Re: Digital Console purchase for a 400 capacity theater
I was really impressed by the ql5 in that price bracket.
Sent from my XT1254
I was really impressed by the ql5 in that price bracket.
Sent from my XT1254
Digital Console purchase for a 400 capacity theater
- Thread starter Simon Coffin
- Start date
Re: Digital Console purchase for a 400 capacity theater
Greetings everyone,
Time for an update now that I am finally back from NAMM. The snow storm in the North East rattled my flight plans and led to an unplanned extra 3 nights in LA. It's hard to complain about being stuck when temps are in the 70s, skies are sunny and the beaches go on for miles, so I won't. The accountants will however.
Just a thought about NAMM first. While there is more equipment to see and play with then the average human would ever need, exhibitors are definitely in two categories. Some are there to present their products, do show and tells, discuss the details, talk to users or potential users. Others are there only to sell. Unfortunately Music Group was amongst the latter. While they had the largest booth by far, a sleek, modern, two level palace in shiny white, complete with live music, snacks and cute girls in tight skirts serving Martinis, they had exactly one piece of equipment on display, a Midas Pro-X console. Nothing else. If you were a distributor and wanted to buy a couple dozen, "Come on in.". If you were Clair Brothers or Rat Sound or a large regional provider, "Come on in." If you were just an audio engineer trying to learn about and compare equipment in order to make an informed purchase, "Nope, can't help you." After flying across the country to see their products, I was less than impressed.
Luckily Allen & Heath and Digico had all their products on display, plugged in and working with a staff of factory and regional reps to answer questions. A&H was particularly impressive as they had live tracks playing through the D-Live and GLD consoles, so you could actually mix a show to headphones. Cool idea. Yamaha also had a huge exhibition area, unfortunately mostly filled with instruments. I did eventually find one of the live performance stages had a Yamaha CL which I managed to look at in some detail.
Although I really tried to like the Digico S21, there is a lot of value for the price, the UI struck me as slow and imprecise. Maybe because I do a lot of rock climbing and have callouses on my finger tips I found the touch screens awkward to use. A stylus may help. It seems to me that trying to touch a specific area on a screen is more error prone than pressing a button or turning a dial. There is something tactile and specific about a button that suits my work style. Since another one of our engineers has similar issues when using an Ipad, a console that required use of a touch screen was not an optimal choice for us. Great console at its price point, but not a good fit.
The A&H Dlive was next and it is really impressive. Even the baby brother of the line, the S3000 is superbly packaged. Whereas the Digico UI puzzled and confused me, the DLive is a console you can walk up to and mix on within minutes. It's really intuitive. Mapping of inputs to channels and channels to faders took a minute or two to understand, and there were some touch screen gremlins, but at that point, you can lay out the console however you want. Effects are easy to use, sounded great (on headphones at least) and are easy to bring into the mix. Much like the predecessor ILive, the DLive consoles are just controllers, all the DSP is in the stage box, meaning each console requires one. However, the inverse is not true - a stage box can be used by itself via an Ipad. Cool idea for small shows. Unfortunately A&H is not currently offering an iDR0 size stage box for the DLive for situations where two consoles are sharing inputs. This is an omission they really need to correct. For me, the need to buy two consoles and two stage boxes puts the DLive out of my budget. But, and this is where it's priceless having factory reps standing there in the booth to explain the details, the GLD series of consoles do not need a stage box, their processing is internal, and they can share the DLive's inputs via an Ace card. So now a Dlive at FOH and a GLD80 on Monitors is starting to look promising. But how is the GLD on monitors? Much better then I expected. In the documentation, the GLD looks a bit plastic somehow, the smaller weaker brother to the DLive. Maybe a bit better then the QU, but only just? In person however it is as impressive as the DLive, albeit downsized and not as flashy. It's heavy, solid, intuitive and professional. Functionally its on par with the ILive, 48khz sampling and similar channel counts, in a slightly smaller, updated package. Again, having live tracks playing through the console was a huge help in getting a sense for the work flow when running monitors. I put 8 auxes and a cue wedge on right side fader group, and had 24 inputs on the left. Press the Mix and Solo buttons on an Aux and start bringing up the channels to build the mix. Easy. Usually you would press Mix on an Aux Master fader and start bringing up the channels into that Aux. On a GLD and a DLive I think, you can do it the opposite way. Press the Mix button on an input, the Aux master faders all go to zero, and you start bringing up the aux master faders mixing that input into that aux. My one gripe here is that it's easy to forget you are in Mix mode and start goofing with something else. The Mix buttons do have a blue LED, but it really needs to blink or be brighter. The one shortcoming of the DLive GLD pairing is that the analog preamp gain is only controlled from the DLive. The GLD has +/- 20db of digital trim, but can't change the preamp setting. The workaround I think is to have an IPad at monitor world that can connect to either console. This gives the monitor guy some access, if the FOH guy is awol during sound check.
I need to spend some more time with the Yamaha CL and QL consoles before I can come to a conclusion. The CL is capable and solid, but may be too expensive for me. The QL looks promising.
After being shunned by the Midas guys, I am less inclined to go out of my way to test drive a Pro2.
News to follow.
Cheers,
Greetings everyone,
Time for an update now that I am finally back from NAMM. The snow storm in the North East rattled my flight plans and led to an unplanned extra 3 nights in LA. It's hard to complain about being stuck when temps are in the 70s, skies are sunny and the beaches go on for miles, so I won't. The accountants will however.
Just a thought about NAMM first. While there is more equipment to see and play with then the average human would ever need, exhibitors are definitely in two categories. Some are there to present their products, do show and tells, discuss the details, talk to users or potential users. Others are there only to sell. Unfortunately Music Group was amongst the latter. While they had the largest booth by far, a sleek, modern, two level palace in shiny white, complete with live music, snacks and cute girls in tight skirts serving Martinis, they had exactly one piece of equipment on display, a Midas Pro-X console. Nothing else. If you were a distributor and wanted to buy a couple dozen, "Come on in.". If you were Clair Brothers or Rat Sound or a large regional provider, "Come on in." If you were just an audio engineer trying to learn about and compare equipment in order to make an informed purchase, "Nope, can't help you." After flying across the country to see their products, I was less than impressed.
Luckily Allen & Heath and Digico had all their products on display, plugged in and working with a staff of factory and regional reps to answer questions. A&H was particularly impressive as they had live tracks playing through the D-Live and GLD consoles, so you could actually mix a show to headphones. Cool idea. Yamaha also had a huge exhibition area, unfortunately mostly filled with instruments. I did eventually find one of the live performance stages had a Yamaha CL which I managed to look at in some detail.
Although I really tried to like the Digico S21, there is a lot of value for the price, the UI struck me as slow and imprecise. Maybe because I do a lot of rock climbing and have callouses on my finger tips I found the touch screens awkward to use. A stylus may help. It seems to me that trying to touch a specific area on a screen is more error prone than pressing a button or turning a dial. There is something tactile and specific about a button that suits my work style. Since another one of our engineers has similar issues when using an Ipad, a console that required use of a touch screen was not an optimal choice for us. Great console at its price point, but not a good fit.
The A&H Dlive was next and it is really impressive. Even the baby brother of the line, the S3000 is superbly packaged. Whereas the Digico UI puzzled and confused me, the DLive is a console you can walk up to and mix on within minutes. It's really intuitive. Mapping of inputs to channels and channels to faders took a minute or two to understand, and there were some touch screen gremlins, but at that point, you can lay out the console however you want. Effects are easy to use, sounded great (on headphones at least) and are easy to bring into the mix. Much like the predecessor ILive, the DLive consoles are just controllers, all the DSP is in the stage box, meaning each console requires one. However, the inverse is not true - a stage box can be used by itself via an Ipad. Cool idea for small shows. Unfortunately A&H is not currently offering an iDR0 size stage box for the DLive for situations where two consoles are sharing inputs. This is an omission they really need to correct. For me, the need to buy two consoles and two stage boxes puts the DLive out of my budget. But, and this is where it's priceless having factory reps standing there in the booth to explain the details, the GLD series of consoles do not need a stage box, their processing is internal, and they can share the DLive's inputs via an Ace card. So now a Dlive at FOH and a GLD80 on Monitors is starting to look promising. But how is the GLD on monitors? Much better then I expected. In the documentation, the GLD looks a bit plastic somehow, the smaller weaker brother to the DLive. Maybe a bit better then the QU, but only just? In person however it is as impressive as the DLive, albeit downsized and not as flashy. It's heavy, solid, intuitive and professional. Functionally its on par with the ILive, 48khz sampling and similar channel counts, in a slightly smaller, updated package. Again, having live tracks playing through the console was a huge help in getting a sense for the work flow when running monitors. I put 8 auxes and a cue wedge on right side fader group, and had 24 inputs on the left. Press the Mix and Solo buttons on an Aux and start bringing up the channels to build the mix. Easy. Usually you would press Mix on an Aux Master fader and start bringing up the channels into that Aux. On a GLD and a DLive I think, you can do it the opposite way. Press the Mix button on an input, the Aux master faders all go to zero, and you start bringing up the aux master faders mixing that input into that aux. My one gripe here is that it's easy to forget you are in Mix mode and start goofing with something else. The Mix buttons do have a blue LED, but it really needs to blink or be brighter. The one shortcoming of the DLive GLD pairing is that the analog preamp gain is only controlled from the DLive. The GLD has +/- 20db of digital trim, but can't change the preamp setting. The workaround I think is to have an IPad at monitor world that can connect to either console. This gives the monitor guy some access, if the FOH guy is awol during sound check.
I need to spend some more time with the Yamaha CL and QL consoles before I can come to a conclusion. The CL is capable and solid, but may be too expensive for me. The QL looks promising.
After being shunned by the Midas guys, I am less inclined to go out of my way to test drive a Pro2.
News to follow.
Cheers,
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Re: Digital Console purchase for a 400 capacity theater
Just to chip in on this bit. In my last venue, a 310 seat theatre within an educational establishment that did a mix of youth shows, pro production and receiving, I installed an iLive for FOH. I found the ability to use the system without the surface to be absolutely invaluable. We did not have a permanent "good" mix position, so the surface was never in a fixed location. We did many early morning events that were a small handful of channels. We had a couple of hand held radio mics, an input for laptop/ipod/etc. and a couple of spare inputs set up on a PL-10 and the editor on a cheap touchscreen pc in the control room permanently set up. It saved so much time in not needing to cart the surface up and down stairs, and saved staff time by training regular users to look after their own simple needs on the PL-10 stage side. I'd almost guess it paid for itself over 5 years or so in saved staff time. Once the DLive is complete, with editor and iOS software, and the promised IP based replacements for the PL-ANET controllers, I think it's going to be an incredibly powerful and flexible system. I agree, however, that a IDR-0 type mix rack would be advantageous.
Richard
Just to chip in on this bit. In my last venue, a 310 seat theatre within an educational establishment that did a mix of youth shows, pro production and receiving, I installed an iLive for FOH. I found the ability to use the system without the surface to be absolutely invaluable. We did not have a permanent "good" mix position, so the surface was never in a fixed location. We did many early morning events that were a small handful of channels. We had a couple of hand held radio mics, an input for laptop/ipod/etc. and a couple of spare inputs set up on a PL-10 and the editor on a cheap touchscreen pc in the control room permanently set up. It saved so much time in not needing to cart the surface up and down stairs, and saved staff time by training regular users to look after their own simple needs on the PL-10 stage side. I'd almost guess it paid for itself over 5 years or so in saved staff time. Once the DLive is complete, with editor and iOS software, and the promised IP based replacements for the PL-ANET controllers, I think it's going to be an incredibly powerful and flexible system. I agree, however, that a IDR-0 type mix rack would be advantageous.
Richard
Re: Digital Console purchase for a 400 capacity theater
I think you mean CL and QL. I don't know of a GL console from Yamaha...Just A&H
I think you mean CL and QL. I don't know of a GL console from Yamaha...Just A&H
Re: Digital Console purchase for a 400 capacity theater
Yep, that was a typo. Duly corrected.
I think you mean CL and QL. I don't know of a GL console from Yamaha...Just A&H
Yep, that was a typo. Duly corrected.
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Re: Digital Console purchase for a 400 capacity theater
[After being shunned by the Midas guys, I am less inclined to go out of my way to test drive a Pro2.]
I would not take this personally! Uli explained why they had they had the setup they did. You can probably try a Midas in many places. I read a lot about people choosing inexpensive digital consoles and it doesn't seem that hard to me. How much high end flexibility and features do you need in a 400 capacity room? I consult a bunch of locals here and find that the most valuable thing I can offer is a setup identical to my own, so I can phone troubleshoot any problems they run into.
[After being shunned by the Midas guys, I am less inclined to go out of my way to test drive a Pro2.]
I would not take this personally! Uli explained why they had they had the setup they did. You can probably try a Midas in many places. I read a lot about people choosing inexpensive digital consoles and it doesn't seem that hard to me. How much high end flexibility and features do you need in a 400 capacity room? I consult a bunch of locals here and find that the most valuable thing I can offer is a setup identical to my own, so I can phone troubleshoot any problems they run into.
Re: Digital Console purchase for a 400 capacity theater
Hey Simon. I have two GLDs - an 80 and a 112. I really love them. The software, functionality, packaging, and features are all very substantial, and I think the GLD series is one of the best values for the money out there, once your needs exceed the Qu/X32 level products.
My biggest gripe about the series is the non-tilting touchscreen which can be hard to see while sitting. Other than that, the design is brilliant. Running monitors on the desk is a piece of cake with sends on faders and "reverse sends on faders" - you push the "mix" button on an input channel and then the mix faders switch to be sends of the selected channel to the bus. In other words, pressing "mix" on an input allows you to adjust the levels to all of your busses at once without tons of layer changes.
There are a couple things they could still add to the desk - meters on VCA faders and a ducker would be nice, but other than that, it's a really complete desk. It has Dugan-style automixing, multi-band compressors, dynamic EQ, lots of effects power and a GEQ on every output.
The DLive is above my pay grade, but I'm sure it's equally great, and obviously is much more capable than the GLD series. I'm happy that someone is putting price pressure on the market. The Yamaha/Avid prices for what you get are a bit dear in my opinion.
Hey Simon. I have two GLDs - an 80 and a 112. I really love them. The software, functionality, packaging, and features are all very substantial, and I think the GLD series is one of the best values for the money out there, once your needs exceed the Qu/X32 level products.
My biggest gripe about the series is the non-tilting touchscreen which can be hard to see while sitting. Other than that, the design is brilliant. Running monitors on the desk is a piece of cake with sends on faders and "reverse sends on faders" - you push the "mix" button on an input channel and then the mix faders switch to be sends of the selected channel to the bus. In other words, pressing "mix" on an input allows you to adjust the levels to all of your busses at once without tons of layer changes.
There are a couple things they could still add to the desk - meters on VCA faders and a ducker would be nice, but other than that, it's a really complete desk. It has Dugan-style automixing, multi-band compressors, dynamic EQ, lots of effects power and a GEQ on every output.
The DLive is above my pay grade, but I'm sure it's equally great, and obviously is much more capable than the GLD series. I'm happy that someone is putting price pressure on the market. The Yamaha/Avid prices for what you get are a bit dear in my opinion.
Re: Digital Console purchase for a 400 capacity theater
Hi TJ,
The GLD also struck me as being much more capable and professional than I expected. I wrote earlier that is looks a bit plastic and frail in the documentation, but in person is a stout, robust console.
Does anyone know if one of the GLD stage boxes, the AR2412 for example, can be used on a DLive? They use the Dsnake protocol, but I do not see an adapter or interface for the DLive. I ask because the other techs have raised the need for more inputs at FOH beyond the built in 8x8. I suppose a Dante card and a Yamaha Rio16x8 may work.
On a slightly related topic, can anyone familiar with the Midas Pro2 talk about ease of use? I am concerned that the BEs we see - having wildly differing talent and ability - are going to need more assistance learning the Pro2 interface than a DLive or QL. Rider friendliness does not concern me greatly, a capable engineer can get good sound out of many consoles, but ease of use issues are harder to overcome.
Cheers,
Hi TJ,
The GLD also struck me as being much more capable and professional than I expected. I wrote earlier that is looks a bit plastic and frail in the documentation, but in person is a stout, robust console.
Does anyone know if one of the GLD stage boxes, the AR2412 for example, can be used on a DLive? They use the Dsnake protocol, but I do not see an adapter or interface for the DLive. I ask because the other techs have raised the need for more inputs at FOH beyond the built in 8x8. I suppose a Dante card and a Yamaha Rio16x8 may work.
On a slightly related topic, can anyone familiar with the Midas Pro2 talk about ease of use? I am concerned that the BEs we see - having wildly differing talent and ability - are going to need more assistance learning the Pro2 interface than a DLive or QL. Rider friendliness does not concern me greatly, a capable engineer can get good sound out of many consoles, but ease of use issues are harder to overcome.
Cheers,
Re: Digital Console purchase for a 400 capacity theater
I like the Pro2, but the GLD and iLive, and by extension the dLive, are easier to use in my opinion. It's best when the engineer has time to layout the surface as he or she prefers. Personal preference mostly.
I like the Pro2, but the GLD and iLive, and by extension the dLive, are easier to use in my opinion. It's best when the engineer has time to layout the surface as he or she prefers. Personal preference mostly.
Re: Digital Console purchase for a 400 capacity theater
I own several PRO consoles and have to provide them to a BE on a regular basis.
No problem, assuming your tech is capable. Like almost every desk I've learned, straight up mixing is very easy. Select the channel, select the knob you want to turn, Turn it.
Your house tech may want to assign their pop groups and DCA the first time and tell them where things are / ask them where they would like things. Otherwise, simple enough like any other desk.
The tricky part is if you are not familiar with the patch bay section, it can take someone a few looks to understand what is what.
Jason
I own several PRO consoles and have to provide them to a BE on a regular basis.
No problem, assuming your tech is capable. Like almost every desk I've learned, straight up mixing is very easy. Select the channel, select the knob you want to turn, Turn it.
Your house tech may want to assign their pop groups and DCA the first time and tell them where things are / ask them where they would like things. Otherwise, simple enough like any other desk.
The tricky part is if you are not familiar with the patch bay section, it can take someone a few looks to understand what is what.
Jason
Re: Digital Console purchase for a 400 capacity theater
Folks,
Still working this project, but until the fund raising is finished there is little to do.
We had an eleven band event this past weekend and brought in a Midas Pro2 for monitors. Was an ideal event to learn how the console works and spend some time actually using it in battle. With the show behind us, and a bunch of happy musicians still talking about it, I'm digesting what I think of the console after using it for 14 hours. I can't say it really impressed me, it did what I wanted, but had me scratching my head enough times to make me leery of the complexity. Even with a show file created in advance, there were two last minute IEM additions that required some non intuitive steps. And the way it uses the screen real estate was odd, for example, the channel controls stay in a little band on the right side of the screen which made the PEQ particularly awkward to use with any detail. I'm not averse to the console, but it didn't impress me in any way.
Other random thoughts.
The A&H DLive proposal is dead in the water until they publish an Ipad app. Anyone have any news?
The Soundcraft VI3000 with 48/16 built in IO fits our channel count requirements nicely. I didn't look at it closely before because I thought the entire Vi family required external IO which was going to push them well out of our budget. I suspect it's still too expensive, but does anyone have pricing?
The Digico SD9 also fits with a pair of D-Racks, but the UI takes some getting used to and I suspect it's also too expensive, unless there are a pair of used ones looking for a new home.
I'm working with CBI right now to refresh our copper split snake stage boxes and fanouts. That will be a huge improvement.
Cheers,
Simon
Folks,
Still working this project, but until the fund raising is finished there is little to do.
We had an eleven band event this past weekend and brought in a Midas Pro2 for monitors. Was an ideal event to learn how the console works and spend some time actually using it in battle. With the show behind us, and a bunch of happy musicians still talking about it, I'm digesting what I think of the console after using it for 14 hours. I can't say it really impressed me, it did what I wanted, but had me scratching my head enough times to make me leery of the complexity. Even with a show file created in advance, there were two last minute IEM additions that required some non intuitive steps. And the way it uses the screen real estate was odd, for example, the channel controls stay in a little band on the right side of the screen which made the PEQ particularly awkward to use with any detail. I'm not averse to the console, but it didn't impress me in any way.
Other random thoughts.
The A&H DLive proposal is dead in the water until they publish an Ipad app. Anyone have any news?
The Soundcraft VI3000 with 48/16 built in IO fits our channel count requirements nicely. I didn't look at it closely before because I thought the entire Vi family required external IO which was going to push them well out of our budget. I suspect it's still too expensive, but does anyone have pricing?
The Digico SD9 also fits with a pair of D-Racks, but the UI takes some getting used to and I suspect it's also too expensive, unless there are a pair of used ones looking for a new home.
I'm working with CBI right now to refresh our copper split snake stage boxes and fanouts. That will be a huge improvement.
Cheers,
Simon
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Re: Digital Console purchase for a 400 capacity theater
Always set up your scene with extra stuff
The screen channel strip mimics the hardware, and is easier to read than a panel. There's a setting in preferences that allows you to turn on a pop-up that tells you the setting of the control you are moving in fine detail. My dislike is that there are only three EQ controls (think LS9) instead of twelve (think M7CL).
Have a look at some of the YouTube stuff from Midas https://www.youtube.com/user/MidasMixing/videos ) and others:
http://www.youtube.com/watch?v=Byunwh7YxfA Kyle is the main Midas training guy.
https://www.youtube.com/watch?v=iM8tVDkPSX8&list=UU4F2EWj-vtl3E_s_YUjPQug A re-do of the above for the most part - better production. He's more of a Behringer support guy I think.
https://www.youtube.com/playlist?list=PLil-At3d8VG3RyaefYHsVvVxivf2e5TAI Check all his Midas vids. This is the guy who makes the AES50-to-Thunderbolt interfaces
https://www.youtube.com/watch?v=B6c55zpOywk&list=PLO-YB0k9cZgySjjrd1wPBW_xxLkSVTL_X In HD, with much better audio. Covers the 3/6/9 but much is similar to the Pro2.
https://www.youtube.com/watch?v=7gOIknanDPM&list=UU4F2EWj-vtl3E_s_YUjPQug&index=33 First (I think) of an old series on the Pro 3/6/9. These used to be bundled on MidasConsoles.com, but I can't find them now. Wait - maybe this: http://www.midasconsoles.com/Products/PRO3-IP.aspx
Always set up your scene with extra stuff
The screen channel strip mimics the hardware, and is easier to read than a panel. There's a setting in preferences that allows you to turn on a pop-up that tells you the setting of the control you are moving in fine detail. My dislike is that there are only three EQ controls (think LS9) instead of twelve (think M7CL).
Have a look at some of the YouTube stuff from Midas https://www.youtube.com/user/MidasMixing/videos ) and others:
http://www.youtube.com/watch?v=Byunwh7YxfA Kyle is the main Midas training guy.
https://www.youtube.com/watch?v=iM8tVDkPSX8&list=UU4F2EWj-vtl3E_s_YUjPQug A re-do of the above for the most part - better production. He's more of a Behringer support guy I think.
https://www.youtube.com/playlist?list=PLil-At3d8VG3RyaefYHsVvVxivf2e5TAI Check all his Midas vids. This is the guy who makes the AES50-to-Thunderbolt interfaces
https://www.youtube.com/watch?v=B6c55zpOywk&list=PLO-YB0k9cZgySjjrd1wPBW_xxLkSVTL_X In HD, with much better audio. Covers the 3/6/9 but much is similar to the Pro2.
https://www.youtube.com/watch?v=7gOIknanDPM&list=UU4F2EWj-vtl3E_s_YUjPQug&index=33 First (I think) of an old series on the Pro 3/6/9. These used to be bundled on MidasConsoles.com, but I can't find them now. Wait - maybe this: http://www.midasconsoles.com/Products/PRO3-IP.aspx
Re: Digital Console purchase for a 400 capacity theater
I believe the iPad app and off–line editor will be mid-year.
… this desk should be on everyone’s list to check out.
I believe the iPad app and off–line editor will be mid-year.
… this desk should be on everyone’s list to check out.
Re: Digital Console purchase for a 400 capacity theater
FWIW: Midas has "that sound" with it, unable to describe what it is in writing, but every time I plug a mc into it it just sounds "better".
Same with Digico.
And last night, I did a festival on a SSL L500 mixing all the bands. Never seen the console before, 6 acts, no sound check, just line check and ASAP changeovers. Sounded really really good, nice workflow and I found my way around it quickly. It also has "that sound", so I'm really looking forward to mixing on it again.
FWIW: Midas has "that sound" with it, unable to describe what it is in writing, but every time I plug a mc into it it just sounds "better".
Same with Digico.
And last night, I did a festival on a SSL L500 mixing all the bands. Never seen the console before, 6 acts, no sound check, just line check and ASAP changeovers. Sounded really really good, nice workflow and I found my way around it quickly. It also has "that sound", so I'm really looking forward to mixing on it again.
Re: Digital Console purchase for a 400 capacity theater
FWIW our Midas sounds great, as does all of the Digico range .... and believe it or not I think our dLive sounds every bit as good, incredibly clean, perhaps its as a result of the merger between A&H, Digico and Calrec, who knows ... to me all the new boards from quality manufactures sound great in 2016.
FWIW our Midas sounds great, as does all of the Digico range .... and believe it or not I think our dLive sounds every bit as good, incredibly clean, perhaps its as a result of the merger between A&H, Digico and Calrec, who knows ... to me all the new boards from quality manufactures sound great in 2016.
Re: Digital Console purchase for a 400 capacity theater
They do.
However, only Midas, Digico and SSL has "that sound". I have no idea if it's me hearing with my eyes or what it is.
I haven't tried the new A&H range yet
They do.
However, only Midas, Digico and SSL has "that sound". I have no idea if it's me hearing with my eyes or what it is.
I haven't tried the new A&H range yet
Re: Digital Console purchase for a 400 capacity theater
Hi Simon,
Check out the SD9 with a D2-Rack of 48/16 (expandable to 32 outputs). It might be within your budget, it costs less than a SD9 with a pair of D-Racks.
Eytan
Hi Simon,
Check out the SD9 with a D2-Rack of 48/16 (expandable to 32 outputs). It might be within your budget, it costs less than a SD9 with a pair of D-Racks.
Eytan
Re: Digital Console purchase for a 400 capacity theater
After seriously considering the S21 this is where my PAC is going.
After seriously considering the S21 this is where my PAC is going.
Re: Digital Console purchase for a 400 capacity theater
Definitely check out the Yamaha QL series. Will be in budget, I have not yet had a BE that was not able to navigate and use it. Yamaha support has been incredible, I think they are there all evening and I have called at some odd times with even odder questions.
Definitely check out the Yamaha QL series. Will be in budget, I have not yet had a BE that was not able to navigate and use it. Yamaha support has been incredible, I think they are there all evening and I have called at some odd times with even odder questions.
Re: Digital Console purchase for a 400 capacity theater
I am a little late to the party as I was not aware of this board. Thanks Peter Morris for the info.
I have used all of the listed consoles extensively for live music applications with the exception of the S21. So I am keen to hear what folks think of it.
I can certainly agree that the Midas board sounds great, but for me, it is a pain to build a show and I have had many reliability issues with them. Not one board, but many as I tour the country. From simple glitches to major crashes and everything in between. I know all boards have their issues, but some less than others.
The Yamaha's are great, easy to use and reliable. However, for my purposes they are a little too expensive for what they offer. Not by much, but just a little. The Digico range sounds good and are a solid choice. I always seem to enjoy my time on them apart from the less than accurate touch screen. : P
The Allen & Heath is incredible bang for buck with both the GLD and d-live clear price winners. I have sold one of my boards, an Avid board, to purchase the d-live and I do not regret it at all. As Peter has said, it is class leading. It sounds great, the FX are some of the best in any class, the power is second to none really with only a very few boards claiming to beat it in this regard. The things that I love about it are it's ease of use, sound, visual cues, touchscreen that is incredible and the fact that there is no third party OS. That is right, no Windows or Linux. A&H operating system written straight to FPGA chipset. Big thumbs up here.
I know I am sounding like a fan boy, but really if you try it you will agree.
A&H have a pathway for this board and so far are remaining on track, the offline editor and iPad app are due within a month or two. Also, once the gig-ACE card is available, it is my understanding that you can link two surfaces from the one I/O rack. Maybe I am wrong on this point, but this is my understanding.
I am a little late to the party as I was not aware of this board. Thanks Peter Morris for the info.
I have used all of the listed consoles extensively for live music applications with the exception of the S21. So I am keen to hear what folks think of it.
I can certainly agree that the Midas board sounds great, but for me, it is a pain to build a show and I have had many reliability issues with them. Not one board, but many as I tour the country. From simple glitches to major crashes and everything in between. I know all boards have their issues, but some less than others.
The Yamaha's are great, easy to use and reliable. However, for my purposes they are a little too expensive for what they offer. Not by much, but just a little. The Digico range sounds good and are a solid choice. I always seem to enjoy my time on them apart from the less than accurate touch screen. : P
The Allen & Heath is incredible bang for buck with both the GLD and d-live clear price winners. I have sold one of my boards, an Avid board, to purchase the d-live and I do not regret it at all. As Peter has said, it is class leading. It sounds great, the FX are some of the best in any class, the power is second to none really with only a very few boards claiming to beat it in this regard. The things that I love about it are it's ease of use, sound, visual cues, touchscreen that is incredible and the fact that there is no third party OS. That is right, no Windows or Linux. A&H operating system written straight to FPGA chipset. Big thumbs up here.
I know I am sounding like a fan boy, but really if you try it you will agree.
A&H have a pathway for this board and so far are remaining on track, the offline editor and iPad app are due within a month or two. Also, once the gig-ACE card is available, it is my understanding that you can link two surfaces from the one I/O rack. Maybe I am wrong on this point, but this is my understanding.