Ira Seigel

Trey, Dane Lonsdale in the forum here is a great source for info on the SX-ST. I almost bought his a few months ago. I know he told me that the pres, EQ and limiters in the SX-ST were "superior" to those in the SX-S. Fabrice Junod at SONOSAX said that the ST pres were the next evolution up from the SX-S. Geoff Maxwell (here in this forum, as well??) likes the faders in the SX-ST much more than in the SX-S, but he said he likes those in the ES best. Write to those guys for their first-hand opinions. My only experience is with 2 SX-S8s, and I really like them for live concert mixing.

Hi Brian, Thanks very much for your response here. Yeah, every day or so I check in on this board, notice another "view" or 2 on my post, but no replies. So THANK YOU! I'm glad to know that you, too, know the difference between variant 212 and 214 of the Input Module. Yes, the gray vs red button is one indicator; also the recessed Pan and Aux Send pots are another indicator of the 214. But then the wonderful part, of course, is when you open up the unit and see those 3 great S4, S5 and S8 switches. And the S4, as you mentioned, in effect chooses between POP and no pop at the

I'm told that there are 3 different variants of input modules for the SX-S, and maybe others. There is a Model 211, 212, and 214, according to Adam at Liberman Sound. I just purchased an SX-S8 from Trew, and I'm fortunate (?) to have all 3 of these variants in my mixer. The only distinguishing feature seems to be the switches at the top of the module for phantom power, or lack thereof. But I have seen photos of SX-S mixers in which there are no insert or direct out jacks on the back of the modules. Can anyone tell me about these modules? Are they common? Any idea what model number

Hi Mike, Received! Many thanks for your time and trouble to send it to me. Regards, Ira Seigel

I have to say that in all my years mixing REO Speedwagon or Barry Manilow or etc, I never had to deal with any of these problems. ira

My understanding of the OP’s question was basically - how do you get a mic close enough to the talent to minimize room ambience. One solution, obviously, is to get the actual mic element as close as possible to the talker, and not bother with overly technical mic choices and kludgy workarounds. A lav is one of those simple solutions. I apologize, however, for not intuiting that the talent was on camera.

Hi Mike, Well, your name is on the road case. That must be just a coincidence.😀 I figured you might recognize the mixer when i posted the pic. Yes, I think it’s a keeper. I wouldn’t mind a latching PFL button (perhaps with with an indicator LED?) in the main Meter section, and latching instead of momentary PFL toggle switches on the inputs. Those would be my #2 requests. #1 would be a Mute switch. A workaround, using the AB busses as my stereo out, is to use the AB toggle switch on the input to unassign it to the output. It produces a very soft click sound, which I haven’t yet

No one here likes DPA or Countryman lavs?

Thanks to all you folks for your insights and advice. Yes, I knew that the Coopers weren't intended for live mixing - and I'm guessing Audio Developments mixers aren't either, but I'm going to try an AD149. Philip, you're right that all the attention in live mixing consoles these days is in digital stuff. You have to be an IT guy these days to get an audio gig. The Waves plug-in craze still seems to have its grip on engineers, and recallable scenes is definitely a valuable feature. But I've done tours mixing on a laptop with a mouse, and the experience is not very satis

Hello again Jon, I thought I'd contribute a little more to this thread, now that I have something interesting to relate. I received by Cooper CS208 mixer from Trew last week, and I immediately put it to work on a very simple task of controlling a couple of talk mics for the Opening Night Gala of the Seattle Symphony. I learned some good things and some disappointing things. The mic pres in the Cooper (and in the CS104 which I also have) are excellent. And the EQ section of the 208 does exactly what the labeling says it's supposed to do. Very clean, very

Jon, Back in the old days, when we had roadies to unload and push around our gear, a 10U rack was nothing. I still have 2 16U racks in my garage. They used to be loaded with gear and cabling and weigh 400 pounds each. I mixed an awful lot of shows with bands like REO Speedwagon with that stuff. Of course, nowadays much of the functions of all those pieces of gear can now be handled by laptops and servers and programs called plug-ins. Curmudgeons such as myself, however, still believe in hardware and analog where appropriate. One piece of gear that “you people” migh

Hi Jon, Thanks for your encouragement and question. As an experienced live sound mixer and neophyte sound recordist in concert halls and other venues, there's a good deal of overlap in the gear that I use and you use that could "cross over". High end, portable mic pres are one example: the Lunatec, Grace and Millennia portable preamps are 3 examples that I own that I use with stereo ribbons (Royer and Mesanovic) for music ensemble recordings. The Cooper CS104 and the ultraportable Sonosax SX-PR have wonderful pres and make great front ends for recording onto a 702T o

Thanks for your thoughts Chris. Being a rank amateur in your field - I'm a concert sound mixer - I fear that I'd have little useful to contribute. More like asking questions than contributing my newbie-level knowledge. I had hoped to adapt some of the equipment used in your profession to my needs recording live concerts - classical quartets, choirs, symphonies, jazz, e.g. - so I'm still learning. Cheers, Ira

Hello, I'm pretty new here. I haven't made the required number of posts. I'll do that, so that I can put these units up for sale in the proper forum, if they're of interest to anyone. Thanks, Ira Seigel