Product Review - Raindirk RM4 & RM6
Article Preview :: Recording Channel Strips
Reviews : Recording Channel
Raindirk consoles have been used in the past by the likes of Deep Purple, the Who, and even Rupert Neve. Do these new modules live up to the company’s illustrious heritage?
To the ‘younger generation’ of SOS reader, the name Raindirk may be unfamiliar, but to the grey‑haired amongst us it’s a name that conjures up plentiful associations with classic British rock. The story dates back to the early 1970s, when Raindirk founder Cyril Jones was asked to design a 24‑track recording console for the band Deep Purple, to be installed at the old De Lane Lea studios in Kingsway, London. That console went on to record the likes of the Who, the Animals, ELO, Iron Maiden, Leo Sayer, Paul McCartney and Wings, and many others. Amazingly, although that console is nearly 40 years old, it is still going strong at the Atom H studio in Dusseldorf, Germany! Shortly after that first console proved such a success, Cyril built three more for Olympic Studios in London. Apparently, Cyril’s work was recognised by Rupert Neve, who purchased a console himself for his religious foundation work!
By the end of the 1970s, Raindirk had become fully fledged mixing-console manufacturers, delivering the first ‘In Line’ production console, called the ‘Concorde’ — one of which went to the Who’s Pete Townsend. Not all the work was for the music industry, though, and Raindirk produced 45 bespoke TV broadcast consoles for South Africa in the early 1980s. Towards the end of the 1980s, Raindirk launched the Symphony console range, with music recording, film dubbing and mobile variants. The electronic design was astonishing, managing to keep the noise floor from 24 active channels 90dB below 0VU — a fantastic achievement, even by today’s standards.
By the end of the 1990s, the large‑format studio-console market had declined to the point where Raindirk could no longer remain competitive as console manufacturers, and Cyril turned to redeploying his console-design skills and expertise in the manufacture of studio outboard products.
I think it’s fair to say that Cyril’s console design work should have received much more attention and respect than it did. In fact, many would argue that he is one of the best console designers in the world, and I’ve not encountered anyone who has suffered a bad experience with any Raindirk console — which is more than can be said for most big‑name consoles! Perhaps the real strength of Raindirk’s consoles is the cohesiveness of the whole package, combining excellent sound quality with good ergonomics, compact but attractive styling, well thought‑out facilities, exceptional reliability and perfectly engineered technical specifications. These days, Cyril is busy maintaining customer consoles and with bespoke design work, as well as building his current product range in a converted bakery in Norfolk, and he continues to uphold the high‑quality and exemplary real‑world designs for which he is known.
The two units featured in this review are the mid‑range products, the RM6 and RM4 channel modules. The company also produce the larger RM8 module, which is very similar but with the addition of a pan control and fader (a matching master output module is also available), and the smaller RM3 compact mic-preamp module, as well as a very interesting DI box that boasts active, passive and re‑amping modes, all in the one device!
RM6 Mic Preamp & EQ
The front of the RM6 modules — which are orientated horizontally when racked.
The ‘RM6 microphone pre‑amplifier with parametric EQ’ is, as the name suggests, a conventional big-console input channel strip, with all the features and facilities you might associate with that role. In fact, it is derived from the input module of the Raindirk Symphony LN2/3 consoles. The RM6 version is available packaged in two forms, either vertically (with up to 15 others) in a 6U-high rackmount frame, or horizontally, in a 2U-high rack frame capable of accommodating two modules. It was this latter form that was supplied for review, and while I can appreciate the cost‑effectiveness of the solution, I have to say straight away that I find horizontally mounted modules designed for vertical use extremely frustrating! It’s a personal bugbear, but I’m sure the RM6 would have a far stronger appeal, and would be far more usable in this physical format, if it was presented with revised front‑panel labelling.
... |
That's all folks!! To Continue reading... Option 1: Login to open this eSub article
|
||
|
What's my Sub PIN?If you have a print subscription but have not yet activated your eSub online access, please inform us and email your name/address details to: subscribe@soundonsound.com SOS staff will verify your subscription status, activate your online access and notify you of our actions. I am NOT a Subscriber
What is the lowest cost to Subscribe?
A 3-issue eSub web subscription is great value at only £ 9.00 GBP [US$ 13.50] and it lets you instantly read the current and next 2 online magazines — PLUS it unlocks ALL past eSub issues during your sub period. More eSub info... |
Home |
Search |
News |
Current Issue |
Digital Editions |
Articles |
Forum |
Subscribe |
Shop |
Readers Ads
Advertise |
Information |
Links |
Privacy Policy |
Support
In this article:
information
See pricing box.Raindirk +44 (0) 1926 614776.
See pricing box.Raindirk +44 (0) 1926 614776.
WIN Great Prizes in SOS Competitions!
Mon 21 May 2012
Sound On Sound : Est. 1985