^Yeah, I have the K-mix.
Happy with it so far, but I think I’m not utilizing it to the fullest 
I run two Elektrons, a Micromonsta and a modular through it and it’s very flexible for e.g. routing stuff to the Octatrack for sampling. Two button presses to send.
On my to-do list is at least more extensive utilization of the compressor, checking out the DAW control options, creating a few nice presets, etc.
If you have any questions, fire away.
I’ve just skimmed through Cuckoo’s “No Computer” video, thanks ! Although the basics functions seem pretty straightforward it also seems to be very deep. I guess my only question is does this thing has a huge hidden gigantic flaw ? Because it almost seems to good to be true. I mean this thing manges to bring excitement to the dreaded mixer/audio interface purchase.
Well… It’s definitely not an urgent purchase but I’m a bit frustrated with the Scarlett 2i2 I have : nearly not enough in/outputs + dependent on the computer… etc. It works perfectly but I guess I just want to upgrade a bit later down the line.
@hindsite I'm thinking about upgrading from my Dispatch Master to the Avalanche Run. Worth it? Is it as lush as I think?Probably not helping but :
On my part I just discovered the Keith McMillen K-Mix and this thing looks incredible. Exactly what I want : very small footprint, extended capabilities, audio interface AND mixer (and controller but i don’t care much about that). Does anybody have any experience with it ?
Damn, that pedal looks nice… Added to the list 
Chase Bliss - Tonal Recall
Hologram - Dream Sequence
Red Panda - Particle
Soundblox_pro - Poly Mod Filter
I've just skimmed through Cuckoo's "No Computer" video, thanks ! Although the basics functions seem pretty straightforward it also seems to be very deep. I guess my only question is does this thing has a huge hidden gigantic flaw ? Because it almost seems to good to be true. I mean this thing manges to bring excitement to the dreaded mixer/audio interface purchase.Well... It's definitely not an urgent purchase but I'm a bit frustrated with the Scarlett 2i2 I have : nearly not enough in/outputs + dependent on the computer... etc. It works perfectly but I guess I just want to upgrade a bit later down the line.
No big flaws that I’ve found. One thing to be mindful of is that it’s not as ergonomical as actual fader-equipped mixers. No dub-style fader throws, not without some practice 
@hindsite I'm thinking about upgrading from my Dispatch Master to the Avalanche Run. Worth it? Is it as lush as I think?I don't have one yet. But it's very high on my list. Mainly due the video @tumulishroomaroom posted. It's a great YouTube channel that BTW. I've read great reviews about it too. Very versatile by all accounts.
Have a red panda particle - love it. The YouTube channel you posted of the avalanche does a good demo of it - great channel it is!@hindsite I'm thinking about upgrading from my Dispatch Master to the Avalanche Run. Worth it? Is it as lush as I think?Probably not helping but :
On my part I just discovered the Keith McMillen K-Mix and this thing looks incredible. Exactly what I want : very small footprint, extended capabilities, audio interface AND mixer (and controller but i don’t care much about that). Does anybody have any experience with it ?Damn, that pedal looks nice… Added to the list
Chase Bliss - Tonal Recall
Hologram - Dream Sequence
Red Panda - Particle
Soundblox_pro - Poly Mod Filter
@hindsite I'm thinking about upgrading from my Dispatch Master to the Avalanche Run. Worth it? Is it as lush as I think?I don't have one yet. But it's very high on my list. Mainly due the video @tumulishroomaroom posted. It's a great YouTube channel that BTW. I've read great reviews about it too. Very versatile by all accounts.
Very GAS-inducing channel, yes…
Have a red panda particle - love it. The YouTube channel you posted of the avalanche does a good demo of it - great channel it is!@hindsite I'm thinking about upgrading from my Dispatch Master to the Avalanche Run. Worth it? Is it as lush as I think?Probably not helping but :
On my part I just discovered the Keith McMillen K-Mix and this thing looks incredible. Exactly what I want : very small footprint, extended capabilities, audio interface AND mixer (and controller but i don’t care much about that). Does anybody have any experience with it ?Damn, that pedal looks nice… Added to the list
Chase Bliss - Tonal Recall
Hologram - Dream Sequence
Red Panda - Particle
Soundblox_pro - Poly Mod Filter
Damn these pedals are awesome !
I've just skimmed through Cuckoo's "No Computer" video, thanks ! Although the basics functions seem pretty straightforward it also seems to be very deep. I guess my only question is does this thing has a huge hidden gigantic flaw ? Because it almost seems to good to be true. I mean this thing manges to bring excitement to the dreaded mixer/audio interface purchase.Well... It's definitely not an urgent purchase but I'm a bit frustrated with the Scarlett 2i2 I have : nearly not enough in/outputs + dependent on the computer... etc. It works perfectly but I guess I just want to upgrade a bit later down the line.
The K-MIX is still my main audio interface, mixer, midi controller. I like to keep it relatively portable and small.
These are my key standout hidden flaw opinions about the K-Mix.
1a - The output volume is line level. Not the +31dB one would expect from regular mixers.
1b - The headphone output is not suitable for high Ohm headphones. The signal is just too weak. 16 Ohm headphones is all good. My 80Ohm DT770pro needs an extra headphone amp to play things at a good volume. For mastered music you might be ok. But generally, I’m not working with mastered mixes. (Adressed in an update. Low, Mid, High headphones output gain is an option.)
1c - Sometimes I find it difficult to track the clipping/ overdrive, that might appear because you might be running things too hot, in compensation for the low outputs, headphones etc. You will always have to remind yourself to keep the levels down.
2 - The LED meters are a bit dim in bright light situations. Also because the LED’s don’t have a super high accuracy, it’s tempting to drive the sounds too high, in a naive attempt to get the LED’s to light up more 
3 - The modern, flat sound of the K-Mix seems a bit on the muddy side for mics connected straight into it, to my ears. The ZoomH6 (I’m just mentioning it because it’s the only alternative I have) has a noticably crisper rendering of vocal mics imo. Perhaps it’s just something I need to get used to.
4 - The reverb doesn’t cut it for me.
5 - There’s no graphical interface. So if something is wrong, you need to know your K-Mix well in order to navigate through a tight situation. It’s a bit difficult to get a good overview of the current mixer state, in other words.
These are my standout GREAT things about the K-MIX.
1 - There has been a number of updates, that has made the computer free experience even better. Linking and panning stereo tracks is now stuff you can do on the K-Mix without the editor for instance.
2 - It’s a great MIDI controller, which you can feedback states to as if it was motorised It’s great to shift over to MIDI mode, and control some visuals or something else MIDI related, while the audio side is still doing it’s thing.
It’s great to shift over to MIDI mode, and control some visuals or something else MIDI related, while the audio side is still doing it’s thing.3 - It seems really really solid
4 - it’s bus powered
5 - 8 out! Effect sends galore
6 - The handling of presets I find useful, for quickly saving/ recalling different scenarios.
Do I miss something?
I do miss physical knobs and faders… There’s just higher precision that way imo. But I can do without. It’s lighter, sturdier without such.
I do miss on-board high quality effects, but I’ve got 6 aux sends free… So I can add stuff outside, (although it will use up inputs to get it back in).
I would love if it had better raw vocal mic rendering, and for a live scenario a better vocal specific (multiband?) EQ.
Anyhow, I still have it, and I’m not looking for anything else at the moment. It’s nice.
Cuckoo's list
Great list!
One thing though: Point number 1b on the negative side. I drive a pair of Sennheiser HD 600 headphones from the headphone out… I would probably kill my ears if I went full volume on the K-Mix… And these are 300 Ohm headphones. Maybe you listen to stuff full blast?
Thank you for this comprehensive list. Very helpful !
Cuckoo's listGreat list!
One thing though: Point number 1b on the negative side. I drive a pair of Sennheiser HD 600 headphones from the headphone out… I would probably kill my ears if I went full volume on the K-Mix… And these are 300 Ohm headphones. Maybe you listen to stuff full blast?
When making music I prefer to work with ins outs and master at around half level. If the inputs are at half level, the master is at half level then it's absolutely not possible to use a 80 Ohm headset imo. The signal is just too weak to make any good decisions on mix.
When I need to monitor my own vocals during singing, this is where it truly gets critical. I like to keep the vocals monitoring pretty loud above the mix. With a 80 Ohm headset you need to use the compressor and put stuff really loud. There is no way to keep signals at a healthy half level, and hear what you're singing over some hefty drums etc. The signal is just too weak.
On my old Mackie mixer I rarely have to go above half the volume on the headphones out. I probably mostly keep it below half. Because it's got a +32dB output or something like that. So there's a lot of headroom. But on the K-Mix I need to go to 100% a lot of times when using a 80 Ohm headset (most of the time?). It's not because the music is necessarily extremely loud. It's because I wanna keep the input levels at a healthy level, to avoid sudden input distortion. It's not ideal for professional headsets. They were speaking of adding high Ohm headset options, but I haven't seen it. And now my pro headset is stolen, so I can't test it anymore.
The best option is to use a low Ohm headset, or a headphone amp. I'm currently using the Beyer Dynamics Custom Pro One 16 Ohm. They're pretty good, but not as detailed in the bass and tops as the DT770 pro.
...
Now, when listening to mastered music, the levels are already compressed and safely pushed to higher levels. Then I have no problems enjoying music with a 80 Ohm headset.
I'm surprised you get any useful volume out of a 300 Ohm headset.. Perhaps they have changed that Ohm stuff lately. Like adapting it automatically or something. Or perhaps the DT770 is known to have a low volume?
Hmm, this is interesting @cuckoo – I do monitor at a fairly low volume, I guess. But for me, with the 300 ohm Sennheisers, I put the volume about a quarter of the way up – anything over half would definitely feel really uncomfortable.
With ATH M-50X’s, I actually struggle to set the headphone volume low enough. I think these are 38 ohms.
Could there be some difference in hardware? Or just way different listening habits
Hmm, this is interesting @cuckoo – I do monitor at a fairly low volume, I guess. But for me, with the 300 ohm Sennheisers, I put the volume about a quarter of the way up – anything over half would definitely feel really uncomfortable.
With ATH M-50X's, I actually struggle to set the headphone volume low enough. I think these are 38 ohms.
Could there be some difference in hardware? Or just way different listening habits :)
Weiiiirdd… Ok, looking around in the Editor now. And right in my face, there it is. Headphones output gain:
Nice! Hope that sorts you out.
Relating to this – in case it’s of any use to someone:
I actually tend to geek out over stuff in that, uhm, “pre-purchase” phase and researched a bit:
Apparently the output impedance of a mixer/interface is important when considering suitable headphones. A rule of thumb often followed is that the output impedance of the device driving the headphones should be AT MOST 1/8 of the impedance of the headphones. Thus if I have a pair of 300 ohm headphones, the output impedance of the K-Mix should be at most 37,5.
KMI state in the specs that the output impedance of the K-Mix is “<50 ohms”, which is sort of vague. I went on a multi-hour research spree and the issue is very complex – it’s not always straightforward what is better for listening – but I eventually got the idea that this impedance mismatch is nothing to be worried about in my case (even if the output impedance of the KMIX was the “worst possible”, 50). Basically, I understood that with headphones, you want to worry about 2 things:
1) the 1/8 rule (even though it’s splitting hairs, the differences might be negligible) and
2) that you get sufficient volume for your needs.
Headache warning, here’s further reading:
http://nwavguy.blogspot.fi/2011/02/headphone-impedance-explained.html
http://nwavguy.blogspot.fi/2011/02/headphone-amp-impedance.html
@cuckoo, out of curiosity, could you please clarify “ins outs and master around half level” - what does that look like?
@cuckoo, out of curiosity, could you please clarify "ins outs and master around half level" - what does that look like?
Basically it means that during the recording and mixing process I don’t want the audio levels close to hitting the distortion limit. I want headroom to play dynamically. If everything is already at maximum, it will start clipping if I go above it. And if I want to monitor vocals, I want that typically a little louder than everything else. If everything is already maxed out, I need to turn everything down.
Also, this is just a feeling, but if I record stuff at a more mid level it feels easier to mix. I don’t know why. Perhaps the audio levels are a bit flatter at lower volumes? I’m no pro there.