Up for review this month is the APB ProDesk-4. I hadn't used an APB console before, so I was pretty excited to check this one out. Typically, the items out for review are something on the smaller side, but this one almost didn't even fit in my truck. You know it's a tight fit when you have to get out a measuring tape to see if it was gonna fit! But with a little finagling, we did get it to fit, and I got a chance to put the ProDesk4 through its paces.
The Gear
Even though it's bigger than many of the other items that get reviewed in these pages, the ProDesk-4 is a small-format front-of-house mixing console. But don't let the small size fool you, this console has many features packed in underneath the hood.
The console sent to me was the 32 channel ProDesk-4. Other available sizes are the 16, 24, 40 and 48 channel versions. All versions include four TRS input stereo channels for effects, playback or whatever your heart may desire. One feature that I am a huge fan of is the available dual (and field-replaceable) power supplies. All sizes except for the 16 channel have room for a primary and backup power supply located directly into the console frame. All ProDesk-4 consoles have a depth of 23.5 inches and a maximum height of 8.9 inches. Width is dictated by how many channels the frame has. The 16 channel is 30.8 inches wide; the 24 channel is 38.8 inches wide; the 32 channel is 46.9 inches wide; the 40 channel is 55 inches wide; and the 48 channel is 63.1 inches wide.
Another feature included on all versions of this console series is the increasingly-popular USB-Audio port on the back. Users can record and playback audio directly from a PC, and there is a download link for a free program to do this from their website.
Some console manufacturers try to cram too many features into a master section, including some that the average engineer won't even use. That can lead to a confusing pile of buttons that never get pressed for the life of the console. This is not the case with the ProDesk-4. I was happy to see all the features APB was able to fit into the master section, and how those features worked together. The master section has four matrix outputs, six aux masters, four sub groups, four mute groups, an assignable oscillator (with pink noise and 1KHhz tone), stereo program in/out, talkback section and monitoring section. Also included on the master section is a master left and right, as well as a mono and center.
Moving onto the input section, you will find a plethora of features packed into each channel strip. Looking at the back of the console you will find an XLR microphone in, ¼-inch line in, ¼-inch direct out and ¼-inch single point insert. Switching back to the front and starting from the top, the ProDesk-4 has phantom power, line level, polarity and pad switches along side with the head amp gain attenuator. Directly below gets into the EQ section and includes a sweepable high-pass filter from 20Hz to 400Hz. Any other equalization is done via the four band EQ with two sweepable mid-frequencies.
Next is the auxiliary section. Another thing I like about this console is that it has a switch to put the EQ pre or post the auxiliaries. I've seem engineers with a personal preference one way or the other, so it is nice to have the option. The ProDesk-4 comes with six aux sends, all of which are pre- or post-fader selectable. Aux 1 and 2 can also be made into a stereo aux as well.
Finally, there is the lower portion of the input channel strip. This includes a pan pot, internally-lit Mute button, 100mm fader and six-segment LED signal light. This also includes mute group selection buttons, assignment switches and a internally illuminated PFL light as well.
One last thing – I thought the output section was a little weird because the XLR connectors are "flipped" in an even/odd configuration. In other words, the XLRs on either side of any output will be upside down – kind of like a mirror image of the ones above and below it. After the gig, I found out that they are done this way because the outputs are so close together that, without this arrangement, you would probably have to remove the XLR connector next to the one you were trying to get to in order to access the locking connector. It took a little getting used to, but it was actually pretty ingenious.
The Gig
I had the perfect show lined up for this review. As always, I try and use gear out in the elements (a.k.a., Vegas heat), and this review was no exception. This show was done at a park in an upscale community outside with a local disco band. It was a hot one outside, with the high temperature topping out at around 108 degrees F. I wasn't sure how this console would do in the heat, so I brought my other board just in case of a failure.
I got to the show a little early to give myself some time to check this console out. It took little to no time at all to get the hang of it and assign pink noise to the mains and all the monitor mixes. The output section had a nice amount of headroom, and I was able to get what I needed out of the EQ with ease. Having internally-lit switches worried me at first, due to how bright it is in the sun here, but I was soon proven wrong when I could see the light even with my sunglasses on.
The only thing that did not work at the show was the first channel. I bumped the snake line down and got through the show with no other problems. Not thinking much of it, I mentioned it when I turned in this review. Long story short, a new module was over-nighted to me along with multiple phone calls, e-mails and instructions from APB on how to replace the module. On a scale of 1-to-10, I would easily give the guys at APB an 11 on technical support. No time was spent making excuses on why the module failed. Instead the problem was resolved immediately (directly with the console designer I might add) with some of the best technical support I've seen in a long time.
APB-Dynasonics ProDesk-4
Pros: Optional dual built-in power supplies; very flexible and easy to understand output section; pre- or post-EQ-selectable auxiliaries; all output connectors for mains and auxiliaries are XLR.
Cons: None, unless you want to be just stupid picky. Then you might gripe that the odd and even XLR output connectors format, while ultimately useful, takes a little getting used to.
How Much: ProDesk-432: $9,000; other ProDesk-4 models: $6,340-$11,900.
