Real World Gear: Small But Sometimes Mighty (Part
2)
Testing, features and application of compact mixers
Maximum Mic Input Levels
Alesis MultiMix 12FX: +7 dBu
Allen-Heath PA12: +19 dBu
Behringer UB2222FX-PRO: +7 dBu
Inter-M MX-1243: +3 dBu
Mackie 1402-VLZ PRO: +19 dBu
Peavey RQ2310: +4 dBu
Soundcraft Spirit ES: +10 dBu
Yamaha MG16/4: +1 dBu
Note: Maximum 1 kHz sine wave input level fed to the mic input before steady visual clip indication, at minimum preamp gain setting.
Alesis MultiMix 12FX
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Ivan’s Take: Fairly new to the market, the Alesis MultiMix FX series is the smallest of the mixers reviewed. While tiny, the 12FX incorporates channel faders and has a surprising number of features for its size and price. Housed in a mostly metal chassis with plastic end caps, the unit feels more substantial than one might think from pictures. If you used an Alesis mixer years ago and didn’t like the experience, don’t hold it against the MultiMix FX. These new mixers are very different products in a good way. Lots of ins and outs and versatility in a small package. |
Pluses:
• PFL/Solo light is clip light too, although it is not marked as such (a nice surprise!)
• Single stereo master fader (appreciated when running a stereo sound system)
• Signal presence and clip LEDs on internal effects input (if you’re going to have internal effects, this is important!)
• Alt 3/4 can also be used as a single stereo sub group
Minuses:
• External power supply
• No XLR outputs; main 1/4-inch outputs appear to be impedance-balanced U.S.
List Price: $299
Behringer UB2222FX-PRO
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Ivan’s Take: Behringer’s latest series of mixers is a further refinement of past products. The UB Series has many features for recording use, and this might confuse the entry-level user in live applications. However, this versatility does allow the advanced user many signal routing options. The company is not known for its service. However, for the price, many consider it a useful, if not “disposable,” product. |
Pluses:
• Sweep mid-EQ
• Two real sub groups
• Dedicated metering on internal effects input
Minuses:
• Multipurpose layout is a bit cluttered for live use U.S.
List Price: $309.99
Allen-Heath PA12
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Ivan’s Take: From the makers of the MixWizard line of mixers, arguably the most loved small live sound mixers in the world, comes the new, entry-level PA12. Because this mixer is just coming on the market, we evaluated a PA12-CP, which is the powered version of the same mixer. Otherwise, it’s the same. The PA12 is on the upper end of the price scale of the mixers reviewed, but more features are included for the price. The hardest decision with the PA12 is whether or not to spend a bit more and get a MixWizard. |
Pluses:
• Four-band EQ with sweep upper-mid
• Four aux sends
• Dual four-band sweep master EQ
• Individual phantom power switches per channel
• Built-in carry handle
• 100mm faders
• Pots with bushings (just like “big-time” mixing consoles!)
• Can take very hot signals at mic inputs (+19 dBu)
Minuses:
• Nothing in this analysis
U.S. List Price: $899
Inter-M MX-1243
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Ivan’s Take: Many are probably saying “Inter-who?” Inter-M was previously known as Inkel and has provided a number of major brands with OEM products over the years. While it isn’t going to win any beauty contests, the MX-1243 packs a dozen mic inputs into a small rack mount mixer with simple controls. For straightforward mixing it would be hard for an entry-level user to get into too much trouble with this unit. |
Pluses:
• Four aux sends
• Switch for mic/line input selection
• Large master meters
• Mono output pre master L/R faders (some users like this, others don’t)
• Pots with bushings
Minuses:
• PFL and AFL do not go to meters
• +6 clip LED on master meters; audible clipping is WAY past that
• No insert points
U.S. List Price: $836
Mackie 1402-VLZ PRO
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Ivan’s Take: Mackie initially raised the bar in the small mixer market but for several years has been the target of the competition. The 1402-VLZ PRO is used in every facet of pro audio, offering a multipurpose design and rugged construction. It has few features specific to live sound, but its inputs can handle just about anything you can throw at them. This unit is used widely by live sound pros as a front end for SMAART Live, and also as a general-purpose interface. |
Pluses:
• Compact and solid construction
• Can take very hot signals at mic inputs (+19 dBu)
• Alt 3/4 can also be used as a single stereo sub group
Minuses:
• No channel mute or clipping indicators (must use PFL for level setting)
• Audible clipping occurs immediately when PFL indicates clipping
• Expensive compared to competition
U.S. List Price: $659
Peavey RQ2310
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Ivan’s Take: Possibly the most maligned company in the live sound industry, Peavey has been building mixers for years, and times have certainly changed. The RQ2310 looks like it was designed from the ground up to be a live sound mixer in terms of features. Excellent live sound layout, and the graphics are legible in dimly lit environments. While not as heavy-duty in feel as its predecessors (the RQ2310 is metal with plastic end caps), the feature set and performance of this mixer should be tried before ever daring to say “No Peavey” again. |
Pluses:
• Not possible to get audible distortion without seeing a visual clip indication!
• Signal presence LED on each channel
• Channel clip indicator indicates both pre and post fader clipping
• Sweep mid-EQ
• Four aux sends
• Two “super channels” trade insert jack for polarity switch and 20 dB pad
• Pads on a small mixer. YES!
• Monitor outputs on XLR connectors (and with master faders)
• Mono output is post master LR faders (some users like this, some don’t)
• Separate mic and line gain controls on mono mic/stereo line input channels
• Built-in carry handle
Minuses:
• Might have to talk others into giving it a chance
U.S. List Price: $489.99
Soundcraft Spirit ES
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Ivan’s Take: The Spirit E Series is the company’s latest line of entry-level mixers. This time they’ve done some trading of features and gone slightly upscale, resulting in an interesting product. The ES model has four mic inputs and 10 stereo line inputs (with gain controls), two of which have phono inputs (in case you get the urge to scratch while mixing). |
These features make the ES great for adding line inputs such as effect returns or AV inputs to an existing mixer. Or for corporate gigs with fewer mics than video audio feeds. A simple layout may be almost too simple (the lack of master aux controls is just plain odd), but the ES Series is worth checking out.
Pluses:
• Not possible to get audible distortion without seeing a visual clip indication!
• Channel clip indicator indicates both pre and post fader clipping
• Peak hold on master clip LEDs
• Gain controls on all stereo line inputs
• 100mm faders
• Sweep mid-EQ (mic inputs only)
• Built-in carry handle
Minuses:
• No Aux master level controls
• No LED indication of mute or PFL status per channel
U.S. List Price: $599.95
Yamaha MG16/4
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Ivan’s Take: Another company that has made small mixers for years, this latest generation is the MG series. Yamaha’s consumer electronics acumen can be seen these products are very nice looking in terms of aesthetics and quality of finish. The backlit channel mute buttons appear to have come from a much higher-end product, and all of the controls have a very nice feel to them. A simple and effective layout makes this attractive for entry-level users. The quality is amazing for the price and the only drawback is limited maximum mic input levels. |
Pluses:
• Very refined packaging and crisp, clean layout
• Nice feel to controls, switches, backlit mute switch
• Single stereo sub group
• Single stereo master fader
Minuses:
• Can’t take very hot signals at mic inputs (+4 dBu)
• External power supply
U.S. List Price: $329
November 2003 Live Sound International