Ten good reasons to go digital!
By Kiera Leeming, Wednesday 5 December 2007, 04:00 :: How to :: #37 :: rss
There’s no doubt it’s a confusing world out there. The bewildering array of choices available to those looking to invest in a new mixing console can often be more of a hindrance than a help, and since the advent of digital consoles some years ago, we have even more decisions to make. It doesn’t seem to get any easier... Or does it? Because now, the most important decision you are going to make before you purchase your console is, do I stick with analogue, or do I take the plunge and go digital? Once you’ve made that decision, the rest is a question of personal preference and budget.
Here are ten excellent reasons to move into the digital domain:
1. Versatility
A digital console can do pretty much anything you like, anywhere. The routing flexibility of a digital console makes it a very attractive proposition, particularly for smaller events or applications where space is at a premium, both on site and for transport purposes. The sheer convenience of a small digital console over its analogue equivalent makes it pretty hard to beat in these circumstances.
2. Internal Effects
This is a dream come true for all sound companies handling external events or tours – at last, no need for heavy, cumbersome racks of outboard gear, it’s all in the console, and these days, the quality is just as good as anything you’d find in a rack. And even if the engineer insists on one particular bit of outboard equipment that he just can’t do without, it’s a far cry from the huge racks that often accompany analogue consoles, especially for big events.
3. Digital signal processing
This particular “good reason” is almost worth all the rest put together. These days, nobody can question the validity of digital audio, or digital anything for that matter. The quality of A/D and D/A signal conversion is so good now, even on entry-level models, that it can no longer be held up as a reason not to use digital signals. Given that the primary function of a mixing console is to combine different audio sources, it makes perfect sense to convert the audio signal to digital at the input stage to ensure minimal loss of quality at the signal processing stage. The result is that digital consoles now sound just as good (some would even say better) than their analogue counterparts.
4. Digital connectivity
Now that the signal is in the digital domain, if we can keep it there, so much the better. Digital consoles offer the possibility to create digital networks using a variety of different protocols (EtherSound, MADI, CobraNet), linking, say, external racks, digital hard disk recorders, even the amplifiers, using a single CAT5 network cable. The benefits are huge – not only do you dispense with the heavy and cumbersome (not to mention expensive) multicore, but you eliminate latency and loss of signal quality by keeping everything in the digital domain.
5. Memory recall
This is an incredibly useful feature; scene capture and recall at the touch of a button. On tour, the ability to save your console settings is a huge time-saver when moving from venue to venue. With the lion’s share of the work already done, the time required for sound-checking is greatly reduced, and less stressful for all concerned. It can also cut down on initial set-up time in the venue as much of your configuration can be done in advance on your PC at home. Once saved onto a USB key all you have to do is simply load up your settings into the console when you arrive and work on the fine-tuning. After that, your settings can be saved and recalled at any time.
6. Remote control functionality
In addition to its primary function of audio mixing, a digital console can also act as a control surface for outboard equipment. Indeed, some engineers are able to take the place of a musician by using their console as a nerve centre for controlling various audio sources.
7. Compact and lightweight
For most people, if they had to cite one clear advantage of a digital console over its analogue neighbour, it would be the huge savings in space and weight. All the functionality of an analogue console, not to mention the racks of outboard, is packed into far smaller and lighter package. As a result, you save in storage and transport costs, the manpower required to move the console, and you also save in venue space, which is a big consideration in theatre applications where consoles often take up space that could have been occupied by paying guests!
8. Value for money
Whether you’re talking entry-level at sub-1000 euros, or a top-of-the-range touring or fixed install configuration, you will end up saving money with a digital console. Not necessarily in terms of initial outlay, although a digital console is generally no more expensive than its analogue equivalent, but definitely on peripherals such as external racks, cabling, transport costs where applicable, set-up time (don’t forget that time is money!) etc.
9. It’s cool to be digital...
Don’t mock, this is almost as important as any technical reason we could cite – digital is the new black, so if you don’t want to be considered as a bit of a dinosaur, you’d better start getting used to it! And besides, there are too many excellent technical and practical reasons to ignore the digital phenomenon these days. If you’re a young, up-and-coming engineer (or indeed a rental company who wants to cater for the needs of said young engineer) you’d better have a variety of digital consoles in your repertoire or you’ll be left behind...
10. To contribute to the future of audio engineering!
A digital console is nothing other than a computer which is designed and programmed to execute certain functions. This means that most of its functionality is based on software, and as any software developer will tell you, you can do anything with software. This means that as a user, you can have a direct influence on the development of a console by reporting your feedback, good or bad, to the manufacturer. They’ll be pleased to hear from you, and it may just be that what you want can be achieved by changing or adding a few simple lines of code. That’s the beauty of software, you see...
Summarised from an article by Patrice Creveux that first appeared in SONO Magazine Nov 2007
Comments
No comment.
Add a comment