The recall system is brilliantly integrated with LEDs that tell you where the faders were. Non-motorized faders are almost a complete non-issue. You can have independent settings for all channels operating in real-time, you just highlight the channel you want to adjust and do all your effects, dynamics, and eq tweaking in one corner of the console, on one channel at a time. Having only one channel strip to work on at a time was actually fine, as the switching was very easy and intuitive. The two things I would have thought of as limitations on such a piece of kit turned out to be well-addressed: The integration and thoughtfulness of capability-to-price ratio is outstanding. I got a chance to try a Presonus StudioLive console, and it was frankly awesome. This product still does not seem to be for sale anywhere, but I had a couple of recent experiences that are relevant: I may not be on the edge of my seat awaiting this console, but I'm eager to see if and how other manufacturers respond. It's certainly a bold move on their part nonetheless. especially when a large analog desk, a decent interface, and a laptop can be had for not much more. $2500, in my opinion, is probably more than most would be willing to 'gamble' on a piece of gear. but I can't imagine it becoming a staple for the reasons stated by yep. Sure, the price is good for the functionality/feature set. Better to spend $2500 on a good 2-channel preamp that can be easily re-sold for $2200 than spend $2500 on a million channels of dirty, noisy, unreliable sound with a bunch of digital functionality that will be obsolete in 2013. But if those preamps are going to get scratchy/noisy/muffled, if the automated faders are going to get spotty/sticky, etc, then quantity starts to become meaningless, especially in studio applications. $2500 is frankly a great price just for 32 competent preamps and an automated control surface alone. Noisy pots, spotty connections, poor shielding, etc.Įspecially for a device like this, with a lot of complexity and moving parts, I would very much want to hear how it held up after a year or two of live venue use. Behringer gets widely derided as cheap junk, but in my experience their biggest problems are not with sound quality per se, but build quality, which trickles down into sound quality. I'm not religiously anti-Behringer, but in my experience the quality of their preamps, interconnects, and so on is spotty. $2500 is not a bad price at all for the capability, but I would not want to be an early adopter of a piece of Behringer kit at that price. Looks very similar in concept to the Presonus StudioLive consoles, a hybrid software/hardware console with comprehensive processing on a one-channel-at-a-time basis.
0 kommentar(er)
