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lab.gruppen Lake LM 26 processor


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I can't seem to find a price. All I see are press releases, and forum discussions. I understand that it was a highly regarded processor when it was the Dolby/Lake processor, and that it eventually went out of production. I assume this is something along the lines of a high-end version of the dBX DriveRack.

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I can't seem to find a price. All I see are press releases, and forum discussions. I understand that it was a highly regarded processor when it was the Dolby/Lake processor, and that it eventually went out of production. I assume this is something along the lines of a high-end version of the dBX DriveRack.

 

 

Ummmm, a lot higher.

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At what level do you start thinking of such a processor? I see folks talking about them in the "ultra-high-end home theatre forums. What about "live" applications?

 

 

When it makes financial sense and the riders demand it or you lose the show.

 

Frankly, in this economy, I can't see a practical need until you are working in the rareified air of the top say 5%. Even then the ROI may not pencil out but ego and greed don't always meet the ROI criteria.

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At what level do you start thinking of such a processor? I see folks talking about them in the "ultra-high-end home theatre forums. What about "live" applications?

 

 

Pretty much what Andy said. As most of you may have figured out, ROI on sound equipment isn't very good, and doesn't get much better at the top, in fact sometimes it gets worse, depending on the market. But, when you're at the top of the heap, you pretty much have to keep up with the demand for new technologies and fulfill the better part of national act riders. That leaves you with relatively few choices for gear, and you have to choose what you like and think will work best for you and your clients. We've chosen L'acoustics and Adamson speakers, Lab Gruppen power, Yamaha digital consoles, and now Dolby Lake processing. We find that almost nobody argues with this combo (unless they're a Digidesign snob - that might be our next big purchase), and not only does it satisfy, it pleases. Happy production people make for happy promoters/venues, which makes us money.

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When it makes financial sense and the riders demand it or you lose the show.


Frankly, in this economy, I can't see a practical need until you are working in the rareified air of the top say 5%. Even then the ROI may not pencil out but ego and greed don't always meet the ROI criteria.

 

Who creates these 'riders', the artists?

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