British manufacturer Dynamix has a reputation for building tough, sensibly priced PA components. Paul White tests this dynamic addition to their range, the Powermix II, which comes complete with two on-board ART digital effects processors.

Powered mixers are, on the whole, a good thing; powered mixers with built-in effects are even better news. They eliminate most of the wiring associated with setting up a conventional, multi-box PA, they take up less space in the van, and they make everything easier to control. On the other hand, because the speakers have to plug into the powered mixer rather than a remote power amplifier, you can't afford to have the mixer too far away from the speakers. For small gigs where the typical 300 to 400 Watts per channel offered by a mixer amp is appropriate, that's rarely a problem.

British manufacturer, Dynamix may not have the same styling panache as some of the bigger names, but they build tough, sensibly priced PA components that get the job done. The basic Powermix II is available in both eight and 12-channel versions and delivers 300 Watts RMS per channel into 4 Ohms. A 600 Watt per channel version is available for those needing more power, and that comes in a choice of 12, 16, and 20-channel versions. On review here is a 12-channel, 600 Watts per channel model.

The Powermix II's main claim to fame is the inclusion of two on-board digital effects processors, based on ART reverb engines, each programmed with 16 preset effects. Unusually, these are mono rather than stereo, but in a live situation where few members of the audience manage to find a spot directly between the two speakers for optimum stereo listening, mono can be an advantage.

Constructionally, the Powermix II is all-steel — even the end-cheeks — and all the mixer controls and connections are on the front panel — even the mains input. While this may at first seem odd, it does at least mean that you can push the mixer right up against a wall if need be, without having to make allowances for connectors protruding from the back panel. Having said that, if you do try to mix from a position too close to a wall, you'll hear an exaggerated bass end due to the so-called boundary effect.

THE PROPER CHANNELS

All the identical input channels are equipped with balanced mic inputs, balanced line inputs, and TRS jack insert points for the connection of external processors, such as equalisers or compressors. No mic/line selector switch is necessary, and Gain controls the input gain of both the mic and line signals.

The equaliser is a three-band, sweep system where the mid-range covers 200Hz to 8kHz with a fixed Q of 1.4 and a cut/boost range of 15dB. The shelving high and low controls have an unusually wide ±18dB range and operate at 13.5kHz and 100Hz respectively. Although it is unlikely that this amount of EQ range will ever be required in anything like normal conditions, it's always better to have too much than too little. Having a swept rather than fixed mid is also welcome on a console of this price. However, there's no EQ bypass switch, and the knobs aren't centre-detented, so if you don't want any EQ, you have to centre the controls as best you can.

There are three post-fade (effect send) aux controls; the first two feed both the internal effects and the Aux 1 and 2 output sockets. This makes it possible to use an external effects processor instead of the internal ART effects. Aux 3, which may be switched pre or post-fade via a global switch in the master section, feeds the Aux 3 send jack for use with external effects or monitoring systems. Aux 4 is dedicated pre-fade for use with stage monitoring systems, feeding the monitor output via the Monitor Master level control.

Pan performs its usual function of positioning the channel signal between the left and right speakers, and a channel peak LED comes on if the channel signal gets too close to clipping. A PFL (Pre Fade Listen) button is fitted to each channel so that the channel signal may be monitored in isolation over headphones without affecting the main mix. Because PFL is a pre-fade system, the monitored signal is independent of fader position, making it possible to check that a signal is OK or to cue up a spot effect before fading it in. The channel, Sub Group, and main Left/Right faders have a sensibly long travel and are very clearly numbered to help avoid mistakes in dimly lit venues.

In addition to the main input channels, the Powermix II has a Sub Group strip for mixing up to four, stereo line-level sources into the main mix via the Sub Group faders. Each input has two jacks and a Level control, and for global control over the mixed sub-grouped signals, there's a two-band EQ, Aux 2/Mon2 send, and a Mon send. The four inputs each have a peak LED arranged as a row of four beneath the Mon control, and the last LED also doubles as a PFL indicator when the Sub Group PFL button is activated. The Sub Group PEL essentially solos the Sub Group mix prior to the faders — there are no individual PFL buttons for the four inputs. Sub Group insert points are thoughtfully provided.

MAIN MAN

The main section is where the Left/Right output faders and the various Aux send and Return functions reside, and to save space, the 11-section main level bar graph meters run alongside the master faders. Unusually, many of the connections are adjacent to the relevant controls rather than being tucked away at the top of the channel strip. While this may make it easier to figure out what is connected where, it has the potential to really clutter up your work surface if you want to patch in any external devices.

Starting at the top, the main outputs are on balanced jacks; these also feed the internal power amps, but you may want to add more power from an external amp. If you want to record the gig, separate tape outs are available on phonos.

Directly below the main Mix/High output is a Sub Bass output, providing a simple means of bi-amping your setup. Plug a jack into the Sub Bass output, and the main output is automatically fed from an internal 180Hz crossover such that only the mid/high goes to the main Mix/High output (and the internal power amps), and only the bass goes to the Sub Bass output. Mix insert points allow processors to be inserted into the signal chain prior to the main faders, while a second Amp insert point provides the opportunity to patch in a processor affecting the internal power amp only.

All the sends not feeding internal effects have master level controls, as do all three stereo aux returns. The internal effects have their own input level controls. All the aux returns are unbalanced, although the Monitor output is balanced for feeding a stage monitoring power amp. Aux 1 and 2 come straight out on jacks and can be used either to feed external effects or to accept footswitches for turning the internal effects on and off.

At the bottom of the strip are separate buttons for Aux 3 Pre/Post (global), Phantom Power (global), Rumble Cut (a high-pass, 90Hz filter for removing very low frequencies), and an EQ Processor button. This latter facility is used to provide the necessary high/low boost, mid cut EQ demanded by Dynamix Multidrive cabinets, which use multiples of small diameter cone drivers rather than separate bass and treble units. The principle is similar to that employed by Bose, and apparently the EQ curve is close enough to that of the Bose 802s that they can be run quite acceptably from the Powermix II. A separate level control is fitted for feeding a proportion of the effect return signal into the monitor mix, and there's also a separate headphone output with its own level control.

The speaker outputs are on Speakon connectors only and have their own 10A panel fuses. The switched mains IEC socket has an integral fuse holder for easy access to the mains fuse.

ARTFUL FX

Each of the two digital effects units has its own input attenuator control, a clip LED, and a printed list of the 16 preset effects available. Effects are selected by means of an 8-way rotary switch and a bank change button with status LED, but you don't get the same effects for each processor. ART 1 has 10 reverb presets and six delays, whereas ART 2 offers a choice of eight delays, four reverbs, two chorus effects, and two flange effects. When jacks are plugged into the Aux 1 and Aux 2 returns, the internal effects are muted, so if you want to get a stereo effect from these two mono returns, you can set up two different patches, then plug a jack into the Aux 1 right input and the Aux 2 left input. This will leave ART 1 in only the left channel and ART 2 in the right channel. It's also possible to mute both effects by setting them both to effect 8 and setting ART 1 to Bank B.

In the main, the reverbs chosen are suitable as vocal treatments. The inclusion of chorus, flanging, and delays, however, means that instrument sounds and less obvious vocal treatments are also catered for.

USABILITY

Firstly, in ergonomic terms, the mixer is generally straightforward to operate, but I missed having detents on the EQ and pan pots, and initially found the aux send and return sockets confusing. The actual labelling is clear enough, but perhaps some sort of coloured shading on the panel to help differentiate aux sends from aux returns would help. I also stand by my comments about the jacks scattered all over the master section — things could get busy unless you're running a very basic system. Even running a couple of footswitches means leads trailing across the front of the desk. Admittedly, most of these things are minor irritations and have to be considered in the light of the cost of this desk, but I wouldn't be doing my job if I didn't point them out.

This being the 600 Watt per channel version, lack of power wasn't a problem. Although some hiss and buzz was audible from the power amps when the outputs were turned right up (all channels off), it wasn't high enough to be significant in a live sound environment. Tonally, the mixer is quite flexible, and the unusual choice of a 13.5kHz HF control means that adding top end makes the sound sizzle nicely rather than simply putting hard edge on it. If you need to harden the sound up, the mid-range control goes right up to 8kHz, so it has more than enough range to function as an effective 'bite' control. The LF control operates at a more conventional 100Hz and warms up the bass end very effectively, although with controls such as these, it's advisable to use them as sparingly as possible. If the sound does get out of control at the bottom end, the Rumble filter cleans it up quite audibly. Many powered mixers now include a graphic EQ, and in some respects that would have been useful here. If the addition of a graphic EQ meant sacrificing one of the effects modules to maintain the price, however, Dynamix made the right choice in leaving it out, in my opinion.

The effects themselves are rather simpler in concept than those fitted to some other powered mixers, not the least because they're mono, but I don't think they're any the worse for that. The reflections in most rooms will turn the sound into stereo for you! The reverbs have been selected for real-life applications, and by adding a suitable delay from the second processor, you can set up some very nice vocal treatments. If anything, I'd have liked a bass cut control to dry up the effects in difficult rooms, but as they stand, they're very good, easy to set up, and they provide enough choice to cover most sane eventualities.

SUMMARY

There's no arguing that the Powermix II is built to a price, but the designers have tried very hard to combine the right features with solid build quality. There are some ergonomic niggles, but where else at this price will you find a mixer with two digital effect processors, a built-in active crossover, and such comprehensive patching facilities? You also get a wide-ranging sweep mid EQ on each channel, four further stereo line inputs, and clear metering. Being picky, I think the mixer is perhaps slightly heavier than it needs to be, but then I've dealt with some that are significantly heavier than this and far less powerful. At least you can pick it up on your own.

Finally then, the Powermix II doesn't disappoint when it comes to essential features and it certainly gives you an awful lot for your money.

See price box.

Washburn UK, (Contact Details).

1. Main outputs, on balanced jacks, also feed the internal power amps.

2. The Sub Bass output, fed from an internal 180Hz crossover, provides a simple means of bi-amping, with only the mid/highs going to the main outputs.

3. Mix inserts allow processors to be inserted into the signal chain prior to the main faders.

4. Amp inserts allow a processor to affect the internal power amp only.

5. Tape outs, on phonos, so you can record the gig.

6. Auxes 1 and 2 can either feed external effects processors, or accept footswitches to control internal effects.

7. Aux returns are unbalanced with their own level controls; when jacks are plugged in here, internal effects are muted.

8. Balanced Monitor output for feeding stage monitoring power amp.

9. Internal effects have their own input level controls.

10. Unbalanced Aux 3 returns with level control.

11. Phones jack with level control.

12. Global Aux 3 Pre/Post selection.

13. Global phantom power

14. Special EQ for Dynamix Multidrive cabinets.

15. High-pass, 90Hz filter for removing unwanted low frequencies.

16. 11-section main level bar graph meters run alongside master faders to save space.

1. Balanced mic input.

2. Balanced line-level input.

3. TRS jack insert point for connection of external processors, eg. EQ or compression.

4. Gain — controls input gain of both mic and line signals.

5. Three-band, sweep EQ; mid-range covers 200Hz to 8kHz with a fixed Q of 1.4 and cut/boost of 15dB; shelving high and low with 18dB cut/boost, operate at 13.5kHz and 100Hz respectively.

6. Post-fade (effect send) aux controls feed both the internal ART FX / Aux 1 and 2 outputs, allowing the use of an external effects processor.

7. Aux 3, switchable pre or post-fade — feeds Aux 3 send jack for external effects or monitoring systems.

8. Aux 4 (dedicated pre-fade send) for use with stage monitoring systems, feeding monitor output via Monitor Master control.

9. Pan — positions channel signal between left and right speakers;

10. Peak LED — illuminates if signal close to clipping.

11. Pre Fade Listen button, enables signal to be monitored in isolation over headphones without affecting main mix.