The long-awaited substitute for the SX-S mixer is here at last! The SX-ST takes up the very successful design of the former model, with excellent ergonomics. It is available in 8 and 10 channels, or 8 channels with 8 DIGITAL outputs.
On each channel, eight switchable outputs, with or without pan-pot, and four auxiliary pre or post-fader outputs mark out the SX-ST for multitrack sound recording offering a perfect adequacy to Cantar, Deva V or Portadrive.
Thanks to very high dynamics and to a headroom level never reached before, the SX-ST will, at last, be able to stand strongest shouting and most intimate whispering. On inputs, a sensitivity selector, together with a calibrated central position trim, supports all types of inputs, from line level to high-sensitivity condenser mics, as well as low-sensitivity dynamic microphones. A double led mini-bargraph makes input level control possible, with persistent overload indication, as well as output level. At last, a switch allows one to select the desirable headroom level, 12 or 24 dB, with double graduation of the new waterproof faders, the 0 dB being set low enough for being able either to stand strong level, or, on the contrary, to turn up the weakest modulations.
The equalization section has not been changed; one may perhaps regret the lack of a second parametric and the fact that the limiter, which is also similar, is still post gain control, but with a 24 dB headroom, it will be much less useful.
Each channel at last has an ON-switch as well as true separated Mute and a very complete PFL/AFL system (inclusive or exclusive) and SOLO system (careful! the Solo position has a direct effect on outputs).
The master section groups together outputs two by two, each one allotable to one of the four auxiliaries. An independent mini-bargraph for each one as well as two needle modulometers, also working as phase correlator for the stereo monitoring bus, allow accurate modulation control.
An optional module with 8 digital AES outputs (44.1-192 kHz, 16-24 bits), multitrack monitoring and output limiter offers recorder remote control.
Three monitoring outputs with slate mic, output and monitoring selection, as well as eight-track monitoring, take up the usual American monitoring pattern towards boom operator, continuity and director, and offer many other monitoring patterns when combined with the four auxiliaries. Headphone monitoring is much too round on low medium (with DT48 Headphone).
Though the SX-ST (10 channel case) is wider and longer than SX-S, it can easily be fitted on DC Audiovisuel sound carts. Its larger power consumption (15 W) will require proper feed.
On each channel, eight switchable outputs, with or without pan-pot, and four auxiliary pre or post-fader outputs mark out the SX-ST for multitrack sound recording offering a perfect adequacy to Cantar, Deva V or Portadrive.
Thanks to very high dynamics and to a headroom level never reached before, the SX-ST will, at last, be able to stand strongest shouting and most intimate whispering. On inputs, a sensitivity selector, together with a calibrated central position trim, supports all types of inputs, from line level to high-sensitivity condenser mics, as well as low-sensitivity dynamic microphones. A double led mini-bargraph makes input level control possible, with persistent overload indication, as well as output level. At last, a switch allows one to select the desirable headroom level, 12 or 24 dB, with double graduation of the new waterproof faders, the 0 dB being set low enough for being able either to stand strong level, or, on the contrary, to turn up the weakest modulations.
The equalization section has not been changed; one may perhaps regret the lack of a second parametric and the fact that the limiter, which is also similar, is still post gain control, but with a 24 dB headroom, it will be much less useful.
Each channel at last has an ON-switch as well as true separated Mute and a very complete PFL/AFL system (inclusive or exclusive) and SOLO system (careful! the Solo position has a direct effect on outputs).
The master section groups together outputs two by two, each one allotable to one of the four auxiliaries. An independent mini-bargraph for each one as well as two needle modulometers, also working as phase correlator for the stereo monitoring bus, allow accurate modulation control.
An optional module with 8 digital AES outputs (44.1-192 kHz, 16-24 bits), multitrack monitoring and output limiter offers recorder remote control.
Three monitoring outputs with slate mic, output and monitoring selection, as well as eight-track monitoring, take up the usual American monitoring pattern towards boom operator, continuity and director, and offer many other monitoring patterns when combined with the four auxiliaries. Headphone monitoring is much too round on low medium (with DT48 Headphone).
Though the SX-ST (10 channel case) is wider and longer than SX-S, it can easily be fitted on DC Audiovisuel sound carts. Its larger power consumption (15 W) will require proper feed.
