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To Console or Not to Console...
Old 2 weeks ago
  #631
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by 127Riot View Post
Thanks and that makes sense. Would I have to go HD if I purchased the Digi converters? Or should I go HD?

I did not like the sound of the earlier version digi converters at all, but these newer ones and I’ve only had a short amount of time on them. Don’t seem bad at all.
AVID's configs about what works, what meets your needs, what doesn't, what allows future expansion, what works with your current OS and PT version, etc. are so complex that it makes sense to talk with a PT consultant. (IMO). I've always been DSP based, so I'm not 100% up to speed on the native systems and what they will support. I've got a guy in LA that I deal with exclusively, and he's always given me the best, cheapest, most "future proof" options - I just follow what he tells me to do.

For me, tracking live ensembles, etc. there is only one option - HDX. I'm not aware of any major studio that tracks orchestras or large groups of people that isn't running HDX. Mixing or overdubs are a different ball game.

The HD i/o sounds great, is on par with the good stuff, although not colored like the Burl's. They are not THAT much different than the previous 192 interfaces. Sound like they are from the same family, but a touch less 'crunchy" to me. I run mostly HD I/o's, but I still have a couple 192's in the fray.
Old 2 weeks ago
  #632
Gear Addict
 
Tousana's Avatar
 

So, I think this started out as console vs. no console. Personally I prefer a console as I like to track with faders. Not a big fan of adjusting levels at the mic pre when I just need a db or less level. I do quite a bit of live tracking so it works for me, plus it's what I'm used to after 30+ years of working.

When mixing I'm doing the hybrid thing mixing in the box and summing through the console. I use very little outboard during the mix unless it's something super special, like breaking out the EMT 240 for a vocal, or solo. I do this mainly because, due to the way things are now there's very little time for experimentation.

This works for me, will it work for anyone else, who knows, you've got to go with what make you feel comfortable. My set up works for me.
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Old 2 weeks ago
  #633
Gear Maniac
 
Digiplex's Avatar
 

Quote:
Originally Posted by drBill View Post
AVID's configs about what works, what meets your needs, what doesn't, what allows future expansion, what works with your current OS and PT version, etc. are so complex that it makes sense to talk with a PT consultant. (IMO). I've always been DSP based, so I'm not 100% up to speed on the native systems and what they will support. I've got a guy in LA that I deal with exclusively, and he's always given me the best, cheapest, most "future proof" options - I just follow what he tells me to do.

For me, tracking live ensembles, etc. there is only one option - HDX. I'm not aware of any major studio that tracks orchestras or large groups of people that isn't running HDX. Mixing or overdubs are a different ball game.

The HD i/o sounds great, is on par with the good stuff, although not colored like the Burl's. They are not THAT much different than the previous 192 interfaces. Sound like they are from the same family, but a touch less 'crunchy" to me. I run mostly HD I/o's, but I still have a couple 192's in the fray.
Avid software is the worst platform I’ve ever seen. So if you drop what $20 grand on an hd rig it’s going to be at end of life and support in what a few years? They don’t really support their old gear and once it’s not new it’s like a used car. I could buy a jh24 mera refurbished machine and probably a console to match it for much less.
Old 2 weeks ago
  #634
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by Digiplex View Post
Avid software is the worst platform I’ve ever seen. So if you drop what $20 grand on an hd rig it’s going to be at end of life and support in what a few years? They don’t really support their old gear and once it’s not new it’s like a used car. I could buy a jh24 mera refurbished machine and probably a console to match it for much less.
Whatever floats your boat. Any the risk of a dissenting point of view : my HD rigs lasted well over a decade. My current HDX rig has been kicking *** close to 10 years now, and shows no signs of slowing down or being "end of life" anytime soon. On the other hand, my JH24 cost me way more than the HDX rigs entire cost (massive 96 channel I/o's aside) just in repairs to keep it's 24 tracks running and spinning reels for a decade. Not to mention the down time it cost me as I'm not a tech and couldn't afford to have one on staff.

AVID / DIGI / PT has been by far the best investment I ever made for making music, keeping clients happy, and giving me creative options. My JH24 was great too as it broke me into the professional world, but PT kept me there and propelled me into the future. It's hands down the best DAW platform I've ever seen / used.
Old 2 weeks ago
  #635
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Audeath View Post
Hey riot! your videos sound very good and are very inspiring! what elements would make you choose one method over the others... analog/hybrid/ITB .. I mean I also have many way to work & sometimes i lost my time just trying to figure out what will work best for this X project..
Thanks for the kind words Audeath, I appreciate it.

To answer your question it really just depends on the band and the approach we want to take for the project.

For tracking,
If they’re a band that are well rehearsed and looking to go for a mostly live feel with basic overdubs. I prefer to track all the basic core instruments like drums, Bass, and rythem guitars, scratch vocals live together to 2 inch tape, then dump into Protools via the burls and overdub things like vocals & solos.

If they’re a band that wants to work out parts as they go in the studio with lots of overdubs. I track them through the Burls to Protools.

It also depends on the style and sound we’re going for.

For mixing,
I prefer to mix hybrid - mixing and editing in Protools and spreading it out across my console using plug ins and outboard gear together. This is what I do most of the time.

If a band that wants it mixed a few different ways and do lots of recalls. I’ll mix it in the box with plug ins but still stem it out to my vintage api summing mixer with a Hardware compressor & Eq on the MixBus insert. So the only thing I have to recall is a stereo compressor & eq. Everything else is saved with full recall ITB and I can save as many snap shots of different mixes as needed but still get the benefit of hitting vintage Iron transformers discrete Opamps with balanced I/O’s and the inserted Hardware mixbus chain.

A full ITB mix is rare for me as I feel the urge to run it through the line amps of my vintage Neve 1064’s or something else, but I’ve done it for bands that need a quick reference mix, etc.. and I’ve done it to compare to my console and summing mixer mixes, I always choose the console or summing mixes over the ITB mix and so have bands and they didn’t know which one was what.

I think that’s because I’m not as good at doing ITB mixing as I am on my mixers with or without my outboard gear. I’m learning and always trying to improve.

Below are some pictures of my mixers inside and out,
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Old 2 weeks ago
  #636
Gear Maniac
 
Digiplex's Avatar
 

Quote:
Originally Posted by drBill View Post

AVID / DIGI / PT has been by far the best investment I ever made for making music, keeping clients happy, and giving me creative options. My JH24 was great too as it broke me into the professional world, but PT kept me there and propelled me into the future. It's hands down the best DAW platform I've ever seen / used.
Well it’s been nothing but frustration for me.
Fell down under even the lightest of loads. Requires constant repair/updates clearing prefs. Just a total nightmare. Seemed like every session quit at some point posting this or that. Plus now there are better interfaces one could buy and not be in the whole avid ecosystem.
Because eventually you will have something like a 192 at the end of its life cycle.
Old 2 weeks ago
  #637
Lives for gear
 
Space1999's Avatar
 

Well I don’t know if OP is still around but I believe in using consoles in conjunction with a DAW. I also believe in the continuity of using the same pre-amps and EQs for all the tracks. It is the analog glue that doesn’t get talked about as much as tape machines.

I was really shocked at the number of people advocating buying old consoles though...
I couldn’t imagine a worse plan for just having fun recording. The console market has expanded out quite a bit from the lean times around 10-15 years ago.

There is a console for just about any budget that starts at about $15k and above.
Names like Tree Audio and API The Box are certainly solid options. And from there you have a really good selection in the $35-$50k category.

The SSL Origin is about the best option I have seen out there clocking in at $50k.
I really couldn’t believe the price for a console of that caliber and routing options with their classic Eq’s and mix bus comp.

Why anyone would buy an old console is really beyond me. It is just begging to be unhappy with constantly being $200 to death with constant maintenances. Not to mention they just don’t have a sound superior to today’s analog consoles.

The OP is not running a commercial place so he can park all of his gear on the board with tie lines from the live room with just a patch bay for inserts.

I used to be the guy looking at all the vintage gear porn on all the big sites. Now I just like to look for nostalgia but you could not give me any of that stuff anymore. Beat to death consoles with crazy mods, half recapped, and almost always robbed of a few original pieces that the owner planned on keeping for himself.

And my pet peeve, “We recapped the console except the jukebox, which is left alone or worse yet completely disconnected.

Bent in microphone grill covers with 50 years of spit and dust. Half the input boxes jacked around with homemade workarounds. Caps with failing specs and tubes with less than a sixth of their life left.

Or my favorite, tape machines. Obvious wear patterns on the heads from uncalibrated tape paths. A mess of wires and revamped inputs and outputs and millions of chips and caps that will take a lifetime to replace. Not to mention the beat to hell VU meters.

Missing, broken or incorrect knob replacements. Fader caps from a half a dozen other consoles.

Now tell me if I am crazy but vintage is starting to get to be an ugly contest for suckers with more money than sense.

No, the OP just needs a small moderately sized console with his DAW and his outboard he already has. Hassle free, lots of fun and adventure and money well spent that will give him a lifetime of great sounding playback.

And that’s all I got to say about vintage gear. Line up the dumpsters and lets be done with it all. If not to put trash where it belongs, but to protect the naive consumer that thinks he is in for a real treat with old analog. Bah Humbug I say!!!

Ok, I will need to tie this reply up and take me meds now.

And you kids keep off my lawn!!!



Pat
Old 2 weeks ago
  #638
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Digiplex View Post
Well it’s been nothing but frustration for me.
Fell down under even the lightest of loads. Requires constant repair/updates clearing prefs. Just a total nightmare. Seemed like every session quit at some point posting this or that. Plus now there are better interfaces one could buy and not be in the whole avid ecosystem.
Because eventually you will have something like a 192 at the end of its life cycle.

I run Protools with my burls and have never had a crash. The only thing that I can not do is HW inserts.
Old 2 weeks ago
  #639
Lives for gear
 
EvilRoy's Avatar
 

Quote:
Originally Posted by Space1999 View Post
I was really shocked at the number of people advocating buying old consoles though...
I couldn’t imagine a worse plan for just having fun recording. The console market has expanded out quite a bit from the lean times around 10-15 years ago.

Why anyone would buy an old console is really beyond me. It is just begging to be unhappy with constantly being $200 to death with constant maintenances. Not to mention they just don’t have a sound superior to today’s analog consoles.

The OP is not running a commercial place so he can park all of his gear on the board with tie lines from the live room with just a patch bay for inserts.

I used to be the guy looking at all the vintage gear porn on all the big sites. Now I just like to look for nostalgia but you could not give me any of that stuff anymore. Beat to death consoles with crazy mods, half recapped, and almost always robbed of a few original pieces that the owner planned on keeping for himself.

And my pet peeve, “We recapped the console except the jukebox, which is left alone or worse yet completely disconnected.

Bent in microphone grill covers with 50 years of spit and dust. Half the input boxes jacked around with homemade workarounds. Caps with failing specs and tubes with less than a sixth of their life left.

Or my favorite, tape machines. Obvious wear patterns on the heads from uncalibrated tape paths. A mess of wires and revamped inputs and outputs and millions of chips and caps that will take a lifetime to replace. Not to mention the beat to hell VU meters.

Missing, broken or incorrect knob replacements. Fader caps from a half a dozen other consoles.

Now tell me if I am crazy but vintage is starting to get to be an ugly contest for suckers with more money than sense.

No, the OP just needs a small moderately sized console with his DAW and his outboard he already has. Hassle free, lots of fun and adventure and money well spent that will give him a lifetime of great sounding playback.

And that’s all I got to say about vintage gear. Line up the dumpsters and lets be done with it all. If not to put trash where it belongs, but to protect the naive consumer that thinks he is in for a real treat with old analog. Bah Humbug I say!!!

Ok, I will need to tie this reply up and take me meds now.

And you kids keep off my lawn!!!



Pat
Errr... a bit of a generalization. My mixer (pictured on pg. 1 of this thread) has yet to need a tech, although I’ve only owned it for 3 years. I imagine that pro studios who have a lot invested in having the mixer in good shape, also have mixers in good shape for sale.
Old 2 weeks ago
  #640
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Space1999 View Post
Well I don’t know if OP is still around but I believe in using consoles in conjunction with a DAW. I also believe in the continuity of using the same pre-amps and EQs for all the tracks. It is the analog glue that doesn’t get talked about as much as tape machines.

I was really shocked at the number of people advocating buying old consoles though...
I couldn’t imagine a worse plan for just having fun recording. The console market has expanded out quite a bit from the lean times around 10-15 years ago.

There is a console for just about any budget that starts at about $15k and above.
Names like Tree Audio and API The Box are certainly solid options. And from there you have a really good selection in the $35-$50k category.

The SSL Origin is about the best option I have seen out there clocking in at $50k.
I really couldn’t believe the price for a console of that caliber and routing options with their classic Eq’s and mix bus comp.

Why anyone would buy an old console is really beyond me. It is just begging to be unhappy with constantly being $200 to death with constant maintenances. Not to mention they just don’t have a sound superior to today’s analog consoles.

The OP is not running a commercial place so he can park all of his gear on the board with tie lines from the live room with just a patch bay for inserts.

I used to be the guy looking at all the vintage gear porn on all the big sites. Now I just like to look for nostalgia but you could not give me any of that stuff anymore. Beat to death consoles with crazy mods, half recapped, and almost always robbed of a few original pieces that the owner planned on keeping for himself.

And my pet peeve, “We recapped the console except the jukebox, which is left alone or worse yet completely disconnected.

Bent in microphone grill covers with 50 years of spit and dust. Half the input boxes jacked around with homemade workarounds. Caps with failing specs and tubes with less than a sixth of their life left.

Or my favorite, tape machines. Obvious wear patterns on the heads from uncalibrated tape paths. A mess of wires and revamped inputs and outputs and millions of chips and caps that will take a lifetime to replace. Not to mention the beat to hell VU meters.

Missing, broken or incorrect knob replacements. Fader caps from a half a dozen other consoles.

Now tell me if I am crazy but vintage is starting to get to be an ugly contest for suckers with more money than sense.

No, the OP just needs a small moderately sized console with his DAW and his outboard he already has. Hassle free, lots of fun and adventure and money well spent that will give him a lifetime of great sounding playback.

And that’s all I got to say about vintage gear. Line up the dumpsters and lets be done with it all. If not to put trash where it belongs, but to protect the naive consumer that thinks he is in for a real treat with old analog. Bah Humbug I say!!!

Ok, I will need to tie this reply up and take me meds now.

And you kids keep off my lawn!!!



Pat
Hahahaha I agree with you about the SSL origin but not the vintage gear.

I have a console that I purchased from the studio it lived in its entire life, that studio made over 15 gold and platinum records with it. Yes its old from 1976 I love that era of recording.

They Sold it, I bought it. It needed some work I refurbished the entire console it cost me nothing but the price of capacitors & light bulbs. In addition to all the original Opamps that came in the board I have approximately 300 spares. I also have 60 additional spares of the old vintage iron transformers. Not to mention spare VU’s, channel strips, faders, etc, so it will out live me and probably the next two owners. It’s sounds great and works great with no issues. Same thing with my tape deck. Refurbished it, no issues. I have Tons of spares for it that I haven’t needed one of yet. It can be done if you have the skills and will to do so. Oh yea and I am the tech So repairs are pretty cheap. I replaced every last capacitor in my console and I still have every last original Cap I took out.

Who wants an old ****ty board from the 70’s! I do!It’s got vibe! And I have a ton of fun with it every week!

I don’t blame anyone for wanting a brand new console tho, everytime I see a new one pop up including the orgin, the api 1608 & 2448, the new Neve, Etc all I keep thinking is I WANT THAT!!! I wouldn’t get rid of mine I just want those too but they’re too pricey for me and I’m out of room. My studio is literally half of my garage that I built a wall down the middle of. For sessions I spill out into my fireplace room for more room to track bands. It’s not all cake and ice cream here but it’s always fun. I love Recording.

I guess I’m just a gearslut!
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Old 2 weeks ago
  #641
Lives for gear
 
Space1999's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Hahahaha I agree with you about the SSL origin but not the vintage gear.

I have a console that I purchased from the studio it lived in its entire life, that studio made over 15 gold and platinum records with it. Yes its old from 1976 I love that era of recording.

They Sold it, I bought it. It needed some work I refurbished the entire console it cost me nothing but the price of capacitors & light bulbs. In addition to all the original Opamps that came in the board I have approximately 300 spares. I also have 60 additional spares of the old vintage iron transformers. Not to mention spare VU’s, channel strips, faders, etc, so it will out live me and probably the next two owners. It’s sounds great and works great with no issues. Same thing with my tape deck. Refurbished it, no issues. I have Tons of spares for it that I haven’t needed one of yet. It can be done if you have the skills and will to do so. Oh yea and I am the tech So repairs are pretty cheap. I replaced every last capacitor in my console and I still have every last original Cap I took out.

Who wants an old ****ty board from the 70’s! I do!It’s got vibe! And I have a ton of fun with it every week!

I don’t blame anyone for wanting a brand new console tho, everytime I see a new one pop up including the orgin, the api 1608 & 2448, the new Neve, Etc all I keep thinking is I WANT THAT!!! I wouldn’t get rid of mine I just want those too but they’re too pricey for me and I’m out of room. My studio is literally half of my garage that I built a wall down the middle of. For sessions I spill out into my fireplace room for more room to track bands. It’s not all cake and ice cream here but it’s always fun. I love Recording.

I guess I’m just a gearslut!
If only every vintage console had loving owners like you, aside from the power consumption, it would be a very different opinion that I had about certain vintage pieces.

The truth is you are one in every hundred owners of a vintage consoles. After decades of researching and scanning vintage console and tape machine ads, it becomes almost second nature to spot the problems with the gear up for sale.

Every once in a while I will spot a console and say “Yeah that would be a safer bet”
But you know folk like you that take care of the equipment that takes care of them have, by your own admission, no real reason to sell.

I know I am coming off a bit jaded, but I really feel for the poor guy who goes all in for a vintage console and ends up spending more than the asking price for installment, repair/refurbish and crating to wind up a few years down the road with what he thought he was buying to begin with.

Could you imagine real truth in advertising for some of these consoles? OMG that would be hilarious to see!

Said console has been sawed in half twice to fit into room, is sagging in the middle and can easily cook a personal pan pizza from the heat output in less than 30 minutes. Chances are you will never have trouble free operation from said console and may have to take a second mortgage to afford the power bill. Further more the seller is lying about the quality of the maintenance as his cousin Vinny, who cant solder a clean joint to save his life, did the recap. Also this console was stored for a few years in a tool shed before being sold to a 3rd party seller.

Yeah, I can really see that happening. LOL

Pat
Old 2 weeks ago
  #642
I am in a constant state of scouring Reverb for used Neoteks, MCI, Sony,etc. and trying to brainstorm how to rig up a BOX, SSL Xl desk, Neve 5060+5059 set up, which one would have the best sound and which would have the best routing. It will all come together one day in a perfect synchronized moment!
Old 2 weeks ago
  #643
I do think the SSL XL might be the most bang for my buck with an entry level console that is new. Unless of course the API Box sounds better. Dunno, Maybe I am mistaken
Old 2 weeks ago
  #644
Here for the gear
 
horowizard1's Avatar
 

I could never, ever conceive of building a studio without a console. No patching to get audio flowing! There is nothing I despise more than running around a room adjusting 20 outboard Pre-amps, each one by a different manufacturer. I can't be bothered with that ****. A handful of them are alright for overdubs but anybody that uses them exclusively for recording a group's worth of microphones is insane.
Old 2 weeks ago
  #645
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Space1999 View Post
If only every vintage console had loving owners like you, aside from the power consumption, it would be a very different opinion that I had about certain vintage pieces.

The truth is you are one in every hundred owners of a vintage consoles. After decades of researching and scanning vintage console and tape machine ads, it becomes almost second nature to spot the problems with the gear up for sale.

Every once in a while I will spot a console and say “Yeah that would be a safer bet”
But you know folk like you that take care of the equipment that takes care of them have, by your own admission, no real reason to sell.

I know I am coming off a bit jaded, but I really feel for the poor guy who goes all in for a vintage console and ends up spending more than the asking price for installment, repair/refurbish and crating to wind up a few years down the road with what he thought he was buying to begin with.

Could you imagine real truth in advertising for some of these consoles? OMG that would be hilarious to see!

Said console has been sawed in half twice to fit into room, is sagging in the middle and can easily cook a personal pan pizza from the heat output in less than 30 minutes. Chances are you will never have trouble free operation from said console and may have to take a second mortgage to afford the power bill. Further more the seller is lying about the quality of the maintenance as his cousin Vinny, who cant solder a clean joint to save his life, did the recap. Also this console was stored for a few years in a tool shed before being sold to a 3rd party seller.

Yeah, I can really see that happening. LOL

Pat
Pat I completely understand your point of view I’ve seen it myself many times. What you speak of is real. I’ve seen so many listings of sellers saying this is a great board that a super tech took care of the entire time, BUT! It has a little problem that any tech savvy person could easily take care of. Well if that’s the case why don’t you have it fixed before the listing so you can say, this is 100% working with no issues. Why? Because they know they’ve already been through trying to fix it and there is way more involved then the skill set they have and their super tech really is not that super after all. Or another great seller stating it worked great when we put it in storage a few years back.

A seller on ebay a couple years back was selling a Studer A80 Mk4 saying it’s been really well taken care of and has super low hours we started testing it before this listing and on initial power up we noticed a little puff of smoke and that’s when we concluded our test. It should be an easy fix that any tech savvy person could repair.

My other studio friend and I still laugh and joke about that one. **** I hope it wasn’t listed by GS member On here reading this, Hahahaha! If so you should be ashamed!!!! Just say the ****ers broke you don’t know how to fix it and you’re trying to sell it for max $$ but your willing to take $2500 if you pick it up. LoL hahaha

Pat, You are 100% correct if a buyer is not qualified to do his own repairs they should go for a new board with a warranty. And don’t even consider a tape machine I don’t care who refurbished it. Or have a ton of disposable money to pay out without blinking an eye or getting disgruntled about it.

This is for anyone reading this that is considering buying any used console. Go run your own tracks through it and check all the functions or make sure you pay for a full tech report by a tech you trust. Not the sellers super tech. If you can not do either take a pass.

Btw the last sphere eclipse I mixed on had to have the frame Which is basically a huge wooden credenza cut in half to fit through the door.

And the console you mentioned with the sagging channels is probably quad eight either a corrando or Pacifica.

I’ve mixed on a few consoles Neve, SSL, Trident, sphere, new api, old api, quad eights, Neotek elan, elite, series 1E, mci 400 & 600 series, Tac scorpions, sound craft ghosts, probably a few more that I can’t recall atm.

Very few gave me that this is an amazing “Sounding” Console and it doesn’t get better then this feeling. Actually the only ones that did were the old ones stuffed with tons of old transformers.

I’m not saying the others were bad at all and some had awesome features, some were just straight bad sounding, but the ones that really wowed me was the ones stuffed with old iron. But that just my opinion based off of limited experience.

Consoles are cool!
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Last edited by 127Riot; 2 weeks ago at 08:05 AM..
Old 2 weeks ago
  #646
Lives for gear
 
127Riot's Avatar
 

Oh you want a console huh? Yep they look awesome in the front but are you ready to deal with the back?!?

This is my tie lines from my board and my other patch bays/Outboard racks. I went through everything with a multi meter only to find out every tie line on the console was pin 3 hot, so I had to redo 28 patch points x4 = 112 that’s unsoldering 224 then resolder 224 solder points.

It only took me a LONG time.
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Last edited by 127Riot; 2 weeks ago at 08:07 AM..
Old 2 weeks ago
  #647
Lives for gear
 
FlyingMusician's Avatar
[QUOTE=127Riot;14829161]For tracking,
If they’re a band that are well rehearsed and looking to go for a mostly live feel with basic overdubs. I prefer to track all the basic core instruments like drums, Bass, and rythem guitars, scratch vocals live together to 2 inch tape, then dump into Protools via the burls and overdub things like vocals & solos./QUOTE]

This is a beautiful way to record. Capture the core instruments through tape, which pushes the band to focus and get the best performance. Then transfer this performance and tape magic into PT and take it from there. This gives you the best of both worlds as you are not working the tape machine to death and you can keep using the same 2" tape over and over again. Nice.
Old 2 weeks ago
  #648
Lives for gear
 
James Lehmann's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Oh you want a console huh? Yep they look awesome in the front but are you ready to deal with the back?
Please include a warning when posting photos like that - you know, like they do in news clips: "This may contain images that some viewers find disturbing" type thing, as seeing that veritable rats' nest of wires behind your desk sets my OCD off and makes me feel distinctly queasy!
Old 2 weeks ago
  #649
Lives for gear
 
127Riot's Avatar
 

[QUOTE=FlyingMusician;14830371]
Quote:
Originally Posted by 127Riot View Post
For tracking,
If they’re a band that are well rehearsed and looking to go for a mostly live feel with basic overdubs. I prefer to track all the basic core instruments like drums, Bass, and rythem guitars, scratch vocals live together to 2 inch tape, then dump into Protools via the burls and overdub things like vocals & solos./QUOTE]

This is a beautiful way to record. Capture the core instruments through tape, which pushes the band to focus and get the best performance. Then transfer this performance and tape magic into PT and take it from there. This gives you the best of both worlds as you are not working the tape machine to death and you can keep using the same 2" tape over and over again. Nice.
I could not agree more, and it’s my favorite way to do it. Plus the bands get extremely inspired and it motivates them play better.
Old 2 weeks ago
  #650
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by James Lehmann View Post
Please include a warning when posting photos like that - you know, like they do in news clips: "This may contain images that some viewers find disturbing" type thing, as seeing that veritable rats' nest of wires behind your desk sets my OCD off and makes me feel distinctly queasy!
Hahaha

Don’t worry I have big time OCD as well. Being in a small room makes me even more sensitive and hyper organized.

Here are some pictures that should make you feel better. They’re all cleaned up, organized, and zip tied.

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Old 2 weeks ago
  #651
Lives for gear
 
James Lehmann's Avatar
 

Quote:
Originally Posted by 127Riot View Post
Here are some pictures that should make you feel better. They’re all cleaned up, organized, and zip tied.
Ah yes, thank you - the tidy spirals and clean lines make me feel less in need of meds already!
Old 2 weeks ago
  #652
Lives for gear
I have a relative question.

Say you have 5K$ budget. Require at least 24 chan 4 aux and 4 buss.
Is Toft or Souncraft GB4 the best there are in that range?
Old 2 weeks ago
  #653
Lives for gear
 
EvilRoy's Avatar
 

Quote:
Originally Posted by elegentdrum View Post
I have a relative question.

Say you have 5K$ budget. Require at least 24 chan 4 aux and 4 buss.
Is Toft or Souncraft GB4 the best there are in that range?
For $5K, I would seriously think about Euphonix in the GS Classified section.
Old 1 week ago
  #654
Gear Head
Allen Heath

Quote:
Originally Posted by elegentdrum View Post
I have a relative question.

Say you have 5K$ budget. Require at least 24 chan 4 aux and 4 buss.
Is Toft or Souncraft GB4 the best there are in that range?
I think there might be an Allen Heath board in that range. But I cant vouch for it.
Old 1 week ago
  #655
Lives for gear
 
Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by ejanuska View Post
I think there might be an Allen Heath board in that range. But I cant vouch for it.
5K these days buy a WHOLE LOT more than an A & H now.
Old 1 week ago
  #656
Lives for gear
 
Kronos147's Avatar
There is a Speck console on Craigslist North Hollywood right now.

I'm not affiliated, just spreading the word.
Old 1 week ago
  #657
Oh man that looks sweet! I have a buddy in the area.....
Old 1 week ago
  #658
Lives for gear
Quote:
Originally Posted by Wiggy Neve Slut View Post
5K these days buy a WHOLE LOT more than an A & H now.
For example?

Souncraft GB line
Toft


And what else, new?
Analog only
Old 1 week ago
  #659
Quote:
Originally Posted by Kronos147 View Post
There is a Speck console on Craigslist North Hollywood right now.

I'm not affiliated, just spreading the word.
I am a little confused by that console...

"The unbalanced design makes for a big, fat and clean sounding console with a lot of headroom."

All ins/outs are 1/4"...thats a non issue? I have only spoke with or read about the Lilo, I can't seem to find any info. on this one.


Speck S72 console.
Old 1 week ago
  #660
Lives for gear
 
Kronos147's Avatar
Quote:
Originally Posted by TheHolyMountain View Post
I am a little confused by that console...

Speck S72 console.
Yeah, I assumed it was a LiLo at first. No idea about that one.
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