I probably approach digital
console selection differently than most. I first define the functional requirements and
layout the
system with the
mixer (which may end up being just the
console or the
console and remote I/O boxes) shown simply as a blank box. That then lets me define all the connectivity, functionality,
etc. I ideally want from the
mixer. Hopefully I can then find a
mixer that supports the requirements that were thus defined and fits the budget. If not, then I have to go back and modify the requirements and/or the budget to reflect what is
practical. With that approach you can identify specific details or requirements that may suggest or eliminate some options. That is also why I often hesitate to make specific product recommendations without being able to first
address the situation in such a fashion.
As far as GLD-80 versus LS9, in general I find the GLD-80 interface with split
fader banks, electronic scribble strips and color coding,
etc. much easier to use. I also personally prefer the sound of the GLD-80 but that is one of those very subjective and situation dependent impressions. On the other side, if you have guest acts and operators then they may be much more likely to be familiar with and have show files for the LS9.
If you
throw the X32 into the mix then price definitely becomes a factor, however you may also want to consider long term plans. One of the things I really like with the Allen & Heath and
Yamaha digital consoles is the flexibility in supporting various digital and
network audio formats other than their own, in fact
Yamaha has made the decision to no longer develop proprietary formats and to instead support those developed by others. And if some new format or
protocol becomes popular then it may well be possible for an associated interface card to be developed, making the
mixer less likely to be obsoleted by such developments. Unless AES50 becomes more widely embraced or optional card become available to replace the Firewire/USB card then the Behringer only supports Firewire/USB and what are effectively proprietary audio networks.
Most people do not find it a limitation but I have heard from some who have encountered issues with the 'ganged' I/O routing of the X32, primarily in situations such as multiple wall plates and/or floor pockets wired to multiple
stage boxes and using a limited number of inputs at each box or plate. Again, very dependent on the specific application.
I currently am waiting a
bit before too widely recommending the X32 for projects. I am always wary of revolutionary new products and especially when incorporate significant new, product specific, components. That those are internally designed and manufactured could turn out to be a strength or a weakness for the X32 but since it applies to many of the faders, meters, pots,
etc. components whose warranty is limited to one year I am interested to see how the related durability and reliability
play out after the X32 has been in use a
bit longer. If in 6 or 12 months things still look good I will look at that as a major positive but until then I hesitate to recommend it to anyone who does not understand and accept the associated risk.
