OK guys, here’s my review:

I spent some time at the APB plant going over the functions of the board. One of the few comments I made were pertaining to the recessed lamp dimmer, you’ll need a jewelers screwdriver to dim the lamp. A petty item but I’d rather not carry a screwdriver to dim the lamp in a dark club. Maybe I’ll gaff one to the underside.

Another thing I noticed was switchable L R C M outputs. With the press of some buttons these outputs go from line level to mic level allowing you to feed into a mic input of another console. I thought this was a pretty useless feature and commented that I’d never have the need for it. Some other guy might and I realize that the console was designed with many combinations in mind.

In use, I noticed the line cord stuck out the side a bit. It would be better if a 90 degree IEC cord was supplied. I have a few in my AC kit box so it’s not a real biggie.

I had a small band to mix at Lotus, a NYC venue I am the regular provider for. Bands are done on the main floor stage and I have a line level house input always at the ready. I set up and waited for the band. I was informed that they were playing in the lounge, a space that has only a DJ level system and no pre-set line inputs. I had to plug into the microphone input of the DJ console (a Rane). Huh. The feature I swore I’d never ever need or use gets used on my very first gig with the console. I switched the output to mic level and all was well.

The System consists of McCauley 10 X 1 tops and a big dual 18 sub. One of the mid/high cabinets was literally six feet from the microphones. After dialing in the board, there was no noticeable feedback. We did get pretty loud as the lead kept asking for more level to combat the drunken party noise. At every push of the fader, I expected trouble but it never came. There were several comments made as to how good the sound was. I wouldn’t have thought it would’ve sounded that good but there it was. The event was a success other than the band playing for two hours vs. the original one.

I like this console. I wished it was straight 16 channels with full EQ sections but again, the needs of the many outweigh the needs of the one. Channels 13-16 are stereo with dual XLR mic inputs individually gain controlled and a simplified EQ section, not unlike many other rack consoles. This console has a plethora of input and output routes and it’s very flexible. Without a doubt, more features than I’ve ever seen on a rack console. Outputs are on balanced XLR plugs, that’s six aux, four subgroups and L R C M. It even has a monitor output on it’s own knob. Full sized backlit mute buttons that light red when muted. Each channel has it’s own phantom power button, a variable high-pass knob, a polarity invert button and full metering.

APB certainly did their homework. If they’re willing to expand to two larger, non rack sizes, it would surely give the Midas Venice a run for the money. This console has the aux sends and sub groups of a much bigger board, something the Venice sorely lacks. And with the same Burr-Brown pre-amps as used in their big consoles, I’d bet it sounds better than a Venice. I felt aside from not being a VCA console, I was using one of the big APB consoles.

I’ve been sitting on a fence about buying a rack console for a long time. This console was worth the wait.

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[Updated on: Sun, 29 April 2007 23:00]

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[Updated on: Wed, 02 May 2007 17:00]

[Updated on: Sat, 05 May 2007 10:22]

My guy Karl's not happy being on a parade float but he likes the console!

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