Paul White takes a look at the new launch from Soundtracs and finds that it's not so much a budget mixing console as a serious mixer at a surprisingly low price.

The Soundtracs Solo series of mixing consoles is split into two families: Solo Live and Solo MIDI, the latter being intended primarily for recording. The Live version has no MIDI capabilities and is available in three formats: 16:4:2:1, 24:4:2:1 and 32:4:2:1. Solo MIDI is also available in 16, 24 and 32-channel versions but all have eight groups and full in-line monitoring. Technologically, the desk is very similar to the more up-market Megas split-console, but lacks the large meter bridge and integral patchbay. As the name implies, the desk has MIDI mute automation — in this case covering the main inputs, monitors, groups, stereo returns and aux masters.

In-line monitoring is a mixed blessing, and in its favour is the fact that the number of inputs on mixdown is effectively doubled. If there is a downside, it is that it is a little harder to keep track of what signals are appearing where. The equaliser section also has to be split if equalisation is required both on the main channel signal patch and the monitor. Nevertheless, with MIDI sequenced instruments being such an established part of current recording practice, most users will gladly accept a few compromises in order to make the necessary number of inputs available.

The other current demand is for a huge number of aux sends, and the Solo MIDI offers six per channel, which should satisfy most needs. And for the benefit of 16- or 24-track users, an effective direct channel output system allows individual channels to be routed to the correspondingly-numbered tape track without patching.

Though essentially utilitarian in construction, nice design touches such as the moulded end-cheeks and curved arm rest give the mixer style, and all the connections are out of sight on the rear panel, which helps immensely in creating a tidy installation. Like the rest of the Soundtracs range, the metalwork is finished in a tasteful grey enamel, while the knob caps and switch buttons are a lighter grey, the knobs having colour-coded caps with reassuringly clear marker lines along the top and down the sides. Metering is accomplished by LED bargraph meters mounted in a small, raised pod at the right hand side of the console, accommodating eight group meters plus the main stereo meters. Plastic scribble strips are provided above the faders and also at the top of each channel, which is a nice touch. Power for the console comes from a rackmounting, switch-mode power supply, which does not require a cooling fan.

Channel Design

Each channel has a choice of Mic, Line or Tape input, the mic input being a balanced XLR, with the tape and line ins on balanced jacks. True 48V phantom power can be applied to individual mic inputs by means of a button located right at the top of the channel strip; adjacent to this is a red Peak warning LED. There's no individual phantom power warning LED, which I feel is a little remiss, though there is a monitor lamp in the meter pod, which confirms the phantom power supply is working!

An insert point is provided in the usual stereo jack format (though it is termed Inject for no obvious reason) and there is a tape output which may be connected to the appropriately-numbered multitrack input. Actually, there is more to this output than meets the eye, as will be revealed when the function of the Buss switch is explained. The tape output operating level may be set by means of internal links for +4dBu or -10dBv operation. This switching system is also adopted at other points within the desk where a choice of external operating levels is anticipated. Further to this, the desk has eight conventional group outputs which may be patched directly to the multitrack inputs or, more flexibly, brought out to a patchbay. In practice, most users will be able to decide on a combination of group and direct outputs which can be normalised to the tape machine inputs, allowing the majority of work to proceed with no patching at all.

Nic/Line switching is accomplished by means of a single button, and a single rotary control sets the mic and line level. As is now pretty standard procedure with serious in-line consoles, the EQ section may be split between the main and monitor signal paths which, in a four-band system such as this, means that each split section needs to be able to function as a full-range equaliser in its own right. This necessitates a slightly different layout to a conventional equaliser, in that the high and low equalisers are located as a pair above the two sweep mids. Both high and low equalisers have a shelving response, offering 15dB cut or boost at 12kHz and 80Hz respectively, while the two sweep mids have fixed widths and offer the same degree of cut or boost over the ranges 350Hz to 8kHz and 50Hz to 1kHz. This wide range is necessary to allow the mids to cover enough of the audio spectrum to be useful when the EQ is split. Both sections have a Mon button, which places the relevant section in the monitor signal path so the user can deploy the two EQ sections in all possible combinations. An EQ bypass switch is fitted, which affects both sections simultaneously.

As tradition dictates, the next section down in any self-respecting channel strip accommodates the aux sends, of which there are six. All may be individually selected pre or post fade by means of internal links, and though this may seem to be more limiting than a fully switchable system, it shouldn't be too restrictive in practice, because of the sensible number of sends available. As shipped, the pre/post assignment is: 1 pre, 2 pre, 3 post, 4 post, 5 post, 6 post. Sends 1 and 2 are dedicated one to the main signal path and one to the monitor path, while sends 3,4 and 5,6 are switchable in pairs between the main and monitor signal paths.

Because of the routing system built into this desk, the Buss button plays an important role. When this button is up, the post-fader channel signal appears at the direct tape output on the rear of the channel strip, but when depressed, the tape output is fed from one of the output groups as follows: Group 1 feeds tape outputs 1, 9, 17 and 25, while Group 2 feeds 2, 10, 18, 26 and so on. Regardless of the setting of the Buss switch, the channel signal may also be routed to the Group outputs in the normal way.

Directly below the Buss switch is a button labelled Mix, which reverses the normal input situation so that the tape returns feed into the channel signal path and the line inputs feed into the monitor signal path, making them available as additional line inputs which route directly into the main stereo mix. The dedicated monitor controls comprise just Level and Pan, plus Aux Send 2. Anything else can be seconded from the main channel path as required. And, very importantly, the monitor inputs have their own automated mutes and Solo buttons, both of which have inset status LEDs.

The buss routing buttons are arranged quite conventionally, in that they select odd/even channel pairs, the channel Pan control being used to select between odd and even groups. All channels have Left/Right routing, a Pan control and a smooth, 100mm carbon fader made by Panasonic. Located below the Pan control are the channel On and Solo buttons, again with inset status LEDs.

"Inevitably there are compromises, but the sound quality and noise figures are comparable with professional mixers costing two or three times as much."

Master Section

Because this is an in-line console, the master section is refreshingly uncluttered. It includes four stereo returns, each with two-band EQ, Level, Pan and Aux controls, the latter feeding aux buss 1. As the returns are stereo and the sends are mono, a sum of the left and right signals is sent to the aux buss.

All four stereo returns may be routed to the stereo mix or to the groups in the following manner: Return 1 to Groups 1,2, return 2 to busses 3,4 — you get the idea. And in keeping with the Solo tradition, the pre/post status of these sends may be changed internally, though they are shipped as pre. This isn't quite as flexible as having a full set of routing buttons for each return, but with only a little thought at the effects patching stage, it shouldn't limit the user's options in any way. All four returns have Solo buttons and automated Mutes, while all six sends have master level controls, automated mutes and AFL buttons. For monitoring purposes, the studio room feed may be switched to receive aux 1, aux 2, or a sum of both. Alternatively, the control room output can be sent to the studio monitoring system.

The control room monitoring can be switched to receive the stereo mix or the outputs from either of two stereo machines designated A and B. There's also the obligatory DIM control, which allows you to drop the monitor level enough to swear at the drummer without losing your setting.

No mixer of this standing would be complete without a talkback facility or a test oscillator. The oscillator is a single-frequency job which puts a 1kHz tone onto either the groups or all the aux busses (great for waking up drummers) while the talkback is handled by an integral electret mic capsule and may be routed to the studio or to the groups for 'slating' purposes. As the oscillator does not produce the full range of test frequencies, it is not intended for machine line-up but is still immensely useful for checking that signals are getting from A to B. A master Solo switch gives a choice of Solo In Place (SIP) or Pre Fade Listen (PFL), while a headphone jack and level control are provided. The headphone output duplicates the control room signal.

All eight groups may be routed to the stereo buss during mixdown and again, Solo and automated mute buttons are fitted. A nice touch is the addition of pan buttons, allowing the individual group signals to be panned in the stereo mix rather than being preset to alternate left/right busses, as is often the case.

The master faders have yellow caps and are closely spaced, making controlled stereo fades easy, while the meter section monitors the group outputs plus the master stereo output. Status LEDs along the bottom of the pod display phantom power, PSU and Solo status. When a channel is solo'd, its level comes up on the Left/Right meters but the meter reading is affected by the Solo trim control. This has a centre detent for accurate metering, but I feel it would have been better if the meter reading was totally independent of the trim setting.

Connection-wise the master section sports Group outputs 1 to 8 on unbalanced jacks, Group Insert (Inject!) points, balanced Return inputs, six unbalanced Aux outputs, master Left and Right balanced jack outputs with insert points, plus dedicated studio and control room outputs on unbalanced jacks. In addition, there are two sets of two-track inputs, both balanced, and a full set of MIDI In, Out and Thru sockets.

Automation

The MIDI muting system is based on that developed for previous Soundtracs consoles and has the advantage of being very easy to use. MIDI muting is controlled from a central section housing just eight buttons, two seven-segment readout windows and a few LEDs. MIDI muting can function in either a stand-alone mode or can be used in conjunction with an external MIDI sequencer. In Internal mode, the mutes may be stored as up to 100 snapshots, where a snapshot is a complete console mute setup. If an external sequencer is employed, this may be used to call up snapshots or to access individual mutes using MIDI Note On/Note Off information and, with the aid of timecode, makes the whole mixing process automatic. In internal mode, the snapshots must be stepped through manually by means of the front panel buttons — there is no footswitch option, since Soundtracs found that on previous models this tended not to get used.

The dual-display window also makes it easy to set up control for external devices over MIDI, though it is not possible to incorporate patch changes for external devices within a console snapshot — you can either run internal snapshots or external MIDI patch changes but not both. However, as most prospective users will employ a sequencer and drive their patch changes from there, this is not a matter of major importance. Creating a snapshot is simply a matter of setting the mute status as required, selecting a free patch and pressing Store. Patches can be called up remotely, using MIDI patch change information on any designated MIDI channel, or stepped through manually.

"In many ways, the Solo MIDI can be thought of as an in-line Megas for less than half the price, and seen in that light, it's something of a bargain."

Sound Check

The prime concern with any mixer intended for serious recording work is, of course, noise. In this respect the Solo MIDI acquits itself very well when compared with other consoles in a similar price range. The mic amps are based on proven designs and are certainly quiet enough for any normal application; even a really expensive mic amp can only better this performance by a scant few dBs. Likewise, the MIDI switching is quite silent unless many channels are switched simultaneously, in which case, if you turn the monitors right up with no signal playing, a definite noise can be heard. This would only happen in snapshot mode, as external MIDI control of individual mutes would be spread over a period of time due to the transmission speed of MIDI, significantly reducing the problem. It does, however, mean that you can't organise a snapshot to unmute all channels an instant before your track starts, because you'll hear it!

Unlike the mutes in the Megas console, these switch virtually instantaneously, so it is important to avoid switching when any significant level of signal is present. If you have to do this for any reason, switching on a snare drum beat will disguise any click. Clicks of this nature are not a fault of the system but merely the result of switching an audio signal; this invariably creates a transient signal with all the attendant harmonics.

While on the subject of noise, the MIDI muting does not remove the monitor channels from the Left/Right mix buss, so these are always contributing to the mix buss noise. Because the circuitry is well designed, the noise performance is acceptable, even with all channels routed, but if the budget had allowed the monitor mute design to incorporate double-pole switching, a further improvement could have been realised.

The equaliser design is based on that used in the Megas console and is more workmanlike than esoteric. Even when split, there is plenty of control and the results are comfortably predictable. With some material, the high equaliser tends to bring out a trace of harshness, but that says as much about the programme material as it does about the equaliser.

When it comes to the operational aspect of the desk, I must admit that Soundtracs have managed to squeeze an awful lot of flexibility out of this mixer without making the ergonomics too convoluted. The tape routing system is a little out of the ordinary, but for anyone who has used an in-line console before, the changes are readily accommodated, particularly like the pan controls fitted to the group returns, and the fact that these are fitted with insert points means that they can be used as additional inputs into the mix if the already generous helping of inputs is insufficient. It's also gratifying to find an inline console in this price range with any effects returns at all, let alone four stereo ones!

Opinion

I don't envy any company trying to produce a mixer as serious as this one for such a low price. Inevitably there are compromises, but the sound quality and noise figures are comparable with professional mixers costing two or three times as much. By adding a few interesting wrinkles to the routing system, it is possible to work with a 24-track machine with little or no repatching, while the MIDI muting system is one of the simplest and most effective I have come across.

I think that Soundtracs were right in not pitching this desk against the very low-end MIDI consoles; instead they have managed to include many more worthwhile features for only a slight increase in cost. In many ways, the Solo MIDI can be thought of as an in-line Megas for less than half the price, and seen in that light, it's something of a bargain. It has balanced signal connections where they are actually needed and the ability to select -10dBv or +4dBm operation makes it compatible with any multitrack I can think of. In fact the only sign that this isn't a fully professional desk is the lack of XLRs on the rear panel (mic inputs excepted), which most semi-pro readers will be pleased about — it saves on the cost of XLR plugs! Unless the competition come out with something very special very quickly, the Solo MIDI has a great future.

Further Information
Soundtracs Solo MIDI 16:8:16, £2997; 24:8:24, £3784; 32:8:32, £4496. All prices include VAT.

(Contact Details)