A mixer with fewer level controls than inputs might seem an unlikely concept; Derek Johnson finds that there's method behind this apparent madness.

Midiman, for those of you not familiar with the name, are an American company formerly called Musicsoft. A couple of years ago, they renamed the company after their most prominent product, the Midiman real-time MIDI to tape recorder interface. This novel device recorded a MIDI performance onto tape as MIDI data, which could then be played back to control MIDI instruments much like a sequencer. The company moved into synchronisers, and synchronisers still appear to be at the heart of their business. The Syncman Pro SMPTE/MTC/FSK synchroniser is a popular unit Stateside but, being a pragmatic company, Midiman haven't got all their eggs in one basket.

Amongst the other metaphorical baskets in which Midiman store their eggs is a pair of unusual line mixers. The larger of the two is called the FineLine, and features 24 inputs.

Fine Young Mixer

The primary function of the FineLine, as explained in the first paragraph of its manual, is to combine many audio signals in the quietest, most transparent manner possible. It is aimed primarily at the synth sound module user, since most modules have effects processors and panning facilities built in, but it could find other applications, including mixing effects units for feeding into a single stereo effects return.

The FineLine is an odd looking beast, but well-built all the same. In fact, Midiman offer a lifetime warranty on this machine. The front panel has four XLR balanced mic inputs and 11 knobs; that's four level controls for the mic inputs, four for the send levels (more later), two for the left and right outputs and one for the phones level. The headphone socket is on the front, and all we've missed is the Mon/Stereo button. There is no on/off switch, and power comes from an external 9V supply. Metering is also absent, with only a signal and peak LED for mic inputs and the same again for each of the left and right outputs. Luckily, the FineLine is rather forgiving of high input levels, and seems ideally suited to the average synth module with its volume level full on.

The rear of the FineLine is a regular sea of holes, and explains why the mic inputs are on the front panel, with 10 left and 10 right inputs, the send output, two mic outputs, and the main left and right outputs. There is also a switch that lets you choose whether the mic outputs go to the main outputs or not, otherwise they go to a separate pair of outputs. All this may seem very confusing, but with the unit in front of you, it's very simple. For example, the send output could be used for an effects processor loop (albeit only on two inputs per side), but the returns would take up some inputs.

I must admit to quite liking this unusual little mixer. The price is sensible, and the Fineline provides a cost-effective source of extra inputs in minimal space. As well as being useful as a keyboard mixer or effects return submixer, it is also perfect for the reviewer of miscellaneous gear; during my time with FineLine I was reviewing various other bits and pieces, and they all ended up plugged into the FineLine. It has such a simple, clean signal path that it was perfect for assessing the noise and distortion performance of various processors and sound modules.

Flexible Friend

In its simplicity, the FineLine is very versatile — aside from the applications already touched upon, it could also be used live, where the mic inputs enable it to replace a conventional mixer in some situations. For example, providing your keyboards and drum machines have their own output level controls, the FineLine can handle a complete electronic music backing plus vocal mics and an effects unit. The lack of input level controls and the limited aux send arrangement precludes the unit from coping with all mixer applications, but even so, there are a surprising number of valid and worthwhile applications. In accordance with the minimal signal path school of thought, this mixer puts as little as possible in the way of the signal, with the result that if you hear any hiss or noise at the outputs, it's most likely to be coming from your source rather than the mixer.

The layout may be a little inconvenient, but as mentioned during the course of the review, the FineLine is still a flexible beast capable of working in a variety of environments. But these are minor points: the possibly unique FineLine is easy on the fingers, and does its job simply, quietly and elegantly. And what else could you ask of a mixer?

Further Information
FineLine Mixer £219 including VAT.

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