Please click on the logos below to see a sample of some of the mixing consoles we carry. For more information on our selection and availability, please contact us.

YAMAHA MC SERIES MIXING CONSOLES

Group/Aux Diversity System. Most mixing consoles have a fixed buss system: e.g. say 4 group busses, 3 or 4 auxiliary busses, a stereo buss, and maybe a mono buss. The numbers and variations are endless, but you're stuck with the configuration you initially purchased. If your buss requirements change, you need a new console. And if your buss requirements change from project to project, you'll need a console with much more capacity than any single job requires.

The GA Diversity system provided on the MC Series Mixing Consoles gives you the flexibility to match the console's buss configuration to a wide range of signal-routing requirements. 4 of its 10 mix busses can be individually switched from pre-fader auxiliary send status to group type operation, so you can have 2 groups and 8 auxiliary sends, 4 groups and 6 auxiliary sends, or any other combination the job requires.

Clean Signals from Input to Output. Many mixer circuits must handle low-level signals -- the head amplifies, for example -- and must be designed with extra care or they can be a major source of noise and distortion. Other critical design criteria include inter-stage matching, internal impedance, circuit layout, grounding, component selection, and a veritable plethora of other factors that affect performance and the mixer's overall "sound". Here's where Yamaha technology makes a real difference. Whether you're using microphone or line inputs, Yamaha's high-performance circuitry gives you an exceptionally clean, quiet signal from input to output. But then there's RF rejection. RF (Radio Frequency) noise generated by motors, video monitors, and digital equipment of almost any kind can make the cleanest, quietest circuitry virtually worthless. The MC32/12 and MC24/12 boast outstanding RF noise rejection, so you can use them just about anywhere.

Specs You Can Trust. Yamaha never has "tweaked" specifications. Never will. It's amazing how mediocre specs can be made to look impressive by simply optimizing test conditions. The electrical specifications we publish are all brutally honest, measuerd under the stated and/or industry-standard conditions. When in doubt, we urge you to use the most sensitive sound measurement devices available: your own ears. They'll tell you who you can trust.

Rugged & Reliable. From connectors to controls to chassis, MC consoles are built to last. Whether used in an installation or taken on the road, these attractively-finished, rugged consoles will keep on performing with the utmost reliability.

Inputs. The MC32/12 has 28 mono input channels, and the MC24/12 has 20 mono input channels, with balanced XLR-type microphone inputs and balanced/unbalanced TRS phone jack line inputs. Phantom power is switchable in 4-input groups for all mono inputs, providing direct compatibility with high-performance phantom-powered condenser microphones and DI boxes.

On both the MC32/12 and MC24/12, stereo line sources can be directly connected to either of the 2 stereo input channels (a total of four inputs) with unbalanced L/MONO and R phone jack inputs. The L/MONO inputs allow the stereo channels to be used for mono signals.

Channel Insertion. Insert send/return patch points are included on all mono channels for convenient insertion of compressor/limiters (a must for top-quality vocal sound), equalizers, or any other outboard equipment you might need to apply to individual channels.

Input Controls & Level Matching. Gain trim controls with a 44-dB range and LED peak indicators on all mono and stereo inputs facilitate optimum level matching with a wide range of sources. The mono inputs additionally feature 26-dB pad switches, phase switches for easy input phase correction, and switchable high-pass filters to cut out rumble and other low-frequency noise.

4-band Channel EQ. 4-band equalization on each input channel can be used to bring out the best in the sound of individual instruments or voices, emphasize a channel in relation to others, blend the sound of several channels, create special effects, reduce noise, and much more. The hi-mid and lo-mid bands on the mono channels are sweepable for extra control precision. EQ bypass switches are provided on all channels so equalization can be punched in or out as required without having to change settings.

Four Group/Aux Sends. The M1 through M4 "Mix Send" controls feed the MC console's unique GA Diversity system. When the corresponding FIX/VAR switch in the master section is set to the "VAR" position, that send functions as a pre-fader auxiliary send: i.e. the send control adjusts the level of the signal sent to the correspondiong buss (M1... M4), and the send ON switch simply turns the corresponding send on or off. If a FIX/VAR switch is set to the "FIX" position, the send then functions as a post-fader group send: The send control is bypassed and the send ON switch functions as a group assign switch.

Six Aux Sends. The M5 through M10 controls function as auxiliary sends, feeding the corresponding mix buss. These controls can be switched to receive the pre- or post-fader signal in groups of two (5/6, 7/8, and 9/10).

Stereo Assign & Panning. Stereo assign switches and pan controls on each input channel assign the corresponding channel signal to the MC console's stereo buss.

Channel Faders, Pre-fader Listen, & Channel ON Switches. Smooth, noise-free 100-mm linear faders make it easy to set up the optimum balance between channels, while PFL (Pre-Fader Listen) switches allow convenient solo monitoring of a channel's pre-fader signal. All channels additionally feature channel on switches that can be used to switch the channel signal into or out of the mix without changing any other settings.

GA Diversity FIX/VARI Switches. The core of the MC console's innovative GA Diversity system, these switches determine whether the corresponding sends on the input channels - M1 through M4 - function as auxiliary or group sends.

Mix Busser Master Strips M1 through M4. The first four mix buss master strips - M1 through M4 - receive either the pre-fader aux signal or the post-fader group signal from the channel sends, depending on the setting of the corresponding GA Diversity FIX/VARI switch. Each strip has its own 3-band equalizer and EQ switch, as well as a "to stereo" switch, a pan control which assign the mix buss signal to the console's stereo buss. The mix buss master strips also feature 100-mm faders and AFL (After-Fader Listen) switches for convenient solo monitoring.

Mix Buss Master Strips M5 through M10. Mix buss strips M5 though M10 receive the auxiliary signal from the corresponding channel send controls. Like the M1 through M4 strips, strips M5 through M10 have individual 3-band equalizers and EQ switches as well as 100-mm faders and AFL (After-Fader Listen) switches.

Stereo Master Strip. The stereo buss feeds two stereo output pairs: stereo 1 and stereo 2. The main linear stereo fader feeds the balanced stereo 1 outputs, with AFL listen capability. The stereo 2 signal can be derived pre or post the stereo 1 fader, and feeds and unbalanced output pair via the rotary stereo 2 level control. A mono switch is also provided to sum the stereo 2 signal to mono for instant mono monitoring or to feed a mono sound system.

Stereo Aux Returns & Buss Sends. The stereo auxiliary return 1/2 pair has controls to adjust the level of the returned signal sent to the M1 through M4 mixes and the stereo buss as well as return on/off switch and PFL switches. The signal returned to the stereo auxiliary return 3/4 pair can be sent to any of the remaining mix busses (M5 through M10), or to the stereo buss. The 3/4 returns also have an on/eff and PFL switches.

Two Matrix Mixes. Matrix controls can be used to set up two matrix sub-mixes from the M1 through M4 mix busses and the stereo buss. Both matrix mixes include mix on/off switches and AFL switches.

Flexible Monitoring & Metering. Convenient monitoring is provided by control-room monitor and headphone output with independent level controls, and peak-reading level meters providing accurate visual monitoring of the signal appearing at the ten mix busses, the stereo buss, and the PFL and ADL busses.

Handy Rec Outputs & Tape Inputs. Rec outputs provide a line-level stereo output for convenient recording of the main program, while tape inputs with a level control allow the output from a recorder or other line-level source to be added to the console's stereo signal.

SPIRIT FOLIO

The Folio range from Spirit is the world's best selling series of compact mixers. Designed by sound industry legend, Graham Blyth, the multi-award-winning Folio range is unique in providing professional features and sound quality at a price everyone can afford.

Every console in the Folio range is designed to incorporate the warm, British EQ that has made Spirit's  parent company, Soundcraft, the leading name in live, studio and broadcast mixing for over 27 years.

Soundcraft has always been at the forefront of console design and since Spirit's inception in 1991 it has been responsible for many of the sound industry's most ground-breaking products including the award-winning Digital 328 and, of course, the original Folio -- the small console that launched so many imitations. Designed in the UK, the latest manufacturing processes and technologies ensure the high quality and exceptional value of all Spirit designs.

When Folio was first launched, mixing desks were either large and expensive, or small but ineffective. Spirit Folio changed all that. Packed with features, more channels and professional-standard sound quality, Folio was literally a revolution.

The original Folio design has now been refined and developed to produce an unparalleled range boasting the 100mm faders of Folio F1, the on-board Lexicon effects on Folio FX16 and FX8, the extremely compact Folio Notepad and the all round usability of Folio SX.