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[Andrien (No Last Name)]

Someone let me know when these things are actually a step up from a GLD, apart from a few minor niceties.

I think it will be quite long, probably v1.4 because they are not doing incremental update per major firmware release anymore like Qu series. There are some bugs need to be sorted out and some features like dynamic scribble strip (where scrible strip show dB values on fader/rotary movement) that still not included.

On SQ-7, I wish they put all 8 FX mix button on the side, than having only 4.

[Michael Lawrence]

On SQ-7, I wish they put all 8 FX mix button on the side, than having only 4.

Andrien-
There are 8 FX rack slots, but only 4 FX send buses. Slots 5-8 can either be patched as inserts, or fed with an aux bus. So all the buses on the desk do have a button along the right side. :)

[Tim McCulloch]

v1.2.2 r2408 which is the latest publicly available, I believe.

My workflow-to-beat is the Midas Pro2C. I love the way the desk really "comes to you." But I think this desk would do a decent job of staying out of my way, at least, once I learned it.

My take on the Pro 1/2/3/6 is that they need to be beaten with a large, heavy object and tossed in the bin.

Unless you're willing to enter into a long term relationship (with or without the benefit of clergy) with a Pro series mixer and unless all you need to do is a simple L/R mix, you're spending HOURS trying to find the access to the setup parameter(s) you need (and discover it's UNLABELED in the software).

I love putting "NO MIDAS. NO MACKIE.  NO PRESONUS" on my riders...  Yeah, there are folks that love their Midas Pro mixer and I'm not trying to pry their cold, dead fingers off the faders... but the user interface can only be described as arcane and oblique - much like the Kidderminster mind set.  I love it when a factory support person intimates that "maybe you should have purchased as lesser brand" rather than helping you with your problem.  BTW, that's where I got my RTFM response - because I had a support person from Kidderminster say exactly that... yeah 600+ pages that makes a Yamaha manual look like a paragon of simplicity and clarity.

[Michael Lawrence]

My take on the Pro 1/2/3/6 is that they need to be beaten with a large, heavy object and tossed in the bin.

Unless you're willing to enter into a long term relationship (with or without the benefit of clergy) with a Pro series mixer and unless all you need to do is a simple L/R mix, you're spending HOURS trying to find the access to the setup parameter(s) you need (and discover it's UNLABELED in the software).

I love putting "NO MIDAS. NO MACKIE.  NO PRESONUS" on my riders...  Yeah, there are folks that love their Midas Pro mixer and I'm not trying to pry their cold, dead fingers off the faders... but the user interface can only be described as arcane and oblique - much like the Kidderminster mind set.

To each their own, my good sir. You are certainly not the first person who has expressed similar sentiments to me. The physical layout of the Pro series desks makes a lot of sense to me, which is all I can say! I do share your sentiments about Presonus whole-heartedly. I feel like I'm mixing through a keyhole using a paper clip.

Many are also surprised when I say "Please No Avid" as well.

[Tim McCulloch]

To each their own, my good sir. You are certainly not the first person who has expressed similar sentiments to me. The physical layout of the Pro series desks makes a lot of sense to me, which is all I can say! I do share your sentiments about Presonus whole-heartedly. I feel like I'm mixing through a keyhole using a paper clip.

Many are also surprised when I say "Please No Avid" as well.

You'll get an M7, then!

I'd much rather mix on a neutral console like the Avid VENUE series and have it add nothing to my audio.  Kind of like Meyer loudspeakers - YOU make the sound that comes out.

There are 2 kinds of FOH guys - those that like/love AVID and those that absolutely detest them.  My observations have been that many of the AVID haters don't seem to produce better mixes on their console of choice so I think it's more mental and PICNIC (problem in chair, not in console).

[Michael Lawrence]

You'll get an M7, then!

I'd much rather mix on a neutral console like the Avid VENUE series and have it add nothing to my audio.  Kind of like Meyer loudspeakers - YOU make the sound that comes out.

There are 2 kinds of FOH guys - those that like/love AVID and those that absolutely detest them.  My observations have been that many of the AVID haters don't seem to produce better mixes on their console of choice so I think it's more mental and PICNIC (problem in chair, not in console).

Or as they say in tech support PEBKAC (Problem Exists Between Keyboard And Chair).

For me personally, console choice has almost nothing to do with the "sound." I realize that ruffles some feathers but I believe console "sound" differences are far smaller than most would assume. All of the professional consoles on the market are very flat in mag and phase, have very low noise floors and low IM / THD.
Exception of course is boutique stuff (character preamps, "Silk", etc). But someone who knows what they're doing should be able to get a good-sounding mix going.

For me personally it's a lot more about the workflow. How I access the controls, banking, recalling, how the desk lets me work. I like the way POP groups and VCA groups work on the Pro series. It's faster than anything else I've used, and the color associations prevent me having to remember which bank things are on. In terms of setting up the software / patching screens, that's a different argument entirely!

The Avid channel strip controls have never felt particularly streamlined to me, especially SC48. I tend to like dedicated knobs per function, not remappable controls.
Agreed 100% about the neutral response. I'm a system tech at heart, so I don't want any part of the transmission chain to editorialize my signal. Just get it where it needs to go, amplify it, and get it out there. Anything else is an artistic decision best left up to the operator!

[Helge A Bentsen]

Or as they say in tech support PEBKAC (Problem Exists Between Keyboard And Chair).

For me personally, console choice has almost nothing to do with the "sound." I realize that ruffles some feathers but I believe console "sound" differences are far smaller than most would assume. All of the professional consoles are the market are very flat in mag and phase, have very low noise floors and low IM / THD.
Exception of course is boutique stuff (character preamps, "Silk", etc). But someone who knows what they're doing should be able to get a good-sounding mix going.

For me personally it's a lot more about the workflow. How I access the controls, banking, recalling, how the desk lets me work. I like the way POP groups and VCA groups work on the Pro series. It's faster than anything else I've used, and the color associations prevent me having to remember which bank things are on. In terms of setting up the software / patching screens, that's a different argument entirely!

The Avid channel strip controls have never felt particularly streamlined to me, especially SC48. I tend to like dedicated knobs per function, not remappable controls.
Agreed 100% about the neutral response. I'm a system tech at heart, so I don't want any part of the transmission chain to editorialize my signal. Just get it where it needs to go, amplify it, and get it out there. Anything else is an artistic decision best left up to the operator!

+1.

Totally agree.

[John P. Farrell]

My take on the Pro 1/2/3/6 is that they need to be beaten with a large, heavy object and tossed in the bin.

Unless you're willing to enter into a long term relationship (with or without the benefit of clergy) with a Pro series mixer and unless all you need to do is a simple L/R mix, you're spending HOURS trying to find the access to the setup parameter(s) you need (and discover it's UNLABELED in the software).

^^this.  I've got no problem with how the Pro Series sounds, but that's where it ends for me.  Even guys who mix on them daily at their house gigs seem baffled when trying to patch anything as I've requested and god forbid you give a scene on a stick....it's an hour before noise comes out. 

On a throw and go forget it.

"No Pro Series" is on my rider.

JF

[Rob Spence]

True story...
At a sound guy (& girls) get together out in Westminster MA some years back, we were blessed by some nice consoles to play with. One was a Pro6 (or 4) I think. All the kings horses and all the kings men (bunch of folk with chops) could not get PFL (or anything at all) to route to the headphones all weekend. Sigh...scared me away from anything digital Midas.


Sent from my iPad using Tapatalk Pro

[Tim McCulloch]

True story...
At a sound guy (& girls) get together out in Westminster MA some years back, we were blessed by some nice consoles to play with. One was a Pro6 (or 4) I think. All the kings horses and all the kings men (bunch of folk with chops) could not get PFL (or anything at all) to route to the headphones all weekend. Sigh...scared me away from anything digital Midas.


Sent from my iPad using Tapatalk Pro

It's one of those unlabeled features... a pair of radio buttons that is the final 'patch' to make the headphones work.  It's not easily found in the manual (I never found it, my LD found a Youtube video that covered basic console config).

That was another bah, humbug moment.

Or as they say in tech support PEBKAC (Problem Exists Between Keyboard And Chair).

For me personally it's a lot more about the workflow. How I access the controls, banking, recalling, how the desk lets me work. I like the way POP groups and VCA groups work on the Pro series. It's faster than anything else I've used, and the color associations prevent me having to remember which bank things are on. In terms of setting up the software / patching screens, that's a different argument entirely!

The operator's workflow dictates the choice of console, or vice versa.  Whether more of a fixed architecture or highly customizable UI, ultimately it's about having access to specific physical controls when you need it and fully understanding and navigating the "signal" routing within the mix environment.  Those are important reasons for selecting a particular console.

I've not used an S6L so no direct comparison for me, but I've heard of folks having my "Pro-series reaction" to it; choice of desk and perceived complexity is a horses for courses thing.  And it's nice to have choices

[ProSoundWeb Community]