As good as the Promix 3 is, what occurred to us while we were putting it through its paces in the field, is that most of its features, balanced-in/out, channel pan, low-cut filtering, etc., duplicate what's already on most prosumer DV cameras. The difference is three channels over two. Given the Promix 3's $495 price point, you really have to ask yourself if that one extra channel is worth it. Over the years, I've found that when I had a shoot where more than two channels of audio were required, it usually meant that I was going to need a lot more, not just one more. PSC knows this, we think, because they'll be shipping the Promix 6 by the time you read this.

Having given the Promix 3 all the kudos it deserves, we're not sure who is actually going to absolutely, positively have to have it in their field equipment arsenal. If you're shooting with any of the many DV cameras with balance inputs you're probably not going to be able justify spending almost five-hundred bucks for one additional channel of mixing capability. However, if (1) you're shooting with a camera that doesn't have balanced I/O and (2) you need to field mix three audio channels and (3) you can afford to spend $495, the Promix 3 by Professional Sound Corp. won't let you down.

Size: 9.950" X 6.675" X 1.500" (25 cm X 17 cm X 3.8 cm)
Weight: 1 lb., 11.5 oz (0.8 kg)
Distortion: 0.08% THD @ 1kHz
Power: 2x 9V Alkaline Batteries, 4 to 6 hours typical run time or external power of 7 to 18Vdc
Inputs: XLR Female, Electronically Balanced, 3K Ohm Impedance,3-Way Switchable, Line Level, Dynamic Mic, Condenser Mic
Mic Power: 48PH to DIN Specifications, individually switch able
Low Cut Filters: 6dB/Octave, -3dB at 80Hz, -3dB at 150Hz
Channel Pans: Individually Switch able Left, Center, Right
Frequency Response: 20Hz to 20kHz +/-0.5dB
Noise Level: -128dB EIN, 150 Ohms, "A" Weighted
Tape/Direct: Headphone Monitoring, Direct (mixer) or Tape (camera)
Limiters: Outputs, approximate 2.7 to 1 ratio above threshold
Meters: LED, Peak Reading, Sun Light Readable, -20dB to +3dB
Monitor Volume: Rotary Control, Off to Maximum Volume
Outputs: XLR male, Balanced, Line (0dBv) or Mic Level (-50dBv)
Auxiliary Outputs: 3.5mm Jack, Dedicated Microphone Level Output (-50dBv)
Headphone Out: 3.5mm Jack, will drive 25 to 600 Ohm Headphones
Warranty: One year limited

• Balanced XLR microphone input/output connectors
• Phantom power switchable on each input channel
• Low Frequency roll off filters on each input to reduce wind noise
• Dedicated Microphone level output jack for use with cameras not equipped with XLRs

• 3 inputs not enough for most field work
• Pricey

A solid well designed mixer for those needing a third mic or line input or need to remove the mixing controls from the camera body.

Richard Gray is the Production Manager for a network affiliate TV station.

$495
Professional Sound Corp
28085 Smyth Dr.
Valencia, CA 91355
(661) 295-9395
www.professionalsound.com