Shop the Waves eMotion LV1 Classic 64-channel digital mixer here 👉 sweetwater.sjv.io/MAK11o Check out Waves’ wide selection of products at Sweetwater here 👉 sweetwater.sjv.io/qzWqqL
That's the case with literally every plugin ever. You don't own the plugin as an "entity", you own a license to use the plugin. That's always been the case. It's not like they can revoke a license from your board :p
I built my studio around this technology 6 Years ago. I was one of the first who got a full setup in studio. So the short answer is yes, this is the best. Price per channel, nothing can beat. The original Evolution channel strip is latency free, precise and almost transparent. But, you can dress up like an SSL or Abbey Road mixer, for couple of bucks. I hate only one thing…. When you are mixing more than 16 channels, somehow the system is running out from dynamics. So all channels must be around -10 dB, and faders became super sensitive. We have big setup with 63 stereo channels, and most of the time we typing in the fader values with keyboard. Probably some kind of data compression is going on in the SoundGrid protocol….
Can you close the window of the faders on the screen? Seems to take a lot of unnecessary space since we have the faders down below… makes no sense to me 😕
Methinks there aren't any accessibility issues for those who have a visual disability. Pardon me for not watching the video fully, but if there isn't a software side to control the Waves Digital Mixer, I won't be able to make use of it even with a large touch screen. RUclips's alghrothm recommended me this video though.
That’s not even a comparison. LV1 is on a completely different level to anything by Behringer. LV1 Classic is more comparable to A&H Avantis Solo or Yamaha DM7C
@@callumcottle4685 It cost three times more, but the specs are not three times better. Can you told us in which aspects it's in a completely different level?
@@alkaiosmusicyeah, especially with the Waves expansion card for the Wing coming soon, I don’t see how this assertion holds up. Wing has some power. The channel and bus count is higher for the LV1, but I’m not seeing functionality that blows the Wing compact out of the water.
LV1 can do 96k, Behringer can do 48k. LV1 can patch any input jack to either side of a stereo channel. Behringer can't. LV1 has a specific sound that you only get from high end consoles. You hear so much air on each channel which Behringer doesn't have that air. LV1 has Immersive IEM, Behringer does not. LV1 has support, Behringer does not. If the LV1 console acts up, they can connect to it and fix things on it, Behringer can't. LV1 can have as many dynamic EQs as you can possibly think of on the console, Behringer doesn't. When I switched from X32 over to LV1, people who had seen the band a lot, who know nothing about audio said "I don't know what it is, but they just sound better". LV1 can do 16 custom layers. This is a very big deal. It allows you to take a 32 channel show file, plus 6 FX for that file and break it down to 16 faders. The Matrix section is very flexible too. You can run up to 12 sources to any matrix. So you could create a cue bus that has the solo button and all the talk back mics. Bar bands are using Talkback mics, especially here in Nashville. It is frustrating to be on an M32 and you have to do so much work in order to hear the stage Talkback mic. Having the ability to hear the stage talkback in your in ears at FOH is a huge benefit, its also just more professional. The Ionic preamps are on par with Avid S6L. They have the ability to be Line/Mic, they also have the ability to be clean or have harmonic distortion. They also have impedance options. When you run a Y type splitter (Seismic Audio style) you need a different impedance then if you pug the mic right into the back of the console. So with the Y type splitter, you run 7k. When I did this with my touring band, the sound suddenly was in your face instead of feeling like it was "over there". The most important aspect of anything related to audio is "What does it sound like?". If you use an LV1 for several shows and then mix on a Behringer, you will long for the fullness, the air the stereo width, the dynamics of an LV1. The very first thing I noticed on my LV1 (back in V9) was how defined the stereo image was. I then noticed how every single channel had tons and tons of air. Even when you LPF a channel, those channels still have a tremendous amount of air to them. The console just breaths A very good friend of mine came and listened to my mix in a horrible room and he commented on how smooth the console sounds. He has been on all price points of consoles. He mixes on M32 most of the time.
Also, I just did the math. Behringer Wing, Waves Card, Titan server and Superrack is $1000 more then LV1 Classic. It also is a 48 channel console, compared to a 64 channel LV1. This did not include a touchscreen computer to control Superrack, ethernet cables, a rack for the server or ethernet switches. Purchase wisely.
It sits on a decent budget. It does a bit more than the Wing but is smaller than the Avantis. I think this is a solid price point. Maybe 6k, but it's in a decent spot.
Avantis is $2000 more. Plus you don't get the plugins that this comes with. The Avantis also doesn't sound as good. It's a good desk, but the preamps and internal summing of LV1 are superior.
This is a fantastic console for bars, bar bands, touring bands.... I have a bar gig that at the moment has a Presonus 16 channel. We are going to upgrade at some point in the next year (finally). This would be the perfect console for this situation because we have the console onstage and mx on an Ipad. 16 physical inputs and 12 outputs is exactly what we need for that gig. Most bar bands are under 16 inputs, so this is perfect for that too. Now before anything is said about the price, just remember, the guitar player is probably using at least $10,000 worth of guitars, pedals and amps. If you do a ton of fly dates, this is also a fantastic console for that because you can check the surface and the stagerack.
Also a great console for churches who regularly use more than 32 channels. At $8k, it's very competitive to the cost for other consoles in the same realm.
@@steve01010 To top it off, you can add a Fit controller and another touchscreen and you would have a full 32 faders available!!! You can run any event on 32 custom faders!!! That is actually 32 plus 2!!!! In church, you could have the worship leader on one of the master faders, and the pastor on the other one. I see zero reason to buy any other console, till you need more then 64 channels.
You ain't the target market. First of all, this is primarily for live sound, so no DAW needed. Secondly, in the live sound market, comparable consoles (A&H Avantis, Yamaha QL/CL, or even DM7) are gunna be less capable and/or way more expensive. $8k may seem Ike a lot to you for a mixing console, but even a cheapo X32 + Soundgrid server starts approaching this price....and you get an ancient, outdated, unsupported/abandoned Behringer product.
The issue is still the price. Sure bands with wealthy members can afford it or if you’re in a band making $3-4K a gig, gigging 15-20 gigs a month can afford it but for most of us gigging bands out here, we can’t and will never be able to afford it. Yep, it’s great, does everything, makes coffee for you and all that but, it’s still insanely expensive, IMO.
@@bks252without being rude, your not the target audience. Waves is targeting this at medium to large touring bands where they have a FoH/Monitor engineer touring party that hire the desks in from a hire company like Solotech or Claire Bros.
Looking at this now, Digico made a huge mistake breaking ties with waves, this will destroy Digico they haven't done anything to innovate like this and draw a modern audience of engineers
DiGiCo have Q225, Q326, Q338 & Q852. There’s rumours of a SD11 replacement in the Quantum line up in the pipeline. But I feel DiGiCo are just looking to conquer the larger format market.
@@jthunderbass1yeah, that's what I may end up getting. My gripe wasn't so much about the limited inputs, it was mostly about the size of it. Having the fixed screen makes it impossible to mount it in a combo case. They should've made it removable or able to fold. I'm an owner operator and I like to have my mixer, in ear transmitters, sub snake and wireless receivers all hooked up in the same box. I wheel one box in, plug in one power cord and paddles, roll out the snake and I'm good to go. I still might get this and just put the 24 channel stage box in a rack with the other gear then just run an ethercon to the mixer, it's just kind of clunky that way. Also there aren't a lot of case options available because of it's design. It's just frustrating to hear them boast about it's portability when it's the least portable mixer of it's type. If it's only going to have 16 faders it should fit in a rack. If it can't fit in a rack give it 24 faders so I can have 4 sub group masters and 4 effects faders.
I think your missing the point. This isn’t just for recording music. It’s a live audio console. It’s designed for concerts and gigs. You can’t mix live gigs with a DAW
If your mixing gig is broadcast, then yes, get a DAW, but if you're doing live sound this is the tool for that. Plus, how do you mix a 64 channel broadcast session in a DAW? How do you ride multiple faders and grab any effect or channel perimeters instantly in a DAW? I am legitimately curious on that.
Shop the Waves eMotion LV1 Classic 64-channel digital mixer here 👉 sweetwater.sjv.io/MAK11o
Check out Waves’ wide selection of products at Sweetwater here 👉 sweetwater.sjv.io/qzWqqL
This video is *JUST* in time for Christmas.
Whenever I hear the word “licensing” it’s No Thanks.
I think it's just for any additional plugins you purchase .... just like you would need a license to use plugins in a DAW
That's the case with literally every plugin ever. You don't own the plugin as an "entity", you own a license to use the plugin. That's always been the case. It's not like they can revoke a license from your board :p
Allen&Heath is not an option for you either then
@@wilcandou windows also operates with a license. Slate, SSL, Avid…..
to everyone here: the fact that windows or any plugin in your daw requires a license doesn't mean that's the way it should be
I built my studio around this technology 6 Years ago. I was one of the first who got a full setup in studio.
So the short answer is yes, this is the best.
Price per channel, nothing can beat.
The original Evolution channel strip is latency free, precise and almost transparent.
But, you can dress up like an SSL or Abbey Road mixer, for couple of bucks.
I hate only one thing…. When you are mixing more than 16 channels, somehow the system is running out from dynamics. So all channels must be around -10 dB, and faders became super sensitive. We have big setup with 63 stereo channels, and most of the time we typing in the fader values with keyboard. Probably some kind of data compression is going on in the SoundGrid protocol….
This is really good.
Wow. Interesting soundboard.
Can you run non-waves vst plugins?
If you use Superrack Performer you can.
@ thanks. But not in the lv1 classic?
Can you close the window of the faders on the screen? Seems to take a lot of unnecessary space since we have the faders down below… makes no sense to me 😕
Methinks there aren't any accessibility issues for those who have a visual disability. Pardon me for not watching the video fully, but if there isn't a software side to control the Waves Digital Mixer, I won't be able to make use of it even with a large touch screen. RUclips's alghrothm recommended me this video though.
Benas noches, tengo la LV1 CLASSIC y no logro conectar una ipad para controlar la mesa o para control de monitores. me podeis ayudar? . Gracias
Sound interesting, but... Behringer Wing Compact.
That’s not even a comparison. LV1 is on a completely different level to anything by Behringer. LV1 Classic is more comparable to A&H Avantis Solo or Yamaha DM7C
@@callumcottle4685 It cost three times more, but the specs are not three times better. Can you told us in which aspects it's in a completely different level?
@@alkaiosmusicyeah, especially with the Waves expansion card for the Wing coming soon, I don’t see how this assertion holds up. Wing has some power. The channel and bus count is higher for the LV1, but I’m not seeing functionality that blows the Wing compact out of the water.
LV1 can do 96k, Behringer can do 48k. LV1 can patch any input jack to either side of a stereo channel. Behringer can't. LV1 has a specific sound that you only get from high end consoles. You hear so much air on each channel which Behringer doesn't have that air. LV1 has Immersive IEM, Behringer does not. LV1 has support, Behringer does not. If the LV1 console acts up, they can connect to it and fix things on it, Behringer can't. LV1 can have as many dynamic EQs as you can possibly think of on the console, Behringer doesn't.
When I switched from X32 over to LV1, people who had seen the band a lot, who know nothing about audio said "I don't know what it is, but they just sound better".
LV1 can do 16 custom layers. This is a very big deal. It allows you to take a 32 channel show file, plus 6 FX for that file and break it down to 16 faders.
The Matrix section is very flexible too. You can run up to 12 sources to any matrix. So you could create a cue bus that has the solo button and all the talk back mics. Bar bands are using Talkback mics, especially here in Nashville. It is frustrating to be on an M32 and you have to do so much work in order to hear the stage Talkback mic.
Having the ability to hear the stage talkback in your in ears at FOH is a huge benefit, its also just more professional.
The Ionic preamps are on par with Avid S6L. They have the ability to be Line/Mic, they also have the ability to be clean or have harmonic distortion. They also have impedance options. When you run a Y type splitter (Seismic Audio style) you need a different impedance then if you pug the mic right into the back of the console. So with the Y type splitter, you run 7k. When I did this with my touring band, the sound suddenly was in your face instead of feeling like it was "over there".
The most important aspect of anything related to audio is "What does it sound like?". If you use an LV1 for several shows and then mix on a Behringer, you will long for the fullness, the air the stereo width, the dynamics of an LV1.
The very first thing I noticed on my LV1 (back in V9) was how defined the stereo image was. I then noticed how every single channel had tons and tons of air. Even when you LPF a channel, those channels still have a tremendous amount of air to them. The console just breaths
A very good friend of mine came and listened to my mix in a horrible room and he commented on how smooth the console sounds. He has been on all price points of consoles. He mixes on M32 most of the time.
Also, I just did the math. Behringer Wing, Waves Card, Titan server and Superrack is $1000 more then LV1 Classic. It also is a 48 channel console, compared to a 64 channel LV1. This did not include a touchscreen computer to control Superrack, ethernet cables, a rack for the server or ethernet switches. Purchase wisely.
Good mixer. $8,000 is a little expensive. God bless Mitch.
It sits on a decent budget. It does a bit more than the Wing but is smaller than the Avantis. I think this is a solid price point. Maybe 6k, but it's in a decent spot.
What else would it need to justify its $8k price?
I think it’s a fair price considering it has soundgrid build in
Mixing consoles with these functions cost $100-$200k. Be happy with what you got
Avantis is $2000 more. Plus you don't get the plugins that this comes with. The Avantis also doesn't sound as good. It's a good desk, but the preamps and internal summing of LV1 are superior.
5:15??? you mean i can restart console and it will still play music????
These days we have to pay for everything...a license, a plugin... everything
If only all wave plugins were included without having to use license be great
At $8k it's not for most of us. I'm trying to work out who it's for. The hire market?
This is a fantastic console for bars, bar bands, touring bands.... I have a bar gig that at the moment has a Presonus 16 channel. We are going to upgrade at some point in the next year (finally). This would be the perfect console for this situation because we have the console onstage and mx on an Ipad.
16 physical inputs and 12 outputs is exactly what we need for that gig.
Most bar bands are under 16 inputs, so this is perfect for that too.
Now before anything is said about the price, just remember, the guitar player is probably using at least $10,000 worth of guitars, pedals and amps.
If you do a ton of fly dates, this is also a fantastic console for that because you can check the surface and the stagerack.
Also a great console for churches who regularly use more than 32 channels. At $8k, it's very competitive to the cost for other consoles in the same realm.
@@steve01010 To top it off, you can add a Fit controller and another touchscreen and you would have a full 32 faders available!!! You can run any event on 32 custom faders!!! That is actually 32 plus 2!!!!
In church, you could have the worship leader on one of the master faders, and the pastor on the other one. I see zero reason to buy any other console, till you need more then 64 channels.
Needs DANTE or MADI compatibility.
But it already has soundgrid compatibility? 😅
@@adieltm haha right.... the industrial standard.
Forget it, check out WING from Behringer…
But we didn’t hear how it sounds
If it says "Waves", I say no thank you!!
Just put some tape over "Waves" and you will be fine.
$8000 for a mixer, another $$ for plugins, now u just need to spend another $$ on a daw 😅😅😅
Check the prices for Allen&Heath Avantis, and it’s inferior to LV1
You ain't the target market. First of all, this is primarily for live sound, so no DAW needed. Secondly, in the live sound market, comparable consoles (A&H Avantis, Yamaha QL/CL, or even DM7) are gunna be less capable and/or way more expensive. $8k may seem Ike a lot to you for a mixing console, but even a cheapo X32 + Soundgrid server starts approaching this price....and you get an ancient, outdated, unsupported/abandoned Behringer product.
The issue is still the price. Sure bands with wealthy members can afford it or if you’re in a band making $3-4K a gig, gigging 15-20 gigs a month can afford it but for most of us gigging bands out here, we can’t and will never be able to afford it. Yep, it’s great, does everything, makes coffee for you and all that but, it’s still insanely expensive, IMO.
@@bks252without being rude, your not the target audience. Waves is targeting this at medium to large touring bands where they have a FoH/Monitor engineer touring party that hire the desks in from a hire company like Solotech or Claire Bros.
$8000? I’ll pass.
Looking at this now, Digico made a huge mistake breaking ties with waves, this will destroy Digico they haven't done anything to innovate like this and draw a modern audience of engineers
DiGiCo have Q225, Q326, Q338 & Q852. There’s rumours of a SD11 replacement in the Quantum line up in the pipeline. But I feel DiGiCo are just looking to conquer the larger format market.
Portability????? That thing is WAY too tall!
Make it fit in a rack and add a 24/12 input section and I'll pay $12,000 for it!
For $12,000 you can get this and a 24 input stage box.
@@jthunderbass1yeah, that's what I may end up getting. My gripe wasn't so much about the limited inputs, it was mostly about the size of it.
Having the fixed screen makes it impossible to mount it in a combo case. They should've made it removable or able to fold.
I'm an owner operator and I like to have my mixer, in ear transmitters, sub snake and wireless receivers all hooked up in the same box.
I wheel one box in, plug in one power cord and paddles, roll out the snake and I'm good to go.
I still might get this and just put the 24 channel stage box in a rack with the other gear then just run an ethercon to the mixer, it's just kind of clunky that way.
Also there aren't a lot of case options available because of it's design.
It's just frustrating to hear them boast about it's portability when it's the least portable mixer of it's type.
If it's only going to have 16 faders it should fit in a rack. If it can't fit in a rack give it 24 faders so I can have 4 sub group masters and 4 effects faders.
@@djsparkyy OCD Labs has an option like that.
Why not just use a daw ?
Because of latency issues on the DAW for live music and DSP. It charges the CPU.
@ this not really a viable argument in 2024.. at worst you would export to audio
I think your missing the point. This isn’t just for recording music. It’s a live audio console. It’s designed for concerts and gigs. You can’t mix live gigs with a DAW
If your mixing gig is broadcast, then yes, get a DAW, but if you're doing live sound this is the tool for that. Plus, how do you mix a 64 channel broadcast session in a DAW? How do you ride multiple faders and grab any effect or channel perimeters instantly in a DAW? I am legitimately curious on that.
@ if you need 64 faders in front of you, you need multiple mixers or a big console if you are doing some tv broadcasting etc ..
Nice try " licensing"...👎 VOAK
Didn’t look very responsive after your finger was way ahead of the fader.