Purchasing a new audio console is one of the most important decisions a church technical team can make. Sure, there are a handful churches that don’t flinch at the thought of purchasing a $100,000 board, but most of us struggle to convince church leadership to spend even a fraction of that amount. Even if you work at a church with big production and big budgets, every dollar counts, and you want to make sure that the console you purchase will meet your needs now and in the future.
The single biggest consideration for a new console purchase is budget. Sorry to say, I hear too many churches talk about buying new equipment without really having a firm budget in place. Don’t even bother. Come up with a budget first, and then find a console that will meet your needs and not break the bank. Nothing is more disheartening than spending a ton of time putting console packages together, only to be told by your church leadership that there isn’t nearly enough money available for such a purchase. Don’t waste your time working backwards. Insist on a budget first, and design accordingly.
Choosing a Surface
If you’ve got a particular manufacturer in mind, you often have several different mixing surfaces to choose from. Your first consideration is the physical size that your mix position can accommodate. We’d all love to have a 48-fader mixing surface, but will it fit in your space? Make sure to measure how much width you have, but don’t neglect depth. Is your countertop deep enough to accommodate the proposed surface? What about the connectors? Are you using any rear panel connections that will extend the required depth? These are all little details that you want to work out before the console is purchased.
As for mixing considerations, ask yourself a few questions when choosing a surface. How many faders do you really need in front of you at any given time? Are you mixing foldback from the FOH position? If so, certain mixing surfaces are better suited to dual FOH/monitor mixing workflows than others. Does the console require external displays or touch screens? Do you have the space to accommodate them, and have you specified mounting hardware and cabling for the displays? Finally, consider whether the surface will be stationary or mobile. If it’s stationary, you can probably save thousands of dollars by not getting a road case.
Choosing the I/O
One of the single biggest decisions in purchasing a console is choosing the right I/O. It is not just about how much I/O you have, but also where it’s located in your facility. You could have all of the I/O in the world, but if it’s not easily accessible to your day-to-day productions, it will prove more of an annoyance than anything. First, ask yourself how much I/O you think you need today. Then ask yourself if you expect your I/O needs to grow over the life of the system. If the answer is “yes,” you need a modular console with scalable I/O. Be careful not to lock yourself into a system than can’t grow to meet your needs.
Next, figure out where your I/O needs to be located. Do you need local inputs and outputs at the mixing position? Should they be analog, AES/EBU or something else entirely like MADI or Dante? What I/O requirements do you have at the stage, and do you need tielines to other rooms in your facility? With regards to your loudspeaker system, how many drive lines are required and do they need to be analog or digital?
Don’t forget to take a look at the power requirements at each I/O position. A typical stage rack won’t draw a ton of power, but you’ll still need to get power to it somehow. At the same time, consider your cable path options from your mixing surface to your different remote I/O locations. Consider if these cable paths are through conduit, through a ceiling, and how much cable do you require to get the job done.
Protocol Support
While considering your I/O needs throughout the system, it’s worth also considering what audio protocols you might want the system to support. Most current systems support standards-based protocols natively. For example, Avid is using AVB for its stage rack connectivity, while DiGiCo uses MADI and Yamaha is using Dante. These core protocols may sway your decision making about console selection if you prefer one protocol over another. Perhaps you already have MADI equipment in your system, or maybe you’re looking to make a push into a networked Dante system throughout your facility. These are all considerations that need to be taken into account while specifying a console.
Make a List, Check it Twice
There are so many little details to consider, it’s difficult to include them all here in this short article. Choosing the surface and I/O are two of the biggest decisions, but what about all of the details? Here are six other key points to consider to ensure you’re making the right decision:
• Mobility: Most consoles now provide an iPad application that allows for mobile mixing options. Is this required for your application? If so, make sure you’ve included the iPad, networking equipment and cabling necessary.
• Recording: Do you require two-track or multi-track recording? Will you use an existing multi-track recording system or purchase a new one alongside the new console?
• Plug-in Support: Are you a plug-in user? Do you have a substantial existing investment in plug-ins that you want to continue using?
• Monitor Mix Support: Do you currently own a personal monitor mixing system that needs to be integrated into the new console? If not, do you want to have such a system? Many consoles provide similar functionality using iPads and iPhones.
• Power: How will you power all of the components? Do you need any power distribution devices such as Furmans or a UPS?
• Storage: How will the console be stored? Is it in a permanent tech booth, or do you require a road case for the console, I/O and accessories? Cases can add thousands of dollars to a console purchase.
So take some time to evaluate your needs, establish a budget and find the right console for your system.
Vince Lepore is the technical director at St. Luke’s United Methodist Church in Orlando and teaches live production at Full Sail University.
