The Allen & Heath Z-14 mixer was chosen. Simply because of its better quality construction than similar ones and that size fits my requirements. Only a little more expensive than a somewhat comparable Soundcraft EPM 12 for example. I went for manufacturing quality first instead of ideal functions. I also considered the purchase of the larger Z-18 but its simply more of the exact same thing, no real need for this, plus I still have Mackie to use as sub-mixer if need be. If the Z-18 had different useful or better features I would have purchased it. The Soundcraft MPMi 12-2 is a serious contender, thought I had found one but the retailer's Web page was not truthful, the mixer was discontinued, while retailer said it could be ordered...

With regards to on-board effects, no real need for that at this time, since I still have a fine working Alesis reverb/delay/etc. unit, and I like the fact it has the settings written right on the front panel with the knobs : easy access, simple and fast to make any modification. 256 programs sound more than enough for me now.

Newer effects devices often require to enter and navigate menus, scroll down, select a setting, and exit, etc. which I tend to see as a hassle, taking more time when trying different settings on the go or even to make a small change to the sound. For these same reasons I stayed away from digital mixers, more so when they're usually much more expensive (e.g. QSC Touchmix-8, 8 channels, about double what I paid for Z-14).

Analog mixers are getting more out of fashion with the Pros, as I was told by a quite surprised Senior audio sales/integration rep seeing me requesting an analog one. Well, I'm not in the fashion business, and don't choose audio equipment on the basis of it being a hit with the crowd, it has to meet my own criteria. If others prefer the more trendy digital units, great I respect their choice. Mine is analog for the time being even if they take more space than comparable digital ones, probably caused by repeated hardware for every channel and more vs virtual stuff on screen. For me, everything is right where I need/like it: at my finger tip, no menus navigation, scroll, etc. Btw another fellow working there, younger guy, surprisingly agreed with me! So, that makes us at least two from different generations...

The Z-14 mixer has genuine Neutrik connectors and 100 mm Alps faders instead of cheap imitations, individual circuit board on each channel like more expensive units have, easier to pull-out and service than one large circuit board in case of problem, nicer potentiometer knobs and the pots are nutted to the top panel for sturdiness. Nice fader and pot feel too.

On the other hand, that mixer remains a compromise on some features. Not as flexible mixing board as I would have liked. e.g. No dedicated 1/4" connectors for stereo aux return(s), one must use the stereo channel(s) for this purpose, like too many other mixers these days... It does have four aux sends on 1/4" outputs, but only a single stereo return input on RCAs!! That logic is beyond me on Pro gear. Alt Out (alternate output) is also on RCA connectors!, another one where they dropped the ball. So two pairs of RCA that should have been 1/4" connectors for flexibility... Like good old Greg Mackie taught us. If one requires more RCAs then the adapter RCA to 1/4" is so simple, low cost and more robust than the other way around...

As for Record Out and Two-Track return on RCA connectors its pretty standard in this mixer category and does make sense for project studios. The mixer's USB features can also be useful to record music to a hard disk.

With regards to the latter two RCA out/in, I still have in the rack a relatively expensive cassette deck with 3-head, Dolby S noise reduction (S/N ratio 84 db), HX Pro, extended response, tape calibration, etc. that could use these connectors (or as a CD player input). Better yet, I also have two MD digital recorders (Sony's Mini Disk format), one in the rack, the other a pricey portable unit Made in Japan!

Richard