Mike Simmons looks at a basic and cost-effective PA desk that might be equally at home at the heart of a small 4-track or MIDI recording setup.

If you're in the market for a budget mixer, you've probably already got a list of models in mind that you want to check out. Inevitably it's going to be the familiar names that most readily grab your attention, but sometimes a little more research can pay dividends. The machine that we're looking at here, the Mynah 16:4:3, is made by 3G Ltd, a company which has been around for a while but which has a relatively low profile in recording circles.

Unlike a purpose-built studio console, the Mynah has no monitoring facilities, though it does have a four-buss grouping system, which should be sufficient for 4- and 8-track setups. The lack of monitoring is not as drastic a problem as it may seem, as the multitrack outputs can be monitored via spare input channels routed to the left and right mix busses; for those working with cassette multitrackers, a mixer of this type may be used to combine tape and MIDI sound sources.

First a short note about that group of numbers, 16:4:3. The '16' refers to the number of input channels, while the '4' indicates the number of groups that those channels may be routed to. So far so good, but what about that '3'? Could this be some kind of cut-price quadrophonic system we're looking at? A novel thought — but no. The '3' simply refers to one stereo pair plus one mono mix of that pair. This latter facility can prove useful in a variety of situations, not the least being as a feed to a foldback system — many musicians prefer a mono mix through the cans.

The Tour

Enough of the numbers, let's take a look at the machine itself. Being essentially a live mixer, the Mynah is pretty big compared to some of its dedicated studio counterparts, and (ironically, I've often thought) it weighs a lot more too. The casework is fabricated from sheet steel with moulded end-cheeks, and has a utilitarian look about it. The size and weight factors may possibly have a greater significance to the reviewer, who has just struggled to get a particularly large cardboard box in and out of his car. In some parts of London, people are trying to get mortgages on boxes like these!

Extracting the mixer from the the said cardboard box was no minor [terrible pun — Ed!] feat, but having done so, a cursory examination revealed that all the controls and connections are located on the top panel, with nothing at all around the back. This makes life easier if you don't have a patchbay, but the down side is that the wiring is harder to keep tidy.

There are two input sockets for each channel, one a standard quarter-inch (unbalanced) jack for line-level signals and the other a balanced XLR for mic input. The 48V DC phantom power can be fed globally to the XLR sockets by means of a push button located in the master section which, happily, is accompanied by a red warning LED. Checking out the circuit diagrams reveals some economies, such as the all-IC mic amps which, though adequate for most close-miking purposes, are not as quiet as those using the more common hybrid transistor/IC designs.

Channel Trip

There is no way of switching between the line level and XLR inputs, and if they are used simultaneously they both remain live. This isn't entirely a good thing or a bad thing, depending on how you look at it. On the negative side, a mic inadvertently left plugged in during the mix will make unpredictable and unwelcome contributions to the final recording, but on the other hand, you could feed extra signals into the mic sockets during a mix by means of DI boxes and suchlike. You'd still need some way of controlling the level at source, but it could be useful.

The signal from the input socket passes from the trim pot, through the EQ section, and onto a comparatively short-throw fader. Given that the Mynah is such a big mixer it's something of a surprise to find it sporting 60mm faders, but they still have a pleasingly positive action. As a result of this it's very easy to make precise adjustments to the mix levels — which is not the case with the rather wobbly short-throw faders that some other machines provide. Indeed, all the controls on the Mynah — pots, buttons and faders — have a very positive feel, and are very clearly presented, with coloured dot and line markers.

To the left of each fader is a row of routing buttons which, when used in conjunction with the pan pot, can send the signal to the desired groups and/or the Left/Right buss. There is also a bright red solo button which illuminates an LED in the master section; the solo function is a true 'solo in place' which means that the level and pan position are maintained during soloing. Sadly there is no mute button, and though it's always possible to knock out the routing buttons to achieve the same end, I'd feel far more comfortable with the real thing. Immediately above each of the faders is a small peak LED which fires at +16dBM. This is a little too close to clipping for my liking, as once the LED comes on, the chances are you've clipped anyway.

"Only one mono return is provided which, in this day of budget stereo reverbs and multieffects processors, seems more than remiss, even if the desk is mainly intended for live use."

Post Haste

The input channels are equipped with two aux send controls for adding effects or setting up monitor mixes. As shipped, Aux 1 is pre fade and Aux 2 is post fade, but either can be changed to the other configuration on a channel by channel basis. This seems a little limited, but still fair enough, until you discover exactly how this change must be made. The mixer needs to be disconnected from the mains, 10 securing screws removed, the machine lifted from its base and then three pin headers identified and a shorting link relocated. What common sense also indicates is that you'll probably have to disconnect just about every lead already plugged into the device in order to perform this trick without producing an unholy tangle of cables. Clearly this is a job that should not be considered halfway through a session. Even if you have plenty of time, it is a far from straightforward process, as the control panel can't be removed completely, due to the mains cable securing arrangement. Many other mixers allow individual channel sends to function in either way, pre or post fade, without the owner having to indulge in major surgery. Clearly you're intended to settle on one way of working, set up the sends to suit, and then leave them alone.

Despite being a spacious console, the effects return section is far from generous, which means that input channels have to be pressed into service as additional returns for virtually any mixing project. In fact, only one mono return is provided which, in this day of budget stereo reverbs and multi-effects processors, seems more than remiss, even if the desk is mainly intended for live use. Even live musicians can afford stereo effects these days! There is, however, a mitigating feature, in that the group section boasts input sockets for each of the four groups, so it would also be possible to press these into service as effects returns at mixdown.

Features

In terms of additional facilities, I must admit that I was expecting to find channel insert points, because, after all, both live performers and studio musicians often need to use compressors or some other form of in-line processing. Unfortunately, in the fight to maintain a low retail price, insert points have been omitted from the channels, groups and master outputs.

The EQ section is a 3-band affair which, according to the manual, has a cut/boost range of 22dB at centre frequencies of 50Hz, 550Hz and 12kHz. The subjective range seemed about normal to me so perhaps the 22dB was a misprint and the more usual 12dB figure applies. The placing of any fixed-band EQ system is always a matter of personal taste and is inevitably a compromise, but the arrangement on the Mynah seemed to work well enough in most situations. It isn't as flexible as a sweep system for tuning into those awkward sounds, but for most general musical applications, it gets the job done. No EQ bypass button is provided, however, which makes it awkward to compare equalised and flat settings.

Moving on to the group section, we find that each group is allocated a fader, a solo button, a pan pot and a pot routing the group signal onto the Aux 2 buss. At the top of the desk we find two rows of four quarter-inch jacks which handle the signals running to or from each of the groups. The group outputs could be used to feed the inputs of a multitrack tape machine, while the group inputs can be used to bring in a feed from another mixer, a tape recorder or additional effects. The levels of these signals are controlled by a further two rows of pots situated immediately beneath them. When the signals from the groups are being routed directly to a multitrack, the record levels are controlled by the pots, independent of fader position. When the signals are being routed from the groups to the main L/R mix, then levels are controlled by the faders. Signals being routed into the Mynah via the group input sockets are controlled by the group faders, but there is also an input level pot which functions as a trim. Thus both controls have to be moved away from their lowest position if you're going to hear anything! The level of the signal entering each group — either from one of the channels or the group input jacks — is displayed on a seven-segment bargraph which turns from green to yellow at 0dB and to red at +3dB. There's a meter for each group and a further pair in the master section.

Master Mix

Turning to the master section, the outputs for the main mix are on balanced XLR chassis plugs, making them compatible with most commercial power amplifiers. Aside from the advantages of balancing, XLRs provide a certain amount of security in live work, since it's just about impossible to accidentally unplug an XLR — which is more than can be said for the ubiquitous quarter-inch jack. The outputs to the mastering 2-track are phonos, again because many tape machines are fitted with this type of connection, and there's an enabling button to facilitate playback.

Also in the master section are the Aux send master pots and a pot to handle the signal from that lone return socket. Here we also find the headphone outlet, with its volume control, and the aux send and return sockets. As you might expect, the master section has a further pair of short-throw faders for the main output level and there is one more fader to handle the mono mix output, which is also routed to an XLR chassis plug. That's about it, except for the power switch and the fuse. It was good to see the latter located in plain view. The fuse on my own mixer is tucked away amidst a sea of spaghetti and if I ever have need to change it, I suspect it will take some time to even find the thing!

"As a basic PA mixer, the Mynah is sensibly priced and has most of the necessary features, with the exception of insert points, which I really feel should have been included."

Acid Test

Sonically the mixer was reasonably quiet on line signals, but I feel the mic amps were just a little too noisy for serious work at any distance. For rock'n'roll with close-miking, however, there should be no real problem. It's also useful to have phantom powering for use with capacitor mics, though as this is global, you have to take care that any dynamic mics plugged in at the same time are properly wired for balanced operation. Failure to comply could compromise the sound quality, or even damage the mic.

The equaliser section behaved predictably enough, and the fact that a mid control is provided makes it more flexible than a basic bass/treble arrangement. The built-in power supply didn't seem to cause any hum or noise problems, though I must say it would have been nice to have had a somewhat longer mains lead. Perhaps I'm being unnecessarily picky, but I do think that less than four feet of cable on a desk of this size is a little on the stingy side.

Working with the Mynah was an interesting experience for me. I've often complained about the fiddly, densely-packed controls that so many mixers sport, so to come across a mixer in which everything was so well spaced out was quite refreshing. There was a downside to this, however. The heart of my own studio is a master keyboard and a computer, and even with the Mynah situated right next to this setup, I found myself stretching to reach some of the furthest controls from a sitting position. Clearly, this is a reflection of my own style of working but, given the choice, I now realise that I'd sooner have those fiddly, densely-packed controls than a machine which actually has me falling off my chair in an attempt to use it!

As a basic PA mixer, the Mynah is sensibly priced and has most of the necessary features, with the exception of insert points which I really feel should have been included, even if on only a few channels. For recording, the four-buss system plus the extra group inputs is very welcome, though I feel the single mono effects return was an unwise compromise. For the 4-track user who wants to use an external mixer, the lack of insert points can be circumvented by patching compressors between the tape outputs and the mixer inputs, while the lack of a monitoring section is not serious so long as you have sufficient channels for your needs.

Price-wise, the Mynah is pitched at a strongly contested market area. Seen in this light, it has several shortcomings, so I'm reluctant to give it my wholehearted approval, though it does offer a lot of inputs and a useful degree of routing flexibility. Indeed, it must be considered as one of the better low-budget buys for those who don't find its architectural compromises too restrictive and who need the maximum number of EQ'able channels for their money. It might be especially attractive to those musicians who need a mixer both for recording and for live performance.

Mike Simmons is an experienced songwriter/composer who runs a home studio based around the C-Lab Creator sequencing system.

Further Information
3G Mynah 16:4:3 Mixer £734.38 including VAT.

HW International, (Contact Details).