On Tue, Apr 2, 2013 at 9:58 AM, Ken Norton <ken@xxxxxxxxxxx> wrote:
> Who WOULDN'T prefer to have the PM5D? I'd be ticked too, having to
> slum it with JUST an SC48. I can't imagine any self-respecting FOH guy
> wanting to be photographed with an SC48. The only thing worse than
> that would be the M7CL. Well, OK, the PM4000 is worse.
>
> Ugh!
>
> ;)
>
>
Thing is, we could buy TWO SC48's and THREE M7CL's for the price of ONE
PM5D....
> Personally, I think I'd take the M7CL over the SC48, but that's
> because I've spent half my life working with Yamaha digital mixers and
> have finally gotten halfway used to the EQ and Dynamics engine.
>
>
His argument was that he's seen two M7CL's crash in the middle of a gig.
Ours are now four years old, have seen constant duty, and as I keep the
firmware up-to-date, have yet (knock on wood) to see any sort of glitch.
But he's calling the shots. Honestly, the SC48 sounded pretty sweet - in
some ways, much cleaner than the M7CL..
One of the really nice features of the Avid mixers is that if you use the
stagebox, and have all the mic pre's on stage only connected to FOH with a
pair of coax cables, you can lose total power at the console and audio will
continue to pass at the last known settings until you can get things booted
back up and running. And if you're using two Avid consoles, one at FOH and
one at MonitorWorld, you can almost instantly pull FOH control to the
monitor board until FOH gets back on its feet.
> That said, if I had a situation where I had 10 minutes to do a big
> setup with no soundcheck, I'd be grabbing the PM4000. I can dance
> across a big analog board like that very easily getting "in the
> neighborhood" before the amps are even plugged in. The PM4000 is one
> of the few boards in the world that doesn't give me problems with my
> dyslexia. I also really like the sound of the preamps in that board
> for vocals.
>
>
My boss has a soft spot for his old PM4K as well - he's mixed on it for
most of his career - but he also appreciates the convenience of having
everything in one package instead of having to patch in a big processing
rack as well as the monster console. But from a phototgraphic perspective,
that PM4K is a wealth of oppportunities for art.
> Paul, we really do need to coordinate a trip sometime. Me wants to play.
>
It would be fun... I mix on an LS9 at the club, have a Mackie Onyx 24-4 in
my main room at the theatre, a Behringer DDX3216 for my studio theatre
upstairs. My plan for next year is to work up fundraising to replace the
Onyx with the new Behringer X32 digital - it's getting raves everywhere,
and can be had for $2400.
My wife and I are hoping to get to LA for a short vacation later this year
- I have friends who own a studio with an SSL that I'd love to photograph,
and I have a casual friend who owns a studio with a gorgeous old ex-RCA
Neve that's dying for some love from the E-M5.
Sorry to the list for the wayyyy OT stuff. But hey, it's still gear p*rn,
just audio-guy gear p*rn instead of camera-guy gear p*rn. Similar
diseases, slightly different strains....
--
Paul Braun
Music Junkie
"Music washes from the soul the dust of everyday life." -- Harlan Howard
--
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