A qn about inline and split consoles
- Thread starter xiaoken
- Start date
knightfly
GrouchyOldFartOnBatteries
The lines get a little blurry with digital consoles, since they get multiple duty out of almost every knob and button on the surface, but no, I don't think either one would be considered a split console.
With analog consoles, it's much easier to know. If you see a second section to the right of the master section that looks like more channels, it's a split console. Normally, a split console has more control over tape returns, since the extra channels to the right of the master section usually have all the same controls as a full channel strip, except preamps.
What control you have over tape returns in an inline console tends to be shared with input channel resources, even to the extent of having to share EQ at times. Some boards let you split the EQ between tape in and main inputs, typically set up as two bands of parametric for one half, and high/low shelving for the other half. If you don't need EQ at all on one of the halves of that channel, you can usually opt for using the WHOLE EQ section on one or the other input.
Split consoles make more sense at first glance, since there is a dedicated strip for each input to the mix, whether coming from tape, line in's, or mic ins - one track, one fader, one strip. - Whereas with an inline desk, you kind of have to sort out which knobs in the strip affect which input. If space is a premium, the inline makes more sense but usually takes a longer learning curve.
If you like really long learning curves, most digital consoles will be glad to oblige - but you will get more features for your trouble/money. Quality is a whole different issue... Steve
With analog consoles, it's much easier to know. If you see a second section to the right of the master section that looks like more channels, it's a split console. Normally, a split console has more control over tape returns, since the extra channels to the right of the master section usually have all the same controls as a full channel strip, except preamps.
What control you have over tape returns in an inline console tends to be shared with input channel resources, even to the extent of having to share EQ at times. Some boards let you split the EQ between tape in and main inputs, typically set up as two bands of parametric for one half, and high/low shelving for the other half. If you don't need EQ at all on one of the halves of that channel, you can usually opt for using the WHOLE EQ section on one or the other input.
Split consoles make more sense at first glance, since there is a dedicated strip for each input to the mix, whether coming from tape, line in's, or mic ins - one track, one fader, one strip. - Whereas with an inline desk, you kind of have to sort out which knobs in the strip affect which input. If space is a premium, the inline makes more sense but usually takes a longer learning curve.
If you like really long learning curves, most digital consoles will be glad to oblige - but you will get more features for your trouble/money. Quality is a whole different issue... Steve