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To Console or Not to Console...
Old 3rd July 2020
  #691
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Looneytune's Avatar
Quote:
Originally Posted by 127Riot View Post
I feel ya, and agree with you. However, great music and mixes can be made mixing 100% ITB. I’ve herd it. I get where I want to be faster with a console and outboard gear too. But you get a guy that knows what he’s doing and you’d be surprised how good he can get an ITB mix to sound and feel.

When my console is on for a long time it has the aroma of a sweet whiskey and blow. Or wait maybe that’s just me.
ha ha sweet whisky and blow

Yeah I am sure they can get a mix ITB to sound good, I unfortunately don't have the willingness for it - I have done it before, mixed with nothing but plugins and hated every second of it.

And to be honest when it's all digital for me it just seems to lack something. That is just my opinion of course, I love sending my synths/drums, stems out of the console and through all sorts of weird and wonderful gadgets. I am not happy with an all ITB sound that's all, thats just me

I also do not do this for a living, for me its a passion, something I do for me and me ONLY - I only also work on my music and don't mix for anyone.
Old 3rd July 2020
  #692
Gear Addict
 
Digiplex's Avatar
 

Quote:
Originally Posted by 127Riot View Post
You do know he’s talking about a digital desk right?
Oh I know what he’s talking about and I blocked him because I’m tired oh hearing about it.
Old 3rd July 2020
  #693
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James Lehmann's Avatar
 

Quote:
Originally Posted by Digiplex View Post
I blocked him because I’m tired of hearing about it.
I expect, like many of us, you will start to feel a notable improvement in your overall Forum experience.
Old 3rd July 2020
  #694
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Quote:
Originally Posted by 127Riot View Post
Dee dee I think you’re confused, I have no problem getting my gear going. A company released a product that they admitted will not work with HW inserts. How’s that not getting my gear going?

I mix hybrid on a console, I don’t need hardware inserts but it’s true I would like to have that capability. Not sure how much I would use it but wouldn’t mind having it. I can rectify that issue with adding another converter if I ever feel I’m missing out on something. I don’t feel I’m missing anything. I feel quite blessed actually!
i feel indeed confused - not about my gear but regarding your situation with the burls: i roughly know what gear you're using thx to the pics you posted and the statement from burl that for some reason you cannot use it on hardware inserts:

i'd really love to learn why on earth that should be the case as i cannot see any logical reason: ANY converter i've come across is a piece of hardware with analog and digital i/o's and doesn't know or care whether these are getting fed from a direct out, insert send, aux send etc. and feed to a tape machine, comp etc. - same on the way back.

what's different with the burl?

___

Quote:
Sounds like someone’s having a problem getting their hardware going with their digital.

It might be a desk but it’s still digital.
it's not a bug, it's a feature and the absence of automated delay compensation is intentionally as the desk does NOT operate on a fixed architecture - (but as mentioned earlier, it was never my intention to turn this thread into a vista tutorial - anyone interested pls feel free to pm me).

what really bugs me however is this kind if group think: 'this idiot (me) mixes on digital desks so he doesn't know about good, real old analog desks which sound so much better'...

sorry if i mentioned you along with some extreme digital deniers!

Quote:
And the Fairlight is a big plastic controller I worked in a commercial studio that still ran a Fairlight In one of the rooms. The engineer that worked that room did love it. He did commercials for McDonald’s and insurance companies with it.
well, there was some metal in it too - and the first apogee's! and there was some brilliant music done with them: grace jones, peter gabriel, yellow and many, many more... - but of course it must have been crap then, especially because it was an invaluable tool to many folks who made a living out of producing commercials!

see, there it is again! - i don't like the notion that something should not be regarded as valuable as it's either above the head of most folks (as fairlight was or now my studer is, for financial reasons alone) or not en vogue (as digital desks have become for studios in the last 15 years or so).

i'm not gonna rant about some current trends although i'm convinced some of them are plain stupid (or at least ridiculous: many younger folks seem to be trapped in a system of believe rather than have any experience working with da real zing and hence attribute mystical qualities to some old or in fact any analog gear).

i consider these issues to be far more severe than occasional dissent on what or how to use some gear....


___


nice little analog rig you're using live! - my last gig with an analog desk was about a year back and it needed to be larger as there was a full orchestra in front of it - here's the return section:
Attached Thumbnails
To Console or Not to Console...-20190127_174609.jpg  

Last edited by deedeeyeah; 3rd July 2020 at 01:16 PM.. Reason: edited for clarification
Old 3rd July 2020
  #695
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Quote:
Originally Posted by clonewar View Post
I love working on control surfaces and the design of the Vista really appeals to me. The real question is, for studio mixing, what would the advantages of a Vista be over PT and a D-Control/S6 etc? If you don’t mind I might PM you to pick your brain a little more about this.
i adressed this in a prior post (these are not controllers suitable for profools etc.) - if still interested nevertheless, feel to pm me but pls first go through some of the tutorials (which exist for their most simple desk which is the vista1).
Old 3rd July 2020
  #696
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127Riot's Avatar
 

Quote:
Originally Posted by Looneytune View Post
ha ha sweet whisky and blow

Yeah I am sure they can get a mix ITB to sound good, I unfortunately don't have the willingness for it - I have done it before, mixed with nothing but plugins and hated every second of it.

And to be honest when it's all digital for me it just seems to lack something. That is just my opinion of course, I love sending my synths/drums, stems out of the console and through all sorts of weird and wonderful gadgets. I am not happy with an all ITB sound that's all, thats just me

I also do not do this for a living, for me its a passion, something I do for me and me ONLY - I only also work on my music and don't mix for anyone.
Agreed it’s not the same and doesn’t give me the same great feeling and sound that I get from using real outboard Gear. There’s nothing like real faders and outboard gear on a board with a great sounding MixBus.

And that’s the key, a great sounding mixbus. Not all boards have them but the ones that do are worth having.

You know you got a good Buss when as soon as you pull up the faders and start panning it sounds fat & musical.

If you watch the studio interview/tour of Warren Huart at JJP’s studio. When JJP explains how the MixBus is essential to a good mix. It really hit home for me because I couldn’t agree more. He mixes with Protools through a few different summing mixers and a lot of great outboard gear. That’s at his personal studio where he does a good amount of bands and of course mixes on consoles in the big rooms too.
Old 3rd July 2020
  #697
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127Riot's Avatar
 

Quote:
Originally Posted by Digiplex View Post
Oh I know what he’s talking about and I blocked him because I’m tired oh hearing about it.
Come on now we’re all here because like Recording/Mixing everyone has the right to like and love what they use no matter what it is. Sounds like he’s into digital consoles I’m not but still think they’re good and useful for certain applications.
Old 3rd July 2020
  #698
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Looneytune's Avatar
Quote:
Originally Posted by 127Riot View Post
Agreed it’s not the same and doesn’t give me the same great feeling and sound that I get from using real outboard Gear. There’s nothing like real faders and outboard gear on a board with a great sounding MixBus.

And that’s the key, a great sounding mixbus. Not all boards have them but the ones that do are worth having.

You know you got a good Buss when as soon as you pull up the faders and start panning it sounds fat & musical.

If you watch the studio interview/tour of Warren Huart at JJP’s studio. When JJP explains how the MixBus is essential to a good mix. It really hit home for me because I couldn’t agree more. He mixes with Protools through a few different summing mixers and a lot of great outboard gear. That’s at his personal studio where he does a good amount of bands and of course mixes on consoles in the big rooms too.
I agree a good mix Buss comp is a must. I personally have the API 2500 strapped on 24/7 on the mix insert
I turn it off and I’m like oh no bring it back

It seems to really put the music together for me
I can really hear it when the kick is muted, what happens to the music then after the kick goes back in I’m always left smiling

I really really like the API on the mix Buss, awesome compressor
So yes a good comp on the mix Buss of a console goes a long long way!

So what console/mix Buss you got going on if you don’t mind me asking?

Last edited by Looneytune; 3rd July 2020 at 02:29 PM.. Reason: iPhone autocorrect
Old 3rd July 2020
  #699
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Kronos147's Avatar
Quote:
Originally Posted by deedeeyeah View Post
thx for your hint on how to use a daw and how to interface analog and digital gear: let me assure you that i'm pretty familiar with all of this as i've been working with both platforms since the days of the fairlight cmi...
Of course, of course. I shall then bow to your superiority. Forgive the interruption.
Old 3rd July 2020
  #700
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127Riot's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
i feel indeed confused - not about my gear but regarding your situation with the burls: i roughly know what gear you're using thx to the pics you posted and the statement from burl that for some reason you cannot use it on hardware inserts:

i'd really love to learn why on earth that should be the case as i cannot see any logical reason: ANY converter i've come across is a piece of hardware with analog and digital i/o's and doesn't know or care whether these are getting fed from a direct out, insert send, aux send etc. and feed to a tape machine, comp etc. - same on the way back.

what's different with the burl?

___



it's not a bug, it's a feature and the absence of automated delay compensation is intentionally as the desk does NOT operate on a fixed architecture - (but as mentioned earlier, it was never my intention to turn this thread into a vista tutorial - anyone interested pls feel free to pm me).

what really bugs me however is this kind if group think: 'this idiot (me) mixes on digital desks so he doesn't know about good, real old analog desks which sound so much better'...

sorry if i mentioned you along with some extreme digital deniers!



well, there was some metal in it too - and the first apogee's! and there was some brilliant music done with them: grace jones, peter gabriel, yellow and many, many more... - but of course it must have been crap then, especially because it was an invaluable tool to many folks who made a living out of producing commercials!

[B]see, there it is again! - i don't like the notion that something should not be regarded as valuable as it's either above the head of most folks (as fairlight was or now my studer is, for financial reasons alone) or not en vogue (as digital desks have become for studios in the last 15 years or so).

i'm not gonna rant about some current trends although i'm convinced some of them are plain stupid (or at least ridiculous: many younger folks seem to be trapped in a system of believe rather than have any experience working with da real zing and hence attribute mystical qualities to some old or in fact any analog gear).

i consider these issues to be far more severe than occasional dissent on what or how to use some gear....[/B
nice little analog rig you're using live! - my last gig with an analog desk was about a year back and it needed to be larger as there was a full orchestra in front of it - here's the return section:

Yea I don’t know why either. The burls in my opinion were very expensive. And I have a fullY loaded mothership. I couldn’t believe it when wil at Burl confirmed that I can’t do hardware inserts.

Let me clarify, you can do hardware inserts with the first generation Burl mothership, but the amount of latency makes it not worth doing.

I’ve tried every delay compensation and the recommendation ms offset That you should set depending on what sample-rate your recording at.

I talked to Will at Burl he did give me His version of a work around saying “you could mix with hardware inserts and just not monitor the mix while you record the delayed tracks and then pull them back in to the correct timing, Bla Bla Bla no ****ing way. That to me means it doesn’t work.

His other solution to this issue was sell my burls and buy their latest cards and mothership mainframe, basically all new converters.

I’d just buy Linx auroras or something like that for HW inserts before I purchased another fully loaded mothership. I already spent $20.k on converters. I won’t do it again.

I do absolutely love the sound of the first generation Burl mothership for Recording and mixing I’ve never heard a better sounding converter.

The Class A discrete Opamps and Transformers in my Burls really sound amazing. They’re on every input and output. In addition my front end is loaded with discrete opamps & transformers. On top of that my console has Opamps & Transformers on every input and output.


So I’m doing many many passes through Class A Discrete circuitry with a ton of iron. I like this method and how it affects the sound. One of my favorite era’s of recording is the records they made in the 70’s so I prefer this method of production.

Opamps & Transformers - Opamps & Transformers

Opamps & Transformers - Opamps & Transformers

Discrete Class A Circuits - Discrete Class A Circuits

This is the sound!

That’s my opinion anyway.
Old 3rd July 2020
  #701
Lives for gear
 

Quote:
Originally Posted by Kronos147 View Post
Of course, of course. I shall then bow to your superiority. Forgive the interruption.
?!

forgive my ignorance but what exactly is your problem? - i was assuming that you were trying to teach me basic principals of what a daw is and how to use a patchbay, judging from this:

Quote:
the computer in my studio is like a tape machine. A tape machine with awesome editing and syncing capabilities! The patch bays are all analog. The interface outputs all normal to the console inputs. Once in a while plug ins are engaged on tracks. Maybe a notch filter, or a HPF. But then each track goes out to a console that has analog inserts, groups, aux sends, and a stereo bus that like to be driven. (All balanced, btw.) No latency.
my response was that you don't need to do so as i've come along that path myself - and to illustrate, i mentioned some of the gear that i've been using along the way, mainly to give an idea that i'm not exactly a newbie... - while we're at setting the record straight: of course you have latency in your setup (every process and adda conversion needs some time to calculate) but most any daw's have built-in in delay compensation so you may not experience much of it.

___


(anyone not into technical details pls stop reading here)

other than my daw, my desk however has an open architecture, meaning i could feed any amount of direct, aux, group, master, matrix insert send or output back into any channel, aux, group, master, matrix input or return - or i could even create feedback inside the desk (sic!) - so the automatic delay compensation would pile up to silly amounts and studer hence chose not to implement it.

other manufacturers adress this issue by letting the operators switch between different sections within which delay compensations get applied (or omitted) and yet other manufactures don't give you any choice but do it automatically across the entire desk - but then no other manufacturer than studer allows the same amount of configuration; i acknowledge that for some folks this may be a no-go or showstopper, for me it's not - on the contrary: i don't like much being told by manufacturers how to use their gear and studer seems to be the only one (i know of: could be that the new stagetec is another exception) who lets me decide on how i can mess with my signals!

___


i'm not 'superior' to anyone - my desk however is, compared to some less sophisticated designs; at the very least, i think so.
Old 3rd July 2020
  #702
Lives for gear
 

Quote:
Originally Posted by 127Riot View Post
Yea I don’t know why either. The burls in my opinion were very expensive. And I have a fullY loaded mothership. I couldn’t believe it when wil at Burl confirmed that I can’t do hardware inserts.

Let me clarify, you can do hardware inserts with the first generation Burl mothership, but the amount of latency makes it not worth doing.

I’ve tried every delay compensation and the recommendation ms offset That you should set depending on what sample-rate your recording at.

I talked to Will at Burl he did give me His version of a work around saying “you could mix with hardware inserts and just not monitor the mix while you record the delayed tracks and then pull them back in to the correct timing, Bla Bla Bla no ****ing way. That to me means it doesn’t work.

His other solution to this issue was sell my burls and buy their latest cards and mothership mainframe, basically all new converters.

I’d just buy Linx auroras or something like that for HW inserts before I purchased another fully loaded mothership. I already spent $20.k on converters. I won’t do it again.

I do absolutely love the sound of the first generation Burl mothership for Recording and mixing I’ve never heard a better sounding converter.

The Class A discrete Opamps and Transformers in my Burls really sound amazing. They’re on every input and output. In addition my front end is loaded with discrete opamps & transformers. On top of that my console has Opamps & Transformers on every input and output.


So I’m doing many many passes through Class A Discrete circuitry with a ton of iron. I like this method and how it affects the sound. One of my favorite era’s of recording is the records they made in the 70’s so I prefer this method of production.

Opamps & Transformers - Opamps & Transformers

Opamps & Transformers - Opamps & Transformers

Discrete Class A Circuits - Discrete Class A Circuits

This is the sound!

That’s my opinion anyway.
ah okay, thx for elaborating - so our little discussion here was more about semantics: i took you on absolute terms ('ain't possible') while it technically IS possible (but comes with a huge penalty which i can clearly understand you're not willing accept)!

and yes, the burl DOES have a sound on its own!
Old 3rd July 2020
  #703
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subspace's Avatar
I know this to be true, in a console thread on Gearslutz;

dee will place a digital live desk above all other options
skip will praise Daking
127 will post pictures and videos of the MCI in his garage

These are the unshakable truths Gearslutz is founded upon, this and holy will never buy a console.

Last edited by subspace; 3rd July 2020 at 09:30 PM..
Old 3rd July 2020
  #704
Sooooo the Neve 8424 is looking nice to me. I don't really need pres as I have 12 of my own and never record more than 8 tracks at once. The lack of eq - meh, I could easily outfit some 500 series - which I would have to do for the Box or the SSL XL anyways. Everyone is hating on it but I think it might be the answer for folks like me - one man band project studios or single room studios NOT recording full bands at once. Using the DAW for some automation, plug etc. Getting great summing with faders? I dunno....
Old 3rd July 2020
  #705
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by Looneytune View Post
I agree a good mix Buss comp is a must. I personally have the API 2500 strapped on 24/7 on the mix insert
I turn it off and I’m like oh no bring it back

It seems to really put the music together for me
I can really hear it when the kick is muted, what happens to the music then after the kick goes back in I’m always left smiling

I really really like the API on the mix Buss, awesome compressor
So yes a good comp on the mix Buss of a console goes a long long way!

So what console/mix Buss you got going on if you don’t mind me asking?
I’m not just talking about the MixBus Comp. I’m talking about the actual Mix Buss of whatever mixer is being mixed on with or without the MixBus Comp. But yes a good Comp on the MixBus could really make things pleasant.

I have a few mixers that I use a vintage api summing mixer that I had custom made, an inward Connections summing set up, and my main mixer is a 1976 mci 428 console that I completely refurbished. The studio my console lived in its entire life before I purchased it did a lot of great Rock records on it that I grew up listening to it’s a very colorful unique sounding console again due to the stacks of old iron in it.

I also like the api 2500 a lot but I mainly use it for Drum Buss. For my Mix Buss I really like the Allen Smart C2 and the EysiaX filter on very light settings. Sometimes I won’t put anything on the mix bus. Just depends on the project.

I have a small Home Studio set up that is literally half of my Garage that I built a wall down the middle of its small but works. I mainly record and mix Rock n Roll, Punk, & Indie bands Bands here around the Chicago Area. Some from Wisconsin.

Here’s a video I made showing 12 different compressors on a Drum Buss.

https://youtu.be/McKdxcyG-pQ

Here’s a video where I took my Drums, Mics, and Preamps to a big room and tracked 3 original songs I’m working on with a session drummer.

https://youtu.be/UyHp_v39GBE

Here’s a video I made doing a quick mix with only outboard gear on a Ziggy Marley track.

https://youtu.be/B9zauDlM0yE

I have other videos up you can check out if you’re interested. I’m always posting more so subscribe if you’d like to see them as they come out.

I love vintage Marshall JMP’s & JCM 800’s

Digital amps sound like digital ****. That’s just my opinion.
Attached Thumbnails
To Console or Not to Console...-86e8cf59-257d-403a-88e6-255a572f43d1.jpg   To Console or Not to Console...-35188262-3150-4fec-abfe-4e3861b577d8.jpg   To Console or Not to Console...-844f4ad8-fb75-486a-9303-8cd58b545866.jpg   To Console or Not to Console...-27fabce2-46c9-403f-8a1a-9dde3b531c74.jpg   To Console or Not to Console...-41368a99-6069-4c73-a4ea-88e22c81906b.jpg  

Old 3rd July 2020
  #706
Lives for gear
 
127Riot's Avatar
 

Quote:
Originally Posted by subspace View Post
I know this to be true, in a console thread on Gearslutz;

dee will place a digital live desk above all other options
skip will praise Daking
127 will post pictures and videos of the MCI in his garage

These are the unshakable truths Gearslutz is founded upon, this and holy will never by a console.
I just did it again! Hahaha sounds like you’re a regular on gearslutz not everyone is and not everyone reads through a thousand pages. This is called Gearslutz for a reason. I love seeing gear pics and videos. I step away from Gearslutz for a month or 2 at a time. It seems there’s a bunch of Karenslutz popping up lately as well.
Old 3rd July 2020
  #707
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Quote:
Originally Posted by subspace View Post
I know this to be true, in a console thread on Gearslutz;

dee will place a digital live desk above all other options
skip will praise Daking
127 will post pictures and videos of the MCI in his garage

These are the unshakable truths Gearslutz is founded upon, this and holy will never by a console.
may i add these:

italo on lex and eventide
casey promising v3
plush being a tonmeister
sam on anything live

(i dig italo though for his patches - and casey for what he has done - and plush for being plush - and sam although he is gone...)

Last edited by deedeeyeah; 3rd July 2020 at 04:38 PM.. Reason: edited
Old 3rd July 2020
  #708
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127Riot's Avatar
 

Quote:
Originally Posted by TheHolyMountain View Post
Sooooo the Neve 8424 is looking nice to me. I don't really need pres as I have 12 of my own and never record more than 8 tracks at once. The lack of eq - meh, I could easily outfit some 500 series - which I would have to do for the Box or the SSL XL anyways. Everyone is hating on it but I think it might be the answer for folks like me - one man band project studios or single room studios NOT recording full bands at once. Using the DAW for some automation, plug etc. Getting great summing with faders? I dunno....
I want to hear it as well, maybe VK will have one in their Nashville room.
Old 3rd July 2020
  #709
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127Riot's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
may i add these:

casey promising v3
plush being a tonmeister
italo on lex and eventide

(i dig the latter chap though - and casey for what he has done - and plush for being plush - and sam although he is gone...)

may I add on a more pleasant note,

The “pictures of mic’ed up Drums in the studio” thread is my favorite thread.

With the least amount of crying Bitch Karen’s. Hahaha
Old 3rd July 2020
  #710
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subspace's Avatar
Quote:
Originally Posted by deedeeyeah View Post
may i add these:

casey promising v3
plush being a tonmeister
italo on lex and eventide
sam on anything live

(i dig the latter chap though - and casey for what he has done - and plush for being plush - and sam although he is gone...)
Apologies, I have also left out;

wiggy will buy everything except the Neve he not-so-secretly desires

Last edited by subspace; 3rd July 2020 at 04:40 PM..
Old 3rd July 2020
  #711
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Kronos147's Avatar
Quote:
Originally Posted by deedeeyeah View Post
forgive my ignorance but what exactly is your problem?
No no, nothing to forgive. The problem is my ignorance. I am not understanding how my setup induces latencies.

Having the DAW simply spit out audio to the 'desk' obviously induces latencies that I am unaware of.

Quote:
Originally Posted by deedeeyeah View Post
...of course you have latency in your setup (every process and adda conversion needs some time to calculate) but most any daw's have built-in in delay compensation so you may not experience much of it.
I totally get now how Pro Tools HDX can induce latencies now! Because the industry leading delay compensation that I am too inexperienced to perceive! (That is barely needed as I barely run plug ins.)

It's all the A to D stuff that happens! Oh wait, at that point I am mixing the DAW is only running D to A.... So, ?

Quote:
Originally Posted by deedeeyeah View Post
...i'm not 'superior' to anyone - my desk however is, compared to some less sophisticated designs; at the very least, i think so.
What desk?

Last edited by Kronos147; 3rd July 2020 at 04:30 PM.. Reason: spelling
Old 3rd July 2020
  #712
Gear Head
 

Quote:
Originally Posted by TheHolyMountain View Post
Sooooo the Neve 8424 is looking nice to me. I don't really need pres as I have 12 of my own and never record more than 8 tracks at once. The lack of eq - meh, I could easily outfit some 500 series - which I would have to do for the Box or the SSL XL anyways. Everyone is hating on it but I think it might be the answer for folks like me - one man band project studios or single room studios NOT recording full bands at once. Using the DAW for some automation, plug etc. Getting great summing with faders? I dunno....
Well if you have that kind of budget why not?

I'm planning on The Box or Audient ASP4816. Haven't decided yet. I'm not recording bands either, but it would be nice to be able to knock out a four piece rock band if needed.

I worry about Audient quality since I read a few comments about the post-Focusrite acquisition.

Neve should get you there, wherever that is.
Old 3rd July 2020
  #713
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Quote:
Originally Posted by subspace View Post
Apologies, I have also left out;

wiggy will buy everything except the Neve he not-so-secretly desires
oh, and i forgot:

john (not johnny guitar) for any anything guitar...

...but mostly for hating 421's!
Old 3rd July 2020
  #714
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127Riot's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
ah okay, thx for elaborating - so our little discussion here was more about semantics: i took you on absolute terms ('ain't possible') while it technically IS possible (but comes with a huge penalty which i can clearly understand you're not willing accept)!

and yes, the burl DOES have a sound on its own!

Yes exactly, it’s possible to do but the latency is extremely noticeable to the point it’s not worth doing.

Also you reminded me in a thread above I do recall the Fairlight having Apogee converters, I wonder what era that was a good amount of time before the X series.
Old 3rd July 2020
  #715
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Quote:
Originally Posted by 127Riot View Post
(...) you reminded me in a thread above I do recall the Fairlight having Apogee converters, I wonder what era that was a good amount of time before the X series.
i don't recall - either it was before '85 (so before apogee became apogee as we know them - unlikely though) or it was post '85 when apogee filters could get used to bump up dash machines - or it's a myth?!? - i wasn't much interested in the innards but more in what the fairlight let me achieve as a synth.

i got to use a cmi II in '84 but i (luckily) couldn't raise enough money until '86 when i got a cmi III (which was still mostly a synth/sampler/composition tool that happened to have quasi-daw editing capabilities) and stayed up until mfx3+ but have completely lost track on what happened with the brand after that.

i kept my fairlight for occasional use until recently when i closed one of my studios and sold (almost) all of the gear which had started to pile up... - the fairlight i gave to friend who got a synclavier around the same time i got my fairlight and with whom I used to 'duel' with our digital dinosaur synths/workstations.
Old 3rd July 2020
  #716
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Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by subspace View Post
Apologies, I have also left out;

wiggy will buy everything except the Neve he not-so-secretly desires
Ha the issue is I can’t afford the Neve I want.. the one I grew up using !
Old 3rd July 2020
  #717
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Quote:
Originally Posted by Wiggy Neve Slut View Post
Ha the issue is I can’t afford the Neve I want.. the one I grew up using !
don't worry: if neve's new baby mixer becomes as successful as some would like, even the last big studio will part with its mega-neve and you can buy your old one for scrap!

which model?
Old 3rd July 2020
  #718
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Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by deedeeyeah View Post
don't worry: if neve's new baby mixer becomes as successful as some would like, even the last big studio will part with its mega-neve and you can buy your old one for scrap!

which model?
8024
Old 3rd July 2020
  #719
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clonewar's Avatar
 

Quote:
Originally Posted by 127Riot View Post

Let me clarify, you can do hardware inserts with the first generation Burl mothership, but the amount of latency makes it not worth doing.

I’ve tried every delay compensation and the recommendation ms offset That you should set depending on what sample-rate your recording at.
Have you tried measuring the round trip delay through the MS on your system and using that for the insert offset in I/O settings? I had to do that with my IZ ADA II converters, even though they connect directly to the HD Native card and show up in PT as Digi 192 boxes they don't match the 192 delay so they have to be manually compensated for to work as hardware inserts. Once I measured and set that up they're in perfect time and can be used for parallel processing etc. It's a pain because you need to change the offset values for every sample rate, but at least PT lets you export and import those settings so you can measure once and have files saved for every sample rate.

Of course this could all be solved if Avid would just add a ping function to hardware inserts like every other DAW, but it does not look like that will ever happen, they want you to buy their hardware.
Old 3rd July 2020
  #720
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Quote:
Originally Posted by clonewar View Post
Have you tried measuring the round trip delay through the MS on your system and using that for the insert offset in I/O settings? I had to do that with my IZ ADA II converters, even though they connect directly to the HD Native card and show up in PT as Digi 192 boxes they don't match the 192 delay so they have to be manually compensated for to work as hardware inserts. Once I measured and set that up they're in perfect time and can be used for parallel processing etc. It's a pain because you need to change the offset values for every sample rate, but at least PT lets you export and import those settings so you can measure once and have files saved for every sample rate.

Of course this could all be solved if Avid would just add a ping function to hardware inserts like every other DAW, but it does not look like that will ever happen, they want you to buy their hardware.
I have not but it sounds like it’s worth a try. When I called Burl i was hoping to hear some kind of solution like the you mentioned above. That would be great if it works with my system but I’m sure burl received more then just my phone call regarding this issue and if they knew this would work I would hope they would mention it.

I never liked the way Digidesign/Protools always tried to force you to use their converters. I was on Logic Pro for years because of that.

Thanks
clonewar
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