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Tascam Offers Kamesan KS-342 Mixer
The Four-Channel Unit Is Suitable for Recording Live Music, Handles
Rough Treatment on Remotes
by Tom Vernon
Ever since Shure Bros. introduced the classic M-67 in the early
1970s, the challenge for designers of field production mixers has
been to build smaller boxes with more functionality without sacrificing
ruggedness and reliability. Kamesan continues this tradition with
its KS-342 four-channel field mixer, a device with a lot of features
packed in a small footprint.
Kamesan is a relative newcomer to the American broadcast market,
but its products have been available in Japan for over 30 years.
The fact that Kamesan commands over 90 percent of the Japanese ENG/EFP
mixer market suggests it must be doing something right. Tascam is
now the exclusive distributor for Kamesan in the United States.
I/O
On the left side of the KS-342 are the inputs: four XLR mic/line
connectors, a five-pin XLR plug for X-Y or M-S (Middle-Side) mics
for channels 1 and 2, as well as a five-pin mini DIN connector for
an assignable auxiliary input. There also are jacks for DC power
in and 12 Volt output.
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Product Capsule
Kamesan KS-342 four-channel field mixer
THUMBS UP:
Superb mechanical engineering
Excellent ergonomic design
Easily integrates sub-mix and limiter
Many advanced features in a small footprint
THUMBS DOWN:
Flimsy carrying case
Not repairable in field
Too much mixer for simple applications
PRICE: MSRP is $3,850
For information contact Tascam in California at (323) 726-0303
or visit www.tascam.com.
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The right side contains the outputs: XLR left and right line/mic
out. There also is an unbalanced 3.5mm stereo output. An XLR-5 connector
provides the main output busses and balanced sub-outputs. The AES/EBU
output is switch selectable between 44.1, 48 and 96 kHz.
There also are controls for the KS-342's compressor. The triggering
of the compressor can be selected between the left or right bus,
either bus or both. The triggering level can be selected between
+3, +6, +9 or +12 dB.
Each of the four channels can be individually set via a front-panel
switch for: mic with 48-volt phantom power, dynamic mic, A-B power
mic and line-level input. For M-S operation, channels 1-2 have a
matrix option, where Fader 2 controls the level, and Fader 1 controls
the width.
Each channel also features a variable low-cut filter, which is
continuously variable from 20 Hz to 200 Hz, along with a variable
gain control and an assign switch for left, right or center channels.
Momentary PFL is available for each channel by pressing in the low-cut
filter control.
The mixer's front panel also contains three options for the meters,
VU, BBC or Nordic scale. The headphone amp is switch-selectable
between L, R, AUX, stereo and mono. Master gain controls, battery
check, built-in oscillator and meter lights are included. A slate
microphone allows comments to be added to the main mix, a feature
more likely to be used in film or television applications.
Having all these controls on the front could result in clutter
and confusion, but Kamesan has used clever ergonomic design to simplify
operation. While the primary mixer and headphone control knobs are
conventional, the rest of the "set-up" controls are flush-mounted,
or nearly so, making them readily available, while rendering accidental
adjustments unlikely.
Power for the KS-342 can come from an external 10-15 Volt supply,
or from the internal battery pack. Eight AA batteries are required,
and a NiCad pack is available as an option. Batteries fit into a
special holder that can be quickly swapped in the field.
An annoyance is this holder can be put in the mixer upside-down.
The contacts are positioned so this won't cause any damage, but
it could lead to some anxious moments if the pack is changed in
the dark, or by inexperienced users. A better scheme might be to
have a holder that only fits in the mixer when inserted properly.
For those occasions when four channels isn't enough, Kamesan makes
the companion KS-6001 sub-mixer, whose four channels are functionally
identical to those on the KS-342, except for the M-S matrix.
The KS-6002 two-band EQ and compressor unit is available as an
option. Both accessory units latch on to the top of the KS-342.
Power and audio connections to/from the mixer are via a multipin
connector that pops out of the top or bottom of the units, eliminating
the hassle of additional batteries and adapter cables.
Solid
As we have come to expect from Japanese manufacturers, the mechanical
engineering, paint finish and overall quality of construction for
this mixer are superb. Switches and pots have a positive feel, and
the rubberized knobs provide a solid grip. Removing the top and
bottom covers of the KS-342 reveals two surface-mount, double-sided
PC boards.
Quality of construction on the inside is as durable as on the outside.
While the KS-342 doesn't have much of a track record in the United
States, it looks like it could stand up to the punishment and abuse
to which most remote gear is subjected.
The bad news about circuit boards with surface-mount components
is the unit cannot be repaired in the field easily. No schematic
is included with the unit, so it must be returned to the factory
if calamity ensues.
Included with the mixer is a protective vinyl cover. It comes in
two pieces, with Velcro fasteners and drawstrings. It is made of
lightweight material, which is unlikely to hold up for long. Users
of the KS-342 will probably want to purchase the optional and more
rugged KS-342CC case, which can bulk up to accommodate the KS-6001
and 6002 expansion units.
The 22-page operating manual includes specifications, a block diagram
of the mixer and illustrations of controls and connectors. All applications
and functions of the KS-342 are well-explained. The manual appears
to have been written by a native speaker of English, as it is not
in the difficult "Japanenglish" jargon that accompanies
much imported gear.
A quick bench check confirmed that the KS-342 met or exceeded its
frequency response, noise and distortion specs. Field tests confirmed
the ease of use for a simple field mix, although most of the advanced
features were not needed.
Kamesan's KS-342 provides a lot of horsepower, more than might
be needed for a typical remote broadcast. Stations that do live
recording of music, however, may be able to make good use of this
mixer's advanced features, and benefit from its durable construction.
Pricewise, the Kamesan mixer is a high-end device, and I suspect
the prime audience is film and television. It would be definite
overkill to use this unit for local sports remotes or covering a
grand opening at the mall.
But for radio stations that are serious about recording live music
on location, features such as the slate microphone, ability to mix
left and right separately, phantom power and multiple mixing configurations
may be worth the extra cost.
Tom Vernon is a multimedia consultant in Philadelphia. He can
be contacted by e-mail at TLVernon@blazenet.net,
or by calling (717) 367-5595.
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