THE CREST XR-20 is a 10-rackspace, 16-channel, 20-input mixer with four group buses and stereo and mono main outputs. It is also a benchmark product that will likely become the standard by which all other compact mixers are judged. Part of Crest's new X-Rack series, the XR-20 has a staggering number of features, including 100 mm faders, mic pres with individually switchable 48V phantom power on all input channels, six highly configurable aux sends, and inserts on all inputs, subgroups, aux outs, and L/R and mono outputs — to name just a few. The XR-20 also sounds extremely clean and warm.
At $2,200, the XR-20 is pricier than many compact boards, but many of its myriad features were previously associated only with high-end mixers. There simply isn't space to cover all that the XR-20 has to offer, so I'll focus on a few of the most significant features.
AROUND RACK
You pretty much have to rackmount the XR-20 because its rear panel is more than half covered with I/O connectors (see Fig. 1). I recommend a nearly vertical orientation for mobile applications; if you mount the mixer horizontally at the top of a combination mixer/signal-processing rack, you will definitely regret the lack of access that setup allows when you're troubleshooting problems under pressure.
Twelve mono and four stereo input channels are provided for the unit's 20 inputs. The mono channels have XLR and balanced ¼-inch connectors, as well as ¼-inch direct outs and channel inserts. The stereo channels have dual XLRs and two mic preamps — suggesting applications such as room miking, choral reinforcement, orchestral recording, or drum overheads where stereo microphones or mic arrays might be appropriate. The main L/R and mono outputs have XLR connectors as well as insert points, and they are switchable between mic and line level. The six aux sends have XLR and ¼-inch connectors, and they also have inserts.
The unit has balanced ¼-inch inputs for each of the four group buses and balanced XLR inputs for the main L/R and mono buses, allowing you to send signals to them directly, as you would when linking mixers together. Stereo pairs of RCA and ¼-inch jacks are provided for the monitor and alt outputs, and the tape (line) input. The back panel is also where you'll find an IEC connector for the internal power supply (which automatically accepts voltages from 100 to 240), a pair of 5pin DIN connectors for linking the solo systems of multiple XRack series mixers, and the individual phantom-power switches. That last feature will please fans of ribbon mics as well as those using the XLR inputs to connect line-level sources that require protection from phantom power.
GREAT EQUALIZER
The XR-20's mono channels have 4-band EQ with sweepable mids and an 18 dB — per-octave highpass filter for eliminating rumble. Remarkably, the stereo inputs employ the same powerful and musical 4-band EQ, with each stereo pair having a single set of controls. The relatively narrow width of the two broadly overlapping sweepable midbands allows almost surgical remedying of such problems as lumpy low mids from a flattop guitar or uneven response from a bass. With CDs as a source, boosting the 12 kHz shelving high EQ could bring cymbals and tambourine forward without making vocals sharp or harsh.
There's also a handy EQ on switch, but it must be used mindfully because it momentarily interrupts the signal. It was only the ready comparison offered by that switch that led me to notice the tiny loss of transparency and sparkle suffered by signals passing through the EQ with all the boost/cut knobs at 0.
SIX SENDS
The XR-20 has six aux sends, switchable between pre- and postfader in pairs; auxes 1 and 2 are configured as a stereo pair with level and pan knobs. That cunning pair should prove quite handy for providing secondary stereo mixes for recording, side-fill monitors, broadcasting, delay speakers, headphone mixes, and multizone applications — or as independent mono auxes for effects sends.
Unfortunately, as configured at the factory, the aux sends are post-EQ whether pre- or postfader; that can be problematic when stage monitors are mixed on the same console as front of house. Tonal shadings that a performer may wish to hear onstage are not always consistent with what should be presented to the audience, EQ changes that are necessary at front of house change the sound onstage, and boosting frequencies creates peaks that are likely to cause the monitors to feed back. According to the user manual, the pre- or post-EQ and mute status of each input relative to the auxes can be changed, but detailed instructions are not included.
ALONG THE ROUTE
Inputs are routed to the four groups and directly to the stereo outputs by a combination of bus assign switches and a pan pot. Each input can also be switched individually into a mono bus (as differentiated from a mono sum output) complete with its own master fader, insert, and various paths into the monitor and headphone systems. All 12 mono inputs are also available at individual direct outputs to facilitate multitrack recording. The groups are in turn switch-routable to any combination of left, right, and mono main outputs. The mono bus can enable true left-center-right mixing (albeit not LCR panning); it can also run the P.A. in mono, feed dressing room monitors in theater installations, be used for delay and multizone feeds, and send particular inputs to subwoofers.
The aux, group, left, right, and mono buses and the mono input channels are equipped with inserts, which is unique in a board this size. Curiously, the ¼-inch TRS jacks used for the aux and group inserts have plastic sleeves, a potential Achilles heel. The unit uses all-metal jacks everywhere else. Left, right, and mono outputs, which can be switched between mic and line level, are electronically balanced. Most other outputs are “ground compensated” to give many of the benefits of a balanced output at lower cost.
Unique also are the Headphone and (control room) Monitor systems, which can operate independently of one another. Switches allow the Monitor output to be fed pre- and after-fader listen (PFL/AFL) or any combination of tape in, auxes 1 and 2, mono output, left and right output, groups 1 and 2, and groups 3 and 4, and sum them in mono to boot (great for checking broadcast mixes for mono compatibility). The beefy headphone amp allows a choice between left and right buses, PFL/AFL, monitor, or tape in, adding the mono bus at the push of a button.
Below the Gain control, the stereo inputs have a Sum Inputs switch. The XR-20 provides ample other opportunities for summing to mono, so this position would be better filled by the 70 Hz highpass filter, which is similarly located on the mono inputs and which reduces stage rumble and muddy lows when the input is used for mics on all but the lowest-pitched sources.
Finally, the mono inputs are so capable and otherwise fully featured that I can't help wishing that the Crest engineers had gone all the way and squeezed in phase reverse switches, but I suppose that you can't have everything.
SO MUCH MORE
As I said, the Crest XR-20 is so jam-packed with features that it is impossible to cover them all in this space. I've indicated some of the ones that I feel are most important, but I highly recommend that you rush down to your local Crest dealer and check this mixer out for yourself.
The XR-20 allows the user to craft mixes lovingly, with a degree of sophistication and versatility never before available from a console that can be racked up and carried with one hand. It's not cheap, but it is a true bargain.
XR-20 SPECS
Inputs (20) XLR mic, (12) balanced ¼" TRS line, (2) RCA, (2) ¼" tape, (4) balanced ¼" TRS group bus, (3) XLR L/R and mono bus
Outputs (3) XLR, (3) balanced ¼" TRS L/R and mono main, (6) XLR, (6) unbalanced ¼" aux, (12) unbalanced ¼" direct, (2) RCA, (2) unbalanced ¼" monitor, (2) RCA, (2) unbalanced ¼" alt, ¼" TRS headphone
Inserts (25) ¼" TRS mono channels, auxes, L/R and mono buses, groups
Channel EQ 4-band, ±15 dB (12 kHz shelving high, 400 Hz-8 kHz high mid, 100 Hz-2 kHz low mid, 80 Hz shelving low)
Solo PFL/AFL switchable
THD <0.01%, 20 Hz-20 kHz @ ±15 dBu out (any output)
Phantom Power 48V individually switchable, all channels
Dimensions 17.5" (H) × 19.0" (W) × 4.5" (D)
Weight 30 lb.
PRODUCT SUMMARY
Crest Audio
XR-20
Compact mixer
$2,200
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PROS: Impressive array of high-end features, including dual mic preamps on stereo inputs, excellent EQ section, stereo aux buses, separate mono bus, independent control-room and headphone monitors, and individually switchable phantom power. Clean, warm sound. Compact size. Rackmountable.
CONS: Aux and group TRS insert jacks have plastic sleeves. Prefader aux sends are post-EQ. No highpass filter on stereo inputs.
Contact:
Crest Audio
tel. (201) 909-8700
Web www.crestaudio.com
