Focusrite
Platinum MixMaster

A stereo mastering processor that lives up to its name.

By Myles Boisen
 
Focusrite’s Platinum MixMaster

Fig 1: The Focusrite MixMaster icludes a multiband compressor and equalizer. The signal path through the processor is clearly visible from the front-panel layout (click for larger image).
Mastering is both an art and a science, with a bit of voodoo sprinkled in. Some mastering engineers keep their work in the digital domain, crunching numbers with computer plug-ins and avoiding unnecessary analog conversions. Others are more concerned with configuring the right analog signal chain to bring out the magic in a mix.

The latter type of engineer will appreciate Focusrite’s Platinum MixMaster, with its suite of powerful analog processing tools, precision metering, and optional digital output. The end result is a multifaceted mixing and mastering processor that offers a fresh and simple alternative to the digital devices dominating the personal-studio realm.

Plug and Play
 The MixMaster has an uncluttered, friendly front panel with a gleaming brushed-aluminum complexion. The processing elements—optical expander, spectral compressor, equalizer, spatial enhancer, limiter, and output control—are clearly laid out from left to right according to their order in the signal chain (see Fig. 1).

All the front-panel controls are stereo linked. Although there are no provisions for using the MixMaster as a dual-mono device, there is no reason for not using it on mono or stereo signals during tracking or mixing.

Around the back, the MixMaster offers +4 dBu balanced analog I/O on gold-plated Neutrik XLR connectors and –10 dBV balanced analog I/O on 1/4-inch TRS jacks (see Fig. 2). You can use the 1/4-inch outputs with balanced or unbalanced cables, and both sets of analog outputs are active simultaneously. The 1/4-inch inputs interrupt the XLR input jacks when both are connected.

The MixMaster also includes a pair of balanced 1/4-inch Direct Input jacks. The Direct Input signal enters the circuit just before the output-level trim control and limiter, letting you mix an external mono or stereo signal with the processed audio. Focusrite recommends using that additional input when a featured mix element, such as a lead vocal, requires a different type of processing than the primary audio source.

Above the analog I/O jacks is space for the optional digital-output card ($295). The digital card supports 16- and 24-bit word lengths and 44.1, 48, 88.2, and 96 kHz sampling rates. The connections include standard AES/EBU (XLR) and S/PDIF (RCA) output jacks as well as an external word-clock input on a BNC jack. There are switches to select the sampling rate, word length, and output, and an LED indicates when the MixMaster locks to word clock. All of these items are on the rear panel, making them difficult if not impossible to access when the unit is mounted in a rack. The review unit came without the digital-output module, so I couldn’t test the MixMaster’s digital capabilities.

The MixMaster runs hotter than some tube gear. Along with the rear-panel digital audio controls, that may warrant special consideration for placement in a rack.

To its credit, Focusrite goes further than most companies by making its manual a useful resource for novices. The manual includes several helpful setup ideas as well as a wealth of basic mastering tips.



Reprinted with permission from Magazine, February, 2001
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved


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