Historically, not much happens in the live audio world over the course of six years. The previous six years, however, had been a whirlwind. Consider-it was just over 12 years ago that the live sound world changed forever. It was then that Yamaha introduced the first large-format digital console aimed at live sound, the PM1D. And while today it feels like the Avid Venue series has always been with us, it was only introduced in 2005, just six years ago. Since then, every major console manufacturer has debuted not one, but several digital consoles, and new companies have been created.
In just six years, the digital market has gone from a few choices to dozens. At the top of the hill are desks like the Midas XL8 and Digico SD7 that have the ability to process, mix and route hundreds of channels; at a cost of hundreds of thousands of dollars. At the other end of the spectrum are small desktop mixers like the Yamaha 01V and Presonus StudioLive series; far more modest in capability and much easier on the wallet.
While most recent and well-publicized advances have been in the digital world, analog is not dead yet. Major console manufacturers have been quietly updating their analog lines and even introducing new ones. And at least one company, APB/Dynasonics, was formed for the sole purpose of building high quality analog mixers.
With all this change in the marketplace, how does one decide what to buy when in the market for a new mixer? I suggest the process is the same as any other major system purchase: Start by defining the need, analyzing the options, determining your budget-and make a decision. In this guide, I'll help you walk through that process.
While the order of the following steps is not arbitrary, it is somewhat based on my personal preference. You could change the order of steps one through three and I won't fault you; however, I firmly believe step four should remain step four, regardless of your decision tree. With that said, let's dive in.
Step One: Analog or Digital?
Based on the opening paragraphs of this article, you might be forgiven for thinking this decision is an easy and foregone one. However, I don't believe that's the case. Digital audio mixing is the new and shiny technology, and it is where much R&D is going these days. But that doesn't mean analog mixers don't have a place in today's church.
The first question to ask when deciding between analog and digital is this, "Who will be operating the system?" Not all churches have highly skilled professional sound engineers or even well trained volunteers. Many churches have services every week with dedicated volunteers who "figured it out," and can get acceptable sound from an analog mixer. If your church is staffed by a group of those volunteers, dropping a brand new high-end digital desk in their laps may mean many of those volunteers can't figure it out any longer.
I know of one church where that happened. After upgrading to a digital console from an analog one, they dropped the number of sound volunteers from six to one. While digital brings with it many advantages, when you lose most of your volunteers, any advantage gained is quickly lost.
After the operator base is determined, you need to decide if you need the enhanced capabilities of a digital console, or if the ease of use of an analog mixer makes it a better choice. While it's true that digital consoles can recall their settings week to week, those settings form simply a starting point. A trained operator is still needed to make the most of it.
Analog mixers still have a lot going for them.
For example:
Ease of Use-Because all the controls are right in front of the operator, there is no digging through menus to access various functions.
Lower Cost for Simpler
Systems-If you only need 16-24 inputs, there are many choices on the market that will give you arguably better sound quality at a lower price point.
Familiar Interface-Most sound operators, no matter how inexperienced, can learn a new analog console quickly because the interface is familiar. A digital board will typically have a completely new user interface, which makes the learning curve a bit steeper.
Easy to Set Up and Train-A mic plugged into input one on an analog mixer will be on channel one. Their point-to-point nature makes them easy to install and train people on.
Those traits and others often make analog mixers an excellent choice for many churches. That's not to say that digital is without its advantages, however. Consider a few things digital consoles bring to the table:
Flexible Routing-In the digital world, it's easy to digitally re-patch inputs or outputs as needed, without having to ever move a patch cable.
Recall Settings-This can be a huge advantage if you have a traditional service early in the morning, a contemporary service later, and a modern service in the evening. A few button presses will re-configure the console to meet the needs of each service.
Built-in Processing-In the analog world, if you need compression and effects, it requires a rack full of outboard gear. Most digital consoles have a good selection of compressors, gates and effects built right in. The downside is that many times, what you get internally is all you get; and it's not always good.
Easier Broadcast/Recording Splits-More and more churches are recording their services for the web or for broadcast. To do this well requires a split and a separate mix. Many digital consoles make this process very easy by providing a digital split. The addition of a second surface completes the system and provides a completely separate mix.
Easier Integration with
Personal Mix Systems-While it's possible to connect analog mixers to personal mixers, it's a lot easier with digital desks. The ability to digitally re-patch is a huge benefit here, as is the simplified cabling.
Obviously, these are not exhaustive lists of pros (and we've not even touched on cons), for each technology. However, it gives you a starting point to weigh your options. It's important to note that one is not inherently better than the other; the right choice for you may be different than the right choice for me. The important thing is making the right choice. Now let's consider our next major question:
New or Used?-Most churches never consider buying used; and that's a shame because there is a tremendous amount of used gear on the market right now, and much of it is perfectly serviceable. There are a few caveats to buying used, however. First, make sure you purchase through a reputable broker with a fair inspection time. Most of the larger brokers offer a 48-hour or longer inspection period for you to shake the console down and make sure it all works as advertised. Don't skip that step.
Secondly, if possible, look for consoles that have been pulled out of installations as opposed to coming off tours. While either could be in various states of disrepair, generally speaking a mixer that sat on a table for four years will be in better shape than one trucked all over the country (all things being equal).
Finally, like all electronic components, mixers will wear out and break. Capacitors dry out making the desk noisy, faders can break or get dirty, buttons can stop working. You may be able to get a great deal, but be prepared to send it in for maintenance if needed. Do the math to see if that makes sense financially; sometimes it does, other times it doesn't.
There are also quite a few used digital consoles available. Sometimes you can find a church or rental company that's changing up its system, and you can pick up a gently used console at a deep discount; especially if it's a model that's fallen out of favor in the industry-even though it could be perfectly functional and ideal for your needs. For example, last year we consolidated our FOH and monitor systems into one new FOH desk and sold off our four-year-old equipment at a considerable discount. A church in Oregon got a great deal (almost half off) on our like-new monitor desk.
Frame Size-When I refer to frame size, I mean the number of inputs and outputs. Outputs can be measured in aux sends, matrix outs, groups, or VCAs, depending on your needs. This is a critical step in the decision process; buying a mixer that is too small will mean you'll be upgrading again sooner than necessary. On the other hand, I've walked into churches that have a 56-channel board at FOH with three mics plugged into it.
On the input side, consider how many inputs you need week to week. Think about your largest band sizes and how you would mic the band if input count wasn't an issue. Don't forget to count the speaking mics; the teaching pastor, announcements, interviews, dramas or anything else that needs an input. Also, count up playback channels such as walk-in music, video, iPods, CD players and the like. Once you have an idea of how many inputs you need, consider the extra inputs you may need for special events. This is a bit of a grey area here. If you normally use 24-28 channels every week but once a year need 60 for a big event, it might make sense to simply rent a larger console once a year and buy a 32-40 channel board for weekly use. On the other hand, if a normal week is 32-36 channels and once a month you do a big worship event that requires 44, buying a 48-channel board makes perfect sense.
On the output side, the same rules apply. Add up how many monitor mixes you have now, plus how many you would like to add (keeping in mind that those additional mixes will require speakers and amps or wireless transmitters and packs). Consider your needs for a recording mix (a stereo mix will use two auxes) as well as overflow and cry rooms or the lobby.
I've usually found I run out of outputs before I run out of inputs, so make sure you take all of those into account. You might conclude you need 18-20 aux mixes, then have a really hard time finding a board you can afford that has that many. In that case, consider a mixer with a good matrix mix section, or with group outs. Sometimes you can get what you need from a matrix or group out, and save a good number of auxes. Also, remember that not every destination needs it's own mix. It could be the lobby, cry room and overflow area can all use the same mix.
Finally, Budget
I always look at the budget last. This is very intentional, and comes from years of experience helping churches that have wasted a lot of money buying on price first. I firmly believe that ministry philosophy drives production requirements, which drives equipment needs, and that, in turn, drives the budget.
It's possible to start out with a totally arbitrary budget amount, say $15,000, and end up spending a lot more than you need to because the mixer that you actually need is only $7,500. On the other hand, you could just as easily miss the mark because the console that would be perfect is $17,000.
Certainly you have to have an idea of your general budget when you start evaluating consoles. If you need a lot of inputs, outputs and mix busses, the higher end digital consoles fit the bill perfectly. But those are going to run anywhere between $50,000-$100,000 and up. If you know your budget is only going to be in the $20,000-$30,000 range, you need to either narrow your search or change your approach.
Buying a mixer that won't meet your needs today or next year doesn't really make sense, regardless of whether it fits in the arbitrary budget. It is better to wait until you can afford what you need than to buy what you can afford. Buying the right equipment the first time is less expensive in the long run, and I hope this guide will help you navigate that process.
