Crest Audio HP-8 Mixing Console
By Mark Amundson
When the Crest Audio HP-8 Mixing Console was first announced at Winter NAMM 2004, it sparked a great deal of anticipation. Finally, here was a console with pro features at an anklebiter price. But we got through the better part of a year before we actually got our hands on one and, truth is, we were underwhelmed. A call to Crest engineering confirmed that they were aware of the same issues we had noted (manufacturing and not design-related) and said they were being addressed. We opted to wait to review the HP-8 until that happened and it appears to have been worth the wait. Feature Set
I finally got a 24-channel Crest HP-8 to conduct this review, and started down the checklist of mid-market console "shalls" with the channel strips. Each channel started with an XLR input, phantom power switch, -26dB pad switch, two to 65dB preamp gain control, polarity switch and a three-pole 72Hz Lo-Cut switch. Of note is the lack of a TRS line-in jack, but more on that later.
After the channel strip preamp and TRS insert jack, was a worthy four-band (two swept mid) equalizer section. The mid controls had a fixed Q of 1.5 with nice 100Hz to 2KHz, and 500Hz to 10KHz ranges. The low-frequency shelving control was at 100Hz, and the high-frequency shelving control at 12KHz. All equalizer controls were nicely scaled and had +/-15dB gain knobs.
Tripping on down to my drool-soaked 10 aux sends, they were grouped six, two and two with pre/post fader switches for each group. The fader section was conventional with 100mm faders, PFL switches, mute group switches, subgroup pair switches, main assign switches, mute switch with red LED and an L-R pan control. Metering is done by a single two-color LED for signal present (yellow)/peak (red) indications. Obviously, minimal metering was a designer cost-saving choice, as the PFL switch can provide the ultimate resolution in signal metering. The 100mm fader had about two-thirds the travel in the +/-10dB range, which was unusual to me, but acceptable for most of us.
No stereo input channel strips are provided standalone, but five stereo channels are placed in the master section, above the subgroup and aux masters. Each stereo input has an adequate three-band fixed frequency equalizer with a 60mm fader and complete subgroup and master assigns. The five stereo inputs are further grouped in to three TRS line input channels, and two channels with RCA jacks for CD and/or tape inputs.
Squeezing every last drop of master section real estate, the Crest Audio HP-8 added two matrix outputs with 11 inputs from the masters and subgroups. According to Crest's owner's manual, not only are the matrices used for backroom mixes, but it states that they can be used for video shoots where a vocal heavy mix might be desired. A most informative note on matrix usage.
The HP-8 jackpanel has XLR mic inputs, TRS inserts and TS direct outputs for each channel. Although the HP-8 has a nice internal power supply, an external supply jack is available for redundant backup. Aux send masters, subgroup outs and master outs all received companion TRS insert jacks for flexibility. And to top off the complete feature set, a five-year warranty means they are seriously backing their product.
The Road Test
The Crest Audio HP-8 console got its torture test at both the shop and a weekend of gigs. The above feature description meant there was a lot to love, as getting eight subgroups for less than $5,000, plus the 10 auxes and high-quality mic pre's and EQs is certainly a heroic feat. But as I worked with the HP-8, I realized its strongest trait is as a 10-mix monitor console. Up top in the master section, each auxiliary (or subgroup) has a dedicated 12-LED bar graph, plus the masters. So five stereo PM mixes, or 10 wedge mixes or something in-between can easily be done by enabling the fader flip switches.
The utility and performance of the HP-8 are top notch. I was told just as the product release was announced that the mic pre's and equalization were going to industryleading, and I believe they pretty much lived up to that goal–though the early production growing pains gave the competition some time to catch up. However, no matter how you slice it today, the Crest HP-8 wins best value in mid-market mixing consoles.
Now, no console is perfect, and I want to air my modest "niggle" list on some features. The first niggle is that no channel TRS inputs means that FOH usage was slightly lessened by forcing me to put the effects returns up on the smaller fader stereo inputs. Now, I know this where they want the effects returns to be, but I personally like nice, wide fader travels to fine-tune effects in difficult room acoustics. CD and tape machines are fine on small faders, but effects returns normally live large with me. Another niggle is something that strikes larger, vastly more expensive consoles, though it does apply to the HP-8. That is the issue of assign switches on channel strips and masters. When grouped together, these switches do not have a lot of on/off throw to easily see which switch is enabled. Combine this with modest console lighting in dark clubs and a desk at waist height, and the visual angle makes detecting switch positions a double-take affair.
My last niggle is more a "me" thing than a console designer thing, and the niggle is the 66% fader range in the +/-10dB area. Now, most of my gigs are moderately-sized clubs where I am fighting a lot of stage wash, and that means many an instrument fader hiding down into the -15 to -30dB range. And when that range is compressed to a centimeter or two of fader travel, I start worrying about the audience mix and having to double-check my finger-to-ear coordination. I have been happy when 50% of fader travel is below -10dB, but compressed scaling is not my biggest thrill. But should you care about "my" niggles? "Not very much" is the appropriate answer, if you need this console's feature set.
[You may be tempted to take the opening part of this review as a slam on Crest. Don't. That would be a mistake. In fact, as far as I am concerned, the fact that there were some issues with early shipping versions of the HP-8 and that they acknowledged and TOOK CARE OF them is a huge compliment. Too many companies would have pretended there was no problem and tried to resolve the issue without anyone knowing about it. And, frankly, too many magazines would have played along. In my rarely humble opinion, this is one place where Crest's hookup with Peavey is going to really pay off for users. While they may not have the pedigree some big-time sound guys want, my experience is that Peavey makes nearly bulletproof gear and stands behind it 100%.
I have never had a piece of Peavey gear fail on a gig, and any time I had any customer service issue, it was resolved quickly and to my satisfaction. And, no, they did not know I was a magazine editor covering the sound biz when I called. So, hats off to Peavey and Crest for taking the high road and ending up with a hell of a nice console. –Ed.]
What it is: Mid-Market Mixing Console
Who it's for: Small soundcos needing a ton of features for demanding clients. Or a very good monitor mix console for local and regional soundcos.
Pros: Top notch mic pres and EQs, great aux/master metering, plenty of aux sends and subgroups.
Cons: No channel TRS line inputs, assign switch throw amount, and 100mm fader taper preference.
How much: Crest Audio HP-8 24-channel, $4,499.99 MSRP
Furman AR-15 Voltage Regulator and Power Conditioner
By Bill Evans
Bully for Furman. Long the "go-to" company for power conditioning rack products, over time they found themselves under assault from other companies who claimed quieter, cleaner and more reliable power. True? Let's just say that perception is a powerful thing, and Furman has been combating perception problems in some markets for some time now. After a while, they were still the "go-to," but increasingly for folks who were mostly musicians, home studio types and small providers. (Not that they were ever gone from the pro market, mind you. For example, if you were touring internationally, you almost surely were using an AR-PRO regulator.)
But over the past couple of years, there has been a concerted effort to regain that more pro level user, and Furman has come out with some very nice products that will take huge spikes and overvoltage without burning up in the process. The AR-15 is the latest of these and adds some new features really aimed at the pro user.
In addition to the expected power conditioning, Furman has added voltage regulation (plus or minus five volts of desired output with input levels as much as +/-10% of the desired output). You also get the expected spike protection, but it now happens without blowing any internal parts. While this kind of non-sacrificing "clamp down and dissipate" technology is not exclusive to Furman, they do claim to engage it at a much lower voltage level than others, adding another layer of protection. You also get filtering that will not add noise to the incoming AC.
We used the AR-15 as the main power point at FOH for an all-day outdoor gig. Power from the genny came to the AR-15, which was in a rack with a dbx DriveRack 260, and a dbx AFS224 feedback killer. A second rack with all-system compression, insert FX and EQ plugged into the AR-15, as did the console. The gig was outdoors in the sun in L.A. in August. Yes, it was hot. But the system was up from about 3:30 p.m. until 1 a.m. and there was never a problem, despite less-than-perfect power from the genny and the sun beating down on the uncovered FOH position. In fact, the only thing to get burned was me–I am still nursing a wicked sunburn.
A power conditioner is the kind of thing you just want to work without thinking about it and, once again, Furman has given us a piece that we can count on. The nonsacrificial nature of the unit is huge. Instead of having to carry a spare and switch it out if there was a problem, you reset and go. And, unless there is something else out there that I don't know about, I think this is the first unit that combines both voltage regulation and non-sacrificial conditioning in a single rack space. Expect to see the AR-15 turning up in lots of racks. MSRP IS $659.95.
beyerdynamic Opus DrumSet XXL
By Jamie Rio
We all have some sort of opinion when it comes to what we consider our most important piece of gear, or at least what our favorite equipment is. Some of you stand behind your choice of speakers and power amps. Others believe everything rides on the mixing console or outboard gear you use. Then there are those of us who swear by their microphones. Obviously, every bit of gear in the signal chain is very important, but I, like many others, trust in those small, unassuming devices that capture the initial energy of sound. Microphones not only represent first contact with just about everything you mix, but they also come in an amazing variety of shapes, sizes and tonal characters. As you can see, I am pretty excited about microphones, which is probably why I was chosen to review the beyerdynamic DrumSet mics. So, let's take a look.
The Gear
All the mics in the DrumSet come from the Opus Series. First, we have the Opus 99 kick drum mic. This is a large diaphragm dynamic microphone using a hypercardioid pattern. The mic sports a neodymium magnet, which helps it operate in very high SPL without loss of sound quality or distortion. It also comes with a groovy mic stand that allows you to mount it inside the kick drum if you wish.
Next in our lineup are three Opus 88 microphones. These are condenser microphones that have been optimized for snare drum and very high SPL handling. However, they work very well on toms and congas. These mics are built into a very cool springloaded mounting system with integrated preamplifier and XLR plug. A cardioid polar pattern is featured with the Opus 88s.
The two condenser Opus 87 microphones are similar to the 88 models, but they have been optimized for floor toms and percussion. They are packaged in the same springloaded system with pre-amp, and also come in a cardioid pattern. These mics are integrated into a small gooseneck, which gives them a great deal of flexibility when is comes to placement.
A small diaphragm Opus 53 microphone covers the hi-hat. Beyer claims this mic can also be used for overhead, congas, bongos, trumpet, clarinet and accordion. I opted to use this condenser mic with its cardioid pattern only on hi-hats–mainly because I had two MC 930 condenser microphones for my overheads. These mics are fantastic. They have a wide frequency response (40 to 20,000Hz), switchable bass roll-off (six dB/Octave at 250Hz) and a switchable pre-attenuation of 15dB. They hear in a cardioid pattern and are also comfortable in studio or live.
There you have it. Now, let's see how these mics performed in the real world.
The Shows
When I first opened the DrumSet briefcase, I felt like a secret agent. (Actually, it was the second thing I thought. The first was, "Crap. Look at all of these mics. This is gonna mean more work." But I digress…) The spring-loaded mics look like some kind of top-secret listening device and assembling the kick drum stand is like screwing in a silencer on a Beretta 25. Obviously, I've watched too many James Bond films. But back to reality.
The mounting system is very ingenious. It not only works quite well, it's super fast to set up. This is very important for me personally. I don't want to spend an hour miking drums, or anything else for that matter. In fact, on gigs like the ones we used these Beyers on, I usually use just three mics–a kick, a snare and one overhead for the rest of the kit. I was pleasantly surprised that it actually took me just a few minutes to get the kick drum, snare, hat, two toms and two overhead mics in place.
Right out of the chute, the kick and snare sounded great. Of course, that is partly due to the drummer's gear, but the mics did their part well. The toms and overheads were also a piece of cake. The hat mic was the only one that gave me a little grief. And that was partly due to the drummer's hat, and partly because I was comparing the Opus 53 hat mic to the MC 930 overheads. The 930 sounded so sweet I could almost taste the cymbals. This is obviously a superior mic. All in all, the mics made my mix easier and more fun. And the 1,000 people listening and dancing seemed to enjoy themselves.
I had one more chance with the DrumSet mics and an audience of about 2,000. This time, I used one of the 93s for my hat and one for overhead along with the kick, snare, and two tom mics. I set the bass roll off for the hat mic and it sounded like heavenly glass. Very transparent and totally distinguishable from any other tone in the mix. The whole drum kit sounded great. I realize that the drums themselves have a lot to do with the overall sound, but having the beyerdynamic mics made everything better. These microphones are great tools and should be considered as an addition to any mic arsenal. The DrumSet mics also come in four different configurations, so there is something for everyone.
What is it: beyerdynamic Opus DrumSet XXL
Who it's for: Sound companies, bands and home studios
Pros: Super fast setup. Quality microphones.
Cons: The hat mic not really to my personal taste.
How much: $2,379 MSRP
Link Eurocable Drum Snake
By Bill Evans
My wife has been trying for years to get me to really understand–on a "feel" level–the difference between thread counts in fabric. While I can feel the difference between cotton and silk, the difference in thread counts continues to elude me. But, perhaps, after using the Link Eurocable on a gig, I will have something to relate it to.
The Link system is totally modular so, instead of ordering a fan-to-box or fan-toreel hardwired unit, you specify number of channels and the termination required at both ends of the snake, and you get separate pieces to accomplish what you need. For this review, we received a multi-core cable 50 feet in length, with a fan of eight XLRs on one end and a standard multipin on the other along with two boxes–a very straight stage box with a multi-pin on the side, eight XLRs on top and a more streamlined rack-width box with the multi-pin, eight XLRs and a ground-lift switch for each channel.
These modules are nice because they allow you to have the best configuration for a specific gig without buying a whole new snake. If you need longer, you just get a longer cable. If you want a different format for the box, you buy only a new box, not a whole new snake. It is economical, convenient and cuts down on storage space.
But the real cool thing is the cable. We have all wrestled big snakes into their cases or onto a reel, fighting the stiff cable and trying–sometimes in vain–to get it packed without any kinks that might mean a dropped channel on the next gig. But the Eurocable, at eight channels, coiled much better than another manufacturer's six-channel subsnake that I have used for a long time. It actually seemed to want to coil, if that makes any sense. And it seems built to "take it"–it was just thrown into the back of the truck for the 250-mile trip to the gig without a case or any kind of protection, and it emerged from the corner it was unceremoniously shoved into and laid flat without any problems. We used both a standard stage box (built like an arch with two edges on the ground and the middle raised up enough to pass cables under it–nice touch) and the rack-size unit with the ground lifts, and were very pleased with both. This is another piece of gear that you just want to work, nothing fancy. But this is a snake you may actually brag to your friends about.
We also received a reel of Eurocable Cat 5 that was equally as beefy and flexible. My only grumble is that the monitoring system I use takes eight Cat 5s to feed the onstage mini-mixers, and I am seriously thinking about buying a bunch of these. The small plastic reel and stand make it easy to use and the cable is far better than most of the Cat 5 stuff I have used in the past. Remember, this is cable that was made for computer networking where it is placed once and rarely, if ever, moved. It was not made for abuse by roadies and local crew. I carry more spare Cat 5 cables to gigs than anything else because I know they are the most likely thing to fail onstage. But the Eurocable stuff seems much more able to take it without pitching a data-compromising fit.
Leave it to an Italian company to actually make cable sexy. This stuff is soft and pliable enough that your girlfriend might even let you tie her up with it. And even if she won't go there, this is pretty cool stuff.
