How to Choose a Mixing Console for Your Studio
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- Опубліковано 18 лип 2022
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In this video, Sweetwater‘s Mitch Gallagher is joined by recording engineer and studio builder Rob Russell at his own stomping grounds for an in-depth discussion on choosing the perfect mixing console for all your recording needs. Check it out!
After you watch, check out Sweetwater.com today for all your music instrument and pro audio needs! 👉 imp.i114863.net/rnrXPj
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Recording engineer and studio builder Rob Russell breaks down the differences between types of mixing consoles to help guide you to the right one for your needs. Shop studio mixers at Sweetwater 👉 imp.i114863.net/e4XN71
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This video really should be called "How to choose a mixing council for your studio"
I thought there was something wrong with my headphones.
100%
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This was helpful,but I already know what I want from Sweetwater. A Rupert Neve 5088 coupled with two IZ Radar machines synced together. No Pro-Tools,just "Bro-Tools"! I'll just have to empty out my 401K and never retire!
Moved to an SSL Big Six in January 2022.
I cannot believe how it has improved my workflow and made tracking/mixing just more fun!!
I don’t want anyone else besides Mitch in the Sweetwater videos.
That's a lot of good information to process, I'll have to watch this one again. Great video, thanks 🤘
Record on a Neve and mix on an SSL is yet True today ! I don't totally agree cause 99% of albums you buy are producted like this since 60's and yet today. So there is a good reason for this ! It is proved that this sort of making sound is the best, maybe only a few exceptions will do differently and will work.
1. Studio and Live console
2. Digital or analog console
3. Center piece
4. Logistics
5. Physical size
6. Large, medium, small format.
7. Number of inputs and or pres
8. Colorations
9. I/O
10. In/outs of console vs interface (AD/DA)
11. Patch bay
12. Type of music vs size format console
13. Tasks (tracking / mixing / automation)
14. Budget
15. How do you enjoy it 🤷♂️
I have an SSL AWS924 and I can't imagine working without it, both tracking and mixing.
Big flex
@@koreanfriedchildren Not at all a flex, just wanted put it out there that there are a lot of people who still love working on mixing consoles. I started with a crappy PC and an MBox (the 1st model that came out) back in 2003 and I slowly worked my way up. I could have saved a lot of money if i had chosen to just work without a console, but I much prefer having one.
One of the best videos Sweetwater has done
Would love to hear Rob talk about console maintenance. He briefly mentioned the heat generated by the large format analog consoles and the need for dedicated HVAC for the room the console is in. Would be interesting to hear him talk about other room preparation considerations like this as well as things to expect from actually running a large format analog console over a 12, 24, 36 month period and beyond. Thanks for sharing Sweetwater!
Hey Sanman, I am a 61 yo studio engineer with a 35 year career behind me. My studio setup is an API Legacy Plus 48 channels with the Vision automation… and all the gear you can dream of. Our board heats up to about 2500 watts. Need good Cooling system.
Need regular 2520 and 2510 OpAmps replacement. Expensive. But the API is by far the best modern sounding console you can buy.
12 aux sends and very flexible. A dedicated switch or pan pot with a led for every function. No fu#@ig double or triple function for a single button.
That said, unless you do large session recording, you don’t need a analog console. The reason is that if you really want to « hear » the advantages of an analog board over the best DAWs, you need to pay a hefty price that won’t necessarily give you what you are hoping for.
No instant reset for your Eq, sends, returns, etc. The money you would spend on a console would buy you the top essentials gear that would help you to get your productions to another level, such as a top AD/DA converter, top speakers, good acoustic treatment, top headphones, top espresso coffee machine (😊), comfortable chair, and top plugins that can save your mixes.
That are my personal recommandations.
Cheers !
I'm wondering about the Yamaha-Steinberg Nuage. Could I get some of your views as to what the strengths and weaknesses of this control surface are as far as studio production and mixing go?
I love analog consoles but we've gotta admit that adding one will complicate your process a lot. Recallability is a big issue. You've got to do a lot more mental mapping when incorporating a console. It may make your process faster if you're more used to working in a console or the other way around. No doubt it will elevate your sound and tracking is super fun when you use a console. But switching to mixing after tracking and then recording again and then mixing afterwards again, it will mess up with your head and you may make mistakes if you're not mindful. Even small mixers can give you that same headache.
For many people who don't want to complicate their workflow, just buying some preamps will help a ton. They're a fraction of the cost of a console but they'll give you the sound that you're looking for in a console. Add a patchbay if you want to incorporate analog gear and probably just a summing mixer if you're really serious about that analog sound. I would say that the Tascam Model 24 is a great choice for many home studio enthusiasts as it does a ton of things without breaking the bank.
Model 24 is great. I use it to record to the sd card and then i send the multitracks to studio one to mix with a faderport and the mix fx multitrack feature with softtube tape to get analog sound.
One of the big advantages of consoles is having the same sound coming in and out and have the cohesive sound right off the bat. Even owning preamps make be a. Headache because you might not get the sound you want. But is definitely fun. Great comment
A lot of it depends on what you want to do. If you aren't a professional, then it doesn't matter if it takes longer, and you don't need to remix stuff. You can afford to take a more organic approach. That's what I've done. No one cares if I put out a song. So it makes no sense to try to speed up the process using a bunch of digital tools, particularly digital cheating tools. For folks like us, the journey really has to be destination since you are fooling yourself if you think that the world is holding its breath waiting for another song. It's not. So I spend my time trying to get better at the creation process, not the recreation process. I use one plugin (out of necessity), BFD for drums, since I live in an apartment. Otherwise, I'm recording real stuff and I don't edit anything. if I want it to be better I have to get better.
That's a much longer row to hoe, but it doesn't really matter. I've learned to enjoy that part of the process, frustrating as it can be sometimes. Of course, one of the foundations of the internet is convincing people that they are stars and the world is just waiting to be introduced to them, so this may not go over very well, but it's true. Digital audio tools have caused a massive glut in music product, which has pretty much undermined it's value, and the value of musical talent in large part as well.
so what about hip hop production when all you mainly need is recording and mixing vocals, when all you need is just a few inputs??
I prefer working with peramp banks a AD/DA and externe 500 series effects
Q: What are the things to consider
A: There's a lot
Me: Noted, a lot.
In 1996. Another opportunity, was made available to me. Of a console, I loved and used regularly. As an engineer for, NBC-TV. And it was, a 1970 design, 36 input, Neve. And I freaked! When I got that for a scant, $6000! That required a full restoration, refurbishment and rebuild. That would have normally cost, $30,000. To bring it back to like new condition. I couldn't afford, $30,000. So, I developed, a new technique. For the restoration. Of that legendary desk. That only cost me, $3000! So, for under $10,000. I had a, 1970, $85,000 Neve! For under $10,000. But it was a very simple, console. Compared to my, Sphere or Auditronics. It was very limited. In its features. Like an overgrown, obese, Mackie 1604. But it weighed in, as much as a, Mazda Miata or, Volkswagen Beetle! It weighed approximately 1 ton. And required a 25,000 pound diesel truck. To schlep it around. And would never leave the truck, control room. I was one of the finest in the USA like that.
I still love analog consoles of that nature. Of that type. And which had no internal, automation. Because everything would be captured, live. In one pass. And while I track to, 24, tracks. I'm also developing a stereo mix, for live broadcast. And so everything tracked. To the multitrack. Would also include, EQ and dynamics processing. As I like to make, commitments. I'm not worried. About what I might want to undo. Because I would not want to undo,, anything I did. And then later. I could remix the 24 track master. Much easier. As it already had the EQ I wanted. The dynamics processing I wanted. Because I know what I'm doing. And there is no need to undo anything I do. Even with extreme use of EQ and dynamics processing. As I had a technique. An technique to my sound. That everybody seemed to love.. And garnering, 4 major music award nominations. And making history doing it.
Throughout the years. I even had the opportunity at other facilities. To work with SSL's, early digital, 64 input audio consoles. And I like to those just fine. For its extensive capabilities. But I still loved tracking through my Neve. But when I couldn't track through my Neve. For whatever the reasons? I would track through, my bevy of, API, 312 microphone preamps! Which I could then later mix, in the box and/or, through the Neve. As the Neve was so fat and punchy sounding!
And so there really isn't any type of console and feature set I need. As I know how to actually, Engineer, Audio!
I am now transitioning. Into the hybrid realm. And after using this Neve. At NBC-TV since 1984. And then acquiring it after its decommissioning. In 1996. I really don't care. What I need to do. As I know, how to do it all! And it's different for every job and occasion. And pretty much all controlled through, 18 separate, external, 48 point, patch bays. That could require. Up to, 100 patch cords in the Jack fields. Which could get a little dicey. And you really have to know, how to patch what you want, the way you want it.
Today, no one designs and builds, their own custom consoles anymore. They don't know how to? So then the discussions ensue, what kind of console or mixer, one wants or, can afford.
In the near future. I shall miss my Neve. As much as I miss my late husband. But I'm adaptable. I'm fluid. With everything I do. As I know how to think everything through. Thinking is nothing that is taught, in school, for recording. They just want to talk, gear.. That's not where it's at!
And so I will likely acquire, someone's digital desk. And still have my selection of outboard microphone preamps and other ancillary external equalizers. Of a parametric design. Rather than my simple, 1073 style, equalizers. And I'll adapt to another new workflow. No big deal. I'm an actual real Engineer. Not a beginner. Not a, wannabe. As I only record, actual musicians and singers. I generate nothing in the computer! I'm not into that computer generated, blah blah. It's just not my thing. And if I have to. I have young, assisted engineers. That know their way around ProTools. Better than I do. As my ego. Does not require. That I have to do everything.
Question...do you eq into the daw on the desk as you record or on the playback before you send to your bus
Hi, Mike! Thanks for your interest. There’s not really a single correct answer to your question, as it depends on your personal preference as well as which specific equipment you’re using. Some producers and engineers like to dial in their EQ for each channel on the front end, saving themselves work after recording - while others prefer the flexibility of recording flat and then setting EQ during the mixing process. Depending on what console and/or other outboard gear you’re using, you could even do both: EQ each individual channel before recording, then make further adjustments when going through a summing mixer.
Hope this helps a bit - feel free to reach out with any further questions, and thanks again!
Caleb Lowrey, Sweetwater Sales Engineer, (800) 222-4700 ext. 1620, caleb_lowrey@sweetwater.com
This was great. Just wish I had a big room and few extra hundred grand.
And for the rest of us, there's the Tascam Model 24.
Genuinely curious about this mixer. For the money, it looks like a serious unit and I'd love to have it as an alternative to recording completely 'in the box.' What are your thoughts?
@@nickdargie5178 well ask me again in a few weeks. I haven’t ordered mine yet. But I’ve been scouring the internet and decided it’s my next purchase. Recording at home, being both performer & engineer is tough for me. So last year a bought an Zoom L8 for tracking, doing the mix in Logic. Sweetwater had on sale for half price. And while the Zoom is just a toy, with nasty preamps & zero routing options, it made my realize how much easier I found it was to work with. That lead me to the Tascam. Everything I’ve read about it has been very positive. I’m going to order one from Sweetwater next month. Trying to decide between Model 16 & 24.
@@SteveRockstein2 always get more inputs. For the negligible cost difference between them, it isn't worth the regret later down the line.
I am considering adding this to my current setup. My thought is, if a band wants to do an old-school style of live band recording versus tracking individually, this would be perfect. Or if we just want to tackle the rhythm section with drummer and bassist, record all drums and do bass DI and mic a cab with isolation and run it through Logic. Then the rest of the band later through the Model 24 or just through my interface.
@@nickdargie5178 Agreed. Good luck with the mixer & your music.
I feel the dialogue was great, though for those watching for more hands on knowledge , you guys could have used the Board and set up right there to demo everything you were talking about, to bring it all together.....Otherwise , sitting there served no purpose, and I love Sweet-water products and service...Though this missed the mark ...........
I’m looking for a analog console with recall…
do you recall mixes once the project is over?
I have yet to be asked to recall a mix once a project was over. Just something to consider since I don't think recall is as important as people make it out to be.
You are probably going to want to buy a Neve desk then.
@@SoundcastStudios I’ve never once recalled a mix. Just because I haven’t doesn’t mean in the future I won’t. Not to mention I’m training new engineers who let’s face it aren’t up to par(current generation).
@@GearLover I’ve looked into it and I’m favoring the neve ironically for this reason.
Just depends on how much your kidney is worth
im still lost… and what about hip hop style production?? We get neglected I feel like..
I'm just here to seek council on a console.
Digital interfaces are at 24 to 32 inputs ! That's 99% of the business ! Movies, most movies are interface and digital. Huge orchestra is console or huge bands ! Most of the old desks and studio are closing ! Things have changed !
Rap, no console ! Most rock Bands no console. Most movies no console ! Interface companies have the Console Sound. Large room with 40 inputs or more, console. Neve is even digital ! Movies are Sound Device and Zoom. Then into the box ! Listening with large amount of Clients or Investors Console ! Keyboard, Synth, Mac and an Interface is the mix on many movies ! Then output to screening room ! Major movies are California.
@@lamasteve6905 Maybe this is why it sounds like s... Analog console are more than ever right to Artists printing soul in their mix, why do you think Deadmau5 has a 5088 ;)
@@sound4label Yes Lama's were involved with Rupert Neve, pioneering sound. He's a friend of the Dalia Lama ! Deadmau5 isn't my kind of music but my clients had 5088's SkyWalker, Record Plant had consoles, Fantasy had consoles and Wally Hyder had some consoles, even a UA desk I believe. But much has changed. How many holes do you need ? Many interfaces have 8 to 16 mic pre and now they are solid at 24 to 36 ? So do you need more than 24 or 36 ? Many acoustic groups need much less and the plugin make the old Console sounds ! Interfaces are sold 100 to 1 compared to large desks. You can buy Neve in 1, 2, 4, 8, 16, 24 mic pre's and certainly the sound is great ! My friend did over 200 movies and he have some keys and an interface ? Big Movie productions on an interface ! He was a Motu man and his movies are Pirates, Disney, Musicals and so on ! People work remote sending stems ? Everything has changed. Consoles still sell but interfaces and plugin's rules the airwave right now ! And computers ! Everything gets digitized sooner or later and that's where I came in to the business ! Apple ruled the music industry alone for years, now iTunes ? Many old studio's I worked with have closed so music has moved on !
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Almost, 50 years ago. When I was 17. I cut my teeth on a 24 input API. At that time. I didn't know what a, Neve was or, meant? SSL did not yet exist. Or they did? But they were only making organs, for churches. Electrodyne, was already gone and but a memory. Integrated circuit chip, consoles, were MCI, Auditronics and a few others. Discrete transistor, technology. Was the way to go. You could overdrive transistors. To get a unique sound. Rich in harmonics. You could use. But you couldn't do that. With integrated circuit chip, consoles. And, when all of the consoles. Were basically, split consoles. With the input section and mix, section. As in line consoles. Were still a new thing.
At 22 years of age. I designed and built. Baltimore, Maryland''s, second largest, music and commercial production, studio. Where I designed all of the acoustics. The room dimensions. The 24 x 8, custom console. I designed and built. 24 input. With a, separate, 16 track mono, monitor mixer. And a 16 input, stereo, tape return, monitor mixer.
When I design a studio. I first decide. How many inputs and outputs I will need. How many patch bays and patching I want. And I start with the patch bays. In my control room and studio designs. I basically design everything around, my need for extensive patching of everything. The microphone inputs are on a patch bay. Normaled to the first, 24 inputs. So I can patch any microphone. To any input. Regardless of the,, normalling. All of my tape, outs. All of my line inputs and line outputs. All of my external peripheral gear. All of my timelines.
Then I figure out. What I want the console, to do. What kind of preamps I want. What kind of EQ, I want. How many channel bus outputs, I want. How many direct outputs I want. How many inserts, I want. How many monitor speakers, I want.
In, 1993. I gave up my dual, 2 inch, 24 track machines. And went with a digital recorder. By 2007. I got rid of the big digital, 24 track recorder. And went, 24 track, hard drive, recorder. And the recorder removed from the, abundantly sized, machine room. To, in the rack. In the control room. And by, 2012. I installed the, 24 track, computer rig, DAW.
And throughout the years. My analog consoles. Were, full manual with no automation. As my automation now resided within the DAW,, software.
It was then I moved from a 12 x 4, all germanium transistor, Phillips, console. To that, of a pair, of Auditronics, 501's. Tied together. For a total of, 52 inputs. Why 52 inputs? I moved everything. Into a, gigantic, 25,000 pound, diesel box truck. Of a Mercedes-Benz, 1117/1319, truck. As I had always specialized in, live on location, capture and mixing. For live albums, FM broadcasts, TV broadcasts. When I built.. When I built the, CROW. Or, the Control Room On Wheels. CRO W.
Now the Auditronics was just fine. It was an IC chip, type. It sounded great. I felt better than the, MCI's. I was never impressed with the sound, of MCI. They sounded, Brown, to me. Like their color schemes. The Auditronics, reminded me of the sound of the, API's which I could not afford, for myself. Even though I loved those. And wanted one. But that was not to be for me.
But then an opportunity arose. To acquire a, Sphere, Eclipse C,, $85,000 console. For, $17,000. And I jumped on that. What a fabulous sounding and versatile console, that was. And I loved it! It would be the best sounding console. I would ever have. Sort of. Because…
He keeps calling a console "counsole."
I had to check the date when this video was made. This is so out of date. Most people are much better off working in the box. If you really need the faders and switches there are controllers. I just don't see the need for a console in a home or smaller studio. Just a waste of money. Sure, some people are accustomed to working with consoles. But, that is just bad habits. Once you get used to working in the box you will never go back!
I did it all, ITB, Hybrid and Full analog is the way but it depends of your skill too. Will be more hard for you to go full analog if you have no knowledge.. stay ITB.
It’s definitely not outdated. You’re right for a room Studio is like why? But there are a lot of people that still have a console and work hybrid.