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Anybody buying consoles
Old 7th July 2018
  #241
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by u87allen View Post
I really think you should invest in more outboard gear
You got me thinking! You're right! I need 2 more pairs of Distressors!
Old 7th July 2018
  #242
Quote:
Originally Posted by Brent Hahn View Post
How old are those photos?

I have to say, btw, it's 113º at my house as I type this, and I'm looking at that stuff and imagining the electricity it takes to run it and cool it.
Hey Brent,
My Concept One generates a fair amount of heat, it has 3 power supplies in the back that are cooled by a big tower fan and I run a split AC in my control room.
And I have a ridiculous amount of outboard
My electric bills are about 300 a month.
Old 7th July 2018
  #243
Lives for gear
 
EvilRoy's Avatar
Quote:
Originally Posted by 127Riot View Post
You're thinking about this the wrong way, Imagine when your house is freezing! Now imagine heating your house with Analog Warmth!!! Now you're saving money as you have your gear on to work/play with and you're getting the benefits of free heat!! Well not free but you're killing two birds with one warm analog stone!
Good plan.

Old 7th July 2018
  #244
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by EvilRoy View Post
Good plan.

Damn^^^^^^^


Electricity is expensive but you can atleast charge your phone!
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Old 7th July 2018
  #245
Lives for gear
Quote:
Originally Posted by 127Riot View Post
You got me thinking! You're right! I need 2 more pairs of Distressors!
Well yeah...seems pretty obvious
Old 7th July 2018
  #246
Lives for gear
 
DougS's Avatar
 

Quote:
Originally Posted by Brent Hahn View Post
How old are those photos?

I have to say, btw, it's 113º at my house as I type this, and I'm looking at that stuff and imagining the electricity it takes to run it and cool it.
Crazy hot today in SoCal.
Old 7th July 2018
  #247
Lives for gear
 
s.d.finley's Avatar
Quote:
Originally Posted by EvilRoy View Post
Good plan.

jeez I would think you were in Houston TX!!!
Old 7th July 2018
  #248
Quote:
Originally Posted by Funny Cat View Post
Sorry, didn't mean it that way. Poor choice of words, lol.
I know


Quote:
Yeah that's the thing. It's easy to stay completely ITB when you get well tracked songs to work with. It's a little bit harder when the tracks lack mojo from the start and you're getting hired to inject "vibe". I try and stay as ITB as I possibly can but I need to hit some HW every once in a while.

I know this is a console thread but I just went to a friend's studio who has racks and racks of outboard. Everything you can imagine. He's old school. Worked at a famous studio on the East Coast for many years and he swears you can't get the same depth ITB as you can with his console and the HW. It's kind of hard to argue when you hear the results, although I did try in the spirit of fun, lol. He doesn't do much Pop though so there's that.

He's the guy who's got me really interested in getting a Tape machine for drums (just for certain projects of course). He played me some drum tracks cut to tape and my jaw hit the floor. I'm sitting there thinking..."wow, you barely even have to mix that!".

He's been doing this for about ~35yrs and he swears that there is a palpable difference especially with drums to tape and drums straight to PT. He said him and his assistant have A/B'd several times and the results are consistent. Like I said, kind of hard to argue when you hear the files.

He does dump to PT afterward when tracking drums to tape though. I also know working ITB is dependent on individual skill and time put in to that particular medium.
Well - this particular vocal is an anomaly and really - it's a problem either way. Hardware wouldn't fix it, any more than it would fix a really distorted vocal someone wanted clean (which is kind of the issue here).

I just can't say that I feel "ah, this hasn't been tracked this well, need to send it through some hardware" often crosses my mind. It's more that by habit or luck, I get to track with great mics and chains, and when I'm mixing stuff others have recorded, it's mostly good too.

Quote:
That's a really cool tune. Nice mix too! Feels good man. Maybe I'm delusional? but I feel there is still a slight ITB quality I can hear though. There is this "sharpness" for lack of a better word that I hear. My ITB mixes have the same quality when I'm doing heavier styles in particular because I'm pushing stuff. Every once in a while I can get around it and get a real console/analog sound ITB. There are a few guys who have consistently cracked it. Tchad Blake for example. When you listen to his Black Keys or AM mixes for example. Of course Mr. Blake's application of distortion doesn't work for every style.

Please, don't take this as a knock because again that mix sounds really good. I particularly liked the bass tones you got and the synergy between the bass and kick. Feels real nice. And I could hear some little delay's and FX in there that spiced it up real cool. This is all subjective and what I'm hearing, that sharpness or maybe a better word would be "focus" on the upper freq's is all based on what I grew up hearing and the way music needs to cut more on the radio nowadays combined with heavy handed mastering practices?
The question is - is that an aesthetic choice on my part, or a side effect of ITB? I mean - personally I'd say this is one of the mixes I'm happier with - and anything I'm NOT happy with is more as a product of my abilities, rather than I feel like I'm fighting the sound.

Quote:
Originally Posted by Saxplayerz View Post
Ya plug-ins sound so good I mean all the pro's use em. That ssl is old you know I'd give u 50 to haul it to the dump.
Actually at this point, the number of high end pros mixing *mainly* using plugins is probably much higher than those who mix *mainly* using outboard. I say mainly because exclusive is pretty much non existent unless you're one of the 3-4 guys who are known for this.

Quote:
Originally Posted by 127Riot View Post
My private studio that only gets promoted via word of mouth is busy and booked non stop and one of the main reasons is, I have a console, a tape deck, and a lot of outboard that has a particular sound. A sound you will not get by way of plug in and mixing ITB. Yes the 24 years of trial & error, studying, honing in on the recording & mixing craft helps to.

The Bands in my circle know the difference and that's why they come here, to use the tools they don't have and have someone they trust pick the right signal chain that knows how to dial it in.
I'm sure it is part of the reason - and for a tracking situation, I'd want the same! But I'm sure a lot of it (maybe from the clued in ones) is you. You could switch setups and people would still come bacl.

Quote:
I own the waves/UAD plugs and so do all the bands & musicians I know. They all have a DAW with plug ins waves, UAD, etc... everyone in the world has the exact same 1176 UAD. Boring.
Just about every high end studio I've worked in has 1073s, 1176s, an LA-2A, Distressors, Neumanns etc...boring.

Well, no. It's all down to how you use it! If a plugin is "boring" then use it in an interesting way! And actually...some of my fave plugins are boring, they just do what they do very well.

Quote:
I prefer a real dbx 160XT over that UAD/Waves 1176/la2a can you believe that? I've done hundreds of listening tests.
Maybe - of course, it's also possible that every listening test you've done is flawed and already influenced by your inherent bias. I'm not saying it IS, only that it's possible (unless you're claiming you've done hundreds of accurately calibrated listening tests). I....don't.

Quote:
Look at Eddie Kramer and the rest of the big names out there promoting these plug ins while they're sitting in their rooms with racks of hardware gear from floor to ceiling and a console sometime 2! They know damn well what's up. Can you make a great recording and mix it ITB with plugs? yes. Is it easier to achieve the sound you want having consoles, tape, racks of gear, great mic's, and a great room? Hell yes! And way mOre inspiring IMO.

Andrew Sheps, "I'm mixing 100% in the box"

Bahahahahahaha yea after tracking with a Neve Console and a Tidal Wave of Hardware gear to print through id image that makes it much easier!
There is this persistent myth I find that the big names only get immaculately tracked projects to work on. That really, really isn't always the case. Sometimes - sure. Sometimes bigger projects have the WORST tracking engineers. I've seen it first hand, and heard about many more projects going to people like Spike Stent where the tracking guy should really have been sacked!

Quote:
I love my console and I'm going down with this ship smiling!!
And really, in your situation, that's the right thing to do!
Old 7th July 2018
  #249
Quote:
Originally Posted by 127Riot View Post
If they could make a plug in that emulates The return on investment for hardware gear for plug ins id buy that to!!
If I only wanted to make money on something, there's far better investments than hardware. Sure, if you buy smart 2nd hand, you can pretty much sell without losing money if it doesn't suit you, or when you move on. Obviously new current gear doesn't hold it's value, and vintage gear is heavily overpriced in many situations. I'm definitely partial to a vintage mic too!

BUT - my plugins aren't investments - they're tools. I use them, and they either save me time or improve my results (good investment) or they don't (bad). I don't NEED to sell them on - any more than any professional needs to sell their tools. The cost and depreciation is built into the business model.

I bought my first pro tools rig for about £5k back in 2002. I think I eventually sold the Mac for about £300, the 002 for about £200 probably 8 years later (the Mac a few years before that).

Terrible investment if that's taken on face value. In practice, I used it every day and it enabled me to become pretty good on pro tools - and helped my career in unmeasurable amounts.

It's the same thing. Sure - if 2 tools do the right job, buy the one that'll keep it's value. But if I had to use a hardware 1176 and print every vocal through it...that's not a clever use of my time.

Quote:
Also if digital sounds sooo much better why even try and emulate the old hardware and consoles!?! Why not emulate digital recordings?!

What is going on here!
When I'm mixing EDM or something, I'm definitely NOT trying to emulate older recordings! so yes - it happens.

If I'm mixing a rock band (as mentioned above), there's certain flavours I'm trying to get. I'm actually never TRYING to make a record sound like something from the 50s, 60s, or 70s - even retro records don't really WANT to sound like that most of the time - you're usually shooting for that flavour. If I actually made a mix that sounded perfectly of it's time, people would ask for more bass, more clarity, louder/punchier drums, and so on! REALLY listen to early metal (where are the drums?!), 80s pop (how small does this sound now - where's the low end?) or other genres where you might have a mental picture - it's really not what people are looking for a lot of the time!
Old 7th July 2018
  #250
Lives for gear
 

It is becoming much harder to isolate studio protocols from live performance activities. There is a linear relationship between the demise of CD sales and escalated live video work. $20,000, cameras and huge trucks housing a plethora of analog audio hd-wear have been replaced by much smaller GH4/5 camera sensors paired with Atomos recorders and audio provided with much smaller systems, such as the Digigrid /Waves LV1 systems.
The ability to turn key a package arrangement to provide FOH and stage monitoring along with a video of the live performance that contains both an imbedded scratch track of the house mix along with a post produced two mix from pre only multi-track capture that can be synced to the video is todays best commercial opportunity. Providing these Live performance services do not require analog gear beyond mics and pre-amps and the resulting paradigm shift away from large consoles is already well under way.
IMO it is important to honestly asses our goals and deal honestly with real world market conditions that are the primary factors controlling our industry. If a person is pursuing audio recording strictly as a hobby and prefers analog gear they are in luck: there is a ton of it available in the secondary market at bargain basement prices. However do not pursue a "Blue Sky Dream" of commercial success because of a room full of yesterdays hot gear.
Hugh
Old 7th July 2018
  #251
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
When I'm mixing EDM or something, I'm definitely NOT trying to emulate older recordings! so yes - it happens.

If I'm mixing a rock band (as mentioned above), there's certain flavours I'm trying to get. I'm actually never TRYING to make a record sound like something from the 50s, 60s, or 70s - even retro records don't really WANT to sound like that most of the time - you're usually shooting for that flavour. If I actually made a mix that sounded perfectly of it's time, people would ask for more bass, more clarity, louder/punchier drums, and so on! REALLY listen to early metal (where are the drums?!), 80s pop (how small does this sound now - where's the low end?) or other genres where you might have a mental picture - it's really not what people are looking for a lot of the time!

I've always said that it depends on the style of music and I really believe that some music sounds better mixed ITB.

Also I 1000% agree that these are tools and return on investment isn't the main goal. I've literally had a younger guy tell me he had an actual shadow hills mastering compressor he went on about it I found out that he was talking about the plug in version. He never mentioned it being the plug in and was trying to sway the conversation to multiple people like it was the hardware piece. I see eBay sellers offering to run your tracks through a Neve console, pultecs, 1176's yadda, yadda, yadda, what they're not saying is it's the UAD version not real hardware. I feel like this is being deceiving. Yea they are good. They are NOT the real thing.

If I told you I had a Neve Console and a bunch of classic mics u47, Elam 251, m49's etc, to track on and you came over to my studio and seen me pull up the software version of Neve 1073's on every channel in logic on a lap top with slates mic simulator would you feel deceived? I own real 1073's I've heard them side by side with the software offerings the difference is more than noticeable. Every time I hear someone comparing the slate microphone with simulation software next to a real one I think " are you kidding me!!?!? Can you not hear a huge difference!"!?

The slate mic & software has horrible harsh top end in some of these shoot outs on line. Yet everyone one is standing around saying I don't hear $10.k difference. I DO!!! I HEAR A MASSIVE DIFFERENCE!

It's not the same! Sorry buts it's not and I don't care about fancy GUI's one of my favorite plug in Comps is the R-Vox. It's not fancy it just does something I like a lot.
Old 7th July 2018
  #252
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
If I'm mixing a rock band (as mentioned above), there's certain flavours I'm trying to get. I'm actually never TRYING to make a record sound like something from the 50s, 60s, or 70s - even retro records don't really WANT to sound like that most of the time - you're usually shooting for that flavour. If I actually made a mix that sounded perfectly of it's time, people would ask for more bass, more clarity, louder/punchier drums, and so on! REALLY listen to early metal (where are the drums?!), 80s pop (how small does this sound now - where's the low end?) or other genres where you might have a mental picture - it's really not what people are looking for a lot of the time!

Agreed again in the 50's 60's 70's, they were not thinking I want this to sound like era. The awesome studios with the gear at that point in time is what made that sound. Of course the bands as well is what made the sound of the era and I love that!
Old 7th July 2018
  #253
Lives for gear
 
deuc647's Avatar
 

Quote:
Originally Posted by 127Riot View Post
I've always said that it depends on the style of music and I really believe that some music sounds better mixed ITB.

Also I 1000% agree that these are tools and return on investment isn't the main goal. I've literally had a younger guy tell me he had an actual shadow hills mastering compressor he went on about it I found out that he was talking about the plug in version. He never mentioned it being the plug in and was trying to sway the conversation to multiple people like it was the hardware piece. I see eBay sellers offering to run your tracks through a Neve console, pultecs, 1176's yadda, yadda, yadda, what they're not saying is it's the UAD version not real hardware. I feel like this is being deceiving. Yea they are good. They are NOT the real thing.

If I told you I had a Neve Console and a bunch of classic mics u47, Elam 251, m49's etc, to track on and you came over to my studio and seen me pull up the software version of Neve 1073's on every channel in logic on a lap top with slates mic simulator would you feel deceived? I own real 1073's I've heard them side by side with the software offerings the difference is more than noticeable. Every time I hear someone comparing the slate microphone with simulation software next to a real one I think " are you kidding me!!?!? Can you not hear a huge difference!"!?

The slate mic & software has horrible harsh top end in some of these shoot outs on line. Yet everyone one is standing around saying I don't hear $10.k difference. I DO!!! I HEAR A MASSIVE DIFFERENCE!

It's not the same! Sorry buts it's not and I don't care about fancy GUI's one of my favorite plug in Comps is the R-Vox. It's not fancy it just does something I like a lot.
And the waves Rcomp, that thing just has "it".
Old 7th July 2018
  #254
Gear Head
 
Dennis4's Avatar
 

Quote:
Agreed again in the 50's 60's 70's, they were not thinking I want this to sound like era. The awesome studios with the gear at that point in time is what made that sound. Of course the bands as well is what made the sound of the era and I love that!

It's a combination of a whole multitude of things like players , room , mics , pres , outboard , room , monitors etc.
To state that is down to even a handful of factors is simplistic.

Some of the greatest music ever made came from the 80's !
Old 7th July 2018
  #255
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by deuc647 View Post
And the waves Rcomp, that thing just has "it".

I do not use a lot of plug ins and as the years gone by and I purchased better gear I used less and less plug ins. On a final mix I probably have approximately 15 plug ins on a mix.

I own the
Renaissance Bundle
Api Bundle
SSL Bundle
Besides that a few odds n ends plug ins that I purchased here and there.

The Rennaisance Bundle I use the most. I use the R-Eq to LO & Hi-pass guitars, bass, and vocals, the R-Vox I use on vocals.

The SSL Bundle I use the SSL channel for Kick & Snare
and sometimes SSL Comp for drum Buss.

The api Bundle I use the 550a eq on guitars and sometimes I use the 550b on vocals.

Sometimes I use these in conjunction with outboard. It really just depends on the mix. Sometimes I use zero plug ins if I'm going for a straight clean as I tracked it Mix.

If I could only use one plug in it would be the R-Vox. It just has a way of bringing the vocal to the front and keeping it there without getting in the way.

When I use these plug ins I don't push them because I find they can get nasty quick. This is what I think sets hardware apart from plug ins I feel you can push hardware and it's stays pleasing where if you push a plug in watch out it can get HARSH. Again this is just my opinion from my experience.

Oh and Vahalla Reverb is awesome to!
Old 7th July 2018
  #256
Lives for gear
 
127Riot's Avatar
 

When I'm done mixing and the band releases this record I'm working on with their permission I will post a Ruff Mix I did with only plug ins spread out across my console. It is a very clean sounding well balanced Ruff Mix that I gave the band for reference. I feel that the console really shined on this mix. You can hear everything very clearly with great separation yet it's glued together and sounds cohesive.

For recall this would be a great way to work as I pretty much kept the console at unity and did all the mixing/automation eq'ing/compression ITB. Essentially using the board as a massive summing mixer. The only thing I did have was a Lexicon pcm 60 on Echo send 1 returning to a pair of Echo returns at unity. This gave it a sense of space. So how did the console help this ITB mix? Every track coming out hitting large vintage iron transformers summed down the line hitting the Master Transformers/Discrete Opamps. No Mixbuss Comp. I'm sure if I pulled back 2/3 DB with my Allen smart it would of added that special SSL thing.

Overall I was surprised at the accuracy, image, dimension, impact, punchyness, and width of the mix and how it came together only using plug ins. The band loved it as well. Every system I play it on it sounds very good and even. I now use it as a reference Mix when checking out monitors and headphones. I will come back and post a sample upon it's completion/release.
Old 9th July 2018
  #257
Lives for gear
 
Will The Weirdo's Avatar
Quote:
Originally Posted by 127Riot View Post
Yet everyone one is standing around saying I don't hear $10.k difference.
That's not completely true, you may want to read my opinion of the VMS after months of testing.... especially when Steven singles me out and tries to bet me $25K, lol. In my tests the VMS does NOT hang with the high end gear.

As to consoles, I would love to have an XL Desk or an AMS board, but I am an SSL fan after logging thousands of hours on them.
Old 9th July 2018
  #258
Quote:
Originally Posted by 127Riot View Post
I've always said that it depends on the style of music and I really believe that some music sounds better mixed ITB.

Also I 1000% agree that these are tools and return on investment isn't the main goal. I've literally had a younger guy tell me he had an actual shadow hills mastering compressor he went on about it I found out that he was talking about the plug in version. He never mentioned it being the plug in and was trying to sway the conversation to multiple people like it was the hardware piece. I see eBay sellers offering to run your tracks through a Neve console, pultecs, 1176's yadda, yadda, yadda, what they're not saying is it's the UAD version not real hardware. I feel like this is being deceiving. Yea they are good. They are NOT the real thing.

If I told you I had a Neve Console and a bunch of classic mics u47, Elam 251, m49's etc, to track on and you came over to my studio and seen me pull up the software version of Neve 1073's on every channel in logic on a lap top with slates mic simulator would you feel deceived? I own real 1073's I've heard them side by side with the software offerings the difference is more than noticeable. Every time I hear someone comparing the slate microphone with simulation software next to a real one I think " are you kidding me!!?!? Can you not hear a huge difference!"!?

The slate mic & software has horrible harsh top end in some of these shoot outs on line. Yet everyone one is standing around saying I don't hear $10.k difference. I DO!!! I HEAR A MASSIVE DIFFERENCE!

It's not the same! Sorry buts it's not and I don't care about fancy GUI's one of my favorite plug in Comps is the R-Vox. It's not fancy it just does something I like a lot.
100% agree - but that's misrepresentation! It's as bad as the guys claiming a CV of artist credits, and when you look closely it's unauthorised "remixes" or assistant credits on an acoustic version or something.

I've not used the Slate mic. For workflow it wouldn't work for me; but I'd like to hear it in person up against the "real" mics I have. I've not even bothered looking at online clips. But then I hear vocals in final, well known productions that I think have painful resonances on some notes...
Old 12th September 2018
  #259
Lives for gear
 
Will The Weirdo's Avatar
Quote:
Originally Posted by Will The Weirdo View Post
As to consoles, I would love to have an XL Desk or an AMS board, but I am an SSL fan after logging thousands of hours on them.
So in the end I went out and bought an API The Box console as the centerpiece of my studio and I love it.
Old 12th September 2018
  #260
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Will The Weirdo View Post
So in the end I went out and bought an API The Box console as the centerpiece of my studio and I love it.
Congrats! Can't go wrong with that.
Old 12th September 2018
  #261
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by Will The Weirdo View Post
So in the end I went out and bought an API The Box console as the centerpiece of my studio and I love it.


Congrats!


It's interesting because I spoke with a guy just yesterday who runs two rooms with S6's and he wants to sell them and get API Box's. I immediately asked him "why"!?!?!?. I asked mostly because it's "bucking the trend". He had some fair reasons, sonics being one. He mostly harped on the tactile aspect and just being used to working on consoles coming up and thinking about "signal flow".
Old 29th September 2018
  #262
Lives for gear
 
GYang's Avatar
I enjoy Neve 5088.
90% for mixing OTB.
But I have no problem with doing whole project ITB.
Sometimes I do both in same time (stems going out to 5088) and playing both worlds. I do not do it for living, so absolute efficiency is not the priority.
Mixing on 5088 is true joy, I assume mixes sound better in my case for whatever reason and satisfaction factor is way higher.
If I need fast ITB is fine,
Commercially I would expect that consoles will not be crucial anymore. They are part of personal preferences and choice.
And musicians usually love them, it is more than just sound. Way more.
Old 30th September 2018
  #263
Lives for gear
 

Just about to set up the SSL in my living room - free heating over the winter
Old 1st October 2018
  #264
Lives for gear
 
dabigfrog's Avatar
 

Frogville studios is installing a 70's API that Daniel Lanois used at Teatro to record that Willie Nelson album this weekend. It's not a purchase, we worked out a studio time trade for a perma-loan of console... cost us 80 bucks for the extra patch-bay we needed to install it ... and the power bill of course... and 2-3 non-booked nights a week... will post pics after install/commission next w.e.
Old 1st October 2018
  #265
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by dabigfrog View Post
Frogville studios is installing a 70's API that Daniel Lanois used at Teatro to record that Willie Nelson album this weekend. It's not a purchase, we worked out a studio time trade for a perma-loan of console... cost us 80 bucks for the extra patch-bay we needed to install it ... and the power bill of course... and 2-3 non-booked nights a week... will post pics after install/commission next w.e.
Can't wait to see it!
Old 1st October 2018
  #266
Lives for gear
 
Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Can't wait to see it!
Pics immediately!!
Old 1st October 2018
  #267
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by dabigfrog View Post
Frogville studios is installing a 70's API that Daniel Lanois used at Teatro to record that Willie Nelson album this weekend. It's not a purchase, we worked out a studio time trade for a perma-loan of console... cost us 80 bucks for the extra patch-bay we needed to install it ... and the power bill of course... and 2-3 non-booked nights a week... will post pics after install/commission next w.e.

Very cool!



If anybody wants to donate an MCI or a Trident to my studio for safe keeping I'd be more than willing to pay for the patchbey and commissioning.
Old 1st October 2018
  #268
Deleted User
Guest
You don't really need a mixer -- according to Daniel Lanois. Read it in his book..

Soul Mining: A Musical Life: Daniel Lanois: 9780865478596: Books - Amazon.ca

In his early sonic experiments Daniel channeled vocals and guitars through a two channel guitar amp. And that has sonic advantages -- it centers the sound on one axis.

Many of us already own a clone or the real thing, a two channel tube guitar amp -- based on the Fender Deluxe Tweed.

Therefore I'm not interested in a console. Even a Tree Audio Stem seems like a lot of mic cables and complication.
Old 1st October 2018
  #269
Gear Guru
 
drBill's Avatar
I looked for a similar situation, no go. At least no studio's I would have been willing to put my console into. Congrats! Nice console, instant bookings.
Old 2nd October 2018
  #270
Lives for gear
 
127Riot's Avatar
 

Consoles are Cool!

Quote:
Originally Posted by TheOracleofSherbrooke View Post
You don't really need a mixer -- according to Daniel Lanois. Read it in his book..

Soul Mining: A Musical Life: Daniel Lanois: 9780865478596: Books - Amazon.ca

In his early sonic experiments Daniel channeled vocals and guitars through a two channel guitar amp. And that has sonic advantages -- it centers the sound on one axis.

Many of us already own a clone or the real thing, a two channel tube guitar amp -- based on the Fender Deluxe Tweed.

Therefore I'm not interested in a console. Even a Tree Audio Stem seems like a lot of mic cables and complication.
Sure you do not need a console, you can buy a $200 studio set up from guitar center and make great recordings. You don't need Neumann mics you can use generic Samson mics it will capture the audio.

If cabling bothers you and and seems like an unneeded complication, you should stay away from consoles. Consoles equal cabling, bays, etc...

For me it's an overall more enjoyable experience having a console for the process.

There's no doubt the bands I record appreciate the console and hear the difference it adds and yes I prefer a console to add color. Same thing as reaching for a lespaul custom instead of a Telecaster or a Telefunken V-72 instead of a Neve 1066. It's a tool used to get a specific desired sound.

I've reamped guitar amps for vocal affects for a songs, it can be really great!
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