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Console Obsolescence—What Do I Do Now?

A continuing dilemma for owners of all sizes and types of studios is the problem of replacing an obsolete console. “What are my options? Is there some way I can still use it, like moving it to the B room? How do I sell it or trade it in? What should I buy now? There are so many choices. Should I buy new or used? How much should I spend? How do I finance the purchase?” These are all good questions, because replacing your console is like a heart transplant. If you get a bad one, or make the wrong decision, your studio life is in jeopardy. The same situation is true if you are purchasing your first console for a new recording room, whether it be a home studio or an additional room for your growing facility. The console is at the center of your studio. It determines how flexible your recordings can be. All of your sounds run through it. And, quite often, the stature and reputation of a studio is determined by the recording console brand and size.

Let's try to break down the problem and solutions into general rules and specific examples. I spoke to several professional audio dealers from around the U.S. and asked them for their suggestions about how to resolve this dilemma. Following are samples of what they said.

Some simple rules: If you are going to buy a used console be certain that the manufacturer still supports the model you are considering (seven to ten years old usually means questionable factory parts support, which is understandable). If you are planning to spend $75,000 or more, then there are always bargains galore for older top-line consoles and automation systems. Leasing companies will finance consoles, assuming that they are in good condition and that you have a good credit history. If, on the other hand, your console budget is $10–40,000, stick with a new console, which may not have the highest level of sonic integrity but will have the auxiliary sends, sufficient routing, and features necessary for your contribution to today's music market.

For several years now, the key requirement in an inexpensive console has been a “high-quality tape path” (which means mike to mike preamp to compressor to EQ to fader to tape machine). Most project or home studio customers use a console primarily for monitoring multiple inputs, and look for the lowest price possible to achieve that goal. They spend their money on higher-quality outboard equipment, acoustics, and microphones to achieve their own custom sound, depending on what kind of audio their studio makes.

The pro audio dealers with whom I spoke say that around 60 percent of their business is from repeat customers, so they have to make certain that they keep their clients out of trouble and do not sell them anything that they don't need. Bad news about a slick pro audio supplier travels fast. They need to maintain their reputation for sincerity and reliability, just as a studio does. Once again, I suggest you find one whom you can trust and make them an important part of your team. Your loyalty, or promise of same, will give them an important incentive to share all of their competitive information with you—which will give you an important advantage.

There is also the question, based upon your clients’ audio needs, of whether or not you should have a digital console in your facility. With video having gone digital and major mainframe digital consoles available from several high-price and low-price manufacturers for both visual and CD audio requirements, which is best for you? Analog or digital? Your answer will come from the due diligence you exercise with your clients and competitors. Do your homework and determine whether analog or digital is the best way for you to invest your money, given your clients’ needs and the consoles your competition uses in your geographical market. The pro audio dealers in your area, particularly the one you have chosen as your primary vendor, can be of great help with this, particularly if there are several from whom to seek the information you require for your decision.

PROJECT REPLACEMENT

So you have decided to get rid of that old 32 × 24 × 32 project studio console that you bought used. You have your eye on a new low-end console that will give you 56 inputs, and you can hypothetically get it with automation and moving faders for around $50,000, depending on brand name. What next? First, think of the old console as a used car. Ask your dealer for a trade-in. Then, as an alternative, call the pro audio used equipment dealers around the country and find out what they think your old board is worth. You will find them in the classified section of the music trade magazines and can determine by what kind of consoles they are offering for sale if they would be interested in yours. They will either make you an offer to buy it outright or suggest you list it with them on consignment. How much time you have to sell will determine how long you can hold out for the higher price you want to get.

If you have some time, try advertising it yourself in the regional trades or recycler in your area, to see if you get any response from other studios or individuals before you give in and take a lower offer. When you do get an offer that you think you can accept, talk it over with your financial advisor and plan how you are going to pay for the new console: lease, bank payments, outright purchase, maybe with dating (up to 150 days to pay with no interest) from your pro audio dealer. Obvious questions are: How much plus-business will you get with the new console? How much downtime will you experience during the removal and replacement of your present console? How much is that downtime worth in lost income, plus the cost of installation? These are not only justifications for the new purchase, but also a sobering consideration of what the total cost will actually be before the replacement console is installed and working to generate new and hopefully increased income from your control room.

CHANGE OF CUSTOMER BASE

Another case. You overbought by mistake, in the good times. Your lease payments on that glistening superconsole and other expensive equipment are jeopardizing your business health, and besides, you have moved your marketing thrust from high-end music recording and mixing to visual music postproduction (audio for video and film). What you really need is a great workstation. What to do? Be honest. Financial people will often help with the resolution of your problem if you are straightforward with them. Talk to your bank or leasing company and check your options, based on the kind of financial agreement you originally signed and the number of months that remain for you to make payments.

In recent years, many manufacturers have developed a used market and may be able to get someone to take over the payments for your present equipment and get you a little cash or trade-in value. This is particularly true if that same manufacturer/dealer is the one chosen to sell you the workstation or other hardware or software that you have determined you now need. You will be surprised how cooperative these people will be if they believe in your future potential. Almost everyone in our industry has bad times or makes mistakes in equipment purchases at one time or another. It happened to me, but as we have said before, “pioneers get arrows.”

FIX AND KEEP VS. SELL AND BUY—THE RETRO MOVEMENT

Both Neve and SSL, as well as other manufacturers, offer trade-in programs and reconditioning programs. GML (George Massenburg Labs) offers automation packages for some older consoles. Check out this possibility as a way to solve your upgrade problem and save money if you already own one of the older quality consoles. It will also mean a lot less downtime to accomplish your console transplant—another major cost saving. Items such as classic Neve consoles, original Focusrite EQ, LA-2A compressor/limiters, tube microphones, and EMT plate reverbs have actually increased in value during the past few years, because of their new retro popularity. Rehabilitating some of your old gear, or finding some to purchase at bargain prices to restore, could give you that unique sound you've been looking for. Because this older equipment has recognized market value, you can usually get financing to help ease the purchase burden.

The bottom line: Do your homework before you buy. Talk with manufacturers and dealers so you are sure you know all of your options before you upgrade. Emerging technology has provided inexpensive new consoles with more features. This has increased the value you can expect in the entire new and used console market. Try before you buy. Find out from your pro audio dealer what studios in your market area have already purchased the console you have decided on, and ask them how they like it. Do a thorough analysis before you pay out your limited funds, and minimize the possibility of making a big mistake. The future growth of your studio depends on the correct choices.