Mic Pre Mixer | VintageKing.com

Mic Pre/Mixer

Both the <span style="font-weight: bold;">API 3124+</span> and the 3124M+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124M+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124M+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
<p>The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.</p>
<p>The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</p>
<p>The model 3124M+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.</p>
<p><B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR>
We double the standard API one year warranty (parts and labor) on this item.</p>

API 3124+
Discrete 4 Channel Mic/Line Pre, plus DI

Both the <span style="font-weight: bold;">API 3124MB+</span> and the 3124+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124MB+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124MB+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
<p>The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.</p>
<p>The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</p>
<p>The model 3124MB+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.</p><br><b>Features</b> <br>
<ul>
<li>Uses API 2520 Op-Amp 
</li><li>Classic Console Circuit 
</li><li>Four XLR Mic Inputs 
</li><li>Four 1/4" Un-Balanced Inputs 
</li><li>Front Panel Polarity Switch 
</li><li>Front Panel 20 dB PadSwitch 
</li><li>Front Panel Mic/Line Switch 
</li><li>Front Panel 48V Power Switch 
</li><li>Output Clips at +30 dBm</li></ul>
<B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR>
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 3124MB+
Discrete 4 Channel Mic/Line Pre with Stereo Mixer plus Transformer Balanced Outputs

The <span style="font-weight: bold;">ATI 8MX2</span> (built by API) is an essential companion for any of todays digital multitrack systems. It offers 8 of the proprietary ATI High Voltage mic-preamps in a single rack space, and a stereo mix buss with full monitoring capabilities. Each channel also has a variable threshold limiter as well as full cueing capabilities with metering of level and limiter attenuation 
<br><br>
<span style="font-weight: bold;">Features </span>
<ul>
<li>8 of the ATI Signature High-Voltage Mic Preamps, each with:
<ul>
<li>41 position detented trim control
</li><li>41 position detented adjustable limiter
</li><li>41 position Mix level pot
</li><li>Pan pot
</li><li>48V Phantom power switich
</li><li>Phase inverting switch
</li><li>Ground lift switch</li></ul>
</li><li>Multi-pin output of the 8 mic preamps to directly feed a digital multi-track machine 
</li><li>Multi-pin input to the 8 line returns to monitor or mix the tracks of a digital multi-track machine
</li><li>Comprehensive cue system allowing Input, Pre/Post Limiter or Line return monitoring as well as Limiter attenuation
</li><li>All Outputs Fully Balanced
</li><li>9 pin Master/Slave ports for multiple unit connection of the Cue and Mix busses
</li><li>41 position Mix Master pot with balance control
</li><li>Front Panel Headphone and Rear panel Monitor/Cue output
</li><li>Rear panel 2 track returns, which can be board level jumpered to be used as effects returns to the Mix L/R buss 
</li><li>Mix Assign/Mute Switch
</li><li>Durable Anodized finish
</li><li>One Rack Space</li></ul>

<B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR>
We double the standard API one year warranty (parts and labor) on this item.

API 8MX2
8 X 2 X 8 Mixer/Mic Pre

The <span style="font-weight: bold;">Benchmark PRE420</span> is a 
remarkable four-channel microphone preamplifier with an integrated 
stereo mix bus and stereo/mono solo bus in a sleek, 1RU chassis. The 
PRE420 is designed for maximum transparency, wide bandwidth, low-noise, 
low-distortion, and superior RF immunity. It is well suited for the most
 demanding applications in studios and live venues.<br>
<br>
What makes one mic-pre superior to the others?<br>
Even high-end preamplifiers can mask subtle details because of 
intermodulation distortion, a symptom of RF interference and non-linear 
performance at ultra-sonic frequencies. This non-linearity causes 
inter-modulation distortion (IMD) components that fold down to audible 
frequencies.<br>
<br>
Unlike harmonic distortion (THD), IMD produces distortion tones that are
 very un-natural and non-musical. IMD also masks and alters the subtle 
details of delicate high-frequency transients such as those produced by 
bells. Benchmark MPS series preamps have always had outstanding 
high-frequency performance as well as freedom from IMD. The PRE420 takes
 the Benchmark design one step further, and achieves the lowest IMD that
 we have ever measured in any microphone preamplifier - the innovative 
circuitry provides ultra-low distortion over a 500kHz bandwidth while 
maintaining RF-immunity in the most demanding environments.<br>
<br>
<span style="font-weight: bold;">The PRE420 is equipped with Benchmark's
 exclusive CMF1™™ RF-filter</span><br>
The CMF1™ has been extensively tested and proven in Benchmark's MPS 
mic-pre series by experienced studio and remote recording engineers in 
heavy RF fields - such as venues in close proximity to broadcast 
antennas. This RF-immunity is coupled with ultra-low distortion 
performance at high-frequencies beyond the reach of most mic-pres, 
giving your audio remarkable realism. With amazingly low THD+N of 
0.00024% (see specs), we welcome you to compare the PRE420's performance
 specifications with any other mic pre available.<br>
<br>
<span style="font-weight: bold;">MirrorPan™ Minimizes Distortion & 
Ensures Constant-Power Precision Panning</span><br>
MirrorPan's™ innovative mirrored-circuitry, from which the name is 
derived, eliminates the non-linear distortion caused by potentiometer 
wiper-current. The result is excellent channel separation and remarkably
 accurate imaging. The center-detent position is factory calibrated for 
precise center-placement.<br>
<br>
<span style="font-weight: bold;">Elegant & Completely Unique Feature
 Set</span><br>
An elegant and completely unique feature set compliments the 
uncompromised sonic integrity of the PRE420.<br>
<br>
A solo section allows monitoring of any channel or combination of 
channels (with switchable stereo/mono) via control room XLR outputs and 
the integrated HPA2™ - Benchmark's signature high-current, 0-Ohm 
headphone amplifier. The PRE420's main mix bus XLR outputs are monitored
 via a dual, variable intensity signal level meter and peak-warning 
indicator*.<br>
<br>
Each of the four channels has an independent direct XLR output, a 
variable intensity signal level meter and peak-warning indicator*, and 
MirrorPan™ control. Each channel features a precisely matched 
41-position first-stage gain control factory preset to a maximium gain 
of 60dB (internally adjustable up to 70dB for special applications).<br>
<br>
<span style="font-weight: bold;">The next evolution of Benchmark's 
legendary MPS-420 microphone preamplifier.</span><br>
The PRE420 is the next evolution of Benchmark's legendary MPS-420 
microphone preamplifier. We have improved the performance while adding 
meters, a mix bus, a solo bus, and an internal power supply. The added 
features do not compromise the performance of the classic Benchmark 
design. In all respects, the PRE420 meets or exceeds the performance of 
the MPS series preamps.<br>
<br>
<span style="font-weight: bold;">RF-Immune Wide Bandwidth Design</span><br>
The entire PRE420 has a 500 kHz bandwidth - and wide bandwidth demands 
exceptional RF filtering and shielding. The multi-layer printed circuit 
board uses a special construction technique that creates a 3-dimensional
 shield surrounding all signal traces.<br>
<br>
Each microphone input features Benchmark's exclusive CMF1™™ common-mode 
RF input filter. This circuit removes common-mode RF interference 
without affecting the balanced microphone input signal. The CMF1™™ has 
always been a key component in Benchmark preamps, and has resulted in a 
proven track record for exceptional performance in difficult high-RF 
venues.<br>
<br>
<span style="font-weight: bold;">Microphone Inputs</span><br>
Each of the PRE420's four microphone inputs includes switches for +48V 
Phantom power, a 20dB pad, and a 40Hz high-pass filter.<br>
<br>
The PRE420 achieves outstanding performance over a wide range of input 
levels. Gain is controlled by matched 41-detent pots and is adjustable 
over a range of 22dB to 60dB (without pad), or 2dB to 40dB (with pad 
enabled). The mix bus can provide an additional gain of up to 6 dB.<br>
<br>
<span style="font-weight: bold;">High-Current XLR Analog Outputs</span><br>
The PRE420 has a total of 8 XLR-type analog outputs: four direct 
outputs, two control room outputs, and two stereo outputs. All outputs 
feature low-distortion, high-current drivers that easily handle long 
cables and other less-than-ideal loads.<br>
<br>
<span style="font-weight: bold;">Astonishingly low-noise stereo mix</span><br>
The PRE420 features an astonishingly low-noise stereo mix bus driven by 
Benchmark's proprietary MirrorPan™ circuitry to achieve precise, 
distortion-free, constant-power panning. The mix bus allows pristine 
direct-to-stereo recording from up to 4 microphones. The balanced stereo
 outputs are equipped with meters and a master level control.<br>
<br>
<span style="font-weight: bold;">Convenient Flexibility & 
Un-compromised Performance</span><br>
The convenient flexibility of these unique features in no way 
compromises the pristine audio path. The PRE420's RF-immune, 
wide-bandwidth circuitry faithfully delivers stunningly high resolution 
to all direct, stereo, control room, and headphone outputs.<br>
<br>
<span style="font-weight: bold;">Rugged Yet Elegant Chassis</span><br>
A rugged 1 RU enclosure includes an internal power supply that supports 
all international voltages and has generous margins for over-voltage and
 under-voltage conditions. It features a core-banded toroidal 
transformer in a shielded enclosure.<br>
<br>
For the studio, the symphony hall, and the quest for superior recordings
 - Unmask Your Audio™ with the PRE420.<br>
<br>
<ul><li>Ultra-low noise/distortion: (THD+N @ 22dB Gain 10Hz-20kHz = 
0.00027%)</li><li>RF-immune, wide bandwidth (500kHz)</li><li>Stereo mix bus & isolated stereo/mono solo bus</li><li>MirrorPan™ - Benchmark's proprietary zero-distortion, 
constant-power panning technology</li><li>4 direct XLR outputs, 2 control room XLR outputs, & 2 stereo 
XLR outputs</li><li>HPA2™ - Benchmark's signature high-current, 0-Ohm headphone 
amplifier with convenient, switchable mute control room output on 
headphone insertion.</li><li>Adjustable peak warning indicator & variable intensity signal 
level meter on each channel & mix bus</li><li>Independently switchable +48V phantom power, 40Hz switchable 
high-pass filter, & -20dB pad.</li></ul>

Benchmark PRE420
4-Channel Mic Pre / Mixer

Crane Song SPIDER
8-channel Class A mic pre, A/D converter, mixer, DSP "tape" emulation & digital output

The <b>Manley 16x2 Mic/Line Mixer 8+8</b> version splits itself into eight mic pre-amps and eight line inputs and, as I'll attest to later, is perfect for live recording. The Bus Version adds the ability to send the post-pan signals to two stereo busses and also lets you send the aux amp to two mono busses. The Special Line Version is a mic/line hybrid that adds polarity reversal to the line inputs (polarity reverse is only standard on mic inputs) and is switchable between +4dBu and -10dBv input. The L/C/R Version replaces the pan pot with a three-deck pot so you can use the mixer for simple surround applications. Lastly, there is a 32x8 version that lets you send the post pan signal to a total of four stereo busses. Of course, this completely changes the front and back panels to represent the additional inputs and outputs. 
<p>The mixer has the distinctive look and feel that Manley fans have grown to love. From the military-grade knobs, switches and connectors to the oversized, lighted VU meters and hefty quarter-inch front aluminum panel, the mixer looks like it's ready for serious business. Designer ‘Hutch’ Hutchison has borrowed some ideas from their existing product line and added some nice new touches. For instance, the input stage is the same low-noise instrumentation amp that's used in their custom mastering console, and the summing amplifiers are similar to the make-up gain amps used in the Massive Passive. Other nice touches include the slick locking toggles used for the on/off and phantom power switches. These prevent accidental AC power up/down or phantom power up situations, which could be hazardous to speakers not to mention ribbon mics. They’ve also used some very cool looking and sturdy micro toggles, which are used to switch the relays for polarity reversal (no IC's here!) and the insert I/O function. 
</p><p>The inside of the mixer is just as impressive, using gold contact Grayhill rotary pots for the monitor switching and mic pre-amp gain, Tocos toggle switches, Bournes series 91 conductive plastic GT series pots and Siemens and Magnecraft relays. As the title alludes to, the mixer uses a tube stage at the stereo output utilizing two 12AT7WA and two 6414 tubes. This adds a very nice touch to anything you send to the stereo bus, making it perfect for those who want to add a touch of warmth to their mostly-digital signal path. The noise and distortion figures from channel input to channel output are an incredible THD+N of 0.0002 percent (-90dB) at unity gain (+4dBu). The channel input to mix output figures are not as good, but hey, a little tube distortion and noise is what imparts that much-needed love touch to a cold digital world. These figures are THD+N 0.05 percent (-65dBu) at unity gain (+0dBu). 
</p><p>Because you can have the mixer custom built to your specific needs, it's best to describe the 16x2 in modular form. From top to bottom a single mic pre-amp channel consists of a pan knob, a micro insert I/O toggle switch and LED, and a microphone gain knob, which is detented from zero to 60 in 5dB increments. Under that there is a micro polarity toggle switch and LED, the mix gain knob and the channel solo and mute buttons. The line input channel from top to bottom features a pan knob, an aux output gain control, the channel volume control and solo and mute buttons.</p>

Manley 16x2 Mic/Line Mixer (8+8)
8 Mic Pres and 8 Line Inputs

The <b>Manley 16x2 MICPRE</b> version has very low noise mic preamps with up to 60 dB of gain selectable on a rotary switch which replaces the aux knob. The XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. (so yes you can run line level signals into it.) The MIC version also has phase reverse and inserts on every channel. The 8+8 version mixes it up, with 8 mic channels and 8 line channels (shown above). Great for location recording, keyboard rigs and general purpose tasks.<br><br><span style="font-weight: bold;">What's in this thing?</span><br>The
channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone
plugs. It is perfectly happy with either balanced or unbalanced
sources. In the MIC version, the XLR has the appropriate 2400 ohm
impedance and switches to 68K for the 1/4" plugs. There are balanced
direct outputs on every channel post fade and pre cut for multi-track
recording. <br> <br>Each channel uses the best sounding chips we know
of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch’s
circuits with exceptional headroom and very low noise, real pro level
input and output levels, and bulletproof Manley quality throughout.
Spec-wise know of no mixer ever with better headroom or higher output
levels and, well, this mixer’s subterranean noise floor and crosstalk
figures are simply quite amazing. The signal path has just 3 superb
polystyrene caps from input to output. No carbon resistors, just 1/2
watt metal film, Bourns conductive plastic pots, Grayhill stepped
attenuators, etc. All the good stuff.  <br> <br>Sorry we didn’t make
this thing all-tube for "ad appeal" and sales hype. We certainly could
have, but this puppy would have grown into the size of a small house,
and needed an accompanying 5-Ton AC unit. However, the tube mix
amps/line drivers are right at the end and impart that "Manley Sound"
to your final outputs with all the richness, loudness and BIG sound you
expect from us. Built like a tank and easy to service. <br> <br>Mutes
and Solos use superior relay switching techniques not crummy FETs or
CMOS switching. Please! The Solo is of the "mute everything else" type.
The buttons are EAO Series 19 and light up to indicate Mute and Solo.
Insert and Phase Reverse also use high quality relays and both
functions have tiny switches and red LED’s to clearly indicate when
they’re selected.  <br>The master section provides mixdown to 2
channels achieved with similar tube circuits as used in the Massive
Passive, featuring two each 12AT7WA & 6414 dual triodes. External
inputs allow two or more mixers to be combined for 32 or more channels
with a mini-banana post linking the Solo functions. There are both
transformer balanced and transformerless unbalanced (+4dBm) outputs
with tons of headroom, +36dBu, about 10dB better than million-dollar
consoles. The master section has an aux mix gain (master effects send)
in the LINE version and an Ext input gain in the MIC version. There are
two sets of monitor outputs, MAIN and MINI, so you can feed two
different sets of power amps or powered speakers. We included MUTE and
DIM buttons plus a rotary switch to monitor the main mix, the mono mix,
2 track tape playback (more balanced inputs), the Ext inputs (for
linked consoles or effects returns), and the aux mix (only on LINE
version).  <br>The dedicated power supply unit cranking out all the
necessary filtered and regulated DC voltages to power up this beast is
external further reducing noise and heat.

Manley 16x2 MicPre Mixer
8 MicPres

The <b>Manley 32x8 Line Mixer</b> Custom built has Same specs as Manley 16x2 Line Mixer PLUS: <br> <br>The 2ch Tube "Main" buss lives behind the vertical top meter section. The other three solid state stereo busses (A, B, & C) occupy all of the cubic volume behind the bottom meter section. So a Manley 8 buss Mixer *has* to be 10U tall regardless of whether it is 16 channels or 32 channels. I suppose we could pack the three other busses into the same area occupied by channels 13-16, but that would require new layouts and a lot of work and leave you with a 12x8 Mixer. So what I am getting at is the 32x8 is your best bet especially as we're a little booked out in our custom department to be getting into any more projects for the time being. <br>
<p>For each channel, buss assignment is done by a three way toggle meaning each channel can only go to one of three of the four busses. For Rob's console seen above, he chose to configure it so that channel 1-24 went to MAIN (the Tube stereo buss), A, or B and channels 25-32 went to MAIN, A, or C. The other mini toggle that's hard to see on each channel is a phase reverse switch. The top meter/monitor section is the same as the stock 16x2 which you can see explained in the owner's manual. The bottom section has a three way toggle to select A, B, or C to be displayed on the bottom meters, three master levels for the A, B, & C buss outs, as well as a master level for the EXT inputs. Finally there are four buttons at the bottom for A, B, C, and EXT subgroups to select them to be blended back into the MAIN tube Buss.</p>

Manley 32x8 Line Mixer Custom built
32x8 Line Mixer (Custom built)

The <B>Tonelux FX2</B> Mixer is a DUAL stereo line mixer with a simple pair of level controls and a pair of panners. 
<P>The PAN control is a standard stereo pan circuit with a center detent. The FX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. 
<P>The <B>FX2+ "AUX MSTR" </B>is an OPTIONAL send master, which can be used in place of the SM1 or SM2 bus master when rack space is critical. It allows the rack to be filled with a full set of 16 modules, giving you 32 channels, including the masters, ALL IN ONE 3U RACK. 
<P>The rear panel feature connector provides for an external fader for the send master option on the FX2+. 
<P>The FX2 can be used by it self as a inexpensive dual stereo mixer for DAW or LIVE use when a simple stereo bus is all that is required. 
<P>When used with the MX2 series, the addition of FOUR FX2 modules will give you 8 returns and the masters for the FOUR sends on the MX2, saving you the space of having FOUR SM1 master modules. 
<P>The FX2 can also be used as an additional set of sends, fed from the direct output of the MX2, as the outputs of each panner can be internally set to feed any of the 16 available busses in the VRACK, allowing up to EIGHT sends from each MX2, including the onboard set of FOUR sends. 
<P>This module, when used as a simple external summing module, will bring the cost of a DAW external mixing system down considerably.</P>

Tonelux FX2 Module
Dual Stereo Line Mixer Module

The <B>Tonelux FX2+ Mixer</B> is a DUAL stereo line mixer with a simple pair of level controls and a pair of panners. <BR>
<P>The PAN control is a standard stereo pan circuit with a center detent. The FX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. 
<P>The <B>FX2+ "AUX MSTR" </B>is an OPTIONAL send master, which can be used in place of the SM1 or SM2 bus master when rack space is critical. It allows the rack to be filled with a full set of 16 modules, giving you 32 channels, including the masters, ALL IN ONE 3U RACK. 
<P>The rear panel feature connector provides for an external fader for the send master option on the FX2+. 
<P>The FX2 can be used by it self as a inexpensive dual stereo mixer for DAW or LIVE use when a simple stereo bus is all that is required. 
<P>When used with the MX2 series, the addition of FOUR FX2 modules will give you 8 returns and the masters for the FOUR sends on the MX2, saving you the space of having FOUR SM1 master modules. 
<P>The FX2 can also be used as an additional set of sends, fed from the direct output of the MX2, as the outputs of each panner can be internally set to feed any of the 16 available busses in the VRACK, allowing up to EIGHT sends from each MX2, including the onboard set of FOUR sends. 
<P>This module, when used as a simple external summing module, will bring the cost of a DAW external mixing system down considerably.</P>

Tonelux FX2+ Module
Dual Stereo Line Mixer Module & Summing Amp

The <B>Tonelux FX2+ Mixer</B> is a DUAL stereo line mixer with a simple pair of level controls and a pair of panners. <BR>
<P>The PAN control is a standard stereo pan circuit with a center detent. The FX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. 
<P>The <B>FX2+ "AUX MSTR" </B>is an OPTIONAL send master, which can be used in place of the SM1 or SM2 bus master when rack space is critical. It allows the rack to be filled with a full set of 16 modules, giving you 32 channels, including the masters, ALL IN ONE 3U RACK. 
<P>The rear panel feature connector provides for an external fader for the send master option on the FX2+. 
<P>The FX2 can be used by it self as a inexpensive dual stereo mixer for DAW or LIVE use when a simple stereo bus is all that is required. 
<P>When used with the MX2 series, the addition of FOUR FX2 modules will give you 8 returns and the masters for the FOUR sends on the MX2, saving you the space of having FOUR SM1 master modules. 
<P>The FX2 can also be used as an additional set of sends, fed from the direct output of the MX2, as the outputs of each panner can be internally set to feed any of the 16 available busses in the VRACK, allowing up to EIGHT sends from each MX2, including the onboard set of FOUR sends. 
<P>This module, when used as a simple external summing module, will bring the cost of a DAW external mixing system down considerably.</P>

Tonelux FX2+ Module (Demo Deal)
Dual Stereo Line Mixer Module & Summing Amp

The <B>Tonelux MX2 Mixer</B> is a stereo line mixer with many features of a large frame console. The MX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. The SOLO button is both a AFL or PFL, allowing both functions to be selected globally in the Control Room Section. 
<P>The FADER knob is the channel fader, with the ability to insert an external fader from the rear panel. 
<P>The PAN control is a standard stereo pan circuit with a center detent. 
<P>The INSERT button can act as a balanced insert for outboard equipment, or it can be used as a MIC PRE/TAPE PLAY switch for live recording to check the mic pre output and then the output of the machine for confidence checks or post recording playback without repatching anything. 
<P>The ST button turns on the stereo bus, which allows the module to send to the aux sends without going to the stereo bus. 
<P>The Polarity switch is a standard phase inverter for the main signal path. 
<P>The 4 sends are internally configurable for PRE or POST fader signal. The MX2 has an optional DIRECT transformer output.

Tonelux MX2 Module
Input Module w/Stereo Pan & 4 sends

The <B>Tonelux MX2 Mixer</B> is a stereo line mixer with many features of a large frame console. The MX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. The SOLO button is both a AFL or PFL, allowing both functions to be selected globally in the Control Room Section. 
<P>The FADER knob is the channel fader, with the ability to insert an external fader from the rear panel. 
<P>The PAN control is a standard stereo pan circuit with a center detent. 
<P>The INSERT button can act as a balanced insert for outboard equipment, or it can be used as a MIC PRE/TAPE PLAY switch for live recording to check the mic pre output and then the output of the machine for confidence checks or post recording playback without repatching anything. 
<P>The ST button turns on the stereo bus, which allows the module to send to the aux sends without going to the stereo bus. 
<P>The Polarity switch is a standard phase inverter for the main signal path. 
<P>The 4 sends are internally configurable for PRE or POST fader signal. The MX2 has an optional DIRECT transformer output.

Tonelux MX2 Module (Demo Deal)
Input Module w/Stereo Pan & 4 sends

The <B>Tonelux MX2D Mixer</B> is a stereo line mixer with many features of a large frame console. The MX2 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare. The SOLO button is both a AFL or PFL, allowing both functions to be selected globally in the Control Room Section. 
<P>The FADER knob is the channel fader, with the ability to insert an external fader from the rear panel. 
<P>The PAN control is a standard stereo pan circuit with a center detent. 
<P>The INSERT button can act as a balanced insert for outboard equipment, or it can be used as a MIC PRE/TAPE PLAY switch for live recording to check the mic pre output and then the output of the machine for confidence checks or post recording playback without repatching anything. 
<P>The ST button turns on the stereo bus, which allows the module to send to the aux sends without going to the stereo bus. 
<P>The Polarity switch is a standard phase inverter for the main signal path. 
<P>The 4 sends are internally configurable for PRE or POST fader signal. The MX2 has an optional DIRECT transformer output.</P>

Tonelux MX2D Module
Input Module w/Stereo Pan, 4 sends and DIR Output

The <B>Tonelux MX5.1 Mixer</B> is a SURROUND line mixer with many features of a large frame console. The MX5.1 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare, etc. The SOLO button is both a AFL or PFL, allowing both functions to be selected globally in the Control Room Section. 
<P>The FADER knob is the channel fader, with the ability to insert an external fader from the rear panel. 
<P>The PAN control is a standard stereo pan circuit with a center detent. 
<P>The INSERT button can act as a balanced insert for outboard equipment, or it can be used as a MIC PRE/TAPE PLAY switch for live recording to check the mic pre output and then the output of the machine for confidence checks or post recording playback without repatching anything. 
<P>The Polarity switch is a standard phase inverter for the main signal path. 
<P>The 5.1 switch turns on the signal to the surround bus, allowing the module to send signal to the aux sends without going to the surround bus. 
<P>The LCR button switches the PAN pot from stereo to LCR, and pans from left, through center, to right, or in 2 channel stereo, allowing phantom center. 
<P>The 2 sends are internally configurable for PRE or POST fader signal. One of the sends can be used as the LFE send for Surround Mixes. 
<P>The MX5.1 has an optional DIRECT transformer output.</P>

Tonelux MX5.1 Module
Input Module w/ Surround Pan & 2 sends

The <B>Tonelux MX5.1 Mixer</B> is a SURROUND line mixer with many features of a large frame console. The MX5.1 has a unique MUTE circuit that when pressed, the LED turns RED, but when the module is ON, the LED serves as a level presence indicator, illuminating green to show signal presence. This is very useful in live recording when you need to know quickly if a channel has signal or which has the loudest signal on it. It is also perfect for identifying which channel has the Kick and which has the Snare, etc. The SOLO button is both a AFL or PFL, allowing both functions to be selected globally in the Control Room Section. 
<P>The FADER knob is the channel fader, with the ability to insert an external fader from the rear panel. 
<P>The PAN control is a standard stereo pan circuit with a center detent. 
<P>The INSERT button can act as a balanced insert for outboard equipment, or it can be used as a MIC PRE/TAPE PLAY switch for live recording to check the mic pre output and then the output of the machine for confidence checks or post recording playback without repatching anything. 
<P>The Polarity switch is a standard phase inverter for the main signal path. 
<P>The 5.1 switch turns on the signal to the surround bus, allowing the module to send signal to the aux sends without going to the surround bus. 
<P>The LCR button switches the PAN pot from stereo to LCR, and pans from left, through center, to right, or in 2 channel stereo, allowing phantom center. 
<P>The 2 sends are internally configurable for PRE or POST fader signal. One of the sends can be used as the LFE send for Surround Mixes. 
<P>The MX5.1 has an optional DIRECT transformer output.</P>

Tonelux MX5.1D Module
MX5.1 with Direct Out




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