Mixers/Consoles New Mixer

[SteveMcQueen]

Hello all.

Yes, I know there are threads about mixers all over the place, but wouldn't find one for my situation. So I'll describe what I am thinking, and I hope I can get some feed back.

Right now I use LS9-16 (16x8) along with a Mackie 1604 (16x4) and some 12 channel Mackie as well. There was 3 possible events that a new mixer will be used, and I would like it to help in all events.

Musicals
Right now, the musical we are doing are get bigger and bigger. We are a small 5 row theatre, so for a musical, I'll sit in the middle of the back row, with a table, a computer, iPad, and one or two mixers. Then in the art gallery upstairs is the band. This last show I put the LS9 up right in the gallery, and ran the band through it, since I could control it with my iPad with StageMix. I then used the 16 and 12 channel Mackie for the lav mics that I had at my desk in the theatre, ran the outs of that up to LS9, and then out, since it had more outs for monitors, it was the only was for it to work. Now ideally, I should only use one board, not 3, but even in a world where I could have as large of a board as I want, I would still want the band board to be in the room with the band, since I would only have to snake the outs of the lav board to the mixer, instead of each mic, if that makes sense. With the location of this gallery where the band plays, and the booth where I patch in down to the snake in the theatre, the best option is the band has its own board. So I need a board that has more inputs, for the "lav"" board that I use in the theatre. The problem is that the snake into the theatre only has 24 inputs and 4 outs, and depending on the show, I use some of the ins for outs because my designs usually have a lot of speakers. So I could have a 100 input board, that wouldn't matter, if I can only have 24 inputs form the snake. Sure, I could put some of the wireless receivers under the desk, and run them right in the board, but that is not ideal. Right now I have the receivers on the catwalk above the stage, and then patch them to the theatre snake.

Plays
I would, in theory, like a board with me outs (10+) for plays. But inputs is so worry since I don't use any mics for plays.

Music
We do music shows now and again, but the LS9-16 has always been enough. If i need more, I use another board if i need more faders, no big deal there.


I also know there is a way for Qlab to trigger channels being on or off. In some shows we use some type of my for effects. Like this last show there was a mic that I added verb, and delay to as it someone was at a protest rally, and also we used a phone that they actually talked into as a mic, when someone was being a glass wall. We had issues with the board op turning on and off the mics when needed, so the director suggested a board that can trigger channels being on and off. I think thru MIDI, but that isn't on the top of my list as a concern. I'm just very worried about the next big musical, and not having to use 3-4 boards in 3 different locations.

So I want at last 24-32 inputs in the new board, with at least 8 outs, but I would like more, and has to be able to be remotely controlled by my iPad. So must be digital. I will be the only one using the board, and I'm trained, so it doesn't have to be idiot proof, and needs to have a compressor in it, though I think most digital do anyway.

I was looking at the LS9-32, since the only problem I see with the LS9-16 is the small channel input. Also the M7CL-48ES, that will work with ipad as well. That might be just out of the price range. I wasn't given one. I was just told to make some suggestions to the board of directors since we are doing bigger musicals now, and I complained a lot about the lack of equipment and space to pull of the size show we did in December.

So just making sure that this somewhat makes sense, and if anyone has any other suggestions, and has been in a situation like me. Thanks, and sorry for rambling.

Steve

 

[museav]

Now ideally, I should only use one board, not 3, but even in a world where I could have as large of a board as I want, I would still want the band board to be in the room with the band, since I would only have to snake the outs of the lav board to the mixer, instead of each mic, if that makes sense. With the location of this gallery where the band plays, and the booth where I patch in down to the snake in the theatre, the best option is the band has its own board.

It doesn't really make sense to me as while it may make sense to have someone mixing monitors for the band in the same room but I'd much rather be able to mix the band for the audience from the same room as the audience. And if you are thinking remote mixing the band then I personally would also prefer to not have to use an iPad to remotely mix the band especially while also mixing the band mixer's output and any mics on another mixer.

The problem is that the snake into the theatre only has 24 inputs and 4 outs, and depending on the show, I use some of the ins for outs because my designs usually have a lot of speakers. So I could have a 100 input board, that wouldn't matter, if I can only have 24 inputs form the snake.

It sounds like perhaps you might benefit from putting together some kind of Master Plan before purchasing a new mixer. I can see a digital mixer that can use the existing analog snake plus a digital stage box for the band and/or to expand the stage inputs seeming to address several of the issues noted. Or maybe you need to look at what expansion is possible and make sure the mixer can support that.

Sure, I could put some of the wireless receivers under the desk, and run them right in the board, but that is not ideal. Right now I have the receivers on the catwalk above the stage, and then patch them to the theatre snake.

Why would having the receivers at FOH not be ideal? Having the receivers where you can verify proper operation, signal strength and battery life if the receiver shows that would usually be considered desirable while it would seem to also open up some more stage inputs. Quite honestly, I might locate remote antennas at a catwalk but that is typically one of the last places I would locate the receivers if I had a choice.

We had issues with the board op turning on and off the mics when needed, so the director suggested a board that can trigger channels being on and off.

I will be the only one using the board, and I'm trained, so it doesn't have to be idiot proof, and needs to have a compressor in it, though I think most digital do anyway.

These appear contradictory.

I was looking at the LS9-32, since the only problem I see with the LS9-16 is the small channel input. Also the M7CL-48ES, that will work with ipad as well. That might be just out of the price range. I wasn't given one. I was just told to make some suggestions to the board of directors since we are doing bigger musicals now, and I complained a lot about the lack of equipment and space to pull of the size show we did in December.

How often do the events that need greater capability occur and if it is a couple of times a year then might rental may be something to consider?

In you situation would look seriously at the new Behringer, Soundcraft and Roland offerings as you can probably get a console with 32 or more inputs including some via stage boxes and a digital snake for the same or lower cost than a new LS9-32.

 

[SteveMcQueen]

Thanks for your reply. Yes, would prefer to not use an ipad, had a lot of issues with the wifi during a show, but i mix everything in the theatre, just the actual board is in the band room. Monitor mixes are done during sitz probe, and rarely are changed. Its such a small space and the band is so loud, that really, only the MD needs to hear to vox.


When I said I wanted a board that triggers mice, that was only for plays. I'm not the board op for plays, but I'm there for musicals. That was just a side note my director mentioned, but I'm not at all worried about that.

This season, there was only one time where we had the band remote. Out of the 4 musicals we did this season, 3 I had to use a second board. I get what you are saying were there is more to be fixed in this situation then just a new board. A theatre with an actual pit would be great. There were some problems with sound leading up to opening of this last musical, and the director's answer is to get a bigger board. Which, if they are offering, I'll take it.

And the only reason I like the receivers on the catwalk is because of space. It looks nicer and neater from an audience member stand point. I'm sitting actually in a seat next to a member of the audience, so looks are a lot here, that is why I think he wants a large impressive looking board instead of 2 shabby analog boards. +1 because I did miss the receivers at my desk. In the end though, my desk/table I use in the theatre probably won't fit a 32+ channel comfortably. So yea, there are other issues.

 

[bishopthomas]

Get a console that can handle every input (and more). Run a snake up to the band. Personally I'd also want to see what's happening so a camera on the band and a small monitor at FOH would be ideal. Give them monitors and you can give them a feed plus use a talkback mic. Put your receivers where you can see them, even it it means relocating FOH or modifying the space. You're not going to get an M7 in your lap as you sit in a seat anyway so you might as well start thinking of other options now. Good luck.

 

[TimmyP1955]

You can expand the LS9-16 to 32 channels by getting a card and using external preamps. There are various options. Similarly, the LS9-32 can be expanded to 64 channels. However these days I can't see buying a new LS9, or perhaps even a new one, given what the GLD and X32 families offer.