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@@p.ardens954 I'd mix (and I have) anything, but with time based effects (verbs, delays) I always ask the client to simply send me the dry track, the effect 100% and a combo dry+fx as they have it in the mix. This way I can either use their efx or recreate them and make them better suited to fit the mix. With that said, I have mixed many genres with printed efx, from rock to edm to rap, as long as the client understand that I will have my hands tied to some extent, it's not a big deal.
@@p.ardens954 dub is usually sent either effected or dry and wet. Metal vary, some record amps, some just monitor thru it, in any case, almost everyone sends DI so it's never a problem in any case
David, Welcome to the Cult of Console 1! It took you long enough, but better late than never. Great first review! Doing the console comparisons like that I think is the right way to think about what Console 1 is. (I like to first do all of the organizing, mix prep, gain staging, bus routing, and then balance all the tracks just with levels and pans. Let the naked tracks reveal themselves and find their natural resting place. Static Mix. At this point a ton of flaws will be exposed and with Clip Gain, and “clean” Filters and subtractive EQ, carve and scalpel away anything that’s sticking out, or getting lost, or conflicting, or just not contributing to the cause, all without changing the character of what’s already there. Deep Cleaning. Now it’s time to choose a primary Console. Either just on the master bus, or Group selecting every channel and Console 1 plug-in, switch between console emulations with the Drives cranked pretty high, enough to really hear the Mix as if it were running through each desk and taking on it’s overall Color. This, (and/or Tape machine emulation, and/or HEAT in ProTools or CTC-1 in Studio One) is the first color added to the tracks and overall Raw Static Mix. Bypass, engage, adjust the Drive and Character, bypass, back and forth, until I’m confident that this is the right baseline choice for this material. Scrutinize, listen, feel, but it’ll be pretty clear pretty quickly which way the track wants to go. Console Auditioning. At this point, you’ll have a solid idea in your mind of what this thing is, and what you wanna do to it. But before you start inserting all your plugins and reaching for the hardware in your rack, you have a couple of simple yet powerful tools to dial in first: 1) Ungroup the Console 1 plug-Ins, put your hands on the steering wheel, and go through track by track and adjust Only the Drive and Character of each instrument, as well as the Input and Output level controls to balance back out. You, like everyone before you, will be amazed at how far along in your mix, adding this one new step takes you. The Drive & Character pass. 2) Use Console 1, and your DAW, like you would use a world class Large Format Console (LFC) in a multi-million dollar Analog Recording Studio. Back in the day, you had a Multitrack Tape Machine, feeding a Console, feeding a 2-Track Tape Machine. All of the I/O was routed through Patchbays, which were also attached to Racks of let’s say “Additional Equipment”. Even the most expensive Studio in the world, with whole walls dedicated to rack gear, had a finite limit. If the had 6 LA-2As or 1176s, they didn’t have 16 or 32. And I doubt any studio had as many EQs in the Rack, as they did on the Desk. Every Channel Strip, almost by definition, has at least an EQ, almost always a Microphone Preamp, and part of what led Solid State Logic to world domination, is the inclusion of unprecedented routing, comprehensive EQ, and Dynamics processing on every single channel. So with Bob Clearmountain and Chris Lord Alge on a 4000E, or Bob Power and Michael Brauer on a 9000J, Yoad Nevo and Andrew Scheps on a Neve, they are using the Console as their primary Instrument. And every Mix becomes its own musical Performance. Now each of these, internet age legendary mixers, as well as the countless other mix engineers not in the spotlight, also have plenty of gear in their racks. But I think, by the way studios are constructed, that many if not most Analog Engineers think of what’s on the desk as the main ingredients, and what’s in the (spice) racks as additional seasoning. Michael White said a couple weeks ago, that he was Whitney Houston’s head engineer when she had a 9000J installed, for $750,000. Why wouldn’t you use it? We are a few decades into the process of recreating in digital code what was once only available in rare expensive analog circuitry. As a testament to how far we’ve gone, many of these old guys above have given up their analog and switched to working in the box, famously Andrew Scheps ditched his museum worth gear in LA and moved to England with a laptop. Last summer I cried for weeks when Michael Brauer sold off his lifetimes accumulation of compressors. It felt like Samson getting a buzz cut. So, especially now that Gearsluts is finally no more, let’s declare the moronic debate over whether “plugins” are fake and only analog is “real”, to be dead once and for all. At some point we reached a threshold where more hit records were mixed and processed with code than with circuitry. Whenever it was, it’s in the rear view now. And since now there are now tens if not hundreds of plug-in makers, and seemingly every piece of rack gear has already been modeled, some ‘studio classics’ with over a dozen versions to choose from, modeling console channel strips, and entire consoles, as well as tape machines, seems an obvious evolution. But I digress. Console 1 for me, unlocked the ability to Work like I would in the studio of my Analog Dreams. Except instead or rolling my chair 10-feet to the left, then 10-feet to the right, as many tracks as I want, in banks of 20, come to me. Never leaving the sweet spot. Therefore, after choosing a Console, the next phase of the process is Mixing, on the Console. Without commissioning a 9000J for three-quarters of a million dollars, I now have an SSL, as authorized by Solid State Logic, specifically Chris Jenkins himself, at my fingertips. The point I’m trying to make here is that it ain’t just another plug-in. It’s a mixing system that emulates not just the sound, but the workflows of some of the greatest studios of all time. The Console, the Desk, the Board has most of what you need for a mix, On-Board! To overstate the point: think of those folders full of Plugins you’ve been accumulating for years, and those racks full of Analog Gear you have hardware-inserted in and ready to go, think of them all collectively, software or hardware, as Out-Board processors. First you mix with your On-Board, then you patch-in your Out-Board. That said, even if you had a LFC, as all of the dudes above would tell you, you’ll wanna use certain Out-Board gear the same way almost every time. Famously CLA uses a particular 1176 “Bluey” on every lead vocal, Scheps uses the “Rear Bus” on his Neve for his distinct cocktail of parallel processing, Michael Brauer’s routing all of his SSL’s Send/Returns, and all of his Busses to his massive arsenal of Out-Board compressors, with ‘fixed’ settings, is so legendary it’s called “Brauerizing”. In the Analog world, this is called “Normalling”. This piece of gear, normals into, this piece of gear by default (how you wired your patchbays), unless I break the normal and do something else. In the Box we do the same but call it a “Mix Template”. You power up all the gear, or load up the template, and everything is already routed and ready to go, customized to your specs and preferences. In today’s Hybrid Studio we do both, designing your own particular workflow, and more importantly defining Your Sound. If you’re normalling Out-Board gear into your Console, you’re essentially hardwiring more circuitry into various signal paths, as if you soldered in more circuit boards to the board, expanding and altering it’s behavior from what the manufacturer delivered. I think of it as “Modding” the desk, it’s no longer An SSL, it’s Your SSL. Solid State Logic is almost synonymous with the concept of ‘mixing into’ Master Bus Compression to “Glue” a mix together. They stuck a Stereo Bus Compressor in the middle of the board, across the 2-Bus, and the rest is history. A million Gearsluts posts and TH-cam videos later, and Not slapping a G-Comp plug-in across your DAW’s Master Bus is almost home studio blasphemy. But many engineers sitting in front of SSLs bypassed the G-Comp and instead inserted Neve 33609s, or Focusrite Reds, API 2500s, Fairchild 670s, even LA2As and Distressor, because the SSL has a particular “grabby” nature to it, that might be better on the Drum Bus, but too aggro for the whole mix. “Whoa, now you’re soldering Neve circuits into a Solid State Logic! Ain’t that like putting Apple parts in a PC? Ford parts in a Tesla?” No. And Yes. So workflow wise, Cleaning up the tracks, then Choosing a Console, then using the console’s D&C to shape the tracks up, then working out Bus Processing (not just on the Master, all busses), after that using the console’s On-Board processing, and then finally reaching for “special” Hardware Inserts and Plug-Ins to accentuate and add-to each instrument with it’s own special spices to taste.
wow this sums up all the years of internet research I've spent regarding mixing. When you write a mixing manifesto let me know. I'll be the first one to buy it.
Thanks for this great explanation. The only thing I didn't get quite right... how would you go about in point 2? would you put a multitrack tape emu as first insert on each track, then console 1 plugin on each track, then a 2-track tape machine on the mixbus?
@@luckyknot Well there is no "right" answer. And if it sounds good, it is good. Etc, etc. But essentially Yes, if you were emulating an Analog Multitrack studio workflow, and you were mixing from pre recorded Multitracks, then yes a Tape Machine Emulation (say UAD Studer A800) on All of the Multitrack Audio tracks would be the most authentic. Then through a Console Emulation on every track. Then a 2-Track Tape Machine Emulation (UAD ATR-102) on the Master Bus after the Bus Processing. That said, you don't Need to recreate the Analog studio exactly. I see people trying to be as Authentic as possible and scrutinizing over which emulations are Exactly the same as their Analog counterparts, and missing the point that it's about what's best for the song. The audience will never know what we used to create what they hear, so joining an Analog Cult doesn't make any sense to me. Use it if it's working, and if not do something else. There was a period in the transition from Analog to Digital that the latter felt flat and lifeless and too edgy. But there's TONS of tools now to combat any of that, tons of different workflows that are all "legitimate". I would add to the above discussion that I also personally really like Harrison Mixbus 32C for the same Console Workflow. And that a few months ago SSL released thier UC1 controller that is very similar to Console 1, but not the same and not at all an either/or like people keep trying to make them on TH-cam. If you can, get Both! What SSL did with the controller release is also upgreade both thier Channel Strip Plugin and thier Bus Compressor Plugin. The new ones sound Amazing. But what many people missed is that they also included the new SSL 360 software ecosystem. Its a separate application that ties the Hardware Controller to the Plugins, but what it does that Console 1 does not, is turn your monitor into a virtual SSL Console allowing you to SEE all of your channel strips and thier settings side by side like standing over a real desk. It gives you the Global view of your mix that we lost going into the box. Check that out too. (And you don't need the hardware to use the SSL Native Plugins together with SSL 360 either.)
@@G_handle thanks for the great insight! actually you read my mind and I'm watching reviews for both Console 1 and UC1 with 360 which I think is great too and that both devices would make a sweet combo to mix out of the box. I do agree that it's about making things sound great regardless of the process. I was asking just to understand the process, to think about the whys and for what purpose, but I'm not scared at all to try out/change things along the way ;) Thanks again for sharing your great knowledge!
Continued.... Obviously there’s a million things left out of this now epic TH-cam comment. But the takeaway is that, the Console 1 system really does let you rearrange your workflow, away from slapping plugins everywhere, no matter how incredible in isolation. Even with your G-Comp firmly placed on the Master Bus, all that haphazard flailing around ain’t gonna get glued back together when it crosses that threshold. I argue, that part of what makes multiple tracks glue together in an analog mix, isn’t just the Comp at the end, but that All the tracks shared a Tape Machine together picking up its flavor, then they each travelled through identical channels on a Console and even with no processing engaged, every desk has and adds its own color to every signal, after that when each track was processed, individually and in context of each other, it was done so by duplicate sets of the exact same controls and circuits leaving their characteristic imprint, and finally again even without any processing, the Summing happened at a common bus amp, or multiple Group Busses before the Master Bus, that each has a particular design and trademark ‘Sound’. Add processing to those busses, and everything routed to that buss gets processed in common, or Glued together in that circuit or code. Then that Master Bus gets printed to a 2-track Tape Machine as a final act of galvanization, before the mastering engineer gets his paws on the mix. Are the Console 1 emulations the best channel strip models ever made into binary? Do they sound identical to the “real thing”? Don’t know and don’t care. They put at my fingertips, in my room, an emulation that not only sounds good enough to get the endorsement from the Console Companies Themselves, but unprecedented hands-on control over the Mixer in my DAW, and the ability to CHOOSE which six-figure masterpiece I just feel like using today, not only without the price tag, but without even the electric bill to run it, or the dedicated air conditioning system needed to keep it cool. So, David, again I ask.... What the hell took you so long. (Love letter complete.) G.
Softube console really the best thing ever sound price and quality with just one work you return your investiment ....softube its one of my basic gear 4 year with them i cant think work without them
Good review David! One thing on the American Class A though: it's not the drive that should be at 10 to be matched to the hardware, it's the character knob. All the way to the right is full-bandwidth distortion like a brand new API, on the left it's like an older, worn-out console. At least according to the manual.
I just ordered the MK3 about 15 minutes ago. And will be ordering the SSL 9000k after I finish this video and bowl of popcorn. Your videos are always great!
I have been using this primarily on every mix for a year now. I love it. I love the fact that it really helps me with just using my ears . but I am old and that is how we used to do it
I loved this video. As someone who is new to in the box recording I was out of the game for some time but I came up in the analog age and the tools that are coming out now gives an engineer so many choices on workflow. Thank you so much for sharing.
well after watching this video i had to get it. i got a great deal on a demp unit but i missed the sale when they had all the channel strips marked way down. but im sure another sale is coming. but you werent kidding when you said this is the only set up you need and this renders lots of plugins not needed.....now if i could just get my money back for them lol
Softtube has done it again. I love their reverbs too! But i don't know if i'm more impressed with the console 1 or the way this was not only all PERFECTLY recorded but what a remarkable mix as well. I'm SOLD now. Definitely adding this to my Wish List and its most definitely getting purchased. BTW that hip hop beat in the beginning was a banger!! 🔥🤑
I have had console 1 for about a year now and absolutely love it , however I have found it best to use it last in the chain . I open it on every channel in the bottom slot as I find it reacts closer to an analog board with the insert before console 1 . It really does sound great
Fantastic demonstration and I learned some new things even after a long time researching this piece. I had a couple questions for your opinion (or anyone else's too). 1) I had been wanting this plus the Fader to help me get out of the box more and do my mixing with my hands. Judging by the way you use C1 in the video, and by how it has no LED scribble strips on the hardware, it looks more like a plugin with a plugin controller, where you're still mostly in an "in the box mindset." Is this about right? 2) Can you easily map third party plugins to it? I use Reaper and wanted to use my Plugin Alliance channel strips with it because I love them and am used to them.
I don't have the fader so I can't comment on that, but the C1 IS a controller for the plugins, I think you want the fader according to what you're describing. For me, it's all or nothing, I don't do good with banks so I either have at least 32 or 1 for automations, that's just me tho. As far as I know you cannot map 3rd party plugins other than UAD.
@@mixbustv Thanks so much. That makes perfect sense to me, because I have felt caught in between while deciding about whether to try it with fader banks or stick to the mouse as well. Also Didn't realize it couldn't map to 3rd party plugins. I'll do some more research and thinking on it.
if you don't mind assigning physical faders to plugin knobs, the faderport16 does a terrific job. When you change to plugin mode and select a plugin you can use all 16 faders (with page button for unlimited assignments), plus all faders have a lcd screen on top to read each assigned knob label easily, and they are motorized so positions are recallled when you switch between plugins. Love it!
I really liked your video and something quite interesting in the audio mixing and editing section to have this console to make everything more practical and effective. I really liked the emulations a lot. I've been watching your channel for some time and I really like your content. Greetings from the Equator of America and right now I subscribe and I leave you a huge like on your videos.
I have Console 1 and fader 1, I also have Presonus Faderport 16, Apollo UA X4 and Studio One 5 Professional... they all work together and all three companies have worked together for a tight integration... I can control nearly everything without a mouse.
Hey David, brand new thing... there exists a general plugin controller for no matter what plugin or manufacturer, its called the MP Midi Controller. Still not available as far as I can see, but you can controll absolutely every plugin with it.
Hi David! Very impressive as always! May I ask what white polygon diffusers you have on your wall (right next to your door)? If you could give me a name or a link... that would be very nice... THX in advance! Greets from Germany, Daniel
Do you feel Console 1 speeds up workflow or makes mixing more enjoyable even if you're using a lot of outboard eqs and comps etc.? I've never used it, but I'm not seeing how it would be much of a time saver or enjoyment booster if you're using a hybrid setup with a lot of outboard inserts.
It does, so much, at least for me. It's because I have a lot of outboard that it doesn't break the flow and I have tactile feeling even with plugins. Plus, it cut down my plug-in list so much
@@mixbustv Yeah, there's something to be said for having limited choices and learning to work with what you have. In the old days, they had a console and some outboard, but didn't have 32 different delays or compressors to choose from. Thanks for the info.
Hi .... but a question if you allow: Console 1 is just a controller that only controls the parameters of dedicated plugs or it's also a hardware where the plugs rest without weighing on the computer CPU (such as the Universal Audio UAD platform )? Thanks and sorry for this question but this aspect is still not perfectly clear to me!
been using this or a while now and its excellent. I will check if they fixed the problem where you try cut lets say 10k but in actuality it cuts around 8k. This is annoying where engineers regularly train their ears for certain frequencies. On my rig there are hardly any presets for the BCA, but I'll build my own set, presets do save time as they serve as a starting point which can then be tweaked. Thank you for this. It has been a game changer for me particularly for recall and large track counts. If you get a chance please test for any EQ frequency Cut/Boost discrepancies. Great work
@@mixbustv yeah I guess so, if that's the case, Softube really went to town on the analogue modelling. One of them is correct, either the frequency graph or the number display for frequencies. Keep up the good work
@@RadiAsian they are indeed great at analog modeling, some of their stuff it's simply unbeatable atm, but it is common for plugins to model those kind of imperfections, i'm almost sure the waves ssl does the same, cause literally every console is slightly off in a different way.
@@mixbustv you are right dude, would be nice if they could incorporate a setting in the software to switch between Hz to Hz frequency matching. Those people who like it as it is can leave it that way. UAD's Neve 88RS channel strip is pretty accurate. 2k= pretty much 2k. Brainworx SSL 4000E is more accurate than the Softube depending on which EQ type you select. The Softubes 4k is perfect provided you look at the EQ frequency display and not the numbers on the GUI. I need to test my old Midas Venice 240 Eqs by running pink noise through them and see. Then again I should just tweak until it sounds good to my ear and forget about the numbers. Top man.
Hello David. I see you have a Behringer X-Touch One. Does it work well with the Control 1? Can you use the X-Touch to access the channels on the Control 1?
The Chandler was nice! Very dirty. Do you have to have the hardware to use this? I wonder how they compare to uad I own uad so I'd love to compare the two.
Yes you have to have the hardware, as I mentioned, you have the THD on the Zener but it's not the same. The only standalone is the American, that you can get without the hw, but the hardware will change your game.
@@mixbustv I have a console on a rack a bunch of appolo units next to my gear already. Screw it if I can get a plugin channel strip that's that modern looking but sounds so vintage and flexible than fine. Its still cheaper than my apollo x8p XD
@@IntheDAW Let me just interject: You’re going the wrong way! It’s not UAD vs Console 1, it’s UAD is incomplete until you get Console 1. I bought Console 1 when it first came out, an SSL4000 for $1000 back then was Insane value on its own back then. Then they released the 9000K for only $500 more, Crazy! My first unit is a Mark 1 made in Europe by Softube themselves. Then at NAMM, maybe 2015 or 2016, they announced that A) they were making a Mark 2, which is made in China but virtually identical, B) that allowed them to cut the price in HALF to only $500 bucks, and C) they were partnering up with Universal Audio, so UAD users could swap out EQs or Comps with DOZENS of UA plugins you already own and love, but now with HANDS ON CONTROL. The Softube/Universal Audio relationship got even More Game Changer with the announcement of Apollo Central. So the point of Console 1 is, put it on all your tracks, and fly through a Mix like you’re on a hardware console. It’s built for Mixing. Well if you use UAD, then you’re familiar with UAD Console, it’s their driver app, but setup like a mixer outside of your DAW mixer. I call those Sidecar Mixers. Now, just by shift clicking one button on the C1 controller, it puts it into Apollo Central mode, and the Hardware is now controlling almost all aspects of UAD Console! I’ve written this all out numerous times before, if I can find an old comment I’ll link it here, but let me say a couple of things: 1) When you switch back and forth between Console 1 and Apollo Central modes, A) it’s seamless and B) it feels like Universal Audio built this hardware for UAD Console themselves. Everything is mapped to knobs and buttons beautiful, and you quickly develop muscle memory the same as you do in C1 mode. 2) Back in the day, the dream was to “Track on a Neve, Mix on an SSL”. Well Console 1 turns your DAW’s mixer into an SSL, 4000E, 9000K take your pick. With UAD Console, and say an Apollo Twin on your desk next to the Console 1 hardware and an Apollo x8P in the rack, then say you load UA 1073 plug-ins across all 10 real-time track-through Unison Mic Preamp slots, then you’ve built yourself a Neve BCM-10, the Ultimate Sidecar! 3) Having hardware control over both the DAW Mixer (not in Pro Tools, try Studio One or Reaper), and over the Sidechain Mixer, actually makes In-The-Box life worth living. Not only do you Sonically get hands on control over what your Ears are hearing, both on the “front-end” and “in-the-mix”, but you also get back a lot of the utilitarian hands on Session control that just isn’t the same with a mouse. Setting up custom perfect Artist Mixes for example. 4) Console 1 is all about Workflow. Once you invest into the ecosystem, especially if you’ve already invested in UAD, and you take the time to really learn it, and think-through or even re-think your current workflow, there will be a learning curve, but I highly doubt you’ll ever go back to the mouse and clicking one function at a time.
@@G_handle dude you just sold me on it. I'm gonna buy one now. my original thinking was this with my uad as adding new colors but if its so tightly integrated. I should just buy it and combine them
@@IntheDAW A) I suspect you're only regret will be not getting it years ago. However... B) I suggest you either get it from somewhere that you can return it, in case it doesn't work for you. A lot of people do seem to return them, especially ProTools users,, and most claim they are "faster with a mouse". I call bullshit, my guess is, like most bedroom "producers" they didn't spend the time wrapping their heads around it. It is a big enough purchase though that if it didn't work for you, you might want a return option. Or... C) If you're sold, and you should be, look on Reverb. They come up all the time, often for hundreds off, and often including additional Consoles. They're built like tanks, someone would have to work hard to destroy it. Remember, the hardware is "just" a usb midi controller, replacing your keyboard and mouse. I have one from the first batch that's still working flawlessly. If you do get it used though, make damn sure they're gonna transfer the iLok license. Softube considers this Software with a hardware accessory. They will Not give you the software just because you have the hardware. D) When you get it, hit me back I'll show you some tricks. But... E) Take the learning curve seriously. Not that its difficult, but the more time and thought you invest into it, the more you will get back from it.
zener emu seems to thin a bit more, class A american harmonicxs for sure, ya transient designers very useful, didn't realize there were so many added console options for that device until watching this video.
Have you ever done reviews on amp sims? Ive found great amp sims thanks to other youtubers like redcurrent, emissary, cypress tt-15, etc. Maybe u could expand to pedal simulator vsts also. Any thanks for your vids David
Actually its the opposite...Softube would needs to implement MCU standard (MIDI).. but they won't. But same as you i got me a 1 Fader thing with transport control... Sound wise this is far more flexible than any of the other solutions, including the SSL
Mines been so glitchy I uninstalled the software. When I first got it, the softtube central program wouldn't (and I think still doesn't) install anything properly and I have to manually do it for everything. It's a very nice midi controller though and the vsts sound great. Good cpu overhead without using the companion plugin. I also had an encoder break just a year after getting it. Luckily it was as simple to fix as just re-soldering the encoder. After opening it up, I doubt that this is a common issue as the device seems to be high quality and made to last. Maybe I dropped it and forgot idk.
No, but I don't think I will, this is not really something you can get across youtube. But I have a video coming talking about 120V tech with Joe Vezzetti
@@mixbustv Please cover what others have been mentioning about the knobs. I have a Manley MP coming in 2 weeks, and I've been tempted for a PQ, but haven't got one because what other reviews mentioned about the knobs
@@mixbustv On GZ people commented they are a little fiddly, but overall the EQ has superb sound. One TH-camr, who did a review here, also made the same observation.
@@bonafontciel I'm not sure what they mean by fiddly, knobs are pretty firm but of course they have a gazillion dents, that's the nature of an eq this precise, but unless you ordered the MP mastering, you should worry about those knobs a LOT more than any other eq, you sneeze and they move
if anything it would be the other way around, C1 is arguably one of the most successful advancements in digital mixing. Also, there's basically nothing out there that "doesn't stand a chance", not even some hardware vs their plugin counterpart.
Not useless at all, but it depends on your workflow, personally with faders I'm either all of them, or one (for automation) I don't do well with in between as in scrolling thru banks
David! Any more news on this big announcement from softube you teased awhile back? Was it the fact that they finally fixed their crappy software :D no hate, i love my console 1 but was hoping for something big :D
@@mixbustv right on :) everything has been top notch especially with the new update center and stuff, i was really hoping we were gonna hear about some sort of @pluginalliance team up but ya can't have it all!
ok completely stupid question here. i love softube customer service. they sent me a 3 day deal to get the emerical pak at a great price.....i cant figure out how to change modules .....i feel like an idiot for asking but how the hell do u do it
@@ShaunNater software is not compatible yet. It will not work with big sur and m1 yet. I would wait until they announce compatibility. I have a PC and use it there while they provide an update.
Just ran into this and I'm now officially in a conundrum! Ok so I was planning on buying my first 2 analog eqs because I feel like the gear will sound better then a plugin and plus I can work faster eqing. But now I saw this controller and plugin, and now I'm like damn, maybe this will be a better option. What might you suggest David? My interface is the RME UCX II and was just planning on buying 2 ssl e series eqs. Thanks!
2 SSL eq's alone won't make much difference in your mixes, especially because they were never intended as 2bus/mix eq's, SSL eq's are channel eqs and those were on boards with at least 32 of them minimum, that's their purpose, workhorse channels eqs, with only 2, you won't do much, now a 2bus eq? That'd be different, but only if you're planning on expanding, analog is an expensive game. On the other hand, C1 is the best bang for the buck there is, period. Is an amazing system and it sounds great, I have 40 channels of analog, and I still use it
Do you typically use it as the first plugin in the chain? And put hardware and other plugins after it (If needed ofcourse)? Or do you also use it somewhere later in the chain after hardware or whatever? I’m asking coz it also supports the valley people plugins and the tube tech emulations. I often use those later in the chain and find myself mixed up coz I already have the 4000 in the first slot Edit: awesome vid by the way, would Love to see more of it used together with other stuff
mate thanks for your videos.. have to say the intro and outro are super loud and annoying, maybe level that, it looks like a TV ad coming in super loud.
@@mixbustv i understand, but its been many times i saw your video, this song is there and i already have a Pavlov tic with the loudness of that moment. Specially at the end of the video.
Did you consider Console 1 Fader? It has an interesting workflow. Also, I'm surprise you don't have the Console 1 right above your qwerty keyboard? looks like you have room. Anyway, thanks for the video.
I don't have space and with faders, I either have all of them or one (x touch next to me). I would have space in front but it makes reading my SPL harder
Too many muscles per pixel. I just can't allow myself feel any more beta than I already do haha Also, I make electronic music in surround, so this channel is not for me anyway.
Sold mine after year of daily use in studio. Very buggy with Reaper and Studio One and slows my mixing. Nothing can replace Q 3 for fast EQ and other channel strips from anyone for everything else.
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GET SOFTUBE CONSOLE1: imp.i114863.net/b3bWbB
GET CONSOLE 1 PLUGINS: bit.ly/3fs6sy7
@@p.ardens954 I'd mix (and I have) anything, but with time based effects (verbs, delays) I always ask the client to simply send me the dry track, the effect 100% and a combo dry+fx as they have it in the mix. This way I can either use their efx or recreate them and make them better suited to fit the mix.
With that said, I have mixed many genres with printed efx, from rock to edm to rap, as long as the client understand that I will have my hands tied to some extent, it's not a big deal.
@@p.ardens954 that's easy, you send it as is, period. That's producer job, if the producer likes that sound(s) I'm gonna mix that sound
@@p.ardens954 dub is usually sent either effected or dry and wet. Metal vary, some record amps, some just monitor thru it, in any case, almost everyone sends DI so it's never a problem in any case
I'm a huge fan of the C1, love it. Keep telling people about it!
David, Welcome to the Cult of Console 1!
It took you long enough, but better late than never.
Great first review!
Doing the console comparisons like that I think is the right way to think about what Console 1 is.
(I like to first do all of the organizing, mix prep, gain staging, bus routing, and then balance all the tracks just with levels and pans. Let the naked tracks reveal themselves and find their natural resting place. Static Mix.
At this point a ton of flaws will be exposed and with Clip Gain, and “clean” Filters and subtractive EQ, carve and scalpel away anything that’s sticking out, or getting lost, or conflicting, or just not contributing to the cause, all without changing the character of what’s already there. Deep Cleaning.
Now it’s time to choose a primary Console. Either just on the master bus, or Group selecting every channel and Console 1 plug-in, switch between console emulations with the Drives cranked pretty high, enough to really hear the Mix as if it were running through each desk and taking on it’s overall Color. This, (and/or Tape machine emulation, and/or HEAT in ProTools or CTC-1 in Studio One) is the first color added to the tracks and overall Raw Static Mix. Bypass, engage, adjust the Drive and Character, bypass, back and forth, until I’m confident that this is the right baseline choice for this material. Scrutinize, listen, feel, but it’ll be pretty clear pretty quickly which way the track wants to go. Console Auditioning.
At this point, you’ll have a solid idea in your mind of what this thing is, and what you wanna do to it. But before you start inserting all your plugins and reaching for the hardware in your rack, you have a couple of simple yet powerful tools to dial in first:
1) Ungroup the Console 1 plug-Ins, put your hands on the steering wheel, and go through track by track and adjust Only the Drive and Character of each instrument, as well as the Input and Output level controls to balance back out. You, like everyone before you, will be amazed at how far along in your mix, adding this one new step takes you. The Drive & Character pass.
2) Use Console 1, and your DAW, like you would use a world class Large Format Console (LFC) in a multi-million dollar Analog Recording Studio. Back in the day, you had a Multitrack Tape Machine, feeding a Console, feeding a 2-Track Tape Machine. All of the I/O was routed through Patchbays, which were also attached to Racks of let’s say “Additional Equipment”.
Even the most expensive Studio in the world, with whole walls dedicated to rack gear, had a finite limit. If the had 6 LA-2As or 1176s, they didn’t have 16 or 32. And I doubt any studio had as many EQs in the Rack, as they did on the Desk. Every Channel Strip, almost by definition, has at least an EQ, almost always a Microphone Preamp, and part of what led Solid State Logic to world domination, is the inclusion of unprecedented routing, comprehensive EQ, and Dynamics processing on every single channel.
So with Bob Clearmountain and Chris Lord Alge on a 4000E, or Bob Power and Michael Brauer on a 9000J, Yoad Nevo and Andrew Scheps on a Neve, they are using the Console as their primary Instrument. And every Mix becomes its own musical Performance.
Now each of these, internet age legendary mixers, as well as the countless other mix engineers not in the spotlight, also have plenty of gear in their racks. But I think, by the way studios are constructed, that many if not most Analog Engineers think of what’s on the desk as the main ingredients, and what’s in the (spice) racks as additional seasoning. Michael White said a couple weeks ago, that he was Whitney Houston’s head engineer when she had a 9000J installed, for $750,000. Why wouldn’t you use it?
We are a few decades into the process of recreating in digital code what was once only available in rare expensive analog circuitry. As a testament to how far we’ve gone, many of these old guys above have given up their analog and switched to working in the box, famously Andrew Scheps ditched his museum worth gear in LA and moved to England with a laptop. Last summer I cried for weeks when Michael Brauer sold off his lifetimes accumulation of compressors. It felt like Samson getting a buzz cut.
So, especially now that Gearsluts is finally no more, let’s declare the moronic debate over whether “plugins” are fake and only analog is “real”, to be dead once and for all. At some point we reached a threshold where more hit records were mixed and processed with code than with circuitry. Whenever it was, it’s in the rear view now. And since now there are now tens if not hundreds of plug-in makers, and seemingly every piece of rack gear has already been modeled, some ‘studio classics’ with over a dozen versions to choose from, modeling console channel strips, and entire consoles, as well as tape machines, seems an obvious evolution.
But I digress.
Console 1 for me, unlocked the ability to Work like I would in the studio of my Analog Dreams. Except instead or rolling my chair 10-feet to the left, then 10-feet to the right, as many tracks as I want, in banks of 20, come to me. Never leaving the sweet spot.
Therefore, after choosing a Console, the next phase of the process is Mixing, on the Console. Without commissioning a 9000J for three-quarters of a million dollars, I now have an SSL, as authorized by Solid State Logic, specifically Chris Jenkins himself, at my fingertips. The point I’m trying to make here is that it ain’t just another plug-in. It’s a mixing system that emulates not just the sound, but the workflows of some of the greatest studios of all time. The Console, the Desk, the Board has most of what you need for a mix, On-Board!
To overstate the point: think of those folders full of Plugins you’ve been accumulating for years, and those racks full of Analog Gear you have hardware-inserted in and ready to go, think of them all collectively, software or hardware, as Out-Board processors.
First you mix with your On-Board, then you patch-in your Out-Board.
That said, even if you had a LFC, as all of the dudes above would tell you, you’ll wanna use certain Out-Board gear the same way almost every time. Famously CLA uses a particular 1176 “Bluey” on every lead vocal, Scheps uses the “Rear Bus” on his Neve for his distinct cocktail of parallel processing, Michael Brauer’s routing all of his SSL’s Send/Returns, and all of his Busses to his massive arsenal of Out-Board compressors, with ‘fixed’ settings, is so legendary it’s called “Brauerizing”.
In the Analog world, this is called “Normalling”. This piece of gear, normals into, this piece of gear by default (how you wired your patchbays), unless I break the normal and do something else. In the Box we do the same but call it a “Mix Template”. You power up all the gear, or load up the template, and everything is already routed and ready to go, customized to your specs and preferences. In today’s Hybrid Studio we do both, designing your own particular workflow, and more importantly defining Your Sound.
If you’re normalling Out-Board gear into your Console, you’re essentially hardwiring more circuitry into various signal paths, as if you soldered in more circuit boards to the board, expanding and altering it’s behavior from what the manufacturer delivered. I think of it as “Modding” the desk, it’s no longer An SSL, it’s Your SSL.
Solid State Logic is almost synonymous with the concept of ‘mixing into’ Master Bus Compression to “Glue” a mix together. They stuck a Stereo Bus Compressor in the middle of the board, across the 2-Bus, and the rest is history. A million Gearsluts posts and TH-cam videos later, and Not slapping a G-Comp plug-in across your DAW’s Master Bus is almost home studio blasphemy. But many engineers sitting in front of SSLs bypassed the G-Comp and instead inserted Neve 33609s, or Focusrite Reds, API 2500s, Fairchild 670s, even LA2As and Distressor, because the SSL has a particular “grabby” nature to it, that might be better on the Drum Bus, but too aggro for the whole mix. “Whoa, now you’re soldering Neve circuits into a Solid State Logic! Ain’t that like putting Apple parts in a PC? Ford parts in a Tesla?” No. And Yes.
So workflow wise, Cleaning up the tracks, then Choosing a Console, then using the console’s D&C to shape the tracks up, then working out Bus Processing (not just on the Master, all busses), after that using the console’s On-Board processing, and then finally reaching for “special” Hardware Inserts and Plug-Ins to accentuate and add-to each instrument with it’s own special spices to taste.
wow, that was informative, thank you
wow this sums up all the years of internet research I've spent regarding mixing. When you write a mixing manifesto let me know. I'll be the first one to buy it.
Thanks for this great explanation. The only thing I didn't get quite right... how would you go about in point 2? would you put a multitrack tape emu as first insert on each track, then console 1 plugin on each track, then a 2-track tape machine on the mixbus?
@@luckyknot Well there is no "right" answer. And if it sounds good, it is good. Etc, etc.
But essentially Yes, if you were emulating an Analog Multitrack studio workflow, and you were mixing from pre recorded Multitracks, then yes a Tape Machine Emulation (say UAD Studer A800) on All of the Multitrack Audio tracks would be the most authentic.
Then through a Console Emulation on every track.
Then a 2-Track Tape Machine Emulation (UAD ATR-102) on the Master Bus after the Bus Processing.
That said, you don't Need to recreate the Analog studio exactly. I see people trying to be as Authentic as possible and scrutinizing over which emulations are Exactly the same as their Analog counterparts, and missing the point that it's about what's best for the song. The audience will never know what we used to create what they hear, so joining an Analog Cult doesn't make any sense to me. Use it if it's working, and if not do something else.
There was a period in the transition from Analog to Digital that the latter felt flat and lifeless and too edgy. But there's TONS of tools now to combat any of that, tons of different workflows that are all "legitimate".
I would add to the above discussion that I also personally really like Harrison Mixbus 32C for the same Console Workflow. And that a few months ago SSL released thier UC1 controller that is very similar to Console 1, but not the same and not at all an either/or like people keep trying to make them on TH-cam. If you can, get Both!
What SSL did with the controller release is also upgreade both thier Channel Strip Plugin and thier Bus Compressor Plugin. The new ones sound Amazing.
But what many people missed is that they also included the new SSL 360 software ecosystem. Its a separate application that ties the Hardware Controller to the Plugins, but what it does that Console 1 does not, is turn your monitor into a virtual SSL Console allowing you to SEE all of your channel strips and thier settings side by side like standing over a real desk. It gives you the Global view of your mix that we lost going into the box.
Check that out too.
(And you don't need the hardware to use the SSL Native Plugins together with SSL 360 either.)
@@G_handle thanks for the great insight! actually you read my mind and I'm watching reviews for both Console 1 and UC1 with 360 which I think is great too and that both devices would make a sweet combo to mix out of the box. I do agree that it's about making things sound great regardless of the process. I was asking just to understand the process, to think about the whys and for what purpose, but I'm not scared at all to try out/change things along the way ;) Thanks again for sharing your great knowledge!
Continued....
Obviously there’s a million things left out of this now epic TH-cam comment.
But the takeaway is that, the Console 1 system really does let you rearrange your workflow, away from slapping plugins everywhere, no matter how incredible in isolation. Even with your G-Comp firmly placed on the Master Bus, all that haphazard flailing around ain’t gonna get glued back together when it crosses that threshold.
I argue, that part of what makes multiple tracks glue together in an analog mix, isn’t just the Comp at the end, but that All the tracks shared a Tape Machine together picking up its flavor, then they each travelled through identical channels on a Console and even with no processing engaged, every desk has and adds its own color to every signal, after that when each track was processed, individually and in context of each other, it was done so by duplicate sets of the exact same controls and circuits leaving their characteristic imprint, and finally again even without any processing, the Summing happened at a common bus amp, or multiple Group Busses before the Master Bus, that each has a particular design and trademark ‘Sound’. Add processing to those busses, and everything routed to that buss gets processed in common, or Glued together in that circuit or code. Then that Master Bus gets printed to a 2-track Tape Machine as a final act of galvanization, before the mastering engineer gets his paws on the mix.
Are the Console 1 emulations the best channel strip models ever made into binary?
Do they sound identical to the “real thing”?
Don’t know and don’t care.
They put at my fingertips, in my room, an emulation that not only sounds good enough to get the endorsement from the Console Companies Themselves, but unprecedented hands-on control over the Mixer in my DAW, and the ability to CHOOSE which six-figure masterpiece I just feel like using today, not only without the price tag, but without even the electric bill to run it, or the dedicated air conditioning system needed to keep it cool.
So, David, again I ask....
What the hell took you so long.
(Love letter complete.)
G.
I'm impressed and jealous.
Great work David. Keeping a good ratio between mixing, videos and workouts. Hats down
Softube console really the best thing ever sound price and quality with just one work you return your investiment ....softube its one of my basic gear 4 year with them i cant think work without them
Great demo, showing off the power of Console 1 and all the strips. I’ve been using it for about 4 years now and wouldn’t want to mix without it now.
Good review David! One thing on the American Class A though: it's not the drive that should be at 10 to be matched to the hardware, it's the character knob. All the way to the right is full-bandwidth distortion like a brand new API, on the left it's like an older, worn-out console. At least according to the manual.
Correct 👍
I just ordered the MK3 about 15 minutes ago. And will be ordering the SSL 9000k after I finish this video and bowl of popcorn.
Your videos are always great!
🙏🙏
Interesting! I'm an API freak but am very excited by the sound of the Summit here, which for me, really stood out.
One of the best Console 1 videos I've seen. Really nice work and a thorough demonstration.
Great video David! Just picked one up and look forward to experimenting with different Consoles and UAD plugins!
Yeah I own both... You killed it David! Great job!
I have been using this primarily on every mix for a year now. I love it. I love the fact that it really helps me with just using my ears . but I am old and that is how we used to do it
Amazing unit, we also need native UAD plug-ins to be loaded in Console 1.
I loved this video. As someone who is new to in the box recording I was out of the game for some time but I came up in the analog age and the tools that are coming out now gives an engineer so many choices on workflow. Thank you so much for sharing.
Nice to see that I made a good choice. Thank you for your professional confirmation.
Always is a pleasure hear a good mix, cheers,it's really awesome the difference between ssl 4000 and british console in the time domain
That snare has a great "ring". Everything is recorded perfect
Fantastic video! ❤️ Happy Easter guys 🐣
Oh right, it's Easter 😄 happy Easter to you too!
@@mixbustv 😂😜
I love my Console 1 👌🏾 Linked with my Apogee Symphony Desktop 😎👑
How do you link the two?
@@Erdnase23 not physically ha I mean it’s in my chain! Console1 Apogee FX rack EC Strip among other things.
well after watching this video i had to get it. i got a great deal on a demp unit but i missed the sale when they had all the channel strips marked way down. but im sure another sale is coming. but you werent kidding when you said this is the only set up you need and this renders lots of plugins not needed.....now if i could just get my money back for them lol
Softtube has done it again. I love their reverbs too! But i don't know if i'm more impressed with the console 1 or the way this was not only all PERFECTLY recorded but what a remarkable mix as well. I'm SOLD now. Definitely adding this to my Wish List and its most definitely getting purchased.
BTW that hip hop beat in the beginning was a banger!! 🔥🤑
You are a freacking genius. Thanx for sharing your knowledge!
I have had console 1 for about a year now and absolutely love it , however I have found it best to use it last in the chain .
I open it on every channel in the bottom slot as I find it reacts closer to an analog board with the insert before console 1 .
It really does sound great
Mind me picking your brain on your workflow? I’m trying to find the best way to use it in a pro tools chain
Fantastic demonstration and I learned some new things even after a long time researching this piece. I had a couple questions for your opinion (or anyone else's too).
1) I had been wanting this plus the Fader to help me get out of the box more and do my mixing with my hands. Judging by the way you use C1 in the video, and by how it has no LED scribble strips on the hardware, it looks more like a plugin with a plugin controller, where you're still mostly in an "in the box mindset." Is this about right?
2) Can you easily map third party plugins to it? I use Reaper and wanted to use my Plugin Alliance channel strips with it because I love them and am used to them.
I don't have the fader so I can't comment on that, but the C1 IS a controller for the plugins, I think you want the fader according to what you're describing. For me, it's all or nothing, I don't do good with banks so I either have at least 32 or 1 for automations, that's just me tho.
As far as I know you cannot map 3rd party plugins other than UAD.
@@mixbustv
Thanks so much. That makes perfect sense to me, because I have felt caught in between while deciding about whether to try it with fader banks or stick to the mouse as well. Also Didn't realize it couldn't map to 3rd party plugins. I'll do some more research and thinking on it.
if you don't mind assigning physical faders to plugin knobs, the faderport16 does a terrific job. When you change to plugin mode and select a plugin you can use all 16 faders (with page button for unlimited assignments), plus all faders have a lcd screen on top to read each assigned knob label easily, and they are motorized so positions are recallled when you switch between plugins. Love it!
Works killer with Studio 1
What! this thing is a beast. That lovely song you use for the last demo reminds me of Marc Anthony type music. Very refreshing.
I really liked your video and something quite interesting in the audio mixing and editing section to have this console to make everything more practical and effective.
I really liked the emulations a lot.
I've been watching your channel for some time and I really like your content.
Greetings from the Equator of America and right now I subscribe and I leave you a huge like on your videos.
I have Console 1 and fader 1, I also have Presonus Faderport 16, Apollo UA X4 and Studio One 5 Professional... they all work together and all three companies have worked together for a tight integration... I can control nearly everything without a mouse.
Nice video David
Excellent video David. You've sold me on Console 1.
It's a great ecosystem
@@mixbustv Looking forward to getting into this stuff with my Icon Qcon Pro X and Logic Pro
I'm sold on this buy... it's somewhat portable also
Hey David, brand new thing... there exists a general plugin controller for no matter what plugin or manufacturer, its called the MP Midi Controller. Still not available as far as I can see, but you can controll absolutely every plugin with it.
Hi David! Very impressive as always! May I ask what white polygon diffusers you have on your wall (right next to your door)? If you could give me a name or a link... that would be very nice... THX in advance! Greets from Germany, Daniel
random question but where did u get that led lamp next to your monitor? looks super dope!
You can't, they're not available anymore, they were a startup
best review channel in audio
Hi David , do i have to buy the other plugings for Softube Console 1 Mk 2 , i guess only Solid State Logic SL 4000 E is included ? Thanks
yes only included is the 4k
Thanks David!
whats your workout and diet routine man? as granular as youd like.
Hi! Speaking about consoles... you made a video of the Neve Genesys Black... have you ever tried the RND 5088 shelford? Is it better? Thanks!
Mixing Engineers ... on steroids!! 😆💪
Do I look THAT good? thanks
Do you feel Console 1 speeds up workflow or makes mixing more enjoyable even if you're using a lot of outboard eqs and comps etc.?
I've never used it, but I'm not seeing how it would be much of a time saver or enjoyment booster if you're using a hybrid setup with a lot of outboard inserts.
It does, so much, at least for me. It's because I have a lot of outboard that it doesn't break the flow and I have tactile feeling even with plugins. Plus, it cut down my plug-in list so much
@@mixbustv Yeah, there's something to be said for having limited choices and learning to work with what you have. In the old days, they had a console and some outboard, but didn't have 32 different delays or compressors to choose from.
Thanks for the info.
I love my C1! Best peace of gear I own
Very impressive presentation
great.. thank you! my favorites are the SSL 9000 (3rd) & Empirical Labs.. you really need to get the Fader Version! This is the next level of mixing.
is console 1 fader usable with protools?
fader is great, I don't have space anymore, and also I have a weird relationship with faders, I either have em all or 1
@@mixbustv hmmm good question.. I use Ableton. There it is working perfekt. But maybe Ableton is not the right music app for mastering ;-)
Hi .... but a question if you allow: Console 1 is just a controller that only controls the parameters of dedicated plugs or it's also a hardware where the plugs rest without weighing on the computer CPU (such as the Universal Audio UAD platform )? Thanks and sorry for this question but this aspect is still not perfectly clear to me!
It's not a DSP, plugins will be handled by your cpu
The plugs are pretty efficient and have very low latency
been using this or a while now and its excellent. I will check if they fixed the problem where you try cut lets say 10k but in actuality it cuts around 8k. This is annoying where engineers regularly train their ears for certain frequencies. On my rig there are hardly any presets for the BCA, but I'll build my own set, presets do save time as they serve as a starting point which can then be tweaked. Thank you for this. It has been a game changer for me particularly for recall and large track counts. If you get a chance please test for any EQ frequency Cut/Boost discrepancies. Great work
You know most condoles are like that right? 😄
@@mixbustv yeah I guess so, if that's the case, Softube really went to town on the analogue modelling. One of them is correct, either the frequency graph or the number display for frequencies. Keep up the good work
@@RadiAsian they are indeed great at analog modeling, some of their stuff it's simply unbeatable atm, but it is common for plugins to model those kind of imperfections, i'm almost sure the waves ssl does the same, cause literally every console is slightly off in a different way.
@@mixbustv you are right dude, would be nice if they could incorporate a setting in the software to switch between Hz to Hz frequency matching. Those people who like it as it is can leave it that way. UAD's Neve 88RS channel strip is pretty accurate. 2k= pretty much 2k. Brainworx SSL 4000E is more accurate than the Softube depending on which EQ type you select. The Softubes 4k is perfect provided you look at the EQ frequency display and not the numbers on the GUI. I need to test my old Midas Venice 240 Eqs by running pink noise through them and see. Then again I should just tweak until it sounds good to my ear and forget about the numbers. Top man.
@@RadiAsian I agree and would even pay a reasonable fee for the frequency matching option.
The SSL UF8 provides panning and tracking abilities for SURROUND SOUND.
I'm not sure what has to do with C1 😄 but that's great 👍
Just something for the perspective buyer to consider, based upon their specific needs.
Great video as always!!!! The empirical labs one is pretty dope That became my go too pretty quick.
did u get the 3 plugin bundle or just the console 1 main plugin?
Worth getting the fader unit in your opinion?
If you're okay with banks and using only 8 at the time sure
Great vid. Would love to see you do a review of API the box2.
Hey David! Are you still using Console 1 on every mix a year later?
Every mix
yeah buddy!
Yess! So curious to hear what you think of it
Hello David. I see you have a Behringer X-Touch One. Does it work well with the Control 1? Can you use the X-Touch to access the channels on the Control 1?
Xtouch and control1 are in no way connected, one is a PT fader and transport control the other a plugin controller
@@mixbustv Thanks for the clarification David. Peace!
Somebody’s been working on their shoulders hard during this plandemic
LOL
should been working on hair growth serum rather ...j/k...
I’m really considering grabbing the console 1 set up but It would be cool to see a shoot out between the console 1 and bx_consoles!
C1 wins
Just listened to some a/b samples an without a doubt, c1 sounds so much smoother and heavier. Definitely going to invest!
And so much versatility, you're gonna love it
Thanks for the vid
THX!
The Chandler was nice! Very dirty. Do you have to have the hardware to use this? I wonder how they compare to uad I own uad so I'd love to compare the two.
Yes you have to have the hardware, as I mentioned, you have the THD on the Zener but it's not the same. The only standalone is the American, that you can get without the hw, but the hardware will change your game.
@@mixbustv I have a console on a rack a bunch of appolo units next to my gear already. Screw it if I can get a plugin channel strip that's that modern looking but sounds so vintage and flexible than fine. Its still cheaper than my apollo x8p XD
@@IntheDAW Let me just interject: You’re going the wrong way!
It’s not UAD vs Console 1, it’s UAD is incomplete until you get Console 1.
I bought Console 1 when it first came out, an SSL4000 for $1000 back then was Insane value on its own back then.
Then they released the 9000K for only $500 more, Crazy!
My first unit is a Mark 1 made in Europe by Softube themselves.
Then at NAMM, maybe 2015 or 2016, they announced that A) they were making a Mark 2, which is made in China but virtually identical, B) that allowed them to cut the price in HALF to only $500 bucks, and C) they were partnering up with Universal Audio, so UAD users could swap out EQs or Comps with DOZENS of UA plugins you already own and love, but now with HANDS ON CONTROL.
The Softube/Universal Audio relationship got even More Game Changer with the announcement of Apollo Central.
So the point of Console 1 is, put it on all your tracks, and fly through a Mix like you’re on a hardware console. It’s built for Mixing.
Well if you use UAD, then you’re familiar with UAD Console, it’s their driver app, but setup like a mixer outside of your DAW mixer. I call those Sidecar Mixers.
Now, just by shift clicking one button on the C1 controller, it puts it into Apollo Central mode, and the Hardware is now controlling almost all aspects of UAD Console!
I’ve written this all out numerous times before, if I can find an old comment I’ll link it here, but let me say a couple of things:
1) When you switch back and forth between Console 1 and Apollo Central modes, A) it’s seamless and B) it feels like Universal Audio built this hardware for UAD Console themselves. Everything is mapped to knobs and buttons beautiful, and you quickly develop muscle memory the same as you do in C1 mode.
2) Back in the day, the dream was to “Track on a Neve, Mix on an SSL”.
Well Console 1 turns your DAW’s mixer into an SSL, 4000E, 9000K take your pick.
With UAD Console, and say an Apollo Twin on your desk next to the Console 1 hardware and an Apollo x8P in the rack, then say you load UA 1073 plug-ins across all 10 real-time track-through Unison Mic Preamp slots, then you’ve built yourself a Neve BCM-10, the Ultimate Sidecar!
3) Having hardware control over both the DAW Mixer (not in Pro Tools, try Studio One or Reaper), and over the Sidechain Mixer, actually makes In-The-Box life worth living. Not only do you Sonically get hands on control over what your Ears are hearing, both on the “front-end” and “in-the-mix”, but you also get back a lot of the utilitarian hands on Session control that just isn’t the same with a mouse. Setting up custom perfect Artist Mixes for example.
4) Console 1 is all about Workflow. Once you invest into the ecosystem, especially if you’ve already invested in UAD, and you take the time to really learn it, and think-through or even re-think your current workflow, there will be a learning curve, but I highly doubt you’ll ever go back to the mouse and clicking one function at a time.
@@G_handle dude you just sold me on it. I'm gonna buy one now. my original thinking was this with my uad as adding new colors but if its so tightly integrated. I should just buy it and combine them
@@IntheDAW A) I suspect you're only regret will be not getting it years ago. However...
B) I suggest you either get it from somewhere that you can return it, in case it doesn't work for you. A lot of people do seem to return them, especially ProTools users,, and most claim they are "faster with a mouse". I call bullshit, my guess is, like most bedroom "producers" they didn't spend the time wrapping their heads around it. It is a big enough purchase though that if it didn't work for you, you might want a return option. Or...
C) If you're sold, and you should be, look on Reverb. They come up all the time, often for hundreds off, and often including additional Consoles. They're built like tanks, someone would have to work hard to destroy it. Remember, the hardware is "just" a usb midi controller, replacing your keyboard and mouse. I have one from the first batch that's still working flawlessly. If you do get it used though, make damn sure they're gonna transfer the iLok license. Softube considers this Software with a hardware accessory. They will Not give you the software just because you have the hardware.
D) When you get it, hit me back I'll show you some tricks. But...
E) Take the learning curve seriously. Not that its difficult, but the more time and thought you invest into it, the more you will get back from it.
Great! But nothing beats my Tascan 246!!!!
Damn, very cool.
zener emu seems to thin a bit more, class A american harmonicxs for sure, ya transient designers very useful, didn't realize there were so many added console options for that device until watching this video.
Have you ever done reviews on amp sims? Ive found great amp sims thanks to other youtubers like redcurrent, emissary, cypress tt-15, etc. Maybe u could expand to pedal simulator vsts also. Any thanks for your vids David
at least one with Adema's Mike Ransom on the DSP stuff th-cam.com/video/QWGtMIEg9WQ/w-d-xo.html
Actually its the opposite...Softube would needs to implement MCU standard (MIDI).. but they won't.
But same as you i got me a 1 Fader thing with transport control...
Sound wise this is far more flexible than any of the other solutions, including the SSL
Mines been so glitchy I uninstalled the software. When I first got it, the softtube central program wouldn't (and I think still doesn't) install anything properly and I have to manually do it for everything. It's a very nice midi controller though and the vsts sound great. Good cpu overhead without using the companion plugin. I also had an encoder break just a year after getting it. Luckily it was as simple to fix as just re-soldering the encoder.
After opening it up, I doubt that this is a common issue as the device seems to be high quality and made to last. Maybe I dropped it and forgot idk.
Wow an SPL PQ :D Did you already reviewed it ?
No, but I don't think I will, this is not really something you can get across youtube. But I have a video coming talking about 120V tech with Joe Vezzetti
@@mixbustv Please cover what others have been mentioning about the knobs. I have a Manley MP coming in 2 weeks, and I've been tempted for a PQ, but haven't got one because what other reviews mentioned about the knobs
@@bonafontciel what about them?
@@mixbustv On GZ people commented they are a little fiddly, but overall the EQ has superb sound. One TH-camr, who did a review here, also made the same observation.
@@bonafontciel I'm not sure what they mean by fiddly, knobs are pretty firm but of course they have a gazillion dents, that's the nature of an eq this precise, but unless you ordered the MP mastering, you should worry about those knobs a LOT more than any other eq, you sneeze and they move
Can you compare it with Acustica Audio's Nebula, Alex B's MFC console? I think Softube doesn't stand a chance.
if anything it would be the other way around, C1 is arguably one of the most successful advancements in digital mixing. Also, there's basically nothing out there that "doesn't stand a chance", not even some hardware vs their plugin counterpart.
Do you think that console 1 fader is useless?
Not useless at all, but it depends on your workflow, personally with faders I'm either all of them, or one (for automation) I don't do well with in between as in scrolling thru banks
I love this channel!
💯
Are you still using it in your workflow?
Yep, every mix and extensively
@@mixbustv Ok. Great! I use it a lot too. . Its in my template. Im considering buying fader aswell. Do you use that one too?
David! Any more news on this big announcement from softube you teased awhile back? Was it the fact that they finally fixed their crappy software :D no hate, i love my console 1 but was hoping for something big :D
it was the Empirical labs stuff, that's nothing to scoff at :D and the resizable GUI's, save lives when using Weiss
@@mixbustv right on :) everything has been top notch especially with the new update center and stuff, i was really hoping we were gonna hear about some sort of @pluginalliance team up but ya can't have it all!
ok completely stupid question here. i love softube customer service. they sent me a 3 day deal to get the emerical pak at a great price.....i cant figure out how to change modules .....i feel like an idiot for asking but how the hell do u do it
Press shift and 1, 2, 3 or 4 in the channel selection buttons to change respectively strip, shape, eq, comp
@@mixbustv thanks i cant believe im this stupid
sorry to bother u with such a bs question but thank you for your response it required a reboot
I love my console 1 but is currently not compatible with M1 macs :(
@@ShaunNater software is not compatible yet. It will not work with big sur and m1 yet. I would wait until they announce compatibility. I have a PC and use it there while they provide an update.
@@ShaunNater No problem man. Be on the lookout because this still worth every penny I've spent
Awesome job, David! Is the console 1 cpu hungry in general? I see you have it on every channel so how is that coming for you? Thanks!
Well my machine is a beast so it doesn't count, but C1 is pretty light on CPU
@@mixbustv I see...thanks man! Loving your work! Keep it up!
Just ran into this and I'm now officially in a conundrum! Ok so I was planning on buying my first 2 analog eqs because I feel like the gear will sound better then a plugin and plus I can work faster eqing. But now I saw this controller and plugin, and now I'm like damn, maybe this will be a better option. What might you suggest David? My interface is the RME UCX II and was just planning on buying 2 ssl e series eqs. Thanks!
2 SSL eq's alone won't make much difference in your mixes, especially because they were never intended as 2bus/mix eq's, SSL eq's are channel eqs and those were on boards with at least 32 of them minimum, that's their purpose, workhorse channels eqs, with only 2, you won't do much, now a 2bus eq? That'd be different, but only if you're planning on expanding, analog is an expensive game. On the other hand, C1 is the best bang for the buck there is, period. Is an amazing system and it sounds great, I have 40 channels of analog, and I still use it
@@mixbustv thanks David!
I really need to see a comparison between the SSL uc-1 and the soft to console one
Only one plugin and it sounds the same...Console 1 is an eco system, SSL UC is ONE plugin...
But it looks better :)
Do you typically use it as the first plugin in the chain? And put hardware and other plugins after it (If needed ofcourse)? Or do you also use it somewhere later in the chain after hardware or whatever? I’m asking coz it also supports the valley people plugins and the tube tech emulations. I often use those later in the chain and find myself mixed up coz I already have the 4000 in the first slot
Edit: awesome vid by the way, would
Love to see more of it used together with other stuff
it can be any kind of combination really
🤩
what is the name of the song @ 25:00
What's that little controller with one fader on the bottom right of the screen?
Behringer X-touch One
imp.i114863.net/Bvynq
@@mixbustv is it any good?
@@woodzzy1 very, I love it
Can you make it work in Reaper?
I use it in Reaper and it's REALLY well integrated.
@@DontWorryImAPilot wow thanx.
It's WAY better in Reaper than ProTools!
I will Star to go to the gym to be a really good mixing engineer as Mix Buss tv and Jaycen Yoshua 😩🤣
mixing and working out exactly the same...it would make u better.
Only way to mix properly
don't work the gym too hard, your head will look small compare to the shoulders.....
@@cerebralcoma4850 u saying @mixbustvs or jjs head lks too small for his shoulders?
@@lighterwaves5659 No, but if you over work your shoulders, it might happen.....to anybody
Console on steroids.
mate thanks for your videos.. have to say the intro and outro are super loud and annoying, maybe level that, it looks like a TV ad coming in super loud.
Well I mastered that song. It is an ad.
@@mixbustv i understand, but its been many times i saw your video, this song is there and i already have a Pavlov tic with the loudness of that moment. Specially at the end of the video.
where is Bella David!? :D
You are wider then my mixes.
Did you consider Console 1 Fader? It has an interesting workflow. Also, I'm surprise you don't have the Console 1 right above your qwerty keyboard? looks like you have room. Anyway, thanks for the video.
I don't have space and with faders, I either have all of them or one (x touch next to me). I would have space in front but it makes reading my SPL harder
The console 1is very nice，but the fader is very bad，Didn‘t supported Logic 、ProTools、a lot of DAW
just for few things in C1, it would be Avid to allow it, not softube, but they want to sell their controllers of course.
i this better than a hardware Mackie mixerr?
By a long shot
Too many muscles per pixel. I just can't allow myself feel any more beta than I already do haha
Also, I make electronic music in surround, so this channel is not for me anyway.
seriously how do you find time to train? damn man
Dude, that is just from turning bad-ass knobs instead of point & click. ;)
Always time to lift heavy ass weights, yeah buddy!
Sold mine after year of daily use in studio. Very buggy with Reaper and Studio One and slows my mixing. Nothing can replace Q 3 for fast EQ and other channel strips from anyone for everything else.
Preeee save
I'll tell you something about Console 1 - it does not work as a control surface for Logic
better than a console....
shoulders
Do u even lift bro
I don't
@@mixbustv fair enough looks like you do lol
Sounds very good but man, it looks veeery ugly