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Post by jcoutu1 on Oct 19, 2013 19:53:30 GMT -6
4 channels is for an overdub based studio. Which, again--is all most artists need--cut the basics in a great, big room, take the tracks home and finish. 4 mic inputs is not for "beginners"...it's for overdub based studios. Which if you point to a record made in this town at least in the last decade, I'll show you one that at least pieces were made in overdub only rooms. It is the way of the future, IMO--cut the basics in a big nicely appointed room....take the tracks home and finish. This addresses THAT market. Again, I think they've priced themselves really high...but, not compared to Wunder and Neve and others offering small format class A analog consoles. I agree completely. This is a really nice piece for an overdub/hybrid mix room. Track drums in the great room and finish recording the record with this. Get your stems together in the box, them sum with some outboard using this API. I can see the usefulness. Sure, it's not the perfect solution, but what is? If I had a 40 channel ssl in my room, I'd still want some Neve and API pres to go with it. |
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Post by Guitar on Oct 19, 2013 20:15:17 GMT -6
4 channels is for an overdub based studio. Which, again--is all most artists need--cut the basics in a great, big room, take the tracks home and finish. 4 mic inputs is not for "beginners"...it's for overdub based studios. Which if you point to a record made in this town at least in the last decade, I'll show you one that at least pieces were made in overdub only rooms. It is the way of the future, IMO--cut the basics in a big nicely appointed room....take the tracks home and finish. This addresses THAT market. Again, I think they've priced themselves really high...but, not compared to Wunder and Neve and others offering small format class A analog consoles. I agree completely. This is a really nice piece for an overdub/hybrid mix room. Track drums in the great room and finish recording the record with this. Get your stems together in the box, them sum with some outboard using this API. I can see the usefulness. Sure, it's not the perfect solution, but what is? If I had a 40 channel ssl in my room, I'd still want some Neve and API pres to go with it. |
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Post by jcoutu1 on Oct 19, 2013 20:27:45 GMT -6
I agree completely. This is a really nice piece for an overdub/hybrid mix room. Track drums in the great room and finish recording the record with this. Get your stems together in the box, them sum with some outboard using this API. I can see the usefulness. Sure, it's not the perfect solution, but what is? If I had a 40 channel ssl in my room, I'd still want some Neve and API pres to go with it. Premium for the name. What's a 1608 go for 45k? |
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Post by popmann on Oct 19, 2013 21:05:25 GMT -6
I agree completely. This is a really nice piece for an overdub/hybrid mix room. Track drums in the great room and finish recording the record with this. Get your stems together in the box, them sum with some outboard using this API. I can see the usefulness. Sure, it's not the perfect solution, but what is? If I had a 40 channel ssl in my room, I'd still want some Neve and API pres to go with it. Is it a bargain if it's only half the price of a Lexus or BMW? The reality is, that board will last longer than that Honda. Limitations aside--if your gig doesn't change, you could buy that and use it the rest of your life for your home studio. Or use it for 15 years and sell it for more than you paid for it....and give them a free Honda with purchase.  |
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Post by tonycamphd on Oct 19, 2013 23:33:11 GMT -6
Premium for the name. What's a 1608 go for 45k? $52k, no compressors, last time i looked |
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Post by Deleted on Oct 20, 2013 9:51:16 GMT -6
Never would have guessed this kind of reception to a console like this.
I still got a few years before I make a purchase like this, I'd still like to see what Capi does.
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Post by tonycamphd on Oct 20, 2013 10:55:46 GMT -6
Never would have guessed this kind of reception to a console like this. I still got a few years before I make a purchase like this, I'd still like to see what Capi does. It is interesting, it's such a weird price point.. it's right in the "not too bad" to "I could buy a new car" range, curios to see if it's successful. |
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Post by Deleted on Oct 20, 2013 13:28:25 GMT -6
Never would have guessed this kind of reception to a console like this. I still got a few years before I make a purchase like this, I'd still like to see what Capi does. It is interesting, it's such a weird price point.. it's right in the "not too bad" to "I could buy a new car" range, curios to see if it's successful. In a price breakdown it's really not unreasonable for what you're getting. |
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Post by Guitar on Oct 20, 2013 16:34:14 GMT -6
How about compared to that Audient ASP 4816 console at $15K ? That thing looks like a serious no compromises studio tool to me. Even has a well chuffed at stereo compressor.
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Post by Deleted on Oct 20, 2013 22:00:16 GMT -6
How about compared to that Audient ASP 4816 console at $15K ? That thing looks like a serious no compromises studio tool to me. Even has a well chuffed at stereo compressor. The Audient is too much console for me personally, I'd like a small centerpiece that has some vibe and character. |
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Post by Guitar on Oct 21, 2013 12:04:55 GMT -6
The Audient is too much console for me personally That's a funny concept to me, haha! By the way nice recordings on your soundcloud. Off topic but, can I ask you about a vocal tracking technique? I hear it on yours and a lot of famous rock records, when the vocalist belts it out, you can hear an obvious room ambience. Does he back off the mic a lot and it's in fig 8 or omni? Or is there actually a second room mic, maybe level automated? Or simply a digital reverb "room"? Such a classic sound. I'm trying to get some new techniques and habits under my belt.. |
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Post by popmann on Oct 21, 2013 14:51:00 GMT -6
When a singer belts, there's more room IN the sound....if you compress the track, it makes the overall level even, but the ambience only shows when it's loud--thus when they belt.
But, if there's no room ambience on the track, you can also do that with a prefader send to the reverb--ie, you're sending an uncompressed vocal to the reverb, but compressing the dry vocal itself--it will make the reverb louder when they belt it and almost non existent when they're singing softly.I do that often--as the problem with "too much reverb" is often it swamping the softer parts....problem solved.
Jordan may have a different method.
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Post by Deleted on Oct 21, 2013 14:51:18 GMT -6
The Audient is too much console for me personally That's a funny concept to me, haha! By the way nice recordings on your soundcloud. Off topic but, can I ask you about a vocal tracking technique? I hear it on yours and a lot of famous rock records, when the vocalist belts it out, you can hear an obvious room ambience. Does he back off the mic a lot and it's in fig 8 or omni? Or is there actually a second room mic, maybe level automated? Or simply a digital reverb "room"? Such a classic sound. I'm trying to get some new techniques and habits under my belt.. It's all about getting good sounding stuff done QUICKLY. Most of the stuff on my soundcloud is done in around 4-5 hours and I don't think it would be possible without a DAW, I still would love something like The Box. For vocals I usually set up a stereo delay, a mono reverb and a stereo fader with Waves doubler on it. These sends get automated throughout the mix. Choruses I almost always push the doubler up and for more "naked" sections I'll push the verb up and drum rooms as well. I also like pushing the master fader up a DB for choruses. |
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Post by Deleted on Oct 21, 2013 14:52:37 GMT -6
When a singer belts, there's more room IN the sound....if you compress the track, it makes the overall level even, but the ambience only shows when it's loud--thus when they belt. But, if there's no room ambience on the track, you can also do that with a prefader send to the reverb--ie, you're sending an uncompressed vocal to the reverb, but compressing the dry vocal itself--it will make the reverb louder when they belt it and almost non existent when they're singing softly.I do that often--as the problem with "too much reverb" is often it swamping the softer parts....problem solved. Jordan may have a different method. This is a neat idea that I never thought of, going to give this trick a go. |
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Post by Ward on Oct 21, 2013 16:11:59 GMT -6
Many on "the other forum" are pointing to individuals buying incredible LFACs for the same asking price as the new API summing BOX. something worthy of consideration!
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Post by Deleted on Oct 22, 2013 14:39:27 GMT -6
Many on "the other forum" are pointing to individuals buying incredible LFACs for the same asking price as the new API summing BOX. something worthy of consideration! Seems literally every other day I hear about an SSL going for 15k... where? I pay attention to funky junk and VK. Where are these guys finding these kinds of prices and what kind of shape are they in? |
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Post by Ward on Oct 22, 2013 14:50:13 GMT -6
Many on "the other forum" are pointing to individuals buying incredible LFACs for the same asking price as the new API summing BOX. something worthy of consideration! Seems literally every other day I hear about an SSL going for 15k... where? I pay attention to funky junk and VK. Where are these guys finding these kinds of prices and what kind of shape are they in? Private sales mostly, not through dealers who are (rightfully) marking them up to what the market will bear, and assuming the risk in the process. For example, several 80 series Neves and smaller J series SSL LFACs have recently sold from $18K to $20K. Mind you, these things are beasts. VERY LARGE units with more channels and routing capabilities than most DAW equipped studios will ever need PLUS the power requirements will run your electricity bill up, on average, about $300-$500 per month. That's a conservative estimate as some claim upwards of $1500/month depending on how many hours you are running the things. All worthwhile considerations. I'm currently debating the next console for my studio, leaning towards the SSL 948 with the Neve Genesys giving pursuit and various older LFACs getting strong consideration. The API is just not in the running for me, neither the 1608 nor The Box as I would need both and even then wouldn't have the automation nor DAW control that either the SSL or Neve would give. More worthy considerations in this day and age. We have to consider workflow and efficiencies pertinent to our work. |
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Post by btreim on Oct 22, 2013 16:27:49 GMT -6
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Post by Johnkenn on Oct 22, 2013 17:52:49 GMT -6
When a singer belts, there's more room IN the sound....if you compress the track, it makes the overall level even, but the ambience only shows when it's loud--thus when they belt. But, if there's no room ambience on the track, you can also do that with a prefader send to the reverb--ie, you're sending an uncompressed vocal to the reverb, but compressing the dry vocal itself--it will make the reverb louder when they belt it and almost non existent when they're singing softly.I do that often--as the problem with "too much reverb" is often it swamping the softer parts....problem solved. Jordan may have a different method. Great idea! |
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Post by Deleted on Oct 23, 2013 15:22:22 GMT -6
Seems literally every other day I hear about an SSL going for 15k... where? I pay attention to funky junk and VK. Where are these guys finding these kinds of prices and what kind of shape are they in? Private sales mostly, not through dealers who are (rightfully) marking them up to what the market will bear, and assuming the risk in the process. For example, several 80 series Neves and smaller J series SSL LFACs have recently sold from $18K to $20K. Mind you, these things are beasts. VERY LARGE units with more channels and routing capabilities than most DAW equipped studios will ever need PLUS the power requirements will run your electricity bill up, on average, about $300-$500 per month. That's a conservative estimate as some claim upwards of $1500/month depending on how many hours you are running the things. All worthwhile considerations. I'm currently debating the next console for my studio, leaning towards the SSL 948 with the Neve Genesys giving pursuit and various older LFACs getting strong consideration. The API is just not in the running for me, neither the 1608 nor The Box as I would need both and even then wouldn't have the automation nor DAW control that either the SSL or Neve would give. More worthy considerations in this day and age. We have to consider workflow and efficiencies pertinent to our work. I personally wouldn't get a console with DAW control. If that's what you're needing I'd rather spend 1k on a MC mix and be able to keep to the new protocols. Love the SSL AWS consoles though. Total Recall being a big selling point. |
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Post by Guitar on Oct 23, 2013 16:43:47 GMT -6
Wow I guess I just have never recorded a singer that powerful before, that's amazing! Actually I did 10 years ago but it was a very lo fi situation, my first actual gig, nothing like how it would be now. |
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Post by Ward on Oct 26, 2013 12:13:35 GMT -6
I like the dual purpose functionality of it. Some good friends producing a lot of big records praise it. Mind you, after I have one and spend a lot of time with it, I may weigh in with my own long-term evaluation of it.
Cheers!
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Post by jcoutu1 on Oct 1, 2014 8:51:13 GMT -6
Looks like SSL is blowing the box out of the water with their newest offering...
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Post by tonycamphd on Oct 1, 2014 9:11:16 GMT -6
that looks pretty well thought out, 500 series in there was genious, depending on $?, they should do very well with that thing.
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Post by jcoutu1 on Oct 1, 2014 9:15:25 GMT -6
$23k unloaded, 36k loaded with 500 series E series EQ's according to GS. Not small bucks, but seems really flexible for what you get.
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