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Saymite, I very much appreciate your comment. Hopefully, these videos may be somewhat helpful in your audio career.

Thanks for your comment. Yes, whether you're trying to learn a musical instrument, play sports, or mix audio, practice is essential. That's what gives you the experience.

Many thanks for your comment.

R2-D2 might beg to differ, but you're correct. Even pre-MIDI, this is a wonderful synth with some amazing potential.

​@@jaypetach5598 I think they're talking about your composition, not the gear. But I know it's not meant to be anything more than a demo

@@ncapone87 Nick: Thanks, yes this was a demo a couple years ago for my audio class to show them how this gear worked using only control voltages as opposed to MIDI.

@@jaypetach5598 lucky students!

Thanks Evan.

Christian: Many thanks for your comment.

I've not had any experience with that mixer. The only AMS devices that I've played with are the Audiofile and a a Digital Delay.

@@jaypetach5598 Have you heard any comments?

Raymond: Thanks for your comment. I used to own a recording studio, but now in my second career I teach audio at the college level. f you send your email address to me at jaypetach@gmail.com, I'll send you my eBook. Most of the segments from these videos are from the eBook.

​@jaypetach5598 if possible can I send my email as well? I'm an aspiring audio engineer 😎

Agreed. Great video. I currently have a Presonus interface for recording and while I'm using a 32 inch touch screen monitor, I really miss the tactile feel of real sliders and knobs. This channel is a real gem. Glad it came up on my feed!

@@alexxxg310 I was doing that some time ago, but using Slate Ravens. I do love digital, but analog will always be my first preference. I think I'm a bit bias, because my mixes sounds "better" to me whenever I use analog. There is just something about how electricity and the boards in each channel makes things sound different each time. Every channel has a different sound and physically moving the knobs, makes it feels like you're touching the sound itself. Very intimate one could describe it.

Jim: Thanks for your comments. I appreciate the feedback. The entire mix on these Hollywood consoles was routed to 3-stems (D/M/E), so if set of mixers screwed up, they could keep the other two stems and revise the one that was not correct. Most of the consoles on mixing stages weren't even automated until the 1990s. The mix engineers followed paper cue sheets created by the sound editors to see what was coming up. Today, most of Hollywood mixes on Pro Tools and the sound editors now provide more-or-less finished mixes to the mixing stage. It saves the producers a ton of money, since they can mix a reel in less than a day, where they used to spend several days on a reel for a feature film. Your comment about pairing up mixers is interesting. In the MIDI room that I used to have at my studio, we had two Mackie 1604 mixers for all the MIDI hardware modules. At Stax in Memphis in the very early days, they used to gang Shure mixers to get enough inputs. Jay

@jimeagleonsteroids2902 I know exactly what you mean. Having that kind of connection with something you're creating is important. As much as I wanted to, I myself do not do this for a living. And I envy people that do.

Jim: Yes, I have to admit it was a fun career.

Thanks for the feedback. I was familiar with the Euphonics after seeing it at AES shows, but I wasn't aware of AMS Neve hybrids. I'll check them out.