|
|
Post by drbill on Jan 28, 2019 10:15:46 GMT -6
I still am a big doubter when it comes to analog summing. I have heard demos of some even colorful summing mixers A/B (digital vs analog) and never heard a difference I built one too. I can hear the difference, I'm just not sure if it's a difference that matters, for me. The big killer is the workflow. I would need to find a much better Cubase setup if I were going to be using a summing mixer on a regular basis. You can get "half way there" just buy running two line amps on your mix bus. I'd argue that you can get a lot more than 50%. And yeah, under good room / monitoring circumstances, I can hear a difference. But like you, it's not a difference I care about. The makeup gain stage is where the magic mojo happens - and you can do that way cheaper and with way less workflow issues by putting something killer - or multiple somethings - on your 2 buss. Hybrid workflow, with hardware in channel, buss and 2 buss inserts is the way to go for me. |
|
|
|
Post by drbill on Jan 28, 2019 10:18:35 GMT -6
Yes, I think that's true. There's summing and then there's "effects reamping" and I think sometimes people almost use them interchangeably. But, even really cleam summing changes how transients come through. The A/B thing is difficult though, because it's like a 2bus compressor... you have to mix into it to really get a feel for what it can do. Taking the exact same mix and doing an A/B for digital vs analog summing may not show you what the analog can do. Your mix may sound better digital, or no big difference. Mix into it, maybe you can get a huge difference. I think to really leverage it you need conversion channels and a patchbay. It's like anything else.. if you are going to go hybrid, doing one or two tracks isn't going to really yield big changes. I've ported mixes over, I've mixed into it, I've done big consoles, etc. ITB, OTB and sideways. I agree that it's the difference in transients that I can hear with summing - but here's the thing. As often as not, I didn't LIKE what the summing was doing to the transients. Hybrid IS my preferred choice, and while I prefer having a TON of outboard available, there are many, many examples online where having a single unit (you of course know my preference  ) on the mix bus makes substantial differences. Far more coloration options than summing brings. And I also agree that - SUMMING - is perhaps the most misunderstood and misused word in pro audio today. |
|
|
|
Post by mythundreamt on Jan 28, 2019 10:26:51 GMT -6
What he said. Analog summing seems to be all about the actions involved - somehow, the mix I can achieve in a few minutes summing to The Box, I can't get at all just ITB. Ok, I also happen to suck at mixing, so I can imagine those who know what they're doing mayn't have this problem.
Going back to the OP, there are a few paths these days to the API sound, and all of them are great. In a quest similar to yours, I have gone through owning nearly each one (except dogears' mixer, that's coming up shortly enough I hope) from a single 512v pre to multiple Channel Strips to CAPI stuff to The Box (full disclosure: for sale) to now a frikkin vintage sidecar. For modern electronic music, I would go with modern API products or of course CAPI. Like everyone is saying, the more the audio passes through the op amps/trafos (and the more of the audio that passes individually through them), the more you'll hear the effect.
API is absolutely awesome for electronic music IMHO.
|
|
) on the mix bus makes substantial differences. Far more coloration options than summing brings.
