SONY DMX-P01 DIGITAL

4-Channel Portable

Field/Location Mixer

RRP £3,305 + VAT

Note: These mixers are not supplied with cables when you buy them.

This mixer is like new and has only ever been out a couple of times and that’s it.

OVERVIEW

Electronic News Gathering (ENG) and Electronic Field Production (EFP) applications deserve outstanding audio to complement the great-looking pictures obtainable with today's digital video cameras. 

With full 24-bit processing and 48/96kHz selectable sampling, the new DMX-P01 Portable Digital Mixer delivers studio-quality mixing of up to four microphone or line sources in an incredibly compact, go-anywhere package.

Brilliantly engineered with an intuitive control panel for fast, easy, accurate adjustment, the DMX-P01 packs a host of features for in-the-field use. On-board digital limiter / compressors assure stable levels when contending with real-life sound sources. Up to ten "scene memories" recall mixer settings for instant re-configuration in multiple shooting scenarios, and control settings can be locked against inadvertent adjustment. 

Sound recordists and camera crews will also appreciate the convenience of video-friendly features like flexible meter scaling and simple matching of mixer output and camera audio return levels.

Designed with the user in mind

The DMX-P01 has been designed with the user in mind. The controls and functions are all logically placed so as to make the operation as easy as possible. This digital mixer brings with it the use of menus that allow the user quick access to settings and functions. The result is a mixer being a pleasure to own and use.

Digital future

The DMX-P01 has all the benefits of an analogue mixer with the added advantage of digital processing and digital output. This provides excellent sound quality coupled with varied connectivity to other digital equipment that is becoming the requirement in this digital age.

A memory of its own

The DMX-P01 has its own memory for the user to store and recall settings. No longer do you have to commit this to your own memory or have to remember where you wrote it down.Several users can store their own preferences according to the type of work being carried out. This is a huge benefit to production and hire companies alike.

On the level

The user is provided with six types of metering scale. These can be recalled whenever required. Using this mixer in whatever country you may find yourself provides the metering scale that is normally worked to. This puts the user on a level of flexibility not seen before. No more quick or rough conversions required.

Features

High sound quality with digital technology

In order to provide high sound quality for ENG and EFP applications, the DMX-P01 offers full digital audio processing - 24-bit A/D and D/A converters, 32-bit internal digital processing for maximum throughput and selectable sampling rate of either 48kHz or 96kHz

High quality digital limiter/compressor

By using the digital limiters and compressors, the DMX-P01 can provide high quality sound from a small package. A sound engineer can select suitable parameters easily on the LCD/Menu displayInput Limiter, Selectable thresholdOutput Limiter, Selectable thresholdOutput Compressor, Selectable threshold, ratio, attack time, and release time.

Full parameter controls on front panel.

All of the controls are cleanly organized and logically placed on the front panel. Parameters that are used less frequently are stored internally and accessed only when needed. Using the front-panel controls and easy-to-read LCD allows full control of every parameter without the need to remove the unit from its carrying case. Backlight for low-light conditions, LCD Heating for low-temperature conditions.

Panel-Lock and Parameter-Lock Features

Safeguards against inadvertent operation. The Panel-lock feature, which can be applied to all of the controls, will not allow settings to be changed. In addition, the Parameter-Lock feature also avoids accidental parameter changes.

Camera-Audio Return-Level Check

The DMX-P01 enables the sound engineer to visually verify that mixer's audio levels match levels recorded to a camcorder tape, by using a camera return-level mode in the setup menu. The P01 simply sends a reference sine signal to the camcorder, and the level difference between the mixer output and camcorder return signal is displayed with a marker. Then, a quick adjustment to the L/R master of the P01 or REC level of the camcorder to place the marker beneath a CENTER MARKER indicated on the LCD, and the level adjustment is completed.

Memory Function

Users can store and recall parameters from the setup menu. There are two memory functions: "Power-On Memory Recall", and "Scene Memory Recall" and "Power-On Memory Recal". : When the DMX-P01 is powered on, the system is capable of recalling parameters in three different ways (1) Default factory settings (2) The same settings as the last time the unit was used (Last memory) (3) The parameters of one specific scene memory (Scene No. 0, 1, 2 etc.) 

Scene Memory Recall. This feature allows users to recall up to ten user-defined parameter settings or the factory default settings. This is useful in situations where a single unit is required to serve multiple users or multiple shooting scenarios. The recallable parameters include: Level Meter Type, Low Cut Filter Frequency, Input Limiter, Output Compressor/Limiter-Link / M-S setup.

Digital cascade

For applications requiring additional inputs, the DMX-P01 can be cascaded using a digital connection between mixers. A benefit of digital cascading is that a sound quality is not degraded.

Digital Output

The DMX-P01 is equipped with digital outputs, which are used to send audio signal to digital equipment, such as DAT recorders. AES/EBU and S/PDIF coaxial interfaces are available.

Specifications

AUDIO SECTION

Mic Input

Selectable mic -70 dBu to -30 dBu (max 0 dBu) or line level -30 dBu to +10 dBu (max. +24 dBu)

Four XLR-3-31 (female) connectors

Line Input

Selectable mic -70 dBu to -30 dBu (max 0 dBu) or line level -30 dBu to +10 dBu (max. +24 dBu)

Four XLR-3-31 (female) connectors

Line Output

Tape output (analog) 2 ch: -10 dBu, (max. -10 dBu) O1/8" TRS jack, unbalanced, 10 kohms or more

S/PDIF (or Cascade output) (x1)/ IEC 60958 coaxial phono connector, unbalanced

Master output (analog) 2 ch: +4 dBu, -10 dBu, -60 dBu, (max. +24 dBu) , XLR-3-32 (male) (x2)

Digital output 2 ch: AES/EBU / XLR-3-32 (male) (x1)

Frequency Response

20 Hz to 40 kHz +0.5/-3.0 dB (@ 96 kHz)

Total Harmonic Distortion (Line Input to Line Output)

Less than 0.05%

Signal Processing

Digital limiter and LCF on each input, digital limiter and compressor on main output.

GENERAL

Power Consumption

Internal: DC 12 V (eight AA-size alkaline batteries)

External: DC 12 V via DC jack or DC 10 V to 15 V via XLR-4-32 (female)

Power Requirements

DC 12V

Dimensions (W x H x D) *[1]

266 x 68 x 206 mm

10 1/2 x 2 3/4 x 8 1/8 inches

Mass

Approx. 4lb 13 oz / 2.2 kg

Sony DMX-P01 Cables needed:

Depending on how you are setting up your audio rig, you will need standard balanced XLR cables for microphones and outputs, AES/EBU digital cables for digital feeds, and a 4-pin XLR DC power cable for battery-free power.

Here is exactly what you need based on the mixer’s ports:

Audio Inputs & Analogue Master Outputs

• Cables needed: Standard balanced 3-pin XLR cables (Male to Female).
• Usage: Use these for connecting standard professional microphones, wireless receivers, and running main analog feeds to your cameras, recorders, or PA systems.

Digital AES/EBU Output

• Cables needed: 110-Ohm AES/EBU digital XLR cables (or high-quality, low-capacitance DMX cables).
• Usage: For connecting digitally to high-end portable recorders (like a Sound Devices or a DAT recorder) to maintain a pure, interference-free digital signal chain.

Power Input

• Cables needed: 4-Pin XLR DC power cable (10V–15V).
• Usage: Perfect if you are running the mixer off an external battery block (like a V-mount or Gold mount battery via a D-Tap to 4-pin XLR) or a wall adapter, rather than the 8 internal AA batteries.

REVIEW

HEATED LCD, HOT DESIGN

Sony is no stranger to video production. In fact, Sony has the whole signal production chain pretty much covered. For the field mixer niche, Sony created the DMX-P01, a portable digital mixer with a few extra features that will land Sony right in the heart of the field mixing market.

DMX-P01 IN THE FIELD

The DMX-P01 is a 24-bit/96kHz mixer with AES/EBU and S/PDIF outputs. It has four microphone/line inputs with gain controls, phantom power and two balanced analog outputs, and comes equipped with digital limiters, compressors and an LCD for checking levels and settings. The LCD can be selected to be heated, so it also works in cold temperatures. The DMX-P01 features digital cascading for linking two DMX-P01s and scene recall, something not usually offered on a field mixer. It’s lightweight and runs on eight AA batteries or from an optional AC adapter. It comes with two battery packs that should get you though a typical day of shooting. The unit is wrapped in an attractive metallic shell that is reminiscent of its VAIO line of computers. Engineers will mourn the first nick and scrape to their DMX-P01, much like a scuff on a cool new pair of shoes. I’d rather see the money go toward the controls vs. the aesthetics, but more on that later.

We used the DMX-P01 primarily in a field production setting. For simple run ‘n’ gun news gathering, this mixer might be overkill and in some cases, inhibiting - without previous mastery of the controls. The menu-driven control panel is straightforward but not ideal in a pressure situation. It’s like choosing settings on any piece of digital gear: Turn a dial, find a setting, press the dial. Analog controls are the easiest to access, of course, but a menu is required to navigate the added features of the DMX-P01. The low-cut filter is adjustable from 50 Hz to 400 Hz at typical increments, and offers A and B settings for each channel. Scene recall could come in handy for an audio engineer who works the circuit on a variety of shows with the same folks. In general, Sony did a nice job of adding menu-driven features, keeping the design straightforward.

When I work with production crews, the typical mixers in the arsenal are made by Cooper, Audio Designs, PSC, Shure, etc. Sound engineers usually spend a lot of time getting to know their mixer, and become comfortable with a certain piece of gear over time. The harsh reality is, with a lot of broadcast and cable TV programming, audio is the second priority after shooter, camera and format. However, the DMX-P01, when mastered, could provide an advantage in setup time and possibly be used as a selling tool.

The DMX-P01 is similar to a Cooper CS104 in layout. Access to controls, filters and most everything besides the I/O can be found on the top face. That means no hunting around the bottom and side panels for settings. The unit is as sturdy as you’d expect a field mixer to be; many of the switches are protected in curved recessed slots. 

This design helps to prevent the accidental bump of a setting. However, I’d like to see more steel on some of the controls. The input level knobs appear especially vulnerable, as they protrude from the unit the most.

Sony’s design staff may have won out over the engineers on this one.

Overall, the feel is good and most everything is accessible.

I’m not a huge fan of using an LCD panel for setting levels and tweaking settings - I find the process a bit cumbersome. But the reality is, once the settings are made, most of the action takes place on the analog level controls anyway - just a matter of comfort level. The good news, though, is the LCD is accurate and works well with the headphone mix: What you see is actually what you get.

IT’S A WRAP

The digital guts in this mixer enable more ways to tweak the signal and pass it around to other equipment. For example, while shooting a home improvement show, the versatile low-cut filters came in handy for removing low-frequency energy from the sound of leaf blowers off in the distance and the general hum of a nearby street. As for the Scene Recall feature, you would have to work in a very consistent sonic environment to get a lot of value from it - for example, it could come in handy for remote recording of bands.

The DMX-P01 did everything I needed it to do, and sounded great. Its clean design was easy to get around. It appears well made and road-worthy apart from a few plastic knobs. It offers a multitude of ways to capture and distribute audio in both analog and digital environments. It would be hard to justify the cost of this mixer for a run ‘n’ gun shooting team that’s already using something tried and true. However, the DMX-P01 competes well in the upper echelon of what’s being offered. When serving clients who believe audio is just as important as video, Sony’s DMX-P01 could help you win business.

Review by Rick Spence, owner of AVT Pro, a production company in Silicon Valley.