The mixer reviewed this month is available in both 18:8:2 and 24:8:2 formats, and features extensive monitoring facilities.

The initial impression is one of elegance. The unit is around two inches thick and has a long, 'hockey-stick' profile instead of the usual wedge shape. A fold-out stand underneath the steel frame gives the required elevation. This should be borne in mind before installing. Certain frame type stands would not be suitable as the unit needs a flat surface.

An illuminated meter-hood runs the length of the console and is attached at each end by a large bolt and this allows the assembly to be swivelled for the optimum angle. A short length of multicore provides the electrical connection and this terminates in a rectangular locking plug. Subgroups and the main L/R outputs have VU meters, with associated peak LEDs.

To preserve the styling of the console and to minimise mains hum, an external power supply is used. Housed in a 19" rack case, it has switches for mains power and 48v phantom with status LEDs. The interconnecting cable is fixed to the power supply and terminates in a 4-pin XLR. At the console end, this plugs in underneath.

Connections

All the audio connections are mounted on the face of the modules, behind the meter bridge and although these are normally hidden, access is made particularly easy by tilting the bridge fully forward.

Connection to a multitrack machine such as a Fostex B16 is fairly simple. Multitrack ins and outs are phono sockets, mounted on the subgroups. Should you need +4dB, there are also eight XLR outputs at that level. There are no dedicated +4dB monitor returns but attenuating the level is far simpler than finding the equivalent amount of gain. Remix at +4dB is no problem, as all the line level inputs operate at this standard.

At the same time as removing the need for 'Y' leads, the RM uses a one-button remix. There is therefore no need to change the status of 16 separate return channels.

XLRs are used for the L/R outputs and these are at +4dB. Two stereo jacks on the right module provide switchable returns for an open reel and cassette master (or a Sony F1, if you're feeling really up market). Stereo jacks and XLRs may seem a slightly odd mixture but this was probably done with an eye to the PA market, where the main outputs would be driving the power amps.

Two stereo jacks are also used for monitor outputs A and B. This is a nice touch because it means that a suitably sized amp can be used for a set of small monitors and reduces the chance of blowing their little cones to pieces.

Input Modules

So much for the main connections, lets see what sort of facilities you get for your money.

An electronically balanced XLR mic input is used, wired pin 2 hot. 48v phantom is activated on each module by a push button behind the meter bridge. Although this is a little awkward to get to, it's probably deliberate. That way, there is less chance of hitting phantom instead of pad and sending 48 volts up an unamused electret!

Insert points are fitted to all input and subgroup modules. Virtually a standard provision these days; they are very useful for connecting outboard devices. It's a pity that there are none on the L/R channels as they could accommodate compression or an exciter on mixdown. If you connect such a unit after the main fader, the input level will obviously change on a fade out. Should that prove a problem, it would be simple enough to use a couple of subgroups instead, feeding the mixdown machine from the XLR sockets but that then robs you of your subgrouping capability on mixdown.

Line inputs are referenced to +4dB and use standard jacks. Because all the multitrack returns are on the subgroups, there is never any need to remove multitrack channels to get more line inputs.

Interestingly, the Remix mode does not disable the mic or line inputs. That means it is possible to use all the 18/24 line inputs during remix for effects or sequenced equipment synced to tape. Of course, 16 of the inputs share their EQ and pan with the multitrack but that would not be much of a disadvantage where, for instance, sequenced synths were doubling the parts already on tape.

Now that it has been revealed that the channel inputs are independent of the Remix function, here is the second shock to the system. The mic and line inputs are independent of each other. Hence, there is a dual concentric mic/line gain pot in place of the normal, single gain. Where you would expect to find a mic/line switch, there are two switches, Mic on/off and Line on/off.

My initial reaction was 'why?' After a bit, the logic behind this move becomes apparent. First of all, let's look at the two gain controls. If you are using the same drum machine and synth setup most of the time, it means you can leave them patched in with the gain setting adjusted. Should you wish to use the channels for mics, there is no need to alter the line gains.

But both inputs simultaneously? Well at least it gives you a way out if you are really pushed for channels. Better to have a seldom used possibility, than for it to be designed out of the system altogether.

Associated with the mic gain are a 30dB pad, for attenuating high input levels, and a phase reverse switch. This can be useful in multiple miking situations. Even if all the mics are electronically phase correct, their physical relationship to the sound source can cause phase anomalies. The best way to use phase reverse, is to listen to two mics and see which way round sounds the best, particularly at the low frequency end. Obviously, there is no point in reversing both mics as you will be back at square one. Having set your mics one against the other, you can then try out the whole lot. In the real world, there are often phase differences other than 180 degrees. If you don't like the sound, the answer is to move the mics.

Running down the module, the EQ section is next. As it's rather comprehensive, we'll have a closer look at it in a moment. Below this, there are six auxiliary mixes on three dual concentric pots. These are configured: two pre-fade, two pre/post switchable and two post-fade. As it's unlikely that you will need more than four foldback mixes or four effects mixes at any given time, the arrangement on the Mega seems perfectly adequate.

The routing and pan is fairly standard but accompanied by two welcome additions: Solo and Mute. Both of these have clear LED indication. It's surprising how many desks omit any status indication and there is one model with black push buttons on a black panel! Mute, incidentally means exactly what it says: if the LED is on, the channel is muted.

There's a further LED for peak level and an input fader of the alps-clone variety. These seem to work pretty well and have the advantage of keeping the overall cost to manageable proportions.

Behind the meter bridge, there's a direct output on a -10dB phono. Wired after the input fader, it could be a life saver if you need to commit more than eight tracks to tape in one pass.

Equalisation

This is a 4-band circuit, with an EQ cut switch. Because each band uses a dual pot, the first impression is that there are four sweep bands. Not so, the two mids are sweep and have ranges of 100Hz-1 kHz and 600Hz-10kHz. The treble and bass are shelving circuits, with frequencies of 12kHz and 60Hz respectively. Overall range is 15dB on all bands.

So what do the outer rings on the treble and bass do? They are actually sweepable low-pass and high-pass filters that allow you to define the audio bandwidth. The low-pass filter will chop off the high end response anywhere between 2kHz and 20kHz. The high pass filter will curtail the bass end between 20Hz and 200Hz.

Providing that it's outside the range of the instrument you are recording, the LP and HP filters give you the chance to get rid of a large amount of extraneous noise like amp hiss or 50 Hz mains hum. You could also use them more creatively, making a very hard sound by limiting the bandwidth.

In practice, the EQ section is very good for cleaning up sampled sounds, providing you don't go over the top and cut off all the harmonics as well. Similarly, spill can be reduced when miking a drum kit, particularly hi-hat getting down the snare mic. Once again, you have to be realistic about this. There is no point in minimising the hi-hat spill if the result is a snare that sounds like a shoe box.

Subgroups

Each subgroup houses two monitor sections, for instance tracks 1 and 9, 2 and 10 and so on. Although basically identical, the upper monitors are also fitted with a break jack. This means that they can be used for effects return without pulling any plugs. As the monitor groups are otherwise redundant at this point, it seems a sensible provision.

In fact, there are no dedicated effects returns on the Mega. Bearing in mind that you have access to eight monitor groups, plus 18/24 line inputs, this is no great hardship. A L/R sub-switch determines whether the effect is routed to the subgroup output (for effect to multitrack) or the L/R outputs (for mixdown).

All the monitor groups have level controls to auxes 1-4, as well as level and pan to the L/R outputs. Like the input channels, monitor groups have Solo and Mute with LED indication. The Mute actually cuts all post-fade levels, meaning that effects sends are altered but monitor sends are not.

Main Output

Master levels for the six auxiliaries are found on the left module and these are all equipped with Solo buttons. Three stereo sockets are used for the outputs, which is no great hassle if you are wiring from scratch and does save space. The left module also houses the oscillator, an item seldom seen on a desk in this price range. Yet another dual pot is used for Level and Frequency Sweep. Depending on the setting of the Freq X10 button, the oscillator can be swept from 100Hz-1 kHz or 1 kHz-10kHz. Oscillator routing is achieved with an identical set of buttons to the input channels but without the pan control.

There are several uses for an oscillator. If your multitrack machine has input/output levels, you will be able to line it up to the desk, ensuring that 0VU matches on all tracks. Marking the start of each take with a short burst of low frequency will make it easier to find on rewind: it will show up as a clearly audible 'bleep'. Strictly speaking, there should be a reference tone on every track anyway as this will allow a subsequent engineer to align his equipment to your reference level.

An oscillator is also a handy thing to have when performing routine line-ups on tape machines. If it's fitted to the desk there is far less chance of losing it!

The right master module has stereo sockets for Monitor Outputs A&B and Tape Inputs A&B, along with the associated switches. This is also where the Remix button is located. Considering the reconfiguration that occurs when it is used, it looks rather unobtrusive. You would expect it to be large, red and possibly accompanied by a klaxon!

Mono switch sums the left and right channel and is handy for checking the sort of separation you have without panning and also shows up any phase problems. It can be very embarrassing to have things drop out of the mix in mono, due to phase reversal, particularly if you've just announced, 'This is the one boys'.

Several pots and switches effect the monitor level in some way. Monitor Level, controls the level to the monitor outputs A&B and there is also a 20dB switch to cut the level without altering any fader settings. Phones Level is an independent control for the two headphone sockets at the front of the mixer. Considering the minimal cost involved, it's strange that many desks only have one headphone socket. Particularly in a one room set-up, you often do not need to run a separate foldback amp and it seems a pity to start messing about with splitter boxes when the facility could have been built into the desk.

A further level pot is provided for the Solo function, a sensible provision as solo monitor bypasses the faders and the signal can often be a good deal louder.

Talkback has an XLR mic socket, a level control and a set of routing buttons. The switch that activates the talkback also cuts the control room monitors by 20dB, which saves sending your musicians an earful of feedback.

In Use

Although the Mega is comprehensive desk, it did not prove particularly daunting to use. Split consoles tend to be easier to use first time as the various functions are lumped together in one obvious spot.

Front to back, the Mega is only about three feet. Combined with the angle of the desk, this puts everything within easy reach. A lot of the space saving is due to the consistent use of dual pots, of which there are eight in the input module. These could have been fiddly to use but were no problem in practice. The plastic mouldings for the controls are well designed and there is a hefty pointer on the outer ring.

Not quite the same praise can be given to the push buttons that are used for a wide range of functions, including EQ cut, routing and solo. There is not a great deal of travel on these and the fact that they are black can make it difficult to see what position they are in. Perhaps the current favourite Japanese liquorice allsort types would be better? Having said that, full marks for the LED indication on Solo and Mute: not only for providing it at all but also for making these two and the Peak LED three different colours throughout. That way, you know what you are looking at without having to think about it.

All the ergonomic considerations become irrelevant if the desk doesn't sound any good. Fortunately, the Mega performs well in this respect and special praise should be given to the EQ section. It's easy to use and the HP/LP filters are a useful aid in getting a clean signal onto tape. When using this desk, it is worth checking that the pass filters are open as wide as possible to start with. Otherwise, you could start wondering why the sound is so boxy. The EQ cut is useful on this count, as it gives instant comparison with the flat signal.

The phantom power... another plus point. 18 or 24 lines of 48v phantom could end up costing you as much as the Mega desk, if you bought separate mains units.

Conclusions

All in all, the Mega offers a lot of desk for your money. It has all the facilities you are likely to need for 8- or 16-track recording, plus some useful extras like direct outputs and a choice of output levels on the subgroups.

Constructional quality seems very high as well. A peek inside shows that the unit is genuinely modular, with the channels hooked up by ribbon cables and multiway connectors. Incidentally, the Mega's elegant profile is obtained by the use of double sided PCBs. These are normally avoided on consoles of this price because they are expensive to make.

As a piece of furniture, the Mega does quite well. It's nice to see a unit where all the parts were obviously made for the purpose. The little finishing touches often let UK products down.

For most purchasers, the RAM Mega will represent a big step forward. It's therefore gratifying to see that the manual goes through the recording process step by step and explains how every control is used. If you are in the market for a desk of this format, the Mega is certainly one to check out.

The Ram RM18 Mega costs £2087.11 and the RM24 Mega £2935.62. Both prices include VAT.