[WillStG]

wrote:
I need to tap the experienced audio pros here to try to find the right
mixer for my application:

I am rebuilding a small-ish TV studio. Here are the general
requirements for a new audio board:

INPUTS
8 inputs for mics (mono)

At least 12 STEREO inputs for VTR, Patch 1, Patch 2, Patch 3, Clip 1,
Clip 2, CD, Cassette, Turntable, DigiCart, Remote, etc. Here's the
rub: I'd LOVE these to each be on a single fader, rather than a pair.
I hope I don't have to get a custom modular mixer.

1 Additional line input for telephone hybrid.

All inputs should have a rough level set / trim

OUTPUTS/ROUTING
Usual program outputs, post master fader.

Control room outputs with their own level control

Send mix-minus to studio amp/speakers (everything but mics, so talent
can hear clips and live feeds)

Mix-minus for phone hybrid (to send everything back down the phone
line except the caller audio)

At least one send for EFX.

Another send would be great for IFB (interruptable foldback, to send a
reporter in the field a phone-line signal of eveything except
themselves - the satellite delays and causes an echo for the reporter)

Direct channel outs not necessary, but patch in/out points would be
useful.

No real issue on digital vs. analog, but digital ability to recall
snapshots would be nice.

Price as low as possible. I've checked the usual offerings in music
catalogs, but nothing quite does it.

OK: What's out there? Specifics would be nice.

Perhaps a Yamaha DM1000 would be enough, they are small footprint,
full featured, ubiquitous and likely not unfamiliar to the Engineers
and Managers... Not difficult to rent one for a while to check out
either, which companies sometimes like to do before they commit to a
package. The basic config for the 48 input/20 output busses console
is; built in 16 analog Mic/Line, 4 Omni Line inputs, 12 Line outputs,
headphone outs, a couple Stereo digital ins and outs; you add cards
into the 2 slots to round out the I/O configuration needs. I've been
using one for last couple of weeks with 2 digital AES cards (2
connectors per card) which add 32 digital inputs. As you don't seem to
need a whole lot of mix minuses, you can build them from the
available 8 busses or 8 aux sends and still have spares for IFB's.
Isos, I'd use a direct out. While the DM1000 only has 16 faders (+ the
stereo master) on the top layer, you can create pairs of channels
vertically - so Fader/Channel One is the left channel of EVS A, and
the right side of EVS A is on Level Two Fader One (Channel 17). This
way you can have the one fader per VTR/EVS/Other source you want.

Channels have compression/gates/4 band eq and delay. Sounds pretty
good and the delay is important of course for your lip sync
adjustments. Not hard to figure out either.

The output routing of the console is recallable as a Library, not as
part of the main "Scene" recalls. The DM1000 also has 12 user
assignable buttons which you can assign an output library number to,
which is how I get around the console only having one Monitor section
selection section. I save a library recall that changes the output
feed to the Main Control Room (as opposed to the audio room), and
then assign the library number to a user assignable buttons. The Main
Control Room has it's own Volume pot next to the Director who the
levels themselves locally - nice sometimes to NOT have control some
things from Audio (cuts down on distracting requests.... g )

You can save your settings on a usb memory stick too. It's no C100 or
Alpha, but I like it ok. Good luck.

Will Miho
NY TV/Audio Post/Music/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits