Alesis | 12R | #12A Mixers NEW MARGIN (678-711)

#12A Mixers NEW MARGIN (678-711)
The
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Section12A
Mixers
Alesis.....................................................680-681
Allen & Heath ............................................682
Ashley ..................................................683-684
Behringer ...........................................685-689
Mackie .................................................690-694
Phonic ..................................................695-697
Rane ......................................................698-699
Rolls .......................................................700-701
Samson ...............................................702-703
Shure ....................................................704-707
Sony.................................................................708
Yamaha.................................................709-711
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680
MIXERS
ALESIS
MULTIMIX SERIES
Alesis’ MultiMix series is a line of powerful, portable, affordable mixers designed for
a wide range of operating environments and applications. Both the 8FX and
12FX tabletop versions, as well as the powerful 12R 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 8FX
MultiMix 12FX
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 24-bit 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.
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 12R Rack Mixer
The MultiMix 12R is a very affordable 12-input, 2-buss analog rack
mixer featuring 8 XLR mic inputs with phantom power with 2
stereo line channels, in a compact, 3U rackmount design. It has a
2-band shelving EQ at 80Hz and 12 kHz on each channel, 2 aux
sends (pre-and post-fader) for monitor returns and effects, and
60mm linear 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.
MULTIMIX USB MIXERS
The MultiMix USB series are compact, affordable, analog mixers with built-in
28-bit digital effects and digital stereo inputs and outputs. They feature
low noise analog electronics with studio-quality components and effects
processing with rock-solid construction. Each mixer includes a USB 1.1 audio
interface, which allows simultaneous stereo input and output, at 16-bit, with
your Mac or PC. Available in 8, 12 or 16 channel configurations, the mixers are are
ideal for applications ranging from desktop audio / video workstations, studio recording,
sound reinforcement and submixing.
◆ Compact, affordable 8-, 12- and 16-channel
analog mixers
◆ Integrated USB 1.1 audio interface with plug
◆ 3-band EQ per channel
◆ 100 28-bit onboard preset effects including
reverbs, delays, chorus, flanging and pitch
and play for Mac OS X and Windows
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◆ Separate 1/4” balanced main and monitor
outs, headphone out
◆ Easy to attach rackmount ears available
◆ Bundled with Steinberg Cubase LE
MIXERS
ALESIS
681
MULTIMIX USB MIXERS
MultiMix 8USB Mixer
MultiMix 12USB Mixer Adds
◆ Four stereo balanced 1/4” line inputs
◆ Four high-gain mic/line inputs with
phantom power, switchable 75Hz highpass
filter, 3-band EQ, one prefader aux send
and obe post fader aux send assignable to
the onboard effects
◆ Channel mute switch routes audio to ALT3/4
outputs
◆ 60mm linear faders
◆ Channel pre-fader listen or solo-in-place
◆ 44.1 kHz S/PDIF digital out
MultiMix 16USB Mixer Adds
◆ 8 high-gain mic/line inputs with phantom power, 2 stereo balanced 1/4” line inputs
◆ Two stereo balanced 1/4” line inputs
MULTIMIX FIREWIRE MIXERS
Like the MultiMix USB series, the MultiMix FireWire series are analog
mixers available in 8-, 12- and 16-channel configurations with
high-gain mic presence and 28-bit digital effects. However,
these mixers also offer multi-channel, 24-bit interfacing via
FireWire (IEEE1394) with a computer. This allows you to record
every input of the mixer, plus the main outputs to your favorite
DAW and return two channels from the DAW back to the mixer. Their
compact size, clean analog paths, 24-bit A/D - D/A conversion and FireWire
interfacing make them ideal for location recording, sound reinforcement or any
application requiring, flexible multichannel support.
◆ Compact 8-, 12- and 16-channel analog
◆ 3-band EQ per channel
mixers and multi-channel FireWire audio
computer interface
A/D and D/A conversion throughout
(XLR and 1/4” balanced) inputs with
phantom power, 2 stereo balanced 1/4” line
inputs, aux send (can be sent to onboard or
external effects), stereo aux return. MultiMix
16 has 8 high-gain mic/line inputs
MultiMix 6FX
Main outputs. Up to 18 simultaneous
channels (with the MultiMix FireWire 16)
◆ 24-bit, 44.1/48 kHz resolution with high-end
◆ MultiMix 8 and 12 have 4 high-gain mic/line
Mixer
◆ Record every individual channel plus the
◆ Chain multiple MultiMix FireWire mixers
◆ 100 28-bit onboard preset effects including
together for expanded computer inputs
reverbs, delays, chorus, flanging, pitch, and
multieffects
◆ Compatible with Mac OS X and Windows XP
◆ Steinberg Cubase LE included
◆ Separate 1/4” balanced main and monitor
◆ Easy to attach rackmount available
outs, headphone out
Mono Inputs
Inserts
EQ
Aux Sends
Stereo Inputs
Bus Outs
2 mic/line
—
3-band
1
2 line
2-buss
MultiMix 12FX
4 mic / line
—
3-band
2
4 line
4-buss
MultiMix 12R
8 mic / line
Yes
2-band
2
2 line
2-buss
MultiMix 8USB
4 mic / line
—
3-band
2
2 line
2-buss
MultiMix 12USB
4 mic / line
—
3-band
2
4 line
4-buss
MultiMix 16USB
8 mic / line
—
3-band
2
4 line
4-buss
MultiMix 8 Firewire
4 mic / line
—
3-band
2
2-line
2-buss
MultiMix 12 Firewire
4 mic / line
—
3-band
2
4 line
4-buss
MultiMix 16 Firewire
8 mic / line
—
3-band
2
4 line
4-buss
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MIXERS
A L L E N & H E AT H
MIX WIZARD WZ3 12:2 & 16:2
Desktop / Rackmount Mixing Consoles
The third generation 12:2 and 16:2 MixWizard series are small format mixers available
with either eight mono mic/line inputs and two stereo channels (12:2), or 16
mono mic/line inputs (16:2). The WM3 series are designed to offer maximum
flexibility and feature many improvements over their already legendary
predecessors including new high performance mic preamps with individual
phantom power switches and an advanced grounding scheme that enhances
sonic quality. The WM3 series are built to the highest professional standards with
all-metal chassis, individual circuit boards, nutted rotary controls, smooth 100mm faders,
LED metering, as well as 6 aux sends, 4 band EQ, digital FX and expansion capability.
Inputs
Main Outputs
◆ The 12:2 has eight mono XLR mic / 1/4” TRS line
◆ Main L/R outputs include dual 100mm
inputs, and two stereo channels; the 16:2 has
16 mono XLR mic / 1/4” TRS line inputs
◆ Each mono input features 4-band EQ (with
sweepable mid-bands), switchable HPF,
independent phantom power, 6 aux sends, mute,
signal/peak LEDs and 100mm smooth action
fade, as well as 1/4” TRS direct out and insert.
◆ The two dual stereo input channels (12:2) include
4-band EQ, 6 aux sends and independent gain
controls for left/right inputs.
faders and XLR output connectors with
1/4˝ inserts and 12 segment 3 color
metering; a 100mm mono fader is also
provided that can access a sum of the L/R
or aux 6 mix
◆ There is also an additional A-B (L/R) out-
put selectable pre or post L/R faders. An
underpanel switch allows you to configure the A-B as a local monitor output for
additional stereo monitoring.
Built In Effects
◆ 32 internal effects programs are provided
with external midi editing / control
◆ Effects can be muted using a footswitch
Conveniences
◆ 1/4˝
headphone output and 4-pin XLR
lamp connector
◆ Quick-change connector system uses a
hinged connector panel to allow simple
reconfiguration of the mixer between
desktop, rack or flightcase mounting
GR05 Zone Mixer
The GR05 is a single space, custom configurable
audio zone mixer designed for serious
installation applications, yet simple enough to
be used by non-technical staff. The GR05 features two mic inputs and three stereo line inputs that can be assigned to 4
zone outputs configurable in mono or stereo pairs. The mixer can be controlled by the front panel or VCA remote control.
For additonal mic and/or line inputs, you can slave multiple units via the remote / expander interface. Lockout system
controls include the ability to disable the output levels controls, and all level controls may be set in three ways.
◆ Two balanced XLR mic inputs with front
panel level control and tri-color LED metering, rear panel gain trimmer and internal
trimmers for 2-band EQ, HMF with sweep
and LF shelving. An internal jumper system
provides 30dB attenuator pad, +15V
phantom power and HPF @ 200Hz.
◆ Three stereo RCA inputs with front panel
level control, tri-color LED metering and
-10dBV/+4dBu level matching via internal
jumpers
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◆ Four balanced XLR outputs with front panel
level controls and tri-color LED metering.
Internal trimmers are provided for -10dBV to
+4dBu operation as well as high and low
shelving EQ. VCA control can be configured
and outputs can be assigned to front panel
controls or remote control operation.
◆ Zone muting is assignable to a front panel
switch. Channels can be routed to outputs
direct or via VCA control. Outputs are duplicated on the expander/remote connector.
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◆ All inputs can be routed to any combination
of outputs direct or via the VCA control.
◆ Configurable VCA remote control is available
through the 25-pin expander/remote
connector on the rear panel with a remote
DC input for each of the 4 outputs.
◆ Internally or externally configurable ducking
with adjustable depth and release times,
status indicator and muting. VCA controllable
output ducking with 4 additional direct/VCA
buss inputs on expander/remote connector.
MIXERS
A S H LY
683
MX SERIES
MX-206 Six-Input Stereo Mic Mixer
The MX-206 is a 1RU rackmountable, 6-channel
stereo microphone mixer
designed for standalone
fixed or portable installations or to augment a larger format mixing console. Each of the six ultra low-noise studio-grade mic
preamps delivers 84dB of gain and features a switchable 20dB pad, continuously variable gain, three position trim switch
(-20, -40 and -60dB) and pan controls, and a peak LED indicator. 48 Volt phantom power is globally switchable for use with
condenser mics. The MX-206 offers a range of controllable outputs. The main stereo outputs are provided via balanced 1/4”
TRS jacks with dedicated level controls for the left and right channels. There is also a 1/4” headphone jack on the front panel
as well as a mono output via balanced XLR on the rear, each with their own dedicated level control. Aux stereo RCA I/O allows
you to utilize multiple units by linking the RCA outs of one unit to the RCA ins of another.
MX-406 Six-Input Mic/Line Mixer
Like the MX-206, the MX-406 is rack-mountable six input, stereo
mixer for fixed or portable applications. However, the 2RU
MX-406 accepts both mic and line-level signals with XLR and
1/4” TRS inputs on the rear panel. Each input also features a
dedicated aux send as well as continuously variable bass and treble shelving filters. A master Aux send with 1/4” output jack
and level control can be used for creating a monitor mix or to feed an outboard effects processor.
MX-508 Eight-Input Stereo Mixer
The MX-508 is an eight-input stereo mixer, housed in a 3RU
chassis, that offers the same routing and sound control
versatility usually found in larger format mixing consoles.
It’s professional, compact and rugged design is perfect for
live sound reinforcement, field production, broadcast,
mobile recordings, club installations, and more.
Each of the eight inputs features ultra low-noise
studio-grade XLR balanced mic preamps and 1/4” TRS line level inputs; three-band EQ with sweepable mid-band, continuously
variable input gain, pan and level controls, peak LED; two aux sends and 1/4” send and return insert jacks.
The main output section features independent left and right level controls, mute switches and 10-segmented LED meters.
The left and right main outputs are available via transformer-balanced XLR and balanced transformerless right and left TRS
1/4” outputs. Pre-Master left and right Sub-In/Out patch points are provided for slaving multiple units. The Aux section
employs two Master Aux Sends and two pannable Master Aux Returns. Stereo RCA inputs/outputs are also available for
accessing an external tape and/or CD deck. Designed for years of trouble-free operation, the MX-508 is backed by Ashly’s
exclusive 5-Year Worry-Free Warranty.
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MIXERS
A S H LY
DLM-821
Ducking Line Mixer
The DLM-821 is a 1RU stereo
mixer with built-in ducking that
can be configuerd to provide
eight stereo or sixteen mono line
input channels with the first four channels being assignable as mono mic inputs with switchable phantom power. The DLM-821
is designed for use in fixed installations requiring multiple microphones or stereo line-level sources and can provide paging in
a single or dual zone application. Each input channels features independant level and pan (balance) controls, mute switch
and signal LED. Input channels one and two can be used for ducking the outputs of channels three through eight. The ducking
depth and trigger threshold can be set internally. There are separate left, right and mono outputs with the mono output being
switchable for mic or line level signals. The left and right outputs feature level and pan controls with 6-segment LED metering,
while the mono output offers a dedicated level control. There is also a 1/4” headphone output on the front panel with a
dedicated level control. The DLM-821 uses euroblock connectors for all rear-panel audio connections and is housed in a sturdy
steel chassis. It is built in the USA, and has a five-year warranty.
LX-308B Mic / Line Mixer
The LX-308B is a true stereo
eight-channel line-level mixer
which may also be used as a
sixteen-channel mono mixing
unit. Additionally, channels one and two are switchable for either microphone or line-level applications. The LX-308B delivers
precise line-level mixing capabilities in an rugged 1RU package. It can be used as a standalone mixer for fixed or mobile
installations or as an expander unit for larger consoles. Each input channel features independent level and pan controls, mute
switches with LED status indicators on the front panel. There are left, right and mono outputs as well as pre-master sub inputs
and outputs that canbe used for linking between multiple units including MX series mixers. The main left and right outputs
offer pan and level controls and a mute switch along with two five-segment LED meters plus clip indicator LEDs. A 1/4”
headphone output with a dedicatd level control is provided on the front panel. Rear panel inputs and outputs are all on
balanced 1/4” TRS connectors. Backed by Ashly’s exclusive 5-Year Worry-Free Warranty, the LX-308B will provide years of reliable
performance in demanding professional audio applications.
Mixer
MX-206
MX-406
MX-508
DLM-821
LX-308B
6
6
8
8 (Euroblock)
8
6 XLR mic / line
6 XLR mic / 1/4˝ line
8 XLR mic / 1/4˝ line
4 mono mic / stereo line
2 mic / line, 6 line
—
Yes
Yes
—
—
Stereo Line Inputs
Aux (RCA)
Aux (RCA)
1/4˝ TRS / Tape (RCA)
4
8 1/4˝ TRS line stereo
Sub (Aux) Output
Aux (RCA)
Aux (RCA)
1/4˝ TRS / Tape (RCA)
—
1/4˝ TRS
1/4˝ TRS
XLR / 1/4˝ TRS
Euroblock
1/4˝ TRS
Mono Output
XLR
XLR
1/4˝ TRS
Euroblock
1/4˝ TRS
Aux (Send / Return)
—
—
2 mono / 2 stereo
—
—
Input Channels
Mono Mic / Line Inputs
Channel Inserts
Main Stereo Outputs
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MIXERS
BEHRINGER
685
EURORACK PRO RX1602
Professional Multi-Purpose 16-Input Line Mixer
The Eurorack PRO RX1602 is a professional
multi-purpose 16-input ultra low-noise
line mixer. It can be used as an
extremely flexible keyboard and
multi-purpose sub-mixer,
multi-track monitoring mixer,
level translator, FX return sub-mixer and so on. There are 16 balanced high-headroom line inputs for individual stereo or
mono use of each section. Simply the perfect mixer when you need more inputs and crystal-clear audio performance—
look no further!
◆ 16 balanced, ultra low-noise ULN designed,
high-headroom 1/4” TRS line inputs accessed
via 8 stereo input channels. Each input
channel can also be used for mono operation
◆ Each of the 8 input channels includes rotary
level, pan (balance) and monitor/FX send
controls, plus a mute switch with integral
clip LED. +4/-10 dB operation is switchable
for each input channel from the rear panel.
◆ 1/4” global master send with dedicated level
control for flexible monitoring, recording or
effects applications
◆ Highly accurate 2x 7-digit LED level meters
and individual level control for left and right
main mix signal
◆ The monitor/FX signal is assignable to the
◆ High quality components include detented
headphone output for added flexibility
ALPS rotary controls, plus a shielded
toroidal power transformer for low noise
performance
◆ 1/4” TRS main mix outputs with level control,
plus a front panel headphone output with
dedicated level control
◆ Extremely rugged construction
ULTRALINK PRO MX882 8-Channel Splitter/Mixer
and Level Conditioner/Converter
The MX882 is a 1RU signal distribution
wizard designed to help you solve a
diverse range of problems including
signal splitting, line mixing and
level conditioning. Features include
six mono inputs and outputs using
XLR and 1/4” connectors plus stereo main inputs and main outputs. Regardless of your application, the MX882 keeps your
signal paths short and clean. Ideal for use as an effects mixer, for P.A. monitoring, live sound systems, theaters, conference
rooms, hotels, churches, etc.
◆ Six mono inputs with level and balance
(pan) controls, 6 mono outputs, 2 (stereo)
main inputs and 2 (stereo) outputs
◆ Extremely wide bandwidth from 5Hz to
200kHz for audio purity
◆ A Main Link switch routes the main input
to the main output allowing you to link
multiple units
◆ 4/8-segment input/output level meters
for all channels
◆ Each channel can operate independently
in mixer or splitter mode
◆ Servo-balanced gold-plated XLR and
1/4” TRS inputs and outputs
◆ High-quality detented potentiometers
Applications
◆ 8-in/2-out line mixer, 2-in/8-out line splitter
◆ 6-in/6-out level matching amplifier or
direct inject (DI) box
◆ Converts levels between consumer -10 dBV
and professional +4 dBu
and illuminated switches
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MIXERS
BEHRINGER
UB502
▲
UB-502 • UB802 • UB1002 • UB1202
5, 8, 10 and 12-Input 2-Bus Mixers
▲
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.
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
UB802
well-suited for use with fixed A/V installations as well as keyboards, samplers
and computer application.
The 10-input UB1002 features two mic preamps), while the 12-input UB1202
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
fader FX send per channel for
external FX devices, main mix
outputs plus separate control
▲
UB1002
room, headphones and stereo
tape outputs. Tape inputs are assignable to
▲
UB1202
main mix or control room/phones outputs. These are extremely versatile mixers ideal for
running permanent video and audio installations.
F E AT U R E S
◆ 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
crystal-clear reproduction of even the finest nuances
◆ Ultra-low noise ULN design, highest possible headroom,
ultra-transparent 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
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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
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MIXERS
BEHRINGER
687
UB1204-PRO • UB1204FX-PRO
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 highquality 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
◆ Tape inputs assignable to main mix or
inputs (not 12) with +4/-10 level selection on
all stereo channels
◆ 2 aux sends per channel:
control room/phones outputs
◆ 2 subgroups with separate outputs for
added routing flexibility
1 pre fader for monitoring applications
1 post fader for external FX devices
channels routes signal to subgroup instead
of main outs
XLR connectors plus separate control room,
headphones and stereo tape outputs
◆ Internal switch-mode power supply for
◆ 2 multi-functional stereo aux returns with
◆ Peak LEDs and mute/alt 3-4 function on all
◆ Balanced main mix outputs with gold-plated
flexible routing
◆ Control room/phones outputs with
maximum flexibility (100-240v), noise-free
audio, superior transient response plus
lowest possible power consumption
◆ Includes rackmount brackets
multi-input source matrix
Mixer
UB502
UB802
UB1002
UB1202
UB1204-PRO/FX
Channel
1 mono+ 2 stereo
2 mono+ 2 stereo
2 mono+ 4 stereo
4 mono+ 4 stereo
4 mono+ 2 stereo
Mono Mic/Line 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)
Stereo Line Inputs
2 (1/4” TRS)
2 (1/4” TRS)
4 (1/4” TRS)
4 (1/4” TRS)
2 (1/4” TRS)
EQ Mono Channels
2-band
3-band
3-band + low cut
3-band + low cut
3-band + low cut
EQ Stereo Channels
—
3-band
—
—
3-band
Phantom Power (+48V)
—
Yes
Yes
Yes
Yes
Main Outputs
1/4” TRS connectors
1/4” TRS connectors
1/4” TRS connectors
1/4” TRS connectors
XLR connectors
Headphones Output
1/4” TRS connector
1/4” TRS connector
1/4” TRS connector
1/4” TRS connector
1/4” TRS connector
RCA connectors
RCA connectors
RCA connectors
RCA connectors
RCA connectors
Control Room Outputs
—
1/4” TRS connector
1/4” TRS connector
1/4” TRS connector
1/4” TRS connector
Switch-Mode PSU
—
—
—
—
✓
Rack-mount Kit included
—
—
—
—
✓
1.9 x 5.3 x 7”
1.9 x 7.4 x 8.7”
1.9 x 7.4 x 8.7”
1.9 x 9.5 x 8.7”
3.8 x 9.7 x 12.9”
1.21 lbs.
2.21 lbs.
2.31 lbs.
2.97 lbs.
5.64 lbs.
2-Track I/O
Dimensions (HWD)
Weight
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688
MIXERS
BEHRINGER
XENYX SERIES
Premium Analog Mixers
The XENYX series represent Behringer’s latest and most advanced analog mixer
technology, the center piece of which is the new XENYX “Invisible” mic preamp
that matches the sound quality, transparency, headroom and dynamic
range of boutique style, standalone mic preamps. XENYX mixers are
available in a wide range of configurations ranging from five to twenty
four channels and can be broken down into three main categories:
analog mixers; analog mixers with built-in 24-bit effects; and analog
mixers with built-in 24-bit effects and stereo graphic EQ that can be applied
to the main or monitor outputs. All XENYX mixers feature a combination of mono
Mic / line and stereo line inputs with “British-style” two- or three-band EQ. And several of the XENYX mixers
come with an external USB/Audio interface that allows direct plug and play connectivity with a Windows or Mac computer.
Whether you need simple, single mic input mixer for an office meeting presentation or multiple mic and line level inputs,
with sub group routing for larger venues, the Xenyx series has got you covered.
502
◆ Ultra low-noise, high headroom, five input, two bus analog mixer.
◆ Five input channels including a state-of-the-art XENYX mic preamp,
with XLR and 1/4” connectors and 2-band “British style” EQ; two line
level stereo channels with 1/4” input connectors.
◆ 1/4” main mix outputs with dedicated level control, stereo CD/tape
outputs plus a separate 1/4” headphone output with dedicated level
control.
◆ CD/tape inputs assignable to headphone or main mix outputs.
802 (Same as the 502 except)
◆ Eight input channels including two XENYX mic preamps with XLR 1/4”
conectors and 3-band “British style” EQs; two stereo channels with
1/4” connectors and 3-band “British style” EQs.
1002FX/1202FX
(Same as the1002 and1202 respectively, except)
◆ They incorporate a studio-grade 24-bit stereo FX processor with 100
awesom presets including reverb, chorus, flanger, delay, pitch shifter
and various multi-effects.
◆ FX send control per channel for internal FX processor and/or as
external send.
1204 (Same as the1202 except)
◆ Twelve input channels including four XENYX mic preamps with XLR /
1/4” connectors, 3-band “British style” EQ and switchable low-cut filter;
two stereo channels with 1/4” connectors, 3-band “British style” EQ
and independently switchable for +4 / -10dB operation; and two
stereo aux returns with 1/4” connectors.
◆ Global phantom power switch for mic pres.
◆ Two aux sends per channel (one pre-fader and one post-fader).
◆ One post fader aux send per channel for use with external effects or
◆ Mute/alt 3-4 function, available on all channels, allows you to mute
monitor mixes.
◆ One stereo aux return for FX applications or as separate stereo input.
◆ Dedicated control room outputs with a level control shared by the
headphone output.
any channel and route it to a pair of alternate 1/4” outputs — ideal for
tracking or splitting a mix.
◆ Two stereo aux sends for monitor and effects routing.
◆ Balanced XLR main mix outputs.
◆ Control room/phones outputs with multi-input source matrix.
1002/1202 (Same as the 802 except)
◆ Ten input (1002) and twelve (1202) channels including two (1002)
or four (1202) XENYX mic preamps with XLR / 1/4” connectors and
3-band “British style” EQ; four stereo channels with 1/4” connectors,
independently switchable for +4 / -10 dB operation.
◆ FX to control room function helps to monitor effect signal via
headphones and control room outputs.
◆ Long-wearing 60mm logarithmic-taper master fader and sealed
rotary controls.
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◆ Rackmount brackets included for ultimate flexibility.
◆ USB/audio interface included to connect directly to your computer.
Audio recording and editing software can be downloaded for free
from the Behringer website.
1204FX (Same as the1204 except)
◆ Incorporated a studio-grade 24-bit stereo FX processor with 100 presets
including reverb, chorus, flanger, delay, pitch shifter and various
multi-effects.
MIXERS
689
BEHRINGER
XENYX SERIES
XENYX 1222FX: 16-input 2/2-bus mixer with 7-band stereo graphic EQ, 24-bit
Multi-FX processor and USB/audio interface.
XENYX 1832FX: 18-input 3/2-bus mixer with 9-band stereo graphic EQ, 24-bit
Multi-FX processor and USB/audio interface.
XENYX 1622FX:
16-input 2/2-bus mixer with 24-bit Multi-FX processor and USB/audio interface.
XENYX 2222FX:
22-input 2/2-bus mixer with 24-bit Multi-FX processor and USB/audio interface.
XENYX 2442FX:
24-input 4/2-bus mixer with 24-bit Multi-FX processor and USB/audio interface.
502
802
1002 (FX) 1202 (FX) 1204 (FX)
1222FX
1622FX
1832FX
2222FX
2442FX
Input Channels
Mono Mic / Line Inputs
“British” Style EQ
Sweepable Mid
1
2
2
4
4
4
4
6
8
8
2-Band
3-Band
3-band
3-band
3-band
3-Band
3-Band
3-Band
3-Band
3-Band
–
–
–
–
–
–
✔
✔
✔
✔
Low Cut Filter
–
–
✔
✔
✔
✔
✔
✔
✔
✔
Aux Sends
–
1
1
1
2
2
2
3
3
4
1/4˝ TRS Inserts
–
–
–
–
–
Inputs 1-4
4
6
8
Inputs 1-8
Global Phantom Power
–
✔
✔
✔
✔
✔
✔
✔
✔
✔
Stereo Line Inputs
2
2
4
4
2
4
4
4
4
2
“British” Style EQ
–
3-band
–
–
3-band
3-Band
4-Band
4-Band
4-Band
4-Band
Aux Sends
–
1
1
1
2
2
2
3
3
4
Switchable -10 / +4dB
–
–
✔
–
–
✔
✔
✔
–
Mono Mic/ Stereo Line Inputs
–
–
–
–
–
2
–
–
–
2
Built-In 24-bit Effects
–
–
1002FX
1202FX
1204FX
✔
✔
✔
✔
✔
Aux Returns
–
1 Stereo
–
–
2
2 Stereo
2 Stereo
2 Stereo
3 Stereo
4 Stereo
Sub Groups
–
–
2
2
2
4 Stereo
1/4˝
1/4˝
1/4˝
1/4˝
XLR
XLR
XLR
XLR
XLR / 1/4˝
XLR / 1/4˝
–
–
–
–
–
–
–
–
–
✔
4-seg
4-seg
4-seg
4-seg
12-seg
12-seg
12-seg
12-seg
12-seg
12-seg
Control Room Outputs
–
1/4˝
1/4˝
1/4˝
1/4˝
1/4˝
1/4˝
1/4˝
1/4˝
1/4˝
RCA Tape I/O
✔
✔
✔
✔
✔
✔
✔
✔
✔
✔
Graphic Main/Monitor EQ
–
–
–
–
–
7-Band
–
9-Band
–
–
60mm Logarithmic-Taper Faders
–
–
Master Only
Master Only
✔
✔
✔
✔
✔
✔
USB Audio Interface Included
–
–
–
–
✔
✔
✔
✔
✔
✔
Rackmount Brackets
–
–
–
–
✔
✔
✔
–
✔
✔
Effects and Sub Groups
Alt 3-4
Main Section
Main Outputs
Main Inserts
LED Ouput Metering
General
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MIXERS
M AC K I E
1202-VLZ PRO • 1402-VLZ PRO
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.
F E AT U R E S
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.
The 1202 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.
◆ 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.
◆ Constant-loudness pan pots on each input
channel keep sound at a consistent volume
when panning between left, center and
right positions.
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.
◆ 1/4” TRS balanced stereo control room
outputs.
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.
◆ 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.
◆ PFL Stereo in-place Solo on each channel.
1402-VLZ PRO STEP-UP FEATURES
Aux Inputs
◆ 6 mono balanced XLR mic/ 1/4” line
◆ 2 balanced 1/4” stereo returns with EFX to
inputs instead of 4.
Monitor switch.
◆ Switchable AFL/PFL Solo.
◆ Aux 1 master control with Monitor/Post
assign switch.
◆ Stereo RCA 2 track tape return.
PHOTO - VIDEO - PRO AUDIO
◆ Optional RM1402VLZ rackmount ears.
◆ 60mm long-wearing log-taper faders ensure a consistent, smooth accurate response through
the length of the fader travel.
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MIXERS
M AC K I E
691
Mackie Mixer Technology
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
hundreds per channel. 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.
Very Low Impedance
EQ
◆ Low impedance is achieved by scaling
◆ Positioned at 12kHz, the Hi Shelving EQ
down resistor values by a factor of 4,
resulting in a corresponding reduction
in thermal noise.
Mix Amp Headroom
◆ Negative gain mix amplifier 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.
adds sheen and presence to vocals,
enhancing the textures of sounds without
contributing to aural fatigue.
◆ Positioned at 80Hz, the Low Shelving EQ
XDR Mic Preamps
emphasizes the fundamental lows of kick
drums, and other bass instruments while
allowing you to fatten up male vocals and
instruments like guitars.
◆ 130dB dynamic range and extremely flat
frequency response allows the XDR mic
preamps to handle inputs up to192kHz
without added coloration.
◆ Mid-range frequency is placed at 2.5kHz
◆ DC pulse transformer reject RFI without
(1202/1402-VLZ PRO), harmonics of vocals
and instruments are enhanced without
becoming strident or fatiguing.
attenuating frequencies of 15kHz and
above.
◆ Ultra-high-speed, large-geometry input
Impact Resistant
◆ Knobs ride just thousandths of an inch
from the metal surface of a mixer chassis.
◆ Ultra-tight lip seal design provides a
continuously-sealed barrier against dust
and liquid.
◆ Brutal knob impact is absorbed by broad
◆ Sweepable Mid-Band EQ (1604/1642-VLZ
diodes protect the XDR mic preamps
from hot-patching and direct short circuits
in cables carrying phantom power.
PRO) from 100Hz to 8kHz for specific EQ
treatment of a broad range of frequencies.
pressure on a tough circuit board. A
braced, horizontal circuit board and
shock-absorbing structure eliminates
force transferred to the circuit board.
1642-VLZ 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.
STEP-UP FEATURES FROM THE 1402-VLZ PRO
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
Additional Features
◆ Four 1/4” balanced stereo
aux returns with level
controls and solo.
◆ Switchable AFL/PFL Solo
with level control
◆ 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.
◆ Two 1/4” stereo headphone outputs
◆ Four 1/4” balanced aux sends. Aux send 1-2 master
section with level controls and solo
◆ 1/4” balanced mono output with level control
◆ Optional rack ears allow
mounting in a standard 19”
rack.
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MIXERS
M AC K I E
1604-VLZ PRO
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.
STEP-UP FEATURES FROM THE 1642-VLZ PRO
Input Channels
◆ 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
◆ 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
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-of-house 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
◆ 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
◆ 2 stereo Aux Returns
◆ Headphone output with level control
◆ Master Aux 1, Aux 2/EFX and CD/Tape
◆ Balanced /unbalanced
Return faders
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stereo outputs
XLR and 1/4” main
MIXERS
693
M AC K I E
CFX12MKII • CFX16MKII
12- and 16- Channel Audio Mixers
with Digital Effects
Available in 12 (CFX-12MKII) and 16 channel (CFX-16MKII) configurations,
they are ideal all-in-one compact mixers for live sound applications.
They incorporate the same low-noise, high-headroom mic pres, four
assignable sub groups, 32-bit digital effects and 9-band graphic EQ as the
original CFX series with several ergonomic enhancements including Onyx styled
knobs, easier to read graphics for low light situations and impact resistant rubber side panels
for improved durability.
Input Channels
Subgroup
Outputs
◆ Four Subgroup buses with 1/4” balanced
◆ Level-setting LED for each channel.
◆ Balanced/unbalanced 1/4” TRS and 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.
◆ Low-noise, high-headroom mic preamps
with 50dB of gain; 48v phantom power.
◆ +30dB of line level gain and a full 15dB of
XLR outputs for mains with inserts.
◆ Headphone jack w/level control.
◆ XLR balanced subwoofer output from
attenuation to “pad” hot signals.
built-in 18dB/oct. 75Hz crossover!
◆ Two Aux Sends with balanced 1/4” outs,
Effects
switchable to pre-fader for monitor use and
post-fader for use as effects sends.
◆ Extra 1/4” balanced utility stereo outputs
with level control (post-Main Fader).
◆ 32-bit digital FX with 9 reverbs, 4 delays,
phaser, chorus, flange; 2 parameter controls
and an EFX wide spatial expander and
bypass switch.
◆ One external and one internal EFX Send.
◆ Pan, Mute, PFL solo on each channel
◆ Pre-Fader Solo switch allows channel
Conveniences
◆ 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.
Master Section
monitoring via headphones.
◆ Studio-quality, 9-band stereo graphic EQ.
◆ 3-band EQ (12kHz shelving HF, ultra-wide
100Hz to 8kHz bandwidth sweepable
peaking Midrange EQ and 80Hz LF).
◆ Tape/CD inputs with level control
assignable to Main Mix via Break switch
◆ Inserts and 100Hz 18db/octave low-cut
◆ Long-wearing 60mm logarithmic taper
faders give you smooth, linear control
throughout the fader’s entire travel.
◆ RCA tape/CD inputs and tape outputs.
filters on all mic/line channels.
◆ Two stereo effects returns with balanced
◆ 4-band EQ on stereo line channels.
Mixer
CFX-16
◆ Rude Solo Light alerts of any current soloed
channels.
1/4” inputs.
1202-VLZ Pro
1402-VLZ Pro
1642-VLZ Pro
1604-VLZ Pro
CFX-12
CFX-16
CFX-20
Total Channels
12
14
16
16
12
16
20
Buses
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)
3-Band (Mid-Sweep)
3-Band (Mid-Sweep)
3-Band (Mid-Sweep)
3-Band (Mid-Sweep)
3-Band (Mid-Sweep)
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
2 Stereo
4 Stereo
4 Stereo
2 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.
Mono Output
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MIXERS
M AC K I E
ONYX 1220 / 1620
Premium Analog Mixers with FireWire Option
The Onyx 1220 and 1620 are small format, premium analog mixers that employ
Mackie’s latest technologies and an expanded feature set. These include
extremely low-noise ONYX microphone preamps and circuitry, classic
“British console” EQ, unmatched durability, and plenty of direct
instrument inputs. But the ONYX mixers don’t stop there —
they also offer an optional FireWire card that allows you to
intergrate the mixers into any computer-based system.
The Onyx mic preamps were designed to deliver the high
level of accuracy and transparency of esoteric, boutique
studio mic pres, while at the same time be able to function in
real world mixing environments when faced with the challenges of RF
and microwave interference as well as long cable runs. To combat these inevitablities, Onyx mic preamp use custom
high-performance IC chips developed specifically for low-noise, high-headroom audio with a dynamic range of 123dB.
The uncompromised audio and build quality as well as the flexibility of the ONYX range make them ideal for any recording
or sound reinforcement system.
F E AT U R E S
◆ Premium 12-channel small-format analog
mixer with four mono mic / line inputs and
four stereo line level inputs.
◆ 60mm Logarithmic Taper faders for smooth,
linear fades
◆ Balanced direct outs for every channel via
Master Section
◆ XLR balanced main outputs
◆ 1/4˝
TRS control room outputs and
headphone output with independent level
controls
◆ 12-segment LED output metering
◆ Two master Aux sends with pre / post
switches and two stereo Aux returns
◆ Unbalanced RCA Tape I/O
◆ Built-in Talkback section for use with internal
or external mic via XLR input.
dual DB-25 connections
ONYX 1620 STEP-UP FEATURES
◆ The four mono XLR mic / 1/4”
TRS line inputs
include ONYX mic preamps with 3-band
Perkins EQ with sweepable mids; switchable
low cut filter; 2 Aux sends; individual
phantom power switches for each channel;
1/4” inserts; mute switches w/ routing to
Alt 3-4 outputs; four-segment LED metering.
◆ Selectable Hi-Z instrument inputs are
available on the first two channels
◆ Premium 16-channel small-format analog
mixer with eight mono mic / line inputs and
four stereo line level inputs.
◆ Four-band Perkins EQ circuitry with true
hardware bypass
◆ Four mono Aux sends w/ Pre/Post switches
and four stereo Aux returns
◆ The 8 mono XLR mic / 1/4”
TRS line inputs
include ONYX mic preamps with 4-band
Perkins EQ with sweepable mids; switchable
low cut filter; 4 Aux sends; individual
phantom power switches for each channel;
1/4” inserts; mute switches with routing to
Alt 3-4 outputs; four-segment LED metering.
◆ Four stereo line-level inputs with 3-band
Perkins EQ; mute switches w/ routing to Alt
3-4 outputsfour-segment LED metering
◆ 3-band Perkins EQ circuitry with true
hardware bypass, based on classic “British
EQ” circuitry from mixing desks of the ‘60s
and ‘70s.
◆ “Planet-Earth” switching, internal power
96 kHz FireWire Option Card
◆ User installable 24-bit/96kHz FireWire
I/O Card allows you to stream 12 (1220)
or 16 (1620) independent channels of
audio, plus stereo mix, directly to Mac or
PC as well as monitoring two channels
of audio from the host computer.
supply for worldwide use.
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◆ Includes full version of Tracktion2
Audio
and MIDI Production Software with Final Mix
mastering tools
◆ Works with any Windows XP ASIO/WDM host
or any compatible Mac OS X Core Audio
MIXERS
PHONIC
695
ZX2 • ZX4
Two & Four Zone Mixers
The ZX2 and ZX4 are 1RU zone mixers with two
and four output zones respectivley. They are
ideal for fixed installations including hotels,
convention centers, theaters, restaurants and
retail stores. They offer three stereo RCA line
inputs, one paging microphone input with EQ
and ducking depth control, and an emergency input.
The ZX2 offers two output zones, each with its own separate subwoofer output, while the ZX4 offers four zone outputs for even
greater zone coverage. Each unit also features a mono “utility” output for use in areas such as restrooms and foyers. Zone and utility
outputs all have an individual source selector and level control, while zone outputs have an added high and low EQ. An emergency
interface connector allows for override control and insert of emergency message paging. The added option of remote volume control
for each zone makes the ZX2 a must have for your zone mixing requirements.
◆ Three stereo RCA line inputs with individual
trim controls
◆ Paging microphone input and 1/4” TRS
◆ Microphone ducking depth and EQ controls
◆ Stereo/Mono switch on zone 1 and 2
◆ Utility output provides audio to general
◆ Remote level controls can be wired to the
utility areas (frestrooms, etc.)
emergency input for emergency message
broadcasting
◆ Utility output source selectable
two zones for applications requiring remote
adjustment of audio levels
ZX 2 Only
◆ Two stereo zone outputs with independent
◆ Subwoofer output on each zone
◆ High and low EQ controls on each zone
source select switches and level controls
ZX 4 Only
◆ Four stereo zone outputs with independent
source select switches and level controls
MU 200XP Powered Mixer
The MU 200XP is a table top powered mixer with a built-in 200w power amplifier and 12-inputs
consisiting of two sets of stereo inputs and four mono XLR mic / 1/4” line inputs with individual
phantom power. Each mono mic input feautres ultra low noise pre-amps and 75 Hz
(18 dB/oct.) low-cut filters that ensure high fidelity sound while eliminating low frequency
stage rumble, plosives and wind noise. A 3-band EQ on every channel and an onboard 24-bit
digital effects processor, with 16-preset programs and parameter control give you maximum
control over your mix. The MU 200XP is ideal for clubs and other applications that demand
power in a limited space. It also works great as a keyboard mixer, sub-mixer or monitor desk.
◆ Built-in 200W (100W + 100W) stereo power
amplifier
◆ ALT 3-4 stereo bus
◆ Four balanced XLR mic/ 1/4” line inputs
with
3-band EQ, 75Hz low-cut filter, 1/4” inserts,
alt 3-4 bus assignment
◆ Two 1/4” stereo Line channels
with 3-band
EQ, alt 3-4 bus assignment
◆ Mini 1/8” stereo and stereo RCA CD/tape
inputs and outputs
◆ +48V phantom power on Mic channels
◆ AUX cue allows channels 1 to 8 to be
independently monitored in stereo
◆ Dual 10-segment LED level meters
◆ 24-bit digital multi-effect processor with 16
programs plus one main parameter control,
tap control and foot switch jacks
◆ Two AUX sends per channel and two 1/4˝
stereo AUX returns mean that you can
combine the MU 200XP with a variety of
signal processors and other equipment
◆ Rec out with trim control for record level
matching
◆ Control room / headphone source matrix
◆ High-volume headphone output
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MIXERS
696
PHONIC
MU SERIES
Compact Mixers
MU series are compact, versatile and affordable analog mixers that
are available in a wide variety of channel configurations from 5 to
24 mono mic/line and stereo inputs. Each MU mixer employs ultra
low noise pre-amps to ensure high quality sound when used in
sound reinforcement. Low-cut filters on mono channels eliminate
unwanted sounds like stage rumble,
P-pops and wind noise. Multi-band EQ on every channel gives you maximum
control over your mix. Select MU series mixers feature onboard 24-bit digital effects
processor, with 16 preset programs including delay, reverb, symphonic and flange as well
as user-defined programs. The MU series’ monitoring section offers dual multi-segment LED level meters and high volume
headphone output. MU series mixers are available to suit any budget in any live sound reinforcement applications.
F E AT U R E S
MU502
◆ One XLR mic / 1/4” line input with level and pan, two-band EQ, low cut
filter, 1/4” TRS insert and Peak LED.
◆ One mono XLR mic / 1/4”
stereo line input with rotary level and pan
MU1202 (Same as MU1002 except)
◆ Two AUX sends per channel plus two 1/4” stereo AUX returns
◆ Control room/ headphone source matrix allows individual assignment
of Aux 1, Aux 2, main mix and 2-track return.
controls.
◆ One 1/4”
stereo line input with rotary level and pan controls
◆ Mini 1/8” stereo and RCA Tape/CD rec out and returns with
independent trim controls
◆ Global +48V phantom power
◆ Dual 4-segment master level meter
◆ Headphones output with volume control
◆ Balanced 1/4”
MU1202X (Same as MU1202 except)
◆ 24-bit digital multi-effect processor with 16 programs plus one main
parameter control, tap tempo control and foot switch jack.
◆ 1/4”
inserts on mono input channels
◆ ALT 3-4 stereo bus
master outputs
MU1705 (Same as MU1202 except)
MU802 (Same as MU502 except)
◆ Two balanced XLR mic / 1/4” line inputs with rotary level and pan
controls, 3-band EQ, post fader effects send and peak LED.
◆ Two 1/4”
stereo line inputs with rotary level and pan controls, 3-band
EQ and post fader effects send.
◆ 1/4”
mono effects send and 1/4” stereo AUX returns
◆ Stereo effects send cue for monitoring individual channel in stereo
image
◆ Mono/Stereo switch on main mix for checking mono system playback
◆ Separate main mix, control room and headphone outputs
◆ Balanced 1/4” master outputs with 60mm fader control, peak and VU
◆ Five balanced XLR mic / 1/4” line inputs with 60mm faders,
3-band EQ, low cut filter, two aux sends (1 assignable pre/post,
1 post), PFL, L/R and ALT group fader assignment switches; 1/4” inserts
on channels 1 and 2.
◆ Three 1/4”
stereo line inputs with 60mm faders, 3-band EQ, two aux
sends (1 assignable pre/post, 1 post), PFL, and ALT group fader
assignment.
◆ Two 1/4” stereo AUX returns with PFL, stereo RCA I/O with PFL for the
return.
◆ Dual 13-segment LED level meter
◆ Two 1/4” balanced audio (sub) groups
metering.
MU1722X (Same as MU1705 except)
MU1002 (Same as MU802 except)
◆ Total of four 1/4” stereo line inputs with rotary level and pan controls,
3-band EQ, low cut filter and post fader effects send.
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◆ 24-bit digital multi-effect processor with 16 programs plus one main
parameter control, tap tempo control and foot switch jack.
◆ Mini Stereo I/O and stereo RCA I/O each with trim control
MIXERS
PHONIC
697
MU SERIES
MU1822X
MU2442X
(Same as MU1722X except)
◆ Eight balanced XLR mic / 1/4” line inputs
with 60mm faders, 3-band EQ with
sweepable mid range, low cut filter,
three aux sends (1 pre, 1 assignable
pre/post, 1 post), PFL, L/R and alt group
fader assignment switches; 1/4” inserts
on channels 1 and 2
◆ Four 1/4” stereo line inputs with 60mm
faders, 3-band EQ with sweepable
mid range, three aux sends (1 pre,
1 assignable pre/post, 1 post), PFL, and
alt group fader assignment
◆ Stereo 10-band graphic EQ, assignable to
main mix or AUX 1 send
◆ Built-in switching power supply with
universal connector, 100-240 VAC,
50/60 Hz
Mixer
Total Channels
Mono Inputs
Stereo Inputs
(Same as MU1822X except)
◆ Eight balanced XLR mic / 1/4” line inputs
with 60mm faders, inserts, 3-band EQ with
sweepable mid range, low cut filter, four aux
sends (2 assignable pre/post), PFL, L/R and
bus assignment assignment switches; pads
on first four channels
◆ Two mono XLR mic / 1/4” stereo line
inputs with 4-band EQ, four aux sends
(2 assignable pre/post), PFL, L/R and bus
assignment switches
◆ Two 1/4” stereo channels with 4-band EQ
four aux sends (2 assignable pre/post), PFL,
L/R and bus assignment switches
◆ Four 1/4” stereo AUX returns, two with effect
to monitor
◆ Direct outputs for multi-track recording
◆ Four true subgroups with main L and R
routing switches and double-bused outs
◆ Individual headphone, control room
◆ Mono button on main L/R out
monitors and solo level controls
MU200XP
MU502
MU802
MU1002
12
5
6
10
MU1202X
12
4 XLR mic / 1/4˝ line
2 XLR mic / 1/4˝ line
2 XLR mic / 1/4˝ line
2 XLR mic / 1/4˝ line
4 XLR mic / 1/4˝ line
2 1/4˝ line
4 1/4˝ line
2 1/4˝ Line
4 1/4˝ Line
4 1/4˝ Line
Channels 1 + 2
—
—
—
—
EQ Mono Channels
3-band
2-band (ch 1 only)
3-band
3-band
3-Band
EQ Stereo Channels
3-band
—
3-band
—
—
Aux Sends/Channel
2
—
1
1
2
2 Stereo
—
1 Stereo
1 Stereo
2 Stereo
—
—
—
—
—
Channel Inserts
Aux Returns
Direct Outputs
Busses
Alt 3/4
—
—
—
—
Stereo + Mono
Stereo
Stereo + Ctrl Room
Stereo + Ctrl Room
Stereo + Ctrl Room
MU1202X
MU1705
MU1722
MU1822X
MU2442X
8
11
11
14
Mono Inputs
4 XLR mic / 1/4˝ line
5 XLR mic / 1/4˝ line
5 XLR mic / 1/4˝ line
8 XLR mic / 1/4˝ line
10 XLR mic / 1/4˝ line
Stereo Inputs
2 1/4˝ Line
3 1/4˝ Line
3 1/4˝ Line
4 1/4˝ Line
4 1/4˝ Line
Main Outputs
Mixer
Total Channels
Channel Inserts
Mono Channels
Channels 1 + 2
Mono Channels
Channles 1 - 6
Channles 1 - 8
EQ Mono Channels
3-band
3-band
3-band / Sweepable Mid
3-band / Sweepable Mid
3-band / Sweepable Mid
EQ Stereo Channels
3-band
3-band
4-band
4-band
4-band
Aux Sends/Channel
Aux Returns
Direct Outputs
Busses
Main Outputs
2
2
2
3
4
2 Stereo
2 Stereo
3 Stereo
2 Stereo
4 stereo
—
—
—
—
8
Alt 3/4
2
2
2
4 stereo
Stereo + Ctrl Room
Stereo + Ctrl Rm + Mono
Stereo + Ctrl Room
Stereo + Ctrl Room
Stereo + Ctrl Room
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698
MIXERS
RANE
MLM 42
Mic/Line Mixer
The evolution of the entertainment industry
has necessitated the creation of an outboard mic/line device to compliment existing mixing consoles. Whether mobile mixing or
broadcasting, there are occasional needs to expand your existing arrangement. Frustrations abound when it comes to adding
mics for interviews, karaoke, and live performances because it it is expensive. Equipped with four Burr-Brown mic preamps, the
MLM 42 gives you the studio-grade quality you’ve want, offering an easy and inexpensive way to enhance your existing gear
and expand the number of live mics for any gig. Ideal for live sound, night clubs and fixed commercial installations.
Each input includes all the features you need to produce a high caliber show:
◆ Input level control
◆ Automatic line input recognition
◆ 3-band accelerated-slope, full-cut tone
◆ Overload indicator
controls
◆ Full-range Output mix Level control
◆ Four Burr-Brown mic preamps, quiet to
◆ Post-mix effects loop includes wet/dry
-126 dBu EIN
pan control
◆ RCA unbalanced; XLR and TRS balanced
parallel outputs
◆ Balanced outputs mic or line selectable
◆ 15-volt Phantom Power
MLM 82A Mic/Line Mixer
The MLM 82A features four XLR balanced,
studio grade, mono mic/line inputs and 15v
DC phantom power. Each of the mic/line
inputs may be assigned to A, A+B or B outputs. Independent level/gain trim controls and signal/overload indicators are provided
for each input. Phantom power is removed from any input set for line operation.
◆ Four stereo line level inputs with 12 dB of
line gain, and a recessed mono switch with
indicator and level control.
◆ Inputs may also be used with four mono A
inputs and four mono B inputs.
◆ A and B output level controls set the master
mix level independently for A and B outputs.
◆ A and B mix outputs each have an internal
switch for padding the output signal to Mic
level. The factory default is line level.
◆ The mix amplifiers feature independent
overload indicators. To correct any overload
condition, the entire mix can be reduced
and/or individual input levels adjusted.
MLM 103 Mic/Line Mixer
The MLM 103 features six balanced, studiograde mic inputs and two balanced, stereo
line-level inputs. The mic preamps feature
direct outputs. These can monitor the signal
‘pre’ or ‘post’ the mix Level control via rear
panel switches. Each mic and stereo line
input features 3-band EQ and mix level
controls. Input overload indicators are peak
detecting and illuminate 4 dB before clipping. Three balanced outputs are provided. A and B outputs may be used as a stereo
pair in a single zone or as two independent mono zones. The AUX output is mono.
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MIXERS
RANE
699
MLM 103
◆ Inputs 1 through 6 may be individually
◆ Each input may be assigned to the A, B or AUX
switched between Mic or Line level via
rear panel switches.
◆ The A, B and AUX outputs feature inde-
output.
◆ Stereo Line Inputs 7 through 10 accommodate +24dBu
◆ Inputs operate in Mic mode with a gain
signal levels. The gain range is infinity to +12dB.
range of +12 dB to 60 dB.
◆ The A/B assign switch for inputs 7/8 assigns 7 to
◆ Each pair of inputs may operate with
output A and 8 to output B. The A/B assign switch for
inputs 9/10 assigns 9 to output A and 10 to output B.
The mono switch sends the sum of inputs 7 and 8
(or 9 and 10) to bus A and bus B. Assigning 7/8 or
9/10 to AUX sends the sum of input 7 and 8 (or 9
and 10) to the AUX output.
or without 15 volt phantom power via
rear panel switches. When Inputs are
operated in Line mode, the gain range
is -4 to 12dB. When Line mode is
selected, phantom power is defeated.
pendent level controls and 10 segment
meters with peak hold. Each balanced
output provides an additional 6dB of
gain and delivers a minimum signal level
of +24 dBu into a 10k ohm load.
All connections are via Euroblock connectors.
SM 26B
Splitter Mixer
The SM 26B is a 1RU splitter mixer, with six 1/4” TRS balanced mono inputs and outputs as well as left and right Master
inputs/outputs, that can be configured for a number of useful applications.
◆ –10dBV to +4 dBu and +4 dBu to –10dBV
Applications
level matching
◆ The most basic application for the SM 26B is as a straight up six-to-two line level mixer. Each of
◆ Six 1/4” TRS balanced mono inputs and six
the six mono input channels features it’s own mix/pan and level control.
1/4” TRS mono ouputs
◆ Two 1/4” TRS balanced master left and right
inputs and two 1/4” TRS balanced master
left and right outputs
◆ Six input level controls and six mix/pan
controls
◆ Another application for the unit is splitter mode in which you can take one or two line level
signals and split them to any of the six mono outputs. In this mode, the Mix/Pan controls in this
mode control the level from each of the two input buses to be applied to each output. Internal
header blocks allow the Mix Output jacks to become an independent stereo out, allowing a
total of eight outputs.
◆ It may also be used as a 6 input, 6 output buffer amplifier which is useful for level matching and
◆ Master input and output level controls
minimizing the interaction that can occur between components with mismatched impedances.
In the buffer mode, the signal applied to Input 1 is delivered to Output 1, and so on.
◆ Although all of the inputs and outputs are
1/4” TRS active balanced, they are compatible
with unbalanced signals.
◆ You can also use the SM 26B in a combination of these modes. (For example, configure it as a 4
stereo input, stereo output line mixer, or one stereo input, four stereo output stereo splitter.)
SM 82 Stereo Line Mixer
The SM 82 is an affordable and versatile
8-channel stereo line mixer with a rotary
stereo level control, and balance and
stereo aux send slider controls per input channel. The compact 1RU, 5 1⁄4” deep mixer is flexible enough to do the job of mixers
many times its size and cost. Short signal path design keeps signals clean and quiet from input to output.
◆ The aux section features left and right 1/4”
◆ The main 1/4”
sends and left and 1/4” returns with balanced
and level control.
outputs feature a rotary level
control and a slide control for left to right
balance.
◆ Expand using the 1/4”
TRS Main expand
in/out jacks to create a 16, 32 or 48 stereo
channel system within a minimum footprint.
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700
MIXERS
ROLLS
RM SERIES MIXERS
RM64 Four Zone Mixer
RM65b Hexmix 6 x 4 Mixer
The RM64 is a 1RU four zone mixer that combines two XLR
paging microphone inputs with up to four stereo RCA
line-level source inputs. Dedicated front panel level controls
are provided for each input and output. Front panel toggle
switches allow youy to easily assign each input to the desired
zone output. Each of the four XLR balanced zone outputs
features a 1/4” remote volume jack that allows external
control of the volume, independently for each zone.
Switchable ducking of each line-level source offers easy
automatic paging, while independently switchable phantom
power is available for use with condenser microphones.
The RM64 is the ideal solution for multi-source presentations,
banquet rooms, offices, restaurant/night clubs and more.
The RM65b is a six input, four output rack-mount mixer in a
compact 1RU package, that thinks it’s a full-sized mixing
console. Each of the six XLR mic 1/4” line inputs channels has
a monitor send, FX send, bass and treble controls, and a
horizontally mounted volume slider. Rear panel trim controls
on the rear panel allowing precise level adjustment are
available for each mic input. Independently switchable 36v
phantom power is also provided for the mic inputs. The main
1/4” left and right outputs are controlled by master left and
right volume controls and dual 5-segment LED meters. There
is also a separate 1/4” monitor output and 1/4” send and
return jacks. An additional 1/4” Aux bus input allows you to
expand the system by connecting multiple units. The RM65b
is ideal for smaller systems that require flexibility and
portablitiy without sacrificing sound quality.
RM67 Mic / Line Mixer
RM68 ZoneWolf Mixer
The RM67 is a single rack space audio mixer with three XLR
mic / line inputs and four stereo RCA source line level inputs.
Each mic input features level control with clip LED, variable
tone control, switchable phantom power and pad. A 1/4˝ TRS
insert allows you to apply signal processing to the mic signals.
The four stereo consumer level source inputs have dedicated
level controls. Mic input 1 and source input 4 include a
talkover feature that permits paging and music priority
functions. 1/4˝ left and right main outputs feature a master
level control, as well as bass and treble controls. Master
volume can also be controlled externally via the 1/4˝ remote
volume jack. Pre-master RCA stereo record outputs are
provided as is an RCA contact closure main output mute jack
that allows the entire unit to be muted.
A commercial grade zone mixer, the RM68 lets you assign any
combination of 3 XLR mic inputs, and 6 stereo RCA line-level
source inputs to any one of two stereo zone outputs, or both.
Mic and Source inputs 1 through 3 share volume slider and
zone assign switches 1 through 3. Switchable talkover feature
allows mic input one to override any audio assigned to the
same zone. Source inputs 4 through 6 have their own volume
slider and zone switch. +12v DC phantom power is switchable
for each mic input. Each balanced 1/4˝ TRS zone output
features a dedicated master volume, bass and treble controls.
1/4” TRS inserts for adding signal signal procssing to the zone
outputs. 1/4” zone bus inputs allows cascading of multiple
units. With a compact 1RU steel chassis, the RM68 discretely
integrates into paging and music distribution applications for
meeting rooms, houses of worship, schools, etc.
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MIXERS
ROLLS
701
RM SERIES MIXERS
RM70 Mic/Line Selector
RM75 MixMate II
The 1RU RM70 is designed for applications where microphones
must be mixed with an audio sourcer. There are three balanced
XLR mic/line inputs with individually switchable +12v DC phantom power, and four stereo RCA source inputs. Each mic/line
input offers level and tone controls as well as peak LED metering
on the front panel. The desired source input is easily selected and
can be controlled via level, bass and treble controls. Talkover
function available on mic input 1 mutes all other audio signals
when mic 1 is active. The stereo source 1 input offers a music on
hold screw terminal output with dedicated level control. The
Master outputs are 1/4” balanced TRS connectors. Applications
include excercise studios, restaurants and hotels, Karaoke
lounges, as well as business and educational A/V applications.
The RM75 is a DJ/Karaoke mixer in a 1RU steel chassis, that
allows you to combine two balanced XLR mic inputs and four
stereo RCA source inputs. For convenience, the mix one inputs is
available on the front and rear of the unit and 12v DC phantom
power is available for each mic. A 1/4” TRS insert allows you to
add external signal processing and/or effects, such as reverb, to
the mic signal. The two mic inputs and four source inputs have
individual level controls. Additionally there are master Bass and
Treble controls and a stereo/mono switch for the source inputs. A
1/4” stereo headphone output with dedicated level control, and
cue select switch are conveniently located on the front panel for
easy access. Main outputs include balanced 1/4” TRS connectors
as well as unbalanced RCAs.
RM82 Mic/Line Mixer
RM203x Stereo Line Mixer
The 1RU RM82 offers eight XLR mic, 1/4” line inputs. Each of the
inputs features variable trim, level and tone controls. +48v DC
phantom power is individually selectable for each mic input. The
1/4” TRS line inputs can be internally configured to be used as
direct outputs or as inserts for applying signal processing to the
mic inputs. The main output uses a single balanced XLR conector
that can be internally switched for mic or line level compatibility.
An RCA pre-master bus in and bus out allows you to cascade
multiple units. Ideal for a variety of sound reinforcement
applications including board rooms and churches.
The RM203x is a ten channel stereo mixer with channel 1 being a
balanced XLR mic input and channels 2-10 being stereo 1/4˝ line
level inputs. Each input channel has a level control, a right/left
balance control, an Aux level control, and a LED clip indicator.
The mic input aso offers a trim control and +12v DC phantom
power. Master outputs are balanced 1/4” TRS connectors. There
are also dedicated stereo RCA tape outputs and returns. The
Master section, on the front panel, features a master level
control for the main and heapdhone outputs, level control for
the stereo 1/4” Aux return, as well as a tape input level control.
MX152 MixMate
The MX152 is a half-rack space mixer with two balanced XLR mic inputs and three stereo
RCA source inputs. It provides a compact and efficient way to mix sources such as AM/FM
tuners, CD players, and video players with dynamic or condenser microphones. Mic inputs
feature dedicated level and tone controls as well as switchable +12v DC phantom power. All
source inputs offer level control and source inputs 1/2 share a common bass and treble control. Main outputs are RCA connectors. A series
of DIP switches allows additional functionality.
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702
MIXERS
SAMSON
MDR 624 • MDR 1064
6- and 10-Input Stereo Mixers
The MDR624 is a low cost 6-input mixer with two high quality mono mic/line
inputs with XLR and 1/4” connectors and two stereo channels with 1/4” inputs.
Each input channel features 3-band EQ and an aux send. The main output
section features indpendent 1/4” main mix and and control room outputs plus
a 1/4” headphone output, and 8-segment stereo LED VU metering. Stereo RCA
CD/tape inputs and outputs are provided as well. The MDR1064 steps-up with
a total of 10-inputs including 6 mono mic/line inputs and two stereo channels.
It also has two aux sends per channel and XLR main mix outputs.
◆ Full-featured compact mixers for
live use
◆ Two high quality mic preamps
MDR 1064 Step-up Features
◆ 3-band EQ on all channels
◆ Two stereo channels
◆ Six high quality microphone preamps with channel inserts
◆ 8-segment stereo LED Bar VU meter
◆ Dual auxiliary sends
MDR 6 6-Input Stereo Mixer
The compact MDR 6 is a six-input tabletop mixer in a portable and rugged package with
4 mono mic/line inputs and two stereo inputs. Perfect for a small studio or simple live
setup, 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
◆ Mono out with level control
◆ Aux send with effects return
◆ 3-band EQ on each channel
◆ Dual 5-segment LEDs
◆ Headphone out with level control
◆ Four XLR mic inputs
◆ Hard disc mode for recording with a PC
◆ 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
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◆ 24-bit DSP effects (lush Hall, Room and Vocal reverbs, Chorus
and Delay) ◆ Dual 6-segment LEDs
MIXERS
SAMSON
703
MDR 10
10-Input Stereo Mixer
The 10-input MDR 10 packs professional features into a compact package. All 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
◆ 3-band EQ with sweepable mids and
a low cut filter on channels 1-6
◆ 10 XLR inputs with mic preamps
◆ Dual 12-segment LEDs
◆ I2-track in and out connectors with send to mix switch
MDR 16 16-Input Stereo Mixer
The MDR16 is a sixteen channel, four bus mixer with onboard 24-bit effects
and 9-band master graphic EQ for live sound and studio applications. The
mixer features eight mono XLR mic/ 1/4” line inputs, and four stereo/dual
mono inputs that use XLR, 1/4” combi connectors. The MDR16’s onboard effects offer
eight different presets including lush delays, choruses, and reverbs. The four subgroups can be
assigned to the main mix and/or sent to dedicated 1/4” outputs. The MDR16 is ideal for use in live sound
reinforcement and recording applications as well as commercial installations.
◆ 16 input channels including eight mono
◆ Each stereo input channel features 2-band
mic/line inputs and four stereo/dual mono
mic/line inputs.
◆ Each mono input channel features 1/4”
TRS insert; 3-band EQ with sweepable mid;
switchable low cut filter; two aux sends
(Aux 1 assignable pre / post); solo; bus assign
switches; clip LEDs
◆ There is also a dedicate 1/4” mono output
EQ; two aux sends; solo; bus assign switches
with level control
◆ Four 1/4” subgroup outputs with inserts
◆
Two Aux sends with two stereo returns
◆
Internal 24-bit DSP effects
◆
◆
60mm channel, subgroup and main faders
Control room and headphone outs with
dedicated level controls
◆
2-track RCA I/O with level control and send
to mix switch
◆
Switchable global phantom power
◆ The Main stereo output section features left
and right 1/4” outputs with inserts; dual 12segment LEDs; 9-band graphic EQ
S-Zone 4-Channel Zone Mixer
Mix microphones and line level sources such as CD,
tape and video players, and distribute independent
mixes to any of four stereo zones. The S- Zone features
two mic/stereo line inputs with ducking and an additional two stereo line inputs. Each of the input channels is assignable to any or all
of 4 stereo zones outputs via easy to use LED backlit switches. Each of the S Zone’s outputs has a 2-band EQ for adjusting the overall
tonal response of each zone, while a five segment LED bar VU meter on all outputs provides a visual display of the level of each zone.
◆ 4 Channel / 4 zone stereo mixer
◆ On board monitor speaker and headphone output allow you to listen
◆ 2 mic / stereo line inputs with ducking and 2 stereo CD/line inputs
◆ Euroblock input and output connectors
to zones without physically being in that zone’s location
◆ Remote volume control
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704
MIXERS
SHURE
200M
4-Channel Microphone Mixer
The 200M mixer provides the flexibility microphone mixing provides,
at a budget-concious price point. It features 4 high-quality, low-noise
mic inputs with volume control. The first input is capable of excepting
“AUX” (line level) input as well as mic level. The output stage features
a balanced XLR male connection providing high output and low
noise floor. Additionally, it features “AUX IN” and “AUX OUT”
connections via unbalanced RCA phono connections. The AUX OUT
serves as a secondary output and the “AUX IN” excepts line level input
and signal from a second 200M for tandem operation.
◆ Four low-impedance microphone inputs
◆ Capability to use one balanced, low-impedance,
◆ Input 4 is switch-selectable for use with low-impedance microphones or an
microphone-level output and one auxiliary-level output
simultaneously
aux-level source.
◆ Requires Model PS20 Power Supply
◆ Connection of two mixers is possible for additional inputs
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.
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◆ 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.
◆ Front-panel headphone level control and
monitor jack; can drive almost any stereo or
mono headphones.
◆ Headphone output level is high enough to
be used as an auxiliary unbalanced line feed
to drive a tape recorder or power amplifier.
www.bhphotovideo.com
◆ Automatic muting prevents speaker
damage during power on/off.
◆ Highly stable, low-distortion tone oscillator
provides for line test and level checks.
◆ 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 andtwo
isolated line amplifiers with eight
individually controlled inputs.
◆ Selectable 120 or 240v
AC operation as well
as portable DC capability (three 9v batteries
required).
MIXERS
SHURE
705
FP-410
Portable Automatic 4-Channel Mic Mixer with IntelliMix
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.
Noise-Adaptive Threshold:
MaxBus:
Last Mic Lock-On:
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.
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.
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 XLR-
◆ Selectable hold time keeps microphones on
balanced 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
during short pauses in speech.
◆ Automatic gain adjusts as additional
microphones are activated.
◆ Wide, flat frequency response and low
distortion up to +18dB output.
◆ Additional FP-410 mixers can be intercon-
◆ LED indication of mic channel mix levels,
nected. Linked systems can contain over
25 mixers and 100 microphones.
output level and limiter action.
◆ Automatic muting prevents annoying
◆ Front-panel channel gain and master
controls operate as in conventional mixers.
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.
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706
MIXERS
SHURE
SCM262
Stereo Microphone Mixer
A half rack space stereo mixer intended for sound reinforcement
applications that integrate microphones with consumer stereo
products. It offers two active-balanced mic inputs with 12v
phantom powering for concdenser mics, as well as three unbalanced stereo aux level inputs. Easy to set up, it is ideal for use in
classrooms and business meetings as well as background music and paging applications for restaurants and health clubs, etc.
◆ Designed to combine paging with background music
◆ One mic/line 1/4” output
◆ Jukebox mute function (defeatable).
◆ One active balanced XLR mic input, one XLR mic, 1/4”
◆ One stereo RCA aux output
◆ Bass and treble EQ controls on ouput
◆ Ducking function (defeatable)
◆ Internal power supply with removable power cable
line input, and three stereo RCA inputs
SCM268 Four Channel Microphone Mixer
A straightforward, four-channel mic mixer for install applications,
the SCM268 is housed in a sturdy half rack enclosure. It provides
versatility and exceptional sound quality with low noise and a flat
frequency response. It’s wide range of balanced and unbalanced
I/O allows it to interface with both pro and consumer audio
sources. These include high-quality transformer-balanced XLR inputs, a switchable microphone/line level transformer-balanced
XLR output, additional RCA line inputs and output, phantom power, and an auxiliary input channel. It is an ideal primary or
sub mixer for sound reinforcement, recording, broadcast, or A/V presentation systems. The SCM268 can be securely mounted in
single or dual rackmount configurations using supplied hardware, or can be fastened on or below a shelf, counter, or tabletop.
◆ Four transformer balanced XLR mic inputs
and five unbalanced (-10dB0 RCA aux inputs
◆ Built-in low-cut filter (below 80Hz) and 12v
phantom power on microphone inputs
◆ One transformer balanced XLR output
(switchable for mic/line operation) and one
RCA aux output
◆ Six-segment LED output level meter
◆ Six transformers provide protection from RF
interference
◆ Internal power supply with a removable IEC
power cord connector
SCM800 Eight Channel Microphone Mixer
The SCM800 is a full-featured, single rack
space, eight channel mic mixer that is perfect
for for a wide range of applications in sound
reinforcement and installations, and presentation systems. Each mic channel offers adjustable EQ, 1/4” insert/direct outputs
and 48v phantom power for condenser mics. The SCM800’s linking capability allows you to connect four units for up to 32
simulataneous microphone channels.
◆ Eight active-balanced mic/line inputs with
block connectors, 48v phantom power and
2-Band EQ (low-frequency rolloff and
high-frequency shelving) per channel
◆ Front panel mixing of all input channels
◆ One balanced block line level output
◆ Front-panel 1/4”
headphone output with
level control
◆ Eight 1/4” TRS insert points or direct outputs
◆ Highly RF-resistant chassis and circuitry
◆ One 1/4” aux input
◆ LED indication of channel clipping
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◆ Peak-responding output limiter with selec-
table thresholds and LED indicator
◆ Two Aux-level input jacks that feed one
channel
◆ Compatible with SCM810 and FP410
automatic microphone mixers
MIXERS
SHURE
707
SCM810
Eight Channel Automatic Microphone Mixer
The SCM810 features most of the same
capabilities as the SMC800, including
eight balanced mic/line inputs, but it
adds automtic mic mixing using Shure’s
patented IntelliMix. IntelliMix helps minimize the poor audio conditions caused by having too many open micropones by
only only activating the mics that are currently being addressed. The SCM810 is designed specifically for installed sound
applications of any scale with linking capabilities for up to 400 microphones.
◆ Eight balanced mic-line input channels using
Phoenix block connectors with 2-Band EQ
(low-frequency rolloff and high-frequency
shelving), 48V phantom power and 1/4”
direct line level outputs per channel
◆ Front-panel 1/4” headphone output with
level control
◆ Highly RF-resistant chassis and circuitry
◆ Bi-color LED indication of channel activation
◆ One unbalanced 1/4” aux input level control
◆ One balanced master line/mic level output
using Phoenix block connector
◆ Peak-responding output limiter with
and clipping
microphones are activated (NOMA: Number
of Open Microphones Attenuator)
◆ Last Mic Lock-On circuit maintains ambient
sound
◆ Reliable, quick-acting, noise-free microphone
selection which automatically adjusts to
changes in background room noise
◆ User-configurable parameters for automatic
selectable thresholds
◆ Automatic gain adjustment as additional
operation
◆ Linking capability for systems up to 400
microphones
◆ Non-automatic aux-level inputs with level
control and LED indicator
SCM410 Four Channel Automatic Microphone Mixer
The SCM410 is a four-channel, half rack version of the SCM810
automatic mic mixer. The SCM410 offers four balanced XLR
mic/line inputs with 2-band EQ per channel and global 12v DC
phantom power. Multiple SCM410 mixers can be linked to each
other , as well as to the FP410, SCM810, and SCM800 mixers.
Thanks to it’s compact size and standard I/O connectivity, the
SCM410 is ideal for for both fixed installations such as houses of worship, schools, and conference facilities as well as
portable applications including A/V carts and mobile presentation systems.
◆ Four active balanced mic level XLR inputs
◆ Fast, noise-free microphone selection, automatically
with 2-band EQ and global phantom power
◆ One active balanced mic/line switchable
XLR output, and unbalanced RCA
auxiliary output
◆ Peak-responding output level meter
Mixer
Total Channels
Inputs
Phantom Power
Main Output
adjusts to changes in background noise
◆ Automatic gain adjustment as additional
microphones are activated-NOMA (Number of
Open Microphones Attenuated)
◆ Bi-color channel activation and clipping LEDs
◆ Last Mic Lock-On circuit maintains
consistent ambient sound
◆ Peak-responding output limiter with
LED indicator
◆ Includes rackmounting hardware and
a link cable
SCM262
SCM268
SCM800
SCM810
5
9
8
8
SCM410
12
2 XLR mic, 3 stereo RCA
4 XLR mic / 5 mono RCA
8 block connector Mic / Line
8 block connector Mic / Line
4 XLR Mic
12 V
12 V
48 V
48 V
12 V
1/4˝ TRS Mic / Line Stereo
XLR Mic / Line Mono
Block Mic / Line Mono
Block Mic / Line Mono
XLR Mic / Line Mono
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MIXERS
708
S O NY
SRP-X100
Rackmount Audio Mixer
The Sony SRP-X100 is a single rack space
audio mixer with a total of nine inputs
including two mono XLR mic inputs,
four mono XLR mic line inputs and three
stereo RCA line inputs. Outputs include ballanced XLR left and right main outs (switchable to dual mono) as well as two
mono unbalanced RCA sub outs and stereo RCA record outputs. The mixer’s flexible routing capabilities allow you to assign
the mic and line signals between the two sets of stereo outputs. Dedicated level controls are provided for all input channels,
the main ouputs and the sub outs. The SRP-X100 is ideal for use in any venue that requires intergating multiple and varied
audio sources such as boardrooms, conference centers, classrooms and lecture halls.
◆ Two mono XLR mic inputs with 30dB of
headroom, switchable +48 V phantom power
and 100 Hz high-pass filter
◆ Four mono XLR mic/line inputs with switchable
+48v phantom power and 100Hz high-pass
filters available in mic mode. In line input
mode, channels 3 and 5 feed the left outputs,
while 4 and 6 feed the right outputs
◆ Three stereo RCA line inputs
◆ Two, mono RCA Sub outputs
◆ Left / Right, pre-fader Recorder RCA bus
◆ A Separate switch, on the rear panel,
output carries all inputs, except Stereo-3
line input which is configured to monitor
the Record bus output
◆ Master L and R XLR outputs, switchable to
mono outputs.
routes Mic signals to the Sub output and
the Line inputs to the Master outputs
◆ Wide frequency range (20 Hz to 20 kHz,
+0.5/-1.0 dB) and excellent noise
performance.
S O U N D C R A F T EPM SERIES
Affordable, High-Performance 6-, 8- and 12-Channel Mixers
The EPM series are high-quality, affordable small format mixers designed for live sound
applications. They are available with 6-, 8- and 12 mono inputs that utilize Graham Blyth
designed, 30th anniversary, high-resolution GB30 mic preamps with 3-band EQ,
phantom power and 2 aux sends per channel. Each mixer also features two
stereo line input channels and a master section with comprehensive monitoring and independent monitor and headphone outputs. The EPM series’
incorporates Soundcraft’s legendary quality and ergonomic design principals with
a sturdy metal chassis and the use of surface mount technology that employs highly
accurate components that are laid out in an easily approachable control surface.
◆
6 x 2, 8 x 2 and 12 x 2 mono input configurations plus two stereo channels
◆ Each mono XLR mic / 1/4” line input features
60mm faders, variable gain, pan, 3-band EQ
with sweepable mid band, two aux sends, 1/4”
TRS inserts, mute and solo buttons
◆ The two stereo line inputs feature 1/4”
TRS
connectors, 60mm faders, variable gain, pan, 2
band EQ, two aux sends, mute and solo buttons
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◆ Global phantom power switchable
for all mic inputs
◆ Two auxiliary buses, globally config-
urable for pre/post fader operation,
for accessing external effects and/or
creating monitor mixes
◆ RCA phono stereo playback inputs
and record outputs
◆ Separate, 60mm faders for the left
and right main outputs
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◆ Ten-segment LED metering monitors
the main outputs or any solo’d channels
◆ XLR main outputs with 1/4”
TRS inserts
◆ Intuitive and comprehensive solo
system
◆ Independently controllable 1/4”
headphone output and left and right
1/4” monitor outputs
◆ Easily rack mountable
MIXERS
YA M A H A
709
MG SERIES
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
◆ Two 1/4” TRS post-fader aux sends are
◆ Channels 1 - 2 provide a choice of XLR mic
available for creating a monitor mix or
accessing an external effects processor.
or 1/4˝ TRS line inputs with insert I/O for
adding external compressors or EQ.
◆ 1/4” TRS stereo aux returns with level
◆ Channels 3 - 6 can be configured as two
control provide the means bringing an
external effects unit back into the mix.
1/4” TRS stereo line inputs or as two mono
microphone inputs.
3-Band Channel EQ & HPF
◆ Designed for smooth, “musical” response,
◆ 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.
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.
◆ Channels 7 - 10 are configured as two stereo
channels with a choice of 1/4” TRS or RCA
inputs.
Mains Section
◆ 1/4” TRS balanced main outputs with
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.
◆ 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.
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710
MIXERS
YA M A H A
MG SERIES MIXERS
Analog 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):
MG12/4 –12 Input Channels
◆ Faders are provided for the input channels,
◆ Channels 1 - 4 provide a choice of XLR mic
stereo group and main stereo bus.
or 1/4” TRS line inputs with insert I/O for
adding external compressors or EQ.
◆ Separate level controls are provided
◆ Channels 5 - 8 can be configured as two
1/4” TRS stereo line inputs or as two mono
microphone inputs.
for each channel’s two Aux Sends.
Additionally, Aux one can be switched
Pre or Post fader.
◆ Master Send controls for controlling output
levels independently for Aux 1/2
◆ 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 9 - 12 are configured as two stereo
channels with a choice of 1/4” TRS or RCA
inputs.
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.
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.
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MG16/6FX Mixer with Effects
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.
Internal Digital Effects
◆ Built-in internal effects processor
with 16 superb reverb and delay
programs with a variable parameter
control.
◆ An effect send on each input is provid-
ed for controlling the amount of effect
for each channel.
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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, High-Mid,
Low-Mid and Low).
MIXERS
YA M A H A
711
MG10/2 • MG12/4 • MG16/4 • MG16/6FX
MG10/2
MG12/4
MG16/4
MG16/6FX
Input Channels
10
12
16
16
XLR Mic Inputs
4
6
10
10
1/4˝ TRS Line Inputs
2
4
8
8
Stereo Inputs
2
2
2
2
Ch 1 – 2
Ch 1 – 4
Ch 1 – 8
Ch 1 – 8
1/4˝ TRS Insert I/O
Phantom Power
Input Gain Control
High Pass Filter
+ 48 V
+ 48 V
+ 48 V
+ 48 V
44 dB variable
44 dB variable
44 dB variable
44 dB variable
80 Hz 12 dB/Oct
80 Hz 12 dB/Oct
80 Hz 12 dB/Oct
80 Hz 12 dB/Oct
2 (1/Pre, 2/Post)
2 (1/Post-Pre, 2/Post)
2 (1/Post-Pre, 2/Post)
2 (1/Pre, 2/Post-Pre),
1
AUX Send/Return
1/4˝ TRS Send
1/4˝ TRS Stereo Aux Return
1
1
1
Effect Send
—
—
—
1
2 Track In
Stereo RCA
Stereo RCA
Stereo RCA
Stereo RCA
Record Out
Stereo RCA
Stereo RCA
Stereo RCA
Stereo RCA
1/4˝ TRS
1/4˝ TRS & XLR
1/4˝ TRS & XLR
1/4˝ TRS & XLR
—
—
—
—
1/4˝ TRS
1/4˝ TRS
1/4˝ TRS
1/4˝ TRS
—
2
2
4
Main Stereo Out
Main Stereo Inserts
Stereo C/R Out
1/4˝ TRS Group Out
1/4˝ TRS Group Inserts
Stereo Headphone Output
—
—
—
—
1/4˝ TRS
1/4˝ TRS
1/4˝ TRS
1/4˝ TRS
±15 dB (Max.)
±15 dB (Max.)
±15 dB (Max.)
±15 dB (Max.)
CH EQ (Mono Channels)
Boost/Cut per band
High (Shelving)
10 kHz
10 kHz
10 kHz
10 kHz
Mid (Peaking)
2.5 kHz
2.5 kHz
2.5 kHz
0.25 – 5 kHz
Low (Shelving)
100 Hz
100 Hz
100 Hz
100 Hz
±15 dB (Max.)
±15 dB (Max.)
±15 dB (Max.)
±15 dB (Max.)
10 kHz
10 kHz
10 kHz
10 kHz
—
—
—
3 kHz (Peaking)
2.5 kHz
2.5 kHz
2.5 kHz
—
800 Hz (Peaking)
CH EQ (Stereo Channels)
Boost/Cut per band
High (Shelving)
Hi-Mid
Mid (Peaking)
Low-Mid
—
—
—
100 Hz
100 Hz
100 Hz
100 Hz
7-band Graphic Equalizer
—
—
—
(125, 250, 500, 1k, 2k, 4k, 8 kHz)
Boost/Cut per Band
—
—
—
±12 dB (Max.)
Internal Digital Effect
—
—
—
1 (16 Programs)
Low (Shelving)
Dimensions (WDH)
Mounting Capabilities
10.2 x 11.3 x 2.5”
12.5 x 16.4 x 4.1”
16.7 x 16.4 x 4.1”
16.7 x 16.4 x 4.1”
Mic Stand Mountable
Rack Mountable
Rack Mountable
Rack Mountable
SONIC SPECIFICATIONS
Total Harmonic Distortion
Frequency Response
Input Hum & Noise
Crosstalk
Less than 0.1% (THD+N) 20Hz – 20kHz @ +14dB 600 Ω (ST OUT)
0 +1, -3 dB 20Hz – 20kHz @ +4 dB 600 Ω (ST OUT)
128dB 20Hz – 20 kHz, Rs=150 Ω, Input Gain=Max, Input sensitivity=-60dB
-70 dB @ 1kHz
(212) 444-6605 • 1-800-947-9905 • Quick Dial 92
PHOTO - VIDEO - PRO AUDIO
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