We have all heard 5.1 surround sound-usually at your local movie theater or through your own home entertainment center. And of course, recorded music mixed in 5.1 (if done well) can be an amazing aural experience. So it only makes sense that there should be a time and place for live music to be mixed in 5.1. And if this could be accomplished within a reasonable budget, it would be something worth looking into. Well, here comes Phonic with the MRS1-20/1-30, 5.1 surround mixing console. And they are offering this Mixer to us sound engineers at a very reasonable price.

The Gear

This 20-channel mixer is really quite a different piece of gear compared to a standard stereo counterpart. The console comes with six channel outputs, which is why you can do 5.1 mixing with it. There are also three-knob surround panning controls and a low frequency effect routing switch per channel. Basically you can send sound all over the place: left, right, front, back, center, left surround, right surround and sub. The combinations are mind-boggling. These are just a couple of the unusual features, but why don´t I first give you a run down on the mixer A to Z.

Let´s start with a channel strip. First, you can see your signal via the output level meter. Then you´ve got a gain knob and mic/line selector switch. Next we get three bands of EQ with a sweepable mid. Each knob is capable of 15dB of boost or cut. And there is a 75Hz low cut button that knocks down the low end at 18dB per octave. This is followed by four aux send Knobs: two pre, two post and a 5/6 button. This is a lot of aux for a small board and I found that it added to the overall flexibility of the mixer. Now we get that three-knob surround panning control system I mentioned earlier. Here you can send the signal to all six outputs, or just one, or anything in-between. I see a mute button followed by the LFE (low frequency effect) button. The LFE sends the low frequency effect of the selected channel to the LFE (subwoofer) mix bus. Then the LFE source selector in the master section lets you decide what source will be sent to the LFE output. This is definitely a cool feature.

Anyway, the channel fader is next, using a 60mm slide and then a solo button sends the signal to the headphones and the solo level meter and the pre/post solo button for pre or post fader listening. That wraps it up for an individual channel. The master section is a little different than you or I might be used to, but it´s easy to navigate. We start with the six output level meters and a stereo output meter. Below this is the aux send master, consisting of six send knobs and six solo Buttons. Next we have six effects return knobs with six solo buttons. All effects can be routed through the same three-knob surround panning control system, which will return effects to any or all six positions and aux 1 and 2. This is followed by the 6T input knobs. Let me explain: the back panel of the mixer has a type D 25-in connector that accommodates the six-channel input and the two-channel stereo input from multi-track recorders, DVD, DTS encoded audio signals. There is also a 25-pin output that is compatible with Tascam DTRS (Digital tape recording system). Anyway, the 6T inputs can be sent to the control room or 5.1 via individual buttons. There is also a 2T input knob that can be sent to the control room or stereo mix via buttons. Six level knobs send the post fader signal of each of the 5.1 channels to the stereo mix. Each knob has its own L/R pan. Each 5.1 channel has a 60mm fader and there is a stereo fader. Talkback can be sent through 5.1, stereo mix or aux via individual buttons. A control room sections has level knobs for each of the 5.1 positions plus a master level knob. I think that should give you a feel for the board. Now, wouldn´t you like to know how well it worked...

Gigs

I used the MRS 1-20 at one three-day event that featured at least 20 acts ranging from rock bands to comedians to jugglers to solo acoustic artists. We set the system up outdoors under a tent, using the perimeter of the tent for our speaker positions. Obviously set-up takes a lot longer, but that is not the focus with this format. The show started with a comedian and I placed his voice evenly through the five positions minus the sub. A little into his set, I sent a little effect return to the back Speakers, which fattened up the vocal sound. The Phonic board is very flexible in that signal and effects can be sent to any of the positions. It certainly changed how I mixed. With the rock, blues and jazz bands I could send drums into the LFE (low frequency effects) and leave other instruments out. This button is a great feature on the console. It really added to the precision of my mixes. The board itself is clean and quiet. EQ is effective; knobs, faders and overall spacing feels smooth and natural. The mixer is comfortable and simple to operate. So, back to the mixes. With the live bands, I tended to place vocal effects in the rear speakers and bounce guitar, sax and harmonica solos around the mix. The fact of the matter is that I could be much more creative with this board. I think the audience had fun with some of my mixing tricks. At least nobody complained, and that´s half the battle. The other half is I got hired back for next year.

What is it: A fully functional 5.1 mixer

Pros: Expands the possibilities of any mix

Cons: Longer set-up and I wanted to use it more