A "state-of-the-art" mixer of today is also nothing more than several I / O's and a digital gate, compressor and EQ section, which is controlled by Motorfader or Endless Encoders. Apart from a thicker bank account, trucks and helpers are needed to transport such intimidation electronics. Too expensive, too big, too heavy, too little discreet. For me, anyway. So why not a modular solution?
This is my "big" mobile setup, from the front and from the rear. It is for live sonication and editing and has 32 I / O's, 16 analog and 16 digital. 14 of the analog inputs have microphone preamplifiers and 8 channels can be switched to DI mode. Two of the microphone / DI inputs offer a genuine "vintage" touch: they are 50-year-old telephones V672 microphone and gain amplifiers, which have come to life in 19-inch format. In addition there is a unique room simulator and individual monitoring. UAD emulations of exquisite vintage equipment are also available as a plug-in.
Two stageboxes (mic/line) are connected via multicore cables so that the technology can be used more or less invisibly, without cable chaos or longer set-up times. A motor-faderbank is available to control the virtual console. A technical bonus is the wireless live mix - from any other place, via iPad - unbypassed and optically extremely discreet - possible (even if it sounds funny or looks toy-ish somehow: it is very pleasant to work with). Channel settings are made via Metric Halo's Console5, with Gate, Compressor and EQ of the already legendary MH channel strip, individual bus system and many other well-sounding extras.
Audio Stage Technology
At PA, too, the highest sound quality and ease of transport were the unrivaled requirements. This led to two, almost irresistibly small Nexo PA's (PS-8), each with a legendary 1750 W in "high-end quality", which is also recognizable from the 10th row. The audience noticed and thanked...
Nexo PS-8 not only amazed bcause of its balanced and transparent sound - with crisp bass - but also thanks to its excellent coverage and wide range. Especially with such small PA's the sound often breaks already after a short distance - not so with the PS-8. You will not believe it from the mere view!
Microphones are "very close", of course - I have an almost personal relationship with them. They are the "sensing elements" of the setup. There is no microphone in my collection that tries to sound like another.
Different requirements require different microphones. In my collection are DPA 3521, Brauner Phanthera, AKG C414 B-ULS and other models of Beyerdynamic, DPA, ElectroVoice and Shure. Two wireless channels are possible, if the situation requires.
The cables are from Mogami, Sommer, Vovox and Isoda, the plugs from Neutrik and Switchcraft.
More about my studio equipment: