The Pathos2 is firmly rooted in the heydey of discrete DJ mixers from the 1970's. While the classic CMA-10-2DL circuits (made famous in many soundsystem focused nightclubs such as the Paradise Garage) serve as the basis for the different processing elements, implementation has been modernized by way of individual power supplies for each circuit board and heavy filtering for each circuit block on these cards. The mixer builds on the classic design by implementing high-quality components not found in original-era mixers such as polystyrene capacitors throughout the phono stages and transformer balanced outputs. Features demanded by modern DJs have been included, such as a booth output, internal metering and per-channel EQ .
All circuit board components gracing the fully discrete circuits were carefully selected and matched based on measurement with dedicated audio testing equipment and subjective listening tests with in-demand DJs. A long history of repair allows insight into common failure modes and as such components have been heavily over spec'ed for longevity as well as sound quality.
Rather than rely on fragile front panel labeling, the metalwork (machined from heavy-duty 1/8" or 3.17mm raw aluminum stock) was designed to require the bare minimum of labeling. This approach allows the controls to speak for themselves, quickly allowing the mixer to be operated on intuition. DJ use can be hard on front panel graphics and the mixer makes no attempt to discourage this. Where labeling was deemed essential, it has been physically imprinted into the metal for extreme resistance to wear. The wooden chassis is fabricated by a local cabinet maker and finished in Osmo PolyX Oil, a natural oil blend that meets the most stringent of German DIN standards.
The Pathos2 Mixing Preamplifier is a complete solution for stereo playback and monitoring of 4 sources, consisting of 2 discrete Class A phono inputs and 2 line inputs. Each input is run through a Baxandall style treble and bass equalizer with individual control of each band across each channel, +/-12dB at 50Hz and 8KHz respectively. All channel signals are then passed through an audio grade Alps RK27 potentiometers for precise tactile control into the main summing amplifier.
After the summing amplifier signals are sent out of the mixer through the processing loop for manipulation by an external device such as an isolator. On return to the mixer, a fixed level record output is offered for recording or metering. There are two outputs, each with individual volume control, named A and B for Audience and Booth respectively. While these two outputs are built around the same output amplifiers, the A output is transformer balanced. RCA jack outputs are also provided for simultaneous connection to single-ended amplifiers. Metering is optionally pre or post volume control. Units are delivered as standard with metering pre volume control unless specified otherwise.
The Cue bus, marked C on the front panel, offers mixing of multiple channels via pushbutton switches. The cue signal is then passed through a volume control and high headroom discrete amplifier to a rear-mounted ¼” TRS connector for direct connection of headphones to the mixer. The cue signal, pre volume control, is offered on RCA jacks for connection to an external headphone amplifier if desired. This is a feature that was requested by a customer with a strong interest in high-end headphones and headphone amplifiers.
The power supply is a huge upgrade over the CMA-10-2DL offering more than 10x the capacitance of the original for extremely low noise power rails.
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