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Digico’s SD-7 is a high-end, fully integrated console with all tactile and touchscreen control built in. But you can upgrade the mix engine with a new Quantum 7 processing engine for a higher level of flexibility in generating auxiliary mixes.
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The StudioLive RML from PreSonus leaves options open, as it can be used with an iPad or touchscreens for controllers, as well as serving as an expansion for the StudioLive series of integrated mixing consoles.
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Mackie’s Axis system presents a modular approach using a dedicated control surface, iPads for both control and monitoring, and a networked stage box for I/O. The components can go in separate small cases for easy, lightweight transport.
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Yamaha’s new Rivage PM-10 is an integrated, stand-alone console, yet it offers a number of modular plug-in options for updating and expansion, making it a semi- modular concept.
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An Airline console from Montgomery Ward, a heavy hunk of blonde furniture with an AM-FM radio, a record changer in a drawer, and a 12-inch speaker packed inside.
I remember my first audio console (see image gallery). It was HUGE! Okay, I was four years old, so it towered over me. It was an Airline console from Montgomery Ward, a heavy hunk of blonde furniture with an AM-FM radio, a record changer in a drawer, and a 12-inch speaker packed inside. I spent hours in front of it, enchanted by the flowing music.
Well, such “audio consoles” have been obsolete for decades. True, all the same functions are still around—including vinyl playback—but in the form of modular stereo systems. Are today's audio mixing consoles destined for the same fate?
In the past decade, entirely new options have emerged for mixing audio in worship. We now can order component mixing systems, and access all of the functions on a wireless tablet from anywhere in the auditorium. But is that what we want to do? Are there still distinct advantages to mixing with faders under your fingers from a fixed FOH position? For some insights into where this is all going, we queried four leading industry representatives with varying points of view.
Note that, for this article, a mixing console is defined as a single, dedicated unit with all controls and necessary monitoring features included. No third-party add-ons, such as wireless tablets or touchscreens are required for full functionality, although they may be added as options. Inputs and outputs may be in a separate stage box with a networked connection. A modular system, in contrast, minimally requires use of a third-party user interface, such as an iPad. Tactile controls are optional, either from the same supplier as the DSP and I/O or from a third party.
Q: Are mixing consoles–as we've known them–becoming obsolete?
A: “No, because the simplicity of a non-modular system is still appealing to many people,” responds Ray Tantzen, senior product manager at PreSonus. “While a modular system provides more flexibility and options, it can be overwhelming for somebody who needs a basic mixer.”
A: “Definitely not,” insists Yamaha Systems Application Engineer Kevin Kimmel. “While many systems have external DSP—such as our new Rivage PM10—we see a huge number of dedicated consoles on the market, and more new ones being designed to meet the strong demand.”
A: Digico Vice President of Sales Ian Staddon joins the chorus. “Far from it, mainly due to the increasing demands of live performances. Now we are up into hundreds of channels, which means in live events you need a tactile surface that can be controlled quickly. Tablets have their place as remotes for moving about to adjust settings beforehand, but in performance, having access to the right channels instantly is mission-critical.”
A: Mackie, a pioneer in modular systems, takes a more nuanced view, as voiced by Senior Product Manager Ben Olswang. “It's more of an evolution, but something that is shifting quickly. Modular systems are becoming more popular as they deliver flexibility, something that is extremely important in modern house of worship applications.”
Q: What are the advantages of a single, dedicated unit? And, have consoles evolved to meet the competition from modular systems?
A: “The biggest advantage is simplicity,” says Tantzen. “You can just power on and go. Also, console mixers now offer options to expand and augment the system, such as added stageboxes, personal mixing systems and remote mixing applications like our UC Surface software. These improvements bring many advantages of modular systems to the fixed console.”
A: Kimmel agrees. “There are more and better networking capabilities in today's digital consoles. Dante, for example, gives additional flexibility for expanded I/O connectivity.”
A: “I think it's important to note that our console systems are, in many ways, modular as well,” says Staddon. “You have different surfaces for control, various I/O options for different environments and, of course, scalable internal processing as with our new Core 2 release. Compared to completely modular approaches, a key advantage is fewer connections and fewer power supplies, the most common points of failure. “
Q: What are the downsides of a single, integrated console?
A: “A dedicated console needs a larger physical footprint, and a fixed FOH position, which requires running cables from FOH to the stage,” points out Olswang. “In many cases, it's also a larger financial commitment. Unless you have A: newer, networked digital console, you will also have to use an expensive and cumbersome analog snake to get signals from the stage to FOH.”
A: “Adding on more channels for greater mixing capacity can be a problem with some integrated consoles,” adds Kimmel, “[since] this will increase the mix positon footprint—particularly if they are analog consoles.”
Q: What are the advantages of a modular digital mixing system?
A: “With a modular system you have more options in how you set it up,” reports Tantzen. “It's easy to change things around for different needs. For example, with our StudioLive RML rack mixers, you can cascade them for up to 64 channels or use them separately as two 32-channel mixers. This is great when you need to add extra channels for Easter or Christmas services.”
A: Olswang elaborates on similar points. “Components can be configured for the job at hand and located where they are most effective. With our Axis system, the DL32R mixer can be onstage, eliminating the need for a multi-channel snake. The companion DC16 control surface can be at FOH, if needed at all. Of course, all mixing can be done remotely by iPad. And you have the scalability, which really helps growing churches and their ever-evolving application needs.”
Q: On the other hand, what are the perils of modular systems? For example, how do you deal with support issues involving third-party suppliers of touchscreens or control surfaces? What if your iPad controller turns up missing?
A: “Certainly those are all valid points,” Staddon notes. “Sourcing elements from multiple manufacturers might give rise to compatibility problems. There are also potential reliability issues with increased connections and synchronization of the modular components. Also, at the level of production typical of our customers, having proven and known technical support is critical.”
A: “At Yamaha, our consoles do support some third-party products, so we have some familiarity with issues over the years,” says Kimmel. “Sometimes the symptoms are obvious, so we can advise the user what to look for, confirm a specific issue, and find a way to resolve it.”
A: Olswang is upbeat about addressing issues with connected gear. “We pride ourselves on rock-solid technical support, and we have no problem working with users to optimize their wireless network or troubleshooting the operating system on their computer or tablet. Sometimes the mixer is just part of the puzzle, but we work alongside the customer to achieve the goal of reliable, quality sound.”
Q: What will digital audio mixing look like 10 years from now? What will be the same? What will differ?
A: “Certainly one thing that will remain the same is that all the basic elements will be there: I/O, processing and a user interface, or multiple interfaces,” says Staddon. “What will be refined is how these elements are configured and controlled. For example, we've just launched the Quantum 7 processing engine for our SD7 consoles. It takes nodal processing to another level, allowing for example a user to insert processing on individual aux sends so that each IEM can have its own dedicated mix. This increases the quality of the end result, but at the same time it requires additional control that must not get in the way of the engineer's work flow.”
A: Tantzen forecasts: “As audio networking becomes more prolific and easier to set up, we will see more adoption of modular systems. As technology such as AVB and AES67 become widely adopted, you'll be able to use more gear together on the same network, which will drive more modular concepts onto the market. These are exciting times, with open audio networking on the horizon, and I think we may see a change on the scale of going from analog to digital systems. That said, there will always be a home for an integrated console mixer for the person who needs a simple, ready to use solution for basic applications.”
A: “That's a bit of a loaded question,” replies Olswang. “We certainly have our plans. Modularity is a major trend, as is wireless mixing. As millennials become a dominant force in the audio industry, we expect tradition to be respected but not necessarily the driving force behind new designs. And with networking moving downstream quickly, there is certainly a whole new feel to how audio works, who's running it, and where it all happens. Also, things like networked integration with loudspeaker systems at affordable prices will be very interesting. It should be an exciting time for the audio industry.”
A: Kimmel summarizes, “Only time will tell, but we believe the coming decade will see implementation of some very interesting technologies.”
