![]() ![]() Its USB connection is feeding my secondary iMac ( read about my dual iMac setup here) and acting as its audio interface, while my primary iMac is tethered to the Apollo via Thunderbolt 3. The mixer"s eight group outputs are connected number-for-number to my Apollo"s line inputs. The rest are using the first four stereo channels. The Roland has XLR outs, so it"s using mono channels 7 and 8. I"m gonna max this thing completely out and go full Vangelis in my room and record something to post here if I"m brave enough. These are a Prophet REV2, Nord Wave 2, Roland Fantom, Nord Grand, and first-gen Studiologic Numa Organ. I currently have five keyboards running through it. Korg claims these punch way above their price in terms of noise floor, headroom, clarity, and warmth, and we"re gonna test that out with a variety of source signals. ![]() Watts is a famed former Trident engineer who designed the Korg"s 'HiVolt' mic preamps. Mackie needs no introduction and was responsible for a lot of the signal path and routing features. As with other mixers of this design, you"d route something to just one group output by assigning it to a group pair, then hard-panning it one way or the other.Ī big talking point in Korg"s marketing is that the SoundLink MW series was co-designed by Greg Mackie and Peter Watts. It has an eight-bus design, with eight balanced group outs on TRS connectors, but arranged in stereo groups of four (1/2, etc.) with four group faders in the output section. It"s chiefly an analog board, with the signal only hitting its internal A/D if you use the onboard effects or USB output (which is not multitrack, just a stereo mirror of the main fader). Looking at the Korg, it ticked a lot of my boxes, and come in at the low end of my price range: $2,100 list but around $1,500 street anywhere you look right now. The Speck SSM or XtraMix would be perfect for a guy like me, but they"re hunted to extinction on the used market and even the $10,000 LiLo is discontinued. So, an analog board is fine by me, and I also want it to be 'keyboardy,' whether that means stereo inputs (which it has), features a one-person multimedia creator with a synth obsession might find useful, or both. I want to use the A/D converters in my Universal Audio Apollo, which I don"t think any remotely affordable digital mixer can outdo sonically. I think the PreSonus StudioLive stuff, especially the latest generation, occupies a very cool niche and performs great â if you want to use it as your audio interface. I know people pressing live digital mixers like the Yamaha TF and Allen & Heath SQ into service in the studio and getting good results, and price-wise those occupy the sort of midrange I have in mind. Now, I get it that the quality and features we get at a given price point has gone up since having a Mackie 8-Bus and an ADAT or three was an aspirational goal. If you look at 'project studio' mixers today, there isn"t a lot between the super-bargain stuff and consoles beginning in the low five figures. My SSL SiX has become my indispensable companion for critical tracking and monitor control, and I can imagine what one with enough inputs for all my keyboards would cost. Me, I like to have a board as a central traffic cop. And there"s a case to be made for keeping signal paths as short as possible, adding only processors that are part of the sound you"re trying to get. Some folks people prefer to go all inside the box and simply have enough inputs on their audio interfaces to keep everything plugged in and ready to go. If I get a chance to take it out in the wild, you"ll hear it here first.īecause I hang out here, I have a little problem with lots and lots of keyboards. I"m gonna begin by testing out in the studio because, well, still not many live gigs in my neck of the woods. This has been a perfect opportunity to insert the new Korg SoundLink MW-2408 mixer, which Korg hopes will be appealing for both live and studio use. ![]() Happy Halloween! Due to the continued presence of cooties that are scarier than anything I could dress up as, I"ve spent mine following in brother Bryce"s footsteps and reconfiguring my studio around ergonomics and new synths.
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