Since there are fifty memory slots for mix scenes, you could go so far as to save every mix scene for every complex project you do, overwriting the oldest one once you get fifty stored. Then, if you ever have to go back to revise that project, simply load the scene and save yourself a lot of time while being able to recreate the mix with exact precision.
Onboard digital effects is another major plus. This is the cleanest way to add effects to a mix and the difference is noticeable. And to think that you could easily spend half the cost of the ProMix on a modest effects box alone helps put into perspective just how much bang you get for the buck.
Specs on the ProMix are quite impressive. The A/D converters are 20-bit with 64-times oversampling and provide dynamic range of 105dB. The sampling frequency is 48kHz. The D/A converters for the outputs are 20-bit 8-times oversampling for the main stereo outputs, and 18-bit 8 times oversampling for the monitor outputs. Internal processing is 24-bit and 36-bit for the EQ. Crosstalk is -70dB at 1kHz. Frequency response is 20Hz to 20kHz. THD is less than 0.1%.
Obviously, an 18-input mixer isn't big enough for a well equipped production studio complete with reels, DATs, CD players, cassettes, mics, etc.. But the ProMix certainly could handle many jobs in secondary production rooms, and it is absolutely ideal for the small "home" studio, particularly one equipped with one of the many inexpensive tape-based digital multi-track recorders. However, this is the first ProMix mixer and probably only the first of several models to come. If so, the larger mixers should be something to check out for the broadcast production studio, especially now that more stations are mastering to digital formats and doing more work with digital workstations.
I was thoroughly impressed with every aspect of the ProMix 01. The only concern that came to mind was the durability of the motorized faders. How would they hold up to the daily grind in the broadcast environment? Only time would tell. But one would have to assume that Yamaha would not introduce a product as revolutionary as this one without feeling very confident about the faders or any other part of this box. And if the remarkable price of only $1,999 is meant to get the ProMix into the hands of many rather than make a huge profit, it will probably do just that. Thanks, Yamaha. It is truly wonderful to be in this business in this day and age!
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