Analog Console Make Sense?
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- čas přidán 15. 03. 2024
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I interned in a studio with two 6-figure large format SSLs. Many of the lead engineers still mixed in the box. Yes, we printed some compressors and EQs on the way in, and some people did track through the console, a few summed through the console. Honestly....it was eye candy for the marketing materials more than anything else. The outboard preamps, EQs, and compressors got a lot more use. And having done recalls on a 64-channel SSL....no thank you.
it sound like analog to me!
How about the sound itself? Worth it?
Barry!
As soon as I saw the title of this one, I HAD to watch it. “Why?” you ask. Simple. I’m what you would definitely call “Old School”. In my long and checkered recording and broadcasting careers, I have produced over 10,000 Radio spots (for the uninitiated, that means commercials). The majority of these were produced in Radio Station production rooms. I wrote a good percentage of those, and in many of them I played multiple voice roles. This comment is not meant to dis digital audio. Far from it! However, I have been recording and mixing for so long, analog was the only method for recording and playback that there was!
In the Radio Station production rooms in which I’ve worked (which are not exactly noted for their amount or quality of equipment) I was lucky enough to never have less than at least two tape decks, a turntable, a pair of record/play cart machines, and a console that had at least six input channels (for a stereo console, that would make 12 input channels, with each pair controlled by a single knob). With this minimum of gear, I was able to do the seemingly impossible. And since each of those stations was too cheap to actually BUY any effects equipment, I’d often have to bring in my own. When it came to the finished product, however, none of that mattered. What DID matter was this: the commercials sounded like they cost many, many more times to produce than they actually did. If I had to give you one piece of advice, it would be this: Learn as much as you can and assemble your own “bag of audio tricks”. You’ll never know when you might need them, and there are many instances when those tricks will not only allow you to make a better finished product than anyone thought you could, but can supply you with a clever ending for a spot. Not to mention what they can do for you when you’re recording music.
My analog console is a Trident ATB-32, designed by Malcolm Toft. He once owned and ran Trident Studio, in London’s West End. Toft was famous in the U.K. for recording heavyweight acts like The Beatles, The Rolling Stones, and many more. “Hey Jude” and “You Can’t Always Get What You Want” were recorded at Trident. In fact, the children you hear at the beginning of that particular Stones hit came from the school next door to the studio!
At any rate my Toft console sounds amazing. It has 32 input channels and 8 stereo buses… and this console has a L-R stereo output besides its individual outputs for each of the 32 channels. In addition, it has 6 Stereo Effects Sends on each input channel, and 6 Stereo Effects Returns on each channel. Every one of the 32 input channels has an amazing-sounding mic preamp and a 4-band parametric EQ (which have been favorably compared to those designed by Rupert Neve).
Being as Old-School as I am, doing a complicated project WITHOUT A CONSOLE (like the few that are available for download on your favorite music service) is completely unimaginable to me. Sure, there are guys who prefer to record and mix “in the box”, but I’m not one of them!
Ed Ryba
Lifetime Member,
Society of Motion Picture and Television Engineers, Hollywood Section
Use whatever gets it done for you! Great resume!
I have a big six ssl and I mostly use it for tracking and mastering, not for producing. Mostly because I do the tracking once and then it’s done. Unlikely I will redo that, sort of recording a band, I tend to get the best possible recording once and then I know I have something that can be mixed accordingly. So far this is working nicely.
If I won the lottery, the Neve Genesys is the only modern contender. Digitally controlled EQ and compressors. Instant recall.
How about the Duality-Fuse?
Tough call id go ssl myself @@Rhuggins
Yeah,was thinking the same....Ams Neve
The RND 5088 is the best *sounding* modern console for my money. But 100% analog. A lot of routing flexibility but I also intentionally shied away from digital.
Respect. Most people probably don’t ask themselves the kind of questions you asked in this video. If I won the lottery I’d buy some land!
Hi Barry,
I didn’t win the lottery but I did treat myself to a beautiful analog console. After a lot of back and forth (API, SSL, TRIDENT, etc.) I ended up with a NEVE 8424, along with 2-8 Channel 1073opx outboard mic pre’s (a total of 18 with the pair that’s on board) this is all coupled with a 32 I/O interface. I have everything needed by using inboard, outboard and ITB, processing. And I did not part with 100K.
I’m not here to sell anything and I’ll land the plane by mentioning that this console, does has have on board recall system of every parameter. It requires about 3-5 minutes to successfully recall up to 100 sessions, and can digitally store unlimited sessions to computer files.
For years I had a 24 channel Soundcraft Ghost LE analog console. During a few years when I had to downsize I sold it. Wish I had it back. The mic pres and eq were excellent and it only cost me $3000 used. What a great piece of gear. I used it first with reel to reel multitrack tape, then with Logic.
I still track with a Soundcraft MH-2 and it has a sound I like for drums. I've never worked on a Ghost but I have worked on the Series Five which was the live version from the same era as the Ghost and it always sounded great. The Series Five had a better EQ but the pres were the same. Nice desk. Look for a MH or Series Five and you can find one for under a grand for some of the smaller 24 or 32 channel versions! Cheers!
I sold my Ghost 32 with the midi/mute automation/machine control 4 years ago when I retired, and I miss it all the time. Great console to say the least. I recorded on to my Mackie HDR (which is now showing "error code 43"), so I guess all is lost, but man I had some good times on that Ghost.
I picked up a 32ch ghost with the upgraded psu for $200!
Another nice presentation John. Note, if we're talking powerball 😁 for decades analog production consoles store recall settings in memory and it's tweaking knobs to match settings. So no paperwork. For me, I'd love to have vintage analog desk such as a SSL4K. I'd put it to good use. But maintenance of any large format production console can be a challenge at times. Yet I'm happy with latest large format production consoles too. But you're right. It comes down to your style of studio production. Peace and be well ✌️🙏🤙
I'm all about doing most of my work ITB with some outboard gear. It makes the most sense for me to have a hybrid setup. I think lots of people would agree in this day and age. Your thoughts and wisdom are priceless. Thanks for sharing!! Much ❤ BJ!!
I just started using an analog mixer along with the Motu 24Ai and 24Ao. In my place is a drum kit, a grand piano, a leslie, guitar cabs, acoustic guitars etc... I wanted to have everything miked up at all times so when I come up with something, I just have to arm some tracks in my DAW and hit record.
My console is a Soundcraft GB8. It costs me under a thousand dollars. To get 24 mic pre's as of at least the quality of the soundcraft, and conversion, it may have cost me 5 to 10 times as much. Or more.
I feel that for the specific wants I had, the analog board in conjunction with the Motu gear, gets me there are a much lower price than if I were to buy 24 channels of hi quality rack mounted mic pres.
Very solid point Barry, I have an old M2524, and unless I win the lottery it wouldn't make sense to invest, a small control surface will do, keep it simple unless you are going to make $
Hi Barry
thank you for the video !
i have a small home studio ( nothing on the calibur as yours)
been using an anolog mixer for years - started with the small mackie
to adat, went up to the 8 bus mackie (2 adats)- remember 3 of us standing
there doing our fader moves mixing a band! I never could break from it,
but in the box is easier for sure. still use a 32 channel midas venice F,
avid carbon with ferrofish. with some out board gear - mix back into
protools.i have never been able to recreate in the box the eq section of
the midas - though i'm sure it can be done , Take pictures now
for the recall -that only gets me in the ball park at best.
thanks again for your videos !
Thanks Berry. Got the Tascam 16 Hybrid Analog Mixer & Presonus 1824C interface, A Golden Age D2 Large Diaphragm Condenser Mic for the Box when recording and got the 16 to do recording on Local band - gigs. 1/2 digital gives me 32 tracks for Studio which is enough. Just starting out from pandemic who knows I am ready if the house is. Many years Following you Thank you for helping me with the basics.
I like these types of conversations. I currently use the SSL Big Six for recording hardware drum machines and synths and I feel like I quickly outgrew it. It seems like the "hybrid" workflow is here to stay. If SSL came out with a product that was like an XL-Desk MK2 or a Bigger Big Six it would be a hit for people like me.
I agree with you. I came from Neve, SSL, Trident, Neotech, API world. Spent 20 years in the business tracking and recording on those magical beasts, and I love them all. So much fun to record and mix on and all sounded great for their own thing. However, I would never in a million years recommend buying one for a modern studio. They just don’t make as much sense in the digital world. The combo of classic mic pres, eqs, and compressors you can get outboard, along with the complete ability to do whatever you wish “in the box” as you call it is just a more logical and efficient way of working. The bottom line when recording is the artist’s creativity. DAW recording allows engineers and producers (as long as they learn their system effectively) to not hinder the artist’s workflow or limit their creative choices. Everything can be done relatively quickly and efficiently nowadays in the digital realm. The analog sound can still be incorporated with outboard stuff. Just my two cents.
There are occasional times when I miss having a console, not just for the sound, but mostly for the tactile part of mixing, and in my past experience of working back in the bad old days of analog in the 80’s and 90’s, I think there were times when I was able to work faster on a console than in a computer.
But…
I DON’T miss having to lock a console up for 2 days because a mix session took that long to finish, because even the nicest analog consoles with the best recall and automation couldn’t store or recall every console setting and parameter of a mix, (unlike today’s DAW’s, where you can recall every single setting of any project with the click of a mouse)…
Nor do I miss having to chart every single setting on a desk, either, noting each channel’s input level, EQ, Aux sends, pans, faders, the master section with returns, etc., (try doing that on a 48 input console, I promise it’ll take you two hours of your life that you’ll never get back), and that doesn’t count the time spent doing the same thing with the patch bay and its connections, as well as the settings on every piece of OB gear that was connected to the desk for that particular mix…
I also don’t miss the higher electric bills, (not only for the console, but also to run the AC year round to keep the desk and its power supplies at a comfortable operating temperature)…
And, there were always those times when “something” in the desk would go south of the suck line, and it would require servicing.
I’m not quite sure that those younger engineers who long for an analog console to record and mix on, have ever worked on one before, or on a daily basis, or had to deal with all of the above, or having to fight all the little gremlins that pop their little friggin’ heads up and cause problems out of nowhere at the worst possible times (because problems always happened during a session, and never when the studio wasn’t booked).
Yeah, there’s definitely an attraction to the thought of leaning your elbows up against a nice sexy LFC while you’re tracking or mixing, I do get it, because I spent years doing it…but, that’s a “surface”attraction, and it hides the potential for the evil devil spawn that lurks just underneath all those pretty faders, pots, meters and lights! 🤣😉
These days, there are SO many other ways - easier ways, far less expensive ways, and much SMALLER ways - to inject the analog sound into digital mixes…
500 Series boxes that you can custom load with whatever modules you desire (or can afford), with some 500 series frames even having USB control right from your computer.
There are ALL kinds of different preamps and summing boxes/mixers, and affordable OB gear that you can print through or use in post to mix, that will give you all the analog color (or transparency) that you desire.
Unless your studio is tracking big bands, orchestras, or doing movie scores, there’s just no logical reason to invest in a big desk anymore…unless you have bottomless pockets, and it’s all just a fun indulgence.
And finally, if you’re thinking of getting a console for your commercial studio, you have to consider how much revenue your studio will have to generate to give you a respectable return on your investment, too.
If you can’t bring in enough money to eventually pay for the console, it’s a pretty solid indicator that you’re not gonna profit enough to put any money in your pockets to pay your rent, mortgage, or even make enough to EAT, either.
Anyhooo, FWIW.
Hi Barry! I used to work on an analogue console for almost all my career, 15 years at least. Now, I've been working on a hybrid setup for a few years, and either I have now my console unplugged, I don't miss it. My MOTU interface is also a digital mixer, so I don't need my old analog either. Is not only about being practical, but I'm getting better results too! Cheers!
I love my old Ramsa board but it's true, if I think about workflow, it's useful to have 16 decent preamps in for small band recordings or drums. But you could also pick up 8 audient pre in a unit for well under 1K now and then have a handful of more expensive pre's. I had my board as my centerpiece with hardware to the side but i will be honest, it does get in the way of keyboard ergonomics and using the mouse. I am now building a dedicated music space in my basement and am considering having the DAW down the center, console to the left and hardware to the right. Use the board as inserts for additional EQ etc. People differ in their approaches but I found I don't always want to turn the console on, wait for it to warmup, and run everything through it. Add in the fact that you can now do analog summing through Access Analog or just buy a dedicated summing mixer and the big console becomes less important. Looks cool as hell though! For most people now, I'd go with a good desk with hardware on each side and mix hybrid. A nice desk with hardware will still give the pro feel if you are a commercial outfit. Hardware is also more fun. Gets you there quicker.
I don't have an analog console, I have a digital console in a Presonus StudioLive 64S. I have all my outboard gear hooked up to patchbays and I have a snake for most of the inputs. The 64S can do DAW mode so I can move the faders and write automation in the DAW. The flexibility this console gives me is amazing. The preamps sound really good. I am more productive with this console, and now I can't imagine producing music without it. I see some of the higher end analog consoles have a "producer's desk" which, as I understand it, is simply DAW control. Sure, a big old analog console would be pretty damn cool to look at as well as impress people as they enter the studio but I can do a lot of what the big consoles can do at a fraction of the price. Would I love to have a big boy analog console one day? Oh hell yeah!
May depend on the usage case… we’ve got a 48ch ssl duality at the studio, the main purpose it’s to record live shows since the “tracking room” in the studio it’s a 800seats live venue
But at home I’m happy with my avid dock, few preamps, comps and eq straight into my Neumann mt48 🤤
With the advent of digital cameras that we didn't have back in the 70s and 80s when I was working on an analogue desk at that time. Now, I can just take a photo of the settings and capture the settings - for the exact reason why an analogue desk is great - everything is right there, not buried in a screen in deep menus. Work in whatever way you want.
Next would come, why have instruments? Why not just jump right into sitting back and watching AI produce your music for you? It's a question of degrees - as you said, it feels good to many people to have their hands on a console. Picked up a Studer analogue desk for $250 and a case of beer. Built two consoles out of it and the parts that came with it. It was a $30K to 50K desk in 1998.
People are going out and buying summing boxes, with 16 channels - which means they're already creating fewer stems than the 600 tracks they've got in their DAW.
I love working in a DAW as a replacement for a tape recording, for the dependability without the daily maintenance, and the ease of cutting and moving around sections of songs without a block and razor. I may use it for some automation, but ultimately when I'm ready to do a final mix, it'll go out through an analogue desk instead of a summing box. And in my case, all of the analogue consoles I'm running don't add up to the cost of a UA Apollo rack interface and an SSL control surface...
I'm not sure who watches this channel, but is it even a question worth bringing up? If something inspires someone, it already makes sense.
What clients do you want to attract?
Back when I mixed live shows my recall was a mic and casette recorder. After sound check, while the opening band was setting up, I would simply hit record and talk my self through it.
These days I am happy with my digital rocording console, You can pick up a Yamaha DM1000 or even better a DM2000 dirt cheap. Paired my DM1000 with a MOTU LP32 for 32X32 ( or 16 at 96K) streams over USB2. for only $1000 total. Can't beat that! Record dry, add color and automation in the box plus control surface (which the DM1000 can do) . I do have a vintage Yamaha RM1608 console and Apogee convertors in storage . When I get the space it will become my front end for tracking.
Advantages of a console are many:
Low (or no) latency monitoring.
Keep instruments plugged in and play any time without booting up a computer
Monitor mixes for everyone. Good monitor mixes make better performances.
Controls right at your fingertips.
Interesting topic Barry. I am a minimalist these days, while enjoying a live room with Drums, B3, Roads, Bass amp, Guitar amps, etc ……
But from a tracking standpoint, I still love the idea of not having patchbays, cables everywhere, other than an XLR box coming into a few 8 pre rack units and a controller. I am not trying to make money here, this is just good old self indulgent joy!
I am considering a set up like two Neve 1073 OPXs with a RME UCXIII & ARC, or even UAD 2-8XPs with a Twin X on the desk top. Even though everyone speaks about the converters on the UAD stuff to be slightly less than the RME converters, I am trying to weigh out the fact that Luna/ Console and Unison pres offer preamp versatility without having to go out of the box or the interfaces. There is a lot to be said for 1 eco system from the stand point of efficiency and keeping things minimal in order to just focus on writing and not being distracted with equipment maintenance, patching and the like.
I think it is really important to VALUE every minute creatively so we can actually get stuff done.
As for finished product, either system is more than enough to have a great experience for this music enthusiast.
Used to run a Neve 8058 commercially back in the day, then downsized to a Ghost 32. Again, from a creative writing standpoint, I don’t miss them at all.
Your thoughts everyone?
Much like you about every 3/4 months I get the urge to think about consoles and if it would help and every time it comes back to being eye candy. I would love to have a SSL Matrix 2 and I can easily afford it, but do I need it...No...do I want it...Yes, until the reality sets in that where I live I couldn't get a client base big enough to give me my ROI. Can I write a check for $25,000 and be alright...sure, I am 63 and have made a good life for me and mine. Does it make sense to do...nope. So I use an external controller with faders and life is pretty darn good.
Adptr hype, oek bloom in tracks/busses and mdn side car/ god particle on the the 2 bus. Analog sound with super fast smooth digital workflow
Thanks! Love the Rupert Neve summing... had Ams Neve and Dangerous is killer, 5059 is best, more options but recall.
The lottery-build would be all about the walls. There would be an engineer position and a large enough desk to put half a dozen people behind.
Track on my api ,mix in the box ,or mix on the console ,love it.
I would only get console if it has 100% total recall, including eq’s etc! Only takes 5 min to recall session, no need to mark anything. This is why I got SSL AWS 248 and I love it. Now days there are many outboard analog gear, that uses total recall, like Wes audio, Better maker and others. I think 5-10 years from now we might see more of analog gear computer controlled.
If I won a billion dollar lottery the first thing I would do is buy some property out in the middle of nowhere with a nice house and build a separate facility with a huge control room and decent sized live room with a couple ISO booths as well as a sizable storage room. Always need a place for all the guitars. Then I would put a 9' Steinway in the live room. I don't know if I would buy a console but I would definitely get a killer control surface. I already have a pretty good mic locker but there are about a dozen more mics I would like to add to it. I would certainly add more outboard gear and upgrade my conversion. I could probably do all that for 3 or 4 million bucks.
The SSL Matrix 2 is a great compromise that is the heart of my hybrid setup.
using a 24channel Allen and Heath GS3000. Just having the EQ and HPF and inserts while recording is great. i like commiting to a good sound. My mixing process is mainly for balancing and making room for my tracks. works nice as a live mixer when i want to jam out.
Recall on an analog console is a photograph. I run front of house for a club in the town i live. The presets are my IPhone. This club has an old allen & heath zed 428. It does have two digital channels IO’s via usb. My studio is mostly in the box. It would be nice if the club had a digital board. But sometimes it’s nice to go old school. It keeps you humble.
Nice video ---- I mix mostly in the box, but a year ago I purchased an Audient 4816SE that i sometimes use. I have a non-commercial studio so I just mix one project at a time. I have no need for recall. I use the 4816 for fun, not for serious use.
I also have two SSL Big Six's. I find them quite useful in certain situations.
I have a dbox plus and still added an ssl six and ssl big six. I just love having everything on a patchboard and routing to my hearts content and having multiple mics up, synths, drum machines samplers all set up and ready to go. Also I have multiple interfaces and computers. I have 2 computers I use as virtual instruments out of interfaces into hardware console. Then one computer just for tracking with another interface. But then again no one needs all this, I just like to pick a key or 2 to work in and make multiple songs going all at once with a flow state no thinking. Then I go back to the work another day. Keep what I like and continue... this work flow loves the 2 ssl I have. But is it needed not at all, as always depends on your workflow.
When I mix I might then send some signals out back to analog and back to digital tracking committing to it. But the ssl six and big six I use together mostly for tracking all the stuff I got going on. Multiple guitars, pedals and outboard gear. When I'm creating in a flow state I don't even want to pause to patch something in... I just go go go lol
Sold my console 4 years ago. Sometimes I miss it but then I remember what a pain it was
Recalls in hybrid setups are an absolute nightmare. Even the most well integrated systems are more nuisance than value-added. Love my outboard for tracking. Love my console as a front-end. Mixes remain itb bc I’ve done it every other way and smarter minds than me came to the same conclusion long before I did
Great Convo:))
Hi, Barry, I don't know if you ever did, so, any comment on digital mixers, I'd like to have your point of view on these ? Are they crap, or good for an Hybrid home Studio set-up, since they mostly incorporate an audio interface, AD/DA, and other features. And thanks a lot for every vids you post, they're quite helpful.
Nothing gets recorded without passing through my vintage Soundcraft console. The warmth and the punch can't be replicated. I don't buy $4000 rack preamps when my mixer provides 32 great sounding preamps at a way more reasonable price. You don't need to buy a Neve to get fat sounding tracks. There are other great cheap used gear out there.
I record as analogue as possible with subtle compression/reverb etc but the moment that it is tracked I am not going through the drama of mixing it in the analogue domain, once I get it digital, it is staying digital.
If I won the lottery id just spec the fastest best Mac and then add to my SSL UF8 to maybe add another 3 for mixing and a UAD rack unit . id never go back to a full analogue desk. I dont see the need , but the hybrid setup of fader controls and the UC1 I have is lovely to work with, so id just tend that out .
In my little home studio I use a small Presonus StudioLive mixer. It’s purely for my inputs but I hoping one day to actually use it for mixing .
Barry, if you cooperate with the seller, you need to arrange a review for top converters. RME vs Crane Song vs Prism - it would be super epic!
Analog Console for Tracking is a must. Still Mix in the Box.
Always a fun topic. Commercial studios tracking live musicians will greatly benefit from a console. Otherwise it’s a luxury option for everything else.
I ditched the Avid C24, and ditched the Presonus Live mixer, and bought 2 of the Neve 1073OPX preamp units. Everything sounds better recorded through the Neve preamps, and now I have the same and consist front end of a higher end console(at least higher end for me). I’m still considering moving away from the Slate Ravens back to an Avid control surface, but I do enjoy the strengths of touch and not needing the mouse so much. Then for the processing and output side, I’m intrigued by the McDSP APB units for the analog hardware processing. But the McDSP units are pretty pricey and I’m not sure they will make enough difference to justify the cost. With all this though, I can replace most of an analog console, without giving up the in the box power and flexibility.
Analog Console Make Sense? - SSL Big six problem solved
Nope. You don´t have on all channels inserts and not enough aux sends. So the SSL Big Six is not the solution in fact the SSL X-Desk was the better idea and the way to go. Just put on there Mic pre´s and it would have been perfect. The APB mixer from Dynasonic is the better solution.
@@FrancisJoa I agree. I have the Big Six but quickly outgrew it. I heard a rumor that SSL is working on a product that would be either an XL-Desk MK2 or something bigger than the Big Six...
Ok Barry I see you still have the Dock along with the softube unit.
I think tracking through a consul would be fun, I’ve mixed on one a handful of times and I don’t really see the need. Recall outboard gear is such a pain in the ass and everyone wants to do five mixed corrections. It just doesn’t work on a console unless you have an assistant And even then it’s still a pain
Hi Barry_ I agree but I like to work Hybrid but as long as I have a "summing Box" ( Dumb BOX ) .,.., no but actually like NEVE MBT or other BUSS Processing to enhance the MIX. :) Thx George
Great content as always! Need/want some advice! Im in the box with some outboard gear and I'm trying to expand my interface via ADAT, my current interface has 2 ins and 2 outs (ID44mkII) would you recommend the Pulse 16 over the Blacklion EXP? Thanks in advance.
Doesn't the id44 have 4 ins and 4 outs🤔 Either way the Pulse 16 is a solid option.
totally agree with what you are saying.
Hi Barry
I’ve got a console 1 mark 1 and fader
I’m happy with them
Well said!!👏👏
Consoles are great if you do a lot of tracking but a console for mixing purposes only is just not that practical in my opinion and I have a 48 channel console sitting next to me that is used for tracking and rarely is used for mixing only if the band wants to cut direct and use that as a final mix which happens from time to time. But I still think if you want 5 guys in a room to track together a console makes sense otherwise if you are just mixing and creating virtual instrument parts in the box just stay in the box. But on a side note you can get a good used Soundcraft or Midas desk that competes with any big name desk out there for far less money. Soundcraft MH-2/3/4 or Series Five, or the Midas Heritage 2000/3000 or XL4 desks are all top notch consoles and can be bought for a couple thousand dollars.
No for the big consols, my be it can be SSL Six, Malcolm Toft Integra 8 style small consols have balance inserts on make sense for the Hibrit work flow. I have SSL Fusion happy with it, and i see Avid S1 winking to me with the Tegeler Eqp1.
If I had the money I’d buy 16 channels of the Neve 88r and a fully loaded SSL 4000. Currently I have a Midas Verona 32 channel with amazing pres and a great eq per channel. I primarily use it to mix in external gear into logic. It has its pros but I would not mix on it. In the box is really where it’s at for recall etc…. External devices are great and I paid it off so long ago. If I was going to buy it today I would not.
I came through the era with big consoles. I don't want the maintenance, power bills, the lost space the additional noise and the idea of going backwards. I love mixing consoles but that era is over.
Mixdown or master in the box. tracking over my old Soundcraft spirit studio 24x8x2. Just use it to avoid repatching and never need more than the 8 bus to record thru.
Absolutely!
But in my case I own a 40 ch Midas and also 8 Api pres. Thats Becouse I have a Big room and I track a lot.
I agree its too much and too Big, but in my case its perfect.
Most people Will never need an analog desk unless for intensive recording
For recording yes I wouldn’t mind it. Would probably pick one that gives the ability to also use 500 series that way I could have different flavors for tracking but for mixing no.
API the Box!
What is your opinion of an Electro-Voice M4 Console for a band live? Is that a high end console?
Barry, what would you do to get your Ferrofish 16 & RME UFX UP TO 32 channels? Appreciate any help….
Give me a great sounding room over any gear
I need to work on a console in my home studio. But I only record to two inch. Stephens 821b + Soundcraft 2400 28x24x2.
For me, a console would make sense with two things.
Having to mix an insane amount of channels and the speed of setting up while tracking.
Neither of which I am doing anymore.
I own a Rupert Neve Designs 5088 48 in 56 out with 5052 mic pre’s on every channel. ITB can’t touch it… not even close.
I have a hybrid setup, using a Small SSL Xdeskwhich is where I bring all my inputs into and I can sume my PT stems
How much of difference does it make to the sound?
I have a Trident series 24 console stored in a wood crate in my garage... Also, an Otari MTR ll 2" tape machine... those were the days! Does anyone want to buy one?
I somewhat, but for what consoles are now going for now they are cheaper than the SSL or Neve outboard gear. Look at what a Soundcraft Sapphyre, or Series 2 or 5 goes for these days? I'm even seeing 32 channel consoles that are under $300 dollars. I recently saw a Yamaha PM4000 for $900. I will always have an analog console. I'm still kicking and screaming at working with the new stuff and I still haven't heard a plugin that sounded good. I started on Tridents, APIs and SSLs. I currently own a SSL 4000 G + (it has 24 Neve 8108 channels), and I will always keep my Studer 827s. A Neve 1073OPX 8-ch preamp is nearly 5 grand. It's out of reach for most. It's a tough call when ideas and wish lists are much bigger than bank accounts...
works for me found a 40channel Mackie here in Palm Bay all connected
A topic about something more advanced like Dolby Atmos
I just got me an RME FIREFACE UFX 3 and want to go Full Atmos….. we need something about that how to produce and monitor setup to control playback….. and testing a production sound and video setup ….. if Y have the skill set to do so it would be nice to get that info about that … best from Denmark Dk
Great Advice, Analog consoles are great IMO but I agree dont really have to have them to make great recordings now.
Let's say I win a SSL super mega mixer. 1) I don't need it, I never record that many channels 2) I don't have the money to maintain it 3) We're long past that moment and those mixers aren't the "thing to have" anyway. Perhaps only in a recording cockpit in front of an orquestra or a few big studios that record enough people. Also generally speaking, noise to signal ratio is not a problem anymore.
Luna Api Summing/neve Summing/ Atr tape and Pulsar Modular sidecar on Mix Buss..
If the average individual had the money to buy a high end console.Though most can't, they would buy one, so they come up with ridiculous excuses! Go with whatever inspires you!
Neve 8424 has two mic preamps.
Hans Zimmer wallpaper? =)
The evolution of analog consoles will be complete recall with the ability to mix and match analog outboard gear like Flock audio. Its just a matter of time
A console makes more sense for tracking but I never understood the fuzz with the recall. If you are working hybrid, just printback the processed tracks and do all your revisions in the box, simple.
I do that, but it can be very time consuming.
Wine taste on a beer income.
The high fidelity audio quality a daw give us today makes analog board pointless to me anyway.
Ams Neve-R Neve-SSL-API are still being made and sold......says something ....
When it is MY money and time, It makes sense to buy a 56 channel board in my bedroom. Are you saving that much money when many of you keep buying computer setups, plug ins, sample packs, and software constantly???? Most studios are not practical anyway financially, just like being a DJ.I use both,new and old,and it;s mine so the last thing I care about is someone's opinion who did NOT buy my gear.
Why do we have to imagine. Doh
No doubt digital is cheaper, more flexible, and convenient. But that doesn't make it better.
Api eqs are stepped
i would never pay for an insanely overpriced console, its ridiculous how much they cost , theyre not worth half , just like cars
Nope….it looks impressive….but a boat anchor…
Mmmmmm recall huh?
Or, we could all just put a bit more effort into getting the mix right the first time.
Can no one make a commitment these days?
Once the songs done, move on to the next one.
What is anyone micing? There are no real instruments used in most of todays pop trash music. It is not played by people . Records are programmed. I’m talking about pop
All samples and vsts. Garbage
There are tons of bands recording every day. Remember the world is a big place.
Nope. Lot of real instruments are still being played in pop. For better or worse it's cheaper to pay a session player than to clear a sample.