3 Reasons I Took In this (Outdated) Mixing Console
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- Опубліковано 26 вер 2021
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I LOVE where you're going man, the world may be in turmoil right now but I'm starting to see a trend of people getting real fking honest and more stripped back in their approach! its what the world needs right now, thanks for last weeks video it really helped me out on a busy day when i was starting to feel snowed under with a confidence issue, i realised it was ok to be pissed off n scared. then i did something about it
One 'eureka' moment for me dealing with my A&H ML3000, was that (if your console isn't inline, and your soundcard routing is really flexble), you can strap your soundcard ins and outs to your desk on the INSERTS (with an insert snake), and then you basically have an inline mixer in a way. It's cool.
I was about to say the same thing, I bought an old Soundcraft desk with inserts and made up 8 insert cables. I now have 8 'colourful' preamps, and a summing mixer
I love how you described this. Your first reason is the exact reason I decided to get a mixer. For me, it’s always been easier for me to comprehend how things by going back to the source of how things were done. In this case, using a mixer so I can understand how things in my DAW work since I started doing music, sound design, etc in the digital era as opposed to the analog era. And since covid happened while I was in school for audio engineering, I never got the chance to work in the labs and studios on consoles to get the hands on experience and for those pieces to fit together and having a mixer and using it had given me a better understanding for what I’m doing and it’s given me a different type of workflow which I happen to enjoy. I’m sure that’s a common thought process a lot of people can have but that understanding was really profound to me. Great video.
For me tracking with a console makes projects move and get to completion faster. I worked on high level live consoles for years then purchased a real recording desk an MCI JH 636 and hated the workflow so I sold for a 56 channel Midas Legend 3000. I am now working on an ATI Paragon 2 which is the only analog LIVE console ever made to have the same features as an SSL 4000/6000. I use my console as a tracking tool. Now I can EQ compress and gate “if needed” right from the console and never leave the sweet spot in my control room. I have all the feature of an SSL but the workflow of a live desk. It’s so nice to have the desk and I am truly blessed and thankful.
Congrats on the console! Ghosts have an awesome reputation. I personally love having a console in the studio. Like you say at the very least they are problem solvers. Auxes for different headphone mixes, various outputs, mic and line amps, eq, busing, instrument patching etc. Not to mention the joy and simplicity of mixing on an analogue surface with EQ and inserts. For me it really heightens the attention to detail in my listening and avoids mental fatigue and over stimulation from looking at a screen the entire time. They are made to treat and route audio. Computers were adapted to do so. Anyway that's just my view, it doesn't matter how you work, as long as you achieve the desired results. Happy recording and mixing. Long time fan of your channel.
I've been lucky to gotten a SC 1600 Producer Series installed a few months back, love it! Tracking through it mostly, mixing ITB. The patchbay on it is so nice.
Congrats on the desk, knowledge is power 😀
Congratulations on the new console! Having a mixer definitely can solve problems and open new doors.
It may be because I'm Rick Rubin old, but I prefer tracking through a console over separate rack or 500 series preamps. Having channel inserts and sends allows you to patch in other outboard gear and either commit to sounds on the track or return your effects on another channel which can then be recorded on it's own track into your DAW. I know some engineers who leave their favorite, go-to outboard gear wired to specific sends/returns so they don't even use a patchbay. It speeds up their workflow.
One recording trick I learned as a kid is to push the preamps into their sweet spot. Especially on drums. Sometimes you'll end up pushing it harder than you would expect. Play with the pad/gain on the channel and see what works best. Then use your fader to regulate your direct out to your interface/converter so you don't get digital clipping and a good recording level.
You can test this by making one recording at a conservative level and another with the preamps pushed. Listen for the harmonics and built in compression you may get, as well as frequency response.
Some preamps sound best wide open with no gain pad attenuation because lowering the pad may decrease the frequency range response. If the mic signal is too hot, just use the mic's built in pad to lower the level instead of the preamp pad. If the mic doesn't have a built in pad, inline XLR mic pads are super handy to get the job done.
Looking forward to seeing what you end up doing with the console!
Best of luck!
chaz
Yeah that's some great insight. It's a cool idea to have outboard hooked up, and possibly having multiple things going at once to a piece. Maybe kick and snare to squash in a compressor. What kind of stuff, besides a shared reverb, would you use a return with a console?
@@creativesoundlab I do both reverbs, rack delays and multifx, headphone mixes... and because my mixer can route a couple of aux returns to the busses I hooked up the outputs of my reel to reel. so I can patch it to record back into the daw with the flick of a switch. Also done cascading mixers through aux and busses on a pinch, as well as parallel comp. Maybe not the "right" thing to do but whatever floats the goat.
@@creativesoundlab sometimes I may send all the music, back ground vocals to a reverb aux send to add a bit of a live feel. Also adding a compressor after a big reverb can add a cool effect on a part. That's stuff I would do via a mixer aux sends
Hey Electric Owl: this was a cool post and got me thinking on my approach. I do regular live-streams and tried gaining the preamps to sound their best. Had a little clipping here, but nothing too severe. I really dig the sound of this but anyone who knows better feel free to weigh in.
ua-cam.com/video/1YFOM7f9w88/v-deo.html
I'm only with the band for about 2 hrs prior to streaming, so it's not too dialed in at the front, but its close. I'll keep playing with this concept, but its something i hadn't been doing that will def earn its way in to how i approach stuff. Thanks again!
Congrats on the soundcraft! I just gone a console recently myself and am in the process of restoration. I got mine for ergonomics and the fact that I told myself when I was able I would like to go back to this approach because it is how I learned. The nail in the coffin was wrist and hand pain from long hours using even an ergonomic mouse so I am revamping my set up to minimize mouse usage.
There is a wealth of knowledge online of mods for most the the soundcraft series and there is even a company that specializes in modding them.
Love it! Great content format!
It's the fundamental limitations of an analog mixer that makes you creative. Then there is the analog of an analog mixer. The small 5% to 1% tolerance of the discreet components, makes this mixer unique in its sonic quality and character.
Go ahead and treat yourself to real-time mixing - it's a blast and some of the mistakes that happen can set you off in a totally different creative direction.
I went with a NOS Soundcraft Ghost i found on ebay. I know its not a "fine" piece but i love it. Console work is different from interface=>DAW. Personally i find it more fun. After beating my head against the production wall for years i just want to make all of it more fun, and this approach registers with me
Always been fascinated by the dub scene and how the producers "played" the mixer as an instrument, would love to give it a try myself, I get the feeling it would teach me a lot.
First thing I did when I got mine - have a look for some Prince Fatty videos
I just found some videos of a guy doing that. I gotta do some of that.
Yeah watching some of those vids pretty much sold me on getting a Tascam 388
Great one!! The reasons you describe are actually why we just got an old Soundtracs console and are now restoring it.. I think that even if the only thing we get out of this is a learning experience it will be great! Love your videos, waiting for the next one!!
Just because audio interfaces and AD converters have replaced the mixing desk doesn't make the desk less engaging or useful. It's how the desk workflow suits you, and how its sound engages you, bringing out qualities in you that may make it more useful.
Great idea for learning and understanding workflow, skeptical about the audio quality and look forward to hearing it
I bought an old 80s Ramsa console and did a full cleaning and recap on it, which totally blows on that console since the channels come out in banks of four. I haven’t found myself using it for mixing much but I LOVE having all those channels of great mic preamps and eq, and the ability to aim channels to a buss has really cleaned things up; since I can put twelve or more mics on the drums and aim them down to as few as eight channels. One can’t overstate how impressive it is to clients to see a board in your mix room. There have been all sorts of cool tricks I’ve done, like recording fader rides and stuff like that, plus being able to actually get the sound you want on the way in if, say, you need a little bump in the mids, is killer. TBT though it has quite the acoustic imprint, so if I could, I’d put it on a cart and wheel it in for recording sessions.
I went out of the box years ago. I use a RAMSA 24 channel w direct outs into a 24 channel hard disk recorder. Out of the recorder back into the mixer. Inserts on patch bay and and no computer monitor involved!! I think it's a fast way to work. Every track has the mojo of that console and limiting myself to 24 tracks is inspiring. Good luck on your journey!!
I’m a big fan of analog mixing and analog gear in general. I’m also a huge fane of analog summing. My Neve 5060 is a small format console that can sum 24X2. I think this makes a huge difference in sound. Moving actual faders and turning actual knobs beats clicking a mouse any day! Have fun brother and keep up the great work man!
I switched to analog 3 years ago, never looked back. I work on tape though and that is VERY different form in the box. Pretty much what goes in, goes out and if you can't make it sound good to boot there's not much you can do in post, which is the point - bake it all in! :)
I git one just like it and they are fairly quiet. All for the price of a ext pre you get a nice EQ and it has linage. You can bypass the Pre for a better one and go in on the insert return, you also have direct recording outs on the pres. You can bring a mix out and you got analogue summing right there. Upgrade the Power Supply first to increase headroom and make very stable when fully operating everything.Good for Live work for sure but while it doesnt have a dedcated tape returns in their recording conole models they are of the same ilk. You can service or mad the modules that you just cant do on surface mount boards. Great score
as someone who began recording professionally in the mid-70's, I've watched the digital rise. I have a DAW now, plug-ins, etc. Yet I always use the foundations I learned no matter if I'm digital or playing live with a 4-channel analog mixer and speakers. I commend you for a very rare combination of humility and curiousity, which make for a wonderful creative mind. Well done good sir! I will now hit subscribe, I have found a place I like to be. Thank you.
Started on a Brhringer MX9000 and learned it inside out. Routing, inserts, auxes, outboard. Then I used MIDAS desks for a while, got schooled on what a proper desk sounds like. Then I got introduced to the Yamaha LS9 and realised you could fit a lot into a small box, even though it didn't sound so great. Then DiGiCo showed me it could sound amazing. Got a PreSonus 24.4.2, did it's job, but wanted more. Never really sounded right. Flirted with a Soundcraft Wizzard, which sounded amazing for what it was. Got loads of outboard, DBX, BSS DPR402s, etc. Pain in the ass. Eventually settled on a Behringer X32 rack, which has enough inputs and enough limitations to keep me happy AND creative. Limitations are important. I can get the X32 rack to do ANYTHING. Limited inputs makes sure your mics on sources actually count, and that it sounds at least 80% there on its way in. To me (as its a very personal thing) there's little I can't do on an X32 Rack... sonically or otherwise. Its great for remote gigs, its a great mixing and routing device, and its an amazing sound card for the money.
The last reason you mentioned is the most important one to me and the one I have been thinking about getting an affordable old console myself.
The routing options a console gives you are so much more complex than when using only a patch bay and an interface. And that opens up so many possibilities.
For example, I'd like to have an option to sum channels together so that a guitar amp miced up with multiple mics doesn't clutter up the DAW.
I used to have an old Spirit board. It sounded pretty good!
It is always much more enjoyable to track things through a console with direct outs and bringing the signal back to the desk to monitor and get a rough mix set up.
good that you have that desk to play with. Some things are still a mixture of digital and analogue. If you can get source sound that you like that must be good. Some still like to run thru a tape machine to get that smashed effect on a track or more. Good luck on the Console.
Being a live engineer primarily I prefer the real-time mixing and I approach it that same way when mixing in the box. I have mixed a bunch real-time for recording. Back in the day 20 years ago I had a small studio and I had an 8 subgroup console and I simply patched each subgroup to the 8 inputs of the interface so I could patch any channel of the console to an input of the interface. Sometimes to get the feel of the recordings of days gone by is to use the gear from then. I want to have a an analog console to go with my reel to reel 4 track and interface my X32 rack to use it as the tape machine with a DAW and be able to mix in many different ways. With that analog console and an interface or two you can do some very cool patching and routing. For example you can use an aux send from the console into the interface and return back to use all kinds of cool plugins as send/ return efx to take the place of outboard units you can't get your hands on.
Been using the 200 series (200b) for a shortwhile for its limitations, and added a delta 200 for more flexibility and possibilities. Stretching out/experimenting isn't just about learning something new, it’s about learning yourself.
I have always worked in analog, and a few years ago I started working in digital as well. When it is analog and I have 4 or 8 tracks for recording, sometimes I had to submix to in some cases record more tracks than I had in the recorder. I have not always had direct outputs and I tried various ways to output the signal to the DAW or tape recorder (sub, aux ...). When I have tested a mixer with direct outputs I have bothered to test if there is a difference between direct and sub output. In direct output you have the preamp as is, but with the sub you can play with the gain, the fader and the sub. Compression / limiter effects can be achieved by playing with the parameters. In my opinion the two options are great, you just have to know when and how to use it.
On the other hand, having a mixer in the studio looks really cool. I am not very good with automations and I am used to mixing by hand in real time and sometime working with a friend who automates very well I have tried to compare automatic vs digital mixing. The sound changes drastically when going through an analog equipment, it has another depth. Congratulations on your work, you do it very well and it shows that it is the passion of your life.
All the best.
I had a sound craft spirit, sounds lovely ! 👍🏽
This very Spirit 8 was the centre of one of the neatest studios in my region. I myself have the 32/8 behringer eurodesk, some things are a bit eh but the flexibility is quite amazing. I record bands, drums with each mixer buss feeding one input of the interface, pretty much each bus with a dbx compressor, or eq or what-have-you inserted.
Analog is where its at in my opinion, yes its a pain in the ass and pricey but the sound that you can get with it is worth it. Just take all of the old albums from the 50s, 60s, 70s, 80s and part of the 90s.
I have a soundcraft spirit 40 channel console in my studio. Not for any esoteric reasons, but simply because it is faster and more efficient to work on a console. If I need to adjust the kick it is where the kick always is. That's much quicker than scrolling to find the kick on a screen and then adjusting it. Time is money. Plus the analog summing sounds a little bit deeper and wider. Some things were better in older technology. I still use a faderport 8 for automation and plugins instead of outboard because they are better for recall etc. Best of both worlds.
I used to have a Soundcraft Series TWO. Awesome for tracking and had a bunch of great features. As I starting mixing more than tracking, recall time wasn’t servicing my clients so I sold it.
i mixed live on the same board for almost 10years, and i love that board!
there is so much more you can do with a desk than without, great things to have around.
Using a small mixer in my booth room for monitoring so I can hear myself and the mix before my vocal enters the daw. I monitor the vocal preamp and out 1/2. This way I dont have to change my buffer ect and I can have eq and effects and level control on the fly which the performer can adjust to taste.
Cool stuff! I own a smaller spirit too and it has a lot of vibe. Mine’s been modded so only a couple of channels have phantom power instead of either on or off. Working with live consoles makes for a faster pace, so musically people don’t have to sit around too much
Got a k2 since 1999 and never got rid of it.. I got my 32outs from the AUDIO INTERFACE always hooked to it and I exclusively mix on it.. freaking fast and cool sounding
Those Spirit consoles are awesome ! I use them for 30 years+ for mixing in a hybrid setup, summing, inserting outboard gear and routing any signal anywhere you want, that's really all you need. The last one of the tree is the Soundcraft fx16 II. Super cheap, great faders and good sounding ! I bought a new one because the old one was worn......
I bought a A&H GL2200 for hybrid mixing years ago and always had the problem of having enough channels to go through. Then after a while I figured what I really need it is to use it as a drumkit pre and eq. Now i use 14 channels for drums and more for a live band session. And try to emulate analogue equipment in the daw for mixdown.
Keep it up, Ryan!
I have the 16 channel version of the same mixer! I haven't found the pres nothing to write home about, but the eq is not too bad and using it for summing is also fun. If you find cool ways of using the mixer or even some mods one should do please share them with us! Cheers!
Cool. Wondering if it adds any noise floor challenges to your workflow..
Awesome man ❤️ Being able to swap out parts and make it your own is fantastic. I’ve never been one to open up and “peek behind the curtain”. When something goes wrong I just think “broken magic!” and call someone who knows what they’re doing 😂 I’d be lost without my console. It’s just how I was brought up. It’s taken me until recently to dive into the box for mixing, but for tracking and some mixing projects, it’s still invaluable to me. I like to think I’m finally using the best of both worlds ❤️ ☯️ 道
the eq‘s on my a&h 24 channel may not be up to modern standards but its ridiculous how easy it is to dial them in. plus the board is awesome for summing. its just better. mousing around in the computer all the time is dehumanizing. love the 163s btw.
Hi. I picked up a used Soundcraft 16fx ii. I too like the idea of having options available especially in a live situation with the direct outs on each channel. Some of the hot signals (especially from the drums) can really be trimmed down before they go to the recorder. In the studio we have the luxury of being able to move mics around and have more options for mic placement. On a tight stage with limited room, and the need for close mics due to feedback issues, having more control over those peek sounds allows for a larger control over the signals. Also meeting up with the live sound guy with a board that has limited connectivity really is frustrating when trying to put every line level and mic on their own dedicated track. So I try to steer clear of adding too many devices in the signal chains whilst in the studio for fear of adding more noise, meanwhile in a live situation it gives me another level of control and comfort because once we are at the gig we have to go with what is available and do it on the fly (we don't always have the luxury of the Rolling Stones Mobile truck out back to carry around cables, converters, signal effects etc). We have to plan ahead, bring only what is necessary to get the job done. Great video, and yes consoles look cool. Infact in the past I would always have one in my studio, even though it wasn't always used, as some paying customers expect to see that when I would have them come in for a preliminary meeting. Lol strange but true! I used to record any and everyone, but after being burned for fees, working with others who have no business being in the studio due to poor musicianship/terrible songwriting skills/ performance issues and/ or pig headedness, I am more selective of the jobs I take. Great channel, keep up the good work, I enjoy your content and professionalism!!!
Being able to get a rough EQ happening before the interface makes a huge difference to the process. Also much easier to organise headphone mixes!. 😉
good choice. now we are waiting on how it sounds on a full track
I used a SC Series 6000 for about 5 years. It was a 32 input, 12 buss configuration and I really loved it. I decommissioned it a few years ago and installed a 56 channel DDA DMR12 Console. I'm not sure if the Spirit has the same pre amps and eq as tje series 6000 but they really had character. I'm trying to come up with a way of racking 8 channels so I can still have access to the eq. Enjoy the board
Spot on.
I was totally think the same thing when I got my console, is for the “old school vibe” factor or is it for the experience? I’d have to say the experience is amazing and something new and scary sometimes!! But it’s all fun and I love it 😍
I mix and edit in the box then send busses to an analog mixer to add some analog vibe and if needed Iuse some outboard gear as well. Then I send a 2 track stereo mix back into the box and that is my final.
I recently got a 32 track soundtracs spa3200 console for free on Craigslist and it weighs like 600lbs but it’s the best thing that ever happened! Except for the minor fixes to the meter bridge and three of the modules, it works pretty darn good. Integrating my digital setup with it tho… lol 40 connections I didn’t have is a bit pricey
One thing I enjoy my mixing console for is recording to a multitrack tape recorder and recording and mixing a song in pure analog with no computer on. I have a Tascam 38 and I mixdown to stereo on my Ampex ATR 102. Soundcraft is a very good mixer. I use a 16 ch 200b. Enjoy your console
Hi Ryan. Congratulations for your new acquisition ! I share all what you say about. But I'd like to know, the exact model of this board please. Very good channel. Thank you for sharing and greetings from Formosa Argentina !
I made the mistake of selling my old Audio Technica mixer console created around 1980. I only had eight channels and 2 busses but had this marvelous array of inserts and direct outs and it sounded great. Used Jensen transformers. I want it back. I love my DAW, but I truly miss having that tool in my home studio. I can't wait to see what you do with the Soundcraft.
Always loved your videos and actually feel like I know you. Weird right, anyway. Thanks for your contribution to the craft!
Good mixers are never "Outdated" , i have 2 in my home studio (that is a step up from a standard home setup). In the control room i have a 32 ch Allen & Heath Gl 2400, i use the nice british preamps for recording , it has 10 aux ouputs that i use for in ear monitoring so everybody recording has his own mix. l also use the other half for playing back groups of tracks while mixing. The monitors are oif course hooked up to it so in the end it's like my swiss army tool , plus add the wow factor, when i have people coming in they love it! I own a Behringer MX9000 in the live room, i use that in the same way but as a demo station that can record up to 8 tracks , i can get 5 in ear monitor mixes out of it for anybody that wants to treat themselves to a DIY job or when i want to do a quick live recording without the bells and whistles!!
I still use my Soundcraft SX 20 channel,I use the direct outs a whole lot 🙂
Hey man, I recently bought a Soundcraft GB4 and it doesn't have any mic/ line switching on it. I think the spirit is the same way?
My question is, how are you working with that? I have been considering getting a set of rack mountable switches custom made for it so I can have all 32 channels available at all times for either input. Do you think that is overkill? How are you running your console? Thanks in advance!
Would love to hear your thoughts on the differences in using the board after being in the box. I started out of the box and still there mostly.
Hey Ryan do you still have the MOTU 24i/o?
When I had my studio space, I had the 40 channel Spirit 8 and two 24i/o's
Loved it... Tracked and Mixed on that board.
Routed outboard gear through the extra MOTU in/outs as send and returns in to my DAW
You should track drums through the Soundcraft and compare it to your current setup.
Stay Creative...
Try some summing tests with it, vs. ITB! i have/love an old Soundcraft 600. a fun way of working, which is what it's all about!
I believe there was a bump in analog transitioning last 2020! I mix on a soundcraft spirit too, one very much older than that.. sounds great. Just some issues with faders.
I had a Yamaha MG16/4 given to me. I learned so much from using it.
Run a digital mix through the console like a summing mixer and you will be surprised about the punch, stereo image, and clear sound that it gives!
What happens if you chain several channels in series, like cascading gain stages? Fuzz?
Man I feel an Engineer without a console and outboard is a editor. Console is the Holy Grail.
You can also daisy chain some channels, mess with the EQ and levels and get some really interesting distortion. Play with the gain and EQ of each channel, it will change the way stuff distorts.
1 - How does it work as an out of the box summing mixer vs just doing it all in the box? 2 - How do the internal preamps sound vs your hardware interface, and/or outboard fancy pres compare on sources like drums, guitars, vocals, etc.. 3 - Are you routing any recorded signals from the computer back out to the board into your hardware effects, aka hardware insert effects, and if so does it make it worse or better, or no difference? 4 - does your workflow feel like it is more creative, faster, or maybe slower with the board? 5 - what are the advantages/disadvantages since getting your board in terms of recording or mixing? 6 - as far as your limited use so far, do you think it's worth the space it takes up?
Used a Soundcraft LX7 24 channel with 4 Channel Bus for a couple of years. Just "upgraded" to a A&H GL2800 32 channel with 8 channel Bus. Much more versatile.
have done this all my life, am a life-long learner with gear coming and going. Not for everyone but can be educational.
Sound, workflow, fun. My pre-watch guesses
I got a Ramsa wr-t820 for free. Old gear can be good gear. I got 20 channels with analog EQs. And it was way cheaper than filling in a 500 series rack lmao
I have a console in my studio as well. It's an Allen & Heath GL4. 40 channels but I took 16 channels out because what am I going to do with 40 channels. I don't care to use up that much space.
It operates as 14 of my mic preamps with a four-band EQ and variable hpf on each channel. I dig the flexibility and the opportunity to push everything a little more towards finished on the way in. All the direct outs are unbalanced so I'm not using 'em. Instead I'm pushing out of the 8 group outputs and 6 of the 10 aux outputs to give me my 14 (balanced) channels. I'm sure the added gain stage adds a little noise but also provides opportunity for saturation. All in moderation, of course.
I don't mix through it - I have too many simultaneous projects to deal with that amount of recall - but I do print through it when I'm running ITB sources through any of my color/flavor/destructive outboard. I even use it as a sidechain EQ for some OTB compression so I can emulate a hpf or a “thrust” sidechain circuit. I don't mix through it but I can't imagine my workflow without the flexibility it provides.
I think I’ve been seeing them more as people are doing more DAWless projects. Makes me think of stories of five people doing a hands on real time mix, while tape is playing in days gone by. Now that’s team work! Wonder how many albums were mixed that way… and which had the most people on faders at one time.
I’ve seen a few big mixers being sold for very reasonable prices. It’s a Cool idea to just have one around, especially if the price is right.
Fun!
are you associating your coolness with the console?
I think its cool. Theres a local public radio station thats unloading a sc ghost 32 that Im considering.
Got a 22 channel SoundCraft console over an 8 channel interface (because drummer..need inputs), not regretting that decision.
Is that a picture of Neil Young in the back? :)
Record thru it out to your DAW. Limit your self to 8 tracks, do bounces thru the board to get more thracks, .. mix thru the board using mutes, outboard FX, and print out of the board your "on the fly" mix. Fulll old school. If you want to get daring, bounce out vocals to a tape deck, and resync it but hand and fly it back into the daw! Good times!
Maybe I’m getting the wrong vibe but man you really don’t sound too excited to have that sweet console behind you. It’s like your lamenting or something lol any console puts a grin on my face 😀
@@AL_EKs I own a SSL and that Soundcraft behind him is a great console with plenty of great routing options, effects and summing. I think you may have missed my point.
Another UA-camr and audio engineer had one and modded his. True Sound Studios
I recorded drums with a mixer for years. Now that I got an interface and DAW it's like easy mode.
Also- I'm glad you're making videos again, bud. I told you we had your back.
well, if you wanted to "look cool" in front of a console then one of the last consoles on earth you would choose would be a Soundcrap spirit8....right?...love your channel.
Now I don't feel so bad when I buy stuff like Consoles and outboard processors. Its funny how a lot of people are running pedals into the DAW thru the audio interface for a more analog sound. I would do it because I can't afford the Plugins as apposed to a $5 pedal I found at the thrift store.
Plug that into an Antelope Orion 32 gen 3 and you might be surprised.
TRUTH!!!!
I have always used a 8 buss mixer. Yes The analog mixer is the real thing. The daw is a emulation of it.
I love my mixer... I dont even use it to its full capabilities, there are so many.
here is number four - no f@@@ng updates, where everything comes to a stop
I like to sum via an analog console. 👍
Thing is , most "DAW" users... youngens.... Question how Inserts, Sends and Busses work........ I always refer them the once you under stand , and have used an analog desk., you'll much more understand it , than a clicked answer on YT..... Same applies to Synth VI's..... I seen people pay money for a VI because they dont understand the basics.... In fact , a free VI does what they ask, but many prefer the shortcut....
Many need to realise being able to to things faster, definably means many times, the shortcuts will get you there, but you've got to know how.... Thats the journey.
It's hard to really get into the analog worlflow without a hard limt of 24 tracks and only what's in each channel strip and the contents of the rack. I think you'll that you'll try to get as much out of each track as it's being laid down as you can... and free up your limited outboard gear for use during mixdown. It's harder to get into trouble with digital. There are no commitments ans regrets. People now have better tools but are less experienced. There are probably 1000 pro recording studios that have disappeared in the last 30 years and never replaced.
Dude you are going through some stuff huh?
I just got a big Soundcraft spirit 24 track with a custom power supply, I got mine to learn how to route signals but mostly to look cool, I love the way they look. They are really interesting and tactile, it is a dying art, not more efficient, not better sounding (some will argue this), they are completely unnecessary. It is the same reason why people use Ham radios, or blacksmith, or numerous other obsolete crafts. I got mine because I like it, and it makes me happy, oh yeah... it was dirt cheap too
Get good at it then
You talk to much. And don't teach nothing