Thank you Mike. After getting PA's 9000jand being blown away I'm now redoing all my prior mixes with particular channel strips to flavor the mix as it the 9000j literally opened up the stereo field in my mxing. Even the Mrs noticed it without me telling her or provocation. Incredible!
Have you had stability issues with mixbus 32c? I stopped using it after v5 was crashing far too often and having issues with uad plugins. Too bad because I loved the way it sounds.
It’s wonderful. Only drag is that you must get used to ardour and its not easy at all. They should have made some system with some kind of vst sends plugins to insert into every DAW’s channel that would connect with the Harrison mixer and allows you to use any daw to edit/send audio
A workflow that I see a few people using is editing, balancing, sends/returns, but w/o much VST/AAX processing in a 1st DAW and then exporting those "vanilla" tracks individually into one of the Harrison DAWs.
I mixed a song today using the Lindell 50 for the first time (on every channel, plus the 50 bus plugin on most of the buses). Maybe it was just a great fit, but wow did I really like that. To your point, everything came together really fast. I still mix in some preamp emulations for certain elements (I often lean toward the Fuse or Arturia plugins for that, somehow I like how the Arturia 1073 distorts better than the UA plugs) but I always do even with those other console emulations, especially if I want something to pop out with more than EQ. I will do the same with EQ when I feel I need something a little different (e.g. the Maag EQ4 on distorted guitars). Thanks, as always, for another great video.
Same in my mind. I am surfing with BX Console G + Cytomic Glue Master Buss. I try to mix quick. And i agree that you point about if we need some extra touch then we go to other option. Like fet comp or optical bla bla bla.
Hi. I think to have all those options in the box is a bless today. The tonal variety is awesome. On the other hand it's so difficult to choose and it can be so time consuming. Another thing to be aware of is the feeling of not knowing all those plugins in and out. How have engineers done it 70th and 80th? I guess Studios didn't have 5 to 10 different ultra expensive consoles standing around to choose from. Engineers worked on the house console and knew them in and out. It's great to have options of really knowing what to achieve. Would love to hear more stories from your experience how mixing and decision making was back in the days. Cheers
A valid good point. I'm not Mike, but thought I'd chime in. I would prefer today's availability and workflow. In regards to the issue of not knowing the gear well and having choice paralysis, just stick to one console? If you haven't bought the others, don't buy them (especially during holiday sales...so tempting!) until you've got a good handle. There's really 3 major flavors (SSL, API, Neve) and granted, there's no rule of which type for which genre, pick one that's mostly associated with each other and try that first.
@@leejackson2505 Hi. I wouldn't change either. But as a beginner it can be overwhelming at first. At the moment I'm not really mixing full tracks. I spent most of my time in the studio - beside practicing piano - trying out different EQ and channel strips just on live drum tracks to learn more about their differences. Very cool how different they all sound and put their stamp on the end result. I must say it's a great sonically journey of new discoverers every day. Cheers
You learned the consoles that were in the studios you started in. I learned on SSL consoles to start, then the Focusrite console and as I became an independent contractor, started working my way through the vintage Neve's API's etc... Most engineer's master a console and only work on other desks when the job they get hired for forces them too.
I don't now way but API emulation comes much more good sounding to me, specially the bus module I use on my stem tracks, with out channel models but with the unity gain. 06:33
I have a ton of UA plugins and I'm finding a lot of value experimenting with all the channel strips and comparing them too. All the compressors as well .
Never having worked on a console (apart from my my Portastudio back then ;) , I wonder how much of the different sound of the consoles is also a result of the design and the workflow that imposes on you, e.g. if the EQ section only has a shelf for the low and hi frequencies, you make different moves compared to an EQ which also has a bell filter. Similar maybe with the comp section. Different pre-set attack and release times, different ration etc. I’ve read somewhere from the designer of the SSL consoles that they always tried to design and built the desks to give you the cleanest sound possible, given the technical limitations of the time, and design the circuits and user interface to give good results fast. They weren’t striving for “color” and “mojo”, quite the opposite.
The "Sound" of a console is in every part of the design, from the quality of the power supplies to the quality of the components and solder for all the traces and all the way through the design of the compressors and EQs. You are correct that the design limitations/features play a huge role in the overall sound.
@A m6/9 No doubt about it. Every component and circuit choice affects the sonic result. But considering that as correctly stated, consoles were designed to be as transparent as possible, I agree with you that the sonic differences are much more strongly affected by user interface design choices than all the rest of the electronics. I suppose that it must be something almost like 95% macro-layout design choices vs. 5% differences in electronics (inherent sound)
Hey Mike, Thx so much for taking the time to make these videos. Your reviews and tips have really helped me grow my mixing chops. One question, I've noticed that on the bass and kick drum compression settings you often don't use the side chain filters. I typically use those set around 80hz to keep the low end more intact but I'm wondering if maybe you're not doing that in order to keep things tighter and more in check. Thoughts?
I agree, they are nice, but they are absolutely NOT CPU friendly. For instance, recently I had a mid size mix, nothing crazy, and I had only started the mix and had at most ONE plugin on each channel, all of which were almost zero latency and not CPU heavy at ALL, and the Brit console alone, spiked CPU up to 50% during playback. That's crazy. I'm not on a super high horsepower PC, but it's certainly no slouch either. That alone kills the whole deal for me. I have no time to be constantly watching my performance meter while mixing due to the CPU demands of the MixFx.
Thank you for the fantastic lessons, dear Michael! I would really love your opinion on that: what console emulation would be more suitable for orchestral compositions? I know that it will depend on the context, as well as taste, but I would love a pointer, if possible.
@@devianthousend exactly, I do it in conjunction with a day job things are great financially. I started mixing when I was around 20 yrs old and kept doing it for like 10 years but never got anywhere idk. I bought equipment but jus couldn't get it right.. my friends love my mixes but I jus thought they sucked.. mayb I'll get back to it but I got a 1yr old son and another one the way.. but it's still a pleasure to watch the great's like mike teach us.. 😁
Yes, Space Jones is the artist, and Lies is the name of the song. Here's the Spotify link but this version is not my mix. open.spotify.com/track/0jve2Wr8gPOKTVOAhe0jMq?si=fee6a32f6a734454
Hey, i'm not Michael, but i suppose i'll give my opinion on this - Studio One Console Shaper is a preamp emulation without EQ or compression, protools heat is the same, but it's also able to do some tape saturation. So if you are mixing with transparent clean EQ's and compressors it's a great choice to add some weight and warmth to your tracks. It's also possible to use this in combination with analog-emulated channel strips if your tracks were recorded too clean to begin with. So there's nothing wrong with Protools Heat or Studio One Console Shaper, just personally for me it's a little less convenient because you still need to insert some EQ and compression on your tracks.
Can't speak about Heat as I haven't used ProTools for about 10 years. But Console Shaper has crosstalk, so when used with the TMT in the Plugin Alliance channel strips it'll give you the non-linear summing of an analogue console. It's not quite as wide or deep as the real thing but if you've never used a large format console that doesn't really matter, it will get you closer to that sound if that's what you're after.
I love this question! Let me Add to it CTC-1 (which is 50% off right now), and Softube Tape which has a special Studio One Multitrack version. Also, Softube Console 1 console emulations with their Drive/Character sections (SSL 4000E, 9000K, American Class A - API, British Class A - Neve, and the rest). I've been accumulating all of the Channel Strips from UA, Waves, Plugin Alliance, and Softube. I also have ProTools now including HEAT with the vanilla version, and Studio One including Console Shaper, CTC-1, and Softube Tape MTK as "Mix Engine Effects" Lastly, let me include Harrison Mixbus and 32C, which include EQs and Dynamics in every channel strip, as well as Tape Emulation on the Mixbusses and Masterbus. I'm physically rebuilding the studio of my dreams (2x4 framing of the room-in-a-room is complete, building the front wall and desk as we speak), but once it's built and tuned, I can't wait to do two things related to this thread: Learn each of these Channel Strip emulations on their own (along with my three! analog consoles). And learn how all the different combinations of Hardware Mixer, DAW Mixer, Channel Strip Plugins, some with specific Bus Emulations, and these "Mix Engine" behind the scenes plugins that operate Across all channels and interact between channels and busses (ie: Console Shaper, HEAT, etc.) Any thoughts or experiences you guys have would be great to hear!
@@G_handle several years ago I used to Track in ProTools, create in Ableton and Mix in Mixbus32c. Then when Studio One version 4.5 came out it I switched, as it was the best parts of all those daws in one. I was traditionally taught almost 20 years ago on large format consoles and have been trying to emulate that sense of depth in the box ever since. I have tried the Bx TMT console emulations, console 1 (which I love), CTC, Waves NLS, Softube Tape etc. They all do their job well, but still never sounded as deep or wide. Through all the trial and error over many years I finally found the sound and it ended up being a mixture of hardware and software. I use console 1 (which is actually unnecessary any console emulation will do I just prefer the muscle memory of the hardware) on my individual tracks. Busses are analog summed through a Tascam Model 16. SSL Native bus compressor & Softube Tape (not MTK) on master bus. This is the core of the sound and all other plugins vary from session to session.
Partially true: I use and love HMB and 32C, as well as Ardour. The DAW Mixer is indeed laid out like an Analog Console, and includes Harrison EQ emulations on every channel, as well as 3 flavors of Dynamics. Those channels can be routed directly to the Master Bus, or through either 8 or 12 Mixbusses and then to the Master in a traditional three tier mix workflow. Those Mixbusses also each include EQs but also Drive Knobs that emulate tape saturation. The Master Bus also includes this plus a final Limiter. However, if you bypass all the EQs and Dynamics, and you turn all the Drive Knobs to 0, then the Mix Engine is identical to the Mix Engine in every other DAW. Plus or Minus 1dB does exactly the same math in all DAWs. (There can be a difference with Pan Laws, but most DAWs let you change the defaults.) So if you do the same mix, without these built-in goodies, in two DAWs, then bounce out a 2-track of each, if you then bring them both into any session and play them together, the volume should be exactly doubled. If you mute solo one vs the other, you should hear no difference. And the ultimate test, if you reverse the phase-polarity of one, and play them together, the result should be perfect silence. 1 + ‐1 = 0
Lindell 80 or 50??? what you think is the best. 50 series is new it has 72 channel tmt then the 80 it has 16 channel tmt i beleive. does 80 is better than 50???
These types of processors are gonna open up for me once somebody (maybe avid) designs a controller that *really* works them. I like the idea and sound of these but they’re just so slow in the digital realm. If you could get two hands on them like a mixer, it would be the *precise* opposite. I guess Slate’s Raven is starting a push in that direction…I just hope someone really takes the ball and runs with it. The only problem is that it would take deep pockets to develop correctly
“No real sonic signature there” *harrison mixbus has entered the chat* But really, what about mixing consoles? Like using an API on vocals but a Neve on drums and bass and an SSL on guitars or something?
I like that soft midrange of your mixes. Is nice balance! Just hit play and listen! PS. Do you know some free emulation console plugin? I do not pay for VST.
I'm not aware of free consoles plugins. But maybe you'll like to check out. The console from Hornet Audio. It's great stuff, very cheap and no dongle or CR or even serial needed. Maybe that's your cup of tea?
![[FINALE] 💸ที่แท้พ่อเป็นผู้ถือหุ้นบริษัทพันล้าน เขากลับใจตอนนี้ก็สายไปแล้ว🙇🏻♂️#ละครคุณธรรม #short](http://i.ytimg.com/vi/yFwgjTFISUI/mqdefault.jpg)
Thank you Mike. After getting PA's 9000jand being blown away I'm now redoing all my prior mixes with particular channel strips to flavor the mix as it the 9000j literally opened up the stereo field in my mxing. Even the Mrs noticed it without me telling her or provocation. Incredible!
The lindel 80 series from plugin alliance has a neve master bus. Very rich in color for summing and etc..we can go on and on about it..huge topic..👍
It all helps
That’s invaluable Michael - I love the approach... ok - I can’t wait to try that. Cheers.
Cheers!
Harrison Mixbus 32c is my DAW and it's emulated after Harrison's studioconsole!
Have you had stability issues with mixbus 32c? I stopped using it after v5 was crashing far too often and having issues with uad plugins. Too bad because I loved the way it sounds.
That's the only end to end console emulation out there. Would love to see that for a Neve 8078 Console
It’s wonderful. Only drag is that you must get used to ardour and its not easy at all.
They should have made some system with some kind of vst sends plugins to insert into every DAW’s channel that would connect with the Harrison mixer and allows you to use any daw to edit/send audio
A workflow that I see a few people using is editing, balancing, sends/returns, but w/o much VST/AAX processing in a 1st DAW and then exporting those "vanilla" tracks individually into one of the Harrison DAWs.
Snakeoil
the contrast is 🔑
Indeed!
Love you're down-to -earth reviews and tips mike. Always useful and interesting! Thanks! :)
Cheers!
I mixed a song today using the Lindell 50 for the first time (on every channel, plus the 50 bus plugin on most of the buses). Maybe it was just a great fit, but wow did I really like that. To your point, everything came together really fast. I still mix in some preamp emulations for certain elements (I often lean toward the Fuse or Arturia plugins for that, somehow I like how the Arturia 1073 distorts better than the UA plugs) but I always do even with those other console emulations, especially if I want something to pop out with more than EQ. I will do the same with EQ when I feel I need something a little different (e.g. the Maag EQ4 on distorted guitars). Thanks, as always, for another great video.
Cheers!
Same in my mind.
I am surfing with BX Console G + Cytomic Glue Master Buss.
I try to mix quick. And i agree that you point about if we need some extra touch then we go to other option. Like fet comp or optical bla bla bla.
Cool
Hi. I think to have all those options in the box is a bless today. The tonal variety is awesome. On the other hand it's so difficult to choose and it can be so time consuming. Another thing to be aware of is the feeling of not knowing all those plugins in and out. How have engineers done it 70th and 80th? I guess Studios didn't have 5 to 10 different ultra expensive consoles standing around to choose from. Engineers worked on the house console and knew them in and out. It's great to have options of really knowing what to achieve. Would love to hear more stories from your experience how mixing and decision making was back in the days. Cheers
A valid good point. I'm not Mike, but thought I'd chime in. I would prefer today's availability and workflow. In regards to the issue of not knowing the gear well and having choice paralysis, just stick to one console? If you haven't bought the others, don't buy them (especially during holiday sales...so tempting!) until you've got a good handle. There's really 3 major flavors (SSL, API, Neve) and granted, there's no rule of which type for which genre, pick one that's mostly associated with each other and try that first.
@@leejackson2505
Hi. I wouldn't change either. But as a beginner it can be overwhelming at first. At the moment I'm not really mixing full tracks. I spent most of my time in the studio - beside practicing piano - trying out different EQ and channel strips just on live drum tracks to learn more about their differences. Very cool how different they all sound and put their stamp on the end result. I must say it's a great sonically journey of new discoverers every day. Cheers
You learned the consoles that were in the studios you started in. I learned on SSL consoles to start, then the Focusrite console and as I became an independent contractor, started working my way through the vintage Neve's API's etc... Most engineer's master a console and only work on other desks when the job they get hired for forces them too.
@@mixingwithmike thank you. You got a great advantage here. Must have been awesome times and good vibes for learning experiences. Cheers
I don't now way but API emulation comes much more good sounding to me, specially the bus module I use on my stem tracks, with out channel models but with the unity gain. 06:33
Nice tune, Mike. I always really enjoy that part of a mix, choosing the overall sonic character.
Cheers!
I have a ton of UA plugins and I'm finding a lot of value experimenting with all the channel strips and comparing them too. All the compressors as well .
Each has a unique sound that's worth getting to know
@@mixingwithmike absolutely.
Never having worked on a console (apart from my my Portastudio back then ;) , I wonder how much of the different sound of the consoles is also a result of the design and the workflow that imposes on you, e.g. if the EQ section only has a shelf for the low and hi frequencies, you make different moves compared to an EQ which also has a bell filter. Similar maybe with the comp section. Different pre-set attack and release times, different ration etc.
I’ve read somewhere from the designer of the SSL consoles that they always tried to design and built the desks to give you the cleanest sound possible, given the technical limitations of the time, and design the circuits and user interface to give good results fast. They weren’t striving for “color” and “mojo”, quite the opposite.
The "Sound" of a console is in every part of the design, from the quality of the power supplies to the quality of the components and solder for all the traces and all the way through the design of the compressors and EQs. You are correct that the design limitations/features play a huge role in the overall sound.
@A m6/9 No doubt about it. Every component and circuit choice affects the sonic result.
But considering that as correctly stated, consoles were designed to be as transparent as possible, I agree with you that the sonic differences are much more strongly affected by user interface design choices than all the rest of the electronics.
I suppose that it must be something almost like 95% macro-layout design choices vs. 5% differences in electronics (inherent sound)
Hey Mike, Thx so much for taking the time to make these videos. Your reviews and tips have really helped me grow my mixing chops. One question, I've noticed that on the bass and kick drum compression settings you often don't use the side chain filters. I typically use those set around 80hz to keep the low end more intact but I'm wondering if maybe you're not doing that in order to keep things tighter and more in check. Thoughts?
Good video
I've just recently been learning to go this route. Very nice!
What's really exciting with Studio One Pro is you get fantastic console emulations already built in which are totally flexible to tweak. 😎
I agree, they are nice, but they are absolutely NOT CPU friendly. For instance, recently I had a mid size mix, nothing crazy, and I had only started the mix and had at most ONE plugin on each channel, all of which were almost zero latency and not CPU heavy at ALL, and the Brit console alone, spiked CPU up to 50% during playback. That's crazy. I'm not on a super high horsepower PC, but it's certainly no slouch either. That alone kills the whole deal for me. I have no time to be constantly watching my performance meter while mixing due to the CPU demands of the MixFx.
Thank you for the fantastic lessons, dear Michael! I would really love your opinion on that: what console emulation would be more suitable for orchestral compositions? I know that it will depend on the context, as well as taste, but I would love a pointer, if possible.
I would go with the bx_Console-N or the UA 88RS
@@mixingwithmike Thank you very much for your answer!
As always.....
Thank You!
Cheers!
i used to love mixing...
i still do, but i used to too
@@devianthousend I jus left it alone after I got involved in the stock market.. it's two different dynamics I jus couldn't balance
@@devianthousend exactly, I do it in conjunction with a day job things are great financially. I started mixing when I was around 20 yrs old and kept doing it for like 10 years but never got anywhere idk. I bought equipment but jus couldn't get it right.. my friends love my mixes but I jus thought they sucked.. mayb I'll get back to it but I got a 1yr old son and another one the way.. but it's still a pleasure to watch the great's like mike teach us.. 😁
@@devianthousend yea mayb my son would like to make music n I'll mix his records lol
Hahaha!
Excellent video !
Cheers!
Hey Mike, do you use waves NLS or slate VCC along with these channel strips or are they enough on their own? Cheers
I really like this track. Is it commercially available? 😅
Yes, Space Jones is the artist, and Lies is the name of the song. Here's the Spotify link but this version is not my mix. open.spotify.com/track/0jve2Wr8gPOKTVOAhe0jMq?si=fee6a32f6a734454
@@mixingwithmike thanks Michael I’m listening now 🙏🏻
So how would you compare this style of mixing to built in emulators like Protools Heat, or Studio One Console Shaper?
Hey, i'm not Michael, but i suppose i'll give my opinion on this - Studio One Console Shaper is a preamp emulation without EQ or compression, protools heat is the same, but it's also able to do some tape saturation. So if you are mixing with transparent clean EQ's and compressors it's a great choice to add some weight and warmth to your tracks. It's also possible to use this in combination with analog-emulated channel strips if your tracks were recorded too clean to begin with. So there's nothing wrong with Protools Heat or Studio One Console Shaper, just personally for me it's a little less convenient because you still need to insert some EQ and compression on your tracks.
Can't speak about Heat as I haven't used ProTools for about 10 years. But Console Shaper has crosstalk, so when used with the TMT in the Plugin Alliance channel strips it'll give you the non-linear summing of an analogue console. It's not quite as wide or deep as the real thing but if you've never used a large format console that doesn't really matter, it will get you closer to that sound if that's what you're after.
It's an overall sound that includes the design of the component EQ and Compression not just the preamps or just a tape as with Console Shaper or Heat.
I love this question!
Let me Add to it CTC-1 (which is 50% off right now), and Softube Tape which has a special Studio One Multitrack version.
Also, Softube Console 1 console emulations with their Drive/Character sections (SSL 4000E, 9000K, American Class A - API, British Class A - Neve, and the rest).
I've been accumulating all of the Channel Strips from UA, Waves, Plugin Alliance, and Softube.
I also have ProTools now including HEAT with the vanilla version, and Studio One including Console Shaper, CTC-1, and Softube Tape MTK as "Mix Engine Effects"
Lastly, let me include Harrison Mixbus and 32C, which include EQs and Dynamics in every channel strip, as well as Tape Emulation on the Mixbusses and Masterbus.
I'm physically rebuilding the studio of my dreams (2x4 framing of the room-in-a-room is complete, building the front wall and desk as we speak), but once it's built and tuned, I can't wait to do two things related to this thread:
Learn each of these Channel Strip emulations on their own (along with my three! analog consoles).
And learn how all the different combinations of Hardware Mixer, DAW Mixer, Channel Strip Plugins, some with specific Bus Emulations, and these "Mix Engine" behind the scenes plugins that operate Across all channels and interact between channels and busses (ie: Console Shaper, HEAT, etc.)
Any thoughts or experiences you guys have would be great to hear!
@@G_handle several years ago I used to Track in ProTools, create in Ableton and Mix in Mixbus32c. Then when Studio One version 4.5 came out it I switched, as it was the best parts of all those daws in one.
I was traditionally taught almost 20 years ago on large format consoles and have been trying to emulate that sense of depth in the box ever since.
I have tried the Bx TMT console emulations, console 1 (which I love), CTC, Waves NLS, Softube Tape etc.
They all do their job well, but still never sounded as deep or wide.
Through all the trial and error over many years I finally found the sound and it ended up being a mixture of hardware and software.
I use console 1 (which is actually unnecessary any console emulation will do I just prefer the muscle memory of the hardware) on my individual tracks. Busses are analog summed through a Tascam Model 16. SSL Native bus compressor & Softube Tape (not MTK) on master bus. This is the core of the sound and all other plugins vary from session to session.
SSl's console emulation made by SSL is the best SSL emulation I've heard. Yea there more expensive.. but it sound close.
That "emulation" is based on their C200 digital console. looks like the J/K series
Thank you for validating my need for multiple channel strips :)
Cheers!
Awesome !
Cheers!
Could you just put the console plugin on the Master/Main out and get the same feeling for which would be better?
What a excelent content!
you missed the focusrite.. that one is pure butter.
Missed the 80 Series too...
Mixbuss from Harrison is the only DAW that will give you full emulation of an Analogue Console. The Engine is designed for full Console Work flow..
Partially true:
I use and love HMB and 32C, as well as Ardour.
The DAW Mixer is indeed laid out like an Analog Console, and includes Harrison EQ emulations on every channel, as well as 3 flavors of Dynamics. Those channels can be routed directly to the Master Bus, or through either 8 or 12 Mixbusses and then to the Master in a traditional three tier mix workflow.
Those Mixbusses also each include EQs but also Drive Knobs that emulate tape saturation.
The Master Bus also includes this plus a final Limiter.
However, if you bypass all the EQs and Dynamics, and you turn all the Drive Knobs to 0, then the Mix Engine is identical to the Mix Engine in every other DAW. Plus or Minus 1dB does exactly the same math in all DAWs. (There can be a difference with Pan Laws, but most DAWs let you change the defaults.)
So if you do the same mix, without these built-in goodies, in two DAWs, then bounce out a 2-track of each, if you then bring them both into any session and play them together, the volume should be exactly doubled. If you mute solo one vs the other, you should hear no difference. And the ultimate test, if you reverse the phase-polarity of one, and play them together, the result should be perfect silence.
1 + ‐1 = 0
It has a plain digital eq that even cramps near nyquist
Has anyone tried the Waves NLS emulation?
That's meant to fill the gaps between the channel strip emulations. I've used it many times and only like the "Mike" emulation from it.
DId not loved that Lindell 50.. too scoope. 88RS is the most natural or the NEVE VR. thanks mike :)
Yes, I agree. The Lindell api was a punchy, but a bit scooped. 88RS definitely had a pleasant glue for this song.
That's more about the EQ decisions I made, but it does lean in a brighter, punchier direction.
@@mixingwithmike Thanks Mike! keep it up
Lindell 80 or 50??? what you think is the best. 50 series is new it has 72 channel tmt then the 80 it has 16 channel tmt i beleive. does 80 is better than 50???
two different beasts. one is neve the other is API, can't really compare or who is better. its about which one fits
50 for drums, 80 for everything else..
These types of processors are gonna open up for me once somebody (maybe avid) designs a controller that *really* works them. I like the idea and sound of these but they’re just so slow in the digital realm. If you could get two hands on them like a mixer, it would be the *precise* opposite. I guess Slate’s Raven is starting a push in that direction…I just hope someone really takes the ball and runs with it. The only problem is that it would take deep pockets to develop correctly
Softube console 1?
“No real sonic signature there”
*harrison mixbus has entered the chat*
But really, what about mixing consoles? Like using an API on vocals but a Neve on drums and bass and an SSL on guitars or something?
To be honest, to me the unprocessed files sounded best, just needed a little MB sparkle and notch. Started to sound thin through the consoles.
I like that soft midrange of your mixes.
Is nice balance! Just hit play and listen!
PS. Do you know some free emulation console plugin? I do not pay for VST.
I'm not aware of free consoles plugins. But maybe you'll like to check out. The console from Hornet Audio. It's great stuff, very cheap and no dongle or CR or even serial needed. Maybe that's your cup of tea?