TouchMix-30 Pro for AV Production with Nick Cimino of DJE Sound and Lighting


I’m Nick Cimino. We’re a live event production company based in Orange County. we service a wide range of clients, all the way from you know, rock and roll shows, municipal city accounts, as well as larger corporate accounts where we’re doing corporate meetings and experiential accounts for brand names such as Nike and vans. We have technicians who specialized in lighting, technicians who specialized in audio and
and also technicians that vary in experience level. We’ve got industry veterans who have been in the industry for, you know, 10-20 plus years as well as we’ve got new people who are coming in who have amount of, you know, 3 months of experience or just a year of experience in the industry. When we look at investing in gear and trying to make wise purchase decisions that will serve the company well, we try and find equipment that can serve in many many roles. The last thing as a business owner that I want to invest in, would be a piece of equipment that can only do X. So the idea of having this small
compact digital mixer that can serve as a front of house console at a music
festival, you know, with 5,000 people, or that I can throw it underneath the stage and mix a show where I’ve got five talking heads and it’s gonna last for 30 minutes. For me that’s a big-time value proposition because with one mixer, I now have a tool that can be deployed to, you know, many different types of jobs and depending on the application, the mixer can – because it’s so small and because it has such a large feature set – it really serves well in so many different environments So the first time we took the TOUCHMIX-30 out to a show where it was gonna be the main front of house console, and we had, I think we had, eight wide line eights aside, with some subs and, you know, it was a decent rig and so we thought; okay here we go, this is the test and I gotta say it was amazing. It sounded just like a large desk does, the effects sound great, the compression sounds great, you know. You can crunch stuff down and it still sounds, you’re not hearing anything. it works like it’s supposed to and it sounds just as good as some of our other, you know, large format desks. Also having features like feedback wizard and the room tuning, it allows for inexperienced engineers again, to almost even learn from the desk. I found that the visual representation of how the compressors work on the touch mix, it’s the best way to explain to an under experienced engineer like: “Hey when you crank down the threshold or when you change the attack, you’re actually seeing on the screen a representation of what’s happening to the waveform.” And that’s pretty profound and you don’t even see that on some of the, you know, higher end desks where they’re just assuming that you know which maybe you do, maybe you don’t, but it’s sure nice to be able to use it as a teaching tool. Myself and some of the old-school guys that work with us were a little bit resistant to the to the touchscreen and having no faders to grab on to. When you start to actually use the mixer, we found that, because it still has a touch and turn feature, like a big desk, it is fairly easy to use, you know. You can touch and then you do have that
precision of just gently increasing the fader level I think one of the biggest issues that I’ve experienced with some of the other tablet mixtures is, you know when you’re dealing with any kind of Wi-Fi latency and this touchscreen, the faders first a little jumpy and it’s it’s scary to make an adjustment on the fly. however with the wheel and as we’ve gotten more familiar with using the desk, it actually, you know, you start to not miss the faders, you start to be able to operate fairly smoothly with just the touch in turn. We’ve been able to use the TOUCHMIX as a monitor desk. and just that whole AUX overview page is built for that. I mean, it’s so easy to just, you know, look at the band and say: “Who wants that?” And it’s saving time during the soundcheck and it’s allowing for real speedy responses from the monitor guy, which i think is really really important when you’re working with a live band. The faster you can accommodate their changes, the more comfortable they feel and the easier your whole day goes. We were also really impressed with the presets. You know, we get into a lot of situations where you know we soundcheck and the lead singer is not gonna show up until five minutes before the show. Or it’s an event for Nike and they’re bringing in athletes, and the athletes aren’t gonna be there for the soundcheck. So you’ve got six wireless handheld mics
and you’re hoping that they’re gonna sound great when so-and-so grabs it and takes the stage. The preset gives you a little bit of, at least , a starting point where you can know that it’s going to be close. It’s gonna be acceptable and then you can tweak from there. the recording functionality that exists in the TOUCHMIX has been really great for us in a couple different ways. For some of our more experiential business, where it’s an athlete appearance, or it’s just a really quick, you know, hour-and-a-half show, they often have film crews that are there, that are looking to edit together like a sizzle reel of the event and so they asked us for audio. and it’s really great to just be able to, you know, pop a thumb drive in, multi-track if necessary, or at least just capture the main left and right. It’s simple, it’s very easy to arm the channels and monitor the record and know what’s going on. On another level we’ve been able to work with some of our music clients, you know, when we’re doing live bands, when we’re doing rock and roll shows, We’re able to multi-track for bands and that’s also a revenue generator for us. We’re able to offer that as a service in the advance to the band, say: “Hey, are you interested in getting the multi-track files for the show?” that’s a functionality that’s built into this small desk that a lot of times, if you’re going to multi-track, you’re gonna need a Pro Tools rig and you’re gonna need a big giant desk and a firewire interface and all this stuff. It’s really kind of been a game changer to be able to offer these services in this little tiny compact box. It’s very apparent that QSC spent a lot of time and energy thinking about how to make this desk work best for the user. You can see the influence of a lot of veteran industry guys as you’re going through the workflow of the desk. It works just like you think it should. Assigning matrices and using the patch bay, these are they’re all functions that, as you click into it and you’re expecting some little cheesy tablet thing, it’s like: “Oh, that’s how a patch bay looks on a big
desk”. “Oh, that’s how the effects engine works
on a big desk”. it’s easy to use and it’s well-thought-out in in the workflow, which allows it to, I think, work for inexperienced engineers, musicians, people who are just kind of cutting their teeth into the live sound. And also veteran guys who expect it to work a certain way and expect it to have a certain workflow. They’ve done a great job of kind of, meeting right in the middle, where functionality meets expectations of: “I want it to be a big giant front-of-house desk.”

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