Review
2007.09.17
Field Test: Chandler Limited Mini Rack Mixer
BY: BARRY RUDOLPH
Mix, Sept 1, 2005
16X2 RACKMOUNT UNIT WITH TALKBACK AND MONITOR CONTROL
Chandler Limited is known for designing new products with a vintage
spin. Its latest, the Mini rack mixer, features Chandler's version of
the classic “Beatles and Pink Floyd” EMI TG mixer circuits, with a
modular construction and a modernized, compact 5U size. DAW users who
ponder analog summing and a monitoring system or any studio considering
an analog sidecar purchase will find the Mini mixer irresistible.
CONSOLE IN A RACK
The Mini is a 14-slot card cage frame in a 19-inch, all-steel rack box
that, fully loaded, weighs 50 pounds, including its 22 transformers.
The frame also accepts the modular versions of the Chandler TG Channel
and TG1 Limiter.
The Mini has eight single-slot, 2-channel line input modules, a
single-slot talkback module, a single-slot control room monitor panel
and a 4-slot master module. Even though the mixer is a rackmounted unit
and ideal for portable DAW rigs, it can be positioned at a slight angle
in a permanent desktop cabinet to work as a conventional
mixer/console/desk. The Mini is powered by the PSU-2 external power
supply that measures 10Å~8Å~4 inches. The PSU-2 runs hot to power the
Mini's 20 discrete Class-A amplifiers; I recommend placing it in a
well-ventilated place.
Each dual-line-input channel module has its own rear panel XLR
connector and transformer-balanced input with an impedance of 10k ohms.
All modules are identical; in fact, when a 0dBm, 1kHz test tone was
presented to each input, all modules were within 0.5 dB of each
another. Each channel has a level control with a “pull” mute switch and
a red LED channel on its indicator, which I didn't like as it is hard
not to move the level when pulling on the level knob. Also, the red
LEDs should go on when you are muting and not the other way around.
The line module pan pot changes 6 dB in level, from center to full
right or left. Most summing boxes have fixed L/R channels so you have
to do all mid-left or mid-right pan positioning within the DAW using
digital stereo buses. With the Mini, you can hard-assign tracks to
direct outs - dedicated, mid-left and mid-right DAW outputs - and dial
in the exact stereo width, which is a wonderful mixing option.
The Mini uses a passive summing network with a Chandler amplifier to
make up gain loss. The master bus level is controlled on the Master
module using an Elma gold rotary contact switch with 1-percent
resistors. Besides precluding manual fades, the rotary switch is also
great for resetting output levels if they happen to be set below full
clockwise. The master module also uses the same Elma switch
configuration for volume control, allowing you to return to exact
monitor levels, a very important practice during mixing. The Master
module features two illuminated black Sifam VU meters canted 90 degrees
- exactly like the Chandler TG1 Limiter - a speaker A/B switch with two
sets of XLRs on the rear panel and an external stereo input switch.
MONITOR OPTIONS AND TALKBACK
The external input button disconnects the mixer's stereo bus from the
monitor section. This feature is useful for monitoring an external
DAT/CD/2-track analog deck, monitoring an in-the-box DAW stereo mix or
using the Mini's mixer for mixing line and microphone recording sources
simultaneously. When using the Mini as a mixer/summing system for
master DAW mixes, the external input becomes a stereo bus insert,
allowing you to insert a compressor and equalizer on the stereo bus. I
suggest adding a second, dedicated external input to hear a CD or other
external stereo source at a push of button.
The talkback module has a Talk button, a level control and a ¼-inch TRS
jack for any dynamic mic. A Shure SM57 worked for me, but during
testing, a very loud pop was heard when I pushed the button. (Chandler
says it has fixed this problem.) The jack should be replaced with a
small mic and an external mic jack added to the rear panel, as well as
a jack for an external talkback button. The last module has three
monitor buttons: mute, dim (12dB drop) and mono for listening
monaurally without affecting the stereo mix bus output.
IN THE STUDIO
Using a 1kHz tone at -20dB reference level (or 20dB headroom) from the
Signal Generator plug-in on a Pro Tools|HD system, I carefully
calibrated 16 channels on the Chandler and a '70s-era 40-input classic
API console at LAFX Studios in Los Angeles. This vintage console uses
API's 2550 amplifiers and is normalled to the HD's 192 I/O boxes, so I
patched the same 16 channels/192 outputs to the Mini. The Chandler has
loads of gain and its pots ended up only halfway up, while the API
faders were at the -10dB position. Both mixers produced 0dB stereo bus
level with their pan pots centered.
I connected the stereo output of the Chandler and the API (done on two
of the multichannel buses as I didn't use the API stereo bus) to the
API's monitor section so that they both came up as two different
2-track sources. This way, both would have an identical signal path
through the monitor section to the Genelec 1031As and I could instantly
A/B switch with no gap. This configuration ensured that I could use the
same large VU meters on the API for all level measurements for both
mixers.
I began my mix listening through the API. Once I had a mix and a good
stereo level, I A/B'd between the mix summed in the Chandler and the
API. The Chandler had the same loudness and overall sound, but with all
of the characteristic API clarity and punch. This held true for
different music sources - from hard, percussive rock music to softer
acoustic instrumental songs. The Chandler was slightly warmer, but the
difference between them was too close to call. Considering this huge
API console once sold for more than $200k, I was impressed at the
similarity of their performance.
Then I set up the Mini to act as a recording sidecar by connecting
eight Neve 1084 mic preamp/EQ modules to eight line inputs. I recorded
a drum kit using eight mics: kick, snare top and bottom, hi-hat, tom 1
and tom 2, and left and right overheads. With this simple setup, I got
a great drum sound using a single stereo pair. The Mini channel
controls had plenty of gain, and I could overdrive the stereo bus,
pegging the Sifam VU meters to get a slightly distorted sound that is
ideal for urban contemporary - style drum loops. I backed off the mic
preamp gain and channel levels for the cleanest sound, getting
responsive VU meter action; it was easy to see peaking tom-tom levels.
The Mini was quiet - quiet enough to hear those old Neves - and the
sound was natural and full.
THE SUM OF ALL EARS
Chandler Limited has hit another one out of the park with the 16Å~2
Mini rack mixer; its great sound is only matched by its capacity to
multifunction. This unit nicely marries classic circuit design and
vintage sound in a modern package for digital music production. By
virtue of its dual purpose - as a DAW monitor/controller with analog
summing/mixer and as a source mixer - the Mini belongs in its own
category of worthwhile analog signal processors. Price: $7,200.
Chandler Limited, 319/885-4200, www.chandlerlimited.com.
VINTAGE VS. MODERN GAIN STRUCTURE
It's been my recent experience to get massive distortion when mixing
hot Pro Tools|HD output levels on vintage consoles or even prosumer
mixers. Conversely, on the recording side of Pro Tools, to get enough
level to achieve maximum digital resolution (some people do not for
important reasons that I'll save for another sidebar) with the same
gear, it is difficult to avoid distorting your analog gear.
The solution for playback is to recalibrate Pro Tools' I/O for less
output level so you won't “blow up” your little mixer. For recording,
increase the sensitivity of Pro Tools' input so less output level is
required from your analog gear. Less output means cleaner sound and no
analog clipping.
- Barry Rudolph
Barry Rudolph is an L.A.-based recording engineer. Visit his Website at www.barryrudolph.com.