Tools of the Trade: ENG Mixers

(Originally published in Audio Media Magazine USA)

In the field of professional audio, there are a select few who have found themselves, either by choice or by fate, in the specialized niche of location Television and/or Film production. A niche industry creates niche equipment needs, and in the recent past, limited options for equipment to answer those needs made the choices simple. For instance, when I started 25 years ago, to begin in film production you had to have a Nagra recorder, Beyer DT-48 headphones, a Sennheiser shotgun microphone, and, well, that was pretty much it. Later, when location video production came along, you needed to add a Shure M-67 mixer and a Sony ECM-50 lavaliere mic or two. A sign of opulence was a coveted wireless bodypack, which was always by Vega. Obviously, there were larger productions that required more, but even when more was required, the available options were usually limited to one or two choices from one or two manufactures.

Well, the location sound industry has come a long was since then. With Cable Television requiring much more production to fill its channels, Music Videos being required for even an aspiring artist, corporate and religious production growing astronomically, and a home video market that justifies producing even a box-office flop, more people than ever are finding work opportunities in the location sound profession. While location sound is still a highly specialized field which employs a very small number compared to studios and sound reinforcement, the numbers have grown to the point that it has the attention of more equipment manufacturers, large and small. This increased attention has resulted in the production of better equipment and a comparatively vast array of choices among similar pieces of equipment. Beginning with ENG/EFP portable mixers, this series will attempt to sort out and describe current equipment available to today’s location sound professional.

The names “ENG” (electronic news gathering) and its snobby equivalent, “EFP” (electronic field production) implies video camcorder production, but much of the sound equipment used for news coverage is also used for film documentaries, magazine shows, commercials, and even some parts of movie production; anything fitting the “run and gun” description. Regardless of the media, the equipment needed has a strict set of priorities: 1) Extreme portability, 2) Battery powered, 3) Rugged and reliable. Oh, I almost forgot this last one: 5) High quality audio.

When Two Inputs are Enough

New in the professional portable mixer category and gaining in popularity are the tiny 2 channel stereo mixers by Wendt, Sound Devices, and PSC, all for under $1000. The earliest entry in this category was the Wendt NGS-X2 ($999), followed by the PSC Mjr ($750) and the most recent and tiniest addition, the Sound Devices Mix-Pre ($855). All of these mixers have the basic required features: internal/external DC power, high gain mic pres with at least 66dB gain, 48V phantom power, output assign switches or pan pots, balanced outputs capable of +4dB with at least 18dB of headroom, tape return monitoring, slate mic, and alignment tone. All three of these will satisfy most location professionals’ criteria for audio quality. The decision of which mixer is best for you will be determined by how important the finer points are, which vary in each of these three mixers. Different combinations of features such as 12 volt T mic power, full size XLR outputs or multi-function quick connector, input pads, switchable mic/line inputs and outputs, and adjustable level for tape return monitoring to name a few, gives each mixer a fair shot at being someone’s favorite.

The Wendt NGS-X2 appears to be one-half of its big brother, the NGS-X4 (formerly the PSC M4-A+), and to its credit, is of the same rugged construction. Very small at 6×4.3×2″, the NGS-X2 is the largest of the three, partially because it uses 6 AA cells, but it is also the only one in this category that will go a full production day on one set of batteries. It has switchable mic/line level inputs and outputs, and, since some location sound pros still use T powered mics, they will be happy that the ‘X2 has T power available — unique to other mixers in the 2 channel category. Something that always gets a “hey, cool!” when it is seen for the first time is its tiny blue LED meter display (5 LEDs per channel). Using narrow beam lenses, the meters have 3 settings: high, medium, and off, for use in direct sunlight, indoors, or in the dark without being a distraction. Another unique item that takes up some real estate is a 1/8″ phone jack in addition to the standard 1/4″. A lacking feature that separates the NGS-X2 from the other two is its inability to match tape return and direct monitor levels. Price: $999

The PSC Mjr is a little smaller than the Wendt version, largely due to using a single 9V battery compartment (lasting about 5 hours) and the absence of XLR outputs. In place of male XLRs, PSC opted for a single, space saving, 10-pin Hirose multi-function connector (standard for ENG equipment) for its balanced stereo outputs and return monitoring. Unlike the NGS-X2, the Mjr has the ability to adjust the return monitoring signal to match that of the direct monitoring levels. Since much of the 2 channel mixer market is predicted to be owners of the new tiny DV camcorders, the Mjr’s unique feature is a through bolt that allows it to be mounted to the tripod threads in the base of all DV camcorders. Price: $750

The Sound Devices MixPre is the most recent of these three mixers and is also from the newest company in the field. Using only 2 AA cells for about 4 hours of operation, the MixPre is the smallest of the small, but has managed to retain its share of nice features and even add a couple of new ones. Like the Mjr, the MixPre has adjustable return monitoring level, and like the NGS-X2, has tiny but super bright LED meters, switchable to 3 intensities: bright, super-bright, and “eye protection required”. Maybe it just seems brighter than the NGS-X2 because it uses 7 LEDs per channel for higher metering resolution, but while the brightest selection is intended for use in direct sunlight, the little green lights are so bright that the mixer can actually double as a flashlight when the sun goes down. Conscious of its AA batteries, 15V phantom power can be chosen over 48V phantom when sufficient. The MixPre audio specs are slightly better than its competition, making its sound quality in terms of quietness, headroom and limiter action amazing, especially for such a small box. Adding to its versatility is separate left/right on-off and threshold control of its limiters. But nobody’s perfect, and the MixPre’s shortcoming is mic level only inputs, and line level only outputs. Price: $850

It’s Lonely in the Middle

The next step up is a lonely one, currently monopolized by the ever present and well-refined 3 input Shure FP-33, under $1500. I believe there are more mixers of the FP-33 family than any other ENG mixers in the world. Beginning as the FP-32 many years ago, it was much improved as the FP32-A a few years later, and then really came of age in its current version, the refined FP-33. A well-engineered balance of simplicity and features powered by two 9V cells, the FP-33 is very reliable, small, and well laid out. Commendable features include in this small box include 12V T power, switchable 12Vph to 48Vph mic power, M/S decoded monitoring, stereo input ganging, plenty of headphone volume, and a mix bus link for adding a second mixer or forcing another utility output. This mixer comes standard with a carry pouch, though usually abandoned for a PortaBrace case. The most criticism this mixer gets is usually directed at its horizontal analog VU meters, which sometimes leaves operators shrugging their shoulders at what levels are actually being recorded. Price: about $1300.

Step Right Up

The next step is where the 4 channel mixers start to appear, but where compactness and economy are still the priority. Priced under $2000, this list includes the PSC M4mkII, Wendt NGS-X4, and Rolls MX442. Aside from advantage of a 4th input, the additional size allows all in this class the more advanced features of better metering, longer battery life, redundant connections, selective monitoring, and easier to manage controls and switches.

The Wendt NGS-X4 is fairly new, but in name only, and is actually the same mixer formerly distributed by PSC, more commonly known as the M4-A+. The only difference is in the label, so it is fair to mention that the long rein of utility and time-proven reliability earned under its former name lives on with the NGS-X4. Very rugged but lightweight assembly, versatility, and battery efficiency are its hallmarks. Features include stereo gangable inputs, M/S decoded monitoring, decent peak limiters, adjustable stereo mic-level 1/8″ out for tape transcriptions, 48Vph, 12Vph, and the only mixer in this class with T microphone power. In addition to standard connections this mixer uses a 12 pin Hirose push-on connector for balanced outputs, return inputs, and even DC power input from the recorder. It is available with VU meters or, for a premium, peak meters, though I always recommend peak meters for voice recording. The main criticism that all NGS-X4 owners have is for the numerous pad, mic/line, and monitoring switches, which are inconveniently located on the underside of the mixer, but when size is a priority, there are only so many places available. Price: $1825 (w/PPM meters: $1980)

The PSC M4-mkII (mark-two) has just recently celebrated its first birthday, but is already becoming a staple in the ENG sound department. With a couple of refinements implemented after its first production run, the M4-mkII is proving to be reliable and user-friendly. Using surface mount components, the ‘mkII is about 10% smaller and lighter than the NGS-X4, but the remaining space is well used. The most notable unique feature is its internal battery compartment, which is capable of taking an NP-1 style battery, or a magazine (included) loaded with 8 AA cells. The power source is brought out to two 4-pin Hirose connectors that make 1.5A of power available for accessory gear such as wireless receivers. This mixer also comes standard with a remote mounted fader intended for riding gain while both hands are on the boom pole. For a single output/return quick connector, the ‘mkII uses the more standard 10-pin Hirose with pin-outs identical with other mixers using this connector (though one production run had 2 output pins reversed, creating bewilderment). The Lexan overlay labeling gives the mixer an almost toy-like appearance, but offers much greater protection and longevity than traditional silk-screened finishes. Negative comments I’ve heard from owners include not enough friction on the input pots and a dimly lit LCD meter display, both of which are easily defended as design intentions. Price: $1895

The Rolls MX442 is a 4-input stereo ENG mixer not often seen used by professionals, but in a blind comparison, one has to wonder why not. It is not only priced under $2000, but actually under $1000, which, along with its professional features such as 48V phantom, return monitoring, +4 line level out, and acceptable audio quality make it suitable at least for professional back-up and perfect for student use. Price: $999 (VU only)

Welcome To The Top

(4 input stereo mixers over $4000) The next step, to the top-shelf, is a big one, in both price and abilities, and where size takes a slight back seat to features. This category of 4 input stereo mixers includes the Cooper CS-104, Filmtech LSP4, Audio Developments AD-261, and SQN Series IVe, all costing over $4000. All mixers in this category have noise specs of better than -126dB, T power, extra utility outputs, PFL/AFL, selective headphone monitoring with M/S decoding, input phase reverse, standard 10-pin Hirose output/return connector, dual ganged inputs for 2 stereo sources, real pan pots and can be ordered with choice of meter types. Some have the ability to link one master knob to control both left and right outputs, two of these mixers even have 4 direct outs, and one even has a remote vertical fader attachment. You may have noticed that there is a gaping hole in the market (manufacturers, are you listening?) between $2000 and $4000.

The Cooper CS-104, a little larger and heavier than the NGS-X4, reeks of quality with its natural finish anodized faceplates, British “racing green” powder coated covers, and Nagra switches, and is considered “King of the Hill” of ENG/EFP mixers made in the US. It is the only ENG mixer made in the US with PFL monitoring, a feature hard to live without once you’ve used it. It has two unbalanced L/R “utility” outputs on space-saving TA3 connectors, which are switchable mic or line level, and a separate TA3 tape output which can be switched mono or stereo. A mix-bus input using another TA3 connector allows attaching any other mixer as a sub mixer without losing one of the inputs. The CS-104’s impressive noise specs and additional buffered outputs demand a little more from its 8 AA batteries, but a full production day can usually be managed without changing. External power is via a full-size 4-pin XLR with standard pin-outs. Its uncluttered layout is probably the easiest of this class to manage. Price: $4200

The Audio Developments AD-261 is a formidable competitor offering its own combination of advanced features. It is officially a refinement of the respected AD-260, but the AD-261 is more of a step in the right direction than “refinement” would suggest. Like the LSP4, the AD-261 can link both master knobs for single knob control, has a pulsating tone to verify left/right continuity, and can selectively decode Mid/Side signals on its 2 stereo pairs to the outputs. With five -10dB steps plus a line level selection, the AD-261 has the most input pad choices of any of these mixers. Using nine “C” cells, the AD-261 also wins the internal battery life contest by a long shot, typically lasting 2-3 days. The surplus battery capacity also makes good sense of its power tap connector intended to power wireless receivers. The super-tough plastic enclosure allows aesthetically stylish lines and its custom knobs are the best in the class, allowing the user to easily feel their position. The reverse printed Lexan overlay guarantees that the labeling will never rub off. PFL monitoring is a wonderful tool, but the AD-261 saved space by combining this function into the monitor select knob. While this is not nearly as quick or convenient as individual momentary switches, it does allow hands free soloing, which can aid in troubleshooting. Price: $4325

SQN Series IVe, by the company that once made the only top-shelf compact mixer of its type, this newest version still holds its own, and some consider it unbeatable. If advanced features in the smallest, most rugged casing possible is your only criteria, then the SQN is for you. It is also the highest priced and has nearly every feature of the others, which are about as well placed on this smallest enclosure as could be hoped for. Its engraved labeling will last a lifetime, as will its connector blocks, which are machined from solid aluminum bars. This mixer can be powered internally for about 10 hours with 8 AA cells or externally with 6VDC-24VDC. Like the LSP4 and AD-261, the SQN Series IVe decodes M/S for monitoring as well as to the outputs, and has a pulsating tone for verifying L/R continuity. A feature shared by the LSP4 are post-fader direct outs of the 4 inputs. It is difficult to complain about this mixer, but sacrificed in the name of compactness is the location choice for the external power input (4 pin Hirose instead of full-size XLR), and the mic powering and pad switches, which are inconveniently on the underside of the chassis. Price: $4600

The Filmtech LSP4 comes the closest to having-it-all. Every feature on every other mixer on this list is found on the LSP4, plus a couple that are unique. It is so versatile that the manufacturer has aptly dubbed this mixer an “audio processor”. Starting with the remote mounted boom pole fader (easy to use rotary as opposed to the M4mkII’s slider), an optional remote vertical fader accessory, 4 direct outputs for multi-tracking, mono and stereo utility outputs, and dual M/S input decoding ability (not just on the headphones) this mixer could easily be a dual purpose mixer for over the shoulder or serious drama production recording from a cart. The two separate master pots can be switched so that one pot controls both the left and right outputs (very handy). Its alignment tone can pulsate to verify L/R integrity down the line. Logically, all of this ability requires more power. In fact, Filmtech suggests powering the LSP4 from its 4-pin XLR connector, relying on its 8 AA cells for back-up only, which is less of a concern now that many ENG rigs use external power distributed from a single battery. The only negative criticism of the LSP4 comes as a result of having it all – it is a little heavier and larger than the others and uses more battery current. If there’s a feature needed in an ENG/EFP production, the LSP4 is the most likely to have it. Price: about $4200

–Glen Trew