By Dick Rosmini(1989)
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Forward by Wes Dooley (2002)
When we first started working with the MXP 3000, we invited Dick Rosmini to try one out. Richard was an exceptional guitarist, musician, photographer and recording engineer. Visit http://www.wirz.de/music/rosmifrm.htm for some insight. His consulting work for Teac/Tascam was the catalyst for the project studio movement. His projects for them such as the "PortaStudio", the Model 5 mixer and "Are you ready for Multi-Track?" were seminal. We're lucky that we asked Dick to write an article about the MXP 3000 and are pleased to reprint it here with a few updates for those discovering/rediscovering this console.
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The MXP 3036 version is the best known of the series as more than 400 of them were built between 1986 and 1995. As with API consoles, the MXP 3000 is quite modular and offered a variety of factory microphone pre-amp and EQ options. Third party offerings from API, Avalon, Forsell, JL Cooper, John Hardy, Martech and Uptown offered an unprecedented degree of flexibility. These consoles also hot rod nicely, as the tube modules from Forsell and less radical AEA modifications attest. The combination of MCI console design experience and Sony manufacturing discipline has proved to be very powerful. The sonic quality and reliability of these consoles are outstanding. We know of units that have been in continuous use for 15 years and have never needed a switch replaced.Summary
The Sony MXP-3000 console is an inline console built in 20, 36 and 52 input frame sizes. The frame is exceptionally rigid and supports user interchangeable, application specific modules. Operation convenience and sonic performance were two major design criteria. A third major criteria was affordability and reliability. Sony/MCI has built more consoles and tape machines than any other manufacturer. They have always had a reputation for innovation, performance and good value for the money. These new large frame consoles continue those traditions.The MXP-3000 is probably the quietest console ever built in its size range. It's use of–
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- Oxygen free copper wiring
- All good circuit connections
- Five (5) equalizer modules (two additonal from third parties)
- Four (4) Sony mic preamps (two additional from third parties).
- Three (3) metering systems
- Two (2) levels of automation. (plus JL Cooper, Flying Faders, GML and Uptown automation)
- Transformered or transformerless I/O modules
- "Wild" automated stereo faders
- Two (2) communications modules
– demonstrate that the MXP-3000 has plenty of "unstandard" standard features and options. The build quality of the console is outstanding as are its sonics. The price is surprising low, especially considering that you buy only what is needed for your application. A brief overview of the MXP-3000 follows.
Modularity
The key to the flexibility of most of the old "built on site" consoles of the past was the fact that there were standard methods (inherited from the world of broadcast) of connecting and terminating individual sections of electronics. Many manufacturers offered "pre-packaged" circuits and controls that were designed to fit in standard size mounts, or were built on sub-assemblies of a standard width. By careful selection and assembly, a customized package could be put together that would suit the requirement of the job at hand.
We now have 24 track, digital, automation systems large and small, interlocked machines, and the vast requirements of computer music to consider. To handle this vast increase in possibilities, console manufacturers have been forced to design and build for the proverbial "average user." We now see many examples of the "one size fits all" multichannel mixer, at every level of complexity, quality and cost, from the solid top 16 input keyboard controller through to the 100+ input semi-custom auto-everything charisma consoles.
Although most of these designs serve the art fairly well, the possible number of tracks, mixes, processor returns and functions continues to grow. Even on the most deluxe units, there is always some function, feature or control that is not quite right. The prospective purchaser is often forced into this tough decision: buy low and make do, or, buy high to get the extras, and live with the fact that some part of the console is not needed, and just sits there, gathering dust. Once again, there is a strong need for the master mixer/engineer to have more control over the function and ergonomics of the primary "tool of the trade".
The engineers at Sony Pro Audio in Florida have responded with the MXP-3000 system of frames and modular components, and the options reflect the difference between the 'good old days' of direct to stereo and the problems of today. Some parts of our industry have not changed, and the primary area that is very little different is the desire for the best possible sound. In the MXP-3000 20, 36 and 52 input frames, Sony has used oxygen-free large crystal copper wire for all internal wiring, and has developed new hybrid I.C.s for the critical differential amplifiers needed for the active balanced mic pre amps, the bus summing amps, and the balanced line ins and outs. These custom designed large junction hybrid packages provide the benefits of the old-style hand wired discrete transistor circuits without the increased cost of individual component assembly, and this gives you the benefit of great sound at a modest price.Transformers optional
Although active differential amplifiers offer substantial isolation, Sony recognizes that there are some installations that can't afford even the slightest risk of leakage. Transformer isolation of all inputs and outputs is available, and a special mic pre using the Jensen JE-115 feeding a selected 5534 is available "off the shelf". Heavy users of inexpensive "music grade" effects devices might also benefit from ordering a patch bay with a number of transformer isolated lines. A transformer-isolated patch here will keep the less-than-state-of-the-art power supply noise from being connected to your whole console along with the "juicy effect" you need on line 18. Some of the older pro audio processors also suffer from hum and buzz due to the use of single ended power or the results of aging parts. A transformer isolated patch point will allow you to gain the benefit of their sonic manipulations without having an antiquated standard for S/N imposed on your whole mix. Finding a good ground is just as hard today as it was in the good old days. Regardless of the advances in technology, some things never change.
What area is the one that is most changed by more tracks? Everyone agrees about this one. It's the change in the function of the equalizer, and that's the module that Sony has made the most flexible in the MXP-3000 system.Five factory equalizer options + two third party choices
Occupying the same physical space, each EQ option module offers a different approach to the problem of sonic control. You can mix and match equalizers wen you order your console. Since all these modules mount from the top (two fasteners only, and the tool to lift out a module is provided) a functional change in EQ can be made quickly in the middle of a session without rewiring. All equalizers have true "hard wire" bypass switches so you won't have to pass your signal through them if you don't need additional control. If you don't need EQ none needs to be fitted. Third party EQ modules from Avalon and API are also available.MXBK-EQ31
Considered the "stock" or standard module, this 4-band sweep (semi-parametric) unit covers the audio band with generous overlap between the low and mid sections.
With a fixed "Q" of 1.5, 4 sets of controls allow boost/cut in closely related frequencies without losing control of the extremes. 2k up, 5k down, and you still have a section left for that necessary 10k boost. The top and bottom sections can be switched between peaking or shelving action.MXBK-EQ32
Adds a switch to each of the four bands to change the "Q" from a wide range to a much narrower "bite." Each section can be switched separately, and the ranges, overlaps, and peak-shelving functions are the same as the MXBK-EQ31.MXBK-EQ33
When complete control of the bandwidth of frequencies affected by a section is desired, the MXBK-EQ33 offers the flexibility of continuously adjustable "Q" from a "wide" .5 to a supertight 6.0.
In addition, the overlap range of the upper sections has been greatly extended, and the low frequency section goes down all the way to a 20 Hz center. This type of extremely wide range full function equalizer is usually found only in rack mount versions. If your business is film or special effects, this is definitely the unit to consider.MXBK-EQ34
A quick look at the top panel of this unit might make you think that we have entered a time warp. What, fixed frequencies, in this day and age of sweep everything? Yessir, and its back to the future, as this equalizer uses real (not simulated) inductors! There are many engineers that think that the old style of LC circuit sounds different (and better) than the modern op amp implementations. With the MXBK-EQ34 Sony lets you choose for yourself. If you are the type that has all the old vacuum tube mikes, and a pair of mint condition RCA 44s, this is your dream come true. Four bands, ° 15dB, four fixed center frequencies per band, and NO SIMULATED INDUCTORS! REAL WIRE! Don't go away, we have lots more knobs to talk about.MXBK-EQ35
A complete 10 band ISO center frequency graphic in a single module-wide space! Each section provide ° 12dB of adjustment for creation of those shaped curves that are almost impossible to get any other way. This type of EQ usually requires an outboard rack and patch cords, forcing you to turn away from your mix to tune your sound. With the Sony MXP-3000 system, you can have full graphic flexibility right in front of you, on the top panel!Independent low-pass and state variable high-pass filters
A small section on the top, the differences between these controls and the average set of filters might go overlooked. We think that they deserve more than just a word or two. The low pass filter is set for modern times, with a 16kHz 3dB down point, and is not the brute force 10kHz chopper of the past. Broadcasters will appreciate this, as it will eliminate hiss, multiplex, bias interactions and computer line trash and still leave you with a decent bandwidth. The state-variable high pass can work miracles in multitrack. Once you've seen what it can do, you'll wonder how you ever got along without it! The break point for this 12dB per octave filter is variable, from 20Hz to 320Hz, so you work it this way: dial it up until you hear it bite into the primary sound, then back down until the effect leaves the main signal clear. You have now removed all the room rumble, all the low frequency drum leak, and all the low frequency bandwidth that your track does not need. On snare, this filter can be almost as effective in controlling bass drum leak as a gate, and it is much faster and easier to set. In mixdown, using this filter on all of the tracks that don't actually have low frequency energy will clean up the midrange, and may allow you to hear a surprising amount of midrange clarity and stereo separation WITHOUT the need for any additional EQ! This is a winning function that no mixdown console should be without.Microphone Preamps
Any one of the four microphone preamplifiers can be installed in the I/O module, and a dual line level module is an option for those installations that don't require a full complement of mic preamps. Third party microphone preamps are available from Avalon, John Hardy and API.MXBK M131
A single channel transformerless mic pre using the new hybrid. The gain range is adjustable. From 15 to 35dB in LOW, and 30 to 65dB in HIGH. Switchable 48V phantom is provided.MXBK M132
A two channel (either mic A or mic B, switchable) version of the M131. The broadcast community will appreciate the "backup" capability of this option, as it provides instant switchover safety without using up another module. All controls of the M131 are duplicated, and dual.MXBK M133
A transformer isolated preamp using the Jensen JE-115. Phantom power, 40 dB of variable gain and a 20dB pad are provided, with the max (pad out) gain being 65 dB.MXBK M134
The two channel (A.B instant switch) version of the M133 described above.Line level MXBK-L132
If your module does not need a mic pre, you can either leave it out and just have the basic single line input or install a L132 dual line input module. Each line has it own +/- 10dB trim, and as an additional feature, BOTH lines can be selected and trimmed simultaneously, providing a "quick mix" of the two signals! To get the benefit of transformer isolation, you order the mod as a part of the I/O module.Metering
Standard metering is by VU meters. BBC scale PPMs (Peak Program Meters) are one option. Alternately Vacuum Fluorescent (VF) metering may be fitted which provides four different metering scales: VU, DIN Peak, BBC Peak, and Nordic Peak. The VF system can also be used to show the DC control voltages for the VCA faders.Routing
24 individual channel assign switches plus a direct assign make correct bus selection easy. Odd/even bus panning is available. Six auxiliary sends, two mono pairs and one stereo are available, pre or post fader. Stereo solo functions are available for bus output and channel input on the I/O module. A new feature provides user-adjustable peak and "signal present" LEDs near the fader area for handy reference.Automation
The console can be ordered with manual or automated faders. With automation the dbx 202X VCA is used to maintain the system's low noise floor. A fader reverse function is provided. Two levels of automation are available from Sony as well as third party moving fader systems such as Flying Faders, GML and Uptown. Sony's first level system is tape based. It provides extensive functionality without operator interference by using clever infrared master control that can roll across the fader area. Sony and JL Cooper co-developed the MS3000, the preferred second level SMPTE time code based system. This system uses a Mac computer system running system 7 in monochrome for display and storage. The infrared remote is used for convenient control of normal automation functions. Either level of automation supports the optional "wild" stereo faders (8 maximum).Ask us for more!
If this article has aroused your curiosity, please give us a call. We'll be happy to talk with you and help you get your hands on an MXP-3000 system. We often have one on display here in Southern California. So, if you have a chance to visit, we'll be able to show you more and let you get the feel of the console. We like this console system, and we're certain that you will too.
