so as long as Pro Audio has been around mixers have been around as well as a means of bringing sonic components together anything from simple volume control to dynamic sound effects processing well now fast-forward to the digital age now we got digital mixers here can make things even easier for you for a lot of people it could seem a little bit overwhelming and some people they just might not find a reason to opt out of going to a digital mixer from their analog mixer well if you've ever had a thought about going to a digital before you're in the right spot hi my name is matthew i'm with pro sound & stage lighting sales advisor here and we're here to help you out and we're going to talk about some digital mixers and you know kind of hopefully change your opinion on it let's get started so a couple the drawbacks that I hear about digital mixers that one did you guys hear that yeah that's crickets you're going to hear a lot of crickets now because these things are completely silent number two the concern that I usually hear is that they might be a little bit too complicated as I mentioned earlier they're really not too complicated it's very easy just like if you were to get a new vehicle you're not sure where to turn on the windshield wipers or how to turn the headlights or program your favorite radio station they will be a little bit of a learning curve but if you take the time to learn it I think that's going to be a great benefit for you a third concern I usually hear about is that the cost on the initial investment of a digital mixer digital mixers do have a little bit of a higher price tag but if you take into the fact that you get all of your effects built into the mixer it's not bad at all if you get a normal mixer for seven hundred eight hundred dollars and then you factor in an EQ for another five hundred you get your compression for another 450 you get your FX processor for about another five hundred already just the effects alone and the rack units that are probably about fifteen hundred dollars so in a way they kind of equal itself out and well great benefit to it is that it's all built into one unit so you have a smaller footprint a lot of times what I hear from a lot of my clients is that it also saved them on transportation how does it do that exactly well you have your effects processor unit you've got a full rack full of stuff and if you're a touring band well now you have to pay for the cost to get that shipped out so it's also going to save you in the cost of shipping because now you're just shipping the mixer that's all built into one I want to talk about some of the advantages of going digital one of my favorite features on here is actually saving and recalling your presets this has saved me so much time before in the past so for example hypothetically if you were being the audio engineer for a band for a festival which are really big nowadays or maybe a house of worship that has several bands during sound check I can actually save my presets for each band member and as soon as they walk onstage boom page two everything is completely saved and recalled instantly and right there that has saved me so much time and in a way it's kind of almost justifies the cost of owning one of these digital boards and one of the other great thing advantages of to them is that if you have a smaller venue and you don't have a lot of room I've noticed that some mixers are just kind of off to the side which you really can't hear what's going on in the front of house well now put that mixer off to the side grab your smartphone grab a tablet and now the sound engineer can actually be in the audience with and they can actually hear exactly what they're hearing and you have complete and full control over all the effects all the EQ all of all the volume controls over each band member and each microphone we've talked about the footprints how about a small footprint it is if you want to go with something really small you can go with something like a QSC touch makes 16 you have full control over the screen here and if you want to go with something even smaller you can go with like a sound craft or really even one the behringer XS this is a 4 channel already has Wi-Fi built into it and know what no mixture anywhere this is all betting your rack up and out of the way last thing I want to mention is the digital snake if you don't know what a digital snake is it is just like a normal state that you would normally use but now my digital snake is off to the side where the band members are everybody is plugging into there and now I just run a single cat 5 cable out to the front of house where my behringer x32 is completely done and saves so much time so now that I've probably convinced you to get a digital mixer now it's time to ask yourself a couple of questions how many channels do you need how much can you invest and what are some of the features that you must have if you have any additional questions please give us a call here at Pro sound and stage lighting we do have factory trained sales advisors to help you out if you have or if you need to know any more details about we just talked about be sure to click the link below in the description and be sure to follow us on social media we are on twitter at PS l01 or also on facebook at pro sound and stage lighting thank you so much for joining me on the video and remember we're here to make you look good

hi I'm Mitch Gallagher from Sweetwater when you're thinking about purchasing a mixer for your studio or your live rig a question that always comes up should you go with an analog mixer or should you go with a digital mixer there definitely are benefits to each type let's take a look at the two types of mixers and how they compare before we begin talking about the differences between digital and analog consoles let's talk a little bit about mixers in general and what they do that's the same because at their heart all mixers do the same thing they accept an incoming signal whether it's from a microphone a line level source or an instrument level source they process that by raising the gain up so electronics can deal with it we may process the tone of the signal by adding EQ we might add effects and then we sum all those signals together to create a stereo or a multi-channel output and we also send signals out to monitors and other destinations so routing is a big part of what a mixing console does as well so all mixers whether you're dealing with an analog console like the Allanon he's had 22 effects we have here or a large format digital console like the behringer x32 or a compact console like the digital zoom el 20 I have here to my right they're all doing the same thing but how they do what they do is where the features and the benefits come into play given that all mixers do basically the same thing the differences become apparent when we start looking at how they accomplish those tasks and what your mindset is as you're working with the type of console that you have in front of you with an analog console it's very much a hands-on instant access instant gratification kind of a thing with a digital console you have that instant access but you also have extended features that you can take advantage of and this leads me to another point with an analog console we have a certain amount of processing onboard but we'll probably need to augment that with some additional external hardware to do things like adding effects maybe add dynamics processing and those kinds of things with a digital console a lot of that functionality is built-in so even though the price on a digital console may be a bit higher than with an analog console you're oftentimes getting more in the box with a digital console than you do with an analog console conversely you may not need all that processing power and may want to have something that allows you to have a very fast workflow in that case an analog console is going to give you very instant access to all the features that you need with a digital console you'll have basic access to things in front of you but on a channel by channel basis you'll have to go into menus to access the different features so to break it down even more with an analog console typically we have a separate knob switch or fader for each function this means that once we learn a single channel strip we know exactly where the gain is we know exactly where the eq is and there's a separate knob for each of the eq parameters all of our accents have their own knobs we have a pan control we have a fader and so on for each of the channels and once we've learned one that simply repeats across the console so even though this looks intimidating it's actually very simple because we're just repeating the same things over and over again in the master section we have dedicated controls for the left-right output we might have aux master controls here we might have a headphone control so again dedicated controls to each of those different functions a digital console works in the same way but to access the different features you'll need to select through the channels so for example here we can access 16 of our channels simultaneously and then bank to the second set of 16 so we have a total of 32 channels now when we select a particular Channel now we can access its preamp gain the gate the dynamics the equalizer aux ends and so on we can also access those different features using the screen there are advantages to this and disadvantages the disadvantage is that we can't see everything at once the way we can with an analog console the advantage is that we can access a lot more parameters and a lot more functionality inside the console with an analog console a lot of the routing is preset so our input comes in goes through the channel maybe we can assign that to the master left right maybe we'll have a subgroup or two and we'll have some effects ends and things there's not a lot of configuring that has to go on and this is the advantage it's very simple we don't have to do a lot of setup to get the mixer into action but it's not as flexible as a digital console we can't change the routing of say input one and bring it in on a different channel if we need to do that for some reason so there are some limitations there but the benefit again is that fast easy access with a digital console we simply hit the routing button and now we have a ton of flexibility for assigning any input to any output to route through different effects processors and so on so if you need a lot of flexibility for various mixing scenarios you can do that with a digital console these days both analog and digital consoles often have USB outputs for recording and you can also often record to say an SD card for example this is at 22 Effects has a USB output that can be used for recording and playback with a computer with a digital console like this X 32 we can record using a card write on board or we could route out to a computer so again we have a bit more flexibility there and again we can change our routing so we can patch a microphone into channel one and brought it to any track that we like with an analog console as I mentioned earlier there's a lot of visual feedback of what's going on here we can see instantly we reach of the controls that said as we look across the field of controls and we have stereo meters here for looking at our levels we can assign things using PFL which allows us to see our meters as well with a digital console we have much more extensive metering capability hit the meter page and we can see a lot of different readouts that show us our signal at different stages in the mixer with an analog console we're basically operating you know what you see is what you get type of a scenario you push the controls up and that's what's happening with the console if you want to change something you basically have to move those controls to make the change with a digital console we have the flexibility to store and recall all the different settings in the console so we could save those the scenes or presets and instantly jump from one to the other this allows you to for example have a preset that's set up for a particular band that's on stage and instantly switch to a different setup for a different band that might be coming on or you could use presets for different parts of songs so that's storage that recall capability really extends the possibilities with a digital console most digital consoles also have more extensive effects and processing built in for example on the x32 we have a gate on each channel we have a dynamics processor basically a compressor on each channel we have EQ we have aux ends we have multiple effects processors built-in and we can assign different effects to each of those processors with an analog console we may have no processing built in at all typically we do have EQ and we have aux ends but there may not be any onboard effects in the case of the Zed 22 effects we do have an effects processor with sixteen different types of effects we can call up and we can operate those using a single fader but we don't have the multi effects capability that we would have with a digital console we don't have a compressor on each channel and we don't have a gate on each channel to access those types of effects we'd use the insert jack and an external piece of hardware one of the areas where digital mixers excel is with remote control oftentimes when you have a band on stage elites want their separate mix especially if they're using in-ear monitoring in the case of a digital console it's very easy to set things up so the front of house engineer is operating the main faders but each musician can take charge of their own monitor mix using an iPad or other device that's very difficult to do with an analog console with an analog console the front of house engineer will operate the faders and generally they'll also be creating the monitor mixes using the aux ends one other benefit with a digital console is typically there are more EQ capabilities on the aux ends and the master as well this is great for controlling feedback on stage for example you may be able to depending on the model of digital mixer you're using insert a graphic EQ onto each of the outputs with an analog console you may have master EQ or you may not it depends on the console one other benefit to a digital console is you may be able to use it as a control surface for your DAW when you're recording in your studio and then take the console out and use it as a mixer live as well so it can serve double duty for you both in your studio and live an analog console can of course also be used in the studio and on stage and it gives you very fast access and the easy routing for setting things up with your DAW but it doesn't give you that remote control or control surface over your dog depending on the model of mixer you have there are other differences as well between analog consoles and digital consoles some analog consoles may even have automation capability as many digital consoles offer that as well it just varies from model to model but these basics are going to be the same what it really comes down to is that an analog console is very easy to use and it's very easy to learn and this was very important if you're in for example a worship situation where you may have multiple volunteers all using the same console the digital mixer is going to have a bit more of a learning curve you're gonna have to sit down and figure out the routing figure out the different pages and maybe setup those presets in advance so that it's gonna be easier to use for your different volunteers and people who are coming in regardless of which type of mixer you choose digital or analog the sound quality is going to be fantastic and the results can be equally fantastic using both types it's just how you get there that's different I hope this tour through some of the features and benefits offered by analog and digital consoles help you narrow down your choices so you can select the proper so for your live rig or your studio system if you have questions contact your Sweetwater sales engineer or visit Sweetwater comm we'll be happy to help I'm Mitch Gallagher from Sweetwater

hello in this video we look out the main features of the new RCF m20 digital mixer as well as covering some of the basic operating principles the EM training is equipped with 16 microphone inputs plus four line inputs - in the back panel and two at the top of the control surface - a mini jack one octave age there are 10 individual and 2 main outputs the main analog out is replaced in the AES digital output using the USB we can connect the computer and with any software will work with the m20 as a 2400 audio card for virtual soundcheck and multitrack recording with the LAN connection we can work with an external wireless switch to connect and control the am training using the apps available for Android and iOS devices working through the apps it is possible to manage all the parameters of the m20 as well as the physical control surface which is provided with a five inches TFT touchscreen with five physical controls to change some of the main parameters of each page m20 is equipped with ten plus one motorized fader layered in four different level input channels one to ten eleven to twenty four channel related at the internal effect to turn and for custom assignable fader and the mix out layer where the fader represents the level of the ten physical individual outputs by pressing the selection button on a channel it's processing section will be displayed on the screen in five different pages input section noise gate equalization and compression dancer this is the qpf file solo button and here the mute button pressing view a global overview of all them training channel is shown with the mute status channel input source and level touching one of them will go directly in its processing page going to the top we have the home button to see the metering of all the inputs announced and the second page with a real-time analyzer who are the spectrum of the selected channels is displayed system button to switch among the system setting pages as the user key for instance with which we can assign different functions that can be recalled simply using one of the eight buttons available the fact button where it is possible to view and edit the for high-quality internal effects we have two reverbs one delay and one modulation alternately at one more delay play an a record button where there are the playback and recording settings we can concurrently playback a two-track audio material and record the master outputs on one or two USB sticks using the a and B USB sockets with the SD card we can go with a multitrack recording and playback without connect any establish using the SD card as an hour drive really useful function cause them train in this case becomes a standalone multitrack recorder in the master section we see the master fader and will send on fader the effect and individual outputs and thanks for watching

hey guys today we are going to be talking about analog and digital mixing desks and should you upgrade your analog desk in 2021 so today's video is going to be really short and sweet um the answer is yes yes you should so thanks for watching and i will see you in the next video you want more more than that okay then [Music] [Music] okay so i have a number of points here that i'm going to take you through on the debate of should you upgrade your mixing desk is it something worth upgrading um this year or in the coming kind of 18 months or so and overall as i say i think yes i think it is a good thing to do i think there's a lot of benefits to it there are of course a couple of negatives and we will go over those as well but on balance overall i think it probably is worth doing but what i'm going to do is just lay out all the information for you there are a number of points that you should consider when you're looking at doing this and hopefully this will help you make an informed decision about whether it's worth upgrading to a digital mixer or sticking with an analog one so first of all the first point i want to talk about is quality now you will find that a digital mixing desk will be leaps and bounds above the quality of an analog mixing desk so if you want to increase the quality of your sound digital mixing desks will do that i've compared a digital mixing desk to some fairly high quality analog mixing desks so i'm not just talking about low cost budget analog desks even the better quality more expensive analog mixing desks still sound muddy and muffled in comparison to a digital mixing desk the quality jump up is in most cases fairly significant and very noticeable i think you will find that if you upgraded it you will actually notice an audible sound quality increase in your system even if you keep the same speakers and amps and everything else just because everything is going through your mixing desk it's processing all that audio for you and by upgrading to a digital mixing desk i'm convinced that you will find a noticeable audio quality increase the second point is going to be flexibility flexibility on a digital mixing desk again is vastly increased and what i mean by this is the numbers of inputs and outputs so often on an analog mixing desk you will be limited by the number of inputs and outputs that you have available particularly outputs as churches look to do more and more things like in-ear monitoring for example you find very quickly that you start to run out of outputs from your mixing desk most analog mixing desks will be limited to four or maybe six aux outputs and although there are ways that you can get around it with in-ear monitors actually it works a lot better and a lot easier if each band member can have their own monitor mix coming off the desk but that's just not possible normally on an analog desk however with digital it's normally absolutely fine where you might have four or six outputs on an analog desk a typical digital mixer could quite easily have 8 12 16 outputs so the number of aux outputs available on a digital desk is almost always going to be vastly more at least double if not three times or four times the number that you have is very very common on a digital mixing desk even sending mixes out to online church platforms or induction loop amplifiers or even doing local recordings for things like podcasts and stuff like that that you might want to put out all of those things are going to require outputs from your mixing desk and it's just so much easier to do that with a digital desk okay so next point is going to be size size might be a determining factor for you again generally speaking digital mixing desks are able to be a lot more compact digital mixing desks work using a thing called layers and layers mean that you can have more than one input per fader so this mixing desk for example is capable of handling something like 40 input channels but it only has 16 physical faders and that's because on layer 1 we have faders 1 to 16 and then we flip to layer 2 and now we have 17 to 32 and we can even flip to layer 3 where we have all our input channels from 32 and above so we get a lot more inputs on a mixing desk that's actually fairly small and fairly compact if we put it side by side here with this one this mixing desk has six microphone channels plus two stereo channels so we've got eight faders in total here but if we look at the size comparison the analog versus the digital they're relatively similar the digital one is slightly bigger but not vastly bigger yet it's capable of handling a lot more inputs and a lot more output so the whole thing is just condensed down if we were to make a desk that could have this many inputs and outputs that was analog it would be huge and you may have seen in the past great big analog mixing desks with 32 inputs or even more and they were massive huge great big things whereas this desk now we can reduce this down significantly by making it digital another thing to consider is going to be control most digital mixing desks offer the option of being able to remote control the sound via an app on a phone or a tablet or something like that now one of the downsides of having all those extra outputs for things like in-ear monitoring is that the job of controlling that sound can become more complicated with your analog desk the sound engineer was asked to do a front of house mix coming out of the speakers for the congregation and then maybe three or four band mixes going back to the stage if we go over to a digital system you're still going to have your front of house mix for the congregation but now you could quite easily have 6 8 10 mixes going back to the stage and you've got one engineer who's having to manage all of those different mixes of sound however if we add remote control to our mixing desk we can actually say to our band members you mix your own sound on stage you don't need to come to me we can put the app on your phone and you can control it from the stage yourself and you can set your own band mix on the stage and that can make band members much happier they can control that mix themselves and it can also make the job of the sound engineer a lot easier because they're not having to worry about all the sound that's going back to the stage the band can just sort that themselves and most digital mixing desks now they'll have an app that's available both on android and apple and very easy to download very easy to use so that's a big bonus for anybody wanting to run multiple band mixes back to the stage another benefit might be installation when it comes to installation with a digital mixing system most of the time you're going to be using a standard cat5 ethernet cable to connect your mixing desk to your stage box at the front gone are the days of the great big snake cable the massive multi-core cable those great big thick black cables that we had to run from front to back they were ugly they were awkward they were difficult they were temperamental they were easily broken and damaged and those cables we just don't need them any longer with a digital system we can do it all now down one cap5 cable much smaller much easier to install much easier to hide very cheap to replace if this does get damaged cat5 cables very quick and easy to replace it no problem at all so anybody wanting to install one of these systems might find this a much easier solution than trying to install a multi-core cable down your building okay so what about a couple of the negative points well first of all anybody who's familiar with the analog mixing desk will find the layout to be very very different you'll be used to with an analog mixing desk working top to bottom the controls all run top to bottom in a nice kind of logical linear way you don't necessarily see that on a digital mixing desk digital the controls can be dotted around a bit more they don't follow a particular pattern necessarily once you've got your head around it and you understand where things are they can be fairly intuitive and they can be fairly easy to manage but it is a very different thing from an analog mixing desk so if you're used to analog changing to digital can be something just to get your head around however i do think that if you've got no experience of analog jumping straight in on digital for a lot of people now is actually a lot simpler the only time it's complicated is when you've got to undo your thinking of analog and then redo digital thinking instead if you've got no analog experience to undo first of all and you're just going straight in on digital actually i think it's easier to pick up another negative is probably going to be cost the costs are going to be more expensive generally speaking for a digital mixer than they are for analog you can pick up an analog mixing desk for typically a few hundred pounds whereas a digital system you're going to be looking upper hundreds into thousands of pounds so it is a bit of a jump up but digital systems are getting cheaper if we rewind say five years or so digital mixing desks all cost several thousands of pounds to buy they were all well into the thousands of pounds whereas today you can pick up a digital mixing desk for under a thousand pounds there are a few options at a thousand pounds or less that you could pick up so those prices are coming down and if you are in a position of wanting to do things like in-ear monitoring on your stage by the time you've purchased things like headphones amps and headphone splitters to do all your monitor mixes across the stage and any compression and effects and things like that you might need and if you're connecting into an online service online you're probably even going to need things like a sound card or something to plug into your computer with and by the time you've added on all those extra peripherals actually the costs are probably going to be pretty similar between an analog mixing desk and a budget digital mixing desk so although costs might go up slightly for a digital mixing desk they probably aren't going to go up as much as you expect that they might do however on the back of costs also comes stage boxes and we spoke a minute ago about the connection cable to connect them up but if you're going to go down that route you also need a digital stage box on stage and that is more cost but there are benefits to that as well one of the big benefits to a digital system is that the microphone preamps are generally housed in the stage box on the stage now in order to understand the benefit of that we need to just understand exactly what's going on with an analog mixing desk for a minute now if we imagine we've got a microphone with a microphone cable that's being plugged into a multi-core that's then being sent down the building into our mixing desk at the back to be processed what's actually happening there is your microphone is converting sound waves into an electronic signal in fact it's converting it into a voltage but it is a very very small voltage and you can imagine if we take a very very small voltage and we send it a long distance over a cable what's going to happen over that distance is that voltage is going to deteriorate slightly and so by the time it's gone from your microphone through the microphone cable into the stage box down the multi-core and back to your mixing desk because that voltage is going to have started to reduce and it wasn't a big voltage to begin with so we're going to start to get deterioration in that signal being transmitted front to back by taking our mic preamps and putting them in our stage box on the stage we reduce the distance that we're having to send that small voltage before we start to process it and that all helps with the whole audio quality thing that we discussed at the beginning that's one of the reasons why you'll find that digital systems are a higher quality is because we're not having to send those small little low voltage signals a long distance down a cable to process them at the back we can actually start processing them on the stage so that's a big bonus for us and another thing that i've started to see churches doing in the wake of the pandemic is there's more and more churches who are looking to build a tv studio in their buildings most churches now are looking to do church online and that's something that is generally uh looked at as something that is here to stay people are going to be doing this going forwards and so there are a lot of churches who are saying things like well a lot of our staff have started working from home they've been working from home through the pandemic and that's working well they're enjoying that we now have an office space that isn't being used what could we do with this space maybe we could turn that space into our tv studio and so churches are looking to convert spaces in their buildings into a space where they can broadcast an online service from but this can bring technical problems because they now need to integrate their main church auditorium sanctuary space with a second tv studio space where they can broadcast an online service from and so we start to get some fairly complex audio networks having to happen where we're sending audio from multiple locations and bringing audio in from multiple locations and really the only sensible way to be able to do this is digital with analog it would be incredibly costly and incredibly complex and probably incredibly unreliable with digital it's actually pretty simple there are a number of ways that you can integrate fairly complex multi-location digital networks with a digital system with relatively minimal costs and minimal effort it's kind of built into most systems and so if you are looking to expand into those kind of areas digital is absolutely the way to go it's it's very simple very straightforward with a digital system to do those kind of more complex setups okay so those are probably the key areas that i'd say you want to think through if you're going to look to upgrade from an analog mixing desk to a digital mixing desk as i say on balance overall i would definitely say it's worth doing the only negative i would say at this stage is probably cost and if you are particularly low on funds and you're struggling to afford to buy a digital mixing desk then maybe that might be the reason not to do it but other than that most of the time it makes absolute sense that you do go over to that i'd definitely say that's the way the technology is going more and more digital mixing desks are going to become commonplace in churches and if anybody is in a position to look to upgrade i would almost certainly say look at digital because the flexibility the longevity of that the the kind of future proofing of all those things is going to be so much greater in a digital mixing desk than it was in an analog system as always if that's been helpful to you then please like and subscribe and share this video those things are really helpful and if you've got any further questions about digital or analog mixing desks then please get in touch please let me know i would love to help you out with those once again that's about it for this week and i will see you in the next video take care guys

new gear day we just got rid of that dusty old analog console and now we've got a brand new digital board but now nobody knows how to use it it can be really tricky making the jump from analog to digital there's layers menus and a whole lot of stuff that can make a soundtech solo in a hurry today i'm going to walk you through how to get started no matter what board you've got hey if you're new here go ahead and hit subscribe and ding the little bell i'm here to help you make every worship makes an enjoyable one on an analog console there's one knob for every function if you want to adjust the eq on the guitar that knob is always in the same place but on a digital console they were able to put a whole lot more features and controls in there by only having one control section and you get to select which channel you want to adjust now you're probably already familiar with the fader and the mute and probably even the solo button too but one more button you'll see at the top of the channel is the select button this is how you tell the console this is the channel that i want to make adjustments on when you hit this button all the knobs and the controls on the screen are going to be affecting only this one channel now if the controls in the center section make you a little bit overwhelmed and you don't even know which way is up i made a video about the basic functions beyond the faders you can check it out over here now one of the things that you might not notice unless you're looking for it is that the meters are different on your analog console versus your digital board that's because analog and digital signals behave very differently when they get to the end of their dynamic range or you've turned it up as loud as it can go a digital signal can go all the way up to zero dbfs that stands for decibels full scale meaning there's no more after that there's no plus all you have is minus or what's below that basically if you go above that it's going to clip or distort and it doesn't sound very good so please don't do that when you're setting your preamp aim for your maximum level to peak between negative 18 and negative 12. this will give you plenty of room in case somebody gets excited and you won't be turning up so much noise if you have your preamp down too far on your auxiliary sense you can turn these up and down with knobs sometimes you have to select which group the knobs are assigned to but one of the functions that's really handy is called sends on faders or flip to faders or mix to faders there's a whole lot of different names for it but it does the same thing this basically takes your channel faders and instead of adjusting the level going to the main bus they're now adjusting the level going to that aux send this is extremely helpful for visualizing what balance of inputs are going to that aux send the thing that can trip you up is that sometimes you don't remember that you're in sends on fader so if you suddenly need to turn something up going to the master bus and you push up that fader you might only get more reverb or it might be sent more to somebody's monitor that could cause it to feedback and now you've created a soundtech solo so one very important thing for you to do is to identify the visual cue that your console gives when you're in this sends on fader or flip to faders mode that'll really help when you get one of those oh shoot moments so if this is making sense so far type sound tech solo down in the comments below your analog console may have had some outboard effects processors that you sent to and then returned on the console or it might have had some effects built in right there on the board on your digital console there's a built-in internal effects rank where you can load different processors to do different jobs most of the time you'll load these up with effects like reverb and delay or you can add other things like compressors different eqs or de-essers the most common way to get a signal to this internal effects rack is to use a mix or an aux send and route it digitally to that rack and then return it to an effects return digital patching can be tricky so you're going to have to be really careful on this one some consoles like my presonus studiolive series 3 have dedicated effects sends so the send the effects unit and the effects return are already routed for you now one of the most helpful benefits of having a digital console is the ability to save and recall scenes a scene takes a picture of every single setting on every single channel so that you can recall and quickly go back to the place where you had started before or a setting that worked for that particular worship team now don't think that a perfect scene is going to solve all your problems a great mix is a response by the sound tech with the console to what the musicians are doing so because there are so many different variables a great mix one week with the exact same settings the next week isn't going to be great unless your band is robots and your church is like chuck e cheese it's kind of like scenes or knowledge but a great mix is wisdom it has to be applied in the right way at the right time now i highly recommend making a base or a start scene this is a place where anybody can walk up to the console recall this scene and things are pretty much set and ready to go it's especially helpful if you've got a band that wants to rehearse but you as a sound tech or somebody else can't be there to help them set up they can just recall this scene and everything is pretty much good to go the base scene has a lot of things preset like your preamp levels and some basic eq and high pass filter settings as you start to learn more of the tools and have more presets or things that you know you like to do before you start you can go ahead and load these into the base scene but leave the threshold up on the compressor or leave the gain at zero on the eq even if you've already picked the frequency points this helps you listen with fresh ears but you don't have to reinvent the wheel every time you want to go to apply that eq or compression all of these tools take time to learn so be gracious with yourself if it's taking longer than you want it to and always be learning something there's nothing that can replace hunger to learn and grow if you're bored with running sound it's your own fault there's always something new to try and learn just be sure you experiment safely without drawing attention to yourself especially in the middle of your sermon because i know you're probably bored if you want to understand a little bit more about how the board works together you can check out this video on game structure over here if you liked this video hit thumbs up and share it with a friend and don't forget to subscribe and ding the little bell to get notified every time i post a new video or go live i'm here to help you make every worship makes an enjoyable one and remember it's all about the low end avoid the soundtech solo and nobody leaves church humming the kick drum we'll see you back here next time

hello gearspace i'm dick bourne from tascam and today i want to show you here at the ibc in amsterdam a little yeah product which is not officially released up to now but we can show the first details of what will come in the short future of the yeah overall situation of component delivery and all that stuff we are currently struggling with like all companies is gone so we will have a nice new mixing console it will be available as 24 and 16. i didn't say channels up to now because it's not really the kind of channels it's the kind of faders and analog inputs so one unit will have 24 analog inputs and 24 faders the other one 16 analog inputs and 16 faders and additional data as standard inputs so you can use it with 64 channels of dante the mixing engine internally has 44 channels so 40 mono channels two stereo channels plus eight effect returns so we got two four built-in effect units the nice thing on that unit is we build it up with three screens or two screens on the smaller console which can either give you overview of one of all the channels or if i tap on here and select full screen i get a full overview of what's up in one channel the unit works internally with a 54-bit fpga and has a latency of 0.51 milliseconds which is rather fast for actual digital mixing console and it can be remote controlled from windows mac os ios or android pads so if you're walking around in this stage or if you want to do some stage monitoring and mixing you can do it directly from your ipad or from your android tablet we have 24 output buses two are the master left right and the other 22 are freely configurable between auxiliaries or stereo buses and finally one big interesting part is we have all those user keys that means we do not force you into a fixed environment you can define all keys as you want to have it so you can put either here a tab on the if you want to have a tab delay you can put the tab button here or you can recall like we did it here the player recorder stuff or you can select the next or pre previous snapshot or you can put fader layers or sends on layers on one of these buttons and even the layers the seven layers can be freely configured so you can have yeah your dca group on fader one the vocals on fader two and all the other stuff so it's completely up to you how to set up how you need your setup how you want to have your faders and all your user configuration on the console i hope that was a nice short overview and more detail surely next year about that console so you're welcome to join and follow us for that and follow guest gear space for other free new interesting information here at the ibc i'm sure they will find them

sigh well TV well welcome sonic lab today we're looking at the yamaha o 1 v 96 i this is a compact digital console it's the third in the o1v range i think the original a 1 V 1 V 96 and now the 96 I the truth is these things have become incredibly sophisticated Yemma have been mating making these kind of consoles for quite some time I started out with an Pro mix oh one which last century sometime so there's a lot of legacy and know-how gone into the making of these things the sophistication has really increased the thing about these digital desk is you can patch pretty much anything to anything else and also this has got built-in VCM effects which add additional processing power and a 1600 USB audio interface that's sixteen streams out sixteen streams in again also patchable to any channel and configuration let's take a look at how the things laid out so here it is it's actually a 19-inch rack mountable you can get some ears to put it in a rack you need something pretty hefty to take it because it's not an inconsiderable chunk of electronics here start with let's look at the analog inputs we've got 12 mic pries these are yam has new mic preamps they do sound really rather good so I'm told I will check that out later we've got also got line inputs and insert points all of these are patchable anywhere you want them there's also two stereo inputs for the first 16 channels USB connector transmits audio and MIDI up to 16 streams of 96 kilohertz 24-bit audio we've got MIDI in out and through s/pdif two-track digital send and return that can be patched to send a number of different audio signals a DAT in out 8 channels of optical as standard wordclock for syncing up to other work lock enabled devices stereo balanced out the omni outputs these are for freely assignable outputs that you can route to buses auxilary direct our it's all sorts of things insert points monitor output and you've also got the ability to switch phantom power by blocks of for coming down here we've also got a spare slot this takes the expansion for the ygd a cards are you can have a s analog another ADAP put all sorts of expansion io slot options finally up here to track on analog phonos and a headphone out with a dedicated level the faders are all 100 millimeter motorized faders and they're organized in layers 1 to 16 17 to 32 the master layer which is controlling auxilary and bus levels and then a remote layer which enables you to send these values over MIDI I'm personally a big fan of motorized faders because at glance you can pretty much see where you are and if there's any automation going on it's just very clear that's just the way I like to work we've also got for stereo returns here these can be taken from any one of the four onboard stereo effects generators or you can patch pretty much whatever way you want you can switch between them just with this mode button here and they've got a rotary pot for a level each of those 32 channels features a full band parametric EQ a gate compressor and insert point that you can use to patch via any of the four VCM effects or by the outside world or via the USB sends and returns you can route each of those channels either via the direct output eight subgroups and there's also a auxiliaries each of those subgroups and auxiliaries also has eq and compression and insert points the four stereo effects returns just have eq and routing whichever channel or pair of channels i select is what's currently displayed in these parameters it also means that the eq section and the pan applies to that currently selected channel or pair of channels if i hit an auxilary the faders flip to show in the send level for the selected auxilary send so now during the magic video ribbon mike has suddenly appeared and that's what we're listening to it's going to sound radically different to what we've just heard that my video mike has quite a lot of processing on it and a big present speaker being designed for speech this is a much more sort of open microphone and will sound a bit duller but I can demonstrate how to tweak that up if I now go to EQ edit and switch the Q on I can see I've got a roll-off here a little present speak perhaps oh I want to increase that maybe I'll up that we can hear that notch there and I've got quite a powerful EQ a couple of different types and remember there's one of these on every channel every bus every auxilary I'll just drop that down a little bit I don't quite want as much presence there maybe a little bit more top end now I'm starting to sound a little bit more like my video mic and that's without any dynamics so now if I go to my dynamic section I've got a little compressor set up here drop that in it's only a few DB but you can see us bringing it all to the front it's quite subtle and yet I quite like it but I could if I want get much more effective so I'll just do that now I'm going to bring the ratio right down take the threshold right up bring up the output gain you starting to get some more effects kind of compression which is really sort of slamming and when you consider that I'm adding 60 DB of gain on the my camp because Riven might need a lot of gain and really cranking it adding another 10 DB and compression here it's actually not a bad sounding my cabin but actually pretty quiet to my ears now where things get really interesting is when you hook it up to a house computer so I've got the USB cable plugged into my MacBook Pro I've been and I've downloaded the MIDI driver the Audio Driver and studio manager and the Edit module for the omv 96 I and that's what you can see here this is the o1v 96 I editor and as you can see you've got a channel listing selected channel all sorts of floating windows you've got effects editors all of that sort of stuff now what that enables me to do is much more sort of on a global graphically scale is edit and tweak and see sort of larger more pretty graphics of what's going on in under the hood now of course I can do it all via this panel and that's fine but for someone with eyesight as bad as mine you know it's quite nice to be able to do it on the screen so what I've got here is a basic drum track in Reaper I've routed all of the individual drum tracks out to USB outputs which I've got sixteen returns then I've come into the screen here and I press the patch edit go on to input patch and I've selected the first six channels to take their returns from USB I can just as easily route them into any other channel I mean put them whenever I want that's one thing I really like about this you can just patch anything where you want it to be so in effect you could do away with a patch bay if you were really smart about it here's how the drum kit sounds just dry coming straight in nothing going on so I'll start by selecting my kick channel here when I go to the software you can see that I've got the selected channel nothing going on there you probably can't hear very much what I'm going to do is I'm gonna switch to the gate on then the compressor and my EQ that I've set up now that's starting to sound a lot more like a kick but say for instance I don't like that compressor I can actually switch on an insert point as well so let me just show you that so I'll switch off the compressor I've got an insert point here and what I've done is either selected the comp 260 which looks a bit like a dbx kind of compressor and the way I do this is by the insert point I can patch from any one of the a that's the slot outputs the USB send returns the omni outs the two-track digital and also the for effect so very powerful routing just going on there but there is more if I want to I can incorporate my door into the hole insert and processing chain I'll show you how I do that right now right so if I go to my stereo pair of inserts you can see in the channel selected I've got a bit of compression a bit of EQ going on I've also got an insert section here and what I've done is I've sent and returned on USB seven and eight for the stereo pair now if I switch it in then you can see I've got an armed track here which is taking the insert the inputs form the seven and eight and sending them back out on seven and eight as well so now if I load the effects up maybe drop in this Apple delay setting or perhaps I've got to type alloy I'm really going to mash up the overheads to make it sound like this and yeah sure it's going to introduce a bit of delay depending on the power of your system but maybe for stuff that's not so it critical like you know reverbs or something not real-time you want to maybe rebounce it there's an incredibly powerful sort of symbiosis I suppose between the two system the integration is pretty remarkable so I'm not going to be able to show you everything this desk has to offer I mean it really is just crammed full of features and that's possibly one of its downfalls as well because it does so much you're not just going to get it out of the box having never used a mixing console or digital console before and just be flying through it as if you know you didn't have to read them out it you will have to come to terms with the working flow and the terminology and the setup and the synchronization of digital stuff I mean there is a lot to learn but it's worth it because this does an incredible amount given the compact nature of this desk there are going to be some compromises compared to maybe some of the larger and more expensive brethren of the o1v 96 i and one of the big ones for me really is the fact that there are no subgroup button so if you set up a channel it's actually quite hard to immediately see where it's routed but they're going to have to be some compromises also there's a bit of compromise on the routing I would have liked to see the two-track digital out to be able to route the control-room output to that for hooking up to perhaps digital speakers that would have been great so how much is it well at 2600 pounds other currencies will scroll below it's not an inconsiderable amount of money but I don't think Yamaha trying to make something that is cheap they're trying to get as many professional features into a smaller footprint as possible and I think they've pretty much done that you get these great sounding mic preamps all of the EQ and dynamics for every channel and don't forget you've got 16 I Oh as well as an aide at port as standard so this desk sounds good it's got a ton of features for the amateur and professional light I think the o1v 96 I definitely is worth looking at if you're looking for a digital console for your setup

in this video I'm gonna share ten reasons why the x32 and m32 family of mixers is the best choice for most church sound systems I've worked with these mixers for over six years now so this review comes with a lot of practical experience using these tools for worship ministry by the end of this video you'll have a firm grasp on the benefits of upgrading to one of these mixers and you'll know whether or not you should buy one for your church [Music] this video is brought to you by lead worship with ableton a free training to help you get started with the number one worship leading software with Ableton Live you can run a click backing tracks and automate lyrics and lighting it's the best tool for increasing excellence and eliminating distracting mistakes in worship click the link in the description to enroll in the free training today my name is Jake Gosselin with Church front calm and online resource for creative and innovative church leaders subscribe to the channel and hit the notification bell so you can receive all of our latest content to help your yourself and grow your church the mixing console is the foundation of any church sound system of course you need a robust speaker system monitoring and cabling but the mixer is an integral part of pulling all these tools together in creating an acoustically pleasing experience in worship there are a lot of great sound consoles available I highly recommend you continue to research other makes and models yourself after watching this video Presonus Allen & Heath sound craft in Yamaha I'll make comparable digital mixers in the sub $5,000 range that you need to check out however in this video I'm going to unpack why I believe the behringer and mightest family of digital mixers is the best choice for most churches not only do I have extensive personal experience with these sound consoles over the past six years but they've also been on the market long enough to prove themselves as the best choice for a lot of churches you may be wondering why I am referring to behringer and mitis as the same family of consoles it's because music group owns both brands historically speaking behringer has a reputation for low price and low quality gear while Midas has a reputation for high priced high quality gear a few years after music group acquired Midas they began combining forces of the low price point of behringer with the quality of Midas in 2012 they released the x32 series of mixers under the behringer brand and in 2014 they released the M 32 series of mixers under the Midas brand X 32 and M 32 mixers are practically the same they both run the same software and user interface the primary difference is in the hardware the Midas boards have better faders preamps and overall they just look cooler think of it this way Midas is like Cadillac in the x32 is like Chevy they both get the job done but if you have the money you won't regret owning the Cadillac if your church can't afford it purchase the Midas board it will sound a little bit better and the hardware will most likely last longer but if you can't afford the m30 to the x32 will do just fine I hope that gives you a little context and understanding of how these two brands are part of the same family of digital mixers now I want to unpack the 10 reasons why I believe these mixers are the best choice for most churches reason number one it's all digital many churches have yet to transition from analog mixers to a digital one up until six years ago finding a high-quality digital mixer at an affordable price was difficult since then berenger mitos and other brands already mentioned here have released a ton of affordable digital mixers that are great for churches going digital has multiple benefits all effects and signal processing is built into the board you can apply EQ compression noise gates reverb delay and a bunch of other effects to any voice or instrument going into your mixer going digital will also help you reduce the amount of gear clutter in your worship space and sound booth motorized faders allow the board to take up a smaller footprint because you can scroll through the pages of channels you can save different scenes to your soundboard so once you've dialed in a mix you don't need to worry about someone coming by the board and adjusting the knobs and faders and messing it up because it's saved to the board going digital with your mixer is just as powerful it's going digital with your phone remember life without smartphones sure you could get the job done with flip phones but you can accomplish a whole lot more with a super computer in your pocket digital mixers bring that same transformation to your sound system reason number two the ecosystem we are all familiar with the power of eco systems and tech these days in the most infamous one is Apple's eco system all of their devices are designed to work with one another whether you use a Mac iPad iPhone or I watch it works the same way with digital mixers when you buy a digital mixer not only are you buying into the console but you're also buying into an ecosystem of compatible consoles Digital snakes and in-ear monitoring one of the best features of the x32 and m32 family of mixers is their compat for example if you want the affordability of the x32 console but the quality sound of the m32 preamps you can use the midas stage snake with the x32 console all these pieces of hardware out together with ethernet cables and you can instantly start configuring them for your situation the other benefit of this eco system is that it has the same user experience on all of the mixers if you know how to use an X 32 you'll know how to use an M 32 in one Church I served at we had an M 32 in our large worship space and we use the X 32 rack in our smaller worship space where the youth ministry met despite the mixers being different in looking a lot different our volunteer sound Tech's could run both of them once they learned how to run one of them reason number three ease of use ease of use is where I think the X 32 and M 32 mixers beat many of their competitors the lay out other board is incredibly intuitive to navigate and get work done in a church environment it's essential to have a mixer that I as the worship leader can easily understand how to use but also needs to be easy for my volunteers to learn the X 32 and M 32 board accomplishes both of these I know this is subjective but I've poked around a lot of other digital boards and in my opinion this family of mixers is probably the only one you could just give me without an instruction manual and I'd be able to figure it out intuitively within a few minutes reason number four compatibility with analog sound systems since many churches are still making the transition from analog to digital the x32 mixers are an excellent choice because you can swap it out with your analog sound console and get it up and running in a matter of minutes there's no need to immediately upgrade to an analogue snake because the analog inputs are already built into the back of the board a lot of higher-end digital mixers don't have any analog inputs because they expect the end-user to have all digital routing reason number five expandability a lot of churches may be in a current situation where due to current budget constraints and potential future growth they need the ability to start small and expand when the opportunity arises for example you could purchase the x32 compact which only has 16 inputs and eight outputs built-in the mixer maybe that works fine for your needs right now but what do you do when your worship ministry grows and you need more inputs and outputs you can purchase the compatible digital snake to double your capacity and have a full 32 channels of inputs and 16 outputs reason number six Wi-Fi remote control the X 32 and M 32 mixers come with compatible apps for Wi-Fi remote control on an iOS device you don't need the latest and fanciest iPad you can buy used one for a few hundred dollars and it can be your dedicated remote for your mixer I love this feature because it allows my sound tech to walk around the room as they mix you can also bring mixing control onstage when you troubleshoot any issues with your gear your musicians can download the M 32 Q app to control their in ear monitor mixes no more yelling to the sound tech to turn things up or down your musicians can adjust their mixes in real time speaking of monitor mixes reason number 7 in ear monitoring in your monitoring is becoming increasingly crucial for worship ministries as more bands begin using a click in tracks and worship in ears are also a great way to reduce stage volume and improve the overall front-of-house mix with the X 32 and M 32 there are multiple ways to set up in your monitors you can use a headphone amp with headphone extension cables that's the cheapest setup and we use it at my church for all of our musicians except for the worship leaders next you can use the P 16 personal mixers while these are reasonably priced and easy to install they're not my favorite option because I don't really prefer having another piece of hardware to mix my in use I'd rather use the app on my phone the third way to set up monitors is to use a wireless system it's the most expensive option but it's fantastic because it requires less cabling and allows your musicians to move about the stage freely we use Wireless in ears for our worship leaders well it is possible to set up in your monitoring with an analogue soundboard you'll find significant limitations in that type of situations those limitations mostly have to do with the amount of unique outputs you can send from your sound console the X 32 and M 32 have up to 16 unique outputs and usually two of those are used for your main left and right mixes for your PA system but that still means you have 14 mix bus outputs that are left to send 14 unique mixes to your musicians on stage with in-ear monitoring its best that everybody can have their own unique mix so they can hear what they need so on analogue boards you're often limited to four or six auxiliary outputs which is fine if you have a four or six member band but if you have more people than that a digital board like the x32 and m32 will give you many more unique mixes so no matter what route you go with in your monitoring whether it's headphone amp Wireless or personal mixers the X 32 or M 32 will make it exponentially easier to make the transition reason number eight recording audio to a USB thumb drive recording sermon audio is easier than ever using the USB thumb drive on the x32 and m32 mixers in our workflow we simply plug in the drive we hit record the beginning of a service it records the whole service at the end we hit stop then we unplug the drive we put it into computer we edit it we upload it to our podcast and there you go we have sermon audio reason number nine multitrack recording if you wanted to record your worship service with the ability to mix down audio tracks and post-production you could easily record a multitrack section to your favorite digital audio workstation I know churches that have done this to record a worship album at their church or other churches just want to record multitrack so they can create their own backing tracks for future use all you need to do is plug in your laptop to the USB port open up Logic Pro Tools or Ableton and you'll see the X 32 or M 32 will show up as an option to route audio to and from your computer the other cool feature about multitrack recording with this board is you can play those audio files back through the individual channels on the board for a virtual soundcheck so your sound guy or gal can do a sound check without the band being present reason number 10 price I just listed off a ton of neat features about the X 32 and m32 digital mixers but what makes all these things more exciting is the price point buying one of these mixers ranges from as low as 999 dollars for the X 32 rack and as high as three thousand 999 dollars for the full M 32 console then you have a bunch of options in between our church went with the mid-range price option of the Midas m32 are we wanted the hardware quality of the midas board with a compact size knowing that we could just put a 32-channel stage snake on the stage the stage snake we chose what is ES 32 unfortunately that means we're not using the midas preamps for our stage instruments but honestly 99% of people won't be able to tell the difference the other reason we went with the m30 2r is the portability we would have loved the full-size Mitas m32 r but having bored half the size makes it really easy for a setup tear down Church in the end you can easily have a digital soundboard and snake for just a few thousand dollars 10 years ago this would have cost you more than $10,000 if you have any analog mixer you will not regret switching over to the x32 or m32 mixing consoles I've included links to these mixers below in the show notes so check them out yourself I also included a link to my worship ministry toolkit it's my complete list of recommended gear for worship ministry and I have an entire page dedicated to selecting the right version of the x32 or m32 board for your church all the pricing is there as well to help you out with budgeting when you do purchase the x32 or m32 i highly recommend you check out a course by my friend katie young at collaborate worship he walks you through how to get up and running with the x32 or m32 in the shortest amount of time possible I've included a link to this course below in the show notes thanks for watching if you found this video helpful hit the thumbs up button and share it with your friends and ministry you can watch related videos right over here don't forget to subscribe to the church front channel and hit the notification bell so you can continue to receive our latest content to help you grow yourself and grow your church

♪♫♪♫...................[Music playing] Mackie is the first company to come out with a mixer that is totally controlled with an iPad. There is no other control surface. So let's take a look at the DL1608 from Mackie. First of all, you'll see that the iPad slides right in like any regular docking station. But that's not really the story about this mixer. It has a docking station, but it's not just a docking station. It is an entire digital mixer, within this chassis. 16 inputs & 6 auxiliary outputs. The iPad is used for the control surface. So you can see right here that you've got your inputs, all 16 as they slide right across. 1 through 16. Easy to slide. Easy to get to. Easy to adjust levels. You can hear the level going up and down. I can adjust the level on each input. just as I would a standard mixer. Very very easy to do. I can mute the inputs. I can adjust the EQ. Let's go ahead and slide that back down. I can adjust the EQ on each input. I can do it graphically, or I can do it through the faders down here. It also has compression and limiting on each input. And of course you have Reverb and Delay. And again, accessing is as easy as a swipe of a finger. If I want to adjust more EQ on a different input, I just slide 'em right over here. or if I got back to the main part of the mixer, I go back to all the inputs right here. So, again, 16 inputs, each of which has, uhm, your EQ on it. It has 4-band EQ, gate and compression. It has the muting. And the 6 Aux outputs have a 31-band EQ, compressor and limiter as well as the left and rights. You can also solo, like you would with any other mixer. Again, very, very simple. But here's the cool thing. Remember, all the processing is in the 1608. So i've got my beautiful Mackie Onyx preamps, that are high dynamic range preamp inputs. They're in the chassis here. I've got all my Aux outputs so everything stays here. But watch this..... I simply take the iPad. I slide it out of the docking station and now you can see it's still communicating through Wi-Fi. So it's operating as an independant control surface. I don't need a separate computer for this. The a... the electronics are in the mixer. So I don't have to have a separate laptop plugged in. I can run up to 10 of these...10 iPads on this system. You say, "What do I use 10 iPads for?" Let's just go ahead and slide this back in... and I'll go ahead and show you... And, by the way, there's a locking mechanism. So if you do want to leave an iPad permanently in here, you just go ahead and put this in, lock it down, and then somebody can't just remove the iPad. But let's take a look at this. What I'm looking at is the left and right here. This is the left and right master. For monitors, you want to be able to adjust the inputs to the Auxes separately. So all I do is I slide up, and I will pick up Aux 1. You see "A1." Now I can pan across all my inputs from 1 through 16, and I can adjust the relative levels for that monitor send. So if I'm the drummer, I may say "Hey, I wanna have my overhead. I may wanna have uh, the lead vocal, the uh, uh keyboards up...everything up for me, and I'm on Aux 1." But the next person just simply swings it down here to Aux 2... Aux 3...Aux 4. So everybody can have their own iPad and have an on stage monitor mix system that's all wireless. So again, 6 Auxes, plus then you have the main mixer. And of course, as you probably know, it's easy to pull this out like I just showed you. You can take it up and then you can adjust your EQs, uh, on stage. So you have wedge monitors for, uh the vocalists up front. You can just go ahead and take a listen to that, adjust it and away you go. And then you bring your iPad back. So it is an absolutely incredible, ground-breaking system. Nobody else has a system like this. Where the iPad is the control surface. And it's up to 10 iPads... and it's n...there's no other standard analog-type mixing control system here. So it's a great system. Take a look at the price point. I think you'll find it absolutely incredible. It's the Mackie DL1608 Digital Mixing System with the iPad interface. ♪♫♪♫................[Music playing]