The No.1 Website for Pro Audio
 All  This Thread  Reviews  Gear Database  Gear for sale     Latest  Trending
Console / Yes / No / Which in 2019
Old 1 week ago
  #61
Gear Head
 
Liquidaudio's Avatar
 

Quote:
Originally Posted by TheBaker View Post
Yes. But there is no one size fits all sounding desk. But you can also use a clean amp with a more colored desk. Or the other way round, use a clean desk with colored preamp. Though I somehow also would lean towards the colored desk.

Which console do you own?
I have 4000G,

actually there is a one size fits all console named the Ocean Audio Ark 916!
Old 6 days ago
  #62
Lives for gear
 
Space1999's Avatar
 

Quote:
Originally Posted by Saxplayerz View Post
Yea be like the kid down the road with a mac in his bedroom.
You like demeaning people huh? Does it make you feel like you are far superior to that person with the Mac “down the road”?

You should realize there are people with small well considered setups that can blow the pants off you or me. Never underestimate what sheer will can accomplish.

There was a similar situation in my town and we would laugh and sneer at this kid we called “shed boy” because he literally worked out of a shed.

The owner of the studio I worked at admired the kid for his awesome work ethic and not letting anything hinder him.

He brought a finished mix in for us to listen to in our posh well furnished studio. The mix and sounds he got blew us away.

I learned a lot that day, including being humble and respectful of other people doing the best they can.

Pat
Old 6 days ago
  #63
Lives for gear
 
Space1999's Avatar
 

BTW if push came to shove in the OPs situation I would probably go with an Audient Heritage console.

What is most important in a console besides the sound of the console is the flexibility in routing options.

For a long time I studied the Amek/Neve 9098i-console.
Some say the best mixing console ever...

I read the owners manual probably 4 or 5 times. The routing was amazing and groundbreaking at the time.

The Audient console is the closest console I have seen that had that kind of pure routing power. In fact several of the routing options on the Heritage console are exactly what the 9098i had in her.

I would want a clean sounding console with great routing in a studio console. I’ll add the color in my DAW thanks.

Just my opinion. I do own Audient pres and they are of very good quality.

Pat
Old 6 days ago
  #64
Gear Maniac
 
mike-661's Avatar
Quote:
Originally Posted by thenoodle View Post
Isn't the monthly electricity bill for older ssl's about quadruple anything else? Like the spinning meter when Clark Griswold finally gets his Christmas lights working.
The Atomic PSU ends that myth...

I have 2 meters coming into my 6,000sq ft building.
Studio A: 1,800 sq.ft.
  • 2.5 ton AC (live room),
  • 2 ton AC (control room)
  • 1 ton (machine room)
  • 1.5 ton AC (lounge)
  • SSL 8000G+ 56 channels
  • 6 bays of outboard gear

    All gear and AC's run 24/7. July electric bill for THAT room in the hottest part of summer in FLORIDA was $408
    ($250 in winter. Used to be as high as $1k/month before the Atomic PSU + Tangerine)

The other 4,000 sq. ft. or so containing our SSL 4000, 3 other studios, lobby, living-space ETC all left on 24/7 was $750 for July ($450 in winter)

Last edited by mike-661; 6 days ago at 10:00 PM.. Reason: sq ft
Old 6 days ago
  #65
Lives for gear
 

Quote:
Originally Posted by Space1999 View Post
You like demeaning people huh? Does it make you feel like you are far superior to that person with the Mac “down the road”?

You should realize there are people with small well considered setups that can blow the pants off you or me. Never underestimate what sheer will can accomplish.

There was a similar situation in my town and we would laugh and sneer at this kid we called “shed boy” because he literally worked out of a shed.

The owner of the studio I worked at admired the kid for his awesome work ethic and not letting anything hinder him.

He brought a finished mix in for us to listen to in our posh well furnished studio. The mix and sounds he got blew us away.

I learned a lot that day, including being humble and respectful of other people doing the best they can.

Pat

Not really demeaning anyone. It's just a fact that everyone has access to a daw and computer these days. Not as many actual consoles in use comparatively.
Old 6 days ago
  #66
Quote:
Originally Posted by Saxplayerz View Post
Not really demeaning anyone. It's just a fact that everyone has access to a daw and computer these days. Not as many actual consoles in use comparatively.
But for many many sessions, the difference is negligible. Our console is really only used on band or larger ensemble dates, and even then it’s main benefit is form factor/workflow. Sonically there’s no difference to a rack of the same preamps.
Old 6 days ago
  #67
Quote:
Originally Posted by TheBaker View Post
I'll send a few emails to manufacturers and other studios (who are nearby and have consoles) today. I must have had my own hands on it before I can decide that.

Thanks for the many good references so far. That definitely helps with the search.




Do you own the mentioned Neve?
No, it’s just where I work most of the time.
Old 6 days ago
  #68
Lives for gear
 

Quote:
Originally Posted by psycho_monkey View Post
But for many many sessions, the difference is negligible. Our console is really only used on band or larger ensemble dates, and even then it’s main benefit is form factor/workflow. Sonically there’s no difference to a rack of the same preamps.
I must admit that often I'll just monitor with it. But sometimes I'll stem a mix out and sum with it. I should do that more often it's just time consuming to route all that audio in the daw.
Old 6 days ago
  #69
Quote:
Originally Posted by Saxplayerz View Post
I must admit that often I'll just monitor with it. But sometimes I'll stem a mix out and sum with it. I should do that more often it's just time consuming to route all that audio in the daw.
..and to recall...and to do prints in real time (stems I mean)...and is it worth it sonically? I did this for one track on an EP with our desk...and didn't with the rest. Can't remember which it was now, and I certainly can't tell by listening!
Old 6 days ago
  #70
Get 3-4 silver bullets and you’re set!!! That’s all you need, honestly. Instant console sound and you can buy a car with the remaining g money...
Old 6 days ago
  #71
Gear Head
 
TheBaker's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
But for many many sessions, the difference is negligible. Our console is really only used on band or larger ensemble dates, and even then it’s main benefit is form factor/workflow. Sonically there’s no difference to a rack of the same preamps.
Which headphone / foldback system do you use? Setup in Pro Tools?
Old 6 days ago
  #72
Lives for gear
 
e-are's Avatar
Quote:
Originally Posted by TheBaker View Post
I own an Avid S3 for mixing that I could buy relatively cheap.


IMO, the S3 with something like a Chandler Mini Mixer or Manley would be something I’d be trying to check out.
Old 6 days ago
  #73
Lives for gear
 

Quote:
Originally Posted by Space1999 View Post
BTW if push came to shove in the OPs situation I would probably go with an Audient Heritage console.

What is most important in a console besides the sound of the console is the flexibility in routing options.

For a long time I studied the Amek/Neve 9098i-console.
Some say the best mixing console ever...

I read the owners manual probably 4 or 5 times. The routing was amazing and groundbreaking at the time.

The Audient console is the closest console I have seen that had that kind of pure routing power. In fact several of the routing options on the Heritage console are exactly what the 9098i had in her.

I would want a clean sounding console with great routing in a studio console. I’ll add the color in my DAW thanks.

Just my opinion. I do own Audient pres and they are of very good quality.

Pat
Can you explain about which routing options are similar and that you think are/were groundbreaking?
Old 6 days ago
  #74
Lives for gear
 

Get a matrix and 8 slot rack with eq. Then add to it as you grow.

Ssl matrix
Focusrite 828
Ssl xrack
Ssl eq x8
Old 5 days ago
  #75
Lives for gear
 
Space1999's Avatar
 

Quote:
Originally Posted by siddhu View Post
Can you explain about which routing options are similar and that you think are/were groundbreaking?
The two I remember without reading two console manuals again are the ability to break the EQ in half to give EQ on the monitor fader as well as the long fader, and the ability to assign 2 of the 14 auxes (on the Audient) to a mix group. The 9098i had 16 auxes and was setup so the rear surround channels were fed from aux 1 and 2 when placed in surround mode to any of the 5 stereo master faders.

The ability to share EQ was a new concept on Rupert’s 9098i and 16 auxes was unheard of. The 9098i was able to share either the filters or the sweepable EQ and the Audient does the same only with the sweepable EQ and the high and low shelf EQ.

I actually think there are a few other similarities but it’s been a while since I remember reading the 8024 owners manual.

If I am going to have a console in the control room, I want it to reproduce what I am hearing on the control room floor. Audient used to get kind of a rap for being a neutral sounding console. Nowadays, this is a huge plus for owners because they have all the color in the world in their DAWs.

The 9098i was also designed to be very transparent. So there is another similarity.

I encourage you to listen to albums tracked and mixed on the 9098i. Blue Meanie mixed a ton of stuff on their 9098i and my personal favorite is Taking Back Sunday’s “Tell all your Friends”.

A recent release would be Ricky Scaggs’ “Mosaic”. He has had his 9098i since it was new in the late 90’s.
In fact, I think it is a 9098 non-inline console, but I could be wrong.

Pat
Old 5 days ago
  #76
Lives for gear
 

Quote:
Originally Posted by Space1999 View Post
The two I remember without reading two console manuals again are the ability to break the EQ in half to give EQ on the monitor fader as well as the long fader, and the ability to assign 2 of the 14 auxes (on the Audient) to a mix group. The 9098i had 16 auxes and was setup so the rear surround channels were fed from aux 1 and 2 when placed in surround mode to any of the 5 stereo master faders.

The ability to share EQ was a new concept on Rupert’s 9098i and 16 auxes was unheard of. The 9098i was able to share either the filters or the sweepable EQ and the Audient does the same only with the sweepable EQ and the high and low shelf EQ.

I actually think there are a few other similarities but it’s been a while since I remember reading the 8024 owners manual.

If I am going to have a console in the control room, I want it to reproduce what I am hearing on the control room floor. Audient used to get kind of a rap for being a neutral sounding console. Nowadays, this is a huge plus for owners because they have all the color in the world in their DAWs.

The 9098i was also designed to be very transparent. So there is another similarity.

I encourage you to listen to albums tracked and mixed on the 9098i. Blue Meanie mixed a ton of stuff on their 9098i and my personal favorite is Taking Back Sunday’s “Tell all your Friends”.

A recent release would be Ricky Scaggs’ “Mosaic”. He has had his 9098i since it was new in the late 90’s.
In fact, I think it is a 9098 non-inline console, but I could be wrong.

Pat
Thanks for sharing the knowledge & experience!
Old 5 days ago
  #77
Quote:
Originally Posted by Space1999 View Post
The two I remember without reading two console manuals again are the ability to break the EQ in half to give EQ on the monitor fader as well as the long fader, and the ability to assign 2 of the 14 auxes (on the Audient) to a mix group. The 9098i had 16 auxes and was setup so the rear surround channels were fed from aux 1 and 2 when placed in surround mode to any of the 5 stereo master faders.

The ability to share EQ was a new concept on Rupert’s 9098i and 16 auxes was unheard of. The 9098i was able to share either the filters or the sweepable EQ and the Audient does the same only with the sweepable EQ and the high and low shelf EQ.

I actually think there are a few other similarities but it’s been a while since I remember reading the 8024 owners manual.

If I am going to have a console in the control room, I want it to reproduce what I am hearing on the control room floor. Audient used to get kind of a rap for being a neutral sounding console. Nowadays, this is a huge plus for owners because they have all the color in the world in their DAWs.

The 9098i was also designed to be very transparent. So there is another similarity.

I encourage you to listen to albums tracked and mixed on the 9098i. Blue Meanie mixed a ton of stuff on their 9098i and my personal favorite is Taking Back Sunday’s “Tell all your Friends”.

A recent release would be Ricky Scaggs’ “Mosaic”. He has had his 9098i since it was new in the late 90’s.
In fact, I think it is a 9098 non-inline console, but I could be wrong.

Pat
You can split filters to monitor path (and vice versus) on every ssl from E onwards....(and maybe before, I’ve never used a B tho!)
Old 5 days ago
  #78
The Amek 9098 channels are awesome though.
Old 5 days ago
  #79
Lives for gear
 

I have been eyeing that 10x8 for years and am ready to give it a try.

I'll ask what I should have the day it was introduced; to confirm what I interpret is possible with the 10x8; could I mult a signal to all 8 auxes? Not that I would, rather, checking to be sure I understand the unit which could be incredibly useful to me.

Quote:
Originally Posted by Geoff_T View Post
Hi

We do a package with pre fade insertions, a monitor system and a GT10x8 that provides 8 auxes per channel.

It's also possible to add a moving fader system.

Last edited by StevenLMorgan; 5 days ago at 03:02 AM..
Old 5 days ago
  #80
Lives for gear
 
celticrogues's Avatar
 

Will the studio be solely for your use or do you hope to attract other engineers? As an engineer with an ITB rig at home, a tasty analog console is a huge selling point if I’m considering working at another studio.

-Mike
Old 5 days ago
  #81
Lives for gear
 
Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
The Amek 9098 channels are awesome though.
Yes if you mean the actual console.. the outboard units sound a bit different. Guess it’s the ampage and volts in the 7 power supplies!

I be heard the Big Blue Meannie 9098 one of the first split ones and indeed it sounds awesome. Possibly the pinnacle of console design. But Fark me the power draw on then is INSANE!!! Which is equivalent to 9 houses I got told at the time.
Old 5 days ago
  #82
Quote:
Originally Posted by Wiggy Neve Slut View Post
Yes if you mean the actual console.. the outboard units sound a bit different. Guess it’s the ampage and volts in the 7 power supplies!

I be heard the Big Blue Meannie 9098 one of the first split ones and indeed it sounds awesome. Possibly the pinnacle of console design. But Fark me the power draw on then is INSANE!!! Which is equivalent to 9 houses I got told at the time.
Well, I was talking about the outboard yes...but I'll take your word the console was even better!
Old 5 days ago
  #83
Lives for gear
 
Space1999's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
You can split filters to monitor path (and vice versus) on every ssl from E onwards....(and maybe before, I’ve never used a B tho!)
I was laid up for a while and had time to kill so I started reading LFAC manuals. I read the 4000G and the 9000J manuals. Plus the Neve 88RS and more than a few others. LOL Hey, it’s better than television. :heh

I really don’t know who developed the idea of sharing the EQ, but I do know that all the major players jumped on it fast in the 90’s. It was a great idea for inline consoles.

But the Audient 8024 and Heritage 8024 both have that ability. I really think for the money a Heritage 8024 would be a sound investment.

Pat
Old 5 days ago
  #84
Lives for gear
 

If I had a buddy that had a console I'd be using his as long as it was free for my use.
Old 4 days ago
  #85
Quote:
Originally Posted by Saxplayerz View Post
If I had a buddy that had a console I'd be using his as long as it was free for my use.
Until you had a paying client who needed an urgent recall or fix...and your buddy had no time for you...
Old 4 days ago
  #86
Lives for gear
 

Quote:
Originally Posted by psycho_monkey View Post
Until you had a paying client who needed an urgent recall or fix...and your buddy had no time for you...
I don't think I've ever done a recall on a console mix. Most of the time they were there when it was printed and we made changes before mix down.
Old 4 days ago
  #87
Quote:
Originally Posted by Saxplayerz View Post
I don't think I've ever done a recall on a console mix. Most of the time they were there when it was printed and we made changes before mix down.
The time of the "attended mix" is well and truly behind us now. In the last 7 years I think I've done 4 attended mix sessions. Much of the time I never even meet the clients!

I suppose "recall" is a bit of a non-starter on a non-automated/no recall console anyway, but then that's why people mixing for a living have adapted to stemming through a console if they use it all. "No I can't do recalls" isn't an option!
Old 4 days ago
  #88
Lives for gear
 
Space1999's Avatar
 

There is one other console I would consider and that would be the Harrison 950MX. It reflects my buy higher quality in smaller quantities philosophy. The console has everything you need as far as routing, inserts, control room monitoring and headphone mixes and summing with a transformer and no transformer pair of stereo outs.

The console is a smaller footprint but Harrison’s line of products suggest you surround it with one of their rolling sidecars for outboard pres etc... and one of their rolling upright racks for AD/DA and the like. When put together it does solve a problem that I have always despised...turning around to adjust a compressor or any other outboard. Its a PITA and I don’t have ears in the back of my head. I want to stay in the sweet spot and lean over and adjust a compressor or pre. The furniture all matches the 950MX furniture so what was a smaller footprint is now a decent sized array of gear that has a very professional uniform look.

I would like to hear from anyone who has one or heard one up close and personal. I have only heard sound bites and streaming sound. I think it would be something to look at in that $30k range. I have and love Mixbus and Mixbus 32C. I wonder what it would be like running that DAW with the 950MX and a couple high res video monitors and one of their sidecars and rolling racks on either end.

Pat
Old 4 days ago
  #89
Lives for gear
 
Space1999's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
The time of the "attended mix" is well and truly behind us now. In the last 7 years I think I've done 4 attended mix sessions. Much of the time I never even meet the clients!

I suppose "recall" is a bit of a non-starter on a non-automated/no recall console anyway, but then that's why people mixing for a living have adapted to stemming through a console if they use it all. "No I can't do recalls" isn't an option!
I used to roll off the usual vocal up, vocal down, bass up, bass down....whatever the client was wishy washy about and send them out the door with at least 6 mixes.

It only took the time to run the mix through the board each time and damn if I almost never got a call back for recalls. With the analog setup we had it was a major bear to reset a mix and almost guaranteed that it wouldn’t sound like the original. Just too many variables with tube outboard and non-detented pots etc...

So I would, somewhat maliciously (depending on the client), send them home with enough mixes to decide from (especially for the picky obsessive client) that they were probably paralyzed by the decision of which one to choose and would then be glad to let me pick. Haha haha

One of George Harrison’s lesser known quotes is one of my favorites. He said, “Why would anyone want to recall a mix they didn’t like?”
True Dat.

Pat
Old 4 days ago
  #90
Quote:
Originally Posted by Space1999 View Post
I used to roll off the usual vocal up, vocal down, bass up, bass down....whatever the client was wishy washy about and send them out the door with at least 6 mixes.

It only took the time to run the mix through the board each time and damn if I almost never got a call back for recalls. With the analog setup we had it was a major bear to reset a mix and almost guaranteed that it wouldn’t sound like the original. Just too many variables with tube outboard and non-detented pots etc...
Yes, I "used to" assist on sessions and do things like that! But times change...now because we can do recalls for details, we have to. And again - you're talking about a client that's present. That just isn't that common anymore.

Quote:
Originally Posted by Space1999 View Post
One of George Harrison’s lesser known quotes is one of my favorites. He said, “Why would anyone want to recall a mix they didn’t like?”
True Dat.

Pat
Is it lesser known? it seems someone brings it up here EVERYTIME the necessity of recall is mentioned!

And I'd say the same thing everytime;

We're not talking about recalling a "bad" mix. We're talking about recalling a near perfect or lots of potential mix, and fixing the one or two things that are subjectively "wrong" to give the client the perfect mix for them.

"2nd guitar verse volume up slightly with touch more reverb
Post chorus guitar up slightly
Bass fill last chorus before last breakdown up with a bit more fuzz, or even experiment with effects on it
Slight bit more crunch on the ‘never come down’s’
“Ooh ooh ooh” in 2nd verse more punchy if we can
Chorus snare bigger/more verb"

That was a list of mix notes I got recently. Hopefully that didn't mean I made a "bad mix" the first time!
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump