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Thursday, October 04, 2018
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2 comments:
I have always found it kind of funny that a lot of good audio advice comes from churches. It seems like there should not be very much overlap, but I don’t know how many times I’ve found the solution to a theatrical problem on a church audio forum. True to form, this article makes some great points that are very applicable to live theatre settings. I know a lot of sound engineers that have strong preferences for one console or another and frequently proclaim that that console is superior to other consoles for any number of reasons. This article makes an excellent point that there is not a general best console, there are only consoles that best fit their venue, beyond just I/O capacity or certain features. Whether that’s because of layout or sound quality, it can make a real difference, and it should be considered when theatres purchase sound consoles. It’s dangerous to take one engineer’s opinion as the truth, especially in a venue where multiple people might work on the same console.
I think this article could be very helpful for those who are looking to buy a new mixer. The range of options out there is frankly overwhelming. Setting a price range is important, but even within that price range there are many boards to choose from. The most expensive one isn’t always the best- it is important to choose a board that works well for you. I thought this article provided a good list of characteristics and questions to ask yourself when looking to purchase a board. What features do you need, and which ones aren’t necessary? Is there a specific brand that would work the best with your existing equipment ecosystem? How’s the sound quality, and what does it feel like in your specific space? How does the workflow feel, how intuitive is it? The questions provided by the article are important to think about when buying a new piece of equipment, and are a good starting point for anyone looking to outfit their space with a new sound board.
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