Among major manufacturers of mixing consoles, Allen & Heath has been a leader in offering integrated personal monitor (PM) mixing solutions. In fact, it is one of very few console makers (only one other comes to mind) to offer both types of PM systems: those based around networked hardware modules and those employing phone/tablet apps.
But there was a hole in the middle of the lineup. Prior to the ME-500 introduction, Allen & Heath had the upper tier covered with the ME-1, a sophisticated unit with an abundant 40-channel capacity that sells for around $650. And they had the smartphone and tablet crowd well served with the OneMix and QuYou apps. But a number of third-party PM specialists were quickly cornering the market for hardware-based systems based around simpler, sub-$500 mixing modules. So A&H engineers hit the drawing boards and came up with the nifty new ME-500 personal mixer, a junior sibling to the ME-1 that retails for around $400. Let’s take a look.
The ME-500 receives up to 16 mono or stereo channels over a Cat-5 cable, and the number of mixers (ME-500 or ME-1) that can be added to a system is unlimited. Each unit has Link In and Link Out ports on secure Ethercon connectors to allow daisy-chaining of mixers. The entire mixer network can connect directly to an Allen & Heath dLive, GLD or Qu system, or by inserting a separate ME-U hub (about $1,600) to third-party consoles via MADI, Dante, Waves SoundGrid or Ethersound network protocols. The ME-500 is also compatible with Aviom A-Net 16, further adding to its flexibility.
Physically, the ME-500 is relatively compact and lightweight, with a roughly nine-inch by six-inch footprint and weighing in at under two and a half pounds. It has a built-in insert for mounting directly on a mic stand, with an optional bracket available for side-mounting on the stand.
The rear panel provides both ¼-inch and 1/8-inch mini headphone jacks plus a balanced TRS mono out for wedge monitors. The unit is powered by POE (power over Ethernet) via the Link In, or by the included 12V external power supply. A USB port enables storage and recall of presets using an external USB drive.
The clean, uncluttered top panel has select buttons for the 16 audio channels, solo and mute buttons, a master level control, and a rotary encoder for setting level, pan and other parameters. All keys are backlit for easy navigation on a darkened stage, and a hidden-until-lit display shows status of level, pan, EQ and protective limiting. The default mode gives quick access to all functions while pressing the Shift key switches to an alternate mode for setup of EQ and limiter functions, and for storage of up to eight presets for different musicians or church services and events.
Initial system set-up is a quick, plug-and-play procedure as the first 16 channels (mono or stereo) or mixes are automatically mapped to the 16 select keys of each ME-500 in the system, eliminating the need to set up each mixer individually.
If you already own a compatible Allen & Heath mixer, you’re probably shouting, “Hallelujah, I was waiting for this!” If you plan to stay within the company’s own ecosystem, it’s practically a no-brainer. Opting instead for a comparable third-party system would require inserting an expensive hub unit, jacking up overall system cost. Also, having both the ME-1 and ME-500 available gives you the option of providing the full-featured ME-1 to the worship leader and/or music director and assigning lower-cost ME-500s to other musicians, who might be more comfortable with this more straightforward unit anyway.
If you’re looking to upgrade a current mixing console while also adding personal mixing capabilities, the addition of the ME-500 to the lineup bolsters the appeal of a comprehensive Allen & Heath solution. You’ll likely discover that few other one-company systems will offer as many compatible options within a single networked ecosystem.
If, however, your church already owns some other brand of digital mixer and you expect to keep it for some time, then the ME-500 drops from “no-brainer” to “still worthy of consideration.” Obviously, if you have to add an ME-U hub to make the system work, then other options become more cost competitive. At that point you might weigh the pros and cons of systems with channel counts falling between 16 and 40 (commonly 24), and look at features not offered here such as footswitch facilities for changing presets and on-board ambient microphones. Or you might look at systems that offer individual “grab it now” level knobs for each channel, or for each channel in dual channel banks. Such added features will likely come at a cost per unit higher than the ME-500, so be prepared to adjust your budget accordingly.
In sum, the ME-500 reflects what is an obvious commitment on the part of Allen & Heath to leave no gaps in its full line of audio mixing solutions, from the little $100 ZED-6 up to a fully loaded dLive system. When they found a gap in their personal mixing options, they quickly filled it – and quite nicely, too.
