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Some Digital Console Options for Small to Medium
Churches
We
compare the Behringer X32, Midas M32, Allen and Heath SQ,
Soundcraft SI Performer, and Presonus Series III
consoles
By Trent Perkins, Whole Hearted Productions
February 8,
2018
Here are
some brief thoughts about several popular digital consoles on the
market. It is by no means comprehensive. We have
written another article about things to think about when looking
for a new board which you can find here. We have started to create
much more in-depth reviews for several of the boards mentioned
below using those 9 standards. The console title will be
hyperlinked to the more detailed reviews when they become
available.
All of the boards listed below have moving faders, 8 DCAs (which come in handy when mixing a lot of channels on multiple layers), Mute groups (if muting the DCA isn’t enough for you), significant scene management with instant recall, digital scribble strips, and 16 channel personal monitoring solutions available. With the addition of a router, all of these consoles can be remotely controlled from a tablet. In addition, though only proprietary snakes are addressed below, all of these consoles (except the Presonus) have one or more card slots which can provide access to a wide variety of I/O including USB, DANTE, MADI, and ADAT to mention just a few. Whole Hearted Productions can provide, install, set up and tune any of the consoles listed here, and we would love to help your church continue to improve your worship.
Behringer X32, X32 Compact and X32 Producer
The X32
revolutionized digital mixing at reasonable costs. At $2,000
for the X32 and $1,500 for the X32 Compact, there was no other
board that did anything close to what this did for the money when
it came out in 2013. We do not recommend the X32
Producer. While it can be rackmounted, it does not have LCD
scribble strips which are a serious disadvantage when you are going
through 8 layers of fader banks. With moving faders, a 7”
color screen, well thought out layout and design and Midas designed
preamps, not to mention some serious processing power with 4 band
fully parametric EQs, comprehensive compression and gating and a
large number of high quality effects, this board has a LOT going
for it. Once it is set up (we recommend having someone who
knows what they are doing do the initial setup for your church so
that you can get the most out of it), this board is pretty easy to
use. By using the built AES50 digital snake protocol, you can
use this to connect to digital snakes on the stage as well as other
X32 family consoles and M32 consoles and snakes (see below), if you
need them for separate monitor or video mixing. The newest
firmware release eliminates the former requirement to allocate
inputs in 8 channel blocks, which greatly increases the flexibility
when fully utilizing the AES50 environment.
Midas M32, M32R, M32C
The Midas
M32 has the exact same software and basic design as the X32.
What sets this apart (aside from its $4,000 price tag for the M32,
and $2,500 cost for the M32R) is the design, preamps, and
components... and a 10 year warranty (vs. the 3 year warranty on
the X32). The M32 has a much more pronounced angle above the
faders which makes this easier to see in the sunlight when you are
outside and much easier to work with while sitting down
inside. In addition, the M32R will fit in a rack (although
depending upon your setup, you will want to make sure that your
rack lid has enough clearance), but it still has scribble strips
(as compared to the aforementioned X32 Producer). The preamps
sound “cleaner” than the X32 and if you push them hard they
reportedly sound very warm and natural (as compared to breaking up
as they do if you push them too hard on an X32). Finally, the
components are much higher quality on the M32 to include the
buttons and the Million Cycle faders designed by Midas for their
touring consoles. The M32C ($1,000) is a single rack space
mix engine with all of the processing capabilities of an M32 or
X32, but it needs to be connected to a snake or another console (it
has no analog I/O), and it needs to be controlled by an iPad (or
other tablet). This is a great solution for a monitor mix as
you can adjust the EQs independently for the stage without
affecting the house. It should also be noted that the Midas
DL16 (16x8, $1,250) and DL32 (32x16, $2,000) digital snakes are
fully compatible with the X32 and if you are cool with the X32
layout, this may be a way to get the better sounding Midas Preamps
and still save some money. The X32 and M32 consoles are fully
compatible with each other over daisychainable AES50, so you can
mix and match as necessary.
Allen and Heath SQ-6, SQ-5
This brand
new mixer (2018) has the potential to be the next new thing.
Taking the powerful XCVI processing engine from its much bigger
dLive big brother consoles, this little guy operates at 96 kHz (as
compared with the X32/M32 48 kHz) and sports less than .7
milliseconds of latency (The X32/M32 have .85 ms latency which is
still very good). The SQ6 has a smaller footprint than the
X32, but has the same number of sliders as the X32. The
difference is that the sliders are not dedicated as they are on the
X32. This makes the initial set up a bit more challenging,
but can potentially offer significant power by being able to mix
DCA sliders with single channel and even FX return faders.
With 5 banks of 24 sliders, there are more fader possibilities than
there are channels to mix and send. The 7” full color
multitouch screen is very useful, but also necessary to the
operation of the board (although enough knobs, buttons and faders
are provided to enable a tactile experience while mixing).
With the addition of I/O boxes, this board can access add up to
32x16 additional ins and outs with the ability to process 40 input
channels with 12 STEREO mixbusses (as compared the X32’s 12 mono/6
stereo mixes) with a total of 36 mix buses including 3 stereo
matrices (6 mono matrix sends may be enabled in future software
releases). And speaking of Monitor Mixes, this board will
interface with A&H’s ME-1 personal monitor mixes which vary
from the traditional AVIOM model in that each mixer can access 40
outputs from the board independently. 16 channel 96k
multitrack recording is available on a surface-mounted USB thumb
drive and a full 32x32 96k recording to a DAW can be done over a
USB connection on the back of the board. Bottom line, this is
a great sounding board with a lot of capabilities!
However, he very simple looking user interface is somewhat
misleading; however, if you are already a user of A&H
digital consoles (QU, GLD, and dLive), you will find this system to
be pretty familiar. On the other hand, if you are new to
A&H, we recommend getting some help to get this set up
initially to optimize the workflow for your congregation.
Because of the flexibility, it will take more work than a fixed
fader format (such as an X32/M32/StudioLive board) to get it set up
in an ideal way for your church. The SQ6 ($3,500) only has 24
preamps (mic inputs) built in with 24+1 faders and the
rackmountable SQ5 ($2,800) has 16 mic preamps with 16+faders.
Both boards have identical processing capabilities. The board
works with older 48 kHz A&H snakes, but if you want to maintain
96 kHz capabilities, you will need a DX series I/O rack (DX168 16x8
stage box is $1,700). This board also has the ability to work
with their larger dLive systems for things like video mixing and
monitor mixing, which means that this may be a great investment if
you think your church will eventually invest in a dLive
system.
Soundcraft SI Impact and Performer 1, 2, and 3
The boards
boards sound good, have a relatively easy to use interface, and a
flexible fader layout (like the SQ series), but it has a painfully
small touch screen which is necessary for several functions.
Also, it only has 4 FX units built in (which is often enough, but
there are no more). On the other hand, it has a 31-band EQ,
parametric EQ and compressor on every output bus, and there are a
LOT of them available (31 output buses available with additional
I/O). These consoles have a ridiculous quantity of Ins and
Outs. If the SQ isn’t big enough, but you are not yet ready
to graduate to a larger format console, this series may be a
serious consideration for you. The SI Impact and Performer
series give you 80 channels to mix and with additional snakes, up
to 128 inputs and 96 outputs are available, effectively putting you
in a league with some significantly more expensive consoles.
In addition, these boards have up to 20 subgroups/aux buses which
can be assigned in stereo to a single fader and sent to any of the
available outputs. Even so, the board still sports less than 1ms
latency at 48 kHz. Again, it is well worth your investment to
have someone set this up for you so that you can get the most out
of your board. You might look at the less expensive SI
Expression boards, but the Expressions don't have scribble strips;
multiple fader banks without a scribble strip is a painful
experience, and we strongly recommend that you look for consoles
with digital scribble strips whenever possible. The security
features on these boards are significant, and if that is a concern
at your church, this might be an important consideration. The
Performer Series have 8 1/4" line inputs and and all four boards
have 16 XLR outputs on the back. The SI Impact ($2,300) is
only available in one size with 32 mic inputs (eight of which are
1/4" xlr combi-jacks) and 24+2 faders. Unlike the Performer
Series, it does not have DMX capabilities (which typically aren't
used on a soundboard anyway despite how cool the idea
sounds). In our opinion, this is by far the best value in the
series. The rackmountable SI Performer 1 ($3,800) has 16 mic
preamps and 16+2 faders, the SI Performer 2 ($4,852) has 24 mic
preamps and 24+2 faders and the SI Performer 3 ($6,068) has 32 mic
Preamps and 32+2 faders.
Presonus StudioLive III 16, 24, and 32
The first digital board owned by Whole Hearted Productions was a Presonus StudioLive 16.4.2. When it debuted, it was the coolest thing on the market that was anywhere close to affordable. When the X32 came out, we quickly upgraded because the X32 had moving faders, scribble strips, DCAs, and a much more useful screen. Presonus held on thanks to its excellent sounding studio quality mic preamps, but it took a big hit from the X32. However, Presonus seriously narrowed the gap and in many ways, surpassed the X32 when they finally came out with the new III series (they would probably be insulted that the two boards are even compared with each other). In fact, The Series III was named the 2018 "Best New Live Sound Product" by Sound on Sound. Their new consoles have a color touch screen, moving faders, scribble strips, and multiple ways to set up the board. They have a whopping 24 DCAs, but only 8 of them are available at a time unless you utilize the custom “User” layer. They use a nearly proprietary network protocol called AVB which provides access to 16x8 and 8x8 stage boxes and (new in 2018) IEM monitoring solutions. Utilizing the stage boxes, the board can access up to an additional 56 channels. It should be noted however, that this does NOT work well with previous mixers or other gear using AVB prior to the Series III. Where this board really shines is that it is fully integrated with the included Presonus Digital Audio Workstation (DAW) software called StudioOne Pro, which is quickly becoming recognized as one of the top DAWs available. We still find the user interface to be a bit clunky and non-intuitive for live sound (which admittedly may simply be due to limited experience), but many users find them very easy to use as live boards. Because there are as many faders as there are inputs, you can mix an entire show (including monitors) without ever leaving the main fader layer. and are reportedly very easy to use as Monitor Boards (similar to the QU boards). Unlike all of the other boards reviewed here, the StudioLive does not have the capability to interface with other networked technologies with an optional card, and thus when it comes to digital gear, your are fully buying into Presonus. Under the hood, all three boards are 32x16 channel mixers if you use additional stage boxes. If you use these in conjunction with the 32R ($1,400 rackmounted version of the board with no user interface) in Monitor mix mode, you can have up to 32 Flexmix outputs when you use the outputs on both the console and the 32R. The 32 ($3,000) has 33 faders, 32 mic preamps, a total of 40 channels to mix and 16 FlexMix outputs. The 24 ($2,500) has 25 faders, 24 mic preamps, a total of 32 channels to mix and 16 FlexMix outputs. The rackmountable 16 ($2,000) has 17 faders, 16 mic preamps, a total of 22 channels to mix and only 10 FlexMix outputs.
Bottom Line
We are still
huge fans of the X32/M32 paradigm for its ease of use and number of
preamps for the money. On the other hand, if you can afford
them, the SQ-5 and SQ-6 are some of the most powerful boards in
this category, and frankly, some of the only 96 kHz consoles in
this class; but remember, additional I/O is relatively
expensive. If a sheer number of channels to process in and
out is a concern for you, the SI Impact and Performer consoles are
the clear winners here. The jump to pro level consoles with
that kind of channel count is typically well above the price point
for a SI Performer (and WAY above the cost of an Impact!).
With that said, if you don’t need that many ins and outs, we find
the tiny touch screen to be less than optimal. Finally, the
Presonus StudioLive Series III consoles are light years ahead of
the previous StudioLive boards, and have great sounding
preamps. While we personally are not yet a fan, you owe it to
yourself to at least consider this console. In conjunction
with the 32R, you have the potential for more outputs than even the
Soundcraft SI series. With that said, before buying ANY
console, carefully think about the cost of additional Ins and outs
(I/O). That may not be a huge deal when using your current
analog snake when you are converting from your analog board,
but you will want to count the cost, capabilities, and flexibility
up front when you think about future needs for additional inputs
and outputs.
As you can see, there is a place for everything! We recommend working with a consultant that can help you figure out what will be best in your actual situation.
Stay tuned for a similar comparison of some larger format consoles.
What
do YOU think? Do you agree with our
assessments? Do you think there should be other stand-alone
consoles with these capabilities in this price range that we should
have mentioned? What has your experience with these consoles
been?
Copyright 2017 | Whole Hearted Productions