Korg MW-2408

A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition — paired with the power of high-quality digital where it counts.

• True hybrid design developed with mixer design legends Greg Mackie and Peter Watts

• 24 x 8 x 2 or 16 x 8 x 2 models feature practical design structure and ingenious features that make mixing unpredictable live performances easy even for novices

• Peter Watts-designed HiVolt mic preamps, with the most headroom of any comparably-priced analog or digital mixer

• Unique Musician’s Phones Monitor Section for fast, one-knob boost of a musician’s mix without having to change Aux or Main mix

• Only mixer in its class with Mute Groups to create various input combinations of musicians or parts of a church service

• True 8-bus configuration makes SoundLink perfect for recording as well as live mixing musicians, different parts of a church service, or cues during a theater production

• Peter Watts’ refined, studio-grade, one-knob Compressor on all mic channels

• Super-useful touches such as best-in-class Feedback control system, all-XLR speaker outputs, 31-band Spectrum Analyzer, and enhanced Break system

• 20 of Korg’s renowned 32-bit digital effects — 10 at once with recallable parameters

• Premium components including Velvet Sound™ A/D & D/A converters and silky-smooth, long-life ALPS® faders and rotary controls

Designed in conjunction with mixer design legends Greg Mackie and Peter Watts. SoundLink mixers just look like conventional 16 and 24-channel mixers
Use a SoundLink and you discover all the typical Greg Mackie features and ideas that make you think "why don't other mixers have that?”; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years. Let’s just say, he’s picked up a few ideas over that time. Many of which are incorporated into SoundLink.

New HiVolt microphone preamps actually deliver on the usual “low noise, high headroom” mixer claim
When you listen to the “White Album,” Rhianna’s “Rated R” and “Loud”, “Goodbye Yellow Brick Road” and literally hundreds of other familiar albums, you’re listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

You can tell SoundLink was designed by practical musicians
It’s is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor). You get four Group options, each easily programmable and recallable.

Have it their way
Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink’s Musician’s Phone feature provides one-knob boost of the complete left/right mix into the musician’s individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two Musician’s monitor mixes. A SoundLink exclusive!

Not just effects. KORG effects
Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg’s multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate “WARM” version – a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that’s another SoundLink exclusive in a mixer in this price range.

Rack-mount studio-grade DSP you can reach easily
Digital processing and effects are frustrating if they’re buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink’s Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, our super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can’t handle.

SPECIFICATIONS

Analog
Input Type: Balanced female XLR and ¼” TRS
HiVolt Microphone Preamp: -128dBu E.I.N, -10 to -60 dBU nominal input level; 3KΩ input impedance
Frequency Response to Main Output (at unity gain): +0.5 to -1.5 dBu 20Hz to 20kHz
THD to Main Output (20-20 kHz, unity gain, unwtd): 0.004%
S / N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd): -70 dBu
System Crosstalk (Ref = +4 dBu, 20 Hz-20 kHz, unwtd): Input to Output, -70 dBu; Adjacent Channels, -90 dBu
Gain Control Range (± 1 dB): +10dB to +60dB (Mic), -10 to +40dB (Line)
Main Outputs: Balanced male XLR and ¼” TRS
Maximum Output Level: +26 dBu
Output Impedance: 75 Ω
Headphone Output: 100 mW / ch. @ 32Ω load, 20 Hz-20 kHz (+0.5dB, -1.5dB)

Control
Savable Settings: Channel Mutes, Effects & effects Mutes, Mute Groups, Break settings, Dynamics, Graphic EQ, Feedback assign to bus
Recallable Presets: four Mute Groups, 10 Global Scene Memories, 24 FX Memories, 10 Dynamics, 6 GEQ, 16 or 24 Channel Mutes, 3 Feedback bus assignments

Signal Processing
Mono Channels: HI (12k, shelving), MID (peak, sweepable from 250hz to 5k) and LO (100 Hz, shelving), ±15dB boost/cut;
Stereo Channels: HI (12k shelving), HI MID (2.5k shelving), LO MID (250 hz shelving) and LO (100Hz shelving) • High Pass Filter: 12dB/octave at 80Hz
Digital Multi-band EQ: 31-bands with nine frequencies selectable at any one time, Wide 1-octave interval and Narrow ½-octave modes
Digital Compressor: Hard – 1ms to 40 ms Attack, +11dB to 0dB Threshold; Soft ¬– 1 ms to 40 ms Attack, +11 to -5dB Threshold
Digital Limiter: 1ms to 40 ms Attack, +19 to +3dB Threshold
Digital Noise Gate: Hard – 40ms to 1500ms Release, -35 to +7dB Threshold; Soft – 40ms to 1500ms Release, -50 to +4dB Threshold. Digital Multiband EQ, Compressor, Limiter, and Noise Gate are assignable individually to Main L/R, Aux 1 and Aux 2
Spectrum Analyzer: 24-channel with Peak Hold function

Digital
Main L/R Bus ADC Dynamic Range: 115dB (A-wtd)
Aux and FX Buses ADC Dynamic Range: 111dB (A-wtd)
DAC Dynamic Range for all Out buses: 115dB (A-wtd)
USB Stereo Input / Recording Port: USB Class 1
Internal Processing: 32-bit for internal processing;
A/D/A Bit Depth: Korg Tru-Bit-Perfect 32-bit
USB Bit Depth: 24-bit • Sampling rates: 48 kHz, 44.1 kHz
Digital Effects: Rev Hall, Rev Hall Warm, Room, Warm Room, Rev Vocal, Rev Vocal Warm, Stage, Stage Warm, Plate Reverb, Plate Reverb Warm, Spring Reverb Warm, Analog Delay, Tape Echo, Variable Delay, Delay of the Korg SDD3000, Chorus, Flanger, Exciter, Sub Bass booster, 1 kHZ Test Tone, Slow Sweep, Fast Sweep, White or Pink Noise

Physical
Power Connector: IEC
Input-Voltage Range: 100 to 240 VAC, 50/60 Hz
Power Requirements (continuous): 45 W
Recommended Ambient Operating Temperature: 0˚ to 40˚ to Celsius /32˚ to 104˚ Fahrenheit
Dimensions (WxHxD): 18.9” x 7.36” x 20.89" / 480 mm x 187 mm x 530 mm (17.3” / 440 mm wide without side panels, 19” / 483 mm with rack rails)
Weight: 20.5 lbs / 9.3kg