10:57 Too carried away? Naw dude, I just see a man that loves almost all aspects of content production (be it audio, visual, or under-the-hood stuff.) I immediately noticed this video's color tones feel more neutral compared to the previous uploads, and I like it. Also glad to hear your internet upgrade is done! Evidently it's been on your mind, and it sounds like you can call it a day after the old line is uninstalled. I'm sure you can now push a higher bit rate for video streaming if you're into that. Cool stuff as always!
Apparently the UA-cam warning 'you are sending more bitrate than recommended' is harmless, and they use the higher bits if you got 'em. So instead of sending 10,000 and having them meep about it, I might try telling the ATEM it's talking to a hyperdeck and sending 200,000 bits :D I can't make it upsample, but I can also fix the washed-out look. My cameras were set wrong for that :)
7:20 - 8:15 Can you clarify what you're saying about using both "sin()ch" and "asin()bus" in an equal number of instances? Are you saying that these settings deliver the most accurate or balanced result if we're going to stack multiple instances of EveryConsole? Can a dirtier sound be achieved by stacking instances with different settings?
If you're not aliasing, they 'encode/decode' accurately. So, if you go through X many 'encode' and then X many 'decode', it's still accurate. And yes, if you stack different algos you get strange things, but they're transfer functions, NOT frequency response. So you have to be able to listen for differences in spatiality, not timbre. Listen for what changes between ONE instance of either Channel or Buss.
Great video and release, Chris. I mix hybrid and do comparisons with plugins and hardware regularly, although they should be used in conjunction. I've learned that analog gear isn't static and resembles that of a plugin you've made in the last year called Texturize. The subtle dynamic behavior of analog is a lot similar to Texturize and console combined. Could you possibly experiment with this? I've been using MAAT FiDef and it for sure enhances the audio in a very analog way. Cheers!
thanks for this comment. I didn't know about FiDef. I just watched the demo and I like what it does. I'm going to try texturing for things like this, haven't actually used this plugin. And I hope that Chris will develop this idea even further.
@@LYSHEmusic -- I'm not sure where I learned about FiDef, but it sparked my interests, after watching a demo. I did compare Texturize and I preferred FiDef, but I'm interested in whether this technology could enhance later Console plugin releases. Anyways, cheers!
Can someone point me in the right direction as to what I should be listening to for the difference in each one? I understand it’s mostly about clean summing channels and trying to mitigate aliasing as much as possible, but I get kind of lost when listening to the comparisons because I don’t know what I should be listening for
It's hard to hear, especially if you assume different == different frequencies! Stack up five ConsoleChannel and listen, you should be able to hear obvious distortion. Same for ConsoleBuss, it should be obvious, distorted expansion. It's that sort of thing, but subtler, you would be hearing. Stuff that is in all analog consoles even when they're pretty flat.
@@airwindowsthis sounds like it might be fun to use to try and recreate the fidelity loss you experience when being put on hold on the phone? I know nobody wants to hear music that sounds that way, but I’m trying to get as oldschool and nasty as possible
Not just that. If you want to start working on this stuff too, you should be able to do so. Other people might make their own take on what an Airwindows Neve ought to be. Or invent your own big console for your own studio, to be just the way you want it :)
HD600s. I've also got a lot of use out of the MKH 50 P48 microphone, and the MKE2 Gold lavalier mic is what I used to use on old coding streams. Sennheiser is very good as a rule.
@@airwindows Thanks for taking the time to reply, I’m looking at those since a while now, currently using DT-880 pro by BeyerD. But I notice more and more, that the ones i follow because I like their sound/style seem to use SH… might as well join the club soon !
So you're supposed to 1. use the "Console Channel" as the very first plugin on any channel, 2. then the "Console BUS" as the last plugin on the master channel. 3. and not touch any of the DAW's faders. to allow this to work?
I'd say Console Channel as the LAST plugin before the summing buss, and the Console Buss as the FIRST plugin on the master just after the summing buss. And keep the summing buss at unity gain, not touching the DAW's faders. You've got the right basic idea :)
@@airwindowsthank you for your response! I'm excited to try this and see if am able to feel the difference. To my understanding, there is no need to add another "console channel" to a bus that combines all the drums then sends to a master, or reverb to master? Ex. Drum track 1 2 3, all with their own console channel go to channel 4, then channel 4 goes to reverb bus and master. Then master bus has console bus on it. Does the reverb also need it's own console channel plugin? Does the bus 4 need it's own channel? Can you skip the other channels on 1 2 3 and only put it on the bus 4? Also, for panning, it would work using it in the daw? It would have to be using another console plugin?
Hi, Chris! I have a question. If I have a track that sends into a reverb and they both go into the master bus - how should I place console plugins? -ConsoleCh last in my track chain; -ConsoleBus first and ConsoleCh last on a reverb bus; -ConsoleBus first on the master; As I understand, Ch is encoding audio and Bus decoding it. That’s my logic behind putting CBus on reverb send first. Is that correct? Thanks 🙌
You can do that or you can run the reverb 'inside' Console by not putting extra plugins around it. This works for plugins where the dry signal stays as unity gain: adding delays, or an EQ where the 'flat' audio is still unity gain.
Hi Chris! Many thanx for your plugins and content, it's awesome I've got an idea for a plugin, you may be interested in. Time to time i realize i need a plugin that could smoothly change a pitch by cents in one octave (or even more) up and down. kinda vinyl that you slowly speed up and slow down by finger. I imagine just two knobs/sliders - 1) pitch changer and 2) control of a smoothness that allows change speed or sharpness of shifting between cents and semitones. If you could design it i'd like to support it! Thanks!
10:57 Too carried away? Naw dude, I just see a man that loves almost all aspects of content production (be it audio, visual, or under-the-hood stuff.) I immediately noticed this video's color tones feel more neutral compared to the previous uploads, and I like it. Also glad to hear your internet upgrade is done! Evidently it's been on your mind, and it sounds like you can call it a day after the old line is uninstalled. I'm sure you can now push a higher bit rate for video streaming if you're into that. Cool stuff as always!
Apparently the UA-cam warning 'you are sending more bitrate than recommended' is harmless, and they use the higher bits if you got 'em. So instead of sending 10,000 and having them meep about it, I might try telling the ATEM it's talking to a hyperdeck and sending 200,000 bits :D I can't make it upsample, but I can also fix the washed-out look. My cameras were set wrong for that :)
Insane regarding the internet difference 😮
Thanks as always :)
Awesome Chris. Looking forward to hearing this!
very nice, gonna try this. looking forward to the emulations. thanks
Thank you, Chris!
I love the sound of your plugins I'm thinking about about Going Windows Air Fully 🎉
Super cool, stoked for this!
Thank you so much for your time and efforts. 🙏
7:20 - 8:15 Can you clarify what you're saying about using both "sin()ch" and "asin()bus" in an equal number of instances? Are you saying that these settings deliver the most accurate or balanced result if we're going to stack multiple instances of EveryConsole? Can a dirtier sound be achieved by stacking instances with different settings?
If you're not aliasing, they 'encode/decode' accurately. So, if you go through X many 'encode' and then X many 'decode', it's still accurate. And yes, if you stack different algos you get strange things, but they're transfer functions, NOT frequency response. So you have to be able to listen for differences in spatiality, not timbre. Listen for what changes between ONE instance of either Channel or Buss.
True innovation at its finest. 🎉
Great video and release, Chris. I mix hybrid and do comparisons with plugins and hardware regularly, although they should be used in conjunction. I've learned that analog gear isn't static and resembles that of a plugin you've made in the last year called Texturize. The subtle dynamic behavior of analog is a lot similar to Texturize and console combined. Could you possibly experiment with this? I've been using MAAT FiDef and it for sure enhances the audio in a very analog way. Cheers!
thanks for this comment. I didn't know about FiDef. I just watched the demo and I like what it does. I'm going to try texturing for things like this, haven't actually used this plugin. And I hope that Chris will develop this idea even further.
@@LYSHEmusic -- I'm not sure where I learned about FiDef, but it sparked my interests, after watching a demo. I did compare Texturize and I preferred FiDef, but I'm interested in whether this technology could enhance later Console plugin releases. Anyways, cheers!
Haven't wa5ch3d the video yet... but I like it already!
So can I encode with one of the old consoles and then decide with this and vice versa
Can someone point me in the right direction as to what I should be listening to for the difference in each one? I understand it’s mostly about clean summing channels and trying to mitigate aliasing as much as possible, but I get kind of lost when listening to the comparisons because I don’t know what I should be listening for
It's hard to hear, especially if you assume different == different frequencies! Stack up five ConsoleChannel and listen, you should be able to hear obvious distortion. Same for ConsoleBuss, it should be obvious, distorted expansion. It's that sort of thing, but subtler, you would be hearing. Stuff that is in all analog consoles even when they're pretty flat.
@@airwindowsthis sounds like it might be fun to use to try and recreate the fidelity loss you experience when being put on hold on the phone? I know nobody wants to hear music that sounds that way, but I’m trying to get as oldschool and nasty as possible
@@airwindows thanks a lot for that explanation, will try for sure!
Early release!
Not just that. If you want to start working on this stuff too, you should be able to do so. Other people might make their own take on what an Airwindows Neve ought to be. Or invent your own big console for your own studio, to be just the way you want it :)
Hey there Chris, wonderful work as always !
Do I see there some Sennheiser-Headphones ? Anybody know the model ? Kinda got me curious ✌️
HD600s. I've also got a lot of use out of the MKH 50 P48 microphone, and the MKE2 Gold lavalier mic is what I used to use on old coding streams. Sennheiser is very good as a rule.
@@airwindows Thanks for taking the time to reply, I’m looking at those since a while now, currently using DT-880 pro by BeyerD.
But I notice more and more, that the ones i follow because I like their sound/style seem to use SH… might as well join the club soon !
So you're supposed to
1. use the "Console Channel" as the very first plugin on any channel,
2. then the "Console BUS" as the last plugin on the master channel.
3. and not touch any of the DAW's faders.
to allow this to work?
I'd say Console Channel as the LAST plugin before the summing buss, and the Console Buss as the FIRST plugin on the master just after the summing buss. And keep the summing buss at unity gain, not touching the DAW's faders. You've got the right basic idea :)
@@airwindowsthank you for your response! I'm excited to try this and see if am able to feel the difference.
To my understanding, there is no need to add another "console channel" to a bus that combines all the drums then sends to a master, or reverb to master?
Ex. Drum track 1 2 3, all with their own console channel go to channel 4, then channel 4 goes to reverb bus and master.
Then master bus has console bus on it.
Does the reverb also need it's own console channel plugin?
Does the bus 4 need it's own channel?
Can you skip the other channels on 1 2 3 and only put it on the bus 4?
Also, for panning, it would work using it in the daw? It would have to be using another console plugin?
Hi, Chris! I have a question.
If I have a track that sends into a reverb and they both go into the master bus - how should I place console plugins?
-ConsoleCh last in my track chain;
-ConsoleBus first and ConsoleCh last on a reverb bus;
-ConsoleBus first on the master;
As I understand, Ch is encoding audio and Bus decoding it. That’s my logic behind putting CBus on reverb send first. Is that correct?
Thanks 🙌
You can do that or you can run the reverb 'inside' Console by not putting extra plugins around it. This works for plugins where the dry signal stays as unity gain: adding delays, or an EQ where the 'flat' audio is still unity gain.
Great! I'm also excited about the Pear based EQ. Will we have it as a separate plugin?
Oh my God…. 🎉
👍 from UK
Hi Chris!
Many thanx for your plugins and content, it's awesome
I've got an idea for a plugin, you may be interested in. Time to time i realize i need a plugin that could smoothly change a pitch by cents in one octave (or even more) up and down. kinda vinyl that you slowly speed up and slow down by finger.
I imagine just two knobs/sliders - 1) pitch changer and 2) control of a smoothness that allows change speed or sharpness of shifting between cents and semitones.
If you could design it i'd like to support it! Thanks!
Wow
❤️💜🧡🖤🤍💛💚💙