I'm looking to move into a digital console from an Allen & Heath GL4000 48ch. My reasons: scene/snapshot recall, increased input capacity, on-board fx allowing a reduction some existing outboard gear & cable clutter, reducing the console footprint somewhat, and possible use of a "one-cable" stage box for bringing additional lines from stage since I have no more conduit capacity for copper. However, I'm in a situation where I still need more local I/O than a lot of the digital consoles have, since they put virtually everything in the stage box. Use is in a multi-purpose performing arts center hosting everything from talking heads to musicals with orchestra and 30 to 40 wireless mics. I seem to be doing more concerts lately, but these are primarily local gospel choirs and such, not touring acts.
I originally specified the Yamaha M7CL 48ch under the mistaken notion of channel expandability via expansion cards. In May, I discovered the M7 limit in accessing only 48 channels, regardless of the lines added via cards. So while I've not totally ruled out the M7, I am considering other options.
Besides the M7, I've been investigating Allen & Heath's iLive T112, the Soundcraft Si2 & Si3, and the Digico SD-8. I've done the Yamaha M7 school, so I have some hands-on with it. I am currently in the process trying to locate nearby venues with any of the other consoles for a hands-on overview. I'm also trying to go through the downloaded manuals for each console.
I've done enough review to know some of the major points for each console.
- There are probably more M7s out there than any of the other four I mentioned combined. That means a larger user base & greater likelihood of finding an experienced board op should I need a night off or local help with a problem. Factory support seems to be good. No layers.
- The Soundcraft boards are drop-in replacements for analog consoles, so all I/O is local with no stage box option at present. I've heard something may be in the works, but have not confirmed it. It's nice that the fader count is high enough to keep layers to a minimum. While the Si3 channel count hits 64, the Si2 tops out at 48.
- A&H iLive T series seems to have some good reviews and a great feature set for the price. DSP is in the rack on stage & the rack is the same as the big-brother iLive, I think. Fewer physical faders means more layers. Wish they offered the 114 control surface with the T-series. I don't know much more about it yet, though.
- The Digico SD-8 is the Cadillac of the group. Great features and reviews with the beautiful 15" central screen, but pricing puts it pretty much at the upper extreme of my budget and gasping for air. Recording capability via MADI is really attractive. 60 mono or stereo channels with full processing, but a relatively low fader count & layers four-deep. It's an odd looking creature, with the black & gold color scheme though, don't you think?
Of all the pros & cons I know so far, none are deal breakers. I've got all those copper lines already in place, so the lack of stage box with the Soundcraft could work. Yamaha has the new stage box for the M7 & the price is right. I'm a little concerned about the low local I/O count with the iLive & SD-8, but I think I could make it work with any of these consoles.
I would really like to hear from those of you who have experience with any of these in a live sound environment; especially those who have worked with more than one console on the list.
In summary, scene/snapshot programming is important for me, particularly on the theatricals where there are so many characters and rapid changes. Ease of scene programming, editing and inserting new scenes is essential. There are others who will use the console, so learning curve is a factor to consider. Although I expect to exceed the 48 channel input capacity of the M7 & Si2, these are limited to a few times per year; I could probably submix some groups on another board for those occasions, if need be. Some local I/O is important, although I still need to determine what my absolute count must be. Finally, I suspect I am like many moving from analog, who fear losing a too loud/soft actor on a body mic & I can't find the fader layer he's on quickly enough.
I apologize for the long post, but I hope it has given enough info to help you offer some tips and suggestions.
I originally specified the Yamaha M7CL 48ch under the mistaken notion of channel expandability via expansion cards. In May, I discovered the M7 limit in accessing only 48 channels, regardless of the lines added via cards. So while I've not totally ruled out the M7, I am considering other options.
Besides the M7, I've been investigating Allen & Heath's iLive T112, the Soundcraft Si2 & Si3, and the Digico SD-8. I've done the Yamaha M7 school, so I have some hands-on with it. I am currently in the process trying to locate nearby venues with any of the other consoles for a hands-on overview. I'm also trying to go through the downloaded manuals for each console.
I've done enough review to know some of the major points for each console.
- There are probably more M7s out there than any of the other four I mentioned combined. That means a larger user base & greater likelihood of finding an experienced board op should I need a night off or local help with a problem. Factory support seems to be good. No layers.
- The Soundcraft boards are drop-in replacements for analog consoles, so all I/O is local with no stage box option at present. I've heard something may be in the works, but have not confirmed it. It's nice that the fader count is high enough to keep layers to a minimum. While the Si3 channel count hits 64, the Si2 tops out at 48.
- A&H iLive T series seems to have some good reviews and a great feature set for the price. DSP is in the rack on stage & the rack is the same as the big-brother iLive, I think. Fewer physical faders means more layers. Wish they offered the 114 control surface with the T-series. I don't know much more about it yet, though.
- The Digico SD-8 is the Cadillac of the group. Great features and reviews with the beautiful 15" central screen, but pricing puts it pretty much at the upper extreme of my budget and gasping for air. Recording capability via MADI is really attractive. 60 mono or stereo channels with full processing, but a relatively low fader count & layers four-deep. It's an odd looking creature, with the black & gold color scheme though, don't you think?
Of all the pros & cons I know so far, none are deal breakers. I've got all those copper lines already in place, so the lack of stage box with the Soundcraft could work. Yamaha has the new stage box for the M7 & the price is right. I'm a little concerned about the low local I/O count with the iLive & SD-8, but I think I could make it work with any of these consoles.
I would really like to hear from those of you who have experience with any of these in a live sound environment; especially those who have worked with more than one console on the list.
In summary, scene/snapshot programming is important for me, particularly on the theatricals where there are so many characters and rapid changes. Ease of scene programming, editing and inserting new scenes is essential. There are others who will use the console, so learning curve is a factor to consider. Although I expect to exceed the 48 channel input capacity of the M7 & Si2, these are limited to a few times per year; I could probably submix some groups on another board for those occasions, if need be. Some local I/O is important, although I still need to determine what my absolute count must be. Finally, I suspect I am like many moving from analog, who fear losing a too loud/soft actor on a body mic & I can't find the fader layer he's on quickly enough.
I apologize for the long post, but I hope it has given enough info to help you offer some tips and suggestions.
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