Do You Need a Mixer in a Recording Studio?
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- Опубліковано 1 лип 2024
- Are mixing consoles still necessary in recording studios? Find out in this video...
RME Fireface UCX II: geni.us/B7Spgh
RME ARC USB controller: geni.us/fAdATEj
Thanks to @RMEAudio for making this video possible and supporting Audio University.
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00:00 Intro
00:26 The Evolution of Analog and Digital Audio Production
01:42 The Benefit of Channel Strips
02:49 Using External Preamps and Processing
06:45 Using the Console for Mixing
08:18 Recall and Automation
10:58 Routing & Utility of a Mixer
12:18 NEXT VIDEO - Mixing With Headphones? Watch this...
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As an engineer for 50 years I find part of the fun of mixing is the tactile nature of actually moving faders by hand. It feels more involving, much the same as every car I've owned is a manual transmission.
Hear hear! I feel so useless driving an automatic.
My people.
Spot on. All boils down to preference, needs, and opinion of sound output.
Yes a pretty er... balanced assessment.
I've just gotta says, thanks for all this awesome educational content man!
Glad you like it!
@@AudioUniversityfor real, thank you! 🤘
I make good money mixing, mastering and producing music. I have never even touched a mixing desk (except for tracking)
Same.
Very well explained! I started out as maintenance engineer in a studio called Mayfair (London) and we had a Neve VR, an SSL9000K, an Amek big, an EMI TG12345 console.. running a session was a very expensive process, these days I mainly work ITB and bounce my effects back into the session. This allows me to stay fresh and enjoy working on a mix knowing I can recall it instantly at any moment in time. But that is my workflow…
I strongly suggest getting that tactile control surface, it lets you get the best of both worlds. You keep all the recall possibilities, all the automation, etc, but also can use the tactile operation of 'real' faders, the speed of operation of a physical mixing console, and you can get an overview of all important parameters during mixing at a glance.
The market for those has somewhat exploded, and you can get them in a very wide range of price points and quality levels. The most important things to pay attention to is the accuracy of the faders, how easy it is to use multiple fader banks, how expandable they are (many allow you to add expansion controllers, which lack the main 'DAW control' buttons and jog shuttle, just add more faders and 'channel' buttons and dials), and of course, the faders being motorized, because without that, you don't get the 'at a glance' overview.
Seeing a control surface follow the automation you setup can be quite fascinating, but also provides very good feedback on that automation.
It really gets you the best of both worlds, while usually requiring a lot less space than a full sized traditional mixing console.
Great info! Thanks!
Ugh I tried those control surfaces and dealing with midi assignment is such a PIA. I just like the simplicity of a mixer. That comes with lots of cable management but I find that far more intuitive and easier to reason with than assigning knobs to every parameter then getting a new controller and starting all over gain cuz the last one sucked.
Unless there's direct one-to-one connection between the controller and the DAW I'm not interested. We need iphone type vertical integration.
Can't we just call it a 'dawww'. DeeAyeDoubleYou is such a mouthful, breaks up the continuity of speech.
Why I love my studiolive series iii. Clean pres , can monitor with effects but record pre the fx on a per channel basis. Automation controller. Got outboard gear hooked up through it permanently. Talkback and a avb network for stageboxs in other rooms. Plus individual monitoring controls a user can adjust to taste. Problem solver.
That sounds nice, I'm too poor to own that so I fake it with an big analog one and audio interfaces :)
How do handle inserts? I looked at a picture and dont see any
@@daniel_dumile I’m a blue collar poor working guy. I made sacrifices for what little I have. Ain’t no shame in this man. A analog mixer and interfaces is all good. I use to run a cheap analog mixer into interfaces back in the day. Mostly to run vocals into cheap hardware before the interface.
How things have changed , it's wonderful
hybrid all the way for me...I'm just about to get my hands on a souncraft spirit studio...I started with older yamaha mg series16 and 12 subbed together. I like the anaolgue summing and feel...mostly the fun of messing with gear.,..gives me the greatest joy of all..its just a hobby for me.
I'm no expert at all on all this. Been creating for 3yrs now. No samples.
I don't have any cool equipment.
I use FL studio. And a M1 audio keyboard with a surround sound speaker. Lol. Now that's as cheap as it gets. But this video fully helped. So thanks for the info!!
you forgot to add how beneficial an analog console is for getting new clients. I see many studios just using the console to get people in the door, and they don't actually use the gear. I'm wondering if there is any research done on this subject?
Hehe, I do not run a professional studio, through I do some payed for recording in my home studio. People were indeed way more impressed by the old, and no longer used, analog mixing console I have around than by the much more capable digital audio workstation. Adding a nice control surface with motorized faders etc did change that tho, those can look really impressive to lay people 🙂
nothing beats having a tactile analog EQ on every channel. The EQ in a decent analog mixer beats anything I've found in software and forces me to use my ears. Maybe it's the filters or amplifiers or the frequency knobs on them, idk, but it sounds amazing.
I pipe my MPC Live 2 through an analog mixer from the early 90s with 16 channels, by using a class compliant USB audio interface creating 10 outputs going into the mixer. For mixdown, I pipe 8 mixer outputs (2 master + 6 subgroups) into my DAW using another audio interface, from which I monitor everything. One groups for drums, bass, etc. Each of those groups is a track in Ableton for recording/bus FX.
It's completely changed how I make music since I try to as much as possible on my MPC because I'm completely unproductive in a DAW (too much choice, too much distraction).
I also love physical faders and recording them live, instead of less musical automation. Makes it a performance.
Routing outboard audio effects via inserts or via subgroups and sending groups of channels to aux to a reverb for ex, is extremely useful, the mixer is a better user interface than DAWs as it's easier to keep track of everything going on.
I use DAWs only for mastering/bus chain software FX (tweaked live, not just after printing stems) and final arrangement.
Always love your videos, great job. For me, I will never go back to life without a console because for my specific work flow, it makes everything so much easier. My studio primarily records live bands with a focus on live drums, and I primarily work with local bands who want real drums on their album but don't have the gear to do so, or the cash to rent out one of the big studios in town. Tracking bass, guitar and vocals has become pretty easy for most bands to do at home, or in their rehearsal spaces. But a full kit, that's still a challenge.
Routing, and the amount of money a console can save is why I love them. Like I said, I track drums a lot. It's not uncommon for me to put 20 mics up during a drum tracking session. For a long time, I tracked everything directly into the DAW. So after tracking drums, my DAW had 20 individual tracks in it. Many of these tracks are meant to be summed together, like the mics on the top and bottom of the snare, or the multiple mics on the kick drum etc. With a console, I can rout them through a Bus on the console with the push of a button, and send the summed signal to the DAW. This makes it very easy to funnel down those 20 channels to just 5 or 6 channels to work with in the DAW. Making editing, and mixing so much easier. Typically I'll send all the overhead mics to a stereo bus and into the DAW on a stereo channel. Same with the tom mics, the room mics also get their own. Then a mono bus for kick, and one for snare.
Consoles also save you a ton of money if you are tracking live drums and live bands. I think most people associate the word mixing console with $100,000 Neve, API, or SSL consoles. And, yes, those would be cool. But lets face it, if you're watching this video, you probably don't have the budget for one of those. You can get a 24 channel, split line console from Trident or Audient for like $22,000. That's still a ton of money, but compare that to buy 24 outboard mic preamps with EQ. Even better, the late 80s and early 90s saw a huge home studio/project studio revolution and many companies made mixing consoles for this market. Great sounding, incredibly functional mixing consoles that now go used for dirt cheap. Brands like Sound Craft, and Mackie (among others) made smaller format mixing consoles anywhere from 16 to 32 tracks. I used to have a Mackie 8bus console, and it worked great. 16 split line inputs (meaning you can use the same channel for input and output. Tracking and mixing) with 8 busses, a series of Aux sends ect. I bought that used for $200. Just a few weeks ago I found a Sound Craft series TWO with 24 tracks, 8 busses, 8 Aux sends etc for $350.
If you're just starting out recording drums, there's already enough gear you need to buy in the form of microphone, cables, and stands. Instead of spending a ton more money on an interface that can support 16 or 24 or 32 inputs, plus buying all the outboard preamps to populate those inputs, you can buy a much more reasonably priced 8 input interface and a console.
I've been on the mixer for 33 years now, both studio and live.
In studio i use both methods, analogue and digital. I use RME as well, as in my opinion (according to my ears - others can have different opinions) it's the most linear (characterless) interface on the market.
In one of your slides you shown a neve consolle going to a studer multitrack tape recorder, and that's the gear i used for a long time. Funny enough, since old studers are very sensitive and delicate machines and spare parts are not easy to come by, when it became "less usable" the neve basically became the preamp going straight to the RMEs. Best of both worlds, so that the raw tracks are already good (I totally disagree with the "fix it in post" that most producers want, just to save on studio time).
The debate of what's best between digital and analogue doesn't interest me much. I believe all depends on who's using it.
Real audio engineers should be able to use all techniques, because the target is the same, and that is good sound. Unfortunately nowadays many "young graduates" think that top level gear automatically can make them great.
Anyway, your content is good and topics clearly explained, I often suggest it to people still learning.
Have a good day.
Another great video, and I’m also a fan of the RME audio interfaces.
I like the way you present the information, thank you for all your videos. In a desert island scenario, I would choose digital for instantaneous recall.
I use an analog console and a lot of analog gear just because it’s right for me. I still feel I get more vibe in this process. I’ll usually add all my tracks on the console, do all my analog processing, then print that process back in the DAW.
Then I’ll do automation and some plug in work to blend everything together. If the client needs changes, that can be done in the DAW.
This will be watched again. ❤❤❤❤
Great video. Very related to me as we're moving studios and installing a 40 channel console in the new space. It'll be 32 in and out to the DAW. I've worked all different ways over the 35 + years I've been recording and creating music.
Nice to get reminded on how powerful and inexpensive music/audio reording could be
Good audio interface and any daw with stock plugins are good enough for tracking, mixing and mastering. It’s amazing what we can do these days for a few $$$
Great video as always. Thank you.
You mentioned you were investigating a control surface. I'm intrigued to know what your thoughts are about the current options available.
No. But it does make certain elements of recording much easier/quicker
I like giving headphone mixes a bit of compressor/limiter so the singer can really hear themselves and in turn they step back from the mic and avoid plosives.
I'm using the Midas m32 mixing consol. For me the right choise to have a 32 channel audio interface with channel strips, endless routing capabilities in seconds and a daw controller. I think digital mixing consols are great to size down the consols and to have the benefit to have the best of both worlds.
I'm equally comfortable with both workflows, but prefer a console for tracking.
EDIT: I've also done some live outdoor theater stuff and prefer a mixer for that, too. Sometimes you need faster reaction than a mixer interface on a tablet (or worse, a mouse on a laptop) and the tactile sense to finely adjust controls by touch alone.
Thanks for sharing. U R AWESOME ; )
I do an awful lot of Big Band work. Sometimes I do Groups with two Drummers. I'll be damned if I'm going to screw around with a room full of outboard mic preamps. The workflow on a console is so much faster. I'm rarely afforded the time to mess around. Of course I record to and mix in Pro Tools, but a Console on the front end is a must.
I was recording directly to interface but with output, I’ve found having a desk a massive benefit, obviously it depends what you’re mixing but I felt what I was dealing with suited having the analog warmup and eq, also having the faders and being able to use the thing as another instrument feature has been gold. I have 36 in and 30 outs on my interface setup and so I put 16 channels in and out of a desk that’s 24 and use the other channels as backup as each strip in modular and can be swapped out. I found bouncing between both digital and analog tools really useful but also with the 16 track, I can record both digital and analogue 16 track simultaneously and if you really wanna hear the difference between the two, this is the way, and I can already guess which of the two you will prefer the sound of. Honestly v useful but also far more complicated and difficult to deal with. You need really good systems to manage
I personally prefer having a mixing console . I can't stand looking at a screen for extended periods of time. I like being able to physically make adjustments with knobs and faders. I also feel like there's more control when using aux sends. I still produce in the box sometimes, but I mostly have a hybrid work flow. I can also record totally analog with my 16 track tape machine which is what i been doing as of late. I have it all routed to go either way I choose. Analog, hybrid, or in the box. 😊
Mixing on desk feels fantastic,you can mix faster with best results,specially in stereo imaging and clarity,after 20years I’m back to consoles
I came up mixing on SSL, Neotek, API consoles - straight off tape to 2-track.
I started using ProTools for some things in 1994.
Fast forward (ha) to today. I’m using Logic, Reaper, Ableton, Reason, and ProTools, all mixing in the box (with the occasional console-as-summing mix).
Once in a while I’m pulling out my admittedly sparse hair re-registering plugins, dealing with OS updates, etc, but overall, the repeatability and the workflow in the box has been a boon and enabled dives into greater creativity.
Just try to listen for the emotional content and don’t get seduced into mixing only with your eyes.
I enjoyed this video, Other than the RME commercials. There’s a lot to be said about analog mixing boards. The good quality ones such as the vintage Neve’s and SSL add character that is hard to correctly emulate with plugins. Their digital counterparts (plugins) have come close. Most good engineers that have used both could correctly identify their differences. The digital age has definitely simplified recording. I was fortunate to work in a studio that utilized a vintage SSL board and a 24 track tape machines. Of course, we had the option to record using the digital method as well. I believe both analog and digital recording methods have their advantages. IF I had the resources, I would have both including a quality tape machine. Thanks for mentioning processing during the recording process. It’s huge. It’s a very common practice that good engineers utilize and it does take skill to do properly.
At my school we had to use an AVID S6, which I felt was a good mix between analog and digital (not that I've ever used analog outside of live sound).
I liked doing the basic rough mix entirely on the S6, and then refining it later in the box on my laptop
You can do great work without a console, but there is flavor and color in using the right mixing desk.
I still feel the need for a mixer. I don't have one, but soon. A good DAW controller is the Arturia mkii series. The 62 key suits my current needs. Also Ableton Push is a great option.
Thank you
I came *THIS* close to getting that RME UCXii. It looks freaking amazing. But at the end, i got the Motu ultralight MK5. So jealous
Just got a deal on a 24 x 8 bus, definitely needed this run thru
Awesome! Enjoy! How do you plan to use it?
@@AudioUniversity as a line mixer into my DAW. Bus the drums as 2 outputs [9 in] into a tascam model 12, as the audio interface then computer,.
Another great informative video, as you have said the preference will mostly be based on which generation you experienced mixing equipment on. I personally think the Hybrid set up is the best of both worlds. Once thing you have not covered is the final mix of a recording. For example, Donald Fagan “The Night fly “or any of Steely Dan’s albums have a great sound. Morden music of today seems not to have detailed sound of each instrument and is very precise.
Great vid! Jumping off this though, I think something I wish I was taught better when I started a million years ago is managing redundancies in amateur, pro-am and pro contexts.
I use and need a mixing console. But I got rid of my computer recording setup and got a Stephens 821b two inch 24 track and the only way to practically mix without a computer is with a mixing console. Latency is very noticeable to a singer even with fairly low latency in the form of comb filtering. Recall is a bit of a pain in the backside, fader automation can be a lifesaver if you have a console with it. The Stephens has been quite reliable but it is a good idea to either learn to fix it, or know a technician that learns how to fix that particular machine.
Long time watcher. Thanks for making great content.
I noticed you had a Radial EXTC in your Cranborne R8. Are you able to use the send/receive via the back insert ports? I ask because I want to get the R8 and stick a pair of EXTCs in them without having to run the effects loop out of the front ports. That way I can run the back ports into my patchbay. Sweetwater says this cannot be done, but I suspect otherwise.
I haven’t actually used the inserts. I suspect they are not designed to be used with high-Z, instrument-level gear.
That is a Cranborbe 500ADAT, but the same answer applies.
The cables do get in the way. For this reason, I just use a Radial reamp box from my patch bay to my amps (because these are further away from the EXTC) and I use the EXTC for pedals.
@@AudioUniversity Thanks for the quick reply. I wondered about the impedance too, but I don't think the EXTC is strictly high Z for the FX loop, as some pedals work at line level too. If you ever test this out, please post and let us know. I've been eyeing this setup for awhile.
Also, I think it's funny that you talk about mixing almost exclusively in the box yourself but the R8 gives you console like signal paths with whatever channel components you want, either for tracking or mixing. It's a super hybrid approach without the console/outboard space/cost and I'm surprised more people don't go this way.
If you want a mixer: find a tech that can service a console, then buy a console that person can service. Lots and lots of great 1,000-5,000 used mixers that will serve you very well.
I love analog consoles for haptic feedback and IO bus outs into interface and sub out into 2 track tape. There is a color difference between console recording and direct recording and I prefer console. I also enjoy turning daw off and just mix outboard.
I don’t think my recordings with the London Symphony Orchestra in Abbey Road Studio 1 would have sounded as good without going through the Neve desk.
sometimes seeing the price asked for some tremendous vintage mixers is confusing when you see what can be ask for an old and qwerky monimoog (just the faders on an old a&h or soundcraft mixer pre 85 i'de say, are worth being kept compared to what you can find on anything under 1k5 these days). form 500 bux/euros and a little driving you can find really nice deals for vintage mixer> Of course the use of a mixer the way music is done in nowadays with what's available isnt necessery, allthough i personally have been working in the realm of dub these last years, and here is a style where not havibg a proper mixer is out of question, but finding smaller "prosumer" vintage mixers like let's say a tapco can be usefull for "caracter" for a procucer, for someone working as a mix engineer... well i'de say it's more a matter of use and confort, in the realm of music production there are ones that do it all in the box, and others (like me i have to say) that want a bunch of sperate generators that take a bunch of exploitable physical space, i'm pretty shure for inmgineers there must be the same geezers... I'm taking care of modding my Allen & Heath studio mk2 (16/4/2 enough for producing and dub mixing of stems, in 2024 who need a hudge studio mixer right? lol), making all my fx sends postfade and thinking of getting opamps with higher spec (072 inside). As i'm on this topic these days i just wanted to share my view on the topic, a mixer is cool to have but it's heavy and takes a lot of space....
Same in photography, it's a bad practice to rely on fixing in post. Capture the good stuff in analog(good lighting, appropriate Lens choice and aperture, shutter speed and iso), because these things is difficult to fix in post. Also in terms of devices, almost everything now have a cheaper alternative to produce the same output. However, expensive equipment will out-shine cheaper alternatives in dire environments, like poor lighting in photography, same with audio recording.
Was this a commerdial for RME equipment?
Not sure what a commerdial is, but he said the video was sponsored by RME at the beginning.
I'm very curious on how you connect the 12 mic preamp to the UCX II. Are you using ADAT? Which in that case you're only able to get 8 mic preamps?
A good video, except the tape machine that has been shown many times during this, is a digital machine, not an analogue tape recorder. Even though it's about desks, but you should have had a picture of a real analogue tape machine. Just saying.
I would also emphasized on the fact that tape machines are limited in the number of tracks they can record so one would need to downmix all the input channels.
DAWs are able to record as many channels as needed (basically the amount of interfaces available) so there is no need to mix all the inputs available on the interface(s) to a lower track count.
Always love the content! And I didn't know you used FL studio 😅... Unless you're an omni-daw man. Do you think a digital board with DAW remote would be the best of both worlds?
Interesting!
Personally, I only need a good sound recording device with 2 channels. Most of my recordings are either non musical sounds (mostly sound for videos) or on sometimes, live music (where the goal is to recreate the experience of being there as good as possible, not to do a mix). An external preamp is another thing though. Even some really good recorders or cameras (that perform well when recording line level signals) often have crap preamps in them. The problem is mostly noise.
Even when using the line setting, if the recording level is adjustable, the SNR (the ratio between 0 dBfs and the average level of the noise floor) for most devices get better the lower the recording level is. So it's better to use an external good preamp and adjust the recording level by the gain, than adjusting the level in the recorder or camera.
I have built my own preamp and have a DC/DC flyback converter in my design - so I can run conveniently on a single 18650 or 5V USB power (I use mine mostly as a portable device) and still supply the opamps in the reamp circuit, +/- 15 V (that way, the preamp will never clip before the recorder).
In my particular case, I also use microphones that I have built my self from Primo EM273 capsules - and to get the best performance out of those (mainly when it comes to distortion at high SPL), they have to be powered up in an unconventional way with either a 3 lead configuration (which is the one shown in the data sheet), that has a separate power and signal lead - or a 2 lead configuration with negative voltage (unbalanced, with ground positive instead of negative) - which is the one I use, since it's more conveninent to be able to use small RCA connectors, when it's an unbalanced signal anyway. A voltage regulation circuit is also needed to get stable voltage to the capsules and lowest possible THD. This is against all normal standards, so I need a custom built preamp anyway.
Definitely a mixing console or at least a control surface. Tactile feedback is important. You don\t want to drive a car or fly a plane with a mouse or a touchscreen. Right?
I personally use the best of all worlds: digital mixing console, plugins and most of automation inside a DAW and some outboard gear. My typical mix has 1 to 5 channels of analog outboard. It doesn't take that much effort to write down the settings on an Excel sheet template which has a cell for all knobs of my every external processor.
Are there any links of some of the music you've mixed that you can maybe point me towards?
Love your channel but what you didn't mention is if you have analog modules running thru stereo on the analog mixer as well as other gear, a simple 8 channel interface will not suffice and you would need to expand your ADAT or Spdif connection, there are benefits to both I'm just not willing to give up all the analog gear in place of digit, I would love to see a comparison with an API 2448 console to a RME fireface UFX 3
Some great mixers on Kijiji etc for dirt cheap because people don't want them. Years ago I'd have dreamed of having one of them but now I'm just a bit sad that I have no need for a 24 channel mixer. It's simply not my kind of workflow any more. Multiple small mixers distributed round my studio better meet my needs.
I think those giant mixing consoles are a borderline marketing gimmick at this point. Look at any textbook on audio engineering from the AES or similar groups and they all have the obligatory mixing console on the cover. Nevermind that most enthusiasts will never use one and never need one. I've recorded bands, worked in radio, and currently work in audio preservation, and I've never needed a full studio mixing console. Analog is nice, but a 500 series setup should be enough for anyone who doesn't want to go digital.
Good stuff, thanks! RME Q:
Should one care that the UFX series has Min (ASIO) buffer size 32 while the UCX has 48? When you get into the hard to find specs the UFX series look much better on paper.
I suspect that in even the completely digital environment, the operator remains a performer. Skilled people will know their tools and what they can do. Personally, I am more interested in what happens when you try something weird. I am not sure the digital ecosystems are designed with exploratory inspiration in mind. Analogue gear seems, at least to me, more open to non-canonical suggestion. Anyway, great channel, great videos!
10:09 Maybe I'm just old, but calling an iPad a tactile controller is a bit of a stretch.
Well, in most cases I think the discussion goes like this: How much does it cost? Oh, in that case I'll do it in the box...
I've been mixing and master for around 20 years. I do better mixes with my software and few gear than guys on fully analog gear that have little experience
I would like to ask you where did you get your Desk ? I'm interested in a Desk for my self. Can you please advise me on this.
This is a Sessiondesk! It’s great! If you’re in the U.S., you can get one at Audioscape.
"console is faster" until you have to recall a session. The MINUTE I was able to get away from the chains and tyranny of a giant, constantly malfunctioning torture rack I did it, and never looked back
Is there any mixer that accepts optical cable as input? I want to mix sound from tv with microphone for karaoke. I am using adapter for current setup.
I’d recommend using an HDMI audio de-embedder between the source and the display. That will be HDMI in and HDMI out with some analog audio outputs.
So if you just use vst plugins and some hardware synths and you dont use live instruments and mics then a mixer is not needed then right?
Mixing desk all day ❤
If you want a nice thick sound yes you do if you want to sound like all the other million bedroom producers you don't...there is definitely a unique sound from desks
Hi guys I rang a shop yesterday inquiring about an analog mixer and I found it weird that the guy instead of helping me to find what suited my needs , decided to bare on his poor knowledge and tell me that it’s more economical to work in the box. In my opinion working in the box totally is great for instruments that were well recorded in proper environments. Now saying that I mostly produce reggae and “world” music. So I’m trying to reduce my plugin footprint and adding “natural saturation “ from mic pres through my focusrite out to a mixer and back into my daw also there’s an eq and comp on each channel. So , I’m still looking for a recommendation on a 24 channel mixer under £1000 please tag me in any suggestions
white fl studio background grid is wild
Of course is not obsolete. You can hear processed sound without that huge latency what adds even very powerfull computer. And real hardware sounds not the same as plugins, it’s close with plugins, but hardware real devices are better. Just see how modeled fairchild plugin sounds comparing to clones, there’s a lot of videos on UA-cam
Yes
summing mixer and using faders itb my whole career
I ran a studio for 8 years without using the available mixer. We had one, I just never needed to use it.
I dont know much, but..theres a big mixing board on my computer that can run to this cd machine, But I dont make tapes or Cd’s..I just make beats.
It's the real slim shady!
EVERY Mixing console is a disturbance concerning acoustics because of reflexions. Please react!
Well, a wooden desk hosting your computer, screens, near field monitors, controllers, mouse and keyboard is not different really
Necessary? No. But I do it anyway because it’s sterile and I like the taste.
HDX cure this
Hey! Im early👋🏻👋🏻
Yes. Do you need a hardware mixer? No
You definitely NEED a mixing desk, actually you need 3 or 4 of them…. And you’re in luck, I’m going to be building some….😜🤣🤣 jk
No!
No. Coming from one who used one for decades.
Yes you can. SSL had full automation back in the late 70's
I noticed that when an audio engineer can't play music, he prefers the analog gear. When an audio engineer is also pretty good at playing instruments, he prefers digital tools.
I do an awful lot of Big Band work. Sometimes I do Groups with two Drummers. I'll be damned if I'm going to screw around with a room full of outboard mic preamps. The workflow on a console is so much faster. I'm rarely afforded the time to mess around. Of course I record to and mix in Pro Tools, but a Console on the front end is a must.