PART TWO of our marathon mixer test runs this month to three mixers in the price bracket from £650 to £1500. Hold on to your wallets.

DYNAMIX 16-8-2 16/8/2 £1165 (in flightcase)

Made in UK
Contact: Audio Music Marketing Ltd, (Contact Details).
In flightcase, top removed: 38in x 28in x 6½in.

CONTROLS PER CHANNEL Mike/tape-return switch; -20dB pad mike and line; EQ: bass, sweepable mid 600Hz-10kHz; three Aux sends, 1 and 2 wired pre-fade, 3 post-fade; pan pot; routing switches to L/R buss or eight group outputs, and switch for putting desk into PFL mode (activating a red LED on the right of the desk showing that the engineer has probably pressed the wrong switch); fader, with peak LED at head.

OTHER CONTROLS Eight group outputs, with their respective tape returns and level controls for monitoring; the monitoring section has pan pot and sends to Aux 1; master section includes the following: three Aux outputs, each with PFL switches; talkback mike level control with latching switch (as noted in group one, a danger for those with separate control room and studio, because musicians may hear what engineers really think of them); monitor level control with switch which routes the stereo tape returns to the monitor outputs; two Aux returns, pannable L/R, and routable to L/R mix busses or group outputs (each with PFL switch).

INTERFACE 16 mike inputs (XLRs); 16 insert points (stereo jacks); 16 tape/line inputs (jacks); talkback mike input (XLR); stereo tape return (jack); eight group outputs (XLRs, riveted to plate); mono headphone output (jack); stereo monitor output (jack); Aux return 1 and 2 inputs; Aux busses 1, 2 and 3 outputs; L/R stereo mix buss outputs (XLRs).

IN USE Noise seemed low and respectable. The faders weren't calibrated in an immediately understandable way. The EQ's mid-sweep sounded as though it was set a little high, but generally the EQ was adequate. We like the mixer's convenience — it came installed in a flightcase from which it was easily extractable for service purposes (we dare you) — and the recognisable manual had some useful hints and tips. We'd stress that a patchbay would be necessary to get the most out of a mixer of this complexity.

TECHNICAL MEASUREMENTS The input stage on this console was without snags, except that the pad switch attenuated the input level by only 12dB (line) and 14dB (mike), which is well down on the quoted — and time-honoured — -20dB. However, this set-back didn't prevent the Dynamix coping with the highest levels likely from a close-miked, high-output capacitor mike. Again, groan, the channel peak LED was set to light just 2dB below actual crunch-up — a 6dB margin would be much better, and wouldn't cost a penny extra. Hurrah for Dynamix: the main metering was kosher, with the 0VU calibration equalling exactly +4dBU at the output. The EQ is sensibly restrained (eg + 14dB at 600Hz on the mid-sweep), and certainly didn't go super-nova at batty frequencies (a maximum boost of +14dB at 10kHz falls to +10dB at 30kHz). But, once again, the mid-range would be so much more useful for real music if it was dropped down an octave, from a range of 600Hz-10k down to 300Hz-5k. An irritation was the LED marked "PFL active", which is in fact a warning of solo operation. Lastly, the mixer wasn't really up to road use: other than soldered buss-bars, which make channel access and/or replacement rather awkward, the output card was inadequately supported and used poor materials. But there'd be no reservations about the Dynamix's mechanics in a sedentary studio role.

LOOKS: "Well made and set out, with all the basic functions you'd expect from a split console of this type. Looking closer, the finish was evidently rather rough (eg the wood of the meter bridge)."

SOUND: "Overall very clear and warm. It's a pity that the routing switches give a small click that would go to tape, as this limits their use for muting (you'd just have to get in on the snare drum beats)."

FEEL: "The controls were, wait for it, smooth and postive. It felt like a basic mixer."

CONCLUSION: When we started testing the mixer, we'd been quoted a lower price than the actual retail figure (for some reason), so we figured it was good value, despite some faults and inconveniences. Then we discovered the real price. At the price we feel the makers could do better. It's made for 8-track work, and if it was made to a higher standard would be ideal for a budget 8-track set-up. Some of the unstable internal mechanics could give trouble on the road, too.

STUDIOMASTER 16-4-2 16/4/2 £1168

Made in UK
Contact: Studiomaster, (Contact Details).
30½in x 25in x 5½in.
Euro-connector, which rocked in socket and disconnected frequently. Badly positioned on/off switch (better recessed, we think).

CONTROLS PER CHANNEL (The channels are numbered "back to front" — ie 16 on the left and 1 on the right — like all Studiomaster's mixers) Mike/line switch; 20db pad (mike or line); gain; EQ; treble, sweepable-mid, sweepable bass, plus EQ bypass; three Aux sends, Aux 1 pre-fade, Aux 2 switchable pre- or post-fade, Aux 3 post-fade; pan control, used in conjunction with routing buttons for L/R, 1 to 4 output groups; solo switch with LED (cuts over monitor outputs only, suited to live work); fader with overload LED.

OTHER CONTROLS Aux master volume controls 1-3, each with solo; talkback volume control with non-lockable switch, routed to Aux 3 (it would usually be routed to Aux 1); monitor volume (to headphone or monitor amps); tape return section, each with monitor volume control, a send to Aux 3 (eg for reverb on returns), a pan, and a solo; four group faders; two Aux Returns, routable to L/R 1-2, 3-4 in conjunction with pan, and fixed treble, middle and bass, plus solo (on each); master output faders; 2-track return switch (to monitoring section).

INTERFACE 16 mike inputs (XLRs); 16 line inputs (unbalanced); 16 insert points (stereo jacks), post-EQ, post-pan, pre-fade; three Aux sends (jacks); four group outputs; 2-track return L and R; two monitor outputs (stereo jacks), one 600 ohms minimum, the other 8 ohms (ie headphones); two Aux returns; line outs — two mono jacks L/R (for 10 working) or two XLRs L/R (for +4 working ); talkback mike input (XLR).

IN USE Noise seemed acceptable overall, although a few controls made a little noise (the mike/line switch and the pad switch), and the faders seemed stiff and a touch "gooey" (Dave's word). The EQ turned out to be good and flexible, the sweepable bass being a useful feature, giving a handy spread in combination with the sweepable mid. We liked the EQ cut and suitable pre-and post-sends, and the well-positioned talkback socket. We disliked the manual which, although comprehensive, was somewhat condescending and confusingly laid out, the slow-to-extinguish channel peak LEDs, and the badly positioned headphone socket (on the back).

TECHNICAL MEASUREMENTS Apart from the same old shortcomings on the channel overload LED (ie 2dB threshold), the input stage on this console is exemplary. The EIN (Equivalent Input Noise) is close to the physical limits at -130dB, meaning that it's really quiet, and the full span of real-life levels can be accommodated. For example the mike input can cope with eight volts (useful for miking up HM rigs) down to a miniscule 500 microvolts (typical of a delicate ribbon mike). The faders' dB scalings were relatively flawless and, once gain, Studiomaster's LED bar meters scored well in that their calibration was accurate around the 0dB point where it really matters. Likewise, the EQ displayed awareness of real life in that the mid-band sweep had a broad (ie low Q) response, extending from 8k right down to 200Hz — where it's quite useful (other makers take note). Output source impedance on the insert points was extremely low (which is good), but on the main outputs the impedance rises rapidly at high audible frequencies, though this wouldn't be of any consequence unless you were driving into a long multicore.

LOOKS Dave: "As I took it from the box it looked professional, as if you could do the business with it. On further inspection I'm a bit worried by some of the colour coding." Mike: "Looks professional and well finished."

SOUND Dave: "All right." Mike: "Warm."

FEEL Dave: "The extra inputs imply it's more useful for live work — 12 are usually adequate for 4- or 8-track recording." Mike: "Generally good — but didn't like the rounded pushswitches. Just a little crowded, too."

CONCLUSION Designed, we think, for PA work more than recording applications, but it would be useful for 4-track recording. Some features make it impractical — like the long decay time on the peak LEDs. For live work, bear in mind its high spec and roadworthiness.

AHB System 8 16/8/2 £1400

Made in UK
Contact: AHB, (Contact Details). Thanks for supplying the review sample to: Raper & Wayman, (Contact Details).
42in x 26½in x 7½in.
Supplied power lead to XLR on mixer. No on/off switch.

CONTROLS PER CHANNEL Pad (no value marked); mike-line switch; gain; EQ bypass switch; Hi-frequency shelving EQ switchable between 8 and 12kHz, sweepable mid 400Hz-6kHz, low frequency switchable between 60 and 120Hz; Aux send: Aux 1 set at pre-fade, Aux 2 pre- or post-fade, Aux 3 post-fade (pre- or post-EQ status is internally adjustable with simple bridging pins); handy routing linked to pan pot allows routing to group outputs and L/R mix busses; PFL solo button lighting warning light on master section and making audible click from relay; muting switch; fader with peak LED (easily visible).

OTHER CONTROLS Separate meters for each of eight output groups; separate meters for L/R mix buss; monitoring section, above group output faders and tape return switches, has on each channel a rotary volume control, a pan pot, sends to Aux buss 1, send to either Aux 2 or 3, and a PFL facility; two FX returns, routable to output groups 1 to 8 or L/R buss, both with level control and level controls in Aux 1 or 2 busses; faders for L/R mix busses; master control section includes a switch for putting on 48V phantom power to each XLR mike input, plus LED; switch for 1k oscillator tone, routed to each group output for lining-up purposes; master controls for each Aux buss; headphone output level control (stereo jack socket to right of meter hood, next to XLR socket for talkback mike); talkback mike can be routed to group output or to cue level control, which in turn can be routed to the mono output, the stereo mix, Auxs 1 and 2 (all or any of these); a monitor output level control linked to a dimming switch, normally depressed by dim engineers; the output to the monitoring section is selectable between a mono output, the output of the cue system, the 2-track tape returns, and the stereo mix (below this is the LED which says the desk has been put into solo mode and that the engineer is asleep).

INTERFACE 16 mike inputs (XLRs); 16 balanced mike inputs (stereo jacks); 16 insert points (stereo jacks); three Aux send outputs (mono jacks); eight group outputs (XLRs and mono jacks); insert point per output group (stereo jacks), plus interface sockets for expansion; "Cue Output" (stereo jack), terminating Aux busses 1 and 2 — you can get, for example, a stereo FX send from these two busses; monitor output (stereo jack); L/R outputs, to 2-track (XLRs), both with insert points (stereo jacks); "tielines" on jacks for stereo in and stereo out, PFL in, PFL out, Aux 1 and 2 in, Aux 3 in, Aux 1 and 2 out, Aux 3 out (intended for console expansion); two FX returns inputs (jacks); on back of meter hood 16 mono jacks, dedicated direct outs from channels post-fade.

IN USE Very quiet desk, with smooth, well-marked faders. The EQ sounded sensibly set and was immediately and positively useable. Taking into account the number of features on the mixer, we came to terms with it all very rapidly. We liked the EQ in/out switch per channel, handy for instantly checking flat against EQ'd effect, the spacious, easy-to-read layout, and the comprehensive, detailed manual. We disliked very little.

TECHNICAL MEASUREMENTS Noise performance on mike was a little under par at -119dBU, but to compound this difficulty the maximum mike gain was also lower than average, at 39dB. This is an insufficient figure for low-output mikes, especially if miking up delicate acoustic instruments, where lack of level and gain would add up to a big hiss. And, once again, the overload LED came on only 2½dB below crunch-up. Less serious, but still a nuisance, the "stereo" (two-pole) insert jacks were wired opposite to the convention. This is fine if wiring fresh cables, but otherwise it may cause a real headache, and lots of soldering. The metering passed its accuracy test, but may have been set up specially for a customer's requirements. The bass and mid sections of the EQ had no real set-backs, although the mid-sweep's bottom end range (400Hz minimum) could have usefully gone down to 250Hz. The top-end boost was well out of order; whether set at 8 or 12kHz, the maximum response was still boosted +20dB or so at 100kHz (causing fatigue, possibly, or a power-amp or monitor fry-up). On the output side, output impedance was measured excessively high, at 790 ohms. Bearing in mind the spec of 22 ohms, we guess an assembly error. Nonetheless, the result would be a drooping and distorted top-end when driving a fair length of cable — ironic in view of the EQ's top boost. Lastly, the output XLRs defied the IEC wiring convention, being the US standard (pin 3 "hot"). By all accounts this configuration was originated by UK mixer makers to help them sell to the US. Yet today, most US makers are turning to the international (IEC) standard for XLR wiring where pin 2 is hot.

LOOKS Dave: "Easy on the eye, 'earth' colours. Immediately clear, lots of good functions." Mike: "Good choice of colours, although I'd prefer additional colour coding on Aux faders."

SOUND Dave: "Good." Mike: "No adverse comments."

FEEL Dave: "All controls smooth and noise-free. As noted on the Dynamix, a patchbay would get the best use from the facilities offered. You can't go on messing about round the back for ever." Mike: "All faders, pots and switches smooth and positive. No rough edges. I'd own one."

CONCLUSION This mixer is intended for use with 8-track recorders, and for this purpose the mixer performed well and sounded good, although there were one or two constructional irritations (see Measurements section). We figure this mixer is worth the extra over the other contenders here, and nominate it best of this limited trio.

We invited all the major manufacturers of recording mixers to submit desks for this review, and from what we were offered there doesn't appear to be a great deal of choice to readers with this sort of cash to spend. (Both Tascam and Soundcraft have mixers in the price bracket, but couldn't get us a review sample despite the long notice we gave them.)

Why the lack of mixers in this group, then? We wondered that, too. Perhaps the makers are anticipating the 4-track recording market to go even further towards self-contained, cassette-based units — makers like Yamaha, for example, are evidently waking up to the importance of the mixer component as the heart of the package. So makers are not putting a lot of energy into four-output-group mixers, which is what this price group should be about. We're loathe to make recommendations for all these reasons, but the AHB System 8 was the best of the bunch. Frankly, we were bored.

NEXT MONTH: £1500 to £3250.