Consolidating your amplification and mixing requirements into one handy unit is increasingly becoming a very convenient and cost-effective solution to your small scale front-of-house and monitoring needs. With lasso and six-gun in hand, and the chorus to 'Rawhide' ringing in his ears, CHRISTOPHER HOLDER rounds up a herd of powered mixers.

It wasn't long ago that the powered PA console was a rare and unusual beast, and it is not until comparatively recently that all the features and benefits of a high-spec PA/monitor console were married to a high output amplifier. All that's changed now and we're spoilt for choice, with lots of incredibly competent units out there that will do the job for you. You would have to be a complete prat to choose a console on a price/feature 'shopping list' basis alone, but this roundup provides you with an idea of what's out there. If you are in the market, first consider exactly what you want out of your mixer by making your own list, and when you head for your local dealer, don't just assume that with all these 'gee whiz' features, that it's got to be the business. Find out first.

The selected mixers in this roundup are all around much the same frame size, much the same power (around 300W a side), much the same price, and are pretty representative of the bulk of the range out there in the marketplace.

Studiomaster Vision — A well-laid out console with lots of outstanding features. The effects processor's features have more in common with a studio stand-alone unit than an on-board processor — with MIDI control, 16 character backlit display, an echo feedback fader, and four 'hot keys' to instantly access critical effects changes during the session. You can route your signal to a stereo group bus, which, although a bog standard feature on regular boards, is still a godsend on powered mixers for grouping vocals, drums, keyboards, and the like. The graphic EQ can be split between the monitors and main MR output, while an optional electronic crossover is available to use Vision with a larger sub-bass PA system.

Studiomaster. (Contact Details).

Dynamix Powermix — The big selling point here is the inclusion of two ART on-board effects processors, which feature a good number of preset reverbs, delays, as well chorus/flange and reverb combinations. Dynamix approximate a sub-group by providing a stereo 'channel strip' that incorporates four stereo jack inputs with individual level controls, useful for combining input-hungry keyboards/expanders etc. Other features include an amp insert to split the on-board power to, say, your monitors; a global 50Hz high-pass filter for rumble cut; and an 'EQ processor' button that in combination with channel EQs aims to do the business in the absence of on-board graphics. Another consideration is that for not much more than £100 extra, you can buy a 600W a side version, with 16 and 20-channel versions also available for less than £1,500.

Dynamix. (Contact Details).

Carlsbro Eclipse — One of only two mixers we looked at that has individually switchable phantom power, with each channel also having a mute, PFL, and a 'Route to Graphic' buttons. A dedicated stereo channel optimised for tape and CD input is provided — handy for flowing in music when the band's off sucking the bar dry. Also on offer is a high-pass filter in the Graphics section, LCD display for the effects processor, while the power amp can be routed to monitors or FOH, or power can be split between the two.

Carlsbro Electronics Ltd. (Contact Details).

Peavey XR — The Peavey name and quality are the main selling points here, rather than a long list of natty features. The stereo effects processor is pretty comprehensive, and the slap back echo patches are adjustable. Furthermore, there's plenty of flexibility in the routing, with a large on-board patchbay. There aren't any stereo channels; the mixer footprint is a little larger than its competitors; but all the controls are easily accessable, clear, and straightforward to use.

Peavey Electronics. (Contact Details).

Yamaha EMX3500 — With the EMX3500, Yamaha has produced a mixer as solid, reliable, and as easy to operate as my grandmother's caste iron kettle (an analogy that you'll just have to take my word for). The EMX3500, although only having one monitor auxiliary bus, does have two monitor outputs with their own level controls. Each channel has a -20dB pad switch, a channel on/off switch, as well as an HPF in the EQ section. The DSP allows for control over delay time and reverb decay, whichever is applicable. The Yamaha oozes sturdy dependability, but make sure that you don't get left at the end of a gig to carry this beast out by yourself (see p48).

Yamaha-Kemble. (Contact Details).

Spirit Powerstation — Since the PowerStation has been around, it has garnered a formidable reputation. One of the first things you notice is the Lexicon on-board effects (with good editing control over the reverb and delay patches, and a bright/dark button for the reverbs), but there is plenty more to ensure satisfaction. Two-track send and returns, separate amp inputs, subsonic filter, PFL solos on all channels, and optional rackmount ears make for a high-spec performer.

Spirit by Soundcraft. (Contact Details).

Fender PX 2200 Series — Fender can be justifiably proud of the thought and innovation put into their PX 2200 range of powered mixers. For starters, the mixer comes in a road case that doubles as a console stand. The actual console is quite slimline as the amplifier exists in its own chassis in the bottom of the roadcase (adding extra stability when set up). I'll leave the purists amongst you to debate as to whether the separate amp qualifies it as a true powered mixer — meanwhile I'll mention the outstanding features. Apart from the 'integral' stand, the two monitor busses, BNC lamp socket, no-fuss DSP section, flexible patching options, reassignable graphic EQ section, and the variety of amp configurations make the Fender a versatile performer.

Arbiter Group plc. (Contact Details).