ansui MX12 Mixer VGC - Recording Studio Analog Mixer Easy to Use.
Copy of the Service Manual is available please bring USB drive. We used it for testing purposes, as it has many inputs and outputs that made it ideal for multiple units etc. 
 
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The MX12 is a basic 12 into 6 recording mixer, with six subgroups, and two sets of output connections, makes multitrack operation with either one or two recorders very simple. Input channel layout is very obvious. It features 12 line/mix inputs (balanced for two in parallel), 12 direct outputs, two balanced/unbalanced stereo outputs, 6 program outputs and two Aux send/return circuits. Each of the 12 channels features a Solo switch, Pan control and Assign switch that lets you assign any input to the desired output. Overall, It is in good working order and the physical condition is very good. (see photos). 
 
Specifications
Inputs/outputs: 12 inputs, 6 PGM outputs
Input level: 50dBV (mic), 10dBV (line)
Dimensions: 625 x 110 x 343mm
 
Source selection: there are separate Tape and Mic/Line selector switches. Mic/Line sources have a wide-ranging input gain control ('Trim') with a -50 to -10dBV swing (50kOhm), with gain optimized though an Overload LED indicator. The input amps can be utilized with nearly all electronic instrument sources (synths, drum machines, drums, or electric guitars, acoustic guitars with a decent mic.etc). If you are using the inputs as pure mic amps only, they are perhaps not as ideal. A pair of dedicated, balanced, mic inputs are featured on channels 11 and 12 but as a caution these have no phantom power option. A basic two-band EQ is provided, offering +/-12dB at the standard 100Hz and 10kHz frequencies.
 
Sends Effects: The MX12 has two post-fade, post-EQ effects sends. Aux master controls govern the summed output, sending a nominal -10dBV signal (100 Ohms). Both mono Aux sends can be returned in stereo, a pair of ¼" jacks being dedicated to each, with associated Aux Return level controls.
 
Groups: Three group assignment switches work in conjunction with the Pan control, using the normal odd/even logic, to provide program output selection for recording. Signals are routed to the mix bus (Stereo Master), via the panpot. A post-fade Solo switch send signals to headphones for checking signals in isolation, with a Master Solo level control and LED to advise of solo on channels.
Inputs: Input channels have smooth short-throw carbon-track faders. The six subgroup faders are placed to the right of the console, separated from the input channels by the individual left and right master faders. 
 
Monitors: The choice of monitor sources is controlled by the Monitor Selector switches and allows only Stereo Masters or Aux Sends and Returns. Metering, which is via the same brand of 12-segment LED ladders as the recorder, can be flipped between showing all the available monitor sources simultaneously (so you can look out for overload on the aux buses when mixing) or displaying the six subgroup output levels, although these align accurately with those on the MR6 recorders so you might as well look at those to see group levels. 
 
Connections: Two stereo headphone outlets on the front edge with all other connections are made to the rear. The MX12 has a selection of jacks, RCA phonos and XLRs on the rear. All 12 Mic/Line inputs are on ¼" jacks, with inputs 11 and 12 having additional XLRs. Unusually, there is a direct output from each channel (¼" jack), enabling you to bypass the subgroup summing amplifiers on individual signals if you desire to patch to achieve cleaner signals via the more direct signal path.
All Aux Sends and Returns also appear on ¼" jacks, as do the separate Left and Right monitor outputs. The stereo bus is has both RCA phonos and balanced XLRs for balanced inputs. Another pair of RCA phono's allows for injecting signals into the mix buss, such as when connecting a sub-mixer. All Tape connections are made via phonos, with 12 tape returns and six subgroup - 'PRGM Outputs' as Sansui labeled them. The subgroup outputs are doubled to facilitate connection to two recorders, allowing recording on 12 tracks without re-patching the outputs. Re-patching of inputs may be required if you fill up available tracks and use the corresponding input channels to review material. If you use the full synchronised system with two recorders and 10 audio tracks, you will only have inputs 11 and 12 available during your last overdub.