Doing some maintenance on a few consoles. Looking at the difference between the AKG P220 (Perception 220) and the Audio Technical 2035 (AT2035) microphones.
It's certainly worth taking the time and effort to consolidate connections and equipment. I am only part of the way with it, but I'm noticing the time savings already. The next step for me is to migrate the amp racks to NL8 so I'm not doing as many long speaker cable runs; it's costly, but so much tidier and faster.
@@stageleftaudio They certainly seem to be. Often, I'm working solo at events, so seek to gain efficiencies wherever I can. On the bigger shows where I do have more people, there is also more to be getting on with, so they're realised there too. The comparisons with the microphones are interesting too; I don't use large condensers at events all that often. I did pick up some Citronic CM25s recently for silly money; they're about £60 per unit and are very basic, no HPF or PAD switches, but they do a great job for stringed instruments and choirs. I have tried them for drum overheads too, but with a hard hitting drummer, the limitations are soon realised.
@@stageleftaudio They're really not bad. The design looks inspired by some of the Lewitt models. I do the PAD and HPF on the desk for the most part anyway, so although I've noted the features are missing, they don't impact me.
The scribble strips do not change color, which is perfect for me. I am surprised Presonus has not added that as a feature. However professionally speaking, having worked on other digital consoles with colored scribble strips, trying to read colored text (against a slightly colored background screen) can be very problematic. It is a lot easier on the eyes to have a high contrast scribble strip (basically, white text on a dark background). On the Presonus consoles, the "select" button color stays with the input no matter what layer you are working with. This works a lot better for our needs.
I’m wondering if you have tried to connect your subs to an auxiliary send instead of with a crossover on the main out. If you did I’m curious what you think of it, if you never tried maybe it’s something to try out one day. Have a happy new year ! 🎆
Thanks for the comment. Aux-fed-subs should be a last resort. There are problems with using an aux-fed-sub setup. I hope to have a video covering this topic in the near future. Around mid 2021, I mixed on an aux-fed-sub system at an event (as a guest engineer for one of the bands)... great sound system, but it did not go well.
Thanks for the reply. The issues I have experienced relate to the sound quality and lack of overall control of the aux-fed sub feeds. Most notably are the lack of HP and LP filters (including the actual filters , BW, LR, etc...), which has resulted in either too much bottom end or too little... all of which sounded very muddy; the event I did (referenced above) there was very little to no definition for the bass and kick-drum. It was painful to listen to. There is also a certain amount of additional overhead in managing the console when using aux-fed-subs. We do not run aux-fed-subs, we use crossovers for everything (when needed). Perhaps some consoles are better with aux-fed subs than others. My experiences are on A&H GL, Midas M32, Berhinger X32, and Yamaha TF (all of which were setup for guest engineers). Please share your experience with aux-fed. What console(s) do you use? What subs are you using?
These: AC Infinity AXIAL 8038, Quiet Muffin Fan, 120V AC 80mm x 38mm Low Speed, UL-Certified for DIY Cooling Ventilation Exhaust Projects. I have these fans added to all my digital console cases. They are relatively quiet, but they can still be slightly heard running. This is a non-issue for us because we do not do studio work where things usually have to be quiet.
We have 6 production consoles. Two are analog (Soundcraft and A&H); four are digital (Presonus and A&H). We do have a small Mackie ProFX12 we use for the shop area.
