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Marc Lopez of Yamaha Commercial Audio Q&A
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<blockquote data-quote="Tim Folster" data-source="post: 129745" data-attributes="member: 8050"><p>Re: Marc Lopez of Yamaha Commercial Audio Q&A</p><p></p><p>Hi Marc,</p><p></p><p>I hope you are still active in this thread as I am a late comer here. Let me add my thanks for your time and attention.</p><p></p><p>There have been a couple questions asked about scene memories on the CL series and comparisons to the PM1D and PM5D. I do equal amounts of theater, concerts, corporate, and events. The common thread in my work is that the events I do are typically high profile one offs. As such the two most important factors I need to adhere to are flawlessness and swiftness. It has to be done right, right now. I am glad to see that the Preview function on the CL is now online. But I feel that the scene functions on audio consoles are bumbling around in the dark ages. I believe you said that Yamaha has been making consoles for 27 years now. That is approximately how long lighting consoles have been digitally automated. I beg Yamaha designers to get some training on ETC lighting consoles and learn how to implement some of the functions such as UPDATE, TRACK, FOLLOW, WAIT, BLOCK, ACTIVE, TIME, RECALL FROM, PARK, MACROS and CUE SHEET. I think audio console designers could learn an awful lot by looking at lighting console design and functionality. </p><p></p><p>I also have some wishes for a PM1D replacement. It has always been my experience that live sound engineers are, by nature, control freaks. Quality analog consoles were always designed with that in mind, giving us everything we need to see and touch right at our fingertips. The trend in digital consoles seems to be the exact opposite; let's see how much we can cram into this console while at the same time keeping the control surface as sparse as possible. I am sure this is driven by a factor of cost, i.e. more encoders = higher price point. But one of the advantages of the M7 is that there are no channel layers, everything is right there. I would love to see a console where I have 8 or 12 encoders over every channel fader that could be selected as head amp, eq, dynamics, or routing, expandable fader wings for when I have higher channel counts, a dedicated eq controller (a remote, rack-mountable device perhaps) so that I don't have to loose my mix faders to adjust eq, and a separate dedicated mix screen that shows the entire console in a similar fashion to the overview screens in Studio Manager.</p><p></p><p>Lastly, I will put in my +1 for a CSV or other output-able patch sheet. Again, something that has long been available in lighting consoles.</p></blockquote><p></p>
[QUOTE="Tim Folster, post: 129745, member: 8050"] Re: Marc Lopez of Yamaha Commercial Audio Q&A Hi Marc, I hope you are still active in this thread as I am a late comer here. Let me add my thanks for your time and attention. There have been a couple questions asked about scene memories on the CL series and comparisons to the PM1D and PM5D. I do equal amounts of theater, concerts, corporate, and events. The common thread in my work is that the events I do are typically high profile one offs. As such the two most important factors I need to adhere to are flawlessness and swiftness. It has to be done right, right now. I am glad to see that the Preview function on the CL is now online. But I feel that the scene functions on audio consoles are bumbling around in the dark ages. I believe you said that Yamaha has been making consoles for 27 years now. That is approximately how long lighting consoles have been digitally automated. I beg Yamaha designers to get some training on ETC lighting consoles and learn how to implement some of the functions such as UPDATE, TRACK, FOLLOW, WAIT, BLOCK, ACTIVE, TIME, RECALL FROM, PARK, MACROS and CUE SHEET. I think audio console designers could learn an awful lot by looking at lighting console design and functionality. I also have some wishes for a PM1D replacement. It has always been my experience that live sound engineers are, by nature, control freaks. Quality analog consoles were always designed with that in mind, giving us everything we need to see and touch right at our fingertips. The trend in digital consoles seems to be the exact opposite; let's see how much we can cram into this console while at the same time keeping the control surface as sparse as possible. I am sure this is driven by a factor of cost, i.e. more encoders = higher price point. But one of the advantages of the M7 is that there are no channel layers, everything is right there. I would love to see a console where I have 8 or 12 encoders over every channel fader that could be selected as head amp, eq, dynamics, or routing, expandable fader wings for when I have higher channel counts, a dedicated eq controller (a remote, rack-mountable device perhaps) so that I don't have to loose my mix faders to adjust eq, and a separate dedicated mix screen that shows the entire console in a similar fashion to the overview screens in Studio Manager. Lastly, I will put in my +1 for a CSV or other output-able patch sheet. Again, something that has long been available in lighting consoles. [/QUOTE]
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