The Knobbit: Getting Around on Today’s Consoles

[Keyboard Magic]

I thought this would be interesting to read if anyone hasn't seen it yet. I was going to past the link, but thought it would be easier for all concerned just to past the complete article. 

By Kent Morris:

Audio mixing consoles used to be the domain of the knob. On a large format analog Midas, there were hundreds of single-function knobs and switches spread across a sea of control surface. Burly men in black shirts lugged these great beasts ensconced in custom flight cases from show to show, heaving them upon stands made from road cases at each venue. Then, one day, things changed. All the weight and warmth of analog were gone; replaced by the lithe and precision of digital. With the knobs missing, GOS (Grumpy Old Soundtechs) contemplated early retirement or, similarly, a move into lead vocals. The YNS (Young Naďve Soundtechs) on the other hand, embraced the move to a platform they understood well from their misspent childhoods playing video games in Mom’s basement. So, here, then, is a telling of the layout of most modern consoles.

Whether the board in question is the cost-effective and ubiquitous Behringer X32 or the impressive four-screen Soundcraft Vi3000, digital console use a series of layers and a central command structure as their functional interface. Since a feature on a digital board is simply some additional code, adding one is easy compared to implementing a full circuit on an analog console. Thus, digital boards have lots of features, meaning there is not room to place them all on the board at once. Manufacturers allow one control to serve many functions depending on the mode of operation. Navigating these modes can be difficult,so the designers use color-coding, variable illumination and informative displays to help the process.

Many desks use a “fat channel” approach, with all the standard input controls grouped together near the primary display. A single channel is selected and all the parameters for that one channel are then assigned to the physical knobs. Where an analog board is WYSIWYG, digital boards are not and the operator must think about each move until the nuances of the particular model are second nature. Some brands use color touch screens to simplify the process while others use touch-sensitive knobs to highlight each function.

Perhaps the most difficult aspect of a digital console is the patching procedure. On an analog board, the patches are physical and can be hand traced, but a digital board relies on internal patching to make the connections. Midas, for instance, must be patched both to and from both points for signal to flow. Soundcraft and Yamaha, in contrast, use single point patching. It often helps to keep an Excel spreadsheet handy with the layout for standard patch diagrams in view near the console and with any changes noted on a secondary file.

It is now common for digital desks to have their surface area shrunk to rack-mount form and to control their operation remotely via an iPad. This new twist on things makes it easier for touring bands to fly the rig with them and reduces space requirements as well. Using off the shelf wireless routing, the console can be configured from the stage for monitor set-up and run from any seat in the house during performance. While this system is not as comprehensive as a physical surface, it is quick and easy to navigate once the design is understood.

Digital consoles are now the norm for almost every live event and offer repeatability through scene storage, increased functionality with built-in effects, the ability to record multi-tracks with ease and a compact, lightweight structure. For all the GOS who long for analog’s glory days, the future belongs to the YNS.

Kent Morris is a 35 year veteran of the worship technology arena with a passion for excellence balanced by the knowledge digital is a temporary state.

[Weogo]

Hi KM,

Can you please post the source link?

"Kent Morris is a 35 year veteran of the worship technology arena with a passion for excellence balanced by the knowledge digital is a temporary state."

For multiple reasons I agree.
Am keeping my analog mixers, though currently mostly using digital.

Thanks and good health,  Weogo

[Keyboard Magic]

Hi KM,

Can you please post the source link?

"Kent Morris is a 35 year veteran of the worship technology arena with a passion for excellence balanced by the knowledge digital is a temporary state."

For multiple reasons I agree.
Am keeping my analog mixers, though currently mostly using digital.

Thanks and good health,  Weogo

Hey,

This is the only link that I found to this article. Couldn't find anything else on it though. Hope this helps?

http://www.sweetwater.com/insync/the-knobbit-getting-around-on-todays-consoles/

  and you're very welcome for sure. I've mentioned it numerous times on this site that I always keep a small Allen & Heath ZED10 for backup, for just in case. I still love real controls, even though I use a DL all the time.

[pytchley]

Just back from my annual multi-school gigs and the first gigs for a year where the DL wasn't the primary mixer, it was there though sub-mixing the AKG 4000 headsets for the theater sketches between numbers giving excellent visual feedback on which mics were open and who was talking. Main mixer was my trusty old AH GL 2200 with an ART 8 channel rack on stage for choir mics (8 Rode NT3s for 250 odd kids) and a mixwiz for other sub-mixes (10 acoustic guitars, 4 violins). Nice having all those knobs and massive piles of racks at mix position but absolute hell to pack up!