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Analog Mixer < 10-15K Consoles
Old 20th December 2010
  #1
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Analog Mixer < 10-15K

I am looking for a 16Ch Analog Mixer for around 10-15K. Can you please recommend some mixers. Ideally, I love the thought of Trident or API. However, I'm unsure if this is possible.

I primarily do mostly pop, so don't have a huge need to record drums or bass. However, during mixing, would like to atleast stem out from the DAW 16 channels and use a handful of outboard if possible. I will be doing all the automation inside the DAW, but I am looking for the Analog warmth. I also use a lot of Analog synths, so I can use the Pres on this mixer as well before hitting the DAW.

Some of my friends are recommending some Analog emulation softwares but I feel if I was to have the actual mixer, there will be a difference. I am unsure if a Summing Mixer is the call of the day but that could be an option.

Please let me know your thoughts.
Old 20th December 2010
  #2
Quote:
Originally Posted by CJ1973 View Post

Please let me know your thoughts.
First of all you have to define what warmth means to you.

Secondly you have to decide if the mixer will be the biggest deciding factor in what will give you this "warm-ness". The reason i bring this up is some engineers can pull off "warm" sounding mixes off what most would consider "cold" or "clean" sounding mixing boards(SSL's, Neoteks, API's, etc).

But this is usually done because the sum of the parts of the mix all contribute as a whole to the "warm" sounding mix. If you don't have all of these parts at your disposal, then looking to one board that can give you a complete warm sound as a whole at this price point will be a little tough, because the choices aren't many and what they are available are usually of the expensive variety.

A compromise is probably the Aurora Audio mixer system. At least with this system you can add what you need as you go and only buy the parts that are necessary right now. 16 channel inputs without the EQ's is probably in that price range and will give you something that not only sounds good, but you can build on for years to come.
Old 20th December 2010
  #3
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Thanks Thrillfactor. Always appreciate you giving your thoughts and points of view.
I guess for me, warmth is something I feel when I hear a certain song or piece. When Ive researched into what was used for it, yes I have noticed generally it has been Trident or API. I listen to classic stuff from those like Mutt Lange on SSL and even though I adore the music, I don't feel the warmth in my ears. I feel that with music from Cyndi Lauper or todays music from bands like Train. I also notice the vocal mic chain is critical too and I have a very Pop chain in Sony C800/Neve1073/Cl1B however the U47 used on some of these tracks seems consistent as well. I will get one of those at a later stage but I guess Trident or API seems unrealistic right?
You can hear a very dance/pop track of mine on www.myspace.com/kayasmuzic titled "Can't get you" which is all ITB with the vocal chain I have. To me the color of it all is so brittle/digital and it lacks a sense of warmth... I hope I am making some sorta sense. Sorry if its a comes across silly.
Old 20th December 2010
  #4
Quote:
Originally Posted by CJ1973 View Post
Thanks Thrillfactor. Always appreciate you giving your thoughts and points of view.
I guess for me, warmth is something I feel when I hear a certain song or piece. When Ive researched into what was used for it, yes I have noticed generally it has been Trident or API. I listen to classic stuff from those like Mutt Lange on SSL and even though I adore the music, I don't feel the warmth in my ears. I feel that with music from Cyndi Lauper or todays music from bands like Train. I also notice the vocal mic chain is critical too and I have a very Pop chain in Sony C800/Neve1073/Cl1B however the U47 used on some of these tracks seems consistent as well. I will get one of those at a later stage but I guess Trident or API seems unrealistic right?
You can hear a very dance/pop track of mine on www.myspace.com/kayasmuzic titled "Can't get you" which is all ITB with the vocal chain I have. To me the color of it all is so brittle/digital and it lacks a sense of warmth... I hope I am making some sorta sense. Sorry if its a comes across silly.
The Train album produced by Brendan Obrien was mixed on an SSL. And I guess I am in the minority in that I consider API consoles more on the clean variety(compared to a Trident or a Neve).

I haven't listened to the track yet, but to me, warmth in mixes is a comb ination of a bunch subtle and not so subtle processes summed together. I'll tell you this, if you go with a colored console, you better produce through it from the beginning. Because if you don't you'll be in for a rude awakening. You will feel that your tracks are running through molasses and whatever made them bump is gone. Also you will need some swiss army knife outboard Eqs for serious carving when needed. Not to mention to add back whatever the console is adding or taking away.
Old 20th December 2010
  #5
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Quote:
Originally Posted by thethrillfactor View Post


The Train album produced by Brendan Obrien was mixed on an SSL. And I guess I am in the minority in that I consider API consoles more on the clean variety(compared to a Trident or a Neve).

I haven't listened to the track yet, but to me, warmth in mixes is a comb ination of a bunch subtle and not so subtle processes summed together. I'll tell you this, if you go with a colored console, you better produce through it from the beginning. Because if you don't you'll be in for a rude awakening. You will feel that your tracks are running through molasses and whatever made them bump is gone. Also you will need some swiss army knife outboard Eqs for serious carving when needed. Not to mention to add back whatever the console is adding or taking away.
Hi TF.... I was referring to the songs for Train produced Martin Terfe, who also did some work with Jason Mraz. I love that sound he got for those records.

So what you are saying is it's safer with a cleaner console like API/SSL rather than colored like Neve/Trident, unless I do all the work through them from the start?
Old 20th December 2010
  #6
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Old 20th December 2010
  #7
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Originally Posted by CJ1973 View Post
Hi TF.... I was referring to the songs for Train produced Martin Terfe, who also did some work with Jason Mraz. I love that sound he got for those records.

So what you are saying is it's safer with a cleaner console like API/SSL rather than colored like Neve/Trident, unless I do all the work through them from the start?
Which ever way you go we are talking bite the bullet time.
If you go the clean mixer way, you will to have to invest in hi end outboard for those sounds that when added together give you that "warm" sound.

If you go the colored mixer way, prepare for a nice large out lay for said mixer. If its a broadcast Neve or Trident 80b or C, we are talking about space,maintenance,etc. You can probably get away with using plug in EQs for surgical duties, but will probably want a snappy sounding outboard comp for the mixbuss.

I mentioned the Aurora Audio mixer as a compromise because it has some of the Neve heritage mixed in with a more newer and more open sounding tone.
Old 20th December 2010
  #8
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Thanks TF. I guess I should come back in a few years with this question ha? Affordability of these vintage machines is non-existent right now....
However, I will check out the Aurora for sure. The expandability seems cool.

I guess in moving forward, if I was to use perhaps a little more 'warmer' type mics and even Preamps, I guess that is a start right. I have a Sony C800G/AKGC12VR/CAD VX2/Ref C for mics which are mostly on the brighter side. Perhaps a Brauner/U47 or Bock may be a good start on just getting the vocals slightly warmer. I have a Neve 1073 PRe but I could also try a Demeter VTMP2A which is tube and has a very rounded tone.
Perhaps I can record all my analog synths in through an API 3124 or similar and then perhaps deal with the mixing end ha? Perhaps even a HEDD or Burl B2 for some warmer AD on the way in. Do you think these changes may slightly work in my favor, as they are cost effective?
Old 20th December 2010
  #9
Quote:
Originally Posted by CJ1973 View Post
Thanks TF. I guess I should come back in a few years with this question ha? Affordability of these vintage machines is non-existent right now....
However, I will check out the Aurora for sure. The expandability seems cool.

I guess in moving forward, if I was to use perhaps a little more 'warmer' type mics and even Preamps, I guess that is a start right. I have a Sony C800G/AKGC12VR/CAD VX2/Ref C for mics which are mostly on the brighter side. Perhaps a Brauner/U47 or Bock may be a good start on just getting the vocals slightly warmer. I have a Neve 1073 PRe but I could also try a Demeter VTMP2A which is tuAbe and has a very rounded tone.
Perhaps I can record all my analog synths in through an API 3124 or similar and then perhaps deal with the mixing end ha? Perhaps even a HEDD or Burl B2 for some warmer AD on theway in. Do you think these changesmay slightly work in my favor, as they are cost effective?
I feel all of those options are necessary as well as tracking to tape and then dumping it after. Every little bit is like adding a brick on the "analog" wall. Also consider writing parts for the singers that are in their"warmth"range. Also use real keyboards and live musicians instead of using soft synths for certain sounds.
Old 20th December 2010
  #10
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Quote:
Originally Posted by thethrillfactor View Post
I feel all of those options are necessary as well as tracking to tape and then dumping it after. Every little bit is like adding a brick on the "analog" wall. Also consider writing parts for the singers that are in their"warmth"range. Also use real keyboards and live musicians instead of using soft synths for certain sounds.
Thanks TF. Yes I am going back to my analogs synths (the track you hear is all soft synths) but I am bringing back the Junos and Oberheims, Fender Rhodes, Vox etc for the new old sound. With the writing, yes sir. That's definitely on the works, in finding that sweet spot for the voices to get another 'brick' as you said.

I am curious to know what your thoughts are on the following:
1. MCI JH600
2. Amek Angela

I can pick these up from a close friend for a good price. I am thinking tracking using Neve and API for most. But in mixing, perhaps using these consoles, while using a couple of outboard gear with them but doing a majority of the work ITB. Perhaps getting an SSL Stereo compressor or C1 on the mixbuss and then writing it back into the DAW through a HEDD or Burl? I'd love your thoughts.
Old 20th December 2010
  #11
Quote:
Originally Posted by CJ1973 View Post
Thanks TF. Yes I am going back to my analogs synths (the track you hear is all soft synths) but I am bringing back the Junos and Oberheims, Fender Rhodes, Vox etc for the new old sound. With the writing, yes sir. That's definitely on the works, in finding that sweet spot for the voices to get another 'brick' as you said.

I am curious to know what your thoughts are on the following:
1. MCI JH600
2. Amek Angela

I can pick these up from a close friend for a good price. I am thinking tracking using Neve and API for most. But in mixing, perhaps using these consoles, while using a couple of outboard gear with them but doing a majority of the work ITB. Perhaps getting an SSL Stereo compressor or C1 on the mixbuss and then writing it back into the DAW through a HEDD or Burl? I'd love your thoughts.
I love the idea of using real synths combined with soft synths to warm up the sounds. Back at the shop we've even gone as far as miding up some old rhythm aces and triggering those sounds for electro tracks( its the machine that the 808 was based. Really beefy transistor based drums).

I will refrain from commenting on consoles, just to say if he is your friend, ask him to let you try both and see if it fits your sound. Consoles like monitors is a personal choice and shouldn't be swayed by peoples opinion. Unless you are equipping a studio as an open business and then what potential clients think is crucial for success.
Old 20th December 2010
  #12
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Quote:
Originally Posted by thethrillfactor View Post
I love the idea of using real synths combined with soft synths to warm up the sounds. Back at the shop we've even gone as far as miding up some old rhythm aces and triggering those sounds for electro tracks( its the machine that the 808 was based. Really beefy transistor based drums).

I will refrain from commenting on consoles, just to say if he is your friend, ask him to let you try both and see if it fits your sound. Consoles like monitors is a personal choice and shouldn't be swayed by peoples opinion. Unless you are equipping a studio as an open business and then what potential clients think is crucial for success.
Thanks TF. Yes that's the plan here. I have definitely tried getting into working with Analog and Soft synths together as well. I definitely feel the sound coming up is anything that has a warmer tone to it, yet is modern sounding, if that makes sense. As you said the song itself, the delivery, chords/riffs etc play a role too. I feel creatively the 'formula' is coming together on the writing end and to an extend on the producing end, so just trying to get a feel for the mixing/engineering end. Things going well, I can get specialist engineers to assist me, but for now, just trying to dig deep into every corner myself.

With the whole Console thing, partly it's the 'look' factor and building some additional clients as well. I know the Sony alone brought me extra work...lol.. So with this, I could nail more work and delegate more too.
So I would LOVE to hear your thoughts. My friend is overseas, so I have no way of trying both out. He said he has a JH600 in great condition and another JH for spare parts as well. The Amek Angela is in okay condition.
Would really really appreciate any input. He is cool with whatever, as he can give them to me for next to nothing (he asked if I can produce his record and I thought I won't charge him but do away with one or both the consoles..lol) and Im sure he will be cool as he does not use them.
Old 20th December 2010
  #13
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Quote:
Originally Posted by CJ1973 View Post
Thanks TF. Yes I am going back to my analogs synths (the track you hear is all soft synths) but I am bringing back the Junos and Oberheims, Fender Rhodes, Vox etc for the new old sound. With the writing, yes sir. That's definitely on the works, in finding that sweet spot for the voices to get another 'brick' as you said.

I am curious to know what your thoughts are on the following:
1. MCI JH600
2. Amek Angela

I can pick these up from a close friend for a good price. I am thinking tracking using Neve and API for most. But in mixing, perhaps using these consoles, while using a couple of outboard gear with them but doing a majority of the work ITB. Perhaps getting an SSL Stereo compressor or C1 on the mixbuss and then writing it back into the DAW through a HEDD or Burl? I'd love your thoughts.
I can tell you about the MCIs, great consoles, but dont get the 600, the 600 is a very versatile console but i dont think that it is what you are looking for. The 500s and 400s is where the sound is, i have a 500 and i would go for it over a Trident or an SSL ANY DAY!

The 400s are also great consoles, but they are somehow a little bit more limited, since the EQ is like "bass mid high" and you can only add or remove gain, however the 400 is probably the most colored of all the MCI consoles, and if you are looking to get a lot of color from the console the 400 is a good choice, and they are very easy to mantain. Although they are not the most quiet console, or cleanest for that matter.... However theres a guy who owns a company up there in Canada who manufactures discrete opamps for the 400s, and i've heard this consoles with a full opamp replacement and they are a completely different beast, they go up to the Q8, Electrodyne, Sphere league of discrete opamp consoles, they sound absolutely astonishing. The opamps im talking about are the Bova opamps and the company is Sage electronics, check it out....

Now, the 500s to me are the best consoles MCI ever made, they work on +/-32v so they have ****loads of headroom, it has 4 bands of semiparametric EQ which sounds awesome (probably one of my favorite eqs), and they have a great colored sound, Jensen transformers on the mic input, and depending on the revision, line input transformers.

They all have line output transformers, they use a combination of discrete & IC opamp circuitry that sounds great, however the 500s are not as easy to mantain like the 400s, the high voltage opamps used in it are extremely rare (the MCI2002 opamp), they are also not the most quiet consoles (although a lot more quiet than the 400s), and they are very very hot (as in heat flowing to the atmosphere). But when properly mantained, these consoles are the tits!!! Depending on the revision of the console, you can also use Bova opamps in it in most places, but i wouldnt change half of the console, perhaps only the master buss and fader buffers, but thats it!

The 600s are a whole different beast, they are like a re-workout of the 400 but its completely different from the 400. They used off the shelf parts like the NE5534 and NE5532 which are also present on the 500s later models. They divided the console's modules so the fader is now left out of the module, this way its a lot easier to add moving faders such as GML, flying faders, Uptown, etc... the bad part about the separate design on the 600s, is that the onboard automation has to be working or the mute switches wont work, and this sometimes can be a pain in the ***.

Depending on the model they had fully parametric EQ or semi parametric EQs.

The 600s sound is often described as "meh" and its probably the less-loved MCI console, however it is a great and very versatile console, a lot of great records were mixed on 600s. The first Sony MXP3000 consoles were actually relabeled 600s. The good thing about them is that if something fails, most parts are extremely easy to find, like the NE5534 which is probably the most common opamp used in audio, so they are easy to mantain.

So bottom line: when it comes to sound, i would take 500 or 400 over Trident or SSL any day, although i like the flexibility of the SSLs and dynamics on everychannel, bla bla, you already know them.

As far as i know is relatively easy to install flying faders on a Trident, this is not the case of the 500s or 400s, in the 500s you have to actually make new panels so the faders will fit, and you have to mod the circuitry to take the VCA out of the circuit, im not so sure about the 400s (Which unlike the later models, they don have VCAs) but i think something similar with the faceplates must happen in order to install flying faders.

Hope this helps!
Old 20th December 2010
  #14
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Take a look around for a Gamble or Tycobrahe.
Old 20th December 2010
  #15
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+1 for a MCI 428 loaded with bova opamps. The preamps when using the bova chip easily holds its own with high end outboard. The 400 is actually a pretty clean console (well, cleaner than you would think, but still wwwaaarrmmm) when you replace the chips. There is only like 6 amplifier stages in the whole console. Not much to f'up the audio.


Quote:
Originally Posted by dualflip View Post
I can tell you about the MCIs, great consoles, but dont get the 600, the 600 is a very versatile console but i dont think that it is what you are looking for. The 500s and 400s is where the sound is, i have a 500 and i would go for it over a Trident or an SSL ANY DAY!

The 400s are also great consoles, but they are somehow a little bit more limited, since the EQ is like "bass mid high" and you can only add or remove gain, however the 400 is probably the most colored of all the MCI consoles, and if you are looking to get a lot of color from the console the 400 is a good choice, and they are very easy to mantain. Although they are not the most quiet console, or cleanest for that matter.... However theres a guy who owns a company up there in Canada who manufactures discrete opamps for the 400s, and i've heard this consoles with a full opamp replacement and they are a completely different beast, they go up to the Q8, Electrodyne, Sphere league of discrete opamp consoles, they sound absolutely astonishing. The opamps im talking about are the Bova opamps and the company is Sage electronics, check it out....

Now, the 500s to me are the best consoles MCI ever made, they work on +/-32v so they have ****loads of headroom, it has 4 bands of semiparametric EQ which sounds awesome (probably one of my favorite eqs), and they have a great colored sound, Jensen transformers on the mic input, and depending on the revision, line input transformers.

They all have line output transformers, they use a combination of discrete & IC opamp circuitry that sounds great, however the 500s are not as easy to mantain like the 400s, the high voltage opamps used in it are extremely rare (the MCI2002 opamp), they are also not the most quiet consoles (although a lot more quiet than the 400s), and they are very very hot (as in heat flowing to the atmosphere). But when properly mantained, these consoles are the tits!!! Depending on the revision of the console, you can also use Bova opamps in it in most places, but i wouldnt change half of the console, perhaps only the master buss and fader buffers, but thats it!

The 600s are a whole different beast, they are like a re-workout of the 400 but its completely different from the 400. They used off the shelf parts like the NE5534 and NE5532 which are also present on the 500s later models. They divided the console's modules so the fader is now left out of the module, this way its a lot easier to add moving faders such as GML, flying faders, Uptown, etc... the bad part about the separate design on the 600s, is that the onboard automation has to be working or the mute switches wont work, and this sometimes can be a pain in the ***.

Depending on the model they had fully parametric EQ or semi parametric EQs.

The 600s sound is often described as "meh" and its probably the less-loved MCI console, however it is a great and very versatile console, a lot of great records were mixed on 600s. The first Sony MXP3000 consoles were actually relabeled 600s. The good thing about them is that if something fails, most parts are extremely easy to find, like the NE5534 which is probably the most common opamp used in audio, so they are easy to mantain.

So bottom line: when it comes to sound, i would take 500 or 400 over Trident or SSL any day, although i like the flexibility of the SSLs and dynamics on everychannel, bla bla, you already know them.

As far as i know is relatively easy to install flying faders on a Trident, this is not the case of the 500s or 400s, in the 500s you have to actually make new panels so the faders will fit, and you have to mod the circuitry to take the VCA out of the circuit, im not so sure about the 400s (Which unlike the later models, they don have VCAs) but i think something similar with the faceplates must happen in order to install flying faders.

Hope this helps!
Old 20th December 2010
  #16
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Hey Dualflip and all else.

I so appreciate your feedback on the MCI consoles. It's definitely given me more perspective on this whole thing in terms of recording consoles and the needs for them/uses etc.

I can certainly tell there is a 'console' league out there, whom for the most part are a different breed of people compared to ITB and see things from a different perspective as well. I would like to understand that perspective, as I currently do ITB stuff. I am not a mixing engineer, but more a producer/composer who has had to do alot of my mixing due to budgets. However, I feel that producing/composing involves a mixing from the word go, whilst creating the music/beats/vocals etc. so it all fits well together.

With regards to the consoles, I would love to find out from you guys what a recommended $ for the various MCI or similar consoles would be. Perhaps a summary sheet even of today's prices so if I dont have the budget at the moment, I can always work towards saving the $ and not spend on items that eventually may be replaced by the console configs.

Thanks again.!!
Old 20th December 2010
  #17
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dualflip's Avatar
 

Quote:
Originally Posted by CJ1973 View Post
Hey Dualflip and all else.

I so appreciate your feedback on the MCI consoles. It's definitely given me more perspective on this whole thing in terms of recording consoles and the needs for them/uses etc.

I can certainly tell there is a 'console' league out there, whom for the most part are a different breed of people compared to ITB and see things from a different perspective as well. I would like to understand that perspective, as I currently do ITB stuff. I am not a mixing engineer, but more a producer/composer who has had to do alot of my mixing due to budgets. However, I feel that producing/composing involves a mixing from the word go, whilst creating the music/beats/vocals etc. so it all fits well together.

With regards to the consoles, I would love to find out from you guys what a recommended $ for the various MCI or similar consoles would be. Perhaps a summary sheet even of today's prices so if I dont have the budget at the moment, I can always work towards saving the $ and not spend on items that eventually may be replaced by the console configs.

Thanks again.!!
Hey there, im glad the info helped, regarding the pricing of the consoles, specially the MCI consoles it varies greatly. The thing is most MCI consoles you are going to find are probably not going to be in their best condition. Probably one of the reasons why MCI is not as popular as other brands is because there are not so many MCIs out there in good condition, most are trashed or need a lot of work, this is one reality, if you get an MCI it will probably be trashed and youll have to work on it and get your hands dirty, and spend some cash on it, even if they are advertised in good condition.

The truth is that us who own MCI consoles are absolutely in love with them, but its a matter of love or as some say sheer force that makes the console work.

Ok so, to answer your question, you can probably get an MCI for next to nothing it depends a lot in the model and the condition, i paid around 3k for my 528C when i bought it, but since then i've spent another 3k or more in new capacitors, new IC sockets, spare parts, etc plus ill have to spend a few more Gs on it, im sure... thats without counting the endless hours i've spent soldering and desoldering, fixing stuff, cleaning stuff, etc... The good news is that even considering all that pain in the a** they are very noble consoles, they are simple and elegant at the same time, they sound amazing and they pay off (at least spiritually) for all the work you spend on them.

If you want to know more, you can visit the MCI forum www.mcirecording.com/forum im an admin there, you can also visit the main site http://www.mcirecording.com for more info and history on MCI consoles.

All i know is this, i wouldnt trade my MCI for the world, its now a part of me and ill keep it till I die or she finally dies.
Old 21st December 2010
  #18
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Take a look at the Sony MXP3036 console on ebay right now.It has a bunch of API pres in it and some API 550 eq's as well.It's a huge console so you'll have to have the space for it. I don't know the seller but it's in a home studio in Texas.I had some Sony inductor eq's a few years ago that were used in this model console and they sounded just like my sphere 900 eq's.

Also there is a Yamaha PM2000 console on ebay and they are warm sounding.

Just my thoughts
Good luck!!
Old 21st December 2010
  #19
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Hi Dualflip

Thanks and others. I definitely appreciate your insight on the MPIs and will also check out the links you suggested.

With regards to the MCI 400 and 500 series, can you please suggest the basic difference in meanings between the last two digit numbers? ie. the 36 in 536 or 28 in 428 etc.

Thanks much
Old 21st December 2010
  #20
Quote:
Originally Posted by CJ1973 View Post

With the whole Console thing, partly it's the 'look' factor and building some additional clients as well.
These days the 3 things that give you the most "bling factor" and "wow" for the buck when it comes to new clients are:

1) Gold on the walls- When people walk into the studio and see Gold all over the place they right away feel like they are working with someone who knows what's going on. Most people want to work and be around successful people because in their minds they feel that some of the success will rub off on them...true or not.

2) Big soffit mounted speakers- People want to feel that at any point they can blast their music as loud as they want to, to really feel it, something they just can't do at home. Its still an edge that large studios have over home studios.

3) A large format SSL or a Neve console- These are the names that clients still know. Working on one of these consoles(even when using 2 channels for DAW playback) makes them think that they have made it(as stupid as that might sound). That's why they will still sit in front of them and take pictures like a bunch of tourists.

Mentioning anything else its like...... to them.

This goes for the fancy outboard gear or a studio owners impeccable mic collection. Heck if you had the worlds greatest rum/beer collection or you made the most incredible margaritas or mojitos would be more impressive to them than the other studio stuff people obsess over around here.
Old 21st December 2010
  #21
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dualflip's Avatar
 

Quote:
Originally Posted by CJ1973 View Post
Hi Dualflip

Thanks and others. I definitely appreciate your insight on the MPIs and will also check out the links you suggested.

With regards to the MCI 400 and 500 series, can you please suggest the basic difference in meanings between the last two digit numbers? ie. the 36 in 536 or 28 in 428 etc.

Thanks much
hey there, the last numbers are the number of channels, so a 528 would be a 28 channel console, 416 a 16 channel console, etc... and if it has a letter like 528C or 528B is the revision, so A would mean a first revision and C or D a later revision.

Best
Old 21st December 2010
  #22
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I tend to think of desks as those I like the sound of and those I don't.

Those I seek and those I avoid

I find the whole idea of "colour" or not desks a dead end. For me.
A Neve sounds different for many reasons than an API. But i reject the idea that one is 'colored' and the other isn't or is 'less' so.

On the other hand, it's clearly taste, but I wouldn't touch any MCI with a barge pole.
I could rate them from awful through to just plain bad, but why?
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