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ITB vs. console summing test Consoles
Old 20th April 2018
  #31
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Farmboy presents's Avatar
Quote:
Originally Posted by deedeeyeah View Post
now this is serious business! and early apogee converters have a sound of their own...

[i was importing a fairlight cmi III in the late eighties for a little more money! (and kept upgrading util mfx?
The converter is great (an ad8000) and i expect the fairlight wont be too shabby either. Its the mfx3+ that i've got coming. Im not sure just how i will use it yet.
Old 20th April 2018
  #32
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IMO this is not anywhere close to a valid comparison between OTB and ITB mixing/summing. The OP simply ran 29 tracks into 29 channels on his console, but did not mention anything about what processing (if any) was done on those channels ?

I have a Trident Series 80 and a plethora of outboard patched into the bay. If I simply run 32 tracks from PT into 32 channels on the console without engaging any of the EQs, and without engaging any outboard processors, the difference between the two will be virtually NOTHING of any real significance !! Heck, I could use the dreaded "bounce to disk" feature in PT 5 and there would still be virtually NO difference between that and the 2 track capture thru the master bus on the Trident to even the sluttiest high end A/D.

I have said this before in the past, that my Trident console (as much as I LOVE it) doesn't amount to much in the mixing realm without the outboard in the equation; the outboard is the secret weapon, and beats the ITB "simulators" to a bloody pulp for the really important processing tasks. The EQ is GREAT, but it is really the PATCHBAY that is the most important aspect of the console for mixing.

IMO you cannot simply run a bunch of tracks from PT into individual channels on ANY LFAC, not engage any of the EQs or any form of outboard processing, and then claim that you have made a legitimate A/B comparison of ITB to OTB. The lady does not start to reciprocate the lovemaking process until you start to massage, stroke, and kiss her. If you're just going thru the motions she aint gonna blow your mind !!
Old 20th April 2018
  #33
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Drumsound's Avatar
Quote:
Originally Posted by sage691 View Post
IMO this is not anywhere close to a valid comparison between OTB and ITB mixing/summing. The OP simply ran 29 tracks into 29 channels on his console, but did not mention anything about what processing (if any) was done on those channels ?

I have a Trident Series 80 and a plethora of outboard patched into the bay. If I simply run 32 tracks from PT into 32 channels on the console without engaging any of the EQs, and without engaging any outboard processors, the difference between the two will be virtually NOTHING of any real significance !! Heck, I could use the dreaded "bounce to disk" feature in PT 5 and there would still be virtually NO difference between that and the 2 track capture thru the master bus on the Trident to even the sluttiest high end A/D.

I have said this before in the past, that my Trident console (as much as I LOVE it) doesn't amount to much in the mixing realm without the outboard in the equation; the outboard is the secret weapon, and beats the ITB "simulators" to a bloody pulp for the really important processing tasks. The EQ is GREAT, but it is really the PATCHBAY that is the most important aspect of the console for mixing.

IMO you cannot simply run a bunch of tracks from PT into individual channels on ANY LFAC, not engage any of the EQs or any form of outboard processing, and then claim that you have made a legitimate A/B comparison of ITB to OTB. The lady does not start to reciprocate the lovemaking process until you start to massage, stroke, and kiss her. If you're just going thru the motions she aint gonna blow your mind !!
I'm pretty sure you're making JJ's point about external summing for summing's sake.
Old 20th April 2018
  #34
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jjblair's Avatar
Exactly. The difference are not virtually nothing, but they are not significant enough IMHO. I am not saying that ITB mixing is superior to OTB mixing, or vice versa. I'll do a great mix on either. But good luck doing recalls on an OTB mix in anywhere close to the amount of time that even simply do unity gain summing on a console requires.

And I can't even say that the records I mixed OTB sound superior to the records I mixed ITB. Early on in my ITB process, I could say that, but no longer.
Old 20th April 2018
  #35
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jjblair's Avatar
BTW, the second measure is OTB. Listen to that sound, and identify which of the following measures were OTB.

Personally, I felt like the OTB was a little more forward in the 3kish area, and a little crunchier. Less warm, for me. I believe its the TL072 architecture of the console. You either like that sound more or you don't. Horses for courses. When I get my 5088, who knows how I'd feel about the same process.
Old 21st April 2018
  #36
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nyandres's Avatar
This always happens... Its 2018... Summing outboard makes no sense...

Reminds me of the guy, who compared his SSL to a plugin, to prove that hardware sounds much better by posting a blind test... The majority said the software was the hardware cause it was too close a call, yet that one sounded better LMAO
Old 21st April 2018
  #37
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RoundBadge's Avatar
don't know which is which but the organ jumps spatially wider in some spots
Old 21st April 2018
  #38
Quote:
Originally Posted by jjblair View Post
Exactly. The difference are not virtually nothing, but they are not significant enough IMHO. I am not saying that ITB mixing is superior to OTB mixing, or vice versa. I'll do a great mix on either. But good luck doing recalls on an OTB mix in anywhere close to the amount of time that even simply do unity gain summing on a console requires.

And I can't even say that the records I mixed OTB sound superior to the records I mixed ITB. Early on in my ITB process, I could say that, but no longer.
That's why I love the Dangerous Summing. No worry about recall. Just summing through it gives you great headroom and a more open sparkled sound which equates to a out a 6 percent difference that I like. Simplicity at its best. There are other summing boxes like the Rupert Neve 560 Center Piece with faders that is another great option if you want more weight of a console sound.

Doug from Gravity Studio had a Neve console for a while and them went to the 5088. There is a video on line where he praises the console. He then sold that and is now recording without a console. My understanding is no recall and not staying in your sweet spot when working with a console made him switch. I was shocked to say the least.

It makes me wonder if we should all just use the Brainworx Console N plug in on every channel for a Neve sound. The other option is to have the SSl X Rack which can save your settings and you choose if you want the sound of the Black 4000 series or Silver 9000 series EQ and compressors.
Old 21st April 2018
  #39
Quote:
Originally Posted by Jason rocks View Post
That's why I love the Dangerous Summing. No worry about recall. Just summing through it gives you great headroom and a more open sparkled sound which equates to a out a 6 percent difference that I like. Simplicity at its best. There are other summing boxes like the Rupert Neve 560 Center Piece with faders that is another great option if you want more weight of a console sound.

Doug from Gravity Studio had a Neve console for a while and them went to the 5088. There is a video on line where he praises the console. He then sold that and is now recording without a console. My understanding is no recall and not staying in your sweet spot when working with a console made him switch. I was shocked to say the least.

It makes me wonder if we should all just use the Brainworx Console N plug in on every channel for a Neve sound. The other option is to have the SSl X Rack which can save your settings and you choose if you want the sound of the Black 4000 series or Silver 9000 series EQ and compressors.
The brainworx console N models an AMS Neve VXS, not a vintage Neve. I sit behind something similar every day (VSP - they’re both basically a Neve VR with different centre sections).

I bypass our one as much as possible. They’re fine as a tracking centrepiece, flexible if a pain in the bum to maintain and run ridiculously hot, but they’re a very long way away from a 1073 or 1081, a 1068 desk and the “vintage Neve” sound. It’s basically just a name badge here.
Old 21st April 2018
  #40
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jjblair's Avatar
Quote:
Originally Posted by Jason rocks View Post
That's why I love the Dangerous Summing. No worry about recall. Just summing through it gives you great headroom and a more open sparkled sound which equates to a out a 6 percent difference that I like. Simplicity at its best. There are other summing boxes like the Rupert Neve 560 Center Piece with faders that is another great option if you want more weight of a console sound.

Doug from Gravity Studio had a Neve console for a while and them went to the 5088. There is a video on line where he praises the console. He then sold that and is now recording without a console. My understanding is no recall and not staying in your sweet spot when working with a console made him switch. I was shocked to say the least.

It makes me wonder if we should all just use the Brainworx Console N plug in on every channel for a Neve sound. The other option is to have the SSl X Rack which can save your settings and you choose if you want the sound of the Black 4000 series or Silver 9000 series EQ and compressors.
The headroom issue is a canard. PT has ridiculous headroom now, and even in the earlier versions, if you were smart about gain staging, it wasn’t an issue. The sound of the Dangerous is usually when you go beyond the headroom. Then you have to decide if you like the sound of the distortion in those ICs. I don’t, but you and plenty others do.

Putting Brainworks on every channel is not only unnecessary, it stil won’t sound like a Neve, and that may not be the sound you want anyway. Overdriven classic neves have a third order hamonic, and the circuit is a little sluggish on the transients compared to API, Trident or even SSL. It’s not a forward sounding console, generally.

I did this same test maybe ten years ago, but more scientifically. One summed ITB, one on the console, and one through my rack of Langevin AM16s with an Inward connections discrete bus. I sent it to four really outstanding audio minds. Nobody had a preference between the three, and only one of them, who is quite frankly a freaking genius, was able to identify which is which, because he really knows his **** that well.
Old 21st April 2018
  #41
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jjblair's Avatar
Btw, i never liked the VR. And yeah, it’s nowhere near an 80_8 (fill in the blank) console. I mean, you can get the job done, but the pre and EQ never struck me as anything other than “serviceable.” I prefer the Trident 80b, if it’s gotta be an IC based console. Much more character. Last time I got stuck with one, I was doing a big band, and I kept wishing for something with a different character.
Old 21st April 2018
  #42
Quote:
Originally Posted by jjblair View Post
The headroom issue is a canard. PT has ridiculous headroom now, and even in the earlier versions, if you were smart about gain staging, it wasn’t an issue. The sound of the Dangerous is usually when you go beyond the headroom. Then you have to decide if you like the sound of the distortion in those ICs. I don’t, but you and plenty others do.

Putting Brainworks on every channel is not only unnecessary, it stil won’t sound like a Neve, and that may not be the sound you want anyway. Overdriven classic neves have a third order hamonic, and the circuit is a little sluggish on the transients compared to API, Trident or even SSL. It’s not a forward sounding console, generally.

I did this same test maybe ten years ago, but more scientifically. One summed ITB, one on the console, and one through my rack of Langevin AM16s with an Inward connections discrete bus. I sent it to four really outstanding audio minds. Nobody had a preference between the three, and only one of them, who is quite frankly a freaking genius, was able to identify which is which, because he really knows his **** that well.

You may be correct on the headroom, and I agree the Brainworx Plug in won't get you the classic Neve sound but it still imparts something to the sound especially when you add different channel for each fader.

Regarding distortion with the Dangerous, I don't hit the signal that hard. It just adds a more 3D open sparkle. I'm not aware of any distortion doing that to a mix.
Old 21st April 2018
  #43
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jjblair's Avatar
Quote:
Originally Posted by Jason rocks View Post
You may be correct on the headroom, and I agree the Brainworx Plug in won't get you the classic Neve sound but it still imparts something to the sound especially when you add different channel for each fader.

Regarding distortion with the Dangerous, I don't hit the signal that hard. It just adds a more 3D open sparkle. I'm not aware of any distortion doing that to a mix.
Well, while you might be staying within the boundaries of that box's headroom, it's changing the signal for sure. No signal becomes different without SOME type of phase shift or frequency emphasis. I found that my console had a similar vibe to that which I was able to replicate through EQ'ing the bus. But there might be a cumulative effect of doing that 16 times over that imparts a sound.

But what it seems like is that the Dangerous has a sound, and you like that sound. It's obviously doing something to the signal that makes you happy. If it were a clean signal path, you wouldn't notice it.
Old 22nd April 2018
  #44
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Silvertone's Avatar
With no money in production I wouldn’t have a console either. It won’t matter to anyone. It could appear very antiquated to some potential customers.

Doug (from Gravity), like everyone is just trying to compete in a business that really isn’t a business anymore. Being cost effective is one way to try and stay alive.

These times... they are a changin... actually they already have.

Some of us just choose to be dinosaurs...
Old 22nd April 2018
  #45
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RoundBadge's Avatar
was at the Sony Streisand scoring stage Thursday doing a soundtrack VR thing for Incredibles 2.
96 input 88r,full orchestra/big band all live cues to picture.
a gazzilion inputs,loads of external pres,plus vr cameras and ambeo mics.
sounded fkking spectacular.
the good old daze.
Old 22nd April 2018
  #46
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Funny Cat's Avatar
Quote:
Originally Posted by RoundBadge View Post
was at the Sony Streisand scoring stage Thursday doing a soundtrack VR thing for Incredibles 2.
96 input 88r,full orchestra/big band all live cues to picture.
a gazzilion inputs plus loads of external pres,plus vr cameras and ambeo mics.
sounded fkking spectacular.
the good old daze.

Yes. Exactly. There is no "one size fits all". While I hold high respect for @Silvertone some of my favorite (and might I add extremely successful) producers and engineers have huge friggin' consoles in their production rooms. Some people just really get on with consoles, folks who use a lot of analog synths for example or folks that need a lot of mic pres for any given recording like the example you just shared. Recall is certainly a determining factor! I do agree that times are changing, however there will always be a place for consoles. Perhaps not 96 channel beasts but smaller 16/24/32 channel frames are extremely useful especially if you track ensembles and gravitate towards that workflow. Let's not take the "fun" out of recording, heh!
Old 22nd April 2018
  #47
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Drumsound's Avatar
Quote:
Originally Posted by Funny Cat View Post
Yes. Exactly. There is no "one size fits all". While I hold high respect for @Silvertone some of my favorite (and might I add extremely successful) producers and engineers have huge friggin' consoles in their production rooms. Some people just really get on with consoles, folks who use a lot of analog synths for example or folks that need a lot of mic pres for any given recording like the example you just shared. Recall is certainly a determining factor! I do agree that times are changing, however there will always be a place for consoles. Perhaps not 96 channel beasts but smaller 16/24/32 channel frames are extremely useful especially if you track ensembles and gravitate towards that workflow. Let's not take the "fun" out of recording, heh!
I just started a project with a university music business class, and at the first meeting one of the students asked if I would have a console if I was starting over. I said I would if I was tracking, because A) I'm used to using one B) Being able to do direct monitoring for the musicians before the signal hits the converters/DAW and C) I'm just plain used to it.

If I was setting up a mix and minimal overdub producer's type room, I probably wouldn't. I'd go to a bigger room (with a console) for tracking dates, and do everything else in my little room. I'd mix ITB with, at least, an analog mix bus compressor.
Old 22nd April 2018
  #48
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Quote:
Originally Posted by Drumsound View Post
I just started a project with a university music business class, and at the first meeting one of the students asked if I would have a console if I was starting over. I said I would if I was tracking, because A) I'm used to using one B) Being able to do direct monitoring for the musicians before the signal hits the converters/DAW and C) I'm just plain used to it.

If I was setting up a mix and minimal overdub producer's type room, I probably wouldn't. I'd go to a bigger room (with a console) for tracking dates, and do everything else in my little room. I'd mix ITB with, at least, an analog mix bus compressor.
A & C Are same point... B, high end converters do that... You can set up monitoring CUEs and which are in essence bypassing the converters. The recorded version of course has to go through the converters, but so would a console recording into digital...
Old 22nd April 2018
  #49
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Drumsound's Avatar
Quote:
Originally Posted by nyandres View Post
A & C Are same point... B, high end converters do that... You can set up monitoring CUEs and which are in essence bypassing the converters. The recorded version of course has to go through the converters, but so would a console recording into digital...
I'm aware of that. I just haven't learned that part of my Orion, because I have a console. I'd figure it out if there were a need.
Old 23rd April 2018
  #50
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Originally Posted by Drumsound View Post
I'm aware of that. I just haven't learned that part of my Orion, because I have a console. I'd figure it out if there were a need.

Yeah. A lot of these "you should never use a console because I don't" posts are like saying....Why would anyone eat peanut butter and jelly sandwiches when you can have bagels and lox? More than one way to skin a cat right?...

Last edited by Funny Cat; 23rd April 2018 at 03:47 AM.. Reason: Spelling
Old 23rd April 2018
  #51
If I was going to create a pro studio now I would purchase the SSl AWS 948 console along with an X Rack of silver compressors. I think it's one of the best setups if you want a analog mixer/controller. It looks great, work flow, sound, and recall are all good.
I would also have several Rupert Neve pre's, Eq's as several Manley pieces for different colors to choose from.

Everyone has different needs, wants, and preferences. What is best for one person is not necessarily the best for another. But that would be my ultimate setup without spending the money for a Duality mixer. I want a studio to also be fun and let's face it, plug in's are not as fun to use as quality hardware.
Old 23rd April 2018
  #52
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Robert Randolph's Avatar
 

Quote:
Originally Posted by jjblair View Post
Maybe you uploaded 24/96, but what's playing is...

Code:
Channels       : 2
Sample Rate    : 44100
Precision      : 16-bit
Duration       : 00:00:42.77 = 1885981 samples = 3207.45 CDDA sectors
File Size      : 684k
Bit Rate       : 128k
Sample Encoding: MPEG audio (layer I, II or III)
128k mp3 at 44.1khz.

You may want to use something like dropbox or google drive in the future if you want to do a serious listening test.
Old 23rd April 2018
  #53
Quote:
Originally Posted by Jason rocks View Post
If I was going to create a pro studio now I would purchase the SSl AWS 948 console along with an X Rack of silver compressors. I think it's one of the best setups if you want a analog mixer/controller. It looks great, work flow, sound, and recall are all good.
I would also have several Rupert Neve pre's, Eq's as several Manley pieces for different colors to choose from.

Everyone has different needs, wants, and preferences. What is best for one person is not necessarily the best for another. But that would be my ultimate setup without spending the money for a Duality mixer. I want a studio to also be fun and let's face it, plug in's are not as fun to use as quality hardware.
I've used the AWS a fair bit, mainly in a tracking situation (but ITB monitoring of the mix so using both fader modes).

For a single hybrid room - I'd agree, it's a good solution - it does most of what a full console does, and it's handy having good faders for DAW control (have you used one much?).

If I was setting up a room for purely mixing, I'd probably go with the Avid EUCON controller (whichever ones fit the budget). Way better for dedicated mix tasks.

If budget was truly no object, I'd be inclined to get a great classic console as a sidecar for tracking, and mix setup as above.

I'm also of the opinion that consoles are great for tracking, but if I had an AWS I'd probably be mainly ITB at the mix stage anyway.


Quote:
Originally Posted by Robert Randolph View Post
Maybe you uploaded 24/96, but what's playing is...

Code:
Channels       : 2
Sample Rate    : 44100
Precision      : 16-bit
Duration       : 00:00:42.77 = 1885981 samples = 3207.45 CDDA sectors
File Size      : 684k
Bit Rate       : 128k
Sample Encoding: MPEG audio (layer I, II or III)
128k mp3 at 44.1khz.

You may want to use something like dropbox or google drive in the future if you want to do a serious listening test.
Ah, good old soundcloud. If it's downloadable, it should be original sample depth/bitrate.

But then, any significant differences should still translate - you're certainly not going to hear any further details over bluetooth headphones or a car, or spotify or whatever.
Old 23rd April 2018
  #54
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Drumsound's Avatar
Quote:
Originally Posted by Funny Cat View Post
Yeah. A lot of these "you should never use a console because I don't" posts are like saying....Why would anyone eat peanut butter and jelly sandwiches when you can have bagels and lox? More than one way to skin a cat right?...
Yeah, that mentality drives me bonkers. Even when I was hardcore analog, I didn't disparage guys working other ways. I bought records, and had records from my friends done all different ways. I'm not going to let method interfere with music. I work the way I work because of my brain, more than anything. Even as a player, if I go into someone's studio (home or pro) I'm there to play, not engineer. I play in front of the mics they set up, where they place them. My engineering isn't why I'm there (usually). And ya know what? In various places, these cats have made cool records, using their skills, brains, and and their sensibilities.
Old 23rd April 2018
  #55
For mixing—

Interesting that Tchad Blake & Andrew Sheppard are 100% in the box now. I’ve personally had them mix my productions and their mix’s are superb.

I like the comment a few posts back “ it’s not the Sword but the Samurai “ !!

I had a wonderful 1960’s Siemens desk for a while. It definitely added tone and a kind of widening effect to a mix. But the recall was so annoying. I now just mix in the box & go through 4 bits of outboard now on the mix buss, which adds subtly some tone (harmonics) and bit of saturation. Maybe one day I’ll be 100% in the box.

For Producing —

I see Andrew Shepps and co using as much outboard as they need.

The ‘tone’ of outboard is still special to me.

But also recall is now essential . . .
Old 23rd April 2018
  #56
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Quote:
Originally Posted by Funny Cat View Post
Yes. Exactly. There is no "one size fits all". While I hold high respect for @Silvertone some of my favorite (and might I add extremely successful) producers and engineers have huge friggin' consoles in their production rooms. Some people just really get on with consoles, folks who use a lot of analog synths for example or folks that need a lot of mic pres for any given recording like the example you just shared. Recall is certainly a determining factor! I do agree that times are changing, however there will always be a place for consoles. Perhaps not 96 channel beasts but smaller 16/24/32 channel frames are extremely useful especially if you track ensembles and gravitate towards that workflow. Let's not take the "fun" out of recording, heh!
While I might say that for a commercial studio I WOULD NOT own a console... the fact remains that I still own two consoles and would never want to be without one personally.

In fact this console is at my techs right now being modded for me to use in an all analog 1960’s studio I’m building for myself. All the gear pictured is there being incorporated.

Will it ever be a commercial success, probably not! Do I care... NO!
Attached Thumbnails
ITB vs. console summing test-a67965c6-a76d-4490-87fe-0c717fcc75a3.jpg   ITB vs. console summing test-a6cdd640-fb61-4c77-8e7a-d1f7a606ddd9.jpg   ITB vs. console summing test-26238552-fadf-4077-aaef-7d1533c76fab.jpg   ITB vs. console summing test-342c0275-2dc6-4e9e-ad12-b46488b4fb6c.jpg  
Old 23rd April 2018
  #57
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Silvertone's Avatar
Quote:
Originally Posted by [email protected] View Post
For mixing—

Interesting that Tchad Blake & Andrew Sheppard are 100% in the box now. I’ve personally had them mix my productions and their mix’s are superb.

I like the comment a few posts back “ it’s not the Sword but the Samurai “ !!

I had a wonderful 1960’s Siemens desk for a while. It definitely added tone and a kind of widening effect to a mix. But the recall was so annoying. I now just mix in the box & go through 4 bits of outboard now on the mix buss, which adds subtly some tone (harmonics) and bit of saturation. Maybe one day I’ll be 100% in the box.

For Producing —

I see Andrew Shepps and co using as much outboard as they need.

The ‘tone’ of outboard is still special to me.

But also recall is now essential . . .

I mastered one of Tchad’s first ITB mixes. The record company thought it was too bright and lacked punch, Tchad thought everything sounded great. I walked the fine line and in the end everyone was happy.

I told Tchad I preferred his work with Mitchell Froom on Dopeamine. Which was all analog, mixed through a console.

He’s got it down now for sure but it takes time to make the transition.

That said, their tools, sometimes it calls for a pneumatic and sometimes you just have to nail it with a hammer. Enjoy the building process!
Old 23rd April 2018
  #58
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Silvertone's Avatar
Quote:
Originally Posted by RoundBadge View Post
was at the Sony Streisand scoring stage Thursday doing a soundtrack VR thing for Incredibles 2.
96 input 88r,full orchestra/big band all live cues to picture.
a gazzilion inputs,loads of external pres,plus vr cameras and ambeo mics.
sounded fkking spectacular.
the good old daze.
I miss them good old daze. I visit it myself every now and then.

I know they still exist but it’s the 1%ers who get to play with that stuff these days. Average engineer today will never ever even see rooms like those, let alone work in them.

I’m currently consulting on 7 audio suites for a huge publishing/gaming company (Activision). I’m also design and overseeing the construction of two studios for another large gaming company (Velan)... none of the rooms have a console... or even room for a console, the 5.1 surround systems are much more important. Time marches on...
Old 23rd April 2018
  #59
Quote:
Originally Posted by Jason rocks View Post
If I was going to create a pro studio now I would purchase the SSl AWS 948 console along with an X Rack of silver compressors. I think it's one of the best setups if you want a analog mixer/controller. It looks great, work flow, sound, and recall are all good.
I would also have several Rupert Neve pre's, Eq's as several Manley pieces for different colors to choose from.

Everyone has different needs, wants, and preferences. What is best for one person is not necessarily the best for another. But that would be my ultimate setup without spending the money for a Duality mixer. I want a studio to also be fun and let's face it, plug in's are not as fun to use as quality hardware.

I agree with you Jason, I love the Solid State Logic AWS 948. I used the original AWS and loved sitting behind one as everything is at your fingertips. Yes I would also want the X Rack with 7 mono dynamic modules and one stereo as well.

Consoles like the AWS attract potential customers including those who have home studios. They are attracted to consoles and gear you have that they don't have in their ITB setup.
Old 23rd April 2018
  #60
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Funny Cat's Avatar
Quote:
Originally Posted by Silvertone View Post
While I might say that for a commercial studio I WOULD NOT own a console... the fact remains that I still own two consoles and would never want to be without one personally.

In fact this console is at my techs right now being modded for me to use in an all analog 1960’s studio I’m building for myself. All the gear pictured is there being incorporated.

Will it ever be a commercial success, probably not! Do I care... NO!


Well, to be fair...I've heard a few of the recordings you've done on the Electrodyne and they sound just as nice as some really "successful" records I've heard in the past. There is also an element of luck involved in this gig we do. It's a shame that the economical state of the industry has limited the way so many of us work. On the other hand, this is a glorious time to be making music. The tools available are insane, both ITB and OTB. I mean seriously, I just bought a Pultec clone (KT-EQP) a couple months ago for $299 and I love my UAD La2a and Valhalla plugins to death. Good times for all.




P.S. Umm, don't you think you are being just a little bit of a hypocrite owning two consoles? Lol, a nice tube one at that? I'm being cheeky if my tone is not coming thru in this post.



P.S.S. Re: Tchad Blake...it takes a LONG time for us mere mortals!

Quote:
He’s got it down now for sure but it takes time to make the transition.
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