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Mixer reccomendation, Best for Metal?

#21
MooseLumps said:
Aah, enlightening. It seems that that scheme would eat a lot of channels for effects heavy bands... Perhaps I really do need more channels.

Also, I'm thinking of relocating to PDX, so I may take you up on your offer, Charlie. ;)
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You're moving to Portland? We should have a GTG some time.

By the way I was asking this same question not too long ago and found this:

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6 AUX sends, 16 channels. USB recording.
 
#22
Passinwind said:
Returning to channel strips works a lot better anyway. It lets you EQ EFX and route to your monitors if desired. Just make sure you have enough inputs to do so. Many of the A&H boards have a nice matrix mix section that can do aux returns too though.

I owned a MixWiz and have also mixed on Zeds and a GL2400 a lot. All of them are easy to work on, both mixing and repair-wise. The Mackies are no fun to repair, have global phantom, a questionable main bus, and on the older ones at least, a goofy aux assignment scheme. But yeah, you can still do a reasonable mix on one in many cases.

I currently have an XR20. Come on down and play with it sometime. ;)
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Can you elaborate on how to do that? I've only ever used AUX channels for monitors. I'd love to know how to do what you're describing.
 
#23
KingRazor said:
Can you elaborate on how to do that? I've only ever used AUX channels for monitors. I'd love to know how to do what you're describing.
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Sure. First off, you will normally want to set your aux to post-fader rather than pre-, which you would use for a monitor send. Setting it to post- lets the wet/dry mix stay constant regardless of overall volume.

So send your post-fader aux output to your effects unit. Route the output of the effects unit back to an unused channel on your mixer. Make sure the aux you used as a send is turned all the way down on that channel, or you will create an ugly feedback loop. Now you can use that channel to send as much or as little effected signal as you like to the main mix, or back through the monitors if desired. You may want to go easy on sending much to the monitors, it can really muddy up your mix. Make sense?

I'll be putting together another GTG out here (Hood River area) sometime mid-summer. A lot of Portland TB'ers always attend these, since it's only a one hour drive from downtown. I'll post a thread in the GTG section soon to see what date will work for the most people.
 
#24
Passinwind said:
Sure. First off, you will normally want to set your aux to post-fader rather than pre-, which you would use for a monitor send. Setting it to post- lets the wet/dry mix stay constant regardless of overall volume.

So send your post-fader aux output to your effects unit. Route the output of the effects unit back to an unused channel on your mixer. Make sure the aux you used as a send is turned all the way down on that channel, or you will create an ugly feedback loop. Now you can use that channel to send as much or as little effected signal as you like to the main mix, or back through the monitors if desired. You may want to go easy on sending much to the monitors, it can really muddy up your mix. Make sense?

I'll be putting together another GTG out here (Hood River area) sometime mid-summer. A lot of Portland TB'ers always attend these, since it's only a one hour drive from downtown. I'll post a thread in the GTG section soon to see what date will work for the most people.
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Alright, that makes sense, but didn't you say something about using channel faders as monitor sends or something like that?
 
#27
KingRazor said:
...didn't you say something about using channel faders as monitor sends or something like that?
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Passinwind said:
Just for the effects, and only to auxes already in use for monitors. No free lunch, sorry...;)
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to clarify that, the channel is used as a return, not a send.

instead of using an aux return, the delay sound comes from the FX box back into a channel; now you can quickly turn the delay level up or down with the channel fader, EQ the delay to be darker than the original sound (works great to keep it "out of the way" on vocals), or send that delay to any of the monitors.
 
#29
Another vote for Allen & Heath 16 channel Mix Wizzard. All 16 inputs are actual XLR inputs. I have had one for the last 5 years and it has been solid. No troubles what so ever. They are pretty simple, six aux sends, built in effects that are usable, have great sounding (and quiet) preamps and they can be found used for around $500.00. What is also nice about them is that each channell is modular so if you ever have a bad channel a single channel can be replaced.
 
#30
srxplayer said:
Another vote for Allen & Heath 16 channel Mix Wizzard. All 16 inputs are actual XLR inputs. I have had one for the last 5 years and it has been solid. No troubles what so ever. They are pretty simple, six aux sends, built in effects that are usable, have great sounding (and quiet) preamps and they can be found used for around $500.00. What is also nice about them is that each channell is modular so if you ever have a bad channel a single channel can be replaced.
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But, they do cost $1000 new.

The carvin I posted earlier is only $800 new and has 6 AUX sends and 16 channels as well.

Which is the better deal? Depends on what you can find used.
 
#32
modulusman said:
I don't know. I think all the boards mentioned so far would be good for country&western and maybe jazz but not metal.:eyebrow:
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Gotta admit that was my first response too.

I mean, it's a mixing board. It's like me sitting here with a clean, empty pint glass in my hand and saying, "well, this glass worked great for the Coors Light I drank last night but I wonder if it can handle the Guinness I'm gonna have tonight?"

No offense to all of the TBers that deal in the metal genre, but it seems like there are a lot of these types of topics on this board. "What bass [amp, picks, set of strings, cable, tuner, etc.] are best FOR METAL?" Honestly, with the exception of pickups, effects pedals/boards and POSSIBLY amps (debatable), virtually every piece of gear you can buy is genre-agnostic. Its suitability for metal (or any other type of music) is ultimately secondary to the approach and skill of the musician playing it. For example how many people would say a P-Bass with flatwounds is great for metal... yet a guy named Steve Harris has done pretty well with that combination for awhile now.

But to respond to the question. I don't play metal but I've played classic rock, country and blues through newer model Allen & Heath (analog) and Yamaha (digital) boards and I prefer the sound and features of the Yamaha but it has quite a bit higher learning curve than the Allen & Heath, especially if it's your first time with a digital board. Allen & Heath boards have a few quirks of their own but nothing you can't adapt to.
 
#33
jaywa said:
Gotta admit that was my first response too.

I mean, it's a mixing board.

No offense to all of the TBers that deal in the metal genre, but it seems like there are a lot of these types of topics on this board. "What bass [amp, picks, set of strings, cable, tuner, etc.] are best FOR METAL?" Honestly, with the exception of pickups, effects pedals/boards and POSSIBLY amps (debatable), virtually every piece of gear you can buy is genre-agnostic. Its suitability for metal (or any other type of music) is ultimately secondary to the approach and skill of the musician playing it. For example how many people would say a P-Bass with flatwounds is great for metal... yet a guy named Steve Harris has done pretty well with that combination for awhile now.

But to respond to the question. I don't play metal but I've played classic rock, country and blues through newer model Allen & Heath (analog) and Yamaha (digital) boards and I prefer the sound and features of the Yamaha but it has quite a bit higher learning curve than the Allen & Heath, especially if it's your first time with a digital board.
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You've been here since '08 and don't get that the whole "what's the best _ for metal?" is a running gag here?

Most everybody on TB knows that there is very little genre-specific gear.
 
#36
If you can put up with the routing and the layout of the master section, the LX7 is nice - until it needs a repair, then it's as big a pain as a Mackie (Onyx is OK).

If 16 channels will do, get a MixWiz, an O1V96, or a StudioLive16.

If you need 24 channels, a GL2200-24/2400-24, an O1V96 with preamp, or a StudioLive 24.

If you need 32 channels, a GL2200-32/2400-32, an O1V96 with a couple of preamps, or a linked pair of StudioLive 16.

Of the above, the SL24 has the most auxes and is the easiest to mix on.
 
#38
TimmyP said:
If you can put up with the routing and the layout of the master section, the LX7 is nice - until it needs a repair, then it's as big a pain as a Mackie (Onyx is OK).

If 16 channels will do, get a MixWiz, an O1V96, or a StudioLive16.

If you need 24 channels, a GL2200-24/2400-24, an O1V96 with preamp, or a StudioLive 24.

If you need 32 channels, a GL2200-32/2400-32, an O1V96 with a couple of preamps, or a linked pair of StudioLive 16.

Of the above, the SL24 has the most auxes and is the easiest to mix on.
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And, if you have a ton of expendable income, the Roland Digital Mixing Consoles are just about the best mixers ever...
 

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