Then there are solutions that are “affordable for mere mortals” but aren’t that great (e.g. So for me, this rules out high priced solutions. The good thing is that, again, for the work I do, I don’t need such high end consoles. For the kind of work I do, consoles from manufacturers like DiGiCo or Avid are simply way too expensive.
By that I mean: while not being the only criterion, price is something I have to keep in mind. Second, I don’t own or work for a production or dry hire company. Nobody wants to carry huge analog consoles, snakes and a truckload of outboard gear anymore these days. By now I can handle fader banks, layers, virtual patching etc. I’m a digital native and a software engineer.
So let’s look at what’s out there and what it needs to become my “perfect” solution.įirst, it has to be digital. You probably won’t agree with everything, but I think I can speak for the majority of small to medium and maybe even some large scale productions. What I consider “perfect” might not meet someone else’s needs at all. Of course, a “perfect solution” is highly subjective. A lot has improved, to the point where today I think we might be close to what I’d call “the perfect solution”. A lot has changed in the mixing space over these years. During that time, I’ve used all kinds of equipment for mixing: I used analog and digital mixers from companies like LEM, Yamaha, Soundcraft, Behringer,… I even had to use my smartphone once (that wasn’t planned but saved my ass, but that’s another story). I’ve been doing sound reinforcement for all kinds of live performances for the last… phew, 15-20 years or so – it certainly feels like its been that long.
Mixing consoles have come a long way in the last couple of decades.
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