The Bullet range of compact consoles from the Total Audio Concepts branch of Amek/TAC is available in two frame sizes, with a number of module options to cover specific applications. The system is totally modular, and within the 14, 22 or 34 module positions of the three frame sizes, you can choose mono or stereo inputs, four or eight sub-groups/monitors, or no subgroups at all, which facilitates a straightforward stereo configuration. The console is well suited to virtually any small-system audio work, and an AFV (audio-follow-video) interface can be specified for the 10-4-2 configuration, allowing external control of channel levels from a video editor via VCAs. However, with 16 monitors available on the 8-group models, and up to 24 input channels, the larger frame Bullet is likely to prove an attractive proposition for the small 16-track system operator seeking a high quality, compact and flexible package at a reasonable price.

The review model was a 24:8:2 (16 monitor) recording configuration, with the last two module positions occupied by an auxiliary send master and the stereo master module. EQ is available on any eight of the 16 monitors, with access to at least some of the auxs for all of them, giving a potential 40 inputs on remix, all with reasonable facilities. Monitor EQ can be used on either the upper or lower monitor within a module, so a good deal of flexibility is achieved from limited resources.

In this configuration the desk could be ideal for any 16-track owner who also employs some sequenced MIDI gear synced to tape. Its compact size makes it a good choice where space is at a premium, whilst its construction suggests the inherent longevity and build-quality of the fully professional consoles that one associates with Amek/TAC.

CHANNEL FACILITIES

Working our way down the mono input channel, both mic and line inputs are affected by the rotary channel Gain control, which has a range from +20 to +60dB (mic), or -15 to +30dB (line). The gain of the mic amp is more than sufficient to cope with the normal range of signals encountered in everyday recording, with mic amp noise being the chief limitation at very high gain settings, as on any console.

For the best results with low level signals one would normally take advantage of the higher output of a condensor mic, and 48V DC phantom power is available on all microphone circuits. The phantom powering is individually switchable from the module surface, which makes a welcome change from fishing about among the connectors on the rear panel of my Soundcraft. Other mic amp facilities include Pad (-20dB) to prevent front-end overload with very high level signals, and Phase Reverse — a welcome inclusion on a comparatively simple console. Neither Phase nor Pad will operate on the Line input.

EQ

The Bullet EQ is a 4-band design with two swept mids, plus shelving dual-frequency HF and LF. All bands offer 14dB of cut or boost, with the LF switchable between 60 and 120Hz, and HF switchable to 6kHz or 12kHz. Low Mid covers the range 100Hz to 5kHz, whilst the other mid band handles 500Hz to 18kHz. These mids have an enormous range, with a lot of overlap (both with each other and well into the shelving bands). The equaliser really is very flexible in use, yet at the same time it is comparatively simple, and you can't go too far wrong.

Mid filter Q does not appear on the Bullet's specifications, but subjectively the response seems a little broader than many similar EQs, so that even quite heavy usage does not produce the excessively 'coloured' quality often characteristic of an extensively EQed sound. The top-end is really very sweet indeed for this type of desk, and the option of shelving from 6kHz with a single stage can be very useful when you want to make something really bright.

The essential EQ In/Out switch is provided, although some high performance compact consoles still omit this facility. Quite apart from its obvious function in instantly comparing the EQed with the non-EQed signal, it is always valuable to be able to maximise audio integrity by minimising the signal path on sources that do not require equalisation. Switching the EQ in, with everything set to the nominal 'flat' position (EQ stage gain controls, like all the Pans, are detented for easy centring), does introduce a very slight, but nevertheless discernible, change from the straight-through sound, but it is not obviously detrimental and could be merely the effect of a little gain in the extra stage.

Additional EQ facilities include a valuable high-pass filter (12dB per octave roll-off at 120Hz) for general LF cleaning-up operations (stage rumble, drum spill etc). Unfortunately the filter will only work when the EQ is switched in — personally I prefer to have the option of being able to use a filter without necessarily engaging the EQ. There is also a peak LED overload indicator monitoring all four bands of the EQ, which will light in response to a signal in excess of +17dB. The extent of the overload is indicated by the duration of illumination.

AUXILIARIES

The Bullet is perhaps at its least conventional in the auxiliary department. It has six busses, and each channel has three aux level controls, plus a pan. The busses are arranged in pairs (1 & 2, 3 & 4, 5 & 6), and a single switch determines whether control 1 will access Aux 1 or Aux 3, and control 2 will access Aux 2 or Aux 4. I have no complaint about this sort of (very necessary) economising on module space and controls, but this particular configuration does produce an unnecessary restriction.

It is possible for a channel to access each of the aux busses, but not in certain combinations. If you set the selector switch to its up position in order that control 1 will access Aux 1 (as opposed to 3), control 2 must then access Aux 2 and is denied access to its own alternative (Aux 4). Nobody ever thinks they have enough auxiliaries, and the use of a smaller number of controls switchable between a greater number of busses is generally a satisfactory compromise, but this arrangement does not really work for me.

There is a shared pre/post selector switch for Auxs 1-4 (ie. all four auxs are pre, or all four are post-fader). I would much prefer to see this pre/post fade switch omitted in favour of two switches that would configure the auxs as pre or postfader in pairs. They could be paired as 1/2 and 3/4, or 1/3 and 2/4 — I don't care, just so long as all four are not unnecessarily tied together.

The auxiliary line-up is completed by 5 & 6 which are configured as a stereo auxiliary, with a single level control and pan. Their primary role is obviously to provide a convenient independent stereo mix for headphone foldback, but pre/post fade switching is provided, so they can function as additional FX sends on mixdown. You can still use either Aux 5 or 6 as a mono send by panning fully left (for 5) or fully right (for 6), with proportional sending to both at all points in between.

ROUTING

The five routing switches are placed in the fader area of the module, and the fader slot is moved off-centre to accomodate them. This is never an ideal arrangement, for even if the switches don't actually get in your way (they don't, as it happens), it looks rather cluttered, and prevents you from making chinagraph marks by the faders when mixing. It is, however, difficult to see where else they could have put them without making the module significantly larger (and therefore more expensive), or compromising elsewhere on ergonomics or facilities.

The eight busses are selected in the conventional manner, in pairs, with a pan control completing the selection of an individual bus or determining stereo placement if you route to a stereo pair. The fifth switch is used for routing directly to the stereo mix bus. The ever-popular 100mm Alps unit has been chosen for the channel faders, which are pleasantly smooth in use, and should certainly prove reliable. The fader tops are deeply concave (which means you can move them easily with one finger without it slipping off), but they are rather narrow, a necessary result of the proximity of the routing switches.

The channel facilities are completed by an easily identified red PFL switch, for isolating a signal in the monitoring (and metering, for there is an individual PFL/AFL meter), for quality and level checking. PFL is a 'non-destructive' function, for it affects only the monitored signal and has no effect on the primary signal paths. It can thus be used freely when recording. This differs from some solo or solo-in-place facilities which operate by muting all channels not soloed. A Mute facility is present on each channel, but it is not externally controllable and employs a latching switch with associated LED to indicate Mute On.

It is very much the fashion at the moment, even on smaller consoles, to provide external control of mutes via MIDI. It is a little disappointing that this otherwise extremely attractive compact desk is unable to offer the enhanced power and versatility that the inclusion of MIDI muting would have given it, even as a retro-fit.

GROUPS/MONIT0RS

The eight dual-monitor sub-group modules each contain a single group output, parallelled to two output XLRs to allow a pair of tracks on a 16-track machine to be addressed (group 1 feeds outputs 1 and 9, 2 feeds 2 and 10 etc), plus two tape-return/monitor channels. As on many similar consoles, facilities differ between the upper and lower sets of tape-returns, the primary difference here being the number of auxiliaries that are available. The upper monitors can send to either Aux 1 or 2 (switchable) for FX, and 5 & 6 as a stereo pair for foldback. 5 & 6 are switchable pre/post-fade and can thus also be used for FX when using the monitors as extra channels when mixing.

The lower monitors can address all aux busses via two rotary controls, rather similar to the input channels, but curiously, not in exactly the same way. Control 1 will feed either Aux 1 or 2 (switchable) unless the ALT (alternate) switch is also pressed, in which case it will feed either Aux 3 or 4. Auxs 5 & 6 are addressed as a stereo pair as normal, with level and pan controls. Bus/Tape Return switching is available on all the monitors, not just the lower set as is often the case, allowing a group signal to be monitored on the higher numbered tracks (9 to 16), even though there are actually only eight groups on the desk. All monitors also have Mute and PFL facilities.

Monitor equalisation takes the form of a simple 2-band shelving EQ, offering +/-14dB at 60Hz and 6kHz. This is assignable either to the upper or lower monitor within the module. If you cannot put EQ on all the monitors then this is a sensible compromise, for it always allows the EQ to go where it is most needed, though it will still leave you with a few difficult decisions to make when you are using every available input in a combined tape/MIDI system. The choice of frequencies is slightly different from the regular 100Hz/10kHz two-band set-up, perhaps providing a little more scope for significant tonal shaping.

Fader Reverse is available, on the lower monitors only, to swap the functions of the Monitor Level control and the group fader. The eight lower monitors thus become 'virtual channels' on mixdown, with the same long-throw faders, EQ, and auxs as the inputs. Upper monitors can be used either as FX returns (although the Bullet has dedicated FX returns), or for less 'active' channels that don't require too much level riding. All monitors have a Pan facility.

The Monitor Level controls for monitors 1 to 8 are slightly unusual in that they employ switched pots which have a guaranteed unity gain setting, referred to as the Cal (calibrated) position. When subgrouping channels into the stereo mix bus, the monitors are set to receive the bus output, with their level controls then determining the actual level passed to the mix bus.

If the desk isn't equipped with a dedicated Sub switch to bypass the monitor pots, one would normally have to set them all to unity, before using the group faders for level control. The provision of the Cal position achieves this as easily as a dedicated switch, and I suppose it saves a little more panel space, but there is something slightly unnerving about a pot that passes signal when it is in an apparently 'off' position.

MASTERS AND METERS

The TAC Bullet has a very functional meter pod, on a swivel mounting. There are 19 LED bargraph meters (conventional moving-coil VUs are available as an option), one for each group plus a pair for the stereo bus and a dedicated PFI7AFL display. As each group feeds a pair of outputs, both will meter any signal present if the relevant monitors are set to monitor Bus. When a monitor is set to Tape, the tape machine's own monitor logic takes care of the situation, and you cease to be aware of the fact that there are actually only eight groups.

The LEDs are large and very clear, with a green display which turns to red, plus single-segment-per-dB resolution beyond the 0VU point. Meter ballistics are switchable from the master module, between Peak and VU characteristics. Apart from looking good, the meters should always be accurate, for the Bullet offers easily user-adjusted Meter Trim presets on the groups and masters, accessible from the control surface.

There are effectively two primary output modules, one containing the talkback facilities, oscillator, and the five aux masters (1 to 4, with 5 & 6 on a stereo pot), with everything else on the Stereo Master Module. There is no talkback mic built-in (which would certainly have been operationally preferable on a recording model, and not cost that much more), but an XLR mic input for a low impedance dynamic is mounted at the top of the module. Talkback has its own gain control and is accessed via a latching switch. Talkback can be routed to groups, for IDs on tape, or auxs for normal communication via foldback.

A very handy little oscillator has been included, useful both for line-up tones on tape, and for the internal meter calibration. 40Hz, 1 kHz and 10kHz are offered, at a nominal +4dB. A front-panel trimmer lets you set an alternative reference level. The oscillator is conveniently provided with its own output on the rear panel, allowing it to be patched anywhere for troubleshooting operations.

There are two dedicated stereo FX returns, both with Level and Pan controls. Each has its own Mute and PFL facility, like every other significant input on the desk. For a compact console which already has a good number of re-mix inputs via monitor channels, these are a bonus indeed, and something I very much miss on my own home console where FX tie up some of the monitors which could be otherwise employed.

The master monitor level control which feeds the headphones and stereo monitor system outputs is provided with a Spkr 2 switch, enabling it to address an alternate monitor system — this too is a welcome facility on such a compact console. A 2-track return switch (Tape) is provided for listening to stereo playback after mixing, and there is a facility to monitor in mono — very important for checking for phase anomalies and finding out just how well your mix stands up when everything collapses into mono. The PFL/AFL circuit has its own monitor level control, which can be very useful if you are mixing and want to keep a consistent listening level, but then need to PFL a low-level signal. The stereo monitor signal can also be muted, without interrupting any other signal path.

The master module is completed by separate left and right master faders, which is undeniably more flexible than a single stereo fader. Not only can you do staggered fades and offsets, but it is so much simpler to briefly listen to just one side, or compensate for one channel being slightly 'hotter' than the other in an otherwise perfect balance. A single Stereo Bus Mute switch is provided, which is fine when you have got separate faders.

CONSTRUCTION AND CONNECTORS

The Bullet's metalwork is primarily of folded steel, with what appears to be internal box sections creating a very rigid, slightly wedge-shaped structure. All the desk frames, regardless of size, have extruded aluminium end-cheeks which can interlock with rack-mount adapters, either for rack-mounting the smallest frame models, or drop-mounting a larger model into a frame stand or custom housing. The modules are constructed in the usual inverted 'u' format.

The Bullet is unusual among current compact consoles in that it does not use ribbon cable busses. A multipin connector on the PCB of each module enables them to be plugged directly into a motherboard below. This makes module removal and replacement for servicing an infinitely simpler task — if you have ever tried to remove a module from the middle of a ribbon cable-connected desk, you will know just how awkward that can be. I have no quarrel with the use of ribbon cable from a performance point of view, but there is something confidence-inspiring about a positive, solid connection to a motherboard. This method also takes care of interfacing the modules with the external connectors — an area in which one or two compact desks have come rather unstuck in recent years.

All connections (apart from the front-panel mounted headphone socket) are made via the rear panel of the Bullet. This could cause problems in a very small home studio where the desk might have to be placed up against a wall, for it is not then possible to reach over the meter pod to plug anything into an insert point. A patchbay would probably be a necessity in this situation, but the Bullet really deserves one anyway to make the most of it, despite the extensive connector facilities it offers.

On the input channels, mic input is via balanced XLRs, with the line inputs located immediately above on balanced 1/4" jacks. Standard tip-send ring-return insert points (post EQ) are provided, along with channel direct outputs (post-fade, post-EQ) just above. There is some argument about whether inserts are better placed pre or post-EQ — each is valid in its own way, for pre-EQ is better for gating (altering the EQ doesn't necessitate a change of threshold), whilst post-EQ is better when compressing. The provision of direct outputs means that you don't have to make up special cables for using the insert send signal for this purpose, or tie-up the insert unnecessarily.

All 16 Tape Send outputs (two per group, in parallel), plus the left and right main outputs, are on balanced XLRs (balancing is an option on groups, main L & R outputs and auxs), with all other connections in and out made via unbalanced 1/4" jacks. Inserts are provided on groups and masters, with two stereo 1/4" jack sockets carrying the Main and Alternate monitor feeds. The Bullet is configurable, via internal switches on some modules, for either +4dB or -12dB operation of the Direct Outs, Groups, Masters and Tape Returns.

An external rack-mounting power supply is employed, connecting via a cable which is permanently fixed at the desk end. This may save space on the connector panel, but the cable is surely vulnerable to strain, and not easily replaced if damaged (as a cable with a connector at both ends could be). This arrangement doesn't fill me with confidence, which is a shame because everything else about this desk does. The PSU is fan-cooled, but not thermally switched and therefore permanently 'on', which could get a bit annoying in quieter moments.

IN USE

The TAC Bullet is an easy and pleasant desk to work with. Its simple 'split' configuration belies its flexibility, and everything has been done to enable the user to make the most of the available facilities. Of necessity, the switches are very small and sometimes tricky to operate when they are grouped close together, but the module graphics are good, marking the natural divisions within the channel strip by shaded areas. The colour scheme is also generally good, although I would question the logic behind the use of red caps for pan controls — the colour is normally reserved for the more important gain or level controls. Although the modules are all quite densely populated, the small knob size means that the controls can still be quite comfortably manipulated.

The basic audio performance is everything that I wold expect of a desk from the Amek/TAC stable, with all signal paths performing their functions cleanly and quietly — crosstalk is usually the main enemy in a compact console, and the Bullet performs quite well in this respect, although some inter-group crosstalk and particularly inter-auxiliary crosstalk is inevitably evident. The answer to 'leaking' auxiliaries is to make sure you use all the attenuation that is available by optimising the setting of your aux masters. The aim is to set send controls well up on channels that are sending significantly to an aux bus — around 6 or 7 (on a scale of 10), as opposed to perhaps only a small rotation. This results in a greater difference in level between any crosstalk and the signal that is meant to be on the bus. Hum and other noise components originating from the desk itself were, in practice, insignificant when used with a large MIDI network and 1/2" multitrack, and in this context, the performance of the desk never imposed any limitations. Susceptibility to externally induced noise (a highly relevant factor with so many computer monitors now to be found in control rooms) was also reassuringly low.

CONCLUSION

Amek/TAC have always enjoyed a reputation for producing fine-sounding consoles and this venture into the compact console market will not detract from that. My reservations about the Bullet are primarily about the configuration of the auxiliaries, the lack of MIDI muting, and perhaps a certain amount of unnecessary inconsistency in control identification, which could confuse users at first. Lower monitor level pots are blue whilst upper monitors are grey; the alternate aux switching arrangement on the monitors and channels are superficially similar but, in practice, quite different in operation. Small things, I appreciate, but when everything else is good, you tend to notice them.

The Bullet series, with its alternative modules for both inputs and groups, seems to have been designed to be as versatile as possible. This aim has been achieved without overtly compromising in any particular area. As a recording console for 16 or 8-track use, the review model was both efficient in operation and a pleasure to use, and I am confident that the same would apply to other configurations in their intended roles. The TAC Bullet is well worth serious consideration by anyone in the market for a compact console with a host of facilities.

FURTHER INFORMATION

TAC Bullet 24:8:2 configuration, with balanced groups, master, and aux outputs, plus bargraph meters £8431.80 inc VAT.

Total Audio Concepts, (Contact Details).