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This 'EQ Killing' is widely used by DJs to deconstruct live tracks, by completely removing the kick drum and bass line, for example, making it far easier to mix in a new track without the beats clashing too much (which rather explains the relatively high turnover frequency of 300Hz). Each band provides up to 15dB of boost, but in the cut direction it can reduce the contribution of each band to almost total silence. Next up is a three‑band EQ offering high shelving at 4kHz, mid‑range peaking at 1kHz, and low shelving at 300Hz. The first is Gain, with a useful 'unity gain' centre‑detent position, and I found the associated level LED very handy when finding the optimum gain setting between the twin perils of distortion and excessive background noise.
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It offers four stereo line‑level inputs with six sets of largely identical front‑panel rotary controls.
#Phonic helix board 18 universal drivers not connected portable#
Let's start with the simpler U420, which is designed for small home studios, 'producers', keyboard submixing, portable live performance, and as the audio nerve‑centre of a computer/video/game system. The U420 (top) gives you four stereo line inputs but no mic inputs, whereas the slightly larger U420d provides only two stereo input channels but also features two 'combi' jack/XLR mono inputs. Horses for courses: both these small mixers include a Firewire interface, but which is right for you will depend on your needs. The control layout and many of the controls are common to both models, but unlike most mixer families, where cheaper models have less of everything (input channels, output channels, and so on), the two models are intended for different users, so there are also some fundamental differences between them. It's also deeper, at 10 instead of 8.6 inches, in order to accommodate the extra couple of controls per input channel. The U420d model is slightly wider than the U420, at 9.4 instead of 8.8 inches, largely to fit in extra sockets across the rear panel. The black rubberised handrest forms the bottom curve, and a central, inset control‑section in black contains the output knobs and meters. The design of the grey moulded cases cleverly incorporates a 'U' shape, with half of the input channel strips on each of the two vertical 'upstrokes'. However, despite their small size there's still sufficient space between all the knobs to cope with the fat‑fingered among us, while the non‑slip rubber feet prevent them sliding about on the desktop. In the flesh, these mixers are very compact and 'bijou' - not much bigger than a couple of paperbacks side by side, but several times as thick. They also act as monitor controllers, incorporate a Firewire stereo in/out audio interface, and are both small and tough enough to stand the rigours of regular live performance. These two mixers differ from the norm in the EQ department, since instead of the normal boost/cut at various frequency bands you get boost/kill (similar to the 'EQ Kill' switches on DJ mixers, but offering more control), while the U420d pushes this DJ crossover still further, with two deck inputs and a crossfader for creative cutting and scratching. Until recently, few manufacturers catered for the new breed of musician who wants to plug in and mix a small but eclectic selection of sound sources - including mics, instruments, synths, and decks - and then record the results onto a computer with the minimum of fuss or those using laptop computers, who want a lightweight and compact live setup.Įnter Mackie's new U‑series mixers ('U' stands for 'Universal'), which comprises the U420 and U420d models and provides an impressively flexible selection of input options. However, even when manufacturers started to combine mixing desks and audio interfaces a few years ago, they still gave us largely traditional mixer designs with a Firewire or USB audio interface bolted on. Some mixer manufacturers then added a couple of stereo input channels to make it easier to plug in keyboards and synths. These compact, lightweight mixers are designed with live DJ‑style performance in mind, but with an audio interface on board, there's plenty of flexibility when it comes to recording too.įor many years, buying an analogue mixer meant acquiring a host of mono input channels.