In rack Mixer
- Thread starterBrenden Friedel
- Start date
@Brenden Friedel Have you considered Yamaha's MG series with optional rack mount ears? [Or is it too old school for you?]
The sub group outputs allow a degree of flexibility.
https://ca.yamaha.com/en/products/proaudio/mixers/mg_series_xu_model/index.html
Toodleoo!
Ron Hebbard
Brenden Friedel
Active Member
@RonHebbard I came across that one and was torn between that and one of these
BEHRINGER XENYX 1204USB Not sure which one to go with for the money
and analog consoles are not to old school just prefer digital over them due to the easier eq but thats not important for this bulid
@Brenden Friedel I'll OPENLY admit to being HEAVILY biased.
I've owned at least four Yamaha consoles over the course of at least four decades and have NEVER been let down or disappointed. I'm equally, if not more so, PROUD to proclaim NEVER having owned any Behringer gear. I guess I can say Behringer's never let me down either but that'd be because I've never given them the opportunity.
I still recall when Behringer copied one of QSC's power amps and copied it SO CLOSELY they had Bob Lee's name still etched on their main PC board. Bob Lee; Good people. QSC; good people building good products. Behringer; BOO! HISS!!
If you want to talk EQ; I think four or eight band fully parametric and primarily Orban with White and UREI in the background.
'nuff said. Case rested.
Toodleoo!
Ron Hebbard.
Brenden Friedel
Active Member
I love yamaha they are a great company im just on a budget and don't think i can spend that extra 50 for the yamaha. Plus this one comes with xlr out on the back instead of top and bulit in effects. Don't get me wrong yamaha is amazing i love their LS9 and TF5 and have a Clav. Just on a tight budget
@Brenden Friedel You might also consider Rane for small mixers:
http://www.rane.com/mlm82s.html
Toodleoo!
Ron Hebbard.
@Brenden Friedel The phrase: "Never money to do it right, ALWAYS money to do it twice" keeps coming to mind here, closely followed by buy once cry once.
Toodleoo!
Ron Hebbard.
I see Rane hasn't lost their love for oddball power connectors. Don't lose the cord for that puppy because you won't find one in your collection.
If EQ and aux busses aren't needed, a Shure SCM268 might fill the bill. With its input and output transformers, it can work in situations where hums and buzzes could be an issue for other mixers. Just be sure to understand how to interface it with unbalanced inputs and outputs. I will knock Shure for not including a headphone jack and high pass switches, like the venerable M267 had.
microstar
Well-Known Member
Behringers analog stuff is very hit or miss. I still have an UB2442FX... it still kinda works but is not really usable for a production environment... granted its 15 years old! They really have not put that much development into their analog line... most of their stuff is pretty much straight Mackie clones. If it hits the pricepoint you need do it, but don't expect it to last forever.
On the flipside, if you could use a x-air mixer do it... they are beyond excellent.
You are a bit out of the loop then. Ever since the X32 came out Behringer has been a totally new company. They now produce easily the most rider friendly desk for the club market out there. A and B national tours are carrying their desks. Their hardware is rock solid. I own an X32, M32, and X-air and have had zero issues with any of them... going on 5 years. They are more reliable then my 20k Midas Pro2's. Behringer produced a beyond excellent desk that really blew up the lower end of the market. I would not even think of buying any other desk if I needed 32 channels or less.
Also, I get disappointed every time I touch an LS9 or M7... they sound like total garbage.
@Footer It'll take far more to make me forgive their previous transgressions, things like copying one of QSC's designs including design engineer Bob Lee's name on the main PC board's etching.
Thank goodness we're still all allowed our own incorrect opinions and then there's Digico.
Toodleoo!
Ron Hebbard.
Brenden Friedel
Active Member
I’m not looking at it for a production. At my school I’m in charge of getting a mixer to support to mics and an aux with a left and right output to for speakers that are daisy chained that’s all I’m looking for nothing special
Brenden Friedel
Active Member
What do you mean? Like the mics it self sound terrible or just your eq?
Brenden Friedel
Active Member
At that price point it hardly matters what you get. If you go Yamaha, I think it'll last longer barring someone spilling a coke on it. Maybe longer than it needs to. If it were me, I'd go this route because I happen to like their MG series products and I've always gotten good sales and technical support out of them. That, or if it's a little more set it and forget it I might go with the Alesis MultiMix 10 Wireless because it's footprint is a little smaller and it comes with Bluetooth or the MultiMix 12 for a couple more XLR inputs less the Bluetooth. In this case, neither MultiMix would give the internal mono sum off of L/R though.
If you go Behringer, it'll probably be fine enough. I've seen some of Behringer's analog consoles in the wild that have several inputs toasted on them, but the rumors are true that they have increased their production quality and support structure over recent past. They still and for several years to come will have an image problem for their past sins, but that's really neither here nor there. That's an ongoing debate of morality amongst people who regularly spend tens or hundreds of thousands of dollars on equipment which kind of businesses and product dev teams they want to support.
It's just not worth getting into a "this brand or that brand" at this price point. Within 5 years if the console isn't dead it'll be made obsolete by the new shiny thing for $99.
If this isn't even for production, I'd go so far as to say you could find a good deal on something lightly used on eBay. Primary problem you encounter with analog consoles are dusty faders and wasted inputs/outputs. If you can find something that someone has verified is functional and hasn't had the snot beat out of it save yourself a couple hundred bucks and buy a couple good microphones if you don't already have them. If you have $30 music store mic's, it hardly matters if you spent $300 or $300,000 on your console. It'll still sound like flea market microphones.
If you go Behringer, it'll probably be fine enough. I've seen some of Behringer's analog consoles in the wild that have several inputs toasted on them, but the rumors are true that they have increased their production quality and support structure over recent past. They still and for several years to come will have an image problem for their past sins, but that's really neither here nor there. That's an ongoing debate of morality amongst people who regularly spend tens or hundreds of thousands of dollars on equipment which kind of businesses and product dev teams they want to support.
It's just not worth getting into a "this brand or that brand" at this price point. Within 5 years if the console isn't dead it'll be made obsolete by the new shiny thing for $99.
If this isn't even for production, I'd go so far as to say you could find a good deal on something lightly used on eBay. Primary problem you encounter with analog consoles are dusty faders and wasted inputs/outputs. If you can find something that someone has verified is functional and hasn't had the snot beat out of it save yourself a couple hundred bucks and buy a couple good microphones if you don't already have them. If you have $30 music store mic's, it hardly matters if you spent $300 or $300,000 on your console. It'll still sound like flea market microphones.
...That is a production environment then. By production environment I mean a place where the gear actually has to work every time. The 1204 will work out great... and it has mute switches which the comparable yamaha console does not. If you wanted to go more brand name, you can never go wrong with the Mackie 1202.
The older Yamaha digital stuff sounds very harsh and digital compared to a comparable analog desk. A 58 on a yamaha desk sounds way different then a 58 through most other desks. The CL series does not have this issue, but the older ones did. The M7 was one of the reasons that for years many engineers would not touch digital. I can still hear the difference between our Midas digital desk and a CL5, but that has more to do with the way you can over drive the preamp then the actual sound of the desk.
Brenden Friedel
Active Member
This is going to be a snobby thing to say... but after you hear the difference you can't not hear it. You also need to have a very high quality PA to hear it. I have not used the TF series desks so I can't really comment there if it has similar sonic issues that the LS9 and M7 had. Hopefully it doesn't. Because it is using their newer stuff I'm sure its good to go. Much of the issue with the LS9 and M7 were clock related... the most of them could be cleared up with an external clock. It at least helped. Still sounded a bit digital, but you could A-B test the desks with a good clock and hear the difference. Some desks needed this more than others.
