A wide range of gain is available, from ‑10dB to +50dB, and the common ‑10dBV and +4dBu positions are clearly marked. The first four channels of the MX1602 are mono, with mic or line inputs.
The Eurorack is powered by an external power supply, which I normally hate, but since there are good technical reasons why mixing consoles nearly always have external supplies, and at least the connector screws in firmly, I won't list it among my cons (although some manufacturers seem to be able to build mixers that work perfectly well with internal power supplies). Having said that, 12 channels in such a small unit is still pretty good going. If I had been in charge of the naming committee, however, I would have called it the MX1202, since it only has 12 proper channels - the other four inputs come from the auxiliary returns. The MX1602 Eurorack is, as the name suggests, a 16‑input console mixing into a stereo output. I recently set up one in St Paul's Cathedral to record a choir conducted by Sir Yehudi Menuhin while the other was busy downstairs in the crypt as part of a PA system for Prince Philip! The Folios performed excellently, but I wouldn't have hesitated to use a couple of MX1602s, had they been available at the time, or indeed a number of other models of compact mixer that have come onto the market since the Folio. I have two Soundcraft Spirit Folios and they've done some excellent work for me.
Since this is the first compact mixer I have reviewed for Sound on Sound, I'd like to take this opportunity to say thank you to all the manufacturers who compete in this section of the market. It is a serious and well thought‑out tool for the professional live or recording engineer, as well as the home recording enthusiast. The MX1602 from Behringer may be tiny (you could almost lose it under a copy of Sound On Sound!), but it's not a toy. David Mellor does a spot of channel‑hopping. Yet another ultra‑compact mixer emerges from R&D, to fierce competition from similar models by other manufacturers.
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