Issue link: http://digital.copcomm.com/i/1122919
Zoom LiveTrack L-12 mixer/recorder. Aimed at the music recording market, the L-12 is a 12-input mixer with 24-bit 96 kHz recording capability. analog or digital outputs. The input channels are equipped with separate limiters, 3-band equalization, and direct outs (channel inserts are optional). It can be powered via internal D batteries, or an external 10.5 VDC to 20 VDC power source. Prized by many production mixers for its sonic quality, the Sonosax is the only mixer/recorder combo to provide an analog mixer with a digital recorder. ZOOM LIVETRACK L-12 MIXER/RECORDER While the Zoom LiveTrack L-12 would not typically be found on a film set (due to lack of timecode, Scene/Take/Note metadata functions, and other limitations), I am including it here as an example of how far this technology has come. Sporting twelve tracks, twelve inputs, and 24-bit 96 kHz recording capability, along with basic equalization, at $600 street price, it certainly is something to be reckoned with. Thirty years ago, one would have needed at least a one-inch 8-track recorder and separate mixer to duplicate the basic functions that this unit provides (of course, mic preamps and other features may likely not be up to the same standards one would expect). Still, it's hard to ignore what can be accomplished at this price point. THE FUTURE So, in the span of about six decades, we have gone from analog mixing consoles equipped with large rotary faders, requiring significant amounts of power (and with very few features), down to small digital control surfaces that have virtually no analog signal path, whose primarily function is as an outboard control for the recorder. While the concept of a standalone mixer has not completely disappeared from the landscape (especially for larger channel counts), it is clear that when it comes to portable systems destined for location shooting of film and TV productions, integrated mixer/ recorder systems will continue to be the primary path of development. With the ability now to integrate wireless mic systems into the control path, we will undoubtedly see an expansion of the features related to RF systems (for example, the ability to load a full set of channel presets for both transmitters and receivers, and have real-time monitoring of the system as part of the control surface). As the trend toward miniaturization continues, the primary limitation will likely be that of the human interface, not technology itself. A sound mixer still has only ten fingers and two feet, so until the "direct brain interface" comes along, where one can control a mixer by thought, we are probably close to the limit as to how many channels can be packed into a given footprint. But I could be wrong… ©2019 by Scott D. Smith CAS, all rights reserved. ZMT3 PHANTOM 2 QRX200 WIDE-BAND DIGITAL RECORDING WIRELESS WITH ENHANCED RANGE AND AUTOMATIC TRACKING FRONT END RECEIVER FILTER DIGITAL MODULATION 100% digital modulation for superior quality ENCRYPTED AUDIO keeps transmitted audio private QRX200 LIGHT AND VERSATILE THE ULTIMATE IN RECEIVER FLEXIBILITY records and transmits at the same time accepts both lavalier and phantom microphones smallest, lightest phantom powered transmitter available C M Y CM MY CY CMY K Zaxcom_CAS-695_ZMT-QRX_HR.pdf 1 1/17/19 4:53 PM