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Best console under 20k for production?
Old 9th January 2019
  #181
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andersmv's Avatar
 

What a waste of a thread. Why can't you all just be polite and professional? Seriously, it doesn't take much...
Old 9th January 2019
  #182
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127Riot's Avatar
 

Quote:
Originally Posted by jml designs View Post
I’m very concerned that wizards like Andrew Scheps, who sold every stick of gear he owned and went 100% ITB (along with his colleagues), are not in fact idiots but actually know something YOU don’t, perhaps.
Wrong, and ill informed.

Andrew scheps did not sell his gear and continues to purchase more. Even stating that he uses all of it to get his sound on the front end which greatly helps and improves his ITB mixing.
Old 9th January 2019
  #183
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by 127Riot View Post
Wrong, and ill informed.

Andrew scheps did not sell his gear and continues to purchase more. Even stating that he uses all of it to get his sound on the front end which greatly helps and improves his ITB mixing.
One might be curious as to whether he "re-amps" and affects the existing tracks provided him through the outboard - BEFORE - he starts mixing. Thus allowing him, a completely ITB mix.

Is that how he does it? I'm curiously fascinated to know.

Personally, I prefer to just dump the outboard on WHILE I'm mixing - essentially creating a "Hybrid" mix situation - while his may be "technically" an ITB mix - although if he's using his outboard pre-mix, that's maybe a touch misleading.

Either way works though. Both ways rely on outboard to create the mix. One call it ITB, but in reality it requires huge amounts of killer outboard - the benefit being super fast "recalls" after the fact. The other is Hybrid, and requires the same outboard, but is not as easily recalled, as the analog outboard affected tracks are NOT printed as individual / group tracks.

I'd love to know.....

For me, outboard gear is not just preferred, it's critical.

So.....ITB mixing might be the way forward, but getting a killer mix certainly requires SOME level of outboard gear (even if it's only a mic and a preamp) prior to mixing.
Old 9th January 2019
  #184
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Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Wrong, and ill informed.

Andrew scheps did not sell his gear and continues to purchase more. Even stating that he uses all of it to get his sound on the front end which greatly helps and improves his ITB mixing.
Correct it’s at monnow valley wales U.K.!

Making records daily
Old 9th January 2019
  #185
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myles's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Wrong, and ill informed.

Andrew scheps did not sell his gear and continues to purchase more. Even stating that he uses all of it to get his sound on the front end which greatly helps and improves his ITB mixing.
Damn. I liked it better when it was "Andrew shoes."
Old 10th January 2019
  #186
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127Riot's Avatar
 

Quote:
Originally Posted by drBill View Post
One might be curious as to whether he "re-amps" and affects the existing tracks provided him through the outboard - BEFORE - he starts mixing. Thus allowing him, a completely ITB mix.

Is that how he does it? I'm curiously fascinated to know.

Personally, I prefer to just dump the outboard on WHILE I'm mixing - essentially creating a "Hybrid" mix situation - while his may be "technically" an ITB mix - although if he's using his outboard pre-mix, that's maybe a touch misleading.

Either way works though. Both ways rely on outboard to create the mix. One call it ITB, but in reality it requires huge amounts of killer outboard - the benefit being super fast "recalls" after the fact. The other is Hybrid, and requires the same outboard, but is not as easily recalled, as the analog outboard affected tracks are NOT printed as individual / group tracks.

I'd love to know.....

For me, outboard gear is not just preferred, it's critical.

So.....ITB mixing might be the way forward, but getting a killer mix certainly requires SOME level of outboard gear (even if it's only a mic and a preamp) prior to mixing.
Recording through a Vintage Neve 80 series console with walls of classic outboard gear in a great tracking room would make mixing 100% ITB much easier and better.

Andrew Does this and is NOT “selling every last stick of outboard” as was mentioned earlier in this thread.

Again, some people try sooo hard to make others believe that their plug ins or low end pieces are just as good or better then classic outboard gear.

Bull Sh!t!

Either they can’t afford the classic outboard

Or

They don’t have the ears to hear the difference.

People that own real outboard vintage or highend boutique feel no need to dispute it.

The bottom line is, it does not matter what you have if it’s working for you and getting the results you desire, use it.

This tread was intended to find out about consoles no one cares about your plug in that every kid in their bedroom owns.

Yea I own and use plugs too, who cares we’re here for the consoles. Go to the “best plug in” thread. See how fun that is! Hahaha!

“ANDREW AND ALL HIS FRIENDS SOLD ALL THEIR OUTBOARD GEAR, EVERY LAST STICK OF IT”

What a load of BS!

These big names are making hit records and using the tools of the trade to assist, including software.
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Old 10th January 2019
  #187
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i just bought this for 10k today :-) goes into one of my rooms (if not into a van or on tour)...
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Old 11th January 2019
  #188
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Eganmedia's Avatar
Quote:
Originally Posted by EvilRoy View Post
"Track on a Neve, mix on an SSL" was what I kept in mind when shopping for a mixer last year. I can see why many prefer a big iron loaded desk for tracking but I was looking for clean and transparent. I can track through outboard iron or process later, although I wouldn't thumb my nose at a Neve. $20k gives you lots of choices on the vintage market, but it's best not to get too locked in to any particular model in case a great deal passes you by on a different one. There's not much you can't get with $20k these days. Forget SSL, big API, top of the line Neve, Trident, 9098 etc. but you can still land a smaller Neve, Trident or a top of the line Soundcraft Jade, Neotek, D&R, DDA, Studer, Calrec, MCI, Amek etc. Don't hold your breath waiting for a $500 Harrison.

I almost went with a Neve VR60 for $10k, gorgeous desk. It needed work and is high maintenance so I thought the initial cost was deceiving. I wound up getting a loaded 32 frame D&R Cinemix last year for $11k. 84 db gain on mic pres, 24 bus, 64 mono w. 64x4 band sweep, 10 stereo with 4 band fixed, 10hz-200khz vca out, moving faders, 5.1 master section with automated joysticks, surround stems matrix, like new. Same sonic ballpark as a Neotek. I was lucky enough to pick up enough dynamics cards to cover all the monos for $500. I can recall them with a button push. It's far more mixer than I was looking for and probably a little above market value due to the condition, but I jumped on it. Unlike a lot of old automation systems, this one speaks midi. Currently porting the vst2 plugin for it to run inside Logic. D&R was made in The Netherlands and sold many more in Europe, bit of a rarity over here. $20k most certainly buys a nice console.

I had one of those for 13 years! I sold a few years ago when I moved inside the box. I still miss it every day. That is a fantastic console. In the whole time I drove it, I had two channels die on me, one was a burnt resistor that took 20 minutes to fix, and one was a socketed op amp that took 5 minutes. Dead quiet, gobs of headroom, amazing sounding EQs, especially the low end, a 5.1 mix/ monitor matrix, more inputs than I ever used for mixing, etc., etc., etc.... Great board.
Old 11th January 2019
  #189
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EvilRoy's Avatar
Quote:
Originally Posted by Eganmedia View Post
I had one of those for 13 years! I sold a few years ago when I moved inside the box. I still miss it every day. That is a fantastic console. In the whole time I drove it, I had two channels die on me, one was a burnt resistor that took 20 minutes to fix, and one was a socketed op amp that took 5 minutes. Dead quiet, gobs of headroom, amazing sounding EQs, especially the low end, a 5.1 mix/ monitor matrix, more inputs than I ever used for mixing, etc., etc., etc.... Great board.
Thanks. Y'know, I've yet to see a console I'd rather have. Even a big SSL wouldn't suit my budget or needs as well. And...it's gonna be greater when I'm done. After I finish the port to AU, I wanna screw with the software. Should be rather easy to do mute groups, use it as a dual layer audio/midi controller or control it with an iPad from the couch. All the chips are socketed so I was also wondering about improving it's already stellar sonics. It would likely need a circuit mod to take advantage of any chip upgrade though, beyond me. Want to approach Jim Williams at Audio Upgrades one day. Gotta commission the thing first, lol. I have a buncha spares and would love to see those EQs get used if anyone wants to box a couple, PM me. How are those 84 db gain mic pres?

Shame these never caught on in the US, I think it competes well with an SSL. Always wondered how many made it over here? The guy I bought this from said there were only 2 but I'm certain it was more.
Old 11th January 2019
  #190
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Quote:
Originally Posted by Eganmedia View Post
I had one of those for 13 years! I sold a few years ago when I moved inside the box. I still miss it every day. That is a fantastic console. In the whole time I drove it, I had two channels die on me, one was a burnt resistor that took 20 minutes to fix, and one was a socketed op amp that took 5 minutes. Dead quiet, gobs of headroom, amazing sounding EQs, especially the low end, a 5.1 mix/ monitor matrix, more inputs than I ever used for mixing, etc., etc., etc.... Great board.
what i'm not getting is that why you sold it if you miss it every day?! i wouldn't wanna work without the tools i'm having fun with...

(i just worked a couple of days on the cinemix many years ago - remember it being a nice desk)
Old 11th January 2019
  #191
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Eganmedia's Avatar
Quote:
Originally Posted by deedeeyeah View Post
what i'm not getting is that why you sold it if you miss it every day?! i wouldn't wanna work without the tools i'm having fun with...

(i just worked a couple of days on the cinemix many years ago - remember it being a nice desk)
Because my work changed. When I bought it new in 1998 I was finishing a new studio build that was centered around music production. We had a fantastic live room, a Yamaha C7, DW masters drum kit, etc. etc. I was making a living recording music. Then the Digi 003 (and other computer-based systems) came along, and it became even cheaper to get in to the studio business. I had already begun to work more on ADAT than on 2" because people didn't want to spend the money to buy tape. And as the Napster was replaced by Limewire and MP3s replaced CDs musicians were having an even tougher time affording studios like mine, and I didn't want to fight for the bottom. I started focussing more on commercial audio and ad agencies became my new bread and butter. They don't care what one preamp sounds like relative to another. Total recall was more important than anything else. Eventually I found myself sitting behind the Cinemix with Pro Tools returning into a single stereo channel. I had a Mackie Hui control surface and I wanted more than 8 faders. I finally sold the Cinemix and replaced it with a C|24 which suits my needs much better. Now most of my work is sound for picture and I'm on the cusp of replacing that with a control surface better suited to that kind of work.

Analog consoles are awesome. I love how good a good one can sound and I love having a knob, fader, or switch for each function. But I'm not doing this just for fun. I have to make a living and time is money. Short answer is simply that a control surface makes infinitely more sense for the kind of work that do.
Old 11th January 2019
  #192
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thx for sharing - pretty similar story here, except that i could keep studio(s) busy with various other kind of production (video, composing, mastering, rehearsing), but i'm no longer recording bands in here (well, very rarely in the all analog studio).
i switched to mostly live mixing, doing some broadcast and lots of remote recording of classical music (and mixing hereof in my all digital room), all with my beloved desks!


p.s. for me, the thing about working on a desk is the design/layout/interface/haptics: i don't care much whether it's analog or digital and i don't need tons of outboard to get it going: it's all here, right in front of me and for each function, i got a knob to grab. doesn't hurt if things can get colour coded as on some digital desks...

(i went itb for 10 years but simply did not enjoy it)

Last edited by deedeeyeah; 11th January 2019 at 05:07 PM.. Reason: edited and p.s. added
Old 11th January 2019
  #193
Gear Head
just wanted to say thanks, it is nice to see a thought-out, clearly explained answer that is based on experience around here

Quote:
Originally Posted by Eganmedia View Post
Because my work changed. When I bought it new in 1998 I was finishing a new studio build that was centered around music production. We had a fantastic live room, a Yamaha C7, DW masters drum kit, etc. etc. I was making a living recording music. Then the Digi 003 (and other computer-based systems) came along, and it became even cheaper to get in to the studio business. I had already begun to work more on ADAT than on 2" because people didn't want to spend the money to buy tape. And as the Napster was replaced by Limewire and MP3s replaced CDs musicians were having an even tougher time affording studios like mine, and I didn't want to fight for the bottom. I started focussing more on commercial audio and ad agencies became my new bread and butter. They don't care what one preamp sounds like relative to another. Total recall was more important than anything else. Eventually I found myself sitting behind the Cinemix with Pro Tools returning into a single stereo channel. I had a Mackie Hui control surface and I wanted more than 8 faders. I finally sold the Cinemix and replaced it with a C|24 which suits my needs much better. Now most of my work is sound for picture and I'm on the cusp of replacing that with a control surface better suited to that kind of work.

Analog consoles are awesome. I love how good a good one can sound and I love having a knob, fader, or switch for each function. But I'm not doing this just for fun. I have to make a living and time is money. Short answer is simply that a control surface makes infinitely more sense for the kind of work that do.

Last edited by macca; 11th January 2019 at 05:45 PM..
Old 11th January 2019
  #194
Gear Nut
 

Since there's a lot of mention of Andrew Scheps, it is very worth listening to this podcast...

#27: The Means of Production with Andrew Scheps

According to him, he is 100% in the box, and not tracking anymore. He carries around a laptop, a UAD hub and a pair of Sony headphones. All his gear is at a studio in the states, where it gets used by others.

Beyond that, a fantastic interview. I found it rather inspiring, as I am someone that can get hung up on hardware vs. software.

I would also listen to the 2 episodes with Kevin Killen. Also in the box now. He talks a lot about "So" too, which is... jesus, amazing.

Anyways, consoles are great. I so rarely get to track bands in rooms with actual boards, because apparently you need 30 different preamps to track toms or something. But man, I ****ing love it when I can just plug into a desk and not worry about it.
Old 11th January 2019
  #195
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Eganmedia's Avatar
Quote:
Originally Posted by EvilRoy View Post
<SNIP>How are those 84 db gain mic pres?
The mic preamps are great. I had Great River, Crane Song, Manley, Avalon, API and some other outboard preamps. I used the onboard mic preamps every bit as often as the outboard ones.

[/QUOTE]Shame these never caught on in the US, I think it competes well with an SSL. Always wondered how many made it over here? The guy I bought this from said there were only 2 but I'm certain it was more.[/QUOTE]

I had one, Dave Martin (who I think sold his studio- Java Jive- in Nashville) had one, There was one in Missouri, one in Alabama, and two in LA that I knew of. The distributor was in Texas and was a pretty shady character. Had they had better distribution I think there would have been more of them.

I never used the console automation much, and while the dynamics were usable, the lack of decent gain reduction metering made them harder to use than outboard/ plugins.

It's great to see one in use. Enjoy it!

I absolutely loved the EQ on that console, especially the low frequency which seemed to add weight as well as tone. I don't know what it was about the design, but it sounded really good to me.
Old 11th January 2019
  #196
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by EvilRoy View Post
Thanks. Y'know, I've yet to see a console I'd rather have. Even a big SSL wouldn't suit my budget or needs as well. And...it's gonna be greater when I'm done. After I finish the port to AU, I wanna screw with the software. Should be rather easy to do mute groups, use it as a dual layer audio/midi controller or control it with an iPad from the couch. All the chips are socketed so I was also wondering about improving it's already stellar sonics. It would likely need a circuit mod to take advantage of any chip upgrade though, beyond me. Want to approach Jim Williams at Audio Upgrades one day. Gotta commission the thing first, lol. I have a buncha spares and would love to see those EQs get used if anyone wants to box a couple, PM me. How are those 84 db gain mic pres?

Shame these never caught on in the US, I think it competes well with an SSL. Always wondered how many made it over here? The guy I bought this from said there were only 2 but I'm certain it was more.
There are a lot more than two. Not sure how many exactly, but Paul Westbrook would have a good idea. Jim doesn't particularly like D&R's. There is someone I'd trust more though, although he is busy and takes a long time -- Ralph Skelton - Pacific Innovative in North Hills / Granada Hills (?). He is the master of modding D&R's. I've had him do a bunch of work for me, as did D&R USA and a lot of other cats I know. Particularly fantastic at Power Supplies.
Old 12th January 2019
  #197
Quote:
Originally Posted by Maggot Brain View Post
Since there's a lot of mention of Andrew Scheps, it is very worth listening to this podcast...

#27: The Means of Production with Andrew Scheps

According to him, he is 100% in the box, and not tracking anymore. He carries around a laptop, a UAD hub and a pair of Sony headphones. All his gear is at a studio in the states, where it gets used by others.

Beyond that, a fantastic interview. I found it rather inspiring, as I am someone that can get hung up on hardware vs. software.

I would also listen to the 2 episodes with Kevin Killen. Also in the box now. He talks a lot about "So" too, which is... jesus, amazing.

Anyways, consoles are great. I so rarely get to track bands in rooms with actual boards, because apparently you need 30 different preamps to track toms or something. But man, I ****ing love it when I can just plug into a desk and not worry about it.
*studio in Wales. Don’t know when this podcast is from but his gear is now at monnow valley in Wales.
Old 12th January 2019
  #198
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Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
*studio in Wales. Don’t know when this podcast is from but his gear is now at monnow valley in Wales.
Correct.. I know people tracking there next month. There’s an enournous amount of quality outboard and the double 8068 Neve! So I think mr Sheps has the front end. I seed even if he sodas mix rather well ITB!
Old 12th January 2019
  #199
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myles's Avatar
 

Quote:
Originally Posted by Wiggy Neve Slut View Post
I seed even if he sodas mix rather well ITB!
100%. Couldn't have said it better myself.
Old 12th January 2019
  #200
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Kronos147's Avatar
Plug ins....

Old 13th January 2019
  #201
Quote:
Originally Posted by Maggot Brain View Post
Since there's a lot of mention of Andrew Scheps, it is very worth listening to this podcast...

#27: The Means of Production with Andrew Scheps

According to him, he is 100% in the box, and not tracking anymore. He carries around a laptop, a UAD hub and a pair of Sony headphones. All his gear is at a studio in the states, where it gets used by others.

Beyond that, a fantastic interview. I found it rather inspiring, as I am someone that can get hung up on hardware vs. software.

I would also listen to the 2 episodes with Kevin Killen. Also in the box now. He talks a lot about "So" too, which is... jesus, amazing.

Anyways, consoles are great. I so rarely get to track bands in rooms with actual boards, because apparently you need 30 different preamps to track toms or something. But man, I ****ing love it when I can just plug into a desk and not worry about it.

Yea I was stunned cause he was always the biggest gear slut of them all and then BAM... Laptop ONLY. Kinda knocked the wind out of me. Waves audio even posted a follow up video literally titled “Andrew sheps, 100% in the box” three years ago in 2016. Maybe he didn’t sell all his gear, I was probably mistaken there but I remember him saying he did get rid of a lot and what he does have is just for client attraction. Whatever that’s not even the point.

It’s an incredible time when the biggest songs in the world are mixed today not on a massive SSL but on a laptop. I’m not saying I’m slimming down, I started this thread cause I am buying a new console, which I’ve done.

A big thanks to everyone who gave me positive feedback about desk options, this thread guided me to the desk I eventually went with and even some cool outboard selections recommended here.as a mix engineer I remain optimistic there will always be a place for the gear we love. As a tracking engineer I’m not worried at all. There will always be a need for a good tracking environment even if mixing 100% ITB - anyway thank you very much

Last edited by jml designs; 13th January 2019 at 08:28 AM.. Reason: Sp
Old 13th January 2019
  #202
Gear Addict
 

So break the good news what did you end up getting
Old 13th January 2019
  #203
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EvilRoy's Avatar
Quote:
Originally Posted by drBill View Post
There are a lot more than two. Not sure how many exactly, but Paul Westbrook would have a good idea. Jim doesn't particularly like D&R's. There is someone I'd trust more though, although he is busy and takes a long time -- Ralph Skelton - Pacific Innovative in North Hills / Granada Hills (?). He is the master of modding D&R's. I've had him do a bunch of work for me, as did D&R USA and a lot of other cats I know. Particularly fantastic at Power Supplies.
Gold.

I shall have to buy you lunch one day, perhaps when I pick up my new Silver Bullet(s).

Old 17th January 2019
  #204
Quote:
Originally Posted by Saxplayerz View Post
So break the good news what did you end up getting
I actually started this thread with both myself and another studio owner in mind I'm helping build with who was also buying a console in the same price range at the same time so we ended up buying two consoles off this list! I'm going with a Trident 80B and he went with Sinatra's old Electrodyne with a 12 ch sidecar bought from Patty Smith's engineers here in the city. To complete my sound I got a pair of Altec 436c's this month w/ output mod (Daven xformers) to just live on my two buss. His primary two buss for the Electrodyne are a pair of (apropos) Vintage 610 Spectrasonics he had custom modified by the the owner for stereo link. Everything will go through them or a vintage stereo Neumann Consolette so that'll be the paired "sound" to be used as go to mojo.

Working on getting a "Voice of the Theater" pair as my mains. Have you heard those old Altecs???? Beastmode. Cost as much as these consoles but worth it, gotta get that old magic & those ancient Altecs VOTT boxes are on another planet. Relative to that my boy Ben opened Electric Garden Studios 2 months ago and he's got a new AWS board -> pair of Augspurger's (not apples/apples obviously). Studio is KILLER except for his monitors! I was blown away, I found them veiled, boxey and tunneled. Yes the room is tuned. The gear and architectural resources spent there are absurd. It's the monitors for sure. To each their own but the Altecs will be mine, oh yes.

I flipped two other medium consoles I had last month to fund this and am already thinking I should have got the API1608 but I wouldn't be happy without the automation/computer pack and I just am not making that kind if money to justify it.... yet... so I'll wait and grow into it organically in a few years. Thats the plan.
Thanks again for your input, it was super helpful and a very fun process for sure! Looking forward to leveling up haha

Last edited by jml designs; 17th January 2019 at 09:32 AM.. Reason: sp
Old 17th January 2019
  #205
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myles's Avatar
 

Quote:
Originally Posted by jml designs View Post
I actually started this thread with both myself and another studio owner in mind I'm helping build with who was also buying a console in the same price range at the same time so we ended up buying two consoles off this list! I'm going with a Trident 80B and he went with Sinatra's old Electrodyne with a 12 ch sidecar bought from Patty Smith's engineers here in the city. To complete my sound I got a pair of Altec 436c's this month w/ output mod (Daven xformers) to just live on my two buss. His primary two buss for the Electrodyne are a pair of (apropos) V610 Spectrasonics he had custom modified by the the owner for stereo link. Everything will go through them or a vintage stereo Neumann Consolette so that'll be the paired "sound" to be used as go to mojo. Working on getting a "Voice of the Theater" pair as my mains. Have you heard those old Altecs???? Beastmode. Cost as much as these consoles but worth it, gotta get that old magic & those ancient Altecs VOTT boxes are on another planet. Relative to that my boy Ben opened Electric Garden Studios 2 months ago and he's got a new AWS board -> pair of Augspurger's (not apples/apples obviously). Studio is KILLER except for his monitors! I was blown away, I found them veiled, boxey and tunneled. Yes the room is tuned. The gear and architectural resources spent there are absurd. It's the monitors for sure. To each their own but the Altecs will be mine, oh yes.

I flipped two other medium consoles I had last month to fund this and am already thinking I should have got the API1608 but I wouldn't be happy without the automation/computer pack and I just am not making that kind if money to justify it.... yet... so I'll wait and grow into it organically in a few years. Thats the plan.
Thanks again for your input, it was super helpful and a very fun process for sure! Looking forward to leveling up haha
You guys did well. Love the idea of A7's as mains. No problem cranking for clients!

Curious about the link mod to the 610s and how it's different from the factory wire-with-a-cap link. I have a personal interest, as you can see from the avatar...

Last edited by myles; 17th January 2019 at 10:00 AM.. Reason: question
Old 18th January 2019
  #206
Quote:
Originally Posted by myles View Post
You guys did well. Love the idea of A7's as mains. No problem cranking for clients!

Curious about the link mod to the 610s and how it's different from the factory wire-with-a-cap link. I have a personal interest, as you can see from the avatar...
Yea he spent a lot to have them fully restored I believe they are not the new V610 but the vintage 610’s, I’ll remember to ask specifically for you when next I see him. He’s on here too, I’ll find out his handle for you if you wanna PM him. His setup is really amazing. Old Fairchild’s, generals, a vintage Nuemann sidecar and the customized 610’s make for some special sounds. He’s got an massive mic locker too worh rca44’s, vintage Geffels etc and his fav mics are the ear trumpet labs! Go figure. The v610’s are becoming quite a few mastering engineers best kept secrets due to how insanely fast they are. With compression that fast I often saturate a track unconventially by processing the source 3 or 4 (or more) times through the box at 1:1 or as low as a unit will allow. With gear like the 610 with relatively low noise floor sometimes 7 or 8 times will make it larger than life! Very versatile and textured boxes. as vari-mus go my 436’s are nearly opposite in regard of speed. Slow and steady but similarly very germanium in texture... which is my cup of tea
Old 18th January 2019
  #207
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myles's Avatar
 

Quote:
Originally Posted by jml designs View Post
Yea he spent a lot to have them fully restored I believe they are not the new V610 but the vintage 610’s, I’ll remember to ask specifically for you when next I see him. He’s on here too, I’ll find out his handle for you if you wanna PM him. His setup is really amazing. Old Fairchild’s, generals, a vintage Nuemann sidecar and the customized 610’s make for some special sounds. He’s got an massive mic locker too worh rca44’s, vintage Geffels etc and his fav mics are the ear trumpet labs! Go figure. The v610’s are becoming quite a few mastering engineers best kept secrets due to how insanely fast they are. With compression that fast I often saturate a track unconventially by processing the source 3 or 4 (or more) times through the box at 1:1 or as low as a unit will allow. With gear like the 610 with relatively low noise floor sometimes 7 or 8 times will make it larger than life! Very versatile and textured boxes. as vari-mus go my 436’s are nearly opposite in regard of speed. Slow and steady but similarly very germanium in texture... which is my cup of tea
Great, thanks! They are one-of-a-kind limiters, that's for sure.
Old 29th January 2019
  #208
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drBill's Avatar
For those who may still be contemplating the question posed in this thread....

An amazing option IMO.

Mitsubishi Westar 52-Ch Quad Eight Mixing Console Neve Flying Fader Mixer Desk | eBay

I am in no way affiliated, but with the modularity, flying faders, incredible Quad 8 sonics and easy maintenance, this is a contender.
Old 30th January 2019
  #209
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EvilRoy's Avatar
Quote:
Originally Posted by jml designs View Post
I actually started this thread with both myself and another studio owner in mind I'm helping build with who was also buying a console in the same price range at the same time so we ended up buying two consoles off this list! I'm going with a Trident 80B and he went with Sinatra's old Electrodyne with a 12 ch sidecar bought from Patty Smith's engineers here in the city. To complete my sound I got a pair of Altec 436c's this month w/ output mod (Daven xformers) to just live on my two buss. His primary two buss for the Electrodyne are a pair of (apropos) Vintage 610 Spectrasonics he had custom modified by the the owner for stereo link. Everything will go through them or a vintage stereo Neumann Consolette so that'll be the paired "sound" to be used as go to mojo.

Working on getting a "Voice of the Theater" pair as my mains. Have you heard those old Altecs???? Beastmode. Cost as much as these consoles but worth it, gotta get that old magic & those ancient Altecs VOTT boxes are on another planet. Relative to that my boy Ben opened Electric Garden Studios 2 months ago and he's got a new AWS board -> pair of Augspurger's (not apples/apples obviously). Studio is KILLER except for his monitors! I was blown away, I found them veiled, boxey and tunneled. Yes the room is tuned. The gear and architectural resources spent there are absurd. It's the monitors for sure. To each their own but the Altecs will be mine, oh yes.

I flipped two other medium consoles I had last month to fund this and am already thinking I should have got the API1608 but I wouldn't be happy without the automation/computer pack and I just am not making that kind if money to justify it.... yet... so I'll wait and grow into it organically in a few years. Thats the plan.
Thanks again for your input, it was super helpful and a very fun process for sure! Looking forward to leveling up haha
Nice choices. Yeah, I remember those Altecs. Also remember seeing a pair of restored ones on the local Craigslist recently for $1500. Just checked, ad is still up. Huuuuge!
Old 16th February 2019
  #210
A couple months ago I had Tree Audio/Inward Connections build and design a 16 channel console with 32 500 series slots and it was above 20k but not too much above that. I'll report back when they finish it at the end of this month, but it was designed with the intent of being used with my production template in PT. I definitely recommend calling Inward Connections and telling them exactly what you want in a console.
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