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[Al Rettich]

Last night was my first night really behind a Pro 06. Before, I had walked up to a console and shoved faders. Yesterday I had to set it up by myself for this run we are doing.

What impressed me was;
1) With little instructions I was able to get my way around the desk. Able to familiarize myself and feel comfortable with it within the hour.

2) The DN9696 is a love hate relationship.. At first I wasn't able to load my session on there simply because it was at 48K, even being told that it would upsample we could never get it to work. However recording with it, as long as you take a analogue approach to your ins and outs loved it..

3) Ethernet tunnel!!! HELL YEAH BABY!!!

4) Still a little confused why you wouldn't load it up with all seven DSP cards, but hey...

5) EFX were a bit weak, but am assured that v2.0 EFX rock..

6) Trackballs I thought were a bit rough to move..

Overall, Why wouldn't you buy a Pro 03 over a SC48??

[Greg_Cameron]

Overall, Why wouldn't you buy a Pro 03 over a SC48??

Maybe because it lists for $12k more?

[Al Rettich]

Well worth the extra $12G's though..

[Caleb Dueck]

With the DL251 box, the Pro3 MAP is around $27k. 

[Brian Wynn]

With the DL251 box, the Pro3 MAP is around $27k.

Because you cant see a full set of channel strips on the Pro6, you cant pull the GEQ's up on the faders, No plug in's, no easy way to record without the KT recorder which is way way overpriced, no GEQ and PEQ at the same time on your outputs, limited local I/O, and a DSP rack taking up space.   Oh and the price.  Midas did the same thing Yamaha did.  Came out with the M7CL (Pro3,6,9) and then came out with a LS9 (Pro1,2) and the LS9 because it's newer have a lot more features and options.  Midas took that a step further and made the cheaper newer desks sound as good as the old less functional desks and just killed the old Pro series desk market.  If you can deal with 64 channels then why would even consider buying a Pro3,6,9.  Hell the Pro3 is more money than the Pro2 and has less channel's.  Make any sense??

I will admit the ethernet tunnel is cool, and the KVM switch is bad ass.  But put a Mac mini server in your SC48 and you get the same thing plus 32 tracks of ProTools and a playback computer at your fingertips.   

I fought this battle already.  I own a SC48 and had a Pro1 (sold it for a x32) and even flew to Vegas and checked out a Pro3 because I thought that I was selling my SC48 and going to buy a Pro3.  15 Minutes on the Pro3 and I was convinced it's not the desk for me for all the reasons I mentioned above.

I only posted this in case I'm missing something that someone can point out because technically I'm still on the fence with my purchase.  Something keeps drawing me to the Pro series.

PS the 96K vs 48K is a non issue for me.

[Al Rettich]

The Pro series isn't for everyone. You can use the assignable knobs for your GEQ. This way you don't have to lose control of your faders. Actually, on the record side of things, my buddy Jim has come up with a great (easy) record solution that still records at 96K. You can put a GEQ, and have a PEQ on your outputs. Yes it eats up a GEQ in your rack (just like your SC48). Every company has brought out consoles for everyone. Allen & Heath, Digico, Yamaha, Soundcraft, and Midas..

We have a SC48 as well. In the case we carry a Mac Mini, and UPS. However, as much as I've tried virtual soundcheck never gives me an accurate recording level. This is just me. I admit PT is quite a bit easier than the DN9696. My Father's company owns a SC48, Pro 03, LS-9's, and two X32's..

I've noticed people still want the Midas name. For me the 96K sounds quite a bit warmer than the SC48. I still like the SC48, but think the Pro 03 is just the next step up..

[Nathan Salt]

There are a couple of easy ways to record from a midas pro console. First up is the lynx aes 50 cards. Second is using the network bridge and then use a ub madi or the dante driver etc. With the bridge you can take your pick of whichever format you want.

Regarding the sample rate, I highly doubt that 96k makes that much of a difference. I'm from the dan lavry school of thought on sample rate. But the midas pre's and converters certainly do make a difference. Not to mention the processing that happens inside.

Regarding not having plugins, yes this kinda does suck on the effects side since the inbuilt ones aren't the best, but they are still solid. The midas comps and eq's are amazing though, don't need plugins there...

Regarding graphics vs parametric on outputs. Who uses graphics?? 6 band of parametric is plenty for me /shrug

[Peter Morris]

Just a couple of points:-

-   A Pro 2 - 56 inputs + 8 aux returns
-   A Pro 3 - 48 inputs + 8 aux returns
-   A Pro 3 can be up graded to a Pro 6 or 9 – 80 inputs+ 8 aux returns
-   There is no upgrade for the Pro 2

If you want the best sounding console you need either a Midas or a Digico; to my ear the Avids are ordinary and the Yamaha M7 and LS9 awful.

I beleieve the new Gen 2 software does allow GEQ on fader for the Pro 3,6 &9 like the Pro 2. It also allows you to insert a dual DN370 on your output buss so you can have both GEQ and PEQ if you really need it.  If you are using a Midas Pro 2 or better, the quality of rest of your equipment will generally good enough that you will not need that much EQ. (31 band GEQ with proportional or constant Q +  2 x notch filters + 6 bands of PEQ)

The Pro 3,6 & 9 are not designed as recording consoles, they designed to for live sound, monitors and outside broadcast applications. They are designed to work with a DL431 mic splitter etc.  If you need a cheap option you could used a DN9650 Network Bridge. It can provide Dante etc. at a reasonable cost (as noted by Nathan)

Most digital desks now provide quality reverbs, delays, harmonisers, dynamic EQ, multiband compressors etc etc.  The need for plug-ins is very much diminished in 2012. 

The EFXs in Gen 2 are much better.

[Jens Palm Bacher]

What is that thing about a "monitor mode" I cannot find anything about it in the manual, is it documented?
I've just setup a musical with an SD10 that does FOH + 12 IEM mix in stereo for the cast + 16 channels of Aviom for the band, can that be done on a Pro6 ?

[Peter Morris]

What is that thing about a "monitor mode" I cannot find anything about it in the manual, is it documented?
I've just setup a musical with an SD10 that does FOH + 12 IEM mix in stereo for the cast + 16 channels of Aviom for the band, can that be done on a Pro6 ?

I don’t thinks so (but my knowledge is limited – please correct me if I’m wrong)  – the SD10 has 48 busses, the Pro 6 has 35, you need 40+LR. Monitor mode allows you to use all of the busses as outputs with the same minimum latency (1.79 ms)

[Casjan Berends]

What is that thing about a "monitor mode" I cannot find anything about it in the manual, is it documented?
I've just setup a musical with an SD10 that does FOH + 12 IEM mix in stereo for the cast + 16 channels of Aviom for the band, can that be done on a Pro6 ?

Jens,

For future projects, you could explore the posibilities of using the mixtender software on iPads for the band. This way, you can ditch the Aviom, and its 16 channels. Offcourse you would still need oututs for the band, but as long as these do not exceed 16, you're winning some. And i'm not even talking about losing the extra conversions to the aviom system yet.

[[email protected]]

I don’t thinks so (but my knowledge is limited – please correct me if I’m wrong)  – the SD10 has 48 busses, the Pro 6 has 35, you need 40+LR. Monitor mode allows you to use all of the busses as outputs with the same minimum latency (1.79 ms)

Not all aviom sends need to be independent mix buses. As long as you have strong input levels you can always set the aviom channels to be prefader/pre eq on individual channels. Think of it as one less gain stage you have to manage for every send it works for.

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