Rotary controls are used for the master output and all the channel gains, while the phones level is controlled by the main level pot.Īll the line ins and outs work at a nominal +4dBu level, though they will of course handle ‑10dBV signals too, and for convenience, all the audio connectors, with the exception of the mic and tape inputs, are quarter‑inch jacks.

There are no aux send master controls, though there are level controls for the two stereo returns. Using the left input only configures the channel for mono use.Ī smooth‑sounding, twin‑band high/low EQ (+/‑ 15dB 100Hz and 10kHz) is fitted to all channels, along with one pre‑ and one post‑fade aux send, and a pan/balance control. All three mic/line inputs are electronically balanced with gain trim controls and permanent phantom power, while the three stereo line channels are unbalanced, with separate jacks for the left and right inputs. The MixPad 9 is divided into mono mic/line channels and stereo line only channels - in this case, three of each. There's also a stereo phono tape/CD input, but this is paralleled with the last pair of line inputs, so it can't be counted as independent. Measuring a diminutive 239 x 228 x 58mm, the MixPad 9 scores hugely on cuteness, and if you count the two stereo returns, you'll find you can mix up to 13 different signals, which is impressive for a mixer that's no bigger than a mouse mat.

Samson's 9‑channel MixPad 9 is so small, it makes Mackie's 1202 VLZ look like a full‑scale recording console. The construction might be solid steel, but you don't need the strength of Samson to lift this little mixer, as Paul White discovers.

Samson mixpad review