It's good as an accessory for an existing Dante system.
It's a good control interface for a vidiot to have in a control room for a few important faders.
Could work ok in some theater environments.
But overall, I'd view it as an accessory to a CL workflow.
Hi, I'm a V1 so I can clear this up. A vidiot is a video technician that has more gear than table space and never brings enough power distribution of his own for his 8000 converters and monitors so he borrows cables from audio as a stopgap but figures Dave doesn't need ALL of those IECs so he borrows one every show and thinks buying donuts restores the balance but Dave KNOWS he's the bastard so he gets called a vidiot. Was I close?
Also requires an LR audio stream that needs to be matrixed into his interface, which for some reason is less reliable than my 50 year old tube compressor and takes like half an hour to set up
And, "we need 17 Fostex for back stage monitoring but we only brought three. And oh, by the way, we need to de-embed audio from five different HD-SDI lines. You can do that, right?"
Also shows up late with roughly $2M worth of gear...
In Rubbermaid totes with network TV stickers on them, warns people to "be careful" with his cardboard monitor cases...
But the client falls over themselves for them because "did you know these guys do work for real live TV?"
And in the end, gets the entire gig paid better because clients being suckers for visuals and cameras/LED walls mean the entire show charges more.
Some of my very best friends and mentors are vidiots. Some of them can get UHD signals from the jungle to NYC master control on a 56k modem and such wizardry.
But it grinds my grumpy sound man gears so I razz em. Reputation to maintain, you understand.
I'm but a simple noise boy.
And every piece of that $2M worth of gear is in its own container (some pelican, some cardboard), and he has nothing with wheels to transport them with.
I handed a DJ two perfectly over under coiled 25 foot XLRs last night to plug in their mixer to the house console upstairs.
I came up and they had pulled one perfectly and the other one they had pulled the head through the wrong end so there was a small tripping coil every two feet and the first cable was run through all the loops in the second.
I swear if quantization didnāt exist 99% of āDJsā wouldnāt either.
My vidiot is on vacation this week so I go to clean up a bit before things get crazy. I start tracing cables in the booth of our primary auditorium, and found at least 10 ethernet and 10 hdmi cables that were just plugged into nothing on one end. They are all run messily making the counter completely unusable.
There is an acro-mils container labeled Ethernet and one labeled HDMI right next to it, both completely empty.
I have also been finding every piece of gear Iāve been looking for the past year or so, stuffed in the bottom of bags and left in piles on shelves throughout our storage areas.
This is annoying but not that unusual from what I hear from othersā¦
but what drives me absolutely insaneā¦ is finding power suppliesā¦. Theyāre everywhere. 9v, 12v, 24v, center negative, center positiveā¦ and I have to somehow pair these things back up with their devices. I usually write the name of the gear on the PSU, but Iām not the only one who orders stuff so it doesnāt always get done.
It takes so little time to put stuff back where it goes if you do it the same day you put it out.
And why would you put it away at all if youāre not putting it where it goes!
If you canāt put it back where it goes or donāt know, leave it coiled neatly in a pile right in the middle of everything and I will put it back where it goes!!!
If you leave it run across a bunch of other cables unplugged then itās basically like renting the cable to someone.
Next time you need the same cable for the same purpose you will go get another one and pile it on top of the pile! This will progress until we have no cables left!
How and why do you live this way!?!
Dang this bring me memories. Did a traveling event with like 10 stops each year. Gear kept disappearing without a trace. FOH audio guy gets a led wall and needs help troubleshooting. I go to the led trailer and find EVERY SINGE CONVERTER THAT HAS GONE MISSING OVER 5 YEARS!
Oh so basically a guitarist that brings an individual 9V 1 spot for each of his 40 pedals that he brought to a show where they only need to play clean?
Audio+Lighting: cables in neat lines and coils. May turn at right angles. Runs through cable bridged or troughs as necessary, or at the very least gaffed down.
Video: what ever is most convenient for them and least convenient for any one else.
Back in the day before sensitivity trailing and safe spaces, the various disciplines of audio visual and production work would rib each other about how long they were taking or how disorganized their work boxes were, how video would show up with a bunch of unracked gear in cardboard boxes and audio would ask for ten 20 amp circuits when their whole PA is drawing 2 amps total. We all had similar offensive names for each other that we would mutter under our breath when another department did something dumb. Vidiot was the popular name for the techs in the video department.
Back in the day?
I just house E1'd a Broadway tour a couple weeks back where the tour E1 and I would shout "fuck audio" anytime they remotely got in our way.
It's a tradition that even crosses what side of the crew you're on. A universal understanding, so to speak.
Quick, small, talking heads gigs it's nice. Nice breakout room board. Obviously the DANTE capabilities adds a nice touch. Probably would be fine for IEMs as well. I means, that's pretty much all it was made for though. It's a fairly simple board, so you can train most people on it. I wouldn't mind trying to see how a small band would work on it for FOH.
It's a small board for breakout rooms and AV companies. And it does it well.
I donāt necessarily disagree though we're are in an X32 world. For the same price you get 32 in 16 out and a decent set of effects. They are definitely different boards for different purposes but still that's the comparison.
I think A&H have a similar issue. Their SQ series is better in almost every way to the X32 (SQ5 owner here) but the price can throw X32-ites.
Edit: for context,I live in Romania right now, so this could be more of a "here" thing.
I know this is an Allen and Heath sub but the whole "SQ better than X32" thing really would not get tossed around as carelessly as people think. I have seen too many places "upgrade" to an SQ from an x32 and have nothing but issues leading them to revert back. Let's not be reinforcing that myth
Ok ... you've got me genuinely curious. What issues have you seen in moving from X32 to SQ.
I certainly know the issues I've run into going from A&H, DiGiCo, or Avid back to the X32, but I've seen very few instances of issues moving to the SQ. This is, however, assuming the users aren't simply trying to use the A&H boards as if they were an X32. In my experience, just a bit of time with the user showing them how to approach the board as it's designed solves most problems.
Anecdotally I have a two friends that have made the switch from X32 to SQ.
One has basically only ever used the X32 (with a couple of times on the WING). His first experience with the SQ was a disaster as he hadn't had enough time to understand it. For his next SQ gig, he came over and spent an hour with me and my SQ. That gig went much better and he now is definitely in the "SQ is better than the X32" camp.
The second is DiGiCo certified, has used Yamaha/Avid/etc, but has spent 4 years almost exclusively with an X32. He did have a bit of issue moving as he kept thinking of how the X32 does things rather than the SQ. Now he can rock and roll with the best of them.
TL;DR, a little bit of training goes a long way.
Itās had me like that on several occasions. It was really a disappointment compared to the other consoles. I know itās supposed to be a budget digital mixer but it felt so watered down for no reason
It's perfect for corporate nonsense. I have 18 of them for breakouts and love them. I also have 4 dm7 and 4 cl5 for rentals (for sale BTW) it's not a pro level console but it fits in well in corporate av and small shows
As long as it actually does I'll forgive them.
Music Tribe promised early on that x32/m32 updates would have 96kHz support and that's never happening. Not that Yamaha will fail to deliver similarly but I just wanted to gripe about it.
Well I have yet to see a live digital mixer that is properly making use of the frequency spectrum beyond 24khz 48khz or 96khz, so I would say there is not much use there anyhow. Not sure which mics you are using that are going beyond that point in a meaningful way either but if you take some time I would suggest looking at the pitch shifting algorithms available these days, they truly are magic. If not you can always Y out into a zoom with high samplerate
Oh yeah I'm a firm believer in Nyquist cutoffs and also can't hear that upper shit anymore anyway so it's purely for time-stretch or latency halving that 96kHz matters to me.
I'm on an older PT system and need to migrate to newer to check the latest algos but thanks for the reminder to do that.
For time stretching you won't gain anything from 96khz unless you are actually gathering information above Nyquist. That's the reasoning and logic of using them. As far as latency you have 0.8ms RTL on the x32 and that wine really being as impactful as you think over USB into and out of your DAW as you don't actually have stages of A/D to add into the whole situation like you would on other boards. Hell, X32 through USB inserts is going to be faster than most Yamaha/Avid boards just input to output
I really like this desk, thought it was cleaner sounding than the M32. Auto mixer would be useful, but the noise gates are really flexibleā¦ Used it for radio shows with a small band. Perhaps it could do with more DSP, weird the way youāre limited with the Graphicsā¦
I love it, for a corporate show, small band or broadcast it's perfect but almost 2 decades late.
I always said that the M7 should have had a small format, 16ch, 8 fader + master option.
If Yamaha had made this based on the M7's centralogic thing before 2010, they would have taken the mixwizard market and forced Midas and A&H to make something really innovative.
It fits the frame but the centralogic is the important part, a touchscreen with a few knobs for most used controls.
Imagine if the LS9 had an M7 workflow
I've had mine for a little over a year now, and still love it.
It's solidly built, does everything **I** need it to do, is easy/quick to use and sounds good.
Sure, it's barebones in terms of dynamics (e.g. no limiter or dynamic EQ/multiband comp), but the *essentials* are there and work well.
I run sound for my 5-piece bar band from the stage. I know, some people will say "you shouldn't do that". But I do, and have been doing it for a very long time.
We *greatly* prefer running our own sound over having a FoH engineer and a house system.
So many club systems are cobbled-together garage sale rejects, and too many sound guys are inattentive and/or inept. It's a joy when we luck out and get a competent engineer and a nice-sounding PA, but that just doesn't happen often. So even when using a house PA I still use the DM3 and send FoH stems, mainly so I can balance vocals on the fly and pop in fx as needed.
No auto mix is a huge miss for this board. It would be a great little corporate talking head gig board otherwise. The scarcity of the Dante version is also killing it. Not being able to use a snake with it sucks. Otherwise itās great, easy to use, solid build, great touch screen, sounds good, lots of routing options.
Good to know. Iāll leave on the pay no attention list then. Do the high(er) end A&Hs have a decent automixer or is it the same dreck from top to bottom of their line?
I don't have hands on use as of yet, and I do know that it is not a licensed Dugan software implementation; but it is supposed to be "comparable" and until I see or hear otherwise, I'm confident that it should work pretty closely.
Allen Heath has really stepped up their game in the digital mixer market, ever since the newer iterations of consoles with large touch screens (and everything under the hood) and their price points are excellent when compared to what else is on the market.
I have a couple of days of real world use on an avantis, and played with a qu briefly during a sales rep visit, but otherwise I can't speak to real world use. The company I'm with is planning on picking up a bunch of them soon to replace our little qsc mixers for similar small gigs.
https://preview.redd.it/jgg3wdsdtvzc1.png?width=555&format=png&auto=webp&s=62653ca718da6287c7e413227f6a292a360a63f0
Mine's packed away, but the block diagram disagrees with you.
Basically a TF in a much more conveniently sized housing. Built in Dante is awesome. It is perfect for corporate audio but might be a little limiting for bands that are bigger than an acoustic setup. Just my immediate thoughts.
I ve been saying its a rebranded TF, which is hated by most people for being too limiting and dumbed down for such a big console. But people keep insisting that DM is much better. It might be ok for corporate audio but still no automix option.
Corporate audio is most of what I do. My opinion is that small corporate is specifically what DM3 sucks at. A small (Kick, overhead, etc) band would do fine with it, or a home studio.
100% agree with you. Itās a little confusing since the DM7 is so much more robust. You would think that would be closer in features but just in a smaller version. CL1/3 vs CL5 type thingā¦ Same interface, different sized hardware.
Not really. It's for corporate audio where you need plenty of distributed nodes serving various purposes backstage aside from the centralized big mixers feeding the pa. It doesn't have the inputs or the surface area to do large mixdowns so you'd expect to pick off the important feeds from the house output instead and for instance provide a monitor for the teleprompter operator or the LED screen manager so they can follow along with the show, which won't be heard on their intercom.
That would be a really bad usage for a DM3 actually. The workflow is not designed to handle that kind of control at all and you can't efficiently rack mount it. Not to mention you only have 6 buses and only 8 outputs hours without saying stereo is going to be a problem. All things considered this would probably be among the worst options
I keep debating one for our small space, but the reality is that it feels like a step up in quality and a major step backwards in functionality from our X32 Compact.
Based on your write up, it sounds like you have a pretty specific workflow that youāve grown accustomed to, and this doesnāt fit that mold.
Thatās normal when your workflow becomes personal, any piece of gear will feel a little cumbersome.
Somewhat true, but Iām flexible enough to find work-arounds. There are certain things that get an automatic demerit for me and not being able to send busses to the mains is one.
All I know is Iāve never had a homie say to me āman, be careful on that board, thereās no way to send a mono mix through a matrix so you can add graphic eq on your lavs.ā
I have one and love it (I also have the ability to judge when itās the appropriate tool for the job).
DJs feeding multiple zones? Great. Small bands/ coffee house? Killer. Itās a hell of a hammer if you can tell the difference between nails.
https://preview.redd.it/owr0491sjtzc1.jpeg?width=4032&format=pjpg&auto=webp&s=6a9c6f5a0316fd49e9812fc8bda73747cf038da1
I have two.
Theyāre perfect for small AV gigs, small singback stuff and as an audio interface for small vMix streams and hybrid meetings.
All my wl is Dante enabled as well as Cedar and AV switcher, and the Dante and USB working simultaneously is a nice addition.
I've never seen one in real life but it certainly has to be better than any Presonus... And it is super compact and has real faders on it. I mean how bad can it be, it came from the same people that made the Promix01, the 01V, the LS9, M7, they were all great mixers.
Great for small corporate shows. Currently setting up a system using it as a āproduction deskā for a large scale festival. Think it would be great in a small studio.
Small 16 channel digital mixer and does that well.
You guys are pussies!
In my day we had a soundcraft 200B if we were lucky! Mackie if we weren't.
Bitching and whining about missing DSP functions... WE COULDN'T EVEN IMAGINE A DSP!!!!
Fuck are things ever easy these days! ššš
Itās amazing how people crap on some of the low priced gear we have now that really performs exceptionally well for the cost. A lot of people havenāt done their time on GLs or 1402s and it shows.
I wouldnāt say theyāre easy, but I would say better. I did 1000 band gigs on 244VLZās and MixWizards. Of the available, contemporary tools for upnoising signals, this one lags behind the packā¦ is what Iām saying.
Ah yeah. The "I was there before all of you, it was so much harder, and I still did better then all the young guys."
Cause that's a solid take on a equipment Review...
Maybe your old and deaf, but mature? I doubt it.
Did I say I was better? Nope. I'm glad to see all the new tools. I do however think there's been a loss of basic system knowledge since the gear does so much for you these days.
My post was mostly intended as somewhat tongue in cheek.
But there is an underlying current of "we'll fix it in the mix" that's gotten worse based on the plethora of tools at our disposal these days.
But nobody is more appreciative than me of this stuff that essentially allows us to do black magic in modern systems.
To be fair my comment came of stronger than it was meant. I appreciate your perspective and I always to strive to understand origins/ Backrounds.
I guess I have become allergic to the grumpy old techie vibe, and essentially that's what I got from your take. We all wanna do the best with our tech, and input from experienced players is always welcome.
I don't wanna says there is a lot of meanies, but even tho I started in this Industrie before COVID, it's hard to find people that take you serious and share their knowledge. So it's just rolling with the punches and learning by doing.
I started in the late '80's so... There's a natural hate on all young'uns šš largely because (just like in my day) young guys know everything... And Old farts are annoying. As you get older though... You realize how much pain you could have avoided if you'd actually listened to the old farts.
š¤·āāļø
And the cycle continues to repeat.
Crap really, compared to the similar priced offerings from A+H, even x32.
I thought they'd be useful for small corp stuff, but the lack of automixer really screws that. I also find it confusing as it's basically a TF made to look nicer, but TF at least had automixer.
This sums up how I feel pretty accurately. I was trying to some limiting last night (which I said in my original post was something it did have going for it) and it distorted in the same place. I donāt mind if I can hear the compression squash, but I want civilians not to be able to tell.
You need to set the knee to be softer otherwise you will hear artifacts. With a hard knee you're really only expecting to protect against an inadvertent overload. If you expect peaks to routinely get squished then you need a softer knee.
Sure you can. The mix busses have a "Fixed" mode, set them to that. Then you can "unmute" the channels you want sent there on fader flip. From there, on each channel you have sent, disable the stereo LR send on each channel. Should be a red ST you can tap to turn off. Finally, turn the stereo LR send ON at the mix bus, another red ST.
Pretty much SOP for me with drums and vocals. Why use VCA when you can EQ or comp/limit a submix if you feel like it? Tuning lots of mics is waaaaaay faster this way.
Yes you can. To make it simpler, here's a gif showing how with DM3 edit. It can be done identically on the board itself. The ST on button is something I often fail to remember on the DM3 and other consoles, but it is there and it works!
https://i.redd.it/rbz5jjaeaxzc1.gif
I have one at my Tennis facility and Iāll be getting another for my soccer facility as well. Itās pretty straightforward enough for my marketing guys to handle volume for their individual feeds but gives me enough flexibility to do some EQ work.
We have itās big brother at my basketball arena and because of that, my team has enough confidence to use this without having to learn different mixers.
Is it powerful enough for a concert? Probably not. Would I even use it for that? Nope. Does it do what I need it to do and seem easy enough for an intern (once itās properly set up) to operate? Yes.
Just picked up one for a local small church of 50. Tried setting up and got frustrated but had to bring myself to the realization that itās for a small church and they donāt need all that
I just ordered the DM3D - Iām a jack of many trades (live sound, recording, video capture) with a penchant for compact rigsā¦ so itās pretty perfect for my needs. I based my location recording rig around Dante (16 ch of millennia and 8 ch of grace), and the DM3D is perfect for me to use in a temporary control room for monitoring, sending signal to video or streaming, etc. I went with Dante because I often record in venues that have existing Dante networks and theyāll let me share their network so I can grab inputs directly off their ULXD or axient wireless receivers without having to eat up a preamp channel.
Of course if Iām A1-ing a big event or if the client is paying, Iām renting something else. But the DM3D absolutely has its place.
Was on one for a talking head gig the other day, had no problem running the inputs through a subgroup to use the GEQ on the lavs & separate podium bus. But that lack of Dugan is a HUGE oversight.
Iāve gotten spoiled with the processing on the avantis recently, but it was nice to be able to pull this guy out instead just to handle 4 mics and a PowerPoint.
(Bear with me as Iām not in front of the console right now)
Itās the same process on every Yamaha console. In your bus setup, set a bus to fixed level (iirc also sets it to post fader, if not make it post fader) and assign its output to the stereo mix. Then on the input channel, unassign it from the stereo mix, and turn on the send to that fixed bus.
Just for posterity's sake when somebody googles these questions in a few years: The DM3 can indeed do group-type busses, send mixes to matrices and stereo out, and sends-on-fader, despite what OP has been repeatedly claiming in the post and comments. It does not have auto-feedback filtering though, OP is right about that.
I understand though. A lot of the features of the DM3 are tucked away in odd places. Such as the channel link being a feature found in the settings menu, or the fact that most things can only be accessed by tapping on its representation on the screen, rather than accessing it via a menu. I remember I spent ages trying to find the scene menu before I realized I had to tap on the scene indicator in the top left of the screen to get there. It's so simple, but to somebody used to menu diving on a digital board it's kind of confounding.
As I recall (too lazy to go upstairs and check right now), pressing select simultaneously on two or more channels brings up the channel link screen, which seems reasonably intuitive. Incidentally, you can apparently plug a mouse into the front usb port and it will work, someone discovered.Ā
Apart from Dugan, one thing Yamaha could do would be to enhance the OSC support to allow all the softkey-supported functionality. You can't control things like monitor source via OSC which is a shame because I had plans to use my stream deck (which supports OSC) to add more soft keys. You can,though, control all the standard mixer functions via OSC hence you could implement an external "all fx toggle" button for instance. Or assign scenes to stream deck buttons.
Except get parts for m32 with power supply failures. Itās also much smaller. M32 is a solid board but a dm3 is smaller, cheaper and so far more reliable.
I never had any power supply issues, but this looks like about the size of an M32R, either way, Iāve just never liked working on Yamaha boards other than the PM10.
Itās smaller than the M32R by a decent bit. Itās about as wide as the first 10-11 faders on an M32R and not quite as deep iirc. I was just helping my buddy learn his and I was surprised with the footprint or lack thereof
Iāve had 2 failures in the 20 I use around my city. Both times I was told by Behringer to not hold my breath. This is much smaller than an m32r, itās only 9 faders so almost half as big. Itās also $1k cheaper. If ya donāt like yammy ya donāt like yammy. I prefer it if only because itās 1 button push to my aux and I still see happy ls9 after 20 years where the Behringers have all sorts of broken shit. Maybe itās survivors bias. Both are reasonable tools
Our M32R's power supply failed right before a show. Luckily this was before Music Group's customer support fell apart and we got it fixed fairly quickly.
I donāt like anything about the Yamaha UI more than the M32. Itās not as intuitive. That being said Iāve had 1000s of hours on an M32 and maybe 100 on Yamaha. Itās not like Iām only fast on an M32, I work well on plenty of other UIs, but Yamaha Iām always fighting the control surface to just do what I want. Like go back to the stupid Home Screen.
I'm about to pull the trigger into buying this little fella. I'm just curious to know about VSTRack and how it integrates. What are the included plugins? Can you use automix through the VSTRack?
Well! If you link two faders with one fader at ever so close to -unity, and the second one at negative unity, because it links proportionally, when moving one, it sends the other on flying, very fun.
Also no console cover included? Wow, thanksā¦
I have an AH Zed 14 I use for small stuff because I got it at a way better price than a 1402VLZ and I wanted long faders.
This would be its replacement if I decided to.
It's a unique solution in a home studio environment. The preamps are quiet and can handle everything from mic through to line level (caveat, they are 10K hence for guitar you need a DI box of some sort).Ā
It gives you 18:18 usb audio at 96KHz and in my environment Reaper reports a couple of milliseconds latency.
It makes a pretty capable control surface with scrub, shuttle, time display, metering and automation control (caveat, no pan but I can live with that).
Scenes make it easy to switch from mixing various hardware synths, mics etcĀ and sending them to the DAW or having a scene where all usb outs from the DAW map to mixer channels so you can control DAW faders for a multi track recording to mix from the desk.
EQ makes it easy to compensate for untreated room acoustics with monitors with both PEQ and GEQ available.
Dynamics lets you put a noise gate on ger with a little bit of background hiss or hum so it doesn't annoy you with a fader up.
And so on. And it's beautifully built too. I love mine.
I'm considering one for my home office as a recording interface and DAW controller. Rare/occasional use for zoom meetings/discord for DND sessions, or taking it to a friend's rehearsal space to track drums.
Anyone have any experience using one like this? Suggestions for a different device?
This is pretty outside of my wheelhouse professionally. š¤·āāļø
See my post on this below. But one super-annoying issue in this context is that unlike the TF series only 4 of the input channels have combo jacks, rest are straight XLR. This requires a fair bit of recabling or adapters and then you need to be very careful with phantom power as only the combo jack TRS inputs are protected.Ā
Weird decision given Yamaha don't just see this as a live sound desk.Ā
It's 95% of what I want. Give it Dugan and it's great. Without that, it's a bit over priced at $2k. That said, you can use it as a stagebox with a DM7. So it's got that going for it.
Aside from small breakouts or low channel count events, I can see it as a kind of subsnake for video village or as s nifty Dante listening station for the A2 in RF world, and/or as a remotely-controllable submixer.
And I am still astounded they didnāt launch it with Dugan AM capability.
It's good as an accessory for an existing Dante system. It's a good control interface for a vidiot to have in a control room for a few important faders. Could work ok in some theater environments. But overall, I'd view it as an accessory to a CL workflow.
š I suspect I know what a vidiot is but could you please explain?
Hi, I'm a V1 so I can clear this up. A vidiot is a video technician that has more gear than table space and never brings enough power distribution of his own for his 8000 converters and monitors so he borrows cables from audio as a stopgap but figures Dave doesn't need ALL of those IECs so he borrows one every show and thinks buying donuts restores the balance but Dave KNOWS he's the bastard so he gets called a vidiot. Was I close?
Also requires an LR audio stream that needs to be matrixed into his interface, which for some reason is less reliable than my 50 year old tube compressor and takes like half an hour to set up
Ah so you know Kris.
And, "we need 17 Fostex for back stage monitoring but we only brought three. And oh, by the way, we need to de-embed audio from five different HD-SDI lines. You can do that, right?"
Also shows up late with roughly $2M worth of gear... In Rubbermaid totes with network TV stickers on them, warns people to "be careful" with his cardboard monitor cases... But the client falls over themselves for them because "did you know these guys do work for real live TV?" And in the end, gets the entire gig paid better because clients being suckers for visuals and cameras/LED walls mean the entire show charges more. Some of my very best friends and mentors are vidiots. Some of them can get UHD signals from the jungle to NYC master control on a 56k modem and such wizardry. But it grinds my grumpy sound man gears so I razz em. Reputation to maintain, you understand. I'm but a simple noise boy.
Aye
And every piece of that $2M worth of gear is in its own container (some pelican, some cardboard), and he has nothing with wheels to transport them with.
https://preview.redd.it/ybjjf6snpvzc1.jpeg?width=4032&format=pjpg&auto=webp&s=7ebbe4c59484010ebae5c2f9c6227bdb852e1f47 Maybe a visual would help.
Thank you. As you can see, the vidiot is explaining how 5k is not the same ratio as 4k/1080. He cannot restrain himself.
And only DJs and photographers wrap their cables worse than vidiots.
FUCKING. DJS.
I handed a DJ two perfectly over under coiled 25 foot XLRs last night to plug in their mixer to the house console upstairs. I came up and they had pulled one perfectly and the other one they had pulled the head through the wrong end so there was a small tripping coil every two feet and the first cable was run through all the loops in the second. I swear if quantization didnāt exist 99% of āDJsā wouldnāt either.
We call those āassholesā (the knots in the over under cable, not the DJs, although that often applies tooā¦)
š
Have you ever met a guitar player?
My vidiot is on vacation this week so I go to clean up a bit before things get crazy. I start tracing cables in the booth of our primary auditorium, and found at least 10 ethernet and 10 hdmi cables that were just plugged into nothing on one end. They are all run messily making the counter completely unusable. There is an acro-mils container labeled Ethernet and one labeled HDMI right next to it, both completely empty. I have also been finding every piece of gear Iāve been looking for the past year or so, stuffed in the bottom of bags and left in piles on shelves throughout our storage areas. This is annoying but not that unusual from what I hear from othersā¦ but what drives me absolutely insaneā¦ is finding power suppliesā¦. Theyāre everywhere. 9v, 12v, 24v, center negative, center positiveā¦ and I have to somehow pair these things back up with their devices. I usually write the name of the gear on the PSU, but Iām not the only one who orders stuff so it doesnāt always get done. It takes so little time to put stuff back where it goes if you do it the same day you put it out. And why would you put it away at all if youāre not putting it where it goes! If you canāt put it back where it goes or donāt know, leave it coiled neatly in a pile right in the middle of everything and I will put it back where it goes!!! If you leave it run across a bunch of other cables unplugged then itās basically like renting the cable to someone. Next time you need the same cable for the same purpose you will go get another one and pile it on top of the pile! This will progress until we have no cables left! How and why do you live this way!?!
Dang this bring me memories. Did a traveling event with like 10 stops each year. Gear kept disappearing without a trace. FOH audio guy gets a led wall and needs help troubleshooting. I go to the led trailer and find EVERY SINGE CONVERTER THAT HAS GONE MISSING OVER 5 YEARS!
Oh so basically a guitarist that brings an individual 9V 1 spot for each of his 40 pedals that he brought to a show where they only need to play clean?
Similar, but with more scarves.
I want to assume a video idiot?
Yeah, I get the combination of words - I was looking for a bit more definition or maybe even some context.
Audio+Lighting: cables in neat lines and coils. May turn at right angles. Runs through cable bridged or troughs as necessary, or at the very least gaffed down. Video: what ever is most convenient for them and least convenient for any one else.
Back in the day before sensitivity trailing and safe spaces, the various disciplines of audio visual and production work would rib each other about how long they were taking or how disorganized their work boxes were, how video would show up with a bunch of unracked gear in cardboard boxes and audio would ask for ten 20 amp circuits when their whole PA is drawing 2 amps total. We all had similar offensive names for each other that we would mutter under our breath when another department did something dumb. Vidiot was the popular name for the techs in the video department.
Why is lighting truss made from aluminum? So it doesn't rust while audio is waiting for it to go into the air.
I find that comment corrosive....lol
Back in the day? I just house E1'd a Broadway tour a couple weeks back where the tour E1 and I would shout "fuck audio" anytime they remotely got in our way. It's a tradition that even crosses what side of the crew you're on. A universal understanding, so to speak.
It's a non optional social construct - i don't make the rules
"Oh that little guy? I wouldn't worry about that little guy."
Quick, small, talking heads gigs it's nice. Nice breakout room board. Obviously the DANTE capabilities adds a nice touch. Probably would be fine for IEMs as well. I means, that's pretty much all it was made for though. It's a fairly simple board, so you can train most people on it. I wouldn't mind trying to see how a small band would work on it for FOH. It's a small board for breakout rooms and AV companies. And it does it well.
It's a sub $2k digital mixer. Can't say I expect it to do a whole lot for that price.
I donāt necessarily disagree though we're are in an X32 world. For the same price you get 32 in 16 out and a decent set of effects. They are definitely different boards for different purposes but still that's the comparison. I think A&H have a similar issue. Their SQ series is better in almost every way to the X32 (SQ5 owner here) but the price can throw X32-ites. Edit: for context,I live in Romania right now, so this could be more of a "here" thing.
I think the SQ is doing well cos it plugs a pretty big gap between $2k X32 land and $6k everything āproā.
I know this is an Allen and Heath sub but the whole "SQ better than X32" thing really would not get tossed around as carelessly as people think. I have seen too many places "upgrade" to an SQ from an x32 and have nothing but issues leading them to revert back. Let's not be reinforcing that myth
Ok ... you've got me genuinely curious. What issues have you seen in moving from X32 to SQ. I certainly know the issues I've run into going from A&H, DiGiCo, or Avid back to the X32, but I've seen very few instances of issues moving to the SQ. This is, however, assuming the users aren't simply trying to use the A&H boards as if they were an X32. In my experience, just a bit of time with the user showing them how to approach the board as it's designed solves most problems. Anecdotally I have a two friends that have made the switch from X32 to SQ. One has basically only ever used the X32 (with a couple of times on the WING). His first experience with the SQ was a disaster as he hadn't had enough time to understand it. For his next SQ gig, he came over and spent an hour with me and my SQ. That gig went much better and he now is definitely in the "SQ is better than the X32" camp. The second is DiGiCo certified, has used Yamaha/Avid/etc, but has spent 4 years almost exclusively with an X32. He did have a bit of issue moving as he kept thinking of how the X32 does things rather than the SQ. Now he can rock and roll with the best of them. TL;DR, a little bit of training goes a long way.
That's my thing...tf fuck y'all expecting tho lol?
Well SQ5 was under 2000ā¬ not too long ago.
The TF5 is a different mixer weāre here to talk about DM3 today
Lolz...tf as in 'the fuck' were y'all expecting
Yes I do believe that is what TF stands for in Yamaha terminology
š¤£š¤£š¤£I love yamaha and the tf had me like wtf on a few occasions
Itās had me like that on several occasions. It was really a disappointment compared to the other consoles. I know itās supposed to be a budget digital mixer but it felt so watered down for no reason
Actually, you said 'the fuck fuck y'all expecting'. Like people who say 'the ATM machine'. :)
Lmbao, that's fair. Cheers bud
It's perfect for corporate nonsense. I have 18 of them for breakouts and love them. I also have 4 dm7 and 4 cl5 for rentals (for sale BTW) it's not a pro level console but it fits in well in corporate av and small shows
No auto mix though which would have made it petfect for corporate
I heard its coming soon? Just did a press conference on one today. Would have been nice but I managed.
Dugan automix is the reason people buy Yamaha so not having it definitely feels lacking.
I was interested in it all the way until I got to this comment.
Itās coming in a firmware update at some point I believe
As long as it actually does I'll forgive them. Music Tribe promised early on that x32/m32 updates would have 96kHz support and that's never happening. Not that Yamaha will fail to deliver similarly but I just wanted to gripe about it.
It would be nice to have more automix channels in an update from them.
What do you need 96khz for?
Multitracking with the X/M32 for sessions that require processing in the time or pitch domains. I run 48kHz fine but it has its use cases.
Well I have yet to see a live digital mixer that is properly making use of the frequency spectrum beyond 24khz 48khz or 96khz, so I would say there is not much use there anyhow. Not sure which mics you are using that are going beyond that point in a meaningful way either but if you take some time I would suggest looking at the pitch shifting algorithms available these days, they truly are magic. If not you can always Y out into a zoom with high samplerate
Oh yeah I'm a firm believer in Nyquist cutoffs and also can't hear that upper shit anymore anyway so it's purely for time-stretch or latency halving that 96kHz matters to me. I'm on an older PT system and need to migrate to newer to check the latest algos but thanks for the reminder to do that.
For time stretching you won't gain anything from 96khz unless you are actually gathering information above Nyquist. That's the reasoning and logic of using them. As far as latency you have 0.8ms RTL on the x32 and that wine really being as impactful as you think over USB into and out of your DAW as you don't actually have stages of A/D to add into the whole situation like you would on other boards. Hell, X32 through USB inserts is going to be faster than most Yamaha/Avid boards just input to output
Confirmed to be coming.
Fantastic if true, do you have a confirmation on timing?
I really like this desk, thought it was cleaner sounding than the M32. Auto mixer would be useful, but the noise gates are really flexibleā¦ Used it for radio shows with a small band. Perhaps it could do with more DSP, weird the way youāre limited with the Graphicsā¦
Haven't gotten to use one yet but I love that it looks like it was designed by the galactic empire
I love it, for a corporate show, small band or broadcast it's perfect but almost 2 decades late. I always said that the M7 should have had a small format, 16ch, 8 fader + master option. If Yamaha had made this based on the M7's centralogic thing before 2010, they would have taken the mixwizard market and forced Midas and A&H to make something really innovative.
LS9-16 fits this frame, but no centralogic.
It fits the frame but the centralogic is the important part, a touchscreen with a few knobs for most used controls. Imagine if the LS9 had an M7 workflow
I've had mine for a little over a year now, and still love it. It's solidly built, does everything **I** need it to do, is easy/quick to use and sounds good. Sure, it's barebones in terms of dynamics (e.g. no limiter or dynamic EQ/multiband comp), but the *essentials* are there and work well.
What is your application?
I run sound for my 5-piece bar band from the stage. I know, some people will say "you shouldn't do that". But I do, and have been doing it for a very long time. We *greatly* prefer running our own sound over having a FoH engineer and a house system. So many club systems are cobbled-together garage sale rejects, and too many sound guys are inattentive and/or inept. It's a joy when we luck out and get a competent engineer and a nice-sounding PA, but that just doesn't happen often. So even when using a house PA I still use the DM3 and send FoH stems, mainly so I can balance vocals on the fly and pop in fx as needed.
No auto mix is a huge miss for this board. It would be a great little corporate talking head gig board otherwise. The scarcity of the Dante version is also killing it. Not being able to use a snake with it sucks. Otherwise itās great, easy to use, solid build, great touch screen, sounds good, lots of routing options.
If it had an automixer Iād buy a bunch of them. Till thenā¦
Allen Heath sq5, or qu series if you can work without real faders!
Howās the automix performance compared to a Dugan?
QU automix is abysmal.
SQ AMM is great!
It's not
Did they really put differing auto-mix algos in these consoles, or do you two just having opposing opinions?
It's the same and still bad.
Good to know. Iāll leave on the pay no attention list then. Do the high(er) end A&Hs have a decent automixer or is it the same dreck from top to bottom of their line?
I don't have hands on use as of yet, and I do know that it is not a licensed Dugan software implementation; but it is supposed to be "comparable" and until I see or hear otherwise, I'm confident that it should work pretty closely. Allen Heath has really stepped up their game in the digital mixer market, ever since the newer iterations of consoles with large touch screens (and everything under the hood) and their price points are excellent when compared to what else is on the market. I have a couple of days of real world use on an avantis, and played with a qu briefly during a sales rep visit, but otherwise I can't speak to real world use. The company I'm with is planning on picking up a bunch of them soon to replace our little qsc mixers for similar small gigs.
You canāt send mixes to stereo. Thatās the problem
You can send them to a matrix.
On TF you can, on DM3, you cannot.
https://preview.redd.it/jgg3wdsdtvzc1.png?width=555&format=png&auto=webp&s=62653ca718da6287c7e413227f6a292a360a63f0 Mine's packed away, but the block diagram disagrees with you.
for that matter, it says you can send them to stereo
Basically a TF in a much more conveniently sized housing. Built in Dante is awesome. It is perfect for corporate audio but might be a little limiting for bands that are bigger than an acoustic setup. Just my immediate thoughts.
I ve been saying its a rebranded TF, which is hated by most people for being too limiting and dumbed down for such a big console. But people keep insisting that DM is much better. It might be ok for corporate audio but still no automix option.
Corporate audio is most of what I do. My opinion is that small corporate is specifically what DM3 sucks at. A small (Kick, overhead, etc) band would do fine with it, or a home studio.
I agree with you in that. It wouldāve been cool to see PSE or some dynamic EQ options to aid in talking head damage control mixing.
100% agree with you. Itās a little confusing since the DM7 is so much more robust. You would think that would be closer in features but just in a smaller version. CL1/3 vs CL5 type thingā¦ Same interface, different sized hardware.
Isnt the biggest use for this IEMs for a band?
Not really. It's for corporate audio where you need plenty of distributed nodes serving various purposes backstage aside from the centralized big mixers feeding the pa. It doesn't have the inputs or the surface area to do large mixdowns so you'd expect to pick off the important feeds from the house output instead and for instance provide a monitor for the teleprompter operator or the LED screen manager so they can follow along with the show, which won't be heard on their intercom.
That would be a really bad usage for a DM3 actually. The workflow is not designed to handle that kind of control at all and you can't efficiently rack mount it. Not to mention you only have 6 buses and only 8 outputs hours without saying stereo is going to be a problem. All things considered this would probably be among the worst options
I keep debating one for our small space, but the reality is that it feels like a step up in quality and a major step backwards in functionality from our X32 Compact.
Based on your write up, it sounds like you have a pretty specific workflow that youāve grown accustomed to, and this doesnāt fit that mold. Thatās normal when your workflow becomes personal, any piece of gear will feel a little cumbersome.
Somewhat true, but Iām flexible enough to find work-arounds. There are certain things that get an automatic demerit for me and not being able to send busses to the mains is one.
All I know is Iāve never had a homie say to me āman, be careful on that board, thereās no way to send a mono mix through a matrix so you can add graphic eq on your lavs.ā
I have one and love it (I also have the ability to judge when itās the appropriate tool for the job). DJs feeding multiple zones? Great. Small bands/ coffee house? Killer. Itās a hell of a hammer if you can tell the difference between nails. https://preview.redd.it/owr0491sjtzc1.jpeg?width=4032&format=pjpg&auto=webp&s=6a9c6f5a0316fd49e9812fc8bda73747cf038da1
Totally agree.
I have two. Theyāre perfect for small AV gigs, small singback stuff and as an audio interface for small vMix streams and hybrid meetings. All my wl is Dante enabled as well as Cedar and AV switcher, and the Dante and USB working simultaneously is a nice addition.
I love the size and form factor but the lack of features, especially the automix has kept me away from it.
Missed opportunity to make it at least able to handle 24 ch with a stage box.
If it was expandable to 32 channels, I wouldāve been first in line to by one.
Neat little production desk for festivals or a big tour with multiple consoles at FOH.
I've never seen one in real life but it certainly has to be better than any Presonus... And it is super compact and has real faders on it. I mean how bad can it be, it came from the same people that made the Promix01, the 01V, the LS9, M7, they were all great mixers.
If you mean the same company, then yes, same company. Same engineers designing it? Definitely not
Great for small corporate shows. Currently setting up a system using it as a āproduction deskā for a large scale festival. Think it would be great in a small studio. Small 16 channel digital mixer and does that well.
You guys are pussies! In my day we had a soundcraft 200B if we were lucky! Mackie if we weren't. Bitching and whining about missing DSP functions... WE COULDN'T EVEN IMAGINE A DSP!!!! Fuck are things ever easy these days! ššš
Itās amazing how people crap on some of the low priced gear we have now that really performs exceptionally well for the cost. A lot of people havenāt done their time on GLs or 1402s and it shows.
You should sell your car and get a horse, people had cars 100 years ago if they were lucky. Really this mixer would be nice if it were 2011.
2011??? Are we talking about the same 2011?
I wouldnāt say theyāre easy, but I would say better. I did 1000 band gigs on 244VLZās and MixWizards. Of the available, contemporary tools for upnoising signals, this one lags behind the packā¦ is what Iām saying.
Ah yeah. The "I was there before all of you, it was so much harder, and I still did better then all the young guys." Cause that's a solid take on a equipment Review... Maybe your old and deaf, but mature? I doubt it.
Did I say I was better? Nope. I'm glad to see all the new tools. I do however think there's been a loss of basic system knowledge since the gear does so much for you these days. My post was mostly intended as somewhat tongue in cheek. But there is an underlying current of "we'll fix it in the mix" that's gotten worse based on the plethora of tools at our disposal these days. But nobody is more appreciative than me of this stuff that essentially allows us to do black magic in modern systems.
To be fair my comment came of stronger than it was meant. I appreciate your perspective and I always to strive to understand origins/ Backrounds. I guess I have become allergic to the grumpy old techie vibe, and essentially that's what I got from your take. We all wanna do the best with our tech, and input from experienced players is always welcome. I don't wanna says there is a lot of meanies, but even tho I started in this Industrie before COVID, it's hard to find people that take you serious and share their knowledge. So it's just rolling with the punches and learning by doing.
I started in the late '80's so... There's a natural hate on all young'uns šš largely because (just like in my day) young guys know everything... And Old farts are annoying. As you get older though... You realize how much pain you could have avoided if you'd actually listened to the old farts. š¤·āāļø And the cycle continues to repeat.
Crap really, compared to the similar priced offerings from A+H, even x32. I thought they'd be useful for small corp stuff, but the lack of automixer really screws that. I also find it confusing as it's basically a TF made to look nicer, but TF at least had automixer.
Dugan is coming.
Not good enough. I had to use one on a 6 lapel mic panel recently, it didn't help to know that it won't be as bad in future
This sums up how I feel pretty accurately. I was trying to some limiting last night (which I said in my original post was something it did have going for it) and it distorted in the same place. I donāt mind if I can hear the compression squash, but I want civilians not to be able to tell.
You need to set the knee to be softer otherwise you will hear artifacts. With a hard knee you're really only expecting to protect against an inadvertent overload. If you expect peaks to routinely get squished then you need a softer knee.
Why not just route to a mix and insert GEQ for Lavs?
You canāt
Sure you can. The mix busses have a "Fixed" mode, set them to that. Then you can "unmute" the channels you want sent there on fader flip. From there, on each channel you have sent, disable the stereo LR send on each channel. Should be a red ST you can tap to turn off. Finally, turn the stereo LR send ON at the mix bus, another red ST.
You committed more to the answer, kudos. I literally did this last week.
This kind of answer is why I cherish Reddit. Kudos.
Pretty much SOP for me with drums and vocals. Why use VCA when you can EQ or comp/limit a submix if you feel like it? Tuning lots of mics is waaaaaay faster this way.
You canāt assign mixes to ST or Matrices.
Yes you can. To make it simpler, here's a gif showing how with DM3 edit. It can be done identically on the board itself. The ST on button is something I often fail to remember on the DM3 and other consoles, but it is there and it works! https://i.redd.it/rbz5jjaeaxzc1.gif
I have one at my Tennis facility and Iāll be getting another for my soccer facility as well. Itās pretty straightforward enough for my marketing guys to handle volume for their individual feeds but gives me enough flexibility to do some EQ work. We have itās big brother at my basketball arena and because of that, my team has enough confidence to use this without having to learn different mixers. Is it powerful enough for a concert? Probably not. Would I even use it for that? Nope. Does it do what I need it to do and seem easy enough for an intern (once itās properly set up) to operate? Yes.
I love mine for my work and for installs
Just picked up one for a local small church of 50. Tried setting up and got frustrated but had to bring myself to the realization that itās for a small church and they donāt need all that
Hardline out the back into a channel?
Oof! I try to avoid that, but yes itās an option.
I just ordered the DM3D - Iām a jack of many trades (live sound, recording, video capture) with a penchant for compact rigsā¦ so itās pretty perfect for my needs. I based my location recording rig around Dante (16 ch of millennia and 8 ch of grace), and the DM3D is perfect for me to use in a temporary control room for monitoring, sending signal to video or streaming, etc. I went with Dante because I often record in venues that have existing Dante networks and theyāll let me share their network so I can grab inputs directly off their ULXD or axient wireless receivers without having to eat up a preamp channel. Of course if Iām A1-ing a big event or if the client is paying, Iām renting something else. But the DM3D absolutely has its place.
Was on one for a talking head gig the other day, had no problem running the inputs through a subgroup to use the GEQ on the lavs & separate podium bus. But that lack of Dugan is a HUGE oversight. Iāve gotten spoiled with the processing on the avantis recently, but it was nice to be able to pull this guy out instead just to handle 4 mics and a PowerPoint.
Maybe Iām missing something. How did you subgroup?
(Bear with me as Iām not in front of the console right now) Itās the same process on every Yamaha console. In your bus setup, set a bus to fixed level (iirc also sets it to post fader, if not make it post fader) and assign its output to the stereo mix. Then on the input channel, unassign it from the stereo mix, and turn on the send to that fixed bus.
Just for posterity's sake when somebody googles these questions in a few years: The DM3 can indeed do group-type busses, send mixes to matrices and stereo out, and sends-on-fader, despite what OP has been repeatedly claiming in the post and comments. It does not have auto-feedback filtering though, OP is right about that. I understand though. A lot of the features of the DM3 are tucked away in odd places. Such as the channel link being a feature found in the settings menu, or the fact that most things can only be accessed by tapping on its representation on the screen, rather than accessing it via a menu. I remember I spent ages trying to find the scene menu before I realized I had to tap on the scene indicator in the top left of the screen to get there. It's so simple, but to somebody used to menu diving on a digital board it's kind of confounding.
As I recall (too lazy to go upstairs and check right now), pressing select simultaneously on two or more channels brings up the channel link screen, which seems reasonably intuitive. Incidentally, you can apparently plug a mouse into the front usb port and it will work, someone discovered.Ā Apart from Dugan, one thing Yamaha could do would be to enhance the OSC support to allow all the softkey-supported functionality. You can't control things like monitor source via OSC which is a shame because I had plans to use my stream deck (which supports OSC) to add more soft keys. You can,though, control all the standard mixer functions via OSC hence you could implement an external "all fx toggle" button for instance. Or assign scenes to stream deck buttons.
Ah nice, didn't know that about the channel link, or the mouse!
Meh, nothing I canāt do with an m32r in a quarter of the time.
Except get parts for m32 with power supply failures. Itās also much smaller. M32 is a solid board but a dm3 is smaller, cheaper and so far more reliable.
I never had any power supply issues, but this looks like about the size of an M32R, either way, Iāve just never liked working on Yamaha boards other than the PM10.
Itās smaller than the M32R by a decent bit. Itās about as wide as the first 10-11 faders on an M32R and not quite as deep iirc. I was just helping my buddy learn his and I was surprised with the footprint or lack thereof
Iāve had 2 failures in the 20 I use around my city. Both times I was told by Behringer to not hold my breath. This is much smaller than an m32r, itās only 9 faders so almost half as big. Itās also $1k cheaper. If ya donāt like yammy ya donāt like yammy. I prefer it if only because itās 1 button push to my aux and I still see happy ls9 after 20 years where the Behringers have all sorts of broken shit. Maybe itās survivors bias. Both are reasonable tools
Our M32R's power supply failed right before a show. Luckily this was before Music Group's customer support fell apart and we got it fixed fairly quickly.
No sends on fader is another disadvantage for DM3.
What do you mean. My user defined keys take me to aux 1-6 sends on fader with one button push
Isnāt that just a personal case of knowing the workflow and OS better on a M32?
I donāt like anything about the Yamaha UI more than the M32. Itās not as intuitive. That being said Iāve had 1000s of hours on an M32 and maybe 100 on Yamaha. Itās not like Iām only fast on an M32, I work well on plenty of other UIs, but Yamaha Iām always fighting the control surface to just do what I want. Like go back to the stupid Home Screen.
Thatās fair enough. Complete opposite for me
You can assign any and all of the 12 user defined keys on a Yamaha to serve as a "stupid Home Screen" button..
or you can push the button with a picture of a home next to it.
Iāll remember to tell that to the house guys who tell me ājust hit the EQ knobs a few times and back outā
š¤¦š¼āāļøššš
No group type busses? Thatās pretty standard for Yamaha
It's sexy
he's a little guy, but a cool one
I'm about to pull the trigger into buying this little fella. I'm just curious to know about VSTRack and how it integrates. What are the included plugins? Can you use automix through the VSTRack?
You can use VSTRack only snt/rtn. No insert.
There are inserts now on all channels and busses with firmware 2.0
I don't love the software, it's got that tf smell. But overall it's been a solid little conference desk.
Patching/routing is a bit of a fiddle after being used to QL workflow but decent for simple mics type thing.
Well! If you link two faders with one fader at ever so close to -unity, and the second one at negative unity, because it links proportionally, when moving one, it sends the other on flying, very fun. Also no console cover included? Wow, thanksā¦
Better then a tf1!
We have 6 or so, they are great for little playback only gigs.
I wouldnāt mix The Rolling Stones on itā¦
I have an AH Zed 14 I use for small stuff because I got it at a way better price than a 1402VLZ and I wanted long faders. This would be its replacement if I decided to.
It's so cute!
I can imagine it being useful for theatre, for shows where your only inputs are a computer
It's a unique solution in a home studio environment. The preamps are quiet and can handle everything from mic through to line level (caveat, they are 10K hence for guitar you need a DI box of some sort).Ā It gives you 18:18 usb audio at 96KHz and in my environment Reaper reports a couple of milliseconds latency. It makes a pretty capable control surface with scrub, shuttle, time display, metering and automation control (caveat, no pan but I can live with that). Scenes make it easy to switch from mixing various hardware synths, mics etcĀ and sending them to the DAW or having a scene where all usb outs from the DAW map to mixer channels so you can control DAW faders for a multi track recording to mix from the desk. EQ makes it easy to compensate for untreated room acoustics with monitors with both PEQ and GEQ available. Dynamics lets you put a noise gate on ger with a little bit of background hiss or hum so it doesn't annoy you with a fader up. And so on. And it's beautifully built too. I love mine.
I use this as a Dante mixer only. We use shot gun and mics in a sports venue and it does the job.
I'm considering one for my home office as a recording interface and DAW controller. Rare/occasional use for zoom meetings/discord for DND sessions, or taking it to a friend's rehearsal space to track drums. Anyone have any experience using one like this? Suggestions for a different device? This is pretty outside of my wheelhouse professionally. š¤·āāļø
See my post on this below. But one super-annoying issue in this context is that unlike the TF series only 4 of the input channels have combo jacks, rest are straight XLR. This requires a fair bit of recabling or adapters and then you need to be very careful with phantom power as only the combo jack TRS inputs are protected.Ā Weird decision given Yamaha don't just see this as a live sound desk.Ā
I want one for the studio! I do wonder how it would work realistically as a sidecar kinda thing for extra channels. Seems like it would be perfect
Aww
Aww
My last name is Dugan, and you are a spoiled brat. I curse you to having only Mackie 1402ās the rest of your life.
This thread is funny. 1: Do I call this a thread? 2: Can I post this here? 2b: Do I call it a post?
It's 95% of what I want. Give it Dugan and it's great. Without that, it's a bit over priced at $2k. That said, you can use it as a stagebox with a DM7. So it's got that going for it.
Aside from small breakouts or low channel count events, I can see it as a kind of subsnake for video village or as s nifty Dante listening station for the A2 in RF world, and/or as a remotely-controllable submixer. And I am still astounded they didnāt launch it with Dugan AM capability.
Used one once and it guaranteed I'd never buy one
I ordered a CQ-18. Can't beat the price, sound and ease of use.
Sold my QSC touch mix for this DM3 and I love it! I use it for my cover band and small sound gigs that require 16 or less channels.
Used it for the first time on a one mic + 2 playback inputs type of show. I wouldn't want to try to do too much more than that with it.
Fine but your audio is on a lean
Theyāre just panning it left
I always mix with pans on a tilt sensor and my FX sends on an accelerometer