This Dub Mixer has been designed as a fully-fledged audio system, tailored for dub mixing, live performances, sound systems and hybrid analogue/digital setups. Its internal operation is based on a clear routing system: each source enters an adaptation stage, undergoes the necessary processing, and then joins the mix, effects, monitor or output buses according to its role.
The aim of this architecture is to maintain a high degree of flexibility in terms of performance whilst ensuring a clear, robust and musical audio path.
1. Audio inputs
The mixer has several groups of inputs, each designed for a specific type of source.
Phono inputs
The IN A and IN B inputs are designed for turntables. The signal first passes through phono preamps with RIAA equalisation, which are essential for converting the very weak signal from a phono cartridge into a usable line-level signal.
The audio path is as follows:
Phono inputs IN A / IN B → RIAA preamps → Source selection for channels CH 1 and CH 2
These inputs therefore allow you to integrate turntables directly into the mix without the need for an external preamp.
Line inputs
The IN C and IN D inputs are designed for line-level sources: media players, drum machines, synthesisers, external samplers or other audio equipment.
They pass through line buffers, which stabilise and condition the signal before it reaches the main channels.
The audio path is as follows:
Line IN C / IN D inputs → Line buffers → Source selection for channels CH 1 and CH 2
USB playback*
The USB Playback* module provides two stereo pairs of USB playback channels. These USB streams can be used as digital sources for the two main channels.
The planned route is as follows:
USB Playback → USB receivers, 2 stereo pairs → CH 1 via USB A / CH 2 via USB B*
On the main channels, the available sources are therefore:
CH 1: A / B / C / D or USB A*
CH 2: A / B / C / D or USB B*
This feature enables the creation of a hybrid architecture capable of supporting both analogue and digital sources.
2. The two main channels: CH 1 and CH 2
Channels CH 1 and CH 2 form the heart of the mix. Each has a source selector that allows you to choose between the available analogue inputs and the corresponding USB input*.
Each channel follows a specific internal processing chain:
Source Select → HPF → Gain → Mute → Cue Tap → Filters → Crossfader → Isolator → Main Mix Bus
Source selection
The selector switch allows you to choose the active source for the channel. This makes it easy to switch from a turntable to a line-level input, or to a USB* source when this feature becomes available.
High-pass filter
Each channel has an HPF, or high-pass filter. This allows you to remove unwanted low frequencies, clean up a signal or set the stage for more seamless mixing effects.
Gain
The gain control adjusts the input level of the channel before the signal is sent to the rest of the audio chain. It allows you to balance the different sources against one another.
Mute
The mute button mutes the channel in the main path. It allows for clean cuts, precise drops or quick source management during a performance.
Cue Tap
The cue point routes the channel to the headphone section. This allows you to preview a source independently of the master before feeding it into the main mix.
3. The filters section
After the initial processing of the channels, the signals from CH 1 and CH 2 are sent to the Filters section.
This section includes:
- two parametric equalizers;
- a low-pass filter;
- a high-pass filter.
The purpose of this section is to shape the signal before it passes through the crossfader. It enables more musical transitions, expressive frequency cuts and finer control over the harmonic content of each channel.
The path is as follows:
CH 1 / CH 2 → Filters → Crossfader
4. The crossfader
The crossfader mixes the two main channels. It allows you to fade smoothly from CH 1 to CH 2, or to create sharp cuts depending on your playing style.
The signal coming out of the crossfader is then sent to the three-band isolator.
The path is as follows:
Filters → Crossfader → Isolator
5. The three-band isolator
The isolator is a key component in the world of dub and sound systems. It splits the signal into three main bands:
- Bass for low frequencies;
- Mid for mid-range frequencies;
- Excellent for high frequencies.
Each band has its own control, allowing you to cut, boost or isolate a specific part of the spectrum.
The isolator also features two crossover settings:
- X-OVER 1
- X-OVER 2
These settings determine the crossover points between the bass, midrange and treble bands. They allow you to tailor the mixer’s response to the sound system, musical style or playing technique.
The path is as follows:
Crossfader → 3-band Isolator → Main Mix Bus
6. Sirens / Sampler: built-in sound engine
The mixer features a Sirens/Sampler section, designed to serve as an internal sound engine for live performance.
It has three main controls:
- VOL: internal sound output level;
- TYPE: selection of siren or sample type;
- MOD: modulation or variation of sound.
This section can be routed to the main mix as an internal source. It allows you to add sirens, textures or rhythmic elements without the need for additional external equipment.
7. AUX 1 and AUX 2 inputs
The AUX 1 and AUX 2 inputs are designed for microphone or line-level signals. They can be used to connect a microphone, a drum machine, an instrument, a sampler or another external source.
Each AUX input passes through a mic/line preamp and then through a dedicated processing chain:
AUX Input → Mic/Line Preamp → High-Pass Filter → Compressor → Gain → Main Mix Bus
HPF
The high-pass filter cleans up the lower end of the spectrum, which is particularly useful for microphones or live sound sources.
Compressor
The compressor allows you to control the signal dynamics. It stabilises the level, reduces excessive fluctuations and helps the AUX input blend more effectively into the mix.
Gain
The gain control adjusts the final level of the AUX input before it is sent to the main mix bus.
AUX inputs can also be routed to the FX Sends section, allowing effects to be applied to microphones, instruments or external sources.
8. FX Sends: sends to internal and external effects
The FX Sends section allows you to route multiple sources to the effects.
The available sources for FX departures are:
- CH 1
- CH 2
- AUX 1
- ON 2
The routing is as follows:
CH 1 / CH 2 / AUX 1 / AUX 2 → FX Sends → FX Destination → Internal FX or External FX Send
The FX Destination selector allows you to choose the destination for the effect output:
- INT for internal effects;
- EXT for sending to an external effects processor.
The EXT FX Send Mix section also includes a mono option, which is useful when the external effect being used operates in mono or when a mono send is preferable in the sound system setup.
9. FX Send and Return outputs
The mixer features a physical FX SEND L/R output on the rear panel. This allows you to send the signal to a pedal, a delay, a spring reverb, a tape echo or any other external processor.
The full external path is as follows:
Selected sources → FX Sends → FX Send L/R → External effects processor → FX Return
The feedback signal is then routed through the FX Return section.
10. FX Return
The FX Return L + R input receives the signal from an external effects processor. It undergoes its own processing before being fed back into the main mix.
The path is as follows:
FX Return L + R → Line buffers → HPF → Mono Option → Gain → Main Mix Bus
HPF
The high-pass filter helps to clean up the effects return, particularly when delays or reverbs produce too many low frequencies.
Mono Option
The mono option allows you to sum or process the effects return in mono as required. This is particularly useful in certain dub or sound system setups.
Gain
The gain control adjusts the level of the effects return before it enters the main mix.
11. Main Mix Bus
The Main Mix Bus is the main hub of the mixer. It receives signals from the various sections:
- output from the isolator;
- AUX inputs;
- Back to FX;
- Sirens engine / Sampler;
- internal signals according to the selected routing.
This section includes:
- a master volume control;
- a limiter / protection system;
- unur / level gauge system.
The meter displays the output levels using the following indicators:
CLIP / 0 / -6 / -12 / -18 / -24
The limiter and protection circuit help to regulate the output level and reduce the risk of overloading the audio system.
12. Output Crossover
After the main bus, the signal passes through the Output Crossover section.
This section allows you to split the output signal into several frequency bands. It supports various modes:
- 2-channel
- 3-way
- 4-channel
It also features filters and mutes, allowing the mixer’s output to be precisely tailored to a multi-amplified sound system.
The path is as follows:
Main Mix Bus → Output Crossover → Output Mode Matrix
This feature is particularly important for sound system setups, where bass, midrange and treble signals can be sent to separate amplifiers or speakers.
13. Output Mode Matrix
The Output Mode Matrix section controls the final distribution of the signal to the physical outputs.
It features 9 routing modes, allowing signals to be assigned to the Master 1 and Master 2 outputs, as well as to the Tip/Ring connections.
The path is as follows:
Output Crossover → Output Mode Matrix → Master 1 / Master 2
This matrix allows the mixer to be adapted to different sound reinforcement setups: standard stereo output, mono routing, multi-channel systems or specific sound system configurations.
14. Master Outputs
The mixer has two main master outputs:
- Master 1 — Tip/Ring
- Master 2 — Tip/Ring
These outputs receive the final signal after it has been processed by the crossover and the output matrix.
These are the main outputs to the sound system, amplifiers, external processors or the sound installation.
15. Cue Mix and headphones
The Cue Mix section is designed for headphone monitoring.
It comprises:
- a Pre/Post selector;
- a Cue Level control;
- a 3.5 mm TRS headphone jack.
A cue allows you to listen to a source before it is sent to the master, check a level, prepare a transition, or monitor the signal during a performance.
The path is as follows:
Cue Taps → Cue Mix → Cue Level → Headphones
The Pre/Post selector allows you to choose the monitoring point according to the desired behaviour: before or after certain processing stages.
16. Summary of the main routing
The main route of the canals is:
Phono / Line / USB → Input stages → CH 1 / CH 2 → HPF → Gain → Mute → Cue Tap → Filters → Crossfader → Isolator → Main Mix Bus → Output Crossover → Output Mode Matrix → Master Outputs*
The path to the AUX inputs is:
AUX 1 / AUX 2 → Mic/Line Preamp → High-Pass Filter → Compressor → Gain → Main Mix Bus
The path to the external effects is:
CH 1 / CH 2 / AUX 1 / AUX 2 → FX Sends → FX Send L/R → External Effect → FX Return → HPF → Mono Option → Gain → Main Mix Bus
The path to the helmet is:
Cue Taps → Cue Mix → Headphones
17. Architecture designed for dub and sound systems
This internal architecture combines the essential functions of a performance mixer with advanced routing and processing tools.
The main channels handle the central mix. The AUX inputs allow you to add live sources. The FX Sends connect the system to internal or external effects. The three-band isolator provides the spectral control essential for dub. Finally, the crossover and output matrix allow the mixer to be adapted to simple or complex sound systems.
The result is a mixer designed not just as a mixing desk, but as a fully-fledged audio control centre for dub, live and sound system performances.
* The USB playback / USB input function is not yet available
