I haven't heard one, so I cannot comment on the sound, HOWEVER...

I think convolution technology holds a lot of promise for the future, and like it or not, we are moving in that direction.

Someday, somebody will make a convolving unit that is usable, and unfortunately, it is going to take deep pockets do it right, so that leaves out a lot of the small mom and pop shops, and leaves us with folks like Focusrite, which I doubt can ever do it "right".

Here's hoping that the someday is going to be "someday soon"...

I bought a LC, put it through the test with a serious producer in his studio. The test that really beat it up was this: We took a Royer and did a bell strike. Through a real 1073, the bell was beautiful. Round and pure, lots of overtones. Sounded like an angel. Through the LC, it totally collapsed. It basically farted out digital mess. It couldn't comprehend it. That's when decided to return it.

However...I love to see companies like Focusrite taking strives toward the world of convolution. Let's face it, it's the future. One day, one box will do everything. I can't wait. Until then, I'll hang onto my anologue outboard.

On another positive note, I did like the Helios/Fairchild combo and the ability to audition the settings so quickly without patchbay hell. Other than that, it's a prosumer piece.

Peace...

Tetness, how about a posting those pics of your awesome studio again? thumbsup

Thanks Kestral. Once I get my new Pultecs, Shadow Hills compressor, and API 550a, I'll snap a few more shots.

Utter waste of money.

I recently recorded a soprano sax (not the best source i admit) on 6 completely different settings ranging from modern class a to old valve. Afterwards I edited together the files in pro-tools and there was absolutely no discernable difference between them all. Only when I listened in headphones with my eyes closed really tight could I hear the slightest sound change. I included my ISA 430 prod pak in the listening test and it blended in perfectly. The only good thing about it was being able to control is via USB as long as it is no longer than an arms length away as then the USB can't handle it. On the whole, save yourself the extra cash and buy a couple of producer packs, You can link the dynamics. add the nice digi out put and your laughing. It even looks crap where as the prod packs are loverly.
I should say that it does sound very nice, but it definately does not have all the sounds of all these other boxes it professes to have.........

Ok, finally got a chance to try it out at a local retail store. You want my opinion? Here it is:

So stay away from Long&Dongs till they clean up the mess, eh?

Yeah, Mark Capioferri is probably glad he's not there anymore, otherwise he'd be cleaning up puke stains in the Pro Audio department heh

Not too much love for L&M huh? Or the Liquid Channel for that matter.

Schlong & McQuade is a pretty good reseller, I don't have any complaints.

heh Good one. I will add it to the list.

Is pissing time!!! dfegad

tutt hated it! tutt dfegadliquid channel

(In response to Lynn Fuston's post):

I say most because there are those few and far between who seem to lay it on the line. Lynn Fuston is one of 'em, though.

Ok super old thread this but I wanted to add something for a bit of balance.
The pre's do have different sonic qualities, but it takes a while to appreciate them - they are not going to be night and day from the off especially if you dont have experienced ears.
The LC does a very good job at being a high quality pre/comp chain end of...are the emulations exactly like the originals, prob not but it still offers a huge range of colours and options that are very useable.
An overlooked strength of this device is how useful it is for educational purposes, the LC has informed me so much about pres and comps I'd be unlikely to try without it. I can say that after owning for 2 years it remains an extremely useful box and the more confident I've become with its tonal variation the more I experiment.
Today I feel well placed to consider my next serious investment, I would like 'real world' versions of some of my favourite presets and have a much richer understanding of why I might want them.
The LC is a unique product, not cheap but with its own party tricks.
Any gripes? I wish it was stereo for the same price, would consider it amazing value if it was possible to use just a single box for 2 buss compression.

Ok super old thread this but I wanted to add something for a bit of balance.
The pre's do have different sonic qualities, but it takes a while to appreciate them - they are not going to be night and day from the off especially if you dont have experienced ears.
The LC does a very good job at being a high quality pre/comp chain end of...are the emulations exactly like the originals, prob not but it still offers a huge range of colours and options that are very useable.
An overlooked strength of this device is how useful it is for educational purposes, the LC has informed me so much about pres and comps I'd be unlikely to try without it. I can say that after owning for 2 years it remains an extremely useful box and the more confident I've become with its tonal variation the more I experiment.
Today I feel well placed to consider my next serious investment, I would like 'real world' versions of some of my favourite presets and have a much richer understanding of why I might want them.
The LC is a unique product, not cheap but with its own party tricks.
Any gripes? I wish it was stereo for the same price, would consider it amazing value if it was possible to use just a single box for 2 buss compression.

I did not like all the added "stuff" in the liquid channel, but I did grab a liquid 4 pre and i love the way it sounds. No the emulations do not sound exactly like the real deals, but they are interesting and good in their own way.

The issue I found with the liquid channel (not the liquid pre/ liquid 4 pre, since they don't have it), was when adding the eq/comp in the chain, that caused the sound to deteriorate and added some latency.


Grab the liquid pres and a decent comp or two rather than the liquid channel.

Jim

Liquid was used by Dann Huff on Rascall Flatts My Gang album, that is what sold me......

I used one on Rod Stewart "Stardust". I thought they sounded awful - very grainy and softwareish. I wish they would have let me bring in the real chain from home.

And they didn't edit you? I quit writing for them, when they made it sound like I liked the TLM49 mic.

What sample rate were you using on the LC?

What do you call "experienced ears"? Is 28 years experienced enough?