Last year I was asked to mix monitors for Anthrax at Yankee Stadium in NY for the Big 4 Show. The FOH engineer told me that I would be using the PM5D that was set up for Megadeth and Slayer. I decided to bring my own LS9-32. I had the console pre-configured, running my ipad w/ stagemix, had 15 minutes to soundcheck and then showtime. Stagemix made it possible to do this soundcheck pretty quickly and accurate. Everything went just perfect and on time. The band was very happy. Btw.. I heard there were a few problems with that PM5D. Did I care about the A/D - D/A or preamps? NOPE. Not for one second.
Having provided production for Anthrax a few years ago, I can understand that.At the moment we a doing a musical, 60 plus inputs - 24 radios plus an orchestra. In this situation I do care about the AD’s /DA’s, using AES EBU out of the desk into the processor etc…. and yes you can hear the difference.The last musical we did had 100 plus inputs. We used an M7 for the radios and an iLive 144 for the rest. We had an opportunity to compare; everyone could hear the difference.FWIW, and it may be my imagination … the LS9 sounds better than the M7, but I have never had an opportunity to directly compared the two.
I think the 01v96, LS9, and M7 all do about the same job. The 5D is where the big quality jump happens. Oddly enough, I have recordings from my old 03d that sound better than all of them to my ears!
...FWIW, and it may be my imagination … the LS9 sounds better than the M7, but I have never had an opportunity to directly compared the two...
Physically, the LS9 and M7CL are both equipped with the same HAAD (Preamp + Gain stage + A/D conversion) board and DA1 (D/A conversion + E-balanced +18dB or 24dB selectable OMNI output) boards. The main difference in this case is in the DSP board which in the M7CL design hosts twice the DSP engine devices as the LS9.
Just finished a show with a touring act that specified a 5D at FOH and a Venue at monitors. Our monitor guy was not up on the Profile but he worked hard to get up to speed to handle the opening acts. Headline crew arrives and the monitor guy turns out to be their usual FOH guy and he had never used a Venue before and didn't have the show on a stick from the regular monitor engineer. The FOH guy was strictly analog and had never used a 5D before. It was a long night. I don't hear nearly the differences between console brands that many golden ears do but I certainly appreciate the differences in usability that different design approaches yield. I was really stunned to discover that the rented Venue consoles had quarter inch jacks for i/o at the local rack. It suddenly felt like hooking up a Mackie mixer.
+1 ... The 5D always sounded fine to me.
Does a non-XLR patch bay give you the same feelings?
The 1/4" TRS jacks were the only way to get the needed connector density. It's fully balanced. Does a non-XLR patch bay give you the same feelings?
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