by Jerry Vigil
Forget your every notion of what a "mixer" is. The rapid pace of technology is changing that forever. Some high dollar "recording studio" consoles have already realized the power of combining computer technology with mixing consoles. Now, that same technology is available in a less grand model, and at an affordable price that borders on unbelievable.
The ProMix 01 is an 18 x 2 mixer. 16 of the inputs are mono, and one is stereo. All inputs are analog. But once the ProMix gets the analog audio, it converts it to digital and keeps it there for all aspects of "mixing" including levels, panning, and EQ. The ProMix takes the digital processing even further and provides digital dynamics processing as well as digital multi-effects. All of this processing is done with incredible clarity and ease and provides a stereo mix--complete with reverbs, EQ, delays, flanges, compression, limiting, and more--as a balanced XLR analog output or a digital output ready for the digital input of your DAT deck or other digital mastering/storage system.
Sounds pretty impressive so far, right? Well, what's even more impressive is that the ProMix 01 has a list price of only $1,999. And we haven't even mentioned the motorized faders yet!
All connections are made at the back panel. As mentioned, there are sixteen mono inputs. The first eight are balanced XLRs. Inputs 9 through 16 are balanced ¼-inch inputs. Phantom power is available on the XLR inputs and is turned on and off on all channels simultaneously with the Phantom Master switch. The nominal input level of all 16 mono inputs is adjustable between 60dB and +4db thus accommodating mic and line level inputs.
The ST IN stereo input is unbalanced and uses ¼-inch phone jacks with a +4dB nominal input level. This can be used for any line-level input such as a CD player, DAT deck, external effects returns, etc.. The stereo input works in conjunction with another stereo input, the 2TR IN. The 2TR IN utilizes RCA phono jacks and feeds the input signal to the CUE/2TR IN switch on the top panel (rather than to a fader like the ST IN). When nothing is connected to the ST IN jacks, the 2TR IN signals are fed to the stereo input channels thereby allowing the signal to be manipulated like the other channels with EQ, effects, etc..
The stereo MONITOR OUT uses unbalanced ¼-inch phone jacks and can be used to feed a monitor amp. This is the same signal sent to the headphone jack. The STEREO OUT is balanced XLR and outputs the main stereo signals. The REC OUT is another set of main stereo signal outputs, but they use RCA phono jacks. Either STEREO OUT or REC OUT can be fed to recorders. As mentioned, the ProMix provides a digital out as well. This is a coaxial output using an RCA phono jack and outputs the main stereo signal in the S/PDIF format. Rounding out the rear panel are MIDI IN/OUT connectors and the power of/off switch.
The top panel provides a simple, user-friendly interface. At the top is a row of PAD switches for each of the sixteen inputs which attenuates input signals by 20dB when pressed. Below each PAD switch is a GAIN control for setting input channel signal levels. At the top right of the panel are the MONITOR OUT and PHONES level controls as well as the CUE/2TR IN switch which switches the monitor and headphone outputs between the 2TR IN signal and the CUE signal.
There are nineteen faders. The first sixteen are for each of the mono inputs. There's one for the stereo input, a master stereo output fader, and a RTN/SEND fader. The faders have multiple functions. Obviously, they adjust mix levels, but they also serve as send level controls for the four sends of the ProMix. This is where the fun begins! Imagine having all sixteen faders set for a mix from a 16-track recorder. Now, imagine another set of sixteen faders, but these faders control send levels. More than likely, the mix level and the send level of each channel will be different with regards to the position of the fader for that channel. Pressing the SEND1 button to the left of the LCD display switches the fader function to send level control, and these motorized faders move instantly to their respective send level position. Press the METER button, and they move instantly back to the previous position. By instantly, I mean literally a small fraction of a second. It's pretty slick!
Above each fader are ON buttons to turn the channel on. Above each ON button is a SEL button. These are used to select channels that you intend to perform a function on, such as EQ, effects, and other functions done with the aid of the LCD display. The SEL button also solos the channel. The LCD display is relatively large. Measuring 5" wide and almost 1.5" high, the 240 x 64 dot back-lit display features graphics capabilities as well as text info. To the right of the display is the LCD CONTRAST control, a set of four cursor buttons used to select options on the display, and the PARAMETER wheel used to adjust parameter values. Just to the left of the wheel is the ENTER button, used to accept values set with the PARAMETER wheel. It also acts as an on/off switch for parameters that have only two settings, such as EQ On/Off. Immediately to the right of the display are two 12-segment LED meters which are dedicated to the stereo output levels.
To the left of the display is a set of twenty buttons which access the ProMix's various LCD functions. (This is a good time to remind you to stop thinking of the ProMix as a mixer in the conventional sense. What we have here is a computer hooked up to a mixer.) Four of the twenty buttons access the Scene Memory functions. You guessed it; the ProMix can store mix "scenes." And we're not talking mix levels only. The ProMix stores virtually all mix settings including channel on/off settings, EQ, pan, balance, send levels, effect parameters, and more. The ProMix can store up to fifty mix scenes. Scenes are automatically numbered and can be given an 8-character name.
The other sixteen buttons access various LCD functions of the ProMix. Press the UTILITY button for several utilities including a nice oscillator complete with pink noise. There's also a battery check utility and an option to protect scene memory to avoid overwriting wanted scenes.
The MIDI button accesses the ProMix's extensive MIDI capabilities. Probably most impressive is the ability to turn the ProMix into an automated mixer. Using a MIDI sequencer, all mix parameters can be controlled in real time. MIDI program change codes can be used to select mix scenes, and all parameters can be assigned to MIDI controllers. MIDI dump can be used to save mix scenes to an external storage device.
Press the GROUP button for another nice surprise. Because the faders are motorized and computer controlled, they can be grouped together to provide simultaneous control of several faders by moving just one fader. Program up to four individual groups per scene. You might think this is a nice way to handle stereo inputs on two mono faders. You can "group" them if you want, but that's what the PAIR button is for. When adjacent channels are "paired" with each other, not only does moving one fader also move the other, but adjustments made to EQ, the sends, fader on/off, and other functions are also paired. Excellent!
The ProMix utilizes the graphics capabilities of the LCD display to provide full metering of all input channels as well as Send 3, Send 4, Return 1, and Return 2. Press METER to get a display of the levels of the sixteen mono channels. Press the right cursor key to switch to the other meter screen which displays the stereo input levels and the levels of the sends and returns. A peak hold function is available and can be turned on and off.
Press the PAN/Ø button to set pans and phase on each channel. There are graphic displays of "pan pots" for each channel. When channels are paired, their graphic representation shows a single dual-concentric control, and the "stereo width" of the signal can be adjusted. Press the CUE button to set the ProMix's monitoring mode. The Cue signal is fed to the MONITOR OUTPUT and PHONES output jacks and can consist of "soloed" channel signals or the stereo mix.
The COMP button accesses the ProMix's dynamics processing. There are three internal dynamics processors. They can be "patched" to any of the input channels as well as the sends and stereo outputs. Each processor has ten factory programs to select from, and there are ten memory slots to store modified programs you wish to keep. Six of the ten programs are compression programs, two are gates, and the other two are ducking programs. Each program only has five parameters, so there's little to learn about editing the programs. The LCD display provides metering for gain reduction and output level as well as a graphic display of how the output level changes relative to the input level.
There are four SEND buttons labeled SEND 1, 2, 3 and 4. The ProMix has two internal digital multi-effects processors. They are fed with SEND 1 and SEND 2. When SEND 1 is selected, the RTN/SEND fader becomes the level control for Return 1; likewise, it's the fader for Return 2 when SEND 2 is selected. SEND 3 and 4 can be used as sends for external processing. When SEND 3 or 4 is selected, the RTN/SEND fader becomes the master send level control for the selected send. The stereo input or any of the mono channel inputs can be used for the return signal. All four sends can be configured either pre or post fader.
Pressing the SEND 1 or SEND 2 button automatically resets all faders to the off or zero position (unless previously set) and brings up the effects select screen. There are thirty effects programs ranging from reverbs and delays to pitch shifters and flangers with several programs combining two effects. Since there are two sends for the internal effects processors, it's possible to have up to four effects at once. And if you count EQ and dynamics processing, that's six effects simultaneously. Use SEND 3 and 4 for external multi-effects processing, and the possibilities are practically limitless. The effects themselves are very clean and sound great. Of course, digital effects are nothing new to Yamaha. Once again, there isn't a large number of parameters in each effect program, and this helps keep editing programs simple and easy to understand without having to access a manual to find out what certain parameters do. Once a program is edited, it can be stored to one of ten user memory locations.
Three EQ buttons, EQ LOW, EQ MID, and EQ HIGH, access ProMix's 3-band parametric equalizer. You get variable Q, frequency, and gain, and an EQ on/off parameter. The Q is expressed in octaves and is adjustable from 1/6 octave to 3 octaves. Gain is ±15dB. The center frequency on the low band is adjustable from 32Hz to 1kHz, on the mid-range band from 32Hz to 18kHz, and on the high band from 1kHz to 18kHz in 1/6 octave steps. The mid-range EQ is peaking while the low and high EQs can be set as peaking or shelving. Most impressive about this equalizer is the EQ curve displayed in graphic form over the top half of the LCD display. A vertical line across the horizontal curve shows the center frequency of the selected band. It's very easy to see what EQ you have on a channel with a quick look at the EQ curve. The equalizer can be applied to all input channels, the two returns, and the stereo output.
The last function button is the LIBRARY button. This is a library of EQ settings. There are thirty factory settings or "programs" and twenty user memory locations. Titles of some of the factory programs include Loudness, EQ Disco, EQ Rock, Kick Drum, Cymbals, Acoustic Guitar, Male Vocal, Female Vocal, Male Announcer, Female Announcer, Telephone Voice, Notch 4kHz, Hum Reduce 50Hz, and W. Noise Reduce. As you scroll through the various EQ programs, a graphic display of that program's EQ curve is shown to the right of the LCD display. This is wonderful. It shows you what EQ Disco is. You can see what Male Announcer EQ is going to do. This is something no conventional mixer provides. And remember, when channels are "paired" for stereo operation, you don't have to set each channel's EQ separately as is necessary on conventional consoles. The ProMix automatically applies the exact EQ to the other channel.
Initially, the ProMix 01 seemed a little intimidating. But it turned out to be very easy to get a handle on. The ability to store mix scenes is a major plus. For people working live stage performances and the like, the advantages are obvious. In radio production, mix scenes can be defined for various "types" of projects. For instance, if you're working with an 8-track recorder, for promo production you might always use tracks 1 and 2 for music, 3 and 4 for stereo effects, and 5 and 6 for mono voice tracks. You might have certain EQ settings for the voice tracks if you are the voice talent. The same goes for reverbs and other effects. All of these settings can be stored so that next time you're doing a promo you simply recall your personal mix scene.
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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