Mixing Board for Recording

  • Thread starter Thread starter JPXTom
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JPXTom

JPXTom

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Hello there, im looking for advice on a new mixing board. THis will be down ahead, i got some stuff right now that i need but...i still want some advice on something good. Im looking for:
•16-24 Channel Mixer
•Price up to around 1200
•Good/Decent Pres

Its for recording, so it doesnt need to anything related to live sound or w/e. I have a Behringer Xeynx right now, and down the road im gonna want something a bit bigger, with at least 16 Channels.
 
(I dug up a lot of this print from an older thread of mine, because it is so old I don't know if it comes up in search results anymore.)

I have two studio mixers and I like them both. One is a Mackie 24 channel, 8 bus and the other is a Soundtracs Topaz Project 24/8 bus. (BTW, I will sell the Mackie if anyone wants it.) They are fairly similar in features though; the way they sound seems to differ.

The Mackie
The Soundtracs

The first difference I've noticed is in the B-mix (monitor) channel options. On my Mackie, (in each channel,) if you want to use EQ on your B-mix, it steals it from the regular channel EQ section. Part of that channel EQ then becomes disabled. (I think the theory here is that you don't need to use the channel EQ while you're tracking, so it's not a problem.) Over on the Soundtracs, I can mute and Solo any B-mix channel but not so on the Mackie.

The Soundtracs came from the factory with the tape inputs and two track outputs set to -10dBu operating level. You can change this to +4dBu but you must open up the mixer case and perform a (soldering) modification on the circuit board at each channel. I have made the mod to mine and it does work perfectly. (Though, if you are not handy with soldering I would not recommend trying this.)

The AUX Returns on the Mackie are a lot more assignable to groups and such. The Soundtracs seems more limited in this department.

The Master sections on both mixers are pretty similar except for minor details.

So, one seems to have a few things the other does not and visa-versa.

For those of you who may not be that familiar with studio mixers, they are very different from live mixers.

They are designed to be better suited for what you need to accomplish in a studio. It's essentially like a giant hub that directs all signal traffic coming in and going out. Not only can you mix, but you can also largely decide from where signal comes and where it goes by pushing buttons, (which changes in different phases of the project.)

Each channel has a variety of inputs. During tracking, you can use the XLR mic or line (instrument) inputs. You can create a mix for the control room and a separate monitor mix for the musicians through the B-mix part of each channel. It also simultaneously loops the signal from each channel back out to your multichannel recorder or multichannel DAW computer.

During playback, each channel can receive input from the recorder or DAW via the tape inputs. All you do is flip a switch on the channel and now your channel is listening to the track playback instead of the microphone. (Live mixers cannot do this stuff.)

Output choices are where it really gets nice. You can send any channel, group, B-mix, or main, out to almost anywhere in the building. Control room monitors, studio room speakers, headphones, back to tape, patch bays, and probably a few other odds and ends too.

There are several smaller studio mixers out there that are priced within reach of the home recording hobbyist. (Like mine! :D )

Hope this helps.
RawDepth
 
If you absolutely must buy new then at least buy something NOT made in China - if that's even possible these days.

If you'll consider used then your money will get you alot more channels/groups/sends etc. There are some great deals to be found with old analog consoles these days. Don't buy blind though, go check the functionality before opening the wallet even if it means a little extra travel.

IMO if you buy a mixer made in China you may as well flush your money down the toilet.
 
I picked up a 24 channel Soundtracks Solo for $600 shipped about 3 years ago on e-bay. I think the eq/pres sound excellent. They are a little difficult to find parts for but otherwise a lot of people seem to dig the soundtracs boards. I believe Harvery Gerst was using a Topaz in one of his rooms. Not sure if he still is.
 
Hey RawDepth - how do you like that 8-channel compressor you got there? (The OC-8)... Id been lookin at the OC-8e a while back but didnt go for it as I didnt have the cash... would it be worth it for 8 channels of compressor for the 400 bucks?
 
cusebassman said:
Hey RawDepth - how do you like that 8-channel compressor you got there? (The OC-8)... Id been lookin at the OC-8e a while back but didnt go for it as I didnt have the cash... would it be worth it for 8 channels of compressor for the 400 bucks?
Click to expand...
Well, it's clean but a little limited in its uses. Each channel only has two settings (fast or slow) for attack and release (either/or, independently.) Fast attack works better for percussive things like piano and drums while slow works better for vocals and more mellow rhythm instruments. If you need more control, I would look at other compressors. If you just need a light quickie fix while tracking or need to fatten something up in a general way, it works real well. Of course, if you crank the ratio up to max, it behaves like a limiter.

I like it for certain things. Optical compressors are clean and don't color much. I got it to control dynamics when I do remote live recording. Now it's just another tool in my toolbox. I also have an ART comp. I have plans to get a few higher end compressors soon for the studio.
 
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Good to know... the OC-8E has a lot more options in terms of attack/release control, so perhaps I will look into it after all (def could use 8 channels of compression for light application - nothing fancy). Thanks!
 
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