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[brian maddox]

Yamaha DMP7 briefly. Things really took off with DM2000 and then PM5D. My first PM1D was in early 2000 I think.

Mac

I wanted a DMP7 so bad when they came out. Got to play with one a few times, but it came out while I was still more muso and less engineer-o so I didn’t get to play with very many cool toys since I was a “working musician” and therefore broke.

I will say that the DMP7 made me understand that motorized faders were an absolute must have for a digital console. The DMP11 sacrificed motor faders for budget and size reasons and I distinctly recall thinking how extremely useless all that digital recall coolness became as soon as you removed the fader motors.

Then many many years later Presonus tried to convince everyone that you really didn’t NEED motorized faders, and a remarkably large number of people believed them…

[Phillip Ivan Pietruschka]

That Presonus persuaded more than one person still confuddles me. The user interface gave me flash backs to the previously mentioned Soundcraft 328. Flashbacks? More like PTSD. Still there is a long line of awful UI decisions in the history of digital consoles, with more yet to come I’m sure, many sold as ‘features’ on the brochure.

Not a first generation desk, or even an especially early encounter of mine, but I have a soft spot for the Yamaha DM1K, as it sported a few nice functions rarely found even today; short of high end broadcast desks at least. Stereo channels can be switched to MS mode, and decoded just like that; and the channel compressors can be set post fader which is great for vocal mixing.

[Steve Eudaly]

Were these Digico's donated? Or were the Yamaha's donated? That's the only reason I could think of for requiring the desks be destroyed.

As Jim mentioned, I understand it was some sort of rebate program along the lines of "limit the number of used digital consoles on the market and we'll give you a sizable discount."

[Robert Healey]

Then many many years later Presonus tried to convince everyone that you really didn’t NEED motorized faders, and a remarkably large number of people believed them…

I have only mixed on a StudioLive once and mostly used the iPad app while walking around the room. The iPad app integration was excellent and I liked the layout of the board and the app. The problem I couldn't get past was that if you used the app the faders on the board would no longer reflect your mix. How much more could the thing could have cost if it had motorized faders? I know the StudioLive was out earlier but the A&H QU seems like a much better buy in that price point.

[Don T. Williams]

When Series FIVE appeared, one of the selling points was someone else (Schubert Systems?) designed the PSU.

I had a Series Five PSU fail mid show.  Luckily, this act didn't have their own engineers.  My guy was at FOH and I was on monitors.  It was an easy act and I was bored and I had my own personal stereo mix going for my entertainment.  When the panicked call came in on the com from FOH, I connected my "personal" mix to spare lines going back to FOH and had my engineer patched those to the main graphic inputs.  We were down less than a single song.  I told him to act like he was still mixing.  I don't think the act ever knew the sound was out.  No one from the venue or act ever mentioned the brief outage.

The problem turned out to be the impossible to find British made 30-amp main rail fuse holders.  They just kind of crumbled.  We had shows coming up in 5 days, and I couldn't find replacements anywhere in the US, so we rigged Radio Shack 30A gold plated battery terminal to car stereo fuse holders - complete with gold plated 30-amp fuses - in place of the odd British units.  Those never failed and the PSU lives on!  I wish I could say it was great planning but . . . !

[Andrew Broughton]

Remember when companies thought that people would pay premium bucks to keep their signal analog but wanted recallability?
Enter Soundcraft Broadway and Gamble DCX.
I think maybe 1 of each were sold. ever.
The Soundcraft to Solotech for Celine Dion and the Gamble to whatever company was supplying Umphrey's McGee...

[James Paul]

Remember when companies thought that people would pay premium bucks to keep their signal analog but wanted recallability?
Enter Soundcraft Broadway and Gamble DCS.
I think maybe 1 of each were sold. ever.
The Soundcraft to Solotech for Celine Dion and the Gamble to whatever company was supplying Umphrey's McGee...

(2) DCS on Reevurb https://reverb.com/item/17184715-2-gamble-dcx-60-console-systems

[John Sulek]

I wanted a DMP7 so bad when they came out. Got to play with one a few times, but it came out while I was still more muso and less engineer-o so I didn’t get to play with very many cool toys since I was a “working musician” and therefore broke.

I will say that the DMP7 made me understand that motorized faders were an absolute must have for a digital console. The DMP11 sacrificed motor faders for budget and size reasons and I distinctly recall thinking how extremely useless all that digital recall coolness became as soon as you removed the fader motors.

Then many many years later Presonus tried to convince everyone that you really didn’t NEED motorized faders, and a remarkably large number of people believed them…

I remember being the house tech for a Squeeze show and they has a DMP7 on the keys rig to make the stereo mix consistent from patch to patch. It was a cool bit of tech back then.

[Andrew Broughton]

(2) DCS on Reevurb https://reverb.com/item/17184715-2-gamble-dcx-60-console-systems

Wow. Reading the description is awesome.


Excerpts:

• When you load a mix file, every control loads up perfectly, first time and every time.
• With multiple bands on the same show, you don’t need separate consoles for each band. Just Load the next Mix File and off you go!
• The DCX-60 has no hard controls, so distortion caused by dirty faders, switches, and pots, is non-existent with Gamble quality. Monthly cleaning of fan filters is all that’s required.

[Doug Fowler]

Remember when companies thought that people would pay premium bucks to keep their signal analog but wanted recallability?
Enter Soundcraft Broadway and Gamble DCX.
I think maybe 1 of each were sold. ever.
The Soundcraft to Solotech for Celine Dion and the Gamble to whatever company was supplying Umphrey's McGee...

AMEK Recall

Turn the knob until it tells you to stop.  I always thought they should replace the stock “voice” with that of the Queen.

For those that don’t know, you moved a control and the console said “more, more” until you reached the recall value.  I don’t “recall” what it said at that point.  At least I think this was the Recall.

Crazy stuff.

[ProSoundWeb Community]