Phoenix Nicerizer Jr.

A LEGENDARY TONE MACHINE, WITH ESSENTIAL FEATURES

The Little Brother

Our flagship summing mixer, the Nicerizer 16 MkII, is renowned for its precision imaging and robust tone. With the Nicerizer Jr. you can get all of that essential sound in a more affordable package.

Analog Summing In The Digital Age

Recording software companies brag about their “mixer,” but discerning engineers won’t settle for in-the-box mixing when the dimension, punch, and articulation of analog summing can vastly improve their productions. Phoenix’s Nicerizer series summing mixers incorporate features and circuitry that have made it a legendary tone machine.

A Summing Mixer (not Amplifier)

The Nicerizer is a true mixer, with precision, dented pan knobs on each of the 16 channels. Our dented pan-pots are unmatched for both precision stereo placement and ease of recall, and they are a key ingredient the huge, open sound of the Nicerizer.

Driving a Versatile, Class-A Input Circuit
Transformers slow things down, which can be great in some cases, but if you’re stuck with transformers, then you’re stuck with slower transients (slew-rates). The Nicerizer Jr.’s electronically balanced input stage can be driven modestly for ultra-clear hi-fi sound, or you can engage a +8db switch on any channel individually to drive the circuit for a fatter, more saturated sound that only Discrete Class-A buffer amps can deliver.

Legendary Transformer-Balanced Output Stage
Once mixed, the stereo signal hits a pair of our custom-wound DB694 output transformers, which we’ve coupled to Phoenix’s proprietary, fully discrete DSOP-2 output amplifier. Even better, on the Nicerizer Jr. we’ve given you a pair of stereo main outputs, each with their own level control. The DSOP-2 represents the pinnacle of Class-A output circuits, offering a smooth transition from ultra-clean to beautifully saturated tones.

Balanced, Unbalanced: No Problem—The Nicerizer’s 16 individual inputs can accept both balanced and unbalanced signals without any of the gain loss typical on most mixer inputs. This is an increasingly useful feature as looping through guitar pedals and even recording midi-driven analog synths in real time while mixing are fast becoming standard practices.