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I've been looking high and low to replace my Tascam US-122 interface with something that has a few more XLR Mic inputs. I need more than 2, but no more than 8. I've come across the Lexicon I-ONIX U42S which seems to fit my needs perfectly: 4 XLR Mic inputs, stereo out, MIDI I/O. Pretty bare-bones, really. It also comes in a form-factor that would look nice in front of my iMac.

The question is.. Is this thing any good? Does anyone on this forum have any first-hand experience with anything from the I-ONIX line that they'd like to share (good or bad)?

Here's a link to the product specs: http://www.lexiconp…"]Product: I-ONIX U42S | Lexicon Pro[/]="http://www.lexiconp…"]Product: I-ONIX U42S | Lexicon Pro[/]

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RemyRAD Thu, 11/10/2011 - 00:31

Yes, the violin teacher. Good, this unit is exactly what you need. Good or bad? Everything of this price range is of a similar sonic quality and that's perfectly adequate. Are your violin students going to sound better on this than another unit? No. But then my father didn't have a Stradivarius he had a Guadanini and that didn't keep him from attaining Concert Master for the Cleveland Orchestra. The same applies here. What you do need is a ribbon microphone for your violin students. This will give them a warm and lush quality more than any type of equipment could. And that ribbon microphone even if made in China would work nicely with this Lexicon unit. We don't need to get into esoteric discussions on variable impedance inputs or any of that other nonsense. You just need this warm lush quality of sound that ribbon microphones deliver. And you can get a Cascades Fat Head for under $200 and it's worth every penny. Especially to enhance the sound of your violin students. The Lexicon is from a company with a notable track record. It's also usually bundled with decent multitrack software that would generally cost $500 all by itself and has all of the tools in which you'd need to make your violin students sound the best they can be. The MIDI piano thing I'm not all that pleased to hear about but with good quality grand piano sample libraries it could actually be better than a cheap baby Steinway. So I may have been a little too terse in my previous post to you? Sorry about that. Sure I've used good German condenser microphones on violins. But that was also back in the days of analog tape when we needed them to "cut through" a little better. Now we have the clear, clean, bright and unforgiving sound of digital. And with that, we had to adjust the types of microphones we would've normally used to something a little warmer. That's another reason why ribbon microphones that all but disappeared in the 1980s has made a huge, HUGE, resurgence and reappearance. Most folks generally assume you have to have a condenser microphone to make a studio quality recording. That's an easy mistake to make. We are talking fine arts recordings here not rock 'n roll. For the string section on a rock 'n roll cut, I still certainly consider utilizing condenser microphones for just that kind of sound that they make. But for symphonic work, I love ribbons on violins. That or expensive high quality condenser microphones which your 3035, ain't. It's good for announcers. It's good for the overheads on rock 'n roll drums. It's good on rock 'n roll screamers. It ain't horrible on an entire orchestra. But close-up on a violin in a living room just isn't very flattering. So get the Lexicon along with its software and a ribbon microphone.

Violinists kid
Mx. Remy Ann David