More mixer questions

[Michael]

Archived from groups: rec.audio.pro (More info?)

I decided against the Behringer; I just have seen too many
of them in the local repair shops. I've got a line on a couple
of other similar mixers: a TASCAM 2524 for about $600, and an
Allen&Heath GS3 for about $750. Neither of these are local, so
I'm not sure what exactly these sound like. You'd THINK in
Austin, TX you could get some idea, but no.
Both boards are 24X8. I'm inclined to think the GS3 is the
better deal, although it's more expensive. The one thing that
bugs me is that it seems to have no balanced outs. Odd. The
TASCAM doesn't have many either, but it *is* cheaper. TASCAMs
have always been loaded with RCA jacks, but some of the older
mixers I've worked on (like the 520) were actually pretty nice.
I've no clue what the 2524 is like, or the GS3. I've used the
3000 in a studio situation, and a couple of the 4-buss mixers
for live work, but not that specific one.
Would anyone like to comment on these? I know they're
probably both bottom-feeder mixers, but I'm in that shape
right now. I've decided to stop working for others and start
up my own place, even though it might be kinda cheezy and take
a while to get where I want.
-- Thanks,
---Michael (of APP)...
http/www.soundclick.com/bands/6/austinpowerplantmusic.htm

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

Not to say that Behringers are high quality, but sometimes seeing a lot
of something in a repair shop only tells you that either the type of
person that buys that something usually abuses it and/or there are a ton
of that something out there.

Why haven't you considered the ubiquitous Mackie?

Cheers,
Trevor de Clercq

Michael wrote:
> I decided against the Behringer; I just have seen too many
> of them in the local repair shops. I've got a line on a couple
> of other similar mixers: a TASCAM 2524 for about $600, and an
> Allen&Heath GS3 for about $750. Neither of these are local, so
> I'm not sure what exactly these sound like. You'd THINK in
> Austin, TX you could get some idea, but no.
> Both boards are 24X8. I'm inclined to think the GS3 is the
> better deal, although it's more expensive. The one thing that
> bugs me is that it seems to have no balanced outs. Odd. The
> TASCAM doesn't have many either, but it *is* cheaper. TASCAMs
> have always been loaded with RCA jacks, but some of the older
> mixers I've worked on (like the 520) were actually pretty nice.
> I've no clue what the 2524 is like, or the GS3. I've used the
> 3000 in a studio situation, and a couple of the 4-buss mixers
> for live work, but not that specific one.
> Would anyone like to comment on these? I know they're
> probably both bottom-feeder mixers, but I'm in that shape
> right now. I've decided to stop working for others and start
> up my own place, even though it might be kinda cheezy and take
> a while to get where I want.
> -- Thanks,
> ---Michael (of APP)...
> http/www.soundclick.com/bands/6/austinpowerplantmusic.htm

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

Michael wrote:
> I decided against the Behringer; I just have seen too many
> of them in the local repair shops. I've got a line on a couple
> of other similar mixers: a TASCAM 2524 for about $600, and an
> Allen&Heath GS3 for about $750. Neither of these are local, so
> I'm not sure what exactly these sound like. You'd THINK in
> Austin, TX you could get some idea, but no.
> Both boards are 24X8. I'm inclined to think the GS3 is the
> better deal, although it's more expensive. The one thing that
> bugs me is that it seems to have no balanced outs. Odd. The
> TASCAM doesn't have many either, but it *is* cheaper. TASCAMs
> have always been loaded with RCA jacks, but some of the older
> mixers I've worked on (like the 520) were actually pretty nice.
> I've no clue what the 2524 is like, or the GS3. I've used the
> 3000 in a studio situation, and a couple of the 4-buss mixers
> for live work, but not that specific one.
> Would anyone like to comment on these? I know they're
> probably both bottom-feeder mixers, but I'm in that shape
> right now. I've decided to stop working for others and start
> up my own place, even though it might be kinda cheezy and take
> a while to get where I want.
> -- Thanks,
> ---Michael (of APP)...
> http/www.soundclick.com/bands/6/austinpowerplantmusic.htm

I've used the Tascam 2524 and found it to be quiet; never put in the shop in twelve years. Still
have it. The RCA thing is a bit of a ah heck, but I've worked around it and really haven't had any
problems with noise or anything else. I lived by three TV towers (which also had other stuff
attached) at one point and this board was still quiet as it gets -- no interference at all.

The GS3 will have better EQ, and arguably better everything, but your ears are the final determining
factor there.

My two cents' worth.

--fletch

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"Michael" <ra3035@NOTfreescale.com> wrote in message
news:MPG.1cc59a6057dd694c9896eb@news.freescale.net...
> I decided against the Behringer; I just have seen too many
> of them in the local repair shops. I've got a line on a couple
> of other similar mixers: a TASCAM 2524 for about $600, and an
> Allen&Heath GS3 for about $750. Neither of these are local, so
> I'm not sure what exactly these sound like. You'd THINK in
> Austin, TX you could get some idea, but no.
> Both boards are 24X8. I'm inclined to think the GS3 is the
> better deal, although it's more expensive. The one thing that
> bugs me is that it seems to have no balanced outs. Odd.

There's full description and specs here:
http/www.allen-heath.com/veterans/products/gl3/gl3.htm
Sure looks like balanced outputs to me:
http/www.allen-heath.com/veterans/products/gl3/gl3_specs.pdf
The "monitor" outputs is not for stage monitors, the aux outputs are
balanced.

The GL3 is actually 24x4x2, not 24x8. My problem with the GL3 is that it
doesn't have low-cuts, assuming you don't mind using a 10-yr-old console.
And you should know there's a 24-channel GL3 for sale up here in good shape
for $575 including road case. Assuming this is for live use, if I were you
I'd be tracking down a 4-yr-old Soundcraft LX7 for around $1k, otherwise get
the Behringer. Don't overlook the DDX3216 either, unless you're too chicken
to use a digital interface for the sake of unprecidented value...

 

[Michael]

Archived from groups: rec.audio.pro (More info?)

In article <SKT6e.12275$If1.3289316@read2.cgocable.net>,
zigakly@nospam.cx says...
>
> "Michael" <ra3035@NOTfreescale.com> wrote in message
> news:MPG.1cc59a6057dd694c9896eb@news.freescale.net...
> > I decided against the Behringer; I just have seen too many
> > of them in the local repair shops. I've got a line on a couple
> > of other similar mixers: a TASCAM 2524 for about $600, and an
> > Allen&Heath GS3 for about $750. Neither of these are local, so
> > I'm not sure what exactly these sound like. You'd THINK in
> > Austin, TX you could get some idea, but no.
> > Both boards are 24X8. I'm inclined to think the GS3 is the
> > better deal, although it's more expensive. The one thing that
> > bugs me is that it seems to have no balanced outs. Odd.
>
> There's full description and specs here:
> http/www.allen-heath.com/veterans/products/gl3/gl3.htm
> Sure looks like balanced outputs to me:
> http/www.allen-heath.com/veterans/products/gl3/gl3_specs.pdf
> The "monitor" outputs is not for stage monitors, the aux outputs are
> balanced.
>
> The GL3 is actually 24x4x2, not 24x8. My problem with the GL3 is that it
> doesn't have low-cuts, assuming you don't mind using a 10-yr-old console.
> And you should know there's a 24-channel GL3 for sale up here in good shape
> for $575 including road case. Assuming this is for live use, if I were you
> I'd be tracking down a 4-yr-old Soundcraft LX7 for around $1k, otherwise get
> the Behringer. Don't overlook the DDX3216 either, unless you're too chicken
> to use a digital interface for the sake of unprecidented value...
>
That's "GS3", not "GL3"...
I wasn't really looking for a digital board at this point. I'm
not a technophobe, but I have certain equipment already, and a way
of working established. This was to be a next step up from current
equipment, hopefully.
To the other fellow that mentioned Mackie, we already have one;
we're using a 24*4 right now. I find it to have certain limitations
and certain plusses. The mic pres are decent for what I'm doing,
but the EQ's a little peaky, and unless you keep the signal low,
the mains output can distort. Plus, being a 24*4 and not inline,
there's a lot of monitoring/patching capability that it doesn't
have. Those EQ and summing problems exist on the bigger board,
and it doesn't have the XDR preamps. Now, if they made a 24X8
inline version of the Onyx, I would be interested. But it would
probably be out of my miniscule budget.
--
---Michael (of APP)...
http/www.soundclick.com/bands/6/austinpowerplantmusic.htm

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"Michael" <ra3035@NOTfreescale.com> wrote

> To the other fellow that mentioned Mackie, we already have one;
> we're using a 24*4 right now. I find it to have certain limitations
> and certain plusses. The mic pres are decent for what I'm doing,
> but the EQ's a little peaky, and unless you keep the signal low,
> the mains output can distort. Plus, being a 24*4 and not inline,
> there's a lot of monitoring/patching capability that it doesn't
> have. Those EQ and summing problems exist on the bigger board,
> and it doesn't have the XDR preamps. Now, if they made a 24X8
> inline version of the Onyx, I would be interested. But it would
> probably be out of my miniscule budget.
> --
> ---Michael (of APP)...

Michael,

If you don't like the Mackie 24-4 I bet you'll dislike the Berhinger. I
visited a local repair shop to talk with the owner and I commented on the
large number of Berhinger mixers they had in for repair. he joked that he
liked the fact they had so many problems because he makes a lot on money
fixing them.

Julian