Recording - May 2011 - 14

Phonic S16 Digital Console

analog domain using the inserts, and if a studio has one really amazing outboard reverb or effects processor, it can be fed by a pair of Multis and brought back on two channel inputs while still leaving 14 inputs for mics and other sources. The real hope Phonic has, of course, is that users will find all the effects processing they need in the S16’s internal DSP. That includes a battery of eq, dynamics, and delay processors (one each for all the inputs, all the Multi outputs, and the Mains), plus two assignable Effects that can be routed wherever needed, taking inputs from any channel, Aux, or Group, and routing to any combination of Mains or Multis. The eq is a 4-band full parametric with a lovely graphic display; you only switch on the bands you need, and they’re colorcoded for quick reference. The top and bottom bands can be standard peaking bands, shelving filters, or cut filters. Q values range from surgically tight to very broad and musical, and I found myself really liking the tone they imparted to my input signals. The dynamics processor offers a gate, expander, compressor, and limiter, each available separately or combined, with a graphic display showing the combined effect of all modules at once (with color coding to show which are active and which one’s being edited). This is a solid dynamics control suite that does its job without fuss; as is common for effects in this role, it’s not designed to impart a sonic character to your signals, but merely to control erratic dynamics and eliminate problems, and has a good clean (if not “mojo-exciting”) sound as a result. The eq and dynamics (and the delay, a simple module with time, mix, and feedback control) can be placed in any signal order the user desires. The two Effects processors are stereoin/stereo-out devices which offer a pleasingly nice-sounding selection of send/return effects like reverbs (on Effect 1 only), echo, tap delay, modulation effects, and autopanning. No, there aren’t any crazy sound manglers like bit crushers, fuzzboxes, or pitch shifters, but most users would get those from their DAWs. Automation and computer integration The S16 offers scene automation and recall, with all fader, pan, mute, effects, and routings stored in memory. There’s a utility page where certain channels, Auxes, Groups, and Multis can be excluded from scenes if the user wishes.
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Up to four color-coded Link groups can be created by the user. These are channels whose relative fader levels follow one another; note that these are separate from routings to Group buses. There’s also a subpage for setting up shared parameters between odd/even channel pairs. The place where the S16 really comes into its own, even after all we’ve discussed, is when it’s hooked up to a computer. Windows ASIO drivers for USB and FireWire are included on CD-R with the mixer (Windows 7 now supports FireWire 800 for audio), and it’s Core Audio compliant with Mac OS X and recognized right out of the box as a 16-in/16-out interface for any DAW. Phonic states that you can even create an aggregate audio device in Mac OS X that combines two daisychained S16s, although we didn’t get to test this.

more you dig, the more you’ll find, and the color-coded displays generally give you exactly what you need to know when you need to know it. There are also nice extras like a set of sine and pink noise generators routable per the user’s needs, a comprehensive and easy-to-read consolidated page for Solo assignments and monitor-critical functions like PFL/AFL, internal or external word clock and sample rate select, and more. The manual is nicely illustrated and clearly written, answering questions clearly and conversationally, and the back-cover gatefold block diagram is a great insight as to how signals move around the S16. What’s missing? I mentioned the lack of MIDI before. Also, my needs won’t be the same as yours, but as an old-school sound designer with lots of quirky outboard effects hardware, I chafed at the S16’s lack of effects returns, and I ran out of inputs well before I ran out of sound sources, even in my small studio. I adore Phonic’s 24-channel boards, and use one as my main studio board when not doing reviews; 16 channels was a bit limiting for me, especially without dedicated Aux returns on top of those.

Every input channel’s display has a button to select DAW output in place of the channel’s input hardware, so you can bring DAW signals back into the console architecture wherever you wish. My only real problem with this system is that while the S16 does a great job as a multichannel interface, there is no MIDI communication between the console and your computer; you can’t use it as a control surface, nor can you automate fader moves or other parameter changes from your DAW. Scene automation is handy and made much more useful by the moving faders, but full dynamic automation would put this board into a whole new league. In use It’s a little disconcerting the first time you power up the S16; it sits there for a minute or three while it boots, checks its internals, and generally combs its hair and straightens its tie for the upcoming session. Be patient... once it’s ready to roll, you’ll find response to controls is pretty snappy and you won’t be upset by any lag time. There’s a lot to learn on this mixer; the

People used to iPads might find the LCD a bit small and primitive, but that’s a matter of taste; there is no denying that it does its job very well and displays information clearly. Phonic says future S16s will have VGA monitor and USB mouse ports. Finally, on my unit there was a tiny high-frequency whine in the headphone outputs whenever FireWire or USB was connected; this didn’t affect the quality of recorded audio, and Phonic reports they’ve found the problem and will fix it in a forthcoming firmware update. Overall, the S16 has a lot to recommend it; if you’re interested in having an automated digital mixer for a small studio that provides great sound and flexibility at an unbeatable price, there really isn’t anything else in its ballpark. I recommend you check it out in person at a local dealership with a portable music player in hand that can play back material you’re familiar with, single instrument tracks and full mixes, so you can hear the eq, dynamics, and effects for yourself. If you like what you hear—go for it! Price: $1899 More from: Phonic, www.phonic.com.

http://www.phonic.com

Recording - May 2011

Table of Contents for the Digital Edition of Recording - May 2011