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[Richard Turner]

Heres the thing. I'm doing a series of shows over the next year involving emerging artists, mostly pop rock vein. The artists are being pushed by their labels and are mostly on their first tour with any support, eg first time traveling with any crew beyond a bus driver. Our room is usually the smallest on the tour 300 cap standing and most other stops are 750 soft seat.

The PA is adequate for the room, monitors are appropriate for the size of stage but I've been getting a bit of resistance on the console, mostly with needing more channels/ features. why isnt this an S6/SD10/SC48 etc etc

What is a bare bones desk that would get the job done. 24 in. 8 out minimum and have most BE no too upset? has the M32 gotten any decent acceptance

I'm almost of the mind to go back to analog and tell these kids to suck it up

I'm not too keen on dropping 15k on an entry level digico/avid product and the nearest rental house that would let one out is a good 5 hour round trip so that's a non starter right there.

[Kevin McDonough]

Hey

yeah I feel your pain, but there isn't a simple solution I don't think unfortunately.

Certainly in my area, an SD9 or Pro2 (or Pro2c maybe if space i tight) with appropriate stage boxes etc is probably the minimum people will expect you to have if they're regular tour engineers and its any kind of supported show.  Anything up from that (SD10/12, S6 etc) will be a bonus. Once engineers start adding in 10 to 12 channel drumkits, double micing guitar and bass cabs, adding in talkback channels to and from stage, shouts and monitoring for other crew and other utility things, you'd be surprised how quickly channels get eaten up. We'd really consider 48 channels a minimum for a desk used by a tour band.

Going down, you could maybe look at A&H d-live, Roland m series and other less brand friendly options, but while some might be happy to come and try them out mostly for a chance to play with a new toy, some will moan and fight that its not Midas/Digico/Avid.

Good think is that with Digico having recently released the SD12 with dual screens, there may be some good second hand deals going on SD9s or perhaps even 10s, might be your best bet.

K

[Keith Broughton]

As old as they are, an M7CL will fill the bill and your price point.

It's hard to understand how these up and coming bands can't possibly mix on anything but an "insert expensive console name here" (rolling of eyes)
Seems to me, I have not had that problem over my 40+ years.
If they are that keen on a specific console, they should carry it or shut up!

[Steve Eudaly]

For things I this, in my experience an X/M32 has been acceptable.

That being said, SC48s are dropping in price and still very usable and rider friendly.

[Tim McCulloch]

Hey

yeah I feel your pain, but there isn't a simple solution I don't think unfortunately.

Certainly in my area, an SD9 or Pro2 (or Pro2c maybe if space i tight) with appropriate stage boxes etc is probably the minimum people will expect you to have if they're regular tour engineers and its any kind of supported show.  Anything up from that (SD10/12, S6 etc) will be a bonus. Once engineers start adding in 10 to 12 channel drumkits, double micing guitar and bass cabs, adding in talkback channels to and from stage, shouts and monitoring for other crew and other utility things, you'd be surprised how quickly channels get eaten up. We'd really consider 48 channels a minimum for a desk used by a tour band.

Going down, you could maybe look at A&H d-live, Roland m series and other less brand friendly options, but while some might be happy to come and try them out mostly for a chance to play with a new toy, some will moan and fight that its not Midas/Digico/Avid.

Good think is that with Digico having recently released the SD12 with dual screens, there may be some good second hand deals going on SD9s or perhaps even 10s, might be your best bet.

K

Any "emerging act" that claims they must have a Pro6, S6L, Digico SD whatever, etc can stay at home.  If their "art" is sufficiently profitable they can carry whatever they can pay for.  But an act on its first bus and trailer tour ain't making money on that scale; they'd be better off with an X32 Compact and more merch in the trailer - the console is an expense but the merch represents profit.

A couple years ago I posted a pic of the FOH du jour - our Avid Profile, the headliner acts SD whatever, and the primary support's X32.  The primary support had the best mix and sound....

So here's my take - if the emerging act's Mixerperson THINKS he needs a Pro 6 or similar, the act needs a new mixerperson with enough gray hair to deliver a solid sonic product on a Peavey MK IV and will happily mix on an M32.

This is a commercial as well as artistic decision, and in that order.  The band may be somebody's wunderkind, but everything has to make the budget and fit in the trailer.

[Jerome Malsack]

You may want to look at these bands and the monitor mix.  I use a X32 rack with S16.  I can manage 3 stereo monitor mixes.  2 from the S16 for the drums and Keys.  One on the Lead Singer on the Rack.  Leaving me 4 stage monitors or two more stereo mix.  FOH gets two sends and I have Aux 4 setup as aux fed subs. 
This still has the 4 effects sends functional.   So are these up and coming bands wanting to have stereo IEM, and how many?  I know I can send 5 stereo only and no stage monitors.  I plan to setup the Aux 1, 2 and 3 for monitor sends possibly. 

[Dave Pluke]

Any "emerging act" that claims the must have a Pro6, S6L, Digico SD whatever, etc can stay at home.

^^nailed it^^

The M32 has really gained a foothold in the $4k or less category.  The extension of warranty to 10 years will likely continue that momentum.

A friend of mine is touring in an "up and coming" Nashville band, using the venues' audio, and they carry a show file for M32/X32.  I also know a touring "World Music" act that brings an X32 Rack for their IEMs (using house or hired FOH system).

Dave

[TJ (Tom) Cornish]

You may want to look at these bands and the monitor mix.  I use a X32 rack with S16.  I can manage 3 stereo monitor mixes.  2 from the S16 for the drums and Keys.  One on the Lead Singer on the Rack.  Leaving me 4 stage monitors or two more stereo mix.  FOH gets two sends and I have Aux 4 setup as aux fed subs. 
This still has the 4 effects sends functional.   So are these up and coming bands wanting to have stereo IEM, and how many?  I know I can send 5 stereo only and no stage monitors.  I plan to setup the Aux 1, 2 and 3 for monitor sends possibly.

I don't think the question is about IO needs; it's about clout/desire for a shiny name badge.

[Helge A Bentsen]

Stay off the X32, it will fail on you.

My choice would be a Pro1 with analog multi or a M32/Performer1 if you need a stagebox. They can be had for around the same $$$.

[Thomas Lamb]

I'm not a behringer x32 guy. I would prefer an allen and Heath GLD. But ifeellike the behringer is more acceptable at that level. In a 350 max cap room I see no issue with the x32. Back in the day if they walked in to a m2k with half the processing they wanted it would have been a gift because most of those rooms had a 32-4 vlz. A Midas Venice would have been a real gift! I would think that most of the BEs at that level have spent time on an x32 are comfortable with it and if they are demanding more it's gear snobbery! Iknowafewof those guys!

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