| Content | The immense flexibility of software mixers notwithstanding, there's nothing like the in-your-face punch, articulation, and dimensionality that a quality analog summing mixer can impart to your productions. The Phoenix Audio’s Nicerizer Series summing mixers rock proprietary Class A circuitry and smart features that make them legendary analog tone machines for a digital world. A 16-channel DAW summing mixer in a 2RU 19-inch rackmount chassis, the Nicerizer puts critical elements such as circuit gain staging and panning back into the analog realm where they handily outperform their digital emulations.
Hi-fidelity transformerless input stage
With their Nicerizer summing mixer, Phoenix takes a decidedly modern approach to Class A circuit design. The company's proprietary transformerless input stage delivers the full frequency spectrum with crystal-clear clarity and punch. Transformers tend to slow things down a bit — which can sound amazing in certain cases; but then slew rates take a hit, delivering sluggish transients and limiting your tonal palette.
Driven conservatively, Phoenix Audio's electronically balanced input stage serves up ultra-clear high-fidelity sound. If you're after fatter, more saturated tones, engage the +8dB switch individually on any channel to drive the circuit hotter for a punchy in-your-face sound that only discrete Class A buffer amps can deliver. The Nicerizer captures articulate, full-bodied input signals, allowing you to drive the output stage for an immense range of pure Class A tone, from modern audiophile clarity to vintage-flavored warmth.
Masterful transformer-balanced output stage
Phoenix Audio couples their custom-wound DB694 output transformer to a fully discrete, proprietary DSOP-2 output amplifier, itself a direct descendant of the renowned TF1 amp that Phoenix chief designer David Rees developed as an upgrade for vintage Neve 80 Series console modules. Outperforming the TF1, the DSOP-2 represents a pinnacle of Class A output circuit design, offering a seamless tonal range from ultra-clean to gorgeously saturated. With its big iron and massive headroom, you can drive the DSOP-2 to taste. Crank the Nicerizer's output stage to elicit beautifully saturated tones; back off for a cleaner high-fidelity sound, or dial up any flavor in-between.
Balanced/unbalanced
If your inputs come from a variety of sources, you're bound to be dealing with both balanced and unbalanced signals. No worries! The Nicerizer’s 16 inputs can accept either — without any of the gain loss all too common with many mixer inputs. This amazingly useful feature lets you easily execute many functions that are fast becoming standard practices, such as looping through guitar pedals or recording MIDI-driven synthesizers in real time while mixing.
The Width control
Once you've used the Nicerizer, you'll realize how valuable its unique control set is. The Width control incorporates elements of mid-side processing to narrow or widen your stereo image with the twist of a knob. If you haven’t used a width control before, trust Sweetwater: you're in for a treat! The Nicerizer's Width control offers a degree of spacial manipulation that can instantly tighten up a sprawling arrangement or unlock hidden dimensions in a mix.
Stereo bus insert
Today, it's quite common while mixing to strap a compressor or other processor across the mix bus, and the Nicerizer's stereo bus insert makes it easy. Monitor punchy, loudness-optimized mixes and get a head start on mastering while you're still mixing.
Independently controlled AUX output
Just before it hits the output transformers, the Nicerizer mults an output signal and routes it to a dedicated front-panel level control. This independently controlled AUX output lets you drive external monitor amps or simply bypass the output stage to send a transformerless sound to your recording device.
2-track Return
Another feature borrowed from large-format consoles is the 2-track Return input that lets you monitor an external output source through the Nicerizer's onboard headphone amplifier. Incredibly convenient, and great for A/B comparisons!
The Monitor Select switch
The Nicerizer 16 Mk2 features a unique Monitor Select switch, which lets you easily monitor single pairs of channels (1–2, 3–4, etc.), in addition to any of the Nicerizer's other stereo ports. Infinitely handy for a variety of workflows, this switch is the mixer's secret weapon, ready for all sorts of creative uses, from individual stem work to comparing mixes to direct comparison of multiple analog sources.
The Monitor Select switch Toggle
Once you’ve chosen which input pair you want to monitor via the Monitor Select switch, the Toggle allows you to monitor either the Left or Right channels in mono on both channels via the headphone amp, or to monitor in stereo. Critical analysis of your audio signals has never been easier.
Flexible LED metering
Following the Monitor Select switch, the Nicerizer's LED meter display gives you constant visual confirmation of your operating levels. Another big-console feature, the flexibility afforded by the metering being selectable for each channel as well as the main outputs makes the Nicerizer's metering setup indispensable for gain management as you finalize your productions.
Phoenix Audio Nicerizer Features:
- 16-channel DAW Summing Mixer in a 2RU 19-inch rackmount chassis
- 16 channels of discrete Class A balanced transformerless input stage
- Discrete Class A transformer-balanced DSOP-2 output stage
- Phoenix custom-wired transformers on both outputs
- Individual detented pan controls on each channel
- 2 balanced 8-channel D-sub inputs — can accept balanced or unbalanced input with no -6dB loss
- Unbalanced 1/4-inch TRS insert sends on all Busses, including master Stereo Mix Bus insert
- Drive Technology button on each channel for color & saturation
- Master mix bus output level control
- Stereo LED level monitoring, switchable for each channel and Stereo Mix Bus
- Stereo/Mono External/Headphone monitoring output is switchable to each channel, external input (via 2T Return), AUX and main output (L, R, and Stereo)
- Main Outputs on balanced XLRs
- Unbalanced 1/4-inch TRS jacks for AUX outputs with front-panel level control
- 2-track stereo mono inputs on 1/4-inch TRS balanced jacks
- Bypassable Class A stereo Width control with lossless bass (pannable from mono to 25% Wider)
- Maximum Output Level of +26dB
- Generous headroom available on all channels
- Wired with PTFE silver-plated mil-spec cable
| The Dangerous Music 2-BUS+ is a 2U, 16-channel analog summing mixer with both XLR and D-sub inputs. It raises the bar on its legendary 2-BUS predecessor with even lower crosstalk, distortion, and noise-floor performance, along with stunningly precise soundstaging and center focus. Dangerous spent over two years developing three onboard audio processors that, with a simple push of a button and twist of a knob, add tone and color to your stems or across your entire mix directly from the 2-BUS+. The 2-BUS+ is smartly designed, extremely useful, and sounds incredible.
A trio of custom audio processors
In sync with Dangerous Music's doctrine of tonal coloration as a per-project artistic choice, the 2-BUS+ features three separate custom audio processors that selectively add tone and color to your mixes. In parallel processing mode, you can deploy Harmonics, a tuned harmonic distortion generator, and Paralimit, a FET limiter on steroids. At Sweetwater, we've applied both of these across stereo mixes and on pairs of stems. X-Former kicks in a pair of custom transformers with core-saturation control on your stereo mix outs. You can have all three tone processors active concurrently, and you can flip the order of signal flow through distortion and limiting.
Outstanding flexibility
Dangerous Music knows that each engineer — and session — is unique, so they designed the 2-BUS+ for outstanding professional flexibility. They spec'd it with an XLR stereo insert before the outputs for adding a separate compressor or processing chain that you can bypass at the touch of a button for a quick reference comparison. Channels 1/2 and 9/10 can be set to mono to rout; for instance, vocals/bass and kick/snare each to its own mono input. They also gave the 2-BUS+ an output control stepped in 0.5dB increments from -4dB to +6dB, and included XLR connections for both the main and monitor outputs.
Gang 'em for high channel count
Need a full-on analog "console" summing experience? Gang together multiple 2-BUS+ units via the stereo expansion inputs XLR to create a customized channel count. For the ultimate in tonal flexibility and control, the custom audio processors on each unit apply across the ganged group output. With three units, for instance, you'll have 48 channels of analog summing, with the first two units employing Harmonics (distortion), and Paralimit (limiter) across two separate stereo stems, and the third unit applying X-Former transformer saturation on the master stereo outputs.
What the pros are saying about the 2-BUS+:
- "The Paralimit and X-Former appear to be magic knobs. Special mention goes to the Paralimit because it does that lovely thing of bringing up the general ambience without slamming the track, something I particularly love on drums. Plugged it into my system along with my old 2-BUS and Dangerous MONITOR ST, and wow ... it's fantastic! Bags of air and space around the mix." — Chris Blackwell (drummer/composer)
- "Since the 2-BUS has so much headroom, it's really easy for me to decide that I want the entire vocal submix to be brighter or warmer, or more or less compressed." — Michael James (producer/mix engineer)
- "The Dangerous Music 2-BUS is one of the reasons my studio delivers a killer sound that grants the edge on the competition." — Alberto Rizzo Schettino (engineer)
- "Between SSL, in-the-box, and 2-BUS ... in blind tests ... it was a unanimous decision that the Dangerous mixes beat out everything. The 2-BUS mixes ... were simply cleaner and warmer than the SSL or in-the-box mixing ... I just don't miss my console." — Gina Fant-Saez (mix engineer)
- "With the 2-BUS LT, elements have their own place. You end up with a quicker, bigger mix and retain a more natural, less processed sound." — Phil Greiss (producer/engineer)
- "The Dangerous Music equipment is the centerpiece of my mixing rig. Everything I do goes through a Dangerous MONITOR, 2-BUS, MASTER, and BAX EQ. Everything." — Fab Dupont (mix engineer)
- "I don't understand how the 2-BUS has been in the studio for so long, but hasn't gotten to live shows — the sound is unbelievable." — Horace Ward (FOH engineer)
- "The harmonic and transformer flavors are great options to have and the parallel limiter is a genius idea." — Chris Tabron (producer/mix engineer)
Dangerous Music 2-BUS+ Analog Summing Mixer Features:
- Stunning 16-channel analog summing mixer injects your mixes with exceptional headroom and dimensionality
- 3 analog options (Harmonics, Paralimit, and X-Former) for adding tonal coloration to your mix
- XLR and D-sub input connectivity and flexible routing allow for a customized workflow
- Integrate your outboard gear easily with the switchable stereo analog insert
- Output control is stepped in 0.5dB increments for perfect recallability
- High-quality components ensure audiophile-grade sound
| SSL Six Mixer
The SSL Six Mixer is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting, SiX offers big console sound and an impressive set of utility features in a format that is small enough to stick in a bag. SiX is stunning value; it offers two recording channels with SuperAnalogueTM mic pres, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders.
There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes. The Six Mixer carries the DNA of 40 years of true expertise in creative studio workflow. Listen to SiX and you will experience the impeccable sonic performance that is the hallmark of every SSL console. It is powerful, intuitive, inspired and rewarding.
SSL Six Mixer Features
- Benchmark SuperAnalogueTM audio performance
- Stunning Recording Path
- Classic SSL Channel Processing
- The unique Listen Mic Compressor
- Professional routing & Monitoring
- 12 Input summing at Mixdown
- Legendary Master Bus Compressor
- Completely balanced signal path
- Auto switching Power supply (100 - 240V)
| Midas Pro2C. Brand new, full Midas warranty.
Compact Live Digital Console Control Centre with 64 Input Channels, 8 Midas Microphone Preamplifiers, 27 Mix Buses, 96 kHz Sample Rate and Touring Grade Road Case
Shipping will cost extra based on buyers location. If purchased without an agreement in place, buyer will be responsible for organizing their own pickup or shipping. | UF8 is SSL’s latest studio controller, designed for today’s DAW-based production workflows and ultrafast turn-around times. An expandable 8-channel advanced DAW controller, UF8 connects engineers, producers and artists directly to the creative process, offering absolute command of their workflow and significantly accelerating the speed of audio production and content creation.
UF8 is the culmination of SSL’s 40+ year legacy of mastering production workflows and studio ergonomics built into generations of classic SSL consoles. This depth of understanding of studio production, combined with decades of engineering excellence, delivers a premium finish tactile USB controller that distills SSL workflow and quality. | RÉSUMÉ DES FONCTIONNALITÉS
Images de 24, 32, 40 et 48 canaux
Options de canal mono / stéréo A, B, C, D
Mélanges principaux LR et M
8 groupes audio avec panoramique et routage vers LR et M
10 auxiliaires dont un envoi stéréo dédié avec commandes de niveau et de panoramique
2 canaux stéréo multifonctions chacun avec entrées micro et ligne stéréo
2 doubles stéréos supplémentaires fournissent 4 retours stéréo additionnés ou indépendants
Matrice 12 × 4 complète
Double fonctionnalité appropriée pour FoH, mixage de moniteur ou les deux
Enregistrement capable avec des sorties directes de canal
M peut être utilisé pour le mixage centre / sous, la somme mono LR ou le coin d'ingénierie
Entrées externes matricielles avec trims de niveau et capacité d'entrée commune
Les entrées micro du canal stéréo peuvent se croiser dans la matrice pour une alimentation d'ambiance
EQ réactif 4 bandes, 2 balayages
Filtres passe-haut de canal 100Hz
Alimentation fantôme individuelle et commutation de polarité
Compteur intégré avec 11 VU-mètres à bobine mobile éclairés par LED
Canal LED grand angle et compteurs principaux
Compteurs de contrôle stéréo dédiés
Commutation auxiliaire par canal pré / post fader pour une flexibilité totale
Commutateurs pré / post-EQ du panneau avant pour les préférences de l'utilisateur
Coupe le son de tous les faders masters
Faders à double rail de qualité supérieure de 100 mm
Talkback assignable à toutes les sorties, comprend un mode de verrouillage de commutateur de conversation
Oscillateur 1 kHz / générateur de bruit rose avec sortie externe
Surveillance 2 pistes et relecture sur LR
3 prises casque / écouteurs et sorties moniteur locales
Sorties XLR symétrisées électroniquement avec capacité d'entraînement + 26 dBu
Gamme de préamplis 74 dB avec capacité d'entrée +34 dBu pour micro ou ligne
Conception d'ampli micro à très faible bruit
Combiner intégré pour une alimentation de secours redondante
Assemblage de cartes de circuits individuelles avec des pots écroués
Option de liaison d'entrée / sortie de console Sys-Link V2
Douilles de lampe XLR 4 broches - Lampe LED Allen & Heath disponible.
Options de canal mono / stéréo:
A = tous les canaux mono
B = 4 stéréos à droite des masters
C = 4 stéréos à l'extrême droite
D = 8 stéréos à l'extrême droite |
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