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[Mark Scrivener]

Do the Ui24R's allow all busses to be cascaded as well as the PFL's and headphone outputs?

Pretty cool if so.

Not sure I understand your question, but there are 10 aux busses and any of them can be turned into matrix outputs. The patching allows any bus, main, or PFL to be routed to any output, including DAW sends. Sending the same signal to multiple destinations is also allowed. Inputs (or DAW returns) can likewise be routed to any channel. Two Ui24r's can be cascaded and up to 32 signals shared between them, which I believe includes busses. Soundcraft has an online demo that you can play with via a web browser, which should answer any routing or workflow questions you have. It really is an amazing little mixer.

[Dave Pluke]

It really is an amazing little mixer.

Agreed!  I have two Ui24R's.

To some extent, Soundcraft poisoned the well by introducing the Ui12 and Ui16 units before the Ui24.  The smaller units were built differently (don't ask me how), and they got a bit of a reputation for having a high noise floor and perilous WiFi.

The Ui24R still suffers on occasion from its passive cooling (there's a spot and connector for a fan, but it was omitted for $$$?) and underpowered USB ports.  Both are relatively easy to overcome and, as noted, I always run an ethernet connected PC and external WiFi router.

But, the clarity is excellent and the channel EQ section is as good, if not better, than the "conventional" digital consoles costing 4x as much.

I, personally, would love to see Soundcraft develop a control surface to drive the brains of the Ui24. Still like having physical faders, especially when riding several at once.  How many R&D resources Samsung is willing to stick into Soundcraft is uncertain.

Dave

[Brian Jojade]

It used to be that the sound quality difference between high end gear and MI gear was easy to hear, even for the moderately trained ear.  While there are still some potential differences, it's getting much much harder to hear them unless you put the gear side by side.

From a reliability standpoint, I'd guess that the MTBF ratings of the high end gear is pretty close to the midrage gear as well.  In fact, the midrange gear might be better, as failures at that pricepoint mean warranty claims that cost a significant percentage of the sale price. Therefore, they HAVE to be reliable or the company selling it won't be able to maintain a profit.

Depending on the gear, you can pay more for better road worthiness.  ie, better XLR connectors, etc. If you don't abuse the gear though, even the entry level stuff is pretty solid these days.

You also typically can 'feel' the difference in higher end gear.  Rubber coated knobs, smoother faders, etc.  But, if it's my money, my fingers aren't delicate enough to justify a 20X price increase in a mixing console if all I'm getting is better felling knobs.

[Tim McCulloch]

The dirty little secret is that on most festivals there is a "production mixer" which acts as a big routing matrix to accept inputs from the touring consoles.  For some time that was a Yamaha O1V or one of the earlier DME "engines" because they could be kitted out for AES 3 inputs & outputs as well as analog.

A certain west coast firm had a trick setup with front panel push buttons that switched inputs between sets of analog and digital inputs (2 of each, IIRC) and kept a VOG mic and BGM inputs available at all times (kind of like the APB Mix Switch, but with more features).

[John P. Farrell]

The dirty little secret is that on most festivals there is a "production mixer" which acts as a big routing matrix to accept inputs from the touring consoles.  For some time that was a Yamaha O1V or one of the earlier DME "engines" because they could be kitted out for AES 3 inputs & outputs as well as analog.

This.  I have put my touring CL or Digico (as did all the other acts) through many festival control desks, and they're usually 01V96 or Midas M32R controlling the entire show in addition to video feeds, VOG and an iPod. 

[Scott Holtzman]

The dirty little secret is that on most festivals there is a "production mixer" which acts as a big routing matrix to accept inputs from the touring consoles.  For some time that was a Yamaha O1V or one of the earlier DME "engines" because they could be kitted out for AES 3 inputs & outputs as well as analog.

A certain west coast firm had a trick setup with front panel push buttons that switched inputs between sets of analog and digital inputs (2 of each, IIRC) and kept a VOG mic and BGM inputs available at all times (kind of like the APB Mix Switch, but with more features).

I could not believe it, a festival I was at a few weeks ago that had a Vertec rig from a local supplier used a Spirit for the matrix mixer.

[Tim McCulloch]

I could not believe it, a festival I was at a few weeks ago that had a Vertec rig from a local supplier used a Spirit for the matrix mixer.

All in the Harman family, Scott!

[brian maddox]

I could not believe it, a festival I was at a few weeks ago that had a Vertec rig from a local supplier used a Spirit for the matrix mixer.

my festival rig a couple years ago...

EDIT:  Posted the wrong pic.  This one makes more sense. 

[dave briar]

The dirty little secret is that on most festivals there is a "production mixer" which acts as a big routing matrix to accept inputs from the touring consoles.

A friend of mine has previously chaffed at having to run the outputs from his M32-core back into a regional festival’s Avid house mixer as it required padding the inputs on the Avid which he felt was a compromise.  He has since added a Lake processor to his rack on stage and at this year’s festival started with the sound company’s tuning and then bypassed it with his unit which allowed him an N-band parametric EQ on the mains for the evening’s headline act.  The house crew actually shut all their unused equipment down, showered, had a sit-down dinner, and then came back for the last twenty minutes of the show. I guess if you’ve been one of the national headliners for fifteen years you’ve earned enough cred to be given the keys to the kingdom. I on the other hand used their system as they intended and humbly accepted any and all help they could provide .

[Chris Hindle]

I on the other hand used their system as they intended and humbly accepted any and all help they could provide .

You do that enough times, and show that you know your shit, you may get your own set of keys....
Cry and whine, and you get jack shit.
Reputation is EVERYTHING in this business.
Just sayin...
Chris.

[ProSoundWeb Community]