I'll go out on a limb and make a bold guess--and frankly mine is as good as anybody's--that roughly half of the churches in the United States now can afford a digital mixing console. What's more, most of these churches should at least consider one when upgrading their audio systems.
What, only half? Well, yes. According to a study by a research group at the Hartford Seminary of the approximately 350,000 congregations in America, roughly half--mostly in rural areas--have fewer than 100 participating adults. Analog will serve these smallest churches for years to come.
As for the other half, which includes tens of thousands of mid-sized churches, nearly all are now potential candidates for digital mixing. And that's astonishing, because just five years ago that figure was perhaps 10%, at most.
The reason for this change is threefold: plummeting prices, simpler operation, and changing worship styles. Plummeting prices mean more churches can afford digital mixers. Simpler operation means now most volunteers can actually use them. And changes in worship styles--many mid-size congregations, for example, now offer both traditional and contemporary services--mean that more churches will put the power of digital mixers to good use.
So, what's the big deal with digital? In case you've been on an extended mission trip to the interior of Bolivia, the driving force behind the move to digital is, in a word, "recallabilty." All console parameters can be stored in memory for instant recall as separate "scenes." Other advantages include a more compact user interface, lower noise, integration of dynamics and effects processing, and--in the higher-end mixers--a remote control surface digitally connected to a stage rack that houses all analog interfaces and the digital mixing engine.
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The Church at Rocky Peak in Chatsworth, California uses a Yamaha M7CL digital console. |
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Allen & Heath's new iLive 80 interface connects to an on-stage mix engine. |
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Soundcraft's Vi4 is a compact alternative to their touring-oriented Vi6. The Vi4 offers comparable functions in a slimmed down package. |
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Digico’s D1 utilizes three touchscreens for graphical control of the mixer. |
GOOD, BETTER, AND ... WHOA THERE!
This quick survey of digital mixers is broken into three categories, corresponding to three price levels.
Category A is for mixers under $25,000, and although only two players are on the field now, expect more in the near future.
Category B covers mixers selling for $25,000 to $100,000. There's a significant upward shift in technology here, and larger churches with sophisticated production needs (including multi-track recording and broadcast) will require the larger frame sizes and vastly expanded capabilities offered at this level.
Category C is for the superboards, going for $100,000 and up--way up, in some cases. We'll pay tribute to these technological marvels, even though only very large and production-intensive churches would need them.
CATEGORY A
AN ENTRY-LEVEL FACE-OFF: YAMAHA AND MACKIE
It's hardly surprising that Yamaha and Mackie are first to pioneer low-cost, live sound digital mixers. After all, both have been major players in the highquality, low-cost analog mixer market for more than 30 years. (That's if we also count Greg Mackie's first company, TAPCO.) Yamaha's entry-level offering is the LS9, available with 16-inputs for $5,999 or 32 inputs for $10,999. Mackie slides in the middle with its 24-input TT24 at $7,199. These consoles essen- tially serve as one-to-one, "plug-and-play" replacements for smaller analog consoles-- and for all associated external dynamics and effects processors, graphic equalizers, and (in some cases) audio recorders as well.
Although the smallest and lightest of the whole lot (at about 19 inches square and 26.5 pounds), Yamaha's LS9-16 is laden with features. It comes with 16 analog mic/line inputs on XLR connectors; 16 more can be added via an optional expansion card (for digital inputs) plus external preamps if analog. Each channel offers a four-band parametric equalizer and two dynamics processors for compression and gating. Eight "omni" outputs on XLR connectors can be configured as desired for main outputs or auxiliary sends, either pre- or post-fader.
The LS-9 also offers recallable input gain; a nifty USB playback/record feature (ditch that external CD/cassette unit); and connectors for SPDIF digital I/O, word clock, and Ethernet. You can connect to the stage using "digital snakes" from AuviTran (Ethersound) and Aviom.
The LS-9 32 essentially "super-sizes" the platform by providing 32 XLR inputs and allowing 32 expansion inputs via two card slots. Standard 'omni" outputs are doubled to 16, and a lamp connector is included in the bargain.
Mackie's TT24 has a bit more size (42 inches wide and 25 inches deep) and heft (71 pounds), but that is necessary in part to accommodate a slew of standard input and output connectors. In addition to the 24 XLRs, each input also has its own insert point and dedicated line input on ¼- inch TRS connectors. Eight more TRS line inputs are available, and dedicated analog outputs are the eight group and three main (on XLR); 12 aux, three monitor and two CD/Tape (1/4-inch TRS); and CD/ tape/I-pod on four RCA. Digital facilities include 24 channels of dedicated recording I/O on ADAT Lightpipe, AES/EBU, and SPDIF. Other noteworthy features include selectable "premium quality" 24-bit/96- kHz digital resolution, four-band parametric EQ on each input, 99 user presets, and a USB port for external PC control using TT Control software.
If you want to super-size your Mackie rig, you can do so by stepping up to the TT System 32, which expands input capacity to 56 XLRs and outputs to 43 XLRs via the separate DS3232 rack-mount module. Communication to the main TT24 unit is via the U100 network card, and the whole rig is yours for under $13,000.
Rounding out this category, at the high end, is Yamaha's M7CL. You could say this is an upgraded LS9 for power users, but that would be misleading because the M7CL came first and the LS9 platform was derived from it. Needless to say, you get everything in the LS9s plus a more sophisticated master output section for "power users," three expansion card slots, and a multi-pin connector for a redundant outboard power supply. The 32-channel version has eight stereo inputs/returns lacking on the LS9-32, and the 48-channel version offers 16 more mic/line inputs.
Yes, the previous boards offer alot for the money, but a word of caution to larger, more production-intensive churches: don't sell yourself short. If you are currently using a premium analog console of 32 channels or more, you may be better off in the long run stepping up to this next category. This is particularly true for new facilities or complete audio system upgrades, where you may save money in the long run by investing in a system that can grow with your needs--for recording and broadcast as well as for live production.
CATEGORY B
AND NOW, FOR SERIOUS PRODUCTION...
The consoles in category B ($30,000 to $100,000) are a diverse group, but by and large it's fair to say that they are designed more as flexible, expandable systems. Most (but not all) split the control surface and the I/O and processing into separate packages, with a rack-mount I/O and digital engine staying near the stage and only the control surface residing at FOH. (Digital audio links and local racks provide monitoring and access to favorite analog FOH effects.) Work surfaces are larger with more dedicated controls, touchscreens are bigger, and layers of fader banks can accommodate more than 100 inputs. Redundant power supplies are the norm, and many offer integrated recording via MADI or proprietary formats.
Allen & Heath, a major player in analog consoles for worship, has entered the digital arena with its iLive Series.
A modular split-system, iLive offers four different control surfaces along with a stage rack that can be equipped with a variety of analog and digital interface cards. The smallest control surface, the new iLive 80, will place a complete package toward the bottom end of this price range when paired with an appropriately equipped stage rack.
If this is your first venture into digital mixing, perhaps the most important point to stress is that, even with entry level boards, the differences between digital mixers--both in feature sets and operational procedures-- are far greater than with their analog counterparts. Once volunteers have been trained on one particular make and model, switching to another won't be easy. So, before any purchase, you'll want to consider carefully the following criteria:
- Available inputs and outputs, analog and digital, standard or optional via expansion cards
- Dedicated controls, including buttons and knobs for each channel strip
- Display size, readability, and touch-screen capabilities
- Level metering for inputs and outputs
- Number of main and auxiliary outputs, and their configuration flexibility
- Output assignments and matrixing capabilities
- On-board EQ, dynamics (compressors and gates), and digital effects
- Number of presets ("scene memories") and control parameters included
- Recording outputs and format compatibility with digital recorders
Digico slides into the middle of the price range with several variations of its D1 Series. The 24 faders and three large touchscreens harness prodigious processing power, enabling expansion from 28 inputs/24 outputs up to 224 ins and outs by adding layers to each fader bank. With technology refined in the touring world, Digico boasts an intuitive interface that allows quick response when the unexpected happens. All Digico consoles come standard as complete "split systems," with the remote console interface connected to an on-stage rack via a choice of copper or optical links, including Ethersound. The software package is compatible with many plug-ins, including ProTools recording.
Speaking of which, Digidesign certainly has leveraged its dominance in the recording world by integrating ProTools into its Venue D-Show series. With the same underlying processing structure, D-Show can access popular plug-in processing from third-party suppliers. Frame sizes of up to 56 faders accommodate expansion up to 128 inputs and 126 outputs, analog or digital.
Engineers who don't like switching fader banks will appreciate the Innovason Sy48, which provides 48 faders for simultaneous mixing of up to 72 channels. Inputs are accommodated either via card slots on the rear of the board, or in a remote stage rack digitally connected via coax cable, optical fiber, or Ethersound. Compatibility with other Ethersound gear could be a plus in some installations.
Soundcraft has been a venerable name in live sound mixing for decades, and the impressive Vi Series will bolster that reputation. The touring-oriented Vi6 launched the line, and now a slightly slimmeddown Vi4 offers comparable functionality in a more compact package. It provides 24 faders for two-bank access to 48 inputs, with 27 outputs assignable in any desired configuration. A processing card option adds effects from Harman International cohorts Lexicon and BSS.
Yamaha's entry at this level is the PM5D, which has 48 mono and four stereo inputs on board. In addition, the new PM5D Version 2 now offers expansion via the remote DSP5D racks. Two DSP5D racks may be connected for up to 144 mono and 24 stereo input channels.
CATEGORY C
THE STRATOSPHERE, AND BEYOND
Of the 50% of churches now ready to go digital, the consoles above should cover 49%. But yes, you can go further, and a few very large, intensively productionoriented churches (likely paired with extensive broadcast ministries) will find good reason to do so.
This final step, beyond the $100,000 line, takes us to the pinnacle of digital mixing technology. Just skimming the surface of a single product would double the length of this article. But all deserve recognition, so we'll borrow from the Olympics and have a parade of the nations. From England we have Digico's D5 (in Live and Theatre versions), and the awesome Midas XL8 with a maximum of 336 configurable inputs. France joins the parade with the Innovason Sy80 Series, winning the fader density event with 104 inputs simultaneously mixable. Studer of Switzerland (in apparent collusion with Harman stablemates at Soundcraft) offers the Vista 5, a highly con- figurable board well suited to sophisticated surround sound applications. Euphonix, another pioneer on the recording side based in America's Silicon Valley, adapts to live applications with the versatile System 5. And, as expected, Japan's Yamaha joins in the procession with its pioneering flagship system, the PM1D.
THE OTHER HALF RECONSIDERED
Hmm. I just had a thought. Although this story is focused on new digital consoles specifically designed for live sound, you have other options for going digital. So, even if you serve a modest rural church with a bare-bones budget, be aware that small, recording-oriented digital mixers have been used successfully in worship applications. True, you may only get 12 microphone inputs and limited output flexibility, but you can find used mixers of this type for well under $1,000. There, now we're all on board!
Quick Links
ALLEN & HEATH
iLive Series
(818) 597-7711
www.allen-heath.com
DIGICO
PD1 and D5 Digital Mixing Consoles
(310) 326-5266
www.digico.org
DIGIDESIGN
Venue D-Show series
(650) 731-6300 or (800) 333-2137
www.digidesign.com
EUPHONIX INC.
System 5
(650) 855-0400
www.euphonix.com
INNOVASON
Sy48, Sy80 Series
(615) 401-7275
www.innovason.com
MACKIE
TT24, TT System 32
(800) 258-6883
www.mackie.com
MIDAS U.S.A.
XL8
(952) 736-403
www.midasconsoles.com
Soundcraft
Vi4, Vi Series
(888) 251-8352
www.soundcraft.com
STUDER PROFESSIONAL AUDIO
Vista 5
(866) 406-2349
www.studer.ch
YAMAHA CORP. OF AMERICA
LS9, LS9-16, M7CL, PM5D, PM5D Version 2, PM1D
(714) 522-9011 or (866) 211-9366
www.yamaha.com/ca
