ProAudio Review - May 2008 - (Page 14) LIVE | REVIEW My last use of the H1020 was as a dedicated monitor console. This was a performance by gospel singer Martha Munizzi, and she was performing with a keyboardist, three backup singers and pre-recorded tracks. We found that the console was adept at handling the wide variety of signal levels coming into the desk and it processed all that incoming material and spit it out as five great-sounding wedge mixes with a cue wedge. While not as visually impressive as larger analog or digital consoles, this APB makes up for lower channel count with excellent functionality and stellar sound. | SUMMARY Like a fine German automobile, the APB H1020 has been meticulously designed by people that know what users need. From rugged input and output jacks, to the variety of “pre” settings, to the powerful channel EQ, to the mirrored output connectors, to the adjustable lamp, this console is as well thought out as any I’ve seen — regardless of frame size. Add to that the board’s superb sonics, and you have a killer combination. My only gripes are that the AC power connector is in an awkward place that seems ripe for accidental disconnection. I would suggest putting a strip of gaffer’s tape near the connector to prevent this from happening. Also, the high and low frequency controls on the channel EQ aren’t labeled with frequency points. That’s something that guest engineers would probably appreciate. Lastly, what happens when you jam so many features into such a small amount of space? You lose the place for your board tape. The modest buffer at the top of each channel strip was too narrow for my 1/4-inch tape but that’s a trade I’ll make any day as the rewards far outweigh this minor inconvenience (there is a small amount of real estate where a grease pencil could work). APB DYNASONICS Continued From Page 12 and powerful EQ (as well as a slew of distributed loudspeakers) combined to yield very intelligible results despite the surroundings. Sending autonomous feeds for things like press or a recording deck was a breeze with the H1020’s many outputs and routing options. Later, I used the board on some shows with a dance band that had a house mix and three monitor mixes. Just like my experience with the Spectra console, I was amazed by this console’s superior sonics. I strongly suspect that there is not a console in this class, with this feature density, that even comes close to sounding as good as the H1020 does. REACH THE ENTIRE AUDIO INDUSTRY I N P RINT • ONLINE • IN P E R SO N Nobody covers the professional audio industry like NewBay Media. Featuring industry-leading targeted brands such as Pro Sound News, Systems Contractor News, Pro Audio Review, EQ, Rental & Staging Systems, and Audio Media Worldwide, NewBay Media provides the information you need regardless of where your work in professional audio, and we deliver it through our websites, electronic newsletters, and monthly magazines. Sending autonomous feeds for things VITAL NEWS & INDUSTRY ANALYSIS TIPS AND TECHNIQUES like press or a recording deck was a breeze with the H1020’s many outputs and routing options. NEW PRODUCT INFORMATION TRADESHOW COVERAGE For more information on these brands and their full offerings as well as print and electronic subscription information Overall, the H1020 is, like its larger sibling the Spectra, a remarkable board. It exudes a very rugged feel and at every turn, is a pro piece. I own a high-end, small frame console and a couple other mid-priced rack-mount consoles and, to be candid, think that the H1020 is likely the king of this class. At $3400, it isn’t cheap. For the feature set and sound, it is an incredible bargain. Worship house installs, nightclubs, schools, and sound reinforcement providers from local to international are great candidates for this board. Andrew Roberts is owner of Rockville Music Service, a live sound firm, in Washington, D.C. visit www.nbmedia.com. 14 | ProAudio Review | May 2008 www.proaudioreview.com http://www.nbmedia.com http://www.proaudioreview.com
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