING
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AT 349 W. 34th STREET (with purchase of $100 or more)
SAMSON
MIXPAD 9/MIXPAD 12
9-and 12-Channel Compact Audio Mixers
Remarkably compact 9- and 12-channel mixers, the Mixpad 9 and 12 offer professional audio
performance and a wide range of user-intensive features for virtually any type of application. They
boast superior low noise and low distortion specifications, include wide-range gain trim controls for both mic and line inputs, provide very transparent, open sound, and they have a very high slew rate—usually found on larger, more expensive mixers. They offer phantom power on all mic
inputs for use with condenser mics and an in-line power supply eliminates magnetically-induced hum.
◆ In the MIXPAD 12, a total of twelve input
channels (including three stereo channels); in
the MIXPAD 9, a total of nine input channels
(including three stereo channels);
◆ Mono channels provide electronically balanced
inputs that can be used for mic or line-level
input, while stereo channels are ideal for
line-level sources such as outboard signal
processors; CD players; tape or cassette
recorders; stereo drum machines; and
keyboards and MIDI tone modules.
◆ An electronically balanced main stereo output
for connection to a power amplifier or tape
recorder.
Frequency Response
Signal To Noise Ratio
THD
Dimensions (W x D x H)
Weight
◆ Dedicated Tape/CD input
◆ Mic input trims are continuously adjustable
◆ Two auxiliary sends and two stereo auxiliary
returns (which can be used as four monophonic returns). Aux send 1 is pre-fader (but postequalizer), making it ideal for use as a headphone or monitor cue mix, while Aux send 2 is
post-fader and post-equalizer.
◆ Independent 2-band EQ for each channel, with
1±5 dB of cut/boost for low (100 Hz) and high
(10 kHz) frequencies.
◆ Constant level pan controls for placing each
mono channel in the left-right stereo spectrum,
as well as balance controls that let you blend
the relative levels of stereo inputs.
Mixpad 4
±3dB 10Hz to 50kHz
95dB
< 0.01%
6.4x 9 x 2.7˝
2 lb.
Mixpad 9
±3dB 10Hz to 50kHz
95dB
< 0.01%
9.4 x 9 x 2.3˝
5.5 lb.
from +4 to -50 dB, making it possible to use
them with a wide variety of microphones.
◆ Provide 48 volts of phantom power to all mic
inputs
◆ Peak LEDs for the left and right main outputs,
showing you when signal is overloading or near
overloading.
◆ Center detents for all pan, balance, and EQ
controls, making it easy to access them in
low-light situations like live performance.
◆ Convenient front-panel Power switch, Power
LED and dedicated headphone jack.
Mixpad 12
±3dB 10Hz to 50kHz
95dB
< 0.01%
12.8 x 9 x 2.3˝
6.5 lb.
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381
Fully professional, the Mixpad 12’s complete feature set and high-quality audio
performance allows it to function very effectively in the studio, sound reinforcement, field recording, audio for video and film applications and more. Almost
identical except for their inputs, both feature 2-band EQ and pan/balance and
level controls on each channel, a front-panel stereo headphone jack, 3 electronically balanced mic/line inputs (XLR and 1/4˝ connectors), three 1/4˝ stereo line
inputs, a CD/tape input, 48-volt phantom power, 2 Aux sends and 2 stereo Aux
returns (which have independent level controls and so can be used as 4 mono
Aux returns), as well as a main level control and power and peak LEDs.
AUDIO MIXERS
Featuring a high headroom design for matchless audio performance, the deceptively sized
Mixpad 9 is small but professional in every respect. Like the Mixpad 4 it offers superior
low-noise and low distortion specifications along with an exceptionally low group delay
over the full bandwidth for a transparent, open sound. An ideal choice for smaller live
sound situations such as clubs, acoustic setups, keyboard rigs and lounge acts, project
recording and more.
SAMSON
Samson’s MDR (Maximum Dynamic Range) mixer series of mixers offer transparent sound, low noise and high quality mic
preamps at very affordable prices. Each mixer features low impedance circuit design, 60mm faders, combi XLR connectors,
phantom power, steel construction and all but the MDR 6 have built in 24-bit DSP. Samson’s exclusive Hard Disc Record Mode
(MDR 6 and MDR 8 only) eliminates delay between instrument and monitor mix when recording to hard disc.
MDR 6 6-Input Stereo Mixer
The compact MDR 6 is a six-input stereo mic/line tabletop mixer in a portable and rugged
package. Perfect for a small studio, the MDR 6 features 60mm faders, 3-band EQ, Aux send
and pan or balance on each channel. There are four high quality mic preamps, an Effects
return, dual 5-segment LEDs and a headphone out and mono out both with level controls.
The left and right mix out also feature 60mm faders.
60mm faders on each
channel and mains
◆ 3-band EQ on each channel
◆ Four XLR inputs with mic
preamps
◆
Mono out with level control
Dual 5-segment LEDs
◆ Aux send with effects return
◆
◆
382
AUDIO MIXERS
MDR SERIES
Hard Disc record mode for
recording with a PC
◆ Headphone out with level
control
◆ In-line power supply
◆
MDR 8 8-Input Stereo Mixer
The MDR 8 is an eight input stereo mixer with 24-bit DSP featuring 60mm faders, 3-band
EQ, two Aux sends and pan or balance on each channel. Included are six high quality mic
preamps, two Effects returns Dual 6-segment LEDs, a headphone out and mono out both with
level controls. The left and right mix out also feature 60mm faders.
Step-up features from the MDR 6—
◆
Six XLR inputs with mic preamps
◆
2 Aux send with 2 effects return
◆
24-bit DSP effects (lush Hall, Room and Vocal
reverbs, Chorus and Delay)
◆
Dual 6-segment LEDs
MDR 10 10-Input Stereo Mixer
The 10-input MDR 10 packs professional features into a compact package. All 10 channels
feature a high quality mic preamp, 60mm faders, a pan control and a 1/4˝ and XLR input
(with mic preamp). Channels 1-6 offer a gain control, 3-band EQ with sweepable
mids, a low-cut filter, two Aux sends (1 switchable pre/post, 1 to the DSP), Solo and
Mute switches and smooth 60mm faders. Channels 7-10 feature 2-band EQ, 1 Aux
send (switchable to Aux 1 or 2), Solo and Mute switches and 60mm faders. The outputs
and bus 3 and 4 are on 60mm faders and the master section features selectable DSP,
headphone out with level control, effects returns, mono out, phantom power and more.
Step-up features from the MDR 8—
◆
◆
10-channel stereo mixer with 2+2 bussing
10 XLR inputs with mic preamps
PHOTO - VIDEO - PRO AUDIO
◆
3-band EQ with sweepable mids and
a low cut filter on channels 1-6
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
◆
◆
Dual 12-segment LEDs
I2-track in and out connectors with send to mix switch
SAMSON
MDR 16
16x4 Stereo Mixer
Step-up features from the MDR 10—
• 16-channel stereo 4-bus mixer
• 16 XLR inputs with mic preamps
• 60mm faders on channels, busses and mains
• 3-band EQ with sweepable mids and a low
cut filter on channels 1-8
Rackmount 12x4 Mic/Line Mixer
“MPL” stands for “Mic/Program/Line” and the name describes the
broad range of signals which can be handled by this powerful mixer.
In fact, the compact design of the MPL-1204 belies its extraordinary
versatility. A great all-around audio tool, the 4RU high MPL-1204
is designed for use in live and monitor mixing, keyboard setups,
recording and fixed installations, conference rooms, distributed sound
and as an extra mixer to expand home recording setups.
A true 4-bus, the versatile MPL-1204 features 12 input channels with
mic and line trim pots, 3-band EQ, two Aux sends (1 pre, 1 post) plus solo and bussing switches. There are independent faders for
each bus, and stereo Main and Control Room volume controls provide complete flexibility in monitoring and routing.
◆
Twelve independent channels with balanced
XLR and 1/4˝mic and line inputs; also has a
stereo CD/Tape input with dual RCA jacks.
◆
48V phantom power for all 12 mic inputs
◆
Constant level Pan controls for each channel
that allow you to precisely place each input
signal in the left-right plane.
◆
Independent 3-band EQ for each channel,
with 15dB of cut/boost for low (100 Hz)
and high (10 kHz) frequencies, and 12 dB of
cut/ boost for mid (1 kHz) frequencies.
◆
Channel inserts for all twelve channels,
enable use of outboard signal processors
such as EQs, compressors or noise gates.
◆
Center detents for all Pan and EQ controls
make it easy to use in low-light situations.
◆
◆
◆
Flexible front panel metering system with
10-segment level meter lets you view at a
glance the levels of the main Left/Right output, as well as main power, phantom power,
and PFL or AFL status.
Four bus outputs and an electronically balanced main stereo output, with dedicated
front panel control. Any channel input can
be routed to either of the two bus pairs (1/2
or 3/4), and any of the buses can be routed
to the Left/Right mix output with the touch
of a button. This flexible design allows you
to easily mute selected channels and/or to
create submixes within your main mix.
Independent XLR-balanced Main stereo
outputs as well as balanced stereo Control
Room outputs with dedicated level control.
◆
Bus inserts allow external signals to be submixed into any or all of the four buses and
also enables linking of multiple mixers.
◆
Two auxiliary sends on each channel. Aux
send 1 is pre-fader, Aux send 2 is post-fader.
◆
Two stereo auxiliary returns (route to any of
the buses). with front panel level controls
◆
Selectable Pre Fade Listen (PFL) or After
Fade Listen (AFL) soloing for each channel.
Both are non-mix-destructive in that they
do not affect the signal being output either
by the Main, Bus, or Control Room outputs.
◆
Front-panel headphone output with volume
control for monitoring of soloed channels.
◆
Mounts in any 19" rack (4RU), making it
easy to integrate into existing systems.
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383
MPL-1204
AUDIO MIXERS
The flagship of the series, the MDR 16, is a true 4-buss mixer. All 16
channels feature a high quality mic preamp, gain control, Solo, Bus 1-2,
Bus 3-4 switches and 60mm faders. Channels 1-8 offer 3-band EQ
with sweepable mids, a low cut filter, two Aux sends (1 switchable
pre/post, 1 to the DSP) and channel inserts. Channels 9-16 have 2band EQ and a switchable Aux send. The four 60mm bus faders can be
routed to the left/right fader. The master section features 24-bit DSP, 9band stereo EQ, dual 12-segment metering, Solo, PFL, 2-track out,
headphone and mono out with level controls and more.
SOUNDCRAFT
FOLIO NOTEPAD
AUDIO MIXERS
Compact Audio Mixer
The ultra-compact and very affordable Folio Notepad is packed with enough
features to handle a surprisingly wide range of mixing tasks. Less than 10˝wide,
it can handle up to 10-inputs, configured to give you the maximum choice of
source signals, from condenser mics to turntables. Its high-quality components and
advanced design ensure CD-quality sound, while its ergonomic layout makes it very
easy to use. Features include separate mix and monitoring outputs, custom-built pots
for precision control and carefully-tailored responses, and an external power supply
that guarantees hum-free mixes with high RF rejection. Custom controls give you
smooth, even response, while high quality pre-amps let you connect mic or line
signals without noise or overload. Ideal for video editing, desktop recording, houses
of worship, small live venues, DJ’s and more.
◆ 10 inputs
◆ Post-fade aux send on every input
◆ 4 mic inputs and 2 stereo inputs
◆ Stereo effect return
◆ High quality mic preamp inputs
◆ Switchable +48V phantom power
◆ Separate mix and monitor outputs
◆ 2-track tape return
◆ Peak and VU metering
384
◆ 2-band EQ on all 4 mono channels
◆ Stereo inputs with switchable RIAA
pre-amps for turntables
◆ Headphone output
◆ Custom designed rotary controls
for consistent, accurate response
FOLIO FX16
16 Mic/Line Input Mixer w/Lexicon Effects
Spirit FX16 is a flexible 4-bus mixer capable of producing Digital sound quality for
live and recording applications. It features a specially designed 16 program Lexicon
Effects Section with dual effect capability (including Chorus and Reverb, Chorus
and Delay , and Reverb and Delay) and fully editable and storable programs and
parameters. The console itself includes 16 mic/line inputs and 26 inputs to mix in
total (including FX returns and tape return to mix). In addition to the mix outs,
two sub-buses allow groups of instruments to be sent to multitrack, to additional
speakers, or sub-grouped to mix. FX16's 16 Direct Outs are individually fader
pre-post switchable so they are equally useful for recording in the studio or at a gig.
In keeping with the multipurpose nature of FX16, both Solo In Place and PFL solo
are available, for studio monitoring and channel gain set-up applications respectively.
◆ All
FX16’s 16 mic/line inputs are equipped
with UltraMic preamp which provides a
full 60dB of gain range and +22dBu of
headroom, meaning that the FX16 input
stage can handle virtually any mic or line
device.
◆
In the EQ section, a “truly British 3-band
EQ” with swept mid benefits from custom
designed pots which give greater control
across carefully chosen frequencies.
PHOTO - VIDEO - PRO AUDIO
◆
◆
There are 4 Auxiliary Sends, including a
dedicated Lexicon effects send, 1 pre-fade
send and 2 pre/post-fader selectable send
which are equally useful as extra foldback
send in monitor-heavy live applications,
or as effects sends in studio mixdown
situations.
In addition, there are four Stereo returns, a
separate Mono Sum Output and 2
Subgroup Outputs.
EQUIPMENT LEASING AVAILABLE
◆
100mm faders are used throughout, giving
you accurate control during complex mixes,
and all pots have been custom designed to
give even and consistent response around
their entire sweep.
◆
All of these features in a rugged, compact
frame which can be optionally rack-mounted into a 10U space via FX16’s rotating
connector pod which allows leads to be
connected conveniently behind the rack.
SOUNDCRAFT
SPIRIT E SERIES
6-, 8- and 12-Input Mixers
E6
E8
385
E12
FEATURES
◆
6, 8, and 12-mono input channel frame
sizes, each with two stereo inputs
◆
ES Version has 10 full-function stereo inputs
and 4 mono inputs
◆
High quality, ultra-linear mic preamps with
smooth gain control
◆
True, professional +48V phantom power for
condenser microphones
100mm faders are used throughout, giving
you accurate control during complex mixes
◆
Professional insert points for external processing
◆
◆
2 aux sends, each globally switchable pre or
post fade
◆
All mono input channels have TRS insert
sockets and inserts are also provided on the
mix output.
◆
◆
◆
Peak LED uses multipoint signal take-offs to
watch for overload in several parts of the
channel strip (post-mic pre, post-EQ, postfade), and the LED lights more brightly as
the signal approaches the peak point. .
◆
Each mixer has 2 auxiliary buses, configurable to work the way you do, and all main
connectors are professional XLR and 1/4˝
metal jack sockets for reliability.
EQ on the standard mono input is 3-band
with a swept mid, while the standard stereo
input has two band EQ.
◆
RCA phono connectors are provided for disc
and stereo playback inputs and record outputs.
Close-tolerance surface mount components
for high-accuracy repeatable EQ
◆
Effective grounding eliminates noise and
crosstalk
AUDIO MIXERS
Looking for a simple, easy to use mixer that delivers an
exceptional audio performance? The Spirit E Series is here. For
recording, live, install or broadcast use there’s a Spirit E Series
mixer for you.
The emphasis with the Spirit E Series is an easy to understand
control surface uncluttered by unnecessary facilities. Surface
mount technology is used throughout, using close-tolerance
components for high accuracy and repeatable settings for EQ
and gain controls. The mic amp features high-resolution
adjustment over a wide gain range of 55dB, and
provides a stunning +22dB headroom through the
console. The E Series is available in 4 standard models:
6, 8 and 12 mono inputs (each model featuring two stereo
inputs) and the unique ES. The ES caters for set-ups with
multiple stereo sources that require simultaneous connection,
such as keyboards, samplers and computers, and has 10
full-function stereo inputs as well as four mono inputs
(for microphones and other mono sources). Two of
these stereo inputs are equipped with RIAA - equalized
inputs on RCA Phono connectors so that record turntables can
be plugged straight into the mixer for DJ music production.
The ES is ideal for touring keyboard players as a submixer.
◆
Main stereo mix has two 10-segment LED
meters
◆
Intuitive and comprehensive solo system
and a headphone output
◆
The monitor output and headphone output
work in parallel so that performers can still
listen on phones while an engineer is listening on studio monitors.
◆
The AC mains inlet for the integral universal
switched-mode power supply is recessed
underneath the console, allowing the mixers
to be put against a wall with the AC cable
routed under the sculptured side cheeks or
mounted in a rack without the AC cable
protruding on the top.
◆
Each mixer can be easily and quickly converted for rack mounting, simply by removing the side cheeks and adding the optional
rack rails.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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YA M A H A
MG SERIES
386
AUDIO MIXERS
Analog Mixers
Yamaha’s analog MG mixer series cover multiple applications, including PA, project studio, classroom, house of worship, personal
monitoring and sub-mixing uses. The MG-series features six models ranging in size from the small MG10/2 10-channel/2-bus
unit right up to the very flexible MG32/14FX 32-channel/14-bus type with an impressive selection of built-in effects. There have
been no compromises. The mixers are built for great sound, total control, and superior reliability. In fact, they undergo the same
rigorous quality and reliability tests as Yamaha’s world-class PM-series mixing consoles. Yet, they take full advantage of the latest
Yamaha technology and manufacturing techniques to offer more value than you’ll find anywhere else. In short, they offer
extraordinary performance and mixing power at remarkable prices. If you need a high-performance analog mixer for music
production or sound reinforcement, the Yamaha MG Series is the first — and last — place you should look.
MG10/2 Mixing Console
If you simply need to mix a few sources to stereo, but still want the finest,
audio quality available, the MG10/2 is an outstanding choice. Compact
and easy to use—the MG10/2 can even be mounted on a mic stand (with
optional adapter) for totally flexible positioning and easy access. Ideal for
demo and music production in your personal studio, for band rehearsal or
small sound reinforcement applications.
10 Input Channels
Aux Sends and Returns
◆
Channels 1 - 2 provide a choice of XLR mic
or 1/4˝ TRS line inputs with insert I/O for
adding external compressors or EQ.
◆
Two 1/4˝ TRS post-fader aux sends are
available for creating a monitor mix or
accessing an external effects processor.
◆
Channels 3 - 6 can be configured as two
1/4˝ TRS stereo line inputs or as two mono
microphone inputs.
◆
1/4˝ TRS stereo aux returns with level
control provide the means bringing an
external effects unit back into the mix.
◆
Channels 7 - 10 are configured as two
stereo channels with a choice of 1/4˝ TRS
or RCA inputs.
◆
The mic preamps use high-performance
head amplifiers and switchable phantom
power allowing you to bring out the best of
both dynamic or condenser microphones.
PHOTO - VIDEO - PRO AUDIO
3-band Channel EQ & HPF
◆
Designed for smooth, “musical” response, a
3-band EQ is provided on all input
channels. Mono mic input channels also
feature a switchable highpass filter for
cutting unwanted low-frequencies.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Mains Section
1/4˝ TRS balanced main outputs with
master level control
◆ 1/4˝ TRS balanced control room and 1/4˝
headphone outputs with level control are
also provided.
◆ Left and right RCA record outputs as well
as 2 track inputs with level control.
◆ 12-segment LED output meters
◆
Optional Mic Stand Mount
◆
Mounts on a mic stand with the optional
BMS- 10A Mic Stand Adaptor, so the mixer
is always within easy reach.
YA M A H A
MG12/4 • MG16/4 • MG16/6FX
Extensive Creative Control in the
Studio or on Stage
AUDIO MIXERS
The mid-range MG models go beyond the basics to give you extensive
control for a wide range of applications - with the no-compromise Yamaha
sonic quality that makes the MG mixers the finest in their class. Whether
music is a hobby or profession, these mixers will deliver total satisfaction.
If you don’t need effects, or already have an arsenal of outboard favorites,
the MG12/4 or MG16/4 may offer all the capacity and capabilities you
need. But if the idea of having some of the finest effects available built right
into the console appeals to you, then consider the effect enabled MG16/6FX.
Step-up Features from the MG10/2
◆
◆
Faders are provided for the input channels,
stereo group and main stereo bus.
◆
Channels 1 - 4 provide a choice of XLR mic
or 1/4˝ TRS line inputs with insert I/O for
adding external compressors or EQ.
Master Send controls for controlling output
levels independently for Aux 1/2
◆
Separate level controls are provided
for each channel’s two Aux Sends.
Additionally, Aux one can be switched
Pre or Post fader.
◆
The main stereo outputs feature both XLR
and 1/4˝ TRS output connectors.
◆
Supplied with rackmount adapters, use
them on a desktop or mounted in a rack
◆
Channels 5 - 8 can be configured as two
1/4˝ TRS stereo line inputs or as two mono
microphone inputs.
◆
Channels 9 - 12 are configured as two
stereo channels with a choice of 1/4˝ TRS
or RCA inputs.
MG16/6FX Mixer with Effects
MG16/4 – 16 Input Channels
◆
Channels 1 - 8 provide a choice of XLR mic
or 1/4˝ TRS line inputs with insert I/O for
adding external compressors or EQ.
◆
Channels 9 - 12 can be configured as two
1/4˝ TRS stereo line inputs or as two mono
microphone inputs.
◆
Channels 13 - 16 are configured as two
stereo channels with a choice of 1/4˝ TRS
or RCA inputs.
16 Input Channels
◆
Channels 1 - 8 provide a choice of
XLR mic or 1/4˝ TRS line inputs with
insert I/O for adding external compressors or EQ.
◆
Channels 9 - 12 can be configured as
two 1/4˝ TRS stereo line inputs or as
two mono microphone inputs.
◆
Stereo Group Buss
◆A
stereo group bus with 1/4˝ TRS outputs
adds a convenient way of channel grouping
– ideal for creating a discrete signal path for
tracking or creating a monitor mix.
Illuminated Switches
◆
Each input channel features illuminated
switches for ON (Stereo buss assign), PFL
(Pre- Fader Listen), and phantom power
providing visual confirmation of settings.
Channels 13 - 16 are configured as
two stereo channels with a choice of
1/4˝ TRS or RCA inputs.
Internal Digital Effects
◆
7-band Stereo Graphic EQ
◆A
7-band stereo graphic equalizer
with ±12dB boost/cut per band is
available for flexible overall response
shaping control.
Six Buses
(Stereo and Two Group Pairs)
◆ Two pairs of stereo group buses are
provided for convenient channel
grouping, in addition to the main
stereo bus.
Enhanced Channel EQ
◆
The mono input channels feature
3-band EQ with a sweepable mid
band as well as a High Pass Filter for
cutting out unwanted low frequencies
on the mic inputs.
◆
Stereo input channels feature four
fixed frequency bands (High, HighMid, Low-Mid and Low).
Built-in internal effects processor
with 16 superb reverb and delay
programs with a variable parameter
control.
◆ An
effect send on each input is provided for controlling the amount of
effect for each channel.
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387
MG12/4 – 12 Input Channels
YA M A H A
MG24/14FX • MG32/14FX
AUDIO MIXERS
Serious Capacity for
Sound Reinforcement
and Installations
If your application is live sound reinforcement you’ll want
all the channel capacity you can get - just in case. Vocal
mics, instrument mics, stereo keyboards, direct-injection
feeds, drum mics, and the rest can add up very quickly.
With 24 and 32 input channels, respectively, the
MG24/14FX and MG32/14FX are ready to handle all
but the most ambitious sound-reinforcement setups.
And with dual SPX digital effect systems on-board
you won’t need racks of outboard gear to get the
sound you need. There’s also a comprehensive range of
group and auxiliary busses to make even complex mixes easy.
388
FEATURES
MG24/14FX –
24 Input Channels
◆
Channels 1 - 16 provide a choice of XLR
mic or 1/4˝ TRS line inputs with insert I/O
for adding external compressors or EQ.
◆
Channels 17 - 20 are configured as two 1/4˝
TRS stereo line inputs.
◆
Channels 21 - 24 are configured as two
stereo channels with a choice of 1/4˝ TRS
or RCA inputs.
MG/32/14FX –
32 Input Channels
◆
Channels 1 - 24 provide a choice of XLR
mic or 1/4˝ TRS line inputs with insert I/O
for adding external compressors or EQ.
◆
Channels 25 - 28 are configured as two 1/4˝
TRS stereo line inputs.
◆
14 Buses For Flexible
Signal Routing
◆
◆
Four stereo group bus pairs for convenient
channel grouping.
◆
Six auxiliary busses (four configurable for
pre- or post-fader operation and two set up
as effect sends).
◆
Two internal effect busses feed the dual
high-performance built-in SPX processors.
◆
Not one, but two high-performance digital
signal processing stages, fed by separate
effect buses, are provided using the very latest Yamaha DSP technology. Each stage provides a selection of 16 professional-quality
SPX digital effects, including reverb, delay,
pitch change, chorus, phasing, vocal doubling, distortion, and more.
Mic Preamps
◆ All
PHOTO - VIDEO - PRO AUDIO
◆
◆
Parameter controls that can be adjusted to
tailor the effects to your sonic requirement
are also provided and Tap delay allows you
to create tempo-synchronized delays.
EQUIPMENT LEASING AVAILABLE
3-band EQ with sweepable midband provided on all input channels provide exceptionally smooth, intuitive response, helping
you create cleaner, tighter mixes.
◆ All
mono mic input channels also feature a
switchable high-pass filter that can be used
to cut out unwanted low-frequency noise.
Talkback Input
◆
Dual SPX Digital Effects
Channels 29 - 32 are configured as two
stereo channels with a choice of 1/4˝ TRS
or RCA inputs.
16 (MG24/14FX) and 24 (MG32/14FX)
mic preamps are of exemplary quality
featuring low-noise, high-precision head
amplifiers with phantom power switchable
in 8-channel groups.
In addition to lots of input channels, live
sound reinforcement applications usually
demand a number of additional mixes usually in the form of group sub-mixes and
aux sends for external signal processing and
monitor mixes.
3-band EQ with
Sweepable Mid and HPF
Communication capability is important for
efficient setup as well as for keeping a show
running smoothly. Both the MG24/14FX
and MG32/14FX feature a talkback system
that allows the FOH engineer to communicate with the monitor engineer, performers,
or other staff to keep the team operating at
optimum efficiency.
Sweepable LPF for Mono Out
◆
The XLR balanced mono output, aided by
the built-in sweepable low-pass filter, provides an ideal way to tune and drive a subwoofer system.
◆ An
XLR input on the top of the console is
provided to accommodate a talkback mic
◆
Balanced XLR Stereo and Mono Outputs
YA M A H A
MG SERIES COMPARISON
MG16/4
MG16/6FX
MG24/14FX
12
16
16
24
XLR Mic Inputs
1/4˝ TRS Line Inputs
Stereo Inputs
1/4˝ TRS Insert I/O
Phantom Power
Input Gain Control
High Pass Filter
AUX Send/Return
1/4˝ TRS Send
32
4
2
2
Ch 1 – 2
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
6
4
2
Ch 1 – 4
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
10
8
2
Ch 1 – 8
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
10
8
2
Ch 1 – 8
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
16
16
4
Ch 1 – 16
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
16
16
4
Ch 1 – 16
+ 48 V
44 dB variable
80 Hz 12 dB/Oct
2 (1/Pre, 2/Post)
2 (1/Post-Pre,
2/Post)
1
—
Stereo RCA
Stereo RCA
1/4˝ TRS & XLR
—
1/4˝ TRS
—
—
—
2
—
1/4˝ TRS
2 (1/Pre, 2/Post-Pre)
1
—
Stereo RCA
Stereo RCA
1/4˝ TRS
—
1/4˝ TRS
—
—
—
—
—
1/4˝ TRS
2 (1/Post-Pre,
2/Post)
1
—
Stereo RCA
Stereo RCA
1/4˝ TRS & XLR
—
1/4˝ TRS
—
—
—
2
—
1/4˝ TRS
±15 dB (Max.)
10 kHz
2.5 kHz
100 Hz
±15 dB (Max.)
10 kHz
2.5 kHz
100 Hz
±15 dB (Max.)
10 kHz
2.5 kHz
100 Hz
±15 dB (Max.)
10 kHz
0.25 – 5 kHz
100 Hz
±15 dB (Max.)
10 kHz
0.25 – 5 kHz
100 Hz
±15 dB (Max.)
10 kHz
0.25 – 5 kHz
100 Hz
±15 dB (Max.)
10 kHz
—
2.5 kHz
—
100 Hz
—
±15 dB (Max.)
10 kHz
—
2.5 kHz
—
100 Hz
—
±15 dB (Max.)
10 kHz
—
2.5 kHz
—
100 Hz
—
±15 dB (Max.)
10 kHz
3 kHz (Peaking)
±15 dB (Max.)
10 kHz
3 kHz (Peaking)
800 Hz (Peaking)
100 Hz
—
800 Hz (Peaking)
100 Hz
—
—
—
External
10.2 x 11.3 x 2.5˝
Mic Stand Mountable
BMS-10A
—
—
External
12.5 x 16.4 x 4.1˝
Rack Mountable
—
—
—
External
16.7 x 16.4 x 4.1˝
Rack Mountable
—
±15 dB (Max.)
10 kHz
3 kHz (Peaking)
—
800 Hz (Peaking)
100 Hz
(125, 250, 500, 1 k,
2 k, 4 k, 8 kHz)
±12 dB (Max.)
1 (16 Programs)
External
16.7 x 16.4 x 4.1˝
Rack Mountable
—
2 (16 Prgs each)
Internal
33.5 x 21.3 x 5.9˝
—
—
2 (16 Prgs each)
Internal
41.7 x 21.3 x 5.9˝
—
—
1/4˝ TRS Stereo Aux Return
Effect Send
2 Track In
Record Out
Main Stereo Out
Main Stereo Inserts
Stereo C/R Out
Stereo Sub Out
Mono (Sub) Out
Mono Out Low Pass Filter
1/4˝ TRS Group Out
1/4˝ TRS Group Inserts
Stereo Headphone Output
CH EQ (Mono Channels)
Boost/Cut per band
High (Shelving)
Mid (Peaking)
Low (Shelving)
CH EQ (Stereo Channels)
Boost/Cut per band
High (Shelving)
Hi-Mid
Mid (Peaking)
Low-Mid
Low (Shelving)
7-band Graphic Equalizer
Boost/Cut per Band
Internal Digital Effect
Power Supply
Dimensions (WDH)
Mounting Capabilities
Option Mic Stand Adapter
Total Harmonic Distortion
Frequency Response
Input Hum & Noise
Crosstalk
1
1
Stereo RCA
Stereo RCA
1/4˝ TRS & XLR
—
1/4˝ TRS
—
—
—
4
—
1/4˝ TRS
MG32/14FX
6 (1-4 Post-Pre,
6 (1-4 Post-Pre,
5-6 Post)
5-6 Post)
2
2
2
2
Stereo RCA
Stereo RCA
Stereo RCA
Stereo RCA
1/4˝ TRS & XLR
1/4˝ TRS & XLR
1/4˝ TRS
1/4˝ TRS
—
—
1/4˝ TRS
1/4˝ TRS
XLR
XLR
80-120 Hz 12dB/Oct 80-120 Hz 12dB/Oct
4
4
4
4
1/4˝ TRS
1/4˝ TRS
S O N I C S P E C I F I C AT I O N S
Less than 0.1 % (THD+N) 20 Hz – 20 kHz @ +14 dB 600 Ω (ST OUT)
0 +1, -3 dB 20 Hz – 20 kHz @ +4 dB 600 Ω (ST OUT)
128 dB 20 Hz – 20 kHz, Rs=150 Ω, Input Gain=Max, Input sensitivity=-60 dB
-70 dB @ 1 kHz
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
389
MG12/4
10
AUDIO MIXERS
MG10/2
Input Channels
MACKIE
390
AUDIO MIXERS
D8B (DIGITAL 8•BUS)
The Mackie Digital 8 Bus or D8B is a 24-bit 56 input, 72 channel digital
mixing console designed for professional music, sound-for-picture, and installed live
applications. The most advanced digital console in its class- the D8B utilizes a
separate CPU for controlling limitless dynamic and snapshot
automation capabilities and an open architecture that allows
software upgrades as well as signal processing plug-in
expansion. The pentium-based 32-bit CPU handles over
3 billion instructions per second enabling you to run
digital functions such as EQ, gating and compression
on forty-eight simultaneous channels. And thanks
to the Mackie Real Time OS the system
doesn’t get bogged down by another
operating system such as the Mac OS or
Windows. The addition of an SVGA
monitor, keyboard and mouse make
working the D8B a dream. Whether you
are working with analog tape, a digital multitrack or
DAW, optional multi channel I/O cards are available to ensure that
the D8B will integrate seamlessly into your system. A dedicated DSP processor provides two stereo effects and up to three
additional DSP cards can be installed for even greater signal processing power. The D8B’s smart ergonomic design, digital
patchbay and surround sound mixing capabilities as well as the studio grade 24-bit converters and Apogee UV22 16-bit CD
encoding system far exceed the flexibility and sonic integrity of anything else on the market.
FEATURES
◆
56 inputs, 72 channels
◆
Built-in meter bridge and Talkback mic
◆
Full big-console automation of all parameters including digital effects—recall and
edit any mix anytime
◆
◆
48 channels of audio with gating, compression and parametric EQ available on all
channels simultaneously. 48-channel
overview screen
Speaker select and level controls let you
choose between two sets of monitors (eg.
near and far-field) as well as two independent, automatable Phones/Cue Mix sections.
◆
Insert and patch point feature on channels source either plug-ins, 8 aux sends, 8 buses
or 72 channels (pre-DSP only)
◆
Multifunction display provides tape position in SMPTE /MIDI and lets you mark
multiple in and out points.
◆
◆
◆
12 balanced XLR-mic inputs with switchable phantom power, 1/4˝ TRS line inputs
with high quality mic preamps and 1/4˝
TRS inserts. There is an additional twelve
1/4˝ TRS balanced/unbalanced line inputs
Channels 25 to 48 are accessed from three
card slots that accept any combination of
optional 8 channel I/O cards
12 Aux sends, AES/EBU and S/PDIF digital
I/O, 8-channel sub/ surround outputs (25pin D-sub connector), 2 stereo monitor
outputs, balanced XLR and 1/4˝ master
outs and 3x 1/4˝ balanced 2-track returns.
PHOTO - VIDEO - PRO AUDIO
◆
Dynamic and snapshot automation
◆
Event automation track, graphic time line
and Event list style automation editing
◆
MIDI Machine Control
◆
Assignable MIDI commands on transport
and on the D8B master control section
◆
999 levels of undo
◆
Up to 999 samples of time offset (delay) for
each channel pre-DSP (dynamics/EQ)
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Inserts can be run across Mains and Busses
◆ Open architecture compatible with 3rd
party plug-ins. Up to 16 simultaneous plugins on the first 48 channels, pre or post
DSP, pre-fader via up to 4 UFX cards
◆ Cross patching allows channels from various banks to be substituted with those from
other banks
◆ Enhanced dynamics with input keying and
EQ filter, soft-knee compression toggle, linear and exponential option
◆ Advanced Mix Editor with view sizing
arrows, auto-punch, auto-loop SMPTE time
code boxes, Loop-in/out, Punch-in/out and
Locate markers in the time bars
◆ Drag and drop file management between
File windows and desktop
◆ Auto Punch can be toggled from the console via MMC.
◆ 5.1, 6.1 and 7.1 surround-sound capabilities
in an adjustable 3-D floating window.
◆
MACKIE
D8B (DIGITAL 8•BUS)
Channel STRIP
Fat Channel –
For Hands-on Processing
◆
Provides four V-Pots and Previous/Next scroll buttons to quickly find and adjust effects
parameters of all twelve auxiliary sends and 4-band EQ, compressor with limiting, and gate
with expansion mode parameters for 48 channels
◆
The Compressor and Gate parameters can be viewed graphically in the expanded dynamics
view windows.
The Dynamic Key provides a selection of four EQ types (Parametric, Shelf, High Pass or Low
Pass) that can be applied to the Key input.
◆ A bright vacuum fluorescent display above the FAT Channel gives you visible read-outs of
changing DSP values. (In addition to the optional SVGA monitor.) Although you can tweak
the D8B’s settings with its analog-style knobs, you may prefer the on-screen control panels for
intricate adjustments. To quickly check channels for phase inversion, you can flip the phase of
individual channels from the VFD.
◆
Master Section
Lurking behind the Digital 8•Bus’ 100mm
motorized faders are four banks of channels, each available at the touch of a dedicated button.
—Channels 1-24 are for tracking
—Channels 25 to 48 are for tape returns
—A third bank for Internal Stereo Effects
Returns and four External Stereo Effects
Returns
—A fourth bank - 8 virtual group master
faders, 8 dedicated MIDI controller faders,
and 8 bus master faders. When you switch
banks, all faders will “snap” to their relative
position in the selected fader bank. The
SVGA display changes, too, reflecting the
selected bank and all controller positions.
◆
Choose between near-field or main speaker
outputs to monitor your mixes. This section can receive source signal from your
stereo mastering returns via three sets of
analog two-track inputs and/or the stereo
AES/EBU or S/PDIF input. Plus, a built-in
‘Talkback’ mic with ‘Dim’ button allow
communication with studio talent through
the Phones/Cue mixes or Studio outputs.
◆ Each provides an amplified headphone output of either the Control Room mix or
either of the ‘Cue Mixes’ (Aux 9/10, 11/12)
◆ A unique ‘Copy Mix to Cue’ function
allows you to set up your headphone mixes
using the D8B faders, and then copying
their relative positions to the Cue Mixes.
◆
External CPU
The D8B includes a separate, external CPU with
Pentium processor, complete with 32 MB of
RAM, large capacity hard disk, 3.5˝ floppy drive
(use to load additional software or save sessions),
and SVGA video card, keyboard and mouse connections for connecting an optional SVGA monitor
(for display of many console functions including fader banks, DSP
and effects, surround sound, software library, and file management), keyboard and mouse.
On the back is an Ethernet connector. Use it to cascade two D8B’s solo control logic, mutes,
transports, etc… or connect one or more Digital 8•Bus’s to Mac’s or PC’s via a LAN for transfer
of session files and EQ/Effects libraries.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
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391
Apogee UV22 Super CD Encoding
Built into the D8B is Apogee’s UV22
outboard processor which encodes more
bits of detail onto CDs. Audible benefits
include more detailed reverb, better tonal
balance, wider stereo spread, more precise
placement of instruments in the sound
stage, and lower noise. Produce fantasticsounding 2-track masters that will continue
to sound fantastic no matter who masters
and duplicates them.
Perhaps one of the favorite features of the D8B
is the legendary Fat Channel. And now it has a
new look and many new features that will
greatly augment your audio arsenal. Larger
views, adjustable dynamics EQ key types, Gate
expansion, and external MIDI gate trigger are
just a few of the new Fat Channel components
that will make your mixing tasks easier and
more effective.
AUDIO MIXERS
Built-in meter bridge displays the selected
channel’s input level, including level
display for tracking, mixing, effect returns,
and sub bussing.
◆ Trim Level (channels 1-24 only) with quick
and easy level setting
◆ Mic/Line Switch (channels 1-12).
◆ Record Ready button on each channel strip
lets you remotely arm up to 24 tracks of
your digital multi-track or hard disk
recorder (on recorders that support MMC)
without turning away from the console.
◆ Assign button lets you quickly route channels to buses or any of the 24 tape outputs
with the punch of a button or a click of the
mouse. It's just like a digital patch bay!
◆ Write button displays the automation state
on the channel strip. For those who want
hands-on ability, the D8B’s automation can
also be run in Auto-Touch mode. As soon
as any recordable control is touched and
adjusted, the corresponding channel automatically goes into record mode.
◆ V-Pot gives you hands-on control over all
channels’ panning as well as all auxiliary
send, tape output, and digital trim levels.
V-Pots have visual feedback, instant recall
and full automation capability.
◆ Bank LED indicator tells you whether the
channels are currently Mic/Line, Tape In,
or Effect Return channels. The bank LEDs
switch along with the selected fader bank.
◆ Select function for channel editing, grouping, sending to tape outputs, linking, group
or bus assignment, or clipboard functions.
◆ Direct access Solo and Mute buttons—no
scrolling through menus
◆ 100mm motorized channel faders are silkysmooth when you move them; jitter-free
in motorized mode. The motorized action
can be globally defeated.
◆
MACKIE
D8B (DIGITAL 8•BUS)
392
AUDIO MIXERS
Locator/Transport/Jog
◆
Once you start using it, you’ll discover that
you don’t have to take your eyes off of the
console nearly as much. You can run the
transport of any tape or hard-disk based
recorder that can slave to MIDI Machine
Controlled. You can create song start and
stop or loop continuously between two
points. And you can dial in any location
point in a session right from the console.
◆
You can also arm up to 24 tape machine
tracks directly from the Record Ready button on each D8B channel strip. The time
code counter window and location point
reader above the transport section reflect
the tape position in SMPTE
(hrs:mins:secs:frms) or MIDI
(bars:beats:ticks), and let you mark multiple location points.
HUI Mode
The D8B software includes a HUI mode,
which allows the D8B to operate as a HUI
(Human User Interface) control surface with
DAW software applications that support the
Mackie HUI. Turn on HUI mode by clicking
Options in the top menu bar and selecting
HUI Mode. This creates a fifth fader bank in
addition to MIC/LINE, TAPE IN, EFFECTS,
and MASTERS, which can be accessed by
pressing SHIFT+MASTERS on the control
surface or clicking the HUI button above the
Master fader on-screen. HUI mode uses the
MIDI IN/OUT ports connected to a MIDI
interface to control specific functions in the DAW, including fader and transport control.
Open Card Cage Architecture
Easy Surround Sound
The future of music is multichannel and the
D8B makes it easy. To move a channel from
front to back or side to side, just pull up the
Surround window and use the mouse to
“grab” the sound source and move it around
in the Pan window. You can select two different positions for a sound and then “morph”
it from one spot to another over a specified
length of time. There is also a mind-boggling
Surround Screen that shows the frontback/left-right position of up to 72 different
channels—all in one view.
◆
Surround Sound mixing environment with
depth of center control, surround LFE gain
control for each channel, sound-corrected
buss and track assignment.
◆
Surround front-to-rear pan control via
control surfaces or MIDI
◆
Pan Depth of Center for keeping sound
effects and/or music out of the center
speaker during LCRS, 5.1/6.1/7.1 sessions.
◆
The Surround Sound window includes
nine faders (eight surround and a master)
for adjusting the analog output levels at the
Bus 1-8 outputs. This doesn’t affect the
digital surround output signals at the Alt
1-8 outputs. This allows you to make
adjustments in your monitoring levels
without affecting the signal being recorded.
Once the levels are set, you can lock the
monitor level settings by clicking the Menu
button and choosing Lock Monitor Levels.
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The D8B can be configured for almost any recording application. It offers analog I/O, digital I/O,
word clock I/O and effect processing cards as add-on options. And it doesn’t take a degree in
electrical engineering to add a card. In fact, you don’t even need a screwdriver to install a card.
OPTIONAL 8-CHANNEL I/O CARDS
AIO•8 Analog I/O Card:
8 balanced line level (+4dBu) outputs and returns for
connecting the D8B to analog equipment.
DIO•8 Digital I/O Card:
Made by Apogee, this card gives you 8 channels of
24-bit digital tape outputs and digital tape returns in
both ADAT lightpipe and Tascam T/DIF formats. The
DIO•8’s provide direct dubbing capabilities from
ADAT optical to T/DIF format, and vice versa.
AIO•8
DIO•8
OPT•8 Low-Cost Digital I/O Card:
The low-cost OPT•8 I/O card provides 8 channels of
ADAT lightpipe for under $100!
PDI•8
PDI•8: 24-bit AES/EBU Digital I/O Card;
Ideal for digital audio workstations and supports real
time sample rate conversion on input as well as
Apogee’s UV22 16-bit CD encoding on output.
Apogee Word Clock I/O
If you need to sync your D8B to an external clock reference, the optional Apogee Word
Clock I/O card provides a BNC clock input for slaving the D8B. Extremely low-jitter,
cost-effective clocking card with vari-speed and pull-up/down capabilities.
EQUIPMENT LEASING AVAILABLE
MACKIE
D8B (DIGITAL 8•BUS)
Mackie MFX and UFX Cards and Digital 8•Bus Plug-ins
MFX Card
UFX Card
UFX Card
▼
The UFX Card is the host for Acuma, Antares, Drawmer, and
Massenburg plug-ins. Mackie Mono Delay and T.C Electronic’s
TC FX II (provides reverbs from the renowned M2000) are
bundled free with a UFX card. UFX and MFX cards can be mixed
(up to a total of four cards).
◆
▲
MFX Card
UFX cards are 4-in/4-out,
which means each card can
simultaneously support
either: Four mono effects, or
two mono and one stereo
effect, or two stereo effects
◆
Up to four UFX cards can
be installed in the D8B. This
allows you to run up to 16
channels of mono or 8
channels of stereo plug-in
effects simultaneously.
Antares
Drawmer
AUTO-TUNE
ADX100
Pitch Correction for Voice or Solo
Instrument
Frequency-Conscious Gating,
Compression, Limiting and Expansion
The worldwide
standard in
professional pitch
correction, Auto-Tune
corrects intonation
problems in vocals or
solo instruments, in
real time, without
distortion or artifacts,
while preserving all of
the expressive nuance
of the original performance. In fact, Auto-Tune offers audio
quality so pristine that the only difference between what goes
in and what comes out is the intonation.
The precision by which Auto-Tune detects pitch is extraordinary. At a frequency of 400 Hz and a sample rate of 44100, the
Auto-Tune DSP algorithm computes the pitch to an accuracy
of .0001 samples per cycle, or .0004 Hz. At this resolution, the
very question "What is pitch?" becomes relevant. That is, as the
pitch of typical performances continuously change, the
amount of variation in pitch, even over the time of a few
cycles, changes greatly in comparison to the accuracy by which
Auto-Tune computes pitch.
Acknowledged as master of the analog dynamics processor,
Drawmer now offers its expertise to the Mackie Digital 8•Bus.
Left and Right input levels. -15.75dB to +16dB in 0.25dB
increments.
◆ Input VU meters. -42dB to 0dB.
◆ Faders for quick parameter control. All thresholds and levels
are in linear dBs, but other controls are scaled to a user
friendly law which minimizes 'fine tuning' and allows a wide
range of operation.
◆ You can instantly recall two preferred settings.
◆ Noise Gate is a switch designed for percussive signals, such
as drums where it can shape the envelope to create a crisp,
well defined signal.
◆ Gate/Duck switch. When Duck is selected, the operation is
reversed, so that when the signal is above threshold, the output is attenuated. Below Threshold, the signal passes unattenuated.
◆
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The MFX card is the host for
Mackie Effects reverbs, choruses,
echos etc... The IVL Vocal Studio
Demo is included. Adding a second
MFX card unlocks the official Vocal
Studio plug-in. (One MFX card
comes with your D8B.) MFX cards
can be mixed with UFX cards, up to
a total of four. Removing the MFX
card will disable the Mackie Effects,
and Vocal Studio.
AUDIO MIXERS
The D8B’s open architecture lets you take advantage of some of the world’s most creative software companies. These plug-ins
are made possible by the D8B’s advanced operating system and optional MFX and UFX cards. The D8B has four card slots
in the rear labeled “Digital Effects Cards”. The D8B comes with one MFX card comes installed. That leaves three slots to
fill up. You can mix and match MFX and UFX cards depending on the plug-ins you want to use. The D8B is the only
digital consoles that supports such a wide variety of plug-ins from the world’s best processor and effects companies and
there’s more to come.
MACKIE
394
AUDIO MIXERS
ACUMA LABS PLUG-INS for the D8B
A division of Mackie, Acuma Labs Ltd. develops real-time embedded systems for professional audio applications, specializing
in digital signal processors, micro processors, digital audio effects, analog and digital software, real-time operating systems,
interfaces, and hardware design. Seven plug-ins altogether, all of their parameters are automated through the D8B’s
automation engine and can be stored or recalled as a preset.
DSR-1
Three-band Frequency-Controlled “DeEsser” Dynamic Processor
The DSR-1 is a highly accurate, frequency controlled, three-band dynamic processor
that enables you to quickly isolate and correct unwanted sibilance found in vocal
recordings of singers and speakers. The DSR-1 reduces annoying sibilance and
popping sounds that are often found in recordings without loosing the crisp
top-end clarity. Don’t let the simple chicken head controls and the funky retro-look
fool you; the DSR-1 is a highly professional tool that is ideal for editing vocals,
instruments, and other sources. The DSR-1 is an invaluable D8B plug-in that can
save otherwise great recordings by eliminating troublesome “Ess” frequencies.
The DSR-1 employs frequency controlled compression to reduce problematic “Ess” that often occurs in recordings of singers and speakers. Using the
Frequency and Width controls to zero in on specific problem areas, an internal keying device known as Listen allows you to solo or (Listen) to the
isolated sibilant frequency that you want to compress. The DSR-1 can also help to reduce shrill, high-pitched sounds that may accompany bass guitars,
wind instruments, or other acoustic instruments. With a series of useful presets designed for male and female vocals, spoken word and other instruments, the DSR-1 promises to make even the toughest job easy to correct.
FINAL MIX
RTA-31
Real-time Stereo Mastering Processor
Real Time 31-Band EQ and Spectral Analysis
Now master
your sessions
within the
D8B, printing
directly to hard
disk without
having to rely
on expensive
mastering
houses or outboard gear. Final Mix will dramatically elevate the quality
of your mixes and help you create your own professional masters.
RTA-31 is both a
Graphic EQ and
a Spectrum
Analyzer that
enables you to
easily modify the
frequency
response of any
given signal
within the D8B
or from external live and studio acoustic environments. Quickly view
your sound using the on-board spectrum analyzer to zero in on the
troublesome highs and lows of even the most difficult rooms. The
amazing ‘ToEQ’ feature lets you immediately identify troublesome
frequencies using the Frequency Analyzer while the 31-Band Graph
automatically compensates for the highs and lows of your signal.
6-band pre-dynamics parametric EQ, 3-band dynamics processor,
6-band post-dynamics parametric EQ
◆ Graphical (user definable) dynamics band contours
◆ Adjustable crossover points and slopes for multi-band dynamics
◆ Node based adjustment of EQ bands and dynamics bands
◆ Soft Clip feature provides peak overload protection
◆ Noise gate with threshold adjustment
◆ DC removal filter automatically removes DC offset noise
◆ Dynamics bands linking – simplifies use in stereo configurations
◆ Fully automated; Global enable button
◆ On/Off for the dynamics section and each EQ
◆ Separate dynamics and EQ reset buttons
◆ Plug-in patch load and save
◆ Memories A and B – compare settings quickly and easily
◆ Input, output and gain reduction metering
◆
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Use your mouse as an on-screen paint brush to quickly perform various EQ editing functions.
◆ Use the 1/3 Octave Spectrum Analyzer (20-20K) in live and studio
applications to identify the nature of an acoustic environment.
◆ Selectable dB reference level (0dB to -60dB) allows you to focus in
on the most important range of your signal.
◆ Factory presets feature useful EQ and Analyzer setups
◆ Selectable graph types, choose from Bar, Peak Hold, Point, Peak
Difference, and Peak Bar for viewing preference.
◆ Control graph response time to identify quick transients.
◆ Immediately freeze the analyzer screen to view detailed information.
◆
MACKIE
ACUMA LABS PLUG-INS for the D8B
FILTER MACHINE
Easy-to-Use Time Modulation
Intuitive, Powerful, Sweeping Filter Effects
An easy-to-use
time modulation offering all
of the classic
time effects
including
Chorus, Flange,
Auto Pan, Tremolo, combined with radically new and Xtreme settings.
Acuma’s classic,
analog styled
4-pole filtering
plug-in is an
easy and
intuitive way
to achieve
powerful, sweeping filter effects.
◆
Use graphic editing sliders to adjust Level, Regen, Pan and Time
Modulation, and 4th order High and Low pass filtering.
◆
Utilizing stereo input and output paths, Time Pak’s and Filter Machine’s large intuitive display field lets you easily drag and drop any of the 16 nodes
(Time Pack) or 16 filters (Filter Machine) to simultaneously adjust Time (Time Pack) or Frequency (Filter Machine) and Output Pan.
◆
Link left and right nodes (Time Pack) or left and right filters (Filter Machine) together into stereo pairs or fine tune the parameters further using 2 separate LFO blocks that incorporate preset waveforms and envelope followers with adjustable rate, depth, and phase (and volume on the Filter Machine).
◆
Dial in the beat of the music by selecting the BPM, or tapping the tempo in real time, and quantize the LFO rates to the nearest interval selecting from
note, whole note, triplet, etc. All of the filter rates snap to the correct interval with just a click of your mouse.
Select from the graphic editing sliders to adjust Pan Modulation,
Frequency Modulation, and 4th order High and Low pass filtering.
MDW2x2
2x2 High-Resolution Parametric EQ
Headed by George Massenburg, the preeminent designer, MDW
(Massenburg DesignWorks) brings you the 2x2 High-Resolution
Equalizer which features oversampling and double precision
processing for unprecedented clarity and accuracy. Configure the
MDW2x2 as two mono 5-band or one stereo 5-band parametric EQ.
DELAY FACTOR
SATURATED FAT
16 Tap Stereo Delay with Modulation
Mono Distortion & Cabinet Modeling
with 7-Band EQ
Setting up
a stereo,
ping-pong,
or multi-tap
delay has
never been
easier! Delay
Factor has a large, intuitive display field which allows you to drag and
drop any of the 16 delay taps, simultaneously editing both the delay
time and the output panning.
Fine tuning the delay to match the beat of the song is even easier; just
dial in the BPM or tap in the tempo, and select the interval you want to
quantize to - note, whole note, triplet, etc. All taps will simultaneously
‘snap’ to the correct interval.
Adjusting all the other parameters is easy too. All values for a single tap
are automatically displayed on easy to adjust sliders when you click on
the tap in the display field. Set the level, regeneration, regeneration panning, or the tap's filter. Each tap has a 4th order high and low pass filter.
As its’ name implies,
Saturated Fat is a mono
plug-in that employs a
proprietary technology
to achieve warm, natural-sounding tube distortion and cabinet
modeling. Choose from
over 40 preset distortion types to create your “perfect sound” or select from
the array of factory presets to find a setting that suits any style of music.
And don’t stop with guitars — Saturated Fat is great on drum tracks too!
Combine the Cabinet Modeler, selecting from a list of small, medium,
large, acoustic and bass amps, with the Drive Level and the on-board 7Band EQ to build custom distortions that can be saved and recalled as User
Presets. No more (loud) amplifier setups to contend with, just plug any
instrument into the D8B and start playing! Saturated Fat’s distinctive distortion types and amplifier models will give you killer sounds instantly.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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395
MASSENBURG DESIGNWORKS
◆
AUDIO MIXERS
TIME PAK
SONY
DMX-R100
396
AUDIO MIXERS
Digital Audio Mixer
A professional mixer inheriting the
control philosophy of the worldfamous Sony OXF-R3 Console, the
DMX-R100 is a compact, 48channel mixer with a comprehensive
feature set that includes 25
motorized faders, a sophisticated
control panel with touch-screen
control, a fully integrated package
of automation, a digital routing
matrix and machine control. The
DMX-R100 delivers excellent sonic
performance via its state-of-the-art
processing technology, offering 24-bit quality and the ability to operate at both standard and double sample rates (44.1, 48,
88.2 and 96 kHz). With its stunning sound performance, operability and flexibility, the DMX-R100 is ideal for producers,
artists and engineers in applications ranging from music studios to post production and audio pre-mastering.
FEATURES
Control Panel Ergonomics
◆ Although
the DMX-R100 is a highly cost
effective mixer, it has a fully professional
control surface with dedicated control
knobs and switches for each individual
parameter – emulating the best of traditional console ergonomics. A considerable
amount of space is allocated to individual
controls for fast, accurate, adjustment and
they are laid out in a logical manner that
reflects the way that they are used.
Color SVGA Touchscreen
Channels, Returns and Buses
◆
The DMX-R100 provides 48 input
channels and 8 Aux Returns, making a
total of 56 channels available for stereo or
surround sound mixdown. These channels
can be routed to the 8 MTR buses, 8 Aux
Send buses, Master L/R Buses or Solo/PFL
Buses. As well as EQ and dynamic
processing for all 48 input channels, the
PGM, Aux Send and MTR outputs also
have EQ and dynamics.
◆
The 800 x 600 color SVGA LCD touch
screen provides high-quality graphics
pages accessed via an intuitive menu structure. These graphics pages include channel
processing, input/output routing, automation and mixer setup, and others. For
example, the Channel pages gives simultaneous view and control of any one of the
48 channels. Another page, ‘AUDIO
OVERVIEW’ gives a clear view of all 48
channels on two pages so that the operator
knows instantly how the mixer is setup.
The knobs, buttons, switches and LEDs are
displayed on the touch screen with their
size and position corresponding to the size
and positions of the real controls on the
control panel section. This links the visual
information provided on the touch screen
with the physical controls.
◆
In addition to numeric indications, large
and clear graphic representations of the
EQ and Dynamics curves are displayed on
the touch screen. Additionally, the graphic/
touch screen combination lets you ‘zoom
in’ on specific control panel areas.
Sophisticated Channel Faders
High Quality
Sound Processing
◆
The DMX-R100 is designed to deliver the
benefits of higher resolution audio signals
– greater dynamic range and higher bandwidth. All appropriate inputs and outputs
are 24-bit and both standard and double
sampling rates are supported.
◆
The DMX-R100 also processes the full 24
bits of its digital AES/EBU I/Os without
any truncation. Internal processing uses
precise floating-point calculations to maintain the console’s excellent sound quality.
PHOTO - VIDEO - PRO AUDIO
◆
25 touch-sensitive motorized faders (24
channel and one PGM fader). The 24
channel faders can be switched in three
layers; two layers for the 48 input channels
and one layer for master control, including
MTR masters, Aux Send masters and
Return inputs. The faders are designed to
give the operator a very professional ‘feel’.
Their 10-bit resolution provides precise
level adjustment, as well as smooth and
accurate replay of automation moves. he
The DMX-R100 uses touch-sensitive faders
because they allow for excellent operator
control of automation and level.
EQUIPMENT LEASING AVAILABLE
SONY
DMX-R100
Flexible Internal Routing Matrix
The 24 fader strips of the DMX-R100
combine the familiarity of traditional
console design with additional features
derived from the OXF-R3 console. By
default, each fader controls the channel gain,
but Select to Fader buttons allow them to
control 10 additional level adjustments in the
channel path, including the eight Aux Sends,
I/P Trim and MTR Sends. Similarly, the Pan
rotary control defaults to stereo mix pan but
can be switched to provide the same 10 level
control functions as Select to Fader. As
different signal paths are selected, the faders
automatically move to the correct position
and a ring of LEDs around each Pan control
indicates its current value. This arrangement
of two level controls per fader strip provides
a simple method of offsetting various channel
levels – one of the most common adjustments made during any audio production.
The DMX-R100’s is its internal audio routing
matrix . This provides comprehensive crosspoint
switching for virtually every input and output,
and avoids the need for a costly external patch
bay. The input section of the matrix allows any
input signal to be routed to any channel. The
same input signal can also be routed to multiple
channels. Similarly, the output section allows bus
signals to be assigned to any output including
those on the four I/O slots and also allows the
same signal to be assigned to multiple outputs.
Link control of parameters such as Trim,
Delay, EQ/Filter, Dynamics, Channel Cut,
Channel Fader, MTR Fader, and solo mode.
In normal mixing, adjacent odd and even
channels can be linked in stereo pairs, and in
the case of surround mixing, operators can
choose to link groups from the following
combinations: 1-6 , 7-12, 13-18, 19-24
channels, L/C/R, LS/RS and so on. In
addition, a ‘mask’ function permits selective
exclusion of parameters from the link
operation available separately for stereo and
surround channels. Surround link groups
such as L/C/R, LS/RS and Sub can be
selectively linked for surround mixing.
Copy and Zero Reset Function
Copy function allows channel settings of a
source channel to be copied to any number
of destination channels. The ‘mask’ function
permits selective exclusion of parameters
from the copy operation, and moreover, the
DMX-R100 supports copying of channel
fader mixes to MTR fader/Aux Send faders as
well as MTR fader mixes to Aux send faders.
This is extremely helpful when creating
cue/foldback mixes. Additionally, a zero reset
function selectively resets all level controls,
faders, and knobs to their default values. EQ
curves can also be set flat, and dynamics setting are set to their default values.
Advanced Snapshot and Dynamic Automation
The DMX-R100 includes 99 snapshots per title, making it possible to memorize and recall the
state and values of virtually all mixer functions, including input matrix routing, Delay, Phase,
Trim, Input Mode, Filter, EQ, Dynamics, Pan Assign, Cut, Fader and Aux.
The DMX-R100 also offers a ‘ library’ , which is intended for storing repeatedly used EQ and
Dynamics settings. Up to 99 can be stored in the library per title for later recall and assignment
to any individual channel. In addition, there is comprehensive dynamic automation of Faders,
Cuts, Pans, EQ and Filters, Dynamics, and Aux sends. Dynamic automation can be synchronized
to both SMPTE and MTC (MIDI time code), and the TC Link function allows snapshots or
EQ/Dynamics settings stored in the library to be recalled to programmable time code cues.
A time code offset function is also available to offset the time code relative to that fed from an
external source. As dynamic automation is such an important feature, touch-sensitive motorized
faders are used. This typical high-end approach greatly simplifies writing and modifying the
automation data. The DMX-R100 can be switched between two dynamic automation files (A
and B) and automation moves can be written in Absolute or Trim modes. In both modes, the
automation moves can be rehearsed before overwriting the previous mix in memory. These
high-performance automation features make the DMX-R100 very suitable for complex music
and audio post mixing that requires extensive auditioning and scene changes.
Inputs/Outputs
Equipped with 24 analog inputs
as well as 8 Aux returns (4
mono analog and 4 mono
digital) and 2-track inputs
(digital/analog). Analog inputs
1-12 have XLR (for mic inputs
and and include 48v phantom
power) and 1/4˝ TRS
connectors (for line level signals). Inputs 13-24 feature neutrik combo connectors (XLR or a
1/4˝ TRS. Outputs include stereo program (analog and AES/EBU), Aux Send (8 analog, 2
AES/EBU), control room monitor (6 analog) and studio monitor (2 analog).
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397
Channel Link Control
The routing matrix is controlled by two touch-screen pages, one for input signal assignment and
one for output signal assignment. Both pages have two levels of access. The first level provides
free assignment of inputs and outputs on an individual basis. The second level supports logical
groupings of inputs and outputs. For example, the block of signals from one of the optional
input boards can be assigned to a group of channels. Similarly, logical groups of mixer buses,
Aux Sends for example, can be assigned to a range of mixer outputs. Using this second level to
work with these logical groups enables the matrix to be quickly set up. Input and output matrix
crosspoint assignments are stored in snapshots. This means that a DMX-R100 can very quickly
be reset to different projects by recalling snapshots that include these settings.
AUDIO MIXERS
Channel Strip
SONY
DMX-R100
AUDIO MIXERS
Optional Expansion Boards
For input/output expansion, the DMX-R100 has
four option board slots. There are eight optional
input/output boards, seven of which allow the user
to flexibly expand input/outputs in groups of
eight. The eighth optional board, the DMBK-R109
MADI board, allows the addition of 48 inputs/48
outputs via a single board slot. By installing the
MADI board in one slot* and the appropriate
boards in the three remaining slots, an incredible
72 inputs/outputs become available through the
option board slots. As detailed in the chart, the
DMX-R100 also interfaces to most popular audio
recorders using the appropriate input/output board.
*The DMBK-R109 can only be installed in ‘slot-4’ of
the DMX-R100.
DMBK-R101
DMBK-R105
Model Number/Description)
DMBK-R107
Number of Channels
8 inputs
XLR
DMBK-R102 (Analog Line-Out)
8 outputs
XLR
8 mono I/O
XLR
8 mono ins (x2)
XLR & Optical
DMBK-R103 (AES/EBU I/O)
DMBK-R104 (Sampling Rate Converter DI)
DMBK-R105 (Analog Insertion)
8 send/return
1/4˝ TRS
DMBK-R106 (ADAT Optical I/O)
8 I/O
Optical x2
DMBK-R107 (TDIF I/O)
8 I/O
D-Sub 25-pin
DMBK-R109 (MADI)
48 I/O
BNC / Optical
398
Surround Sound Processing
Surround sound is increasingly required for areas such as DVD, film pre-mixing, audio
postproduction, etc. As standard, 5.1 surround sound. Furthermore, unique to the DMX-R100,
high rate (96 kHz/88.2 kHz) processing is available in 5.1 surround. When high rate processing
is selected, the buses and inputs of the DMX-R100 software are reconfigured as follows:
5.1 surround sound at double sample rate
Stereo at double sample rate
24 input channels, 5.1 MTR bus,
2 Aux buses, 4 Aux returns
5.1 CR monitor, 5.1 external source (x 1)
24 input channels, Stereo PGM bus, 4 MTR buses,
2 Aux buses, 4 Aux returns, Stereo CR monitor,
Stereo external source, Stereo studio LS
Surround panning is accomplished via the Pan Assign
page on the touch screen – by simply tracing the desired
panning pattern with a fingertip on the smooth surface
of the screen. Alternatively, a PC mouse connected on the
back panel of the mixer can be used.
The DMX-R100 has six outputs for the control room
monitor, so surround sound monitoring is achieved
without sacrificing other outputs and without the need
for external monitor switching.
Additional Features
◆
No cooling fans are used in the DMX-R100
so it does not generate any acoustic noise.
◆
Equipped with separate word and video
reference input connectors, as well as its
own internal reference generator. It also
provides multiple machine control with its
two 9-pin and MIDI ports. This means that
the DMX-R100 can be integrated into any
multimedia facility without the need for
external synchronization equipment.
◆
Two DMX-R100’s can be cascaded (connected) using the optional DMBK-R109 MADI
boards, creating a 96-channel mixer. Since
48 faders become available, this reduces the
need for resorting to paging channel faders.
Cascade connection at double sample
(96kHz/88.2 kHz) rate is also supported.
◆
The PGM/MTR/AUX buses each have an
internal switch to select the bus linkange
status (Linked or not) between the master
mixer and sub mixer on an individual basis.
The AFL bus and solo logic of the master
mixer are shared between the master and
sub mixer, emulating the operation of a
single 96-channel mixer.
◆
Channel Scribble function allows the entry
of names for individual input sources, which
then appear on the touch screen next to the
channel number. A maximum of seven
characters can be entered for each input, and
the scribble is displayed in the Channel, EQ
and Dynamics GUI screens.
SIU-100 System Interface
The optional SIU-100 is designed for greater system
flexibility in applications such as broadcast & post
production, and the need for expanded I/O in
recording and PA scenarios. Used stand-alone or as
an expansion for the DMX-R100, the 5U rackmount
SIU-100 accommodates up to eight DMX-R100 style
expansion boards, offering a variety of analog and
digital inputs and outputs, and high quality microphone preamps.
The SIU-100 interfaces with the DMX-R100 or DAW via the MADI interface, allowing you to
position the two units up to 300 meters apart. The Ethernet control capability, gives you the freedom
to install the SIU-100 as desired, while also keeping settings at your fingertips.
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Connector Type
DMBK-R101 (Analog Line-In)
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SONY
DRE-S777
Sampling Digital Reverberator
AUDIO MIXERS
The DRE-S777 is a digital reverb device
that bridges the gap between “artificial”
(synthesizer technology) and “real” to
provide a new set of creative tools based on
natural-sounding reverberation. This
provides audio professionals a totally new
approach to sound processing. The DRE-S777 is a technologically advanced digital effects processor that recreates the natural
reverberation of concert halls, theaters and sound stages with unparalleled depth, presence and richness. It achieves this
breathtaking naturalism by using highly advanced processing that allows audio signals to be combined with sampled data
taken from actual acoustic environments. Sony engineers have painstakingly collected sample data from some of the world’s
most highly regarded concert halls, studios and other acoustic environments, and also from classic analog plate reverb
units.The DRE-S777 is supplied with a standard set of sample data, with additional libraries of samples also available.
FEATURES
◆
MIDI control
◆
◆
In addition to stereo reverb modes, it
supports multi-channel reverberation.
Therefore it is highly suitable for a wide
range of multi-channel production tasks,
including audio-for-video, and for TV and
film post-production applications.
– Mono in Stereo out (standard)
◆ With
the optional DABK-S703 Expansion
DSP Board, the DRE-S777 provides a
mono input, four-channel output reverb
mode. Larger surround sound arrays, for
example, 5.1 channel surround, can be
provided by using two or more
DRE-S777s. The optional DASK software
includes reverberation data actually
sampled using a five-position mic array,
allowing five-channel surround sound
effects to be created.
– Stereo in Stereo out (with DABK-S703)
– Mono in 4-channel out (with DABK-S703)
– Two Mono split in 4-channel out (with
DABK-S703)
– Mono in stereo out at 2Fs (with DABKS703)
◆ Direct/Rev: Direct+Reverb/Reverb
◆ Variable
reverb time (0.3-5.5 s max.)
◆
Sony DSP convolutes an amazing 256,000
sampling points resulting in reverberation
that accurately recreates all of the detail of
the early reflections and the complexity of
the reverberant tails—not only a reverb
effect processor, but an ambience emulator!
◆
Optional DABK-S703 Board upgrades the
DRE-S777 for 96kHz sampling, making it
compatible with DVD video and audio.
◆
Optional DABK-S701 (A/D) and the
DABK-702 (D/A) converter boards further
extend the versatility of the DRE-S777.
◆
Mixer functions (peak hold, bypass, mixture of dry/wet, muting)
◆
Four-band parametric EQ
◆
Factory-presets provided in Memory Stick,
as well as set-up data for 92 user-presets
◆
Operates via jog dial and 4 function keys
Real-World Reverb
To achieve exceptionally natural sounding reverb, it has been necessary to capture the unique
“sound” of many different environments; concert halls, churches, studios and so on. The
gathering of this data was no mere mechanical process. Rather, it was a series of individual
recording projects, each requiring a host of creative decisions familiar to audio professionals.
Each project required loudspeakers to radiate the test signals and a microphone array to
capture the reverb signature. For each of the locations, multiple samples were recorded using
different combinations of loudspeaker and microphone positions. These samples were then
combined in the DRE-S777 to provide an extensive range of stereo and surround reverb modes.
Sony hardware engineers worked closely with experienced recording engineers to choose
microphone types, their directivity and location. Each acoustic space was sampled across a wide
range of conditions, and the data supplied on a CD-ROM for use with the DRE-S777.
Reverb mode:
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399
Supplied sample CD-ROM contains seven
standard presets including data from two
different types of concert hall, a recording
studio and two churches, plus data from
two types of plate reverberator. The
DRE-S777 provides for adjustment of
parameters such as reverb time, effect/dry
balance, EQ and pre-delay. The optional
DASK sample discs contain a range of
acoustic environments from Europe,
America and Japan.
◆ Nine user caches for quick reverb-program
recall.
◆ The DRE-S777 is capable of a ‘self
sampling’ function, enabling it to capture
any acoustic environment. This function
requires the optional DASK-704 software
module as well as a microphone and
speaker system.
◆
TA S C A M
DM-24
DIGITAL MIXERS
32 Channel 8 Bus Digital Mixer
The Tascam DM-24 is an affordable 32-channel digital mixer
that combines 24-bit audio quality, with highly flexible routing
capabilities, two powerful onboard effects processors, comprehensive snapshot and dynamic automation as well as dynamics processing and parametric EQ for every channel. The plethora of
onboard analog and digital I/O including: 16 mic/line inputs;
three 8-channel TDIF I/Os; and 8-channel ADAT optical I/O;
along with the wide range of onboard synchronization and
machine control capabilities, makes the DM-24 the ideal companion for professional multitrack recording systems such as Tascam’s
MX-2424 24 track hard disk recorder. The DM-24’s 24-bit A-toD and D-to-A converters and custom 32-bit floating point processor ensures true 24-bit performance throughout the digital signal path.
400
FEATURES
Two Fully-Editable Internal
Effects Processors
Console Overview
◆
32-channel, 8 buss digital mixing console
with 6 aux sends at 44.1 or 48 kHz sample
rates (16x8x2 at 88.2 or 96 kHz)
◆
16 XLR mic, 1/4˝ TRS line inputs with
inserts and switchable phantom power.
◆
24 channels of TDIF I/O, 8 channels of
ADAT optical I/O – ideal for any multitrack recording system including Tascam’s
MX-2424 hard disk recording system.
◆ Any
Aux Sends
◆
6 aux sends, configurable Pre or Post, are
provided for each channel and can be
freely assigned to the two internal effects
processors as well as the 4 assignable sends
on balanced TRS jacks, and in pairs to the
2 channel AES/EBU and S/PDIF digital
outputs for use with external effects.
◆
Full control room and studio monitoring
facilities are provided, along with an integral talkback microphone and master bargraph meters.
Monitoring
input can be assigned to any output
◆
32-bit internal processing resolution and
24-bit A-to-D, D-to-A converters.
◆
Each of the 32 input channels is equipped
with 4-band fully-parametric EQ, six Aux
Sends (assignable pre or post fader) and
configurable dynamics section.
◆
Channels 1-16 also feature a high quality
Gate/Expander.
◆
Sixteen long-throw motorized faders,
arranged in three switchable layers, controls up to 32 mono inputs, eight buss
sends and six aux sends.
◆
Each of the 32 inputs can be linked as a
stereo pair plus their are eight fader groups
and eight mute groups available
◆
Grouping layers provide further flexibility
in grouping arrangements.
PHOTO - VIDEO - PRO AUDIO
◆ All
popular surround formats are supported including 2+2, 3+2 and 5.1.
Internal Automation –
No Computer Required
◆
Processor Two is dedicated to Tascam
effects including – Chorus, Delay, Pitch
Shifting, Phaser, Flanger, Compressor,
Guitar compressor, Exciter, De-esser, Gate
and Distortion (with amp simulators)
◆
Effects can be accessed from the Aux sends
1-6 and returned to any of the 32 channels.
◆
Effects can also be inserted directly on
busses 1-8, the stereo buss or onto one of
the 32 channels.
◆ Automation
Effect 1 and 2 can also be run in series
(chained) allowing you to run a delay into
a reverb, for instance.
◆ You
Control Surface
◆
Processor One gives you the choice of
using the TC Works reverb, with over 100
presets, or the Antares Mic and Speaker
modeler that emulates the distinctive characteristics of a wide variety of classic and
modern microphones, using any standard
microphone.
◆
www.bhphotovideo.com
◆
The Built-in automation system allows full
real time control of almost all mix parameters without the need for connection to an
external sequencer.
◆
Up to eight banks of automation mix files,
each containing up to 8000 events, can be
stored internally. Up to four banks or
32,000 events can be used per mix.
is triggered by external MTC,
SMPTE time code or from the internal
MTC generator.
can store and recall 95 user snapshots
of the current mixer settings.
TA S C A M
DM-24
Input and Master Sections
B. Master Section:
– 1/4˝ TRS Control Room outputs and Studio
Monitor outputs plus two headphone outputs
– 2 Track Input on RCA Connectors
– XLR Main stereo outputs with 1/4˝ TRS insert
– Four 1/4˝ TRS Sends and 1/4˝ TRS Returns can be
configured as inserts for tape returns.
Control Surface
D. Control Room Section:
– Solo and headphone volume controls.
– A volume control, dim switch and mute switch are
provided for the control room outputs.
– Three programmable source select switches allow
you to designate the desired monitor source.
– 2 x 12-segment LED meters
– The Jog/Data wheel can be used for changing
parameter values as well as transport control.
– Built-in talkback mic with level control.
E. The backlit 320 x 240 LCD displays routing
assignments, EQ curves, effects parameters,
automation data, external control status, synchronization and more. 4 multifunction rotary “POD”
controls, located directly underneath the display,
provide control over effects, EQ, dynamics, and
surround panning parameters and more. The
POD controls also transmit MIDI controller data.
F. Four Ring Encoders give instant visual feedback of
key EQ, pan and aux send settings.
G. The Transport Section can control a wide variety
of external devices using the onboard RS-422,
DTRS remote, MMC and GPI ports as well as
ADAT Sync by using the optional IF-AD-DM
card. Functions include: Play, Record, Stop, FF,
REW transport controls; numeric keypad for
manual and direct locate; auto punch keys;
repeat; memo; edit keys and track arming keys.
H. The dedicated motorized long-throw Master fader
is provided for controlling the stereo out buss.
B
D
E
F
C
G
H
J
M
I
S
N
L
K
R Q
P O
I. Three TDIF I/O interfaces provide 24
channels of buss outs and returns for use
with TDIF compatible DAWs and DTRS
machines.
N. MIDI In, Out and Thru/MTC Out
J. Eight channels of ADAT Optical I/O
provide lightpipe compatible buss outs
and returns.
P. 15-pin D-sub DTRS compatible Remote
output
K. Two stereo AES/EBU and two stereo
S/PDIF interfaces.
L. Two option slots accommodate additional
8-channel analog and digital interface
modules or a cascade module for
connecting two DM-24s.
M. Word Sync In and Out/Thru ports (BNC)
O. SMPTE Time Code input (RCA)
Q. RS-422 (for Sony 9-pin) 9-pin female
D-sub connector
R. GPI 9-pin female D-sub connector allows
remote machine start
S. 25-pin D-sub connector for use with the
optional MU-24/DM Meter Bridge.
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PHOTO - VIDEO - PRO AUDIO
401
C. Each of the sixteen channel strips features a
long-throw motorized fader, as well as backlit
Record Enable, Channel Select and Mute/Solo
buttons and an overload/status LED. The channel
strips are arranged in three switchable layers,
allowing them to control each of the 32 mono
inputs, 8 buss sends and 6 aux sends.
A
DIGITAL MIXERS
A. Sixteen XLR mic and 1/4˝ TRS line inputs with
variable gain and 1/4˝ TRS inserts for each
channel (phantom power for the mic inputs are
switchable in groups of four).
TA S C A M
DM-24
EQ AND DYNAMICS ON ALL 32 INPUT CHANNELS
Dynamics
402
DIGITAL MIXERS
4 Band Parametric EQ
High Filter
Type:
Frequency:
Q:
Boost/Cut:
On/Off switchable
Hi-shelving, Peak, LPF
31Hz to 19kHz
0.27 to 8.65
±18dB, 0.5dB resolution
Hi Mid Filter
Type:
Frequency:
Q:
Boost/Cut:
On/Off switchable
Peak, Notch
31Hz to 19kHz
0.27 to 8.65
±18dB, 0.5dB resolution
Lo Mid Filter
Type:
Frequency:
Q:
Boost/Cut:
On/Off switchable
Peak, Notch
31Hz to 19kHz
0.27 to 8.65
±18dB, 0.5dB resolution
Low Filter
Type:
Frequency:
Q:
Boost/Cut:
On/Off switchable
Low-shelving, Peak, HPF
31Hz to 19kHz
0.27 to 8.65
±18dB, 0.5dB resolution
All filters are fitted with “gain flat” switches
Gate:
Threshold
Range
Hysteresis
Attack time
Hold time
Decay time
-80dB to 0dB in 1dB steps
60dB to 0dB in 1dB steps
0dB to 24dB in 1dB steps
0ms to 125ms in 1ms steps
0ms to 990ms in 100 steps
50ms to 5.0s
Compression:
Threshold
-48dB to 0dB in 1dB steps.
Ratio
1:1 to ∞:1
Attack time
0ms to 125ms in 1ms steps.
Release time
5ms to 5.0s in 100 steps.
Auto (gain) make-up
switchable
Output gain -20dB to +20dB in 1 dB steps
Channels 1-16 can be accessed from the 16
mic/line inputs and then assigned to 16 direct
outs while channels 17-32 can provide 16 tape
returns for monitoring.
◆ Aux sends 1-6 can be used to create 6 mono or
3 stereo cue mixes.
◆
Overdubbing:
◆ TDIF returns 1-16 can be assigned to channels
17-32 while channels 1-16 are used for four
mic/line inputs, two internal effects returns, and
the returns from the third return group. This
gives allows you to record a vocal track dry, yet
monitor the vocal with reverb in the cue mix.
PHOTO - VIDEO - PRO AUDIO
The DM-24 allows allows you to store customized settings in libraries. Most of the
libraries included a number of locations
reserved for read-only presets containing
useful points of reference.
◆
The Library undo/redo function allows a
recently recalled library setting to be compared with a previously-loaded setting.
Library Presets
Snapshots
EQ
Effect 1 (P1)
Effect 2 (P2)
User effect library
Compressor
Gate/Expander
Automation
Total
100
128
128
128
128
128
128
7
Read-only
4
20
128
128
0
18
2
–
Expander:
Threshold
–48dB to 0dB, in 1dB steps.
Ratio Values 1:1, 1:2, 1:4, 1:8, 1:16, 1:32, 1:64
Attack
0ms to 125ms in 1ms steps
Release
5ms to 5.00 seconds
Signal Flow Examples
Tracking:
Libraries
◆
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
The snapshot library screen includes a picture of the faders, together with pan/balance
settings and mute settings.
48 Channel Mixdown:
The first 24 of the 32 input channels
can be accessed by the three TDIF
returns.
◆ The additional 8 input channels are
accessed by the two internal effects,
a digital stereo pair, and an external
send/return.
◆ The mic/line inputs can also be
used, by their direct assignment to
Aux 1-2. This means that up to 16
channels of live MIDI sequenced
instruments can be added to the 32
input channels.
◆
TA S C A M
DM-24
Synchronization and
Machine Control
◆
◆
MIDI In, Out and Thru/MTC Out allows
you to Send MMC, Lock to incoming
MTC, Update firmware via Standard MIDI
File, offload and upload library and
automation data as well as Send/Receive
MIDI program changes and MIDI
controller data.
Built-in Mackie HUI emulation provides
MIDI-based control surface support for a
variety of DAW applications including
ProTools, Logic, DP, Cubase and Nuendo.
Two DM-24s can be cascaded together to
act as one large console. This requires the
IF-CS/DM cascade option card in each
mixer.
◆ Cascading allows the two mixers to share
busses 1-8, aux sends 1-6, the solo buss
and the stereo buss. Connections to the
control room and stereo outputs would be
made on the cascade master.
◆ An AES/EBU option card added to the
cascade master can be used for sending the
5.1 mix digitally to your stem recorder
while an analog option card could be
added to the cascade slave to send the 5.1
mix to the surround monitoring system.
◆
IF-TD/DM
Eight channels of analog I/O on D-25 connectors. Installing two of these cards will give
you a total of 32 simultaneous analog inputs.
Eight channel TDIF card. The IF-TD/DM is
not available for input. It is designed to be
used to send the 6 buss outputs to a TDIF
stem recorder like a DTRS machine.
IF-AN/DM
IF-CS/DM
Eight channels of AES/EBU I/O on D-25
connectors. Adding two IF-AE/DM
AES/EBU cards provides a total of 20 channels of AES/EBU I/O (four channels come
standard on the DM-24.) The IFAE/ DM
AES/EBU card supports 4 channels of DUAL
LINE or HI SPEED I/O
For cascading two DM-24 digital mixers. To
cascade two DM-24s, you must put one cascade card in “SLOT 1” of each DM-24. A
cascade cable is included.
• 64 channels with 32 mic pres
• 48 channels of TDIF I/O
• 16 channels of ADAT lightpipe I/O
• 4 AES/EBU 2 channel digital I/O
• 4 S/PDIF 2 channel digital I/O
• 8 Assignable sends and returns
• 4 Internal effects processors
(2 in each)
• 33 Touch sensitive, motorized faders
• The ability to run a 24 track, 24-bit,
96kHz, 5.1 mixing environment.
IF-AD/DM
403
IF-AN/DM
Cascading two DM-24s provides:
Eight channels of ADAT optical I/O with
ADAT Sync. Adding two of these cards will
allow you to mix 24 tracks of ADAT. The
IF-AD/DM does NOT support 96kHz.
MU-24/DM
The optional MU-24/DM Meter Bridge
provides channel and master metering
facilities through LED bargraph displays
which are switchable in “layers”.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
DIGITAL MIXERS
◆
The DM-24 can be easily configured as a
remote controller for a wide variety of
devices using the DTRS remote, P2 and
MMC protocols. Multiple devices can even
be controlled simultaneously.
Cascading Two DM-24s
PHOTO - VIDEO - PRO AUDIO
YA M A H A
01V96
32-Channel 24-bit / 96kHz Digital Mixing Console
404
DIGITAL MIXERS
The 01V96 is a cutting edge digital mixing console designed to bring
you the same performance and reliability of Yamaha’s most advanced
digital consoles, in a smaller, more affordable format that’s ideal for
the home or smaller professional production studio. It featuring
40 simultaneous mixing channels (when fully expanded) with
full resolution 24-bit/96 kHz audio, a range of stereo effects
with 32-bit internal processing and full automation. Right
out of the box, the 01V96 provides 24 analog inputs and
an 8 channel ADAT optical I/O interface. For further
expansion, a single I/O slot will accept Mini-YGDAI
digital and analog I/O cards, including third party
cards, providing up to 16 inputs and outputs at
48 kHz (8 at 96kHz). The comprehensive control
surface allows analog-style hands-on operation
along with the added flexibility of providing extensive
support for digital audio workstations including ProTools, Nuendo and
other popular computer-based recording software.
FEATURES
◆
36 simultaneous inputs, 8 busses and 8
auxes, at 24 bit, 96kHZ operation
◆
Supports 44.1 kHz, 48 kHz, 88.2 kHz, or 96
kHz sample rates
◆
24-bit A-to-D and D-to-A converters
Expandable To 40 Inputs
you need more I/O or need to
configure a system based around a specific
protocol, additional I/O can be added via a
range of user-installable 8 and 16 channel
Mini-YGDAI expansion cards that can
simply be plugged into the expansion slot
to provide in a variety of formats including
ADAT, AES/EBU, TDIF or analog.
◆ When
24 Analog and
Digital Inputs
◆
16 analog channel inputs:
- Channels 1 - 12 will accept balanced XLR
microphone signals via high-performance
head amplifiers, as well as (bal/unbal)
line-level signals via 1/4˝ TRS connectors.
48-volt phantom power (switchable in
4-channel groups), trim controls and pad
switches are also provided as well as
unbalanced 1/4˝ TRS inserts that will
allow you to insert external processing
gear into these channels (pre-A-to-D).
- Channels 13 - 16 feature 1/4˝ TRS
(bal/unbal) line inputs with trim
controls, that can be configured as four
individual inputs or two stereo pairs.
◆
Eight digital channel inputs (and outputs)
are provided via a built-in ADAT optical
interface.
PHOTO - VIDEO - PRO AUDIO
17 Physical 100mm
Motorized Faders
All Input
Channels Feature
◆
Independent compressor/limiter and
gating/ducking processors on each channel
provide complete dynamics control.
◆
Each channel also features 4-band fully
parametric EQ. Each band is fully
sweepable from 20 Hz to 20 kHz, with
bandwidth variable from 0.1 to 10 and a
±18dB boost/cut range.
◆
The channel delays have a maximum
delay of 452 milliseconds (96 kHz mode).
Even the stereo bus, eight mix buses,
and eight aux buses have individual
compression and EQ!
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
◆
There are sixteen channel strips each of
which features a precision 100mm motorized fader, channel ON/OFF (mute) key, a
SOLO key, and a SEL key. The SEL key
allows you to assign the channel to the
console’s Selected Channel section where
you have access to detailed controls for
panning, EQ and dynamics.
◆
The 16 channel strips can be instantly
switched via four Layer-switching keys to
control:
- Input channels 1 - 16
- Input channels 17 - 32
- The Master Layer which controls auxiliary sends 1 - 8 and buses 1 - 8
- The Remote Layer can be used to control
your DAW software including ProTools,
Nuendo and more
◆
Fader Mode keys allow the motor-driven
faders to be instantly switched and updated
between fader and auxiliary level control.
◆
The seventeenth motorized fader is
reserved for the Master Stereo bus which
also features On/Off and Sel keys.
YA M A H A
01V96
20-bus Configuration
◆A
- Main stereo program bus
- Eight individual mixing buses
- Two solo buses
- Eight auxiliary buses
Snapshot and Dynamic Automation
◆
The 99 Scene Memory allows complete console setups to be memorized and instantly recalled
via the dedicated SCENE MEMORY controls or via MIDI program changes.
◆ An
external sequencer can be used to record real-time movement of the
motorized faders, EQ settings and other parameters, allowing complete mix automation.
Integrated DAW Control
◆
Digital Patching System
◆A
fast, flexible and easy-to-use digital
patching system allows you to assign all of
the available inputs, outputs, effects, and
channel inserts to any of the console’s
channels or outputs.
Extensive support, including full control of
mixing and processing parameters, as well
as transport/track-arming control and
access to editing functions, is provided for
Digidesign’s Pro Tools system as well as
Steinberg’s Nuendo DAW. There’s also a
“General DAW” mode that provides
compatibility with other workstations.
◆A
direct out function allows the signal
from any input channel to be routed
directly to any digital or analog output.
The eight auxiliary buses can also be
patched to anywhere in the system.
◆
The Patch Library allows you to store and
instantly recall entire patch setups – ideal
for configuring templates for different
applications i.e. tracking, mixing,
mastering etc.
Rear Panel
24-bit Fully Editable
Internal Effects
◆
◆ You
can use two stereo effects
simultaneously at the 88.2 and 96 kHz
sample rates, and up to four stereo effects
at 44.1 and 48 kHz.
◆
When you really need high capacity –
particularly for sound reinforcement
applications – the 01V96 offers “01V96
Cascade Link” capability that allows two
01V96 units to be cascaded to create up to an
80-channel mixing system at an unbelievably
affordable price!
405
◆
Cascade Link
XLR-balanced analog main stereo outputs
and 1/4˝ TRS (bal/unbal) monitor outputs
◆
Four 1/4˝ TRS (bal/unbal) “Omni” outputs.
◆
ADAT optical In and Out connectors
◆
24-bit coaxial S/PDIF digital 2-track
inputs and outputs with on-board sample
rate conversion that allows CD players and
other digital sources connected to the
digital input to be monitored or routed to
an input channel without having to be
synchronized to the system clock.
Effects can be assigned to an auxiliary bus
for send and return operation, or to an
insert into any input channel as required.
Sync and Control Options
◆
Word clock inputs and outputs (BNC)
◆
MIDI In, Out and Thru connectors and a
USB “To Host” connector are provided
allowing computer control via the supplied Studio Monitor software as well as
automation via MIDI cc data.
◆
An expansion slot which will accept a
wide range of Yamaha mini-YGDAI
expansion cards that can add up to 16
additional channels in a variety of formats.
Expandable Data Libraries
◆A
effect libraries with 44 factory and 76
user presets is provided covering a whole
host of effects types, including reverbs,
delays, modulation-based effects,
combination effects, and multichannel
effects designed especially for use with
surround sound.
DIGITAL MIXERS
wide range of freely configurable signalrouting options are provided to adapt to a
variety of tracking, mixing and live sound
applications:
number of Data Libraries, each
containing an extensive selection of
presets, are provided for effects,
compression, gating, EQ, I/O
patching, and channel setups.
◆ An
◆
Presets can be selected and used
unmodified, or edited to suit specific
requirements. Modified setups can be
renamed and saved to the libraries
and instantly recalled when needed.
Libraries Presets
Effect libraries
Compressor libraries
Gate libraries
EQ libraries
Channel libraries
Input patch libraries
Output patch libraries
Factory
44
36
4
40
2
1
1
User
76
92
124
160
127
32
32
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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PHOTO - VIDEO - PRO AUDIO
YA M A H A
01V96
Surround Panning
Navigation
The high-resolution 320 x 240 dot LCD
panel provides easy visual access to all of
the consoles functions and parameters.
◆ Many of the parameters, such as EQ curves
and compression parameters, are displayed
graphically so you can see what’s happening
at a glance.
◆ Display Access keys determine which type
of data will be shown on the LCD panel
– a total of 12 selectable categories. This
approach minimizes the need to scroll
through on-screen lists when you need
access to a particular type of data.
◆ The Selected Channel controls include the
hands-on panning and EQ controls for the
currently selected channel. Analog-style
buttons and knobs provide direct and easy
access to the parameters.
406
DIGITAL MIXERS
◆
◆
Eight User Defined Keys can be
assigned to control any functions you
choose. For example, you can use them
to recall input patch setups, to arm
MTR tracks for recording, or to handle
locator functions.
◆ When
the REMOTE layer is selected,
the USER DEFINED KEYS are
automatically assigned to Pro Tools
control functions by default.
◆
◆
Large cursor, INC/DEC, and enter keys
are complemented by a data entry
wheel that lets you spin in values
quickly and easily.
Surround is becoming an important part of
modern sound production. The 01V96
features 6.1, 5.1 and 3-1 surround panning
modes so you can create surround mixes
without having to sacrifice features or
performance in other areas.
The data entry wheel can also be used
as a shuttle/ scrub dial for a recorder
or DAW.
S T U D I O M A N A G E R S O F T WA R E ( M A C / P C )
SUPPLIED WITH BOTH THE
01V96
AND
02R96
Studio Manager gives you complete access to all parameters for either on-line or off-line control, and the program’s
visual interface makes it easy to relate on-screen controls to the corresponding console functions. It can also be used to
manage an extensive archive of mix data. The Studio Manager includes the following main display pages:
Console
Window
Patch Editor
Window
Almost a complete
virtual mixer, this
display shows the
primary channel
parameters “in-line”
as they would appear
on an analog console.
When you add several
Mini-YGDAI expansion cards
to create your system’s I/O
configurations, input and output patching can become an
issue. The Patch Editor makes
patch assignments easy with a
matrix type visual interface.
PHOTO - VIDEO - PRO AUDIO
Selected Channel
Window
Surround Editor
Window
Similar to the SELECTED
CHANNEL section on the
console, this display
includes all parameters for
the currently selected
channel: level, buss
assignments, sends, gate,
compressor, delay, etc.
When the console is
being used in surround
mode the Surround
Editor display can
facilitate surround
positioning of
individual tracks.
EQUIPMENT LEASING AVAILABLE
YA M A H A
01V96 • 02R96 EXPANSION BOARDS
Connection with 96-kHz Recorders and Workstations
MY-16TD
MY-16AT
MY-16AE
MY-8TD
16 channel
TDIF format I/O
16 channel
ADAT format I/O
16 channel
AES/EBU format I/O
8 channel
ADAT format I/O
MY-8AE
MY-8AT
MY-8mLAN
MY-4DA
DIGITAL MIXERS
Although the 01V96 handles 96 kHz audio as standard, most of the currently available digital recorders and workstations can handle 96 kHz audio
only in double channel mode (using two tracks to make one). In this configuration the 01V96 uses one channel per (96-kHz) track, but twice the
number of I/O connections must be used. MY8-AT/TD/AE cards work in double channel mode to handle 16 channels of 44.1/48-kHz audio or up
to 8 channels of 96 kHz audio in double channel mode. With the latest equipment that handles 96-kHz audio as standard (in double speed mode
like the 01V96) you can make standard connections using the MY8-AE96 card. The MY8-AE96 card can work either in double speed or double
channel mode.
mLAN
interface card
8 channel
ADAT format I/O
4 channel
Analog Output Card
MY-8AE
WAVES
Y56K
4 channel
Analog Input Card
Mfr.
APOGEE
AP8AD
APOGEE
AP8DA
A/D
Converter
Effect and
ADAT I/O
D/A
Converter
Model
Function
Input
Output*
Format
Resolution
Frequency
Notes
Yamaha
MY16-AT
Digital I/O
16
16
ADAT
24 bit
44.1/48 kHz
2
Yamaha
MY16-AE
Digital I/O
16
16
AES/EBU
24 bit
44.1/48 kHz
2
Yamaha
MY16-TD
Digital I/O
16
16
Tascam
24 bit
44.1/48 kHz
2
Yamaha
MY8-AT
Digital I/O
8
8
ADAT
24 bit
44.1/48 kHz
2
Yamaha
MY8-TD
Digital I/O
8
8
Tascam
24-bit
44.1/48 kHz
2
Yamaha
MY8-AE
Digital I/O
8
8
AES/EBU
24 bit
44.1/48 kHz
2
Yamaha
MY4-AD
Analog In
4
-
Analog
24 bit
44.1/48 kHz
Yamaha
MY4-DA
Analog Out
-
4
Analog
20 bit
44.1/48 kHz
Yamaha
MY8-AD24
Analog In
8
-
Analog
24 bit
44.1/48 kHz
Yamaha
MY8-AD96
Analog In
8
-
Analog
24 bit
44.1/48/88.2/96 kHz
Yamaha
MY8-DA96
Analog Out
-
8
Analog
24 bit
44.1/48/88.2/96 kHz
Yamaha
MY8-AE96S
Digital I/O
8
8
AES/EBU
24 bit
44.1/48/88.2/96 kHz
Yamaha
MY8-AE96
Digital I/O
8
8
AES/EBU
24 bit
44.1/48/88.2/96 kHz
Yamaha
3
MY8-mLAN
mLAN Interface
8
8
IEEE1394
24 bit
44.1/48 kHz
Waves
Y56K
Effect & I/O
8
8
ADAT
24 bit
44.1/48 kHz
Max. 5 nodes
Apogee
AP8AD
Analog In
8
-
Analog
24 bit
44.1/48/88.2/96 kHz
4
Apogee
AP8DA
Analog Out
-
8
Analog
24 bit
44.1/48/88.2/96 kHz
4
* Selectable from Stereo/Bus/Aux/Direct Out/Insert Out/Cascade Out (STEREO, BUS1-8, AUX1-8, SOLO). Details depend on each interface card.
2. Can Handle 24 bit/96 kHz using double channel mode
3. Sampling Rate Converter for input
4. 4ch @fs = 88.2, 96 kHz
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PHOTO - VIDEO - PRO AUDIO
407
8 channel
AES/EBU format I/O
YA M A H A
408
DIGITAL MIXERS
02R96
24-bit/96kHz
Digital Mixing Console
The 02R96 Digital Mixing Console is the long-awaited, and fully
revised, successor to the revolutionary 02R — the industries first
truly professional, affordable digital console. In fact, the 02R96
packs more than five times the processing power into the same
footprint size as the original 02R. This power allows the 02R96 to provide 56 channels of full resolution 24-bit/96 kHz audio, full automation of
virtually all console parameters with quarter-frame accuracy, surround
monitoring, as well as comprehensive range of 96kHz compatible
stereo effects with 32-bit internal processing. Out of the gate, the
02R96 provides 24 analog inputs including 16 mic preamps using
the same high quality head amplifiers as Yamaha’s top-of the-line
DM2000 digital mixing console. Thirty Two channels of I/O can be
added via four I/O slots that accept a new range of 24-bit/96kHz-capable Mini-YGDAI digital and analog I/O cards. This allows you to configure the 02R96’s I/O to suit your specific production environment.
FEATURES
Sonic Spec
◆
Transparent, full resolution 24-bit/96 kHz
audio, with true 24-bit, 128-times oversampling 96kHz A-to-D and D-to-A converters,
32-bit internal processing and 58-bit accumulators.
◆
20 Hz–40 kHz (0.5, –1.5 dB) frequency
response at 96 kHz sampling rate.
◆
105 dB typical dynamic range (A-to-D
Input to Stereo Out).
Digital Patching
◆ All
available inputs, outputs, effects, and
channel inserts can be assigned to any of
the console's channels or outputs via the
easy-to-use digital patching system.
◆
Each of the 56 input channels can be routed to their direct outputs; subgrouped to
the eight bus outputs; and to the main
stereo outputs – simultaneously if need be.
◆
The eight aux busses can be patched to
anywhere in the system, and patch setups
may be stored in the patch library for
instant recall at any time.
◆
Input and output ports can be named for
easy identification and patches can be
stored in the I/O Patch libraries.
◆
4-band parametric EQ is provided on all
Input and Output Channels with a choice
of a “type I” EQ algorithm or a newly
developed “type II” EQ algorithm.
◆
Independent compression and gating /
ducking processors are provided for all 56
Input Channels. Additionally, compression
is provided for each output.
I/O Architecture
Up to 56 simultaneous input channels each
with direct outputs
◆ 24 balanced analog inputs including sixteen
XLR mic, 1/4˝ TRS line inputs featuring
high-performance head amplifiers derived
from Yamaha’s top-of the line DM2000,
plus eight 1/4˝ TRS line inputs.
◆ An additional 32 inputs (and outputs) can
be derived from four rear panel 24-bit
96kHz compatible mini-YGDAI expansion
card slots. These slots accept a wide variety
of analog and digital (ADAT optical, TDIF
and AES/EBU) plug-in cards that will allow
you to create an input/output configuration
to perfectly suit your system’s needs.
◆ Each input channel has access to 8 aux
sends; independent compression and gating
/ ducking processors; 4-band parameter EQ
and up to 453ms. of channel delay.
◆ 8 freely assignable 1/4˝ TRS Omni outputs.
◆
PHOTO - VIDEO - PRO AUDIO
◆
Dedicated studio monitor and control
room monitor outputs.
◆ AES/EBU
digital I/O and two Coaxial
2-track digital I/Os – A sampling rate
converter is provided on the digital ins
allowing easy integration of 44.1/48 kHz
digital audio equipment such as a CD player.
◆
XLR and 1/4˝ TRS stereo outputs plus two
analog 2-track inputs.
Superlative Analog Head
Amplifiers & Converters
The head amplifiers are derived from the
acclaimed DM2000 - some of the finest
analog mic preamps available in any console,
anywhere. The on-board 24-bit/96-kHz converters ensure that you get an excellent digital
representation of the warm, transparent
output from these remarkable mic preamps.
www.bhphotovideo.com
EQ
Dynamics
YA M A H A
02R96
– Control Surface–
L
B. The 320 x 240 fluorescent backlit LCD
display is enhanced by twelve Display
Access keys that allow you to instantly
switch the display to specific editing,
utility and metering functions such as
Automix, Channel Groups and Pairs,
I/O Patching, MIDI and Remote setups
and more.
D. Editing the four internal effects
processors is made easy with the
parameter up/down selection keys and
four rotary encoders. Four keys, located
above the encoders switch between menu
tabs to reveal additional editing pages.
E. Up to 16 functions from a list of over 150
can be assigned to the User Defined Keys.
Setups can be stored in any of the four
available banks. Example functions
include track arming, scene recall and
muting surround monitor outputs.
F. A large Parameter wheel is provided for
editing parameter values and scrolling
through Scene and library lists. Shuttle
and Scrub mode buttons allow you to
convert the Parameter wheel to be used
for machine control of your DAW or
MMC controlled device.
G. Standard transport buttons (Stop, Play,
Rec, FF and Rew) as well as as well as 8
locate keys are provided for controlling
your DAW via MMC commands.
J
B
I
H
409
C. Each of the 24 channel strips feature:
A touch-sensitive 100 mm motorized
fader; a rotary encoder for controlling
Pan, Aux Send levels, or user assigned
parameters; a channel On/Off key and
Solo key; and an Auto key to turn mix
automation on or off for that channel. A
SEL key allows you to assign a channel
strip to be represented on the LCD
display and allows you to control the
dynamics, EQ, buss assignment and
panning for that channel via the
dedicated Selected Channel controls.
K
A
DIGITAL MIXERS
A. Variable gain, signal present and peak
LEDs are provided for all of the analog
inputs plus independent switchable 26dB
pad and phantom power on the first 16
analog inputs as well as on/off switches
for the inserts I/O.
C
D
E
F
G
H. Four Layer switching keys let you
access all 56 inputs, the 8 AUX sends
and 8 busses as well as a Remote Layer
for controlling your DAW via the 24
channel strips.
J. The monitor section features source select
keys as well as independent Control Room,
Studio, Headphone and Surround level
controls. A talkback mic with level control,
on/off and Dim switches is also provided.
I. A numeric display right next to the
Store, Recall, and Up/Down keys shows
the current scene number - 01 through
99. Additional scene memories can be
managed via a computer running the
supplied Studio Manager software.
K. The joystick can be used for surround panning, normal panning as well as parameter
control for the 5.1 Reverb effect.
L. Detailed control of dynamics, EQ, buss assignment, panning and surround positioning is
available via the Selected Channel controls.
The Optional MB02R96 Meter Bridge Features:
– Twelve 12-segment level
meters that can be used to
display pre-EQ, pre-fader,
or post-fader input
channel signal levels.
– An additional eight meters
displays the levels for the console’s eight busses.
– A 32-segment stereo meter is also provided for the main stereo program.
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YA M A H A
02R96
DIGITAL MIXERS
– Rear Panel–
B
D
A
A. Sixteen balanced XLR mic and 1/4˝ TRS
line inputs with 1/4˝ TRS inserts (+4dB
unbalanced).
B. Channels 17 - 24 feature balanced 1/4˝
TRS line level inputs.
C. Analog Master I/O Section
– XLR stereo outputs (+4dB balanced)
– Left and right 1/4˝ balanced TRS control
room monitor outputs (+4dB balanced)
– Dedicated left and right 1/4˝ TRS studio
monitor outputs (+4dB balanced)
– 1/4˝ TRS studio (+4dB balanced) and RCA
(-10dBv unbalanced) 2-track inputs.
– RCA stereo outputs (-10dBv unbalanced)
410
C
D. Eight freely assignable balanced 1/4˝ TRS
Omni outputs can be independently
accessed from the Bus Outs, Aux Sends,
the Stereo Out, Insert Outs, Direct Outs,
or Surround Monitor Channels.
E. AES/EBU digital I/O (XLR) and two coaxial digital I/Os.
F. A balanced XLR SMPTE timecode input
and a dedicated MTC (MIDI Time Code)
input are provided for synchronizing the
Automix functions with an external
device.
G. A USB “To Host” port and 8-pin mini
serial DIN “To Host” port allow MIDI
communication (including MTC)
between the 02R96 and your host computer. The “To Host” ports are ideal for
integrating the included Studio Manager
Software.
H. MIDI IN, OUT, and THRU ports can be
used to send/receive program changes for
scene recall, control changes and parameter changes for real-time parameter control, Bulk Dump for data storage, MIDI
Clock, MTC, and MMC.
I. Word Clock In and Out is provided by
75Ω BNC connectors – termination can be
switched on and off.
J. The 64-pin Cascade In and Out ports can
be used to cascade up to four 02R96s to
create a multiple-unit mixing system with
up to 224 input channels.
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F
G H
J
E
I L
K
K. Four mini-YGDAI slots support up to 32 additional 24-bit/96kHz-capable inputs and
outputs (64 I/Os at 44.1/48kHz) via optional analog and digital I/O cards including
AES/EBU, ADAT lightpipe, TDIF, and mLAN.
L. A 25-pin D-sub GPI connector allows external equipment to be triggered from specified
faders or User Define Keys.
Machine Control
◆
Both Sony 9-pin (P2) and MMC protocols are supported for external machine control. Control can be switched between MTR and master target machines.
◆ You
can control the transport and locate functions of up to eight external recorders
that support MMC (MIDI Machine Control). Machines that support MMC can be
controlled by connecting them to the 02R96’s MIDI, SERIAL, USB, or with the
optional mLAN I/O Card installed in expansion Slot #1.
Automix Functions
◆ Allows
dynamic automation of virtually
all mix parameters, including Levels,
Mutes, Pan, Surround Pan, Aux
Sends, Aux Send Mutes, EQ, effects,
and Plug-Ins.
◆ Events are recorded in real time and
can be edited either offline, with high
resolution 1/4 frame accuracy, or by
re-recording with punch in/out
The smooth and quiet touch-sensitive,
100mm motorized faders make writing
and updating automation fast and
intuitive.
◆ You can specify which parameters will
be recorded, and punch channels in
and out of recording on-the-fly.
◆ User Defined Remote Layer operations,
and scene and library recall operations
can also be automated, combining snap
shot and dynamic mix automation
◆ Automix can be synchronized to an
external timecode source or to the
internal timecode generator
◆ Up to 16 Automixes can be stored in
the Automix library – They can also be
stored to an external MIDI device, such
as a MIDI data filer, by using MIDI
Bulk Dump
◆
YA M A H A
02R96
Four Multi-Effects Processors
Effects types include reverbs, delays, modulation-based effects, combination
effects, and multichannel effects designed especially for use with surround sound.
◆
Effects processors 2–4 feature assignable stereo inputs and outputs while processor
1 features eight assignable inputs and outputs for use with surround effects.
◆ An
DIGITAL MIXERS
◆
Effects library is provided with 52 preset and 76 user memories.
◆
Effects processor inputs can be fed from the Aux Sends, Input and Output
Channel Insert Outs, or the outputs of another effects processor
◆
Effects processor outputs can be patched to the Input Channels, Input and
Output Channel Insert Ins, or the inputs of another effects processor allowing
you to chain processors together in series.
◆
Joystick control of early reflections and reverb with the Reverb 5.1 effect
◆
User defined plug-ins for external effects control via MIDI, with Learn function
MULTI-EFFECTS LIBRARY FOR 01V96 • 02R96
Dynamic Effects
#
Preset Name
26
Dyna.Filter
27
Dyna.Flange
28
Dyna.Phaser
Combination Effects
#
Preset Name
29
Rev+Chorus
30
Rev->Chorus
31
Rev+Flange
32
Rev->Flange
33
Rev+Sympho.
34
Rev->Sympho.
35
Rev->Pan
36
Delay+ER.
37
Delay->ER.
38
Delay+Rev
39
Delay->Rev
40
Dist->Delay
Others
#
Preset Name
41
Multi.Filter
42
Freeze
43
Stereo Reverb
44
Reverb 5.1
45
Octa Reverb
46
Auto Pan 5.1
47
Chorus 5.1
48
Flange 5.1
49
Sympho. 5.1
50
M. Band Dyna.
51
Comp 5.1
52
Compand 5.1
Description
Dynamically controlled filter
Dynamically controlled flanger
Dynamically controlled phase shifter
Description
Reverb and chorus in parallel
Reverb and chorus in series
Reverb and flanger in parallel
Reverb and flanger in series
Reverb and symphonic in parallel
Reverb and symphonic in series
Reverb and auto-pan in series
Delay and early reflections in parallel
Delay and early reflections in series
Delay and reverb in parallel
Delay and reverb in series
Distortion and delay in series
Description
3-band parallel filter (24 dB/octave)
Simple sampler
Stereo reverb
6-channel reverb for 5.1 surround
8-channel reverb for 7.1 surround
6-channel auto pan for 5.1 surround
6-channel chorus for 5.1 surround
6-channel flanger for 5.1 surround
6-channel symphonic effect for 5.1 surround
Multi-band dynamics processor
Multi-band compressor for 5.1 surround
Multi-band compander for 5.1 surround
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411
Reverbs
#
Preset Name
Description
1
Reverb Hall
Concert hall reverberation simulation with gate
2
Reverb Room
Room reverberation simulation with gate
3
Reverb Stage
Reverb designed for vocals, with gate
4
Reverb Plate
Plate reverb simulation with gate
5
Early Ref.
Early reflections without the subsequent reverb
6
Gate Reverb
Gated early reflections
7
Reverse Gate
Gated reverse early reflections
Delays
#
Preset Name
Description
8
Mono Delay
Simple mono delay
9
Stereo Delay
Simple stereo delay
10
Mod.delay
Simple repeat delay with modulation
11
Delay LCR
3-tap (left, center, right) delay
12
Echo
Stereo delay with crossed left/right feedback
Modulation-based Effects
#
Preset Name
Description
13
Chorus
Chorus
14
Flange
Flanger
15
Symphonic Proprietary Yamaha effect that produces a richer and
more complex modulation than normal chorus
16
Phaser
16-stage stereo phase shifter
17
Auto Pan
Auto-panner
18
Tremolo
Tremolo
19
HQ.Pitch
Mono pitch shifter, producing stable results
20
Dual Pitch
Stereo pitch shifter
21
Rotary
Rotary speaker simulation
22
Ring Mod.
Ring modulator
23
Mod.Filter
Modulated filter
Guitar Effects
#
Preset Name
Description
24
Distortion
Distortion
25
Amp Simulate
Guitar amp simulation
YA M A H A
02R96
DIGITAL MIXERS
Four Band Fully Parametric EQ
Boost/Cut:
±18.0 dB in 0.1 dB steps
Frequency Range:
21.1 Hz to 20.0 kHz (120 steps per 1/12 octave)
Q (Low Band):
HPF, 10.0 to 0.10 (41 steps), L.SHELF
Q (Low-Mid Band):
10.0 to 0.10 (41 steps)
Q (High-Mid Band):
10.0 to 0.10 (41 steps)
Q (High Band):
LPF, 10.0 to 0.10 (41 steps), H.SHELF
A Complete Surround Solution
◆
Everything you need
for 5.1 surround
processing, panning
and monitoring is
provided without
the need for any
external equipment
or the need to
reassign channels
for surround use.
◆
Multi-channel
surround pan/
position displays allow you to see where multiple channels sit in the
surround mix at a glance.
◆
The joystick provided for surround panning in the console’s
SELECTED CHANNEL control section has high 128 x 128 step
resolution providing exceptionally smooth control.
divergence parameter can be used to adjust the hard/phantom
center ratio for each channel.
412
◆A
◆
The monitor processing section includes individual bus (speaker)
muting, attenuation and delay, overall level control for all monitor
outputs, stem mix monitoring via independent source selection
capability for each expansion slot, bass management for subwoofer
delivery, and independent delays for precision speaker tuning.
◆
Control and manage your 02R96 from your Mac or PC using the
bundled Studio Manager software.
◆
Mixing and processing parameters, as well as transport control
and editing functions of leading digital audio workstations and
computer-based recording systems can be controlled directly
from the 02R96 control surface. Extensive support is provided for
Digidesign ProTools, Steinberg’s Nuendo, as well as Emagic’s
Logic Audio.
Dynamics
Remote Control
Independent compression and gating processors are available on all
input channels; compression is also provided on all output channels.
◆ The Selected Channel Dynamics [GATE/COMP] button allows you
to switch the dedicated dynamics section to control the Compression
or Gating.
◆ Variable Threshold, Ratio, Attack, Release, and Gain controls are
provided for the Compressor.
◆ Variable Threshold, Range, Attack, Decay, and Hold controls are
provided for the Gate.
◆
Integrated DAW Control
Expandable Data Libraries
Setting up EQ, compression, and other parameters for a mix from scratch
can be a daunting task, so Yamaha has provided an extensive selection of
presets in a range of “libraries” that can simply be selected and used
unmodified, or edited to suit specific requirements. Libraries are provided
for effects, compression, gating, EQ, I/O patching, and more. Of course,
your own setups can be added to the libraries for instant recall whenever
they are needed.
◆ An
extensive selection of presets in a range of “libraries” may be selected
and used unmodified—or edited to suit specific requirements. Libraries
are provided for effects, compression, gating, EQ, I/O patching, and
more; user setups can be added to the libraries for instant recall.
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Effect library (Effect 1–4)
Presets
Compressor library
Gate library
EQ library
Channel library
Surround Monitor library
Input patch library
Output patch library
Bus to Stereo library
Preset
52 (Effect 2–4: 44)
User
76
36
4
40
2
1
1
1
1
92
124
160
127
32
32
32
32
YA M A H A
mLAN
The 5 Ws of mLAN
One of the reasons for the complexity and
inflexibility of many of today’s music production systems and studios is the sheer
number of connections involved. All the
MIDI and audio signals are routed separately, and each MIDI cable can handle
up to 16 channels of data. Audio usually
requires a separate cable — whether analog or digital — for each channel of audio
for both input and output.
Yamaha’s innovative mLAN networking
system neatly overcomes all these problems by allowing many channels of digital
audio and MIDI music data to be transferred bi–directionally via a single
Firewire cable. Extremely powerful music
systems can be quickly and easily configured using mLAN-compatible musical
instruments, computer components and
interface devices. You don’t need to worry
about the order you connect the devices
in, and mLAN ports are “hot pluggable”
so you can unplug and plug in devices
without having to power-down or reset
the system.
Although computer control can be an
advantage in mLAN networks, mLAN
allows music and audio devices to be networked without a computer. This allows
you to configure an mLAN system for live
performances systems.
When is it?
Who is it ?
First generation mLAN products that use
the 200 mbps PH-1 chipset are currently
available. They allow 8 channels of 48
kHz digital audio i/o and 128 2 Ports
(times 16 Channels) of MIDI.
Second generation products are now in
development and will be released using
the latest PH2 400 mbps chip set. They
will be capable of up to 16 x 64 channels
of 96 khz audio i/o (or 32 x 128 channels
at 44.1 or 48 khz) along with 256 MIDI
channels (8 ports times 16 Channels).
mLAN was developed by Yamaha, but we
realized that for mLAN to be successful,
it needed broad participation from other
manufacturers. It is available to other
manufacturers as a royalty free (no-cost)
license. Currently there are over 40 manufacturers who have signed on as mLAN
licensees and 8 manufacturers have developed first generation products. Those
with current mLAN products include
Apogee, Korg, Kurzweil, Otari, Presonus,
Swissonic, Terratec and Yamaha.
The other problem that exists in today’s
market is proprietary formats. Some of
these proprietary systems use a Firewire
connector, but you can only connect
equipment from the manufacturer of the
proprietary format which severely limits
your choices of gear that you integrate
into your studio.
mLAN works in Windows XP and there
are both ASIO and WDM multi-client
drivers available for the PC platform.
mLAN is also included in Core Audio as
part of OSX 10.2.3 so, you will not even
need a driver for Macintosh computers.
Approximately 100
conventional cables
256 MIDI cables
Other cables
(digital video signals, etc.)
413
IEEE 1394 CABLE
CONCEPTUAL
DIAGRAM
Using the software patch bay application
provided with all mLAN products, you
can easily reconfigure your system – connecting and disconnecting devices as
required – without having to physically
plug, unplug, or re-route any cables at all.
DIGITAL MIXERS
Where is it?
What is it ?
mLAN is the enabling technology for
creating an intelligent, managed local area
music network (LAN) using Firewire.
mLAN not only carries multi channel
digital audio and MIDI over IEEE1394
Firewire, it includes the connection management so you can easily manage your
entire network.
Why is it?
So what are the advantages of mLAN
over other Firewire audio devices?
Firstly, because other devices use proprietary formats, you can only connect
devices from that particular maker to
your system. With mLAN, you can hook
up an Apogee converter with a Presonus
mic pre and a Yamaha synth in one intelligent, well-managed networking system.
Because it uses a standard 1394 connection, you can even run video and other
data on the same Firewire cable without
affecting your mLAN network.
Second, mLAN doesn’t require a computer. You can setup your mLAN system at
home using a computer and then take the
gear to a live gig and hook it together.
MLAN will remember the pre-configured
setup and re-establish the network and all
it’s connections.
Third, mLAN handles word clock arbitration so you can run different devices at
different sampling frequencies on the
same network. Anyone whose tried to
setup a digital audio studio knows how
important word clock is for a successful
studio setup.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
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