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Post by keymod on May 14, 2017 4:55:24 GMT -6
Dude...you've seen my room. A little board would fit😁 Seriously all summing systems are mixers without features someone else thought you didn't need ! The only summing system I could see using is the discontinued API 8200/7600/7800 with some different Opamps and Iron! My gut says it went bye bye because someone figured out with an adapter cable it could be used to add inputs to a 1608 ! To much cash in that expander! Eric, You would love this side car I've been trying to finish. I still have to build and install five of Jeff's compressors and get everything tweaked and online. I've shown photos of this here on RGO before, but it's taking me forever to find the time to finish it. Ultimately, the dream setup for it would be a Black-face Apollo 16 as convertors/interface and a Silver Bullet on the Stereo Output.
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Post by stormymondays on May 14, 2017 5:22:20 GMT -6
drbill so when you use multiple hw inserts, you patch them all digitally and not worry about the multiple IO trips?
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Post by kevinnyc on May 14, 2017 7:13:18 GMT -6
A little board would fit😁 Seriously all summing systems are mixers without features someone else thought you didn't need ! The only summing system I could see using is the discontinued API 8200/7600/7800 with some different Opamps and Iron! My gut says it went bye bye because someone figured out with an adapter cable it could be used to add inputs to a 1608 ! To much cash in that expander! Eric, You would love this side car I've been trying to finish. I still have to build and install five of Jeff's compressors and get everything tweaked and online. I've shown photos of this here on RGO before, but it's taking me forever to find the time to finish it. Ultimately, the dream setup for it would be a Black-face Apollo 16 as convertors/interface and a Silver Bullet on the Stereo Output. View AttachmentDamn that must be fun to play with!
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Post by drbill on May 14, 2017 9:14:39 GMT -6
drbill so when you use multiple hw inserts, you patch them all digitally and not worry about the multiple IO trips? Usually, yes.
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ericn
Temp
Balance Engineer
Posts: 14,974
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Post by ericn on May 14, 2017 10:43:24 GMT -6
A little board would fit😁 Seriously all summing systems are mixers without features someone else thought you didn't need ! The only summing system I could see using is the discontinued API 8200/7600/7800 with some different Opamps and Iron! My gut says it went bye bye because someone figured out with an adapter cable it could be used to add inputs to a 1608 ! To much cash in that expander! Eric, You would love this side car I've been trying to finish. I still have to build and install five of Jeff's compressors and get everything tweaked and online. I've shown photos of this here on RGO before, but it's taking me forever to find the time to finish it. Ultimately, the dream setup for it would be a Black-face Apollo 16 as convertors/interface and a Silver Bullet on the Stereo Output. View AttachmentThat is a thing is absolutely stunning!
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Post by illacov on May 14, 2017 11:57:07 GMT -6
I've done the hardware inserts with no mixer thing for a while and I mix having the comfort of a real 10-15db gain bump, especially when I'm patching in analog. The added analog EQ allows you to boost aggressively with less non musical performance and you have the fader to attenuate your hot levels if you need to.
I have to get a multichannel portable interface, right now I'm limited to 2 extra channels. Once I have an 8 channel unit of some kind I'll be better able to try out my theory.
Thanks -L.
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Post by wiz on May 14, 2017 17:32:57 GMT -6
drbill so when you use multiple hw inserts, you patch them all digitally and not worry about the multiple IO trips? Usually, yes. Hi drbilldo you ever patch one unit into the other via the patch bay? Or just using IO plugs? if using multiple hardware insert plug ins, in pro tools... what happens latency wise? I have only ever used one IO plug in per track in logic and one on an Aux (bricasti). Usually, my IO related latency is 42 samples per track, and 88 for the Bricasti. Just wondering how it all fairs, I mean obviously it works LOL or you wouldnt do it. I had considered doing something similar and basically getting rid of the patch bays at one point, and just getting more AD DA... Its an interesting idea... just having all the hardware connected to AD DA and using multiple conversions... especially if you are feeling the sonic penalty is inconsequential compared to the work flow... I also imagine you could trim the AD DA such that you wouldnt be adjusting things all that much as well cheers Wiz
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Post by Guitar on May 14, 2017 17:55:05 GMT -6
Hybrid is the way to go, I'm telling you. Build the biggest sidecar you can. To me a summing mixer is just "one more piece of hardware." For me the goal is to have as many pieces of good mixing hardware as I can fit. EQ, compression, being the main two contenders. I'd rank each channel as being nearly important as the next, summing mixer not being drastically favored over a couple channels of good EQ, etc. It does seem to add up, as someone said earlier. Imagine 24 chains of analog processing on a mix! Right now I'm maxed out around 4 or 8.
I have done the summing vs line amp test myself, and I did prefer the analog summed sound by a small margin. There is something to it. It's just so unwieldy to set up for me.
By the way, I preferred the summed mix on the first page, I could hear the background elements more clearly. Things had their own space. To me that is the main attribute of inserting an analog summing mixer.
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Post by drbill on May 14, 2017 18:05:11 GMT -6
Hi drbill do you ever patch one unit into the other via the patch bay? Or just using IO plugs? if using multiple hardware insert plug ins, in pro tools... what happens latency wise? I have only ever used one IO plug in per track in logic and one on an Aux (bricasti). Usually, my IO related latency is 42 samples per track, and 88 for the Bricasti. Just wondering how it all fairs, I mean obviously it works LOL or you wouldnt do it. I had considered doing something similar and basically getting rid of the patch bays at one point, and just getting more AD DA... Its an interesting idea... just having all the hardware connected to AD DA and using multiple conversions... especially if you are feeling the sonic penalty is inconsequential compared to the work flow... I also imagine you could trim the AD DA such that you wouldnt be adjusting things all that much as well cheers Wiz Hey Wiz! Yes, sometimes I'll patch away - cascading one piece into another in the bay just like I would with console / tape if the console only has one insert. But....... At this point, although I do have a 576 point TT bay, I MOSTLY (not always) patch all my hardware (OK, most of it) inside Pro Tools via individual i/o's. (I have 64, going to 80 in a couple months, after that to 96). PT has 10 inserts on every track strip, and you can literally patch one piece into another, into another, into another, etc. right in the software - alleviating all those re-patching patch bay recall nightmares. You can flip insert orders, etc without crawling over to the bay. I've done 5-6 hardware inserts before. Zero issues with Latency. But it should be noted that I'm on a HDX system and have always had DSP based systems (HD and before that Mix) and have not had latency issues. I know SOME people with native systems have fought this, so that's my Caveat. Get HDX and Latency is a non issue. Even with a half dozen pieces of hardware patch in. The 16X16 interfaces are world class, albeit not "botique" quality, and I have no issues going in and out to my hearts content. There may be some degradation of signal, but I have not noticed it in real world applications, and the benefits..... Oh man. It's changed my world. Rocking it. Honestly, I probably could do away with the patch bays, or maybe trim down to one or two. It's a very sweet way to integrate analog into a DAW environment. I use trims to regulate how hard to hit compressors, silver bullets, etc.. It's a very automate-able and graceful way to integrate the two worlds. At this point, I can't imagine ever going back. If you have any more questions, feel free to ask.... Here's a screenshot of a mix I'm setting up today. You can see most of the inserts are hardware or dither before hardware. Well, when I remember to put dither in...
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Post by wiz on May 14, 2017 18:22:11 GMT -6
Hi drbill do you ever patch one unit into the other via the patch bay? Or just using IO plugs? if using multiple hardware insert plug ins, in pro tools... what happens latency wise? I have only ever used one IO plug in per track in logic and one on an Aux (bricasti). Usually, my IO related latency is 42 samples per track, and 88 for the Bricasti. Just wondering how it all fairs, I mean obviously it works LOL or you wouldnt do it. I had considered doing something similar and basically getting rid of the patch bays at one point, and just getting more AD DA... Its an interesting idea... just having all the hardware connected to AD DA and using multiple conversions... especially if you are feeling the sonic penalty is inconsequential compared to the work flow... I also imagine you could trim the AD DA such that you wouldnt be adjusting things all that much as well cheers Wiz Hey Wiz! Yes, sometimes I'll patch away - cascading one piece into another in the bay just like I would with console / tape if the console only has one insert. But....... At this point, although I do have a 576 point TT bay, I MOSTLY (not always) patch all my hardware (OK, most of it) inside Pro Tools via individual i/o's. (I have 64, going to 80 in a couple months, after that to 96). PT has 10 inserts on every track strip, and you can literally patch one piece into another, into another, into another, etc. right in the software - alleviating all those re-patching patch bay recall nightmares. You can flip insert orders, etc without crawling over to the bay. I've done 5-6 hardware inserts before. Zero issues with Latency. But it should be noted that I'm on a HDX system and have always had DSP based systems (HD and before that Mix) and have not had latency issues. I know SOME people with native systems have fought this, so that's my Caveat. Get HDX and Latency is a non issue. Even with a half dozen pieces of hardware patch in. The 16X16 interfaces are world class, albeit not "botique" quality, and I have no issues going in and out to my hearts content. There may be some degradation of signal, but I have not noticed it in real world applications, and the benefits..... Oh man. It's changed my world. Rocking it. Honestly, I probably could do away with the patch bays, or maybe trim down to one or two. It's a very sweet way to integrate analog into a DAW environment. I use trims to regulate how hard to hit compressors, silver bullets, etc.. It's a very automate-able and graceful way to integrate the two worlds. At this point, I can't imagine ever going back. If you have any more questions, feel free to ask.... Here's a screenshot of a mix I'm setting up today. You can see most of the inserts are hardware or dither before hardware. Well, when I remember to put dither in... Thanks for answering that... Thats really cool way to work, and no "real world audio degradation " is very cool... Its probably nearly the "perfect" way to work actually. thanks again cheers Wiz
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Post by drbill on May 14, 2017 18:52:33 GMT -6
Hey Wiz! Yes, sometimes I'll patch away - cascading one piece into another in the bay just like I would with console / tape if the console only has one insert. But....... At this point, although I do have a 576 point TT bay, I MOSTLY (not always) patch all my hardware (OK, most of it) inside Pro Tools via individual i/o's. (I have 64, going to 80 in a couple months, after that to 96). PT has 10 inserts on every track strip, and you can literally patch one piece into another, into another, into another, etc. right in the software - alleviating all those re-patching patch bay recall nightmares. You can flip insert orders, etc without crawling over to the bay. I've done 5-6 hardware inserts before. Zero issues with Latency. But it should be noted that I'm on a HDX system and have always had DSP based systems (HD and before that Mix) and have not had latency issues. I know SOME people with native systems have fought this, so that's my Caveat. Get HDX and Latency is a non issue. Even with a half dozen pieces of hardware patch in. The 16X16 interfaces are world class, albeit not "botique" quality, and I have no issues going in and out to my hearts content. There may be some degradation of signal, but I have not noticed it in real world applications, and the benefits..... Oh man. It's changed my world. Rocking it. Honestly, I probably could do away with the patch bays, or maybe trim down to one or two. It's a very sweet way to integrate analog into a DAW environment. I use trims to regulate how hard to hit compressors, silver bullets, etc.. It's a very automate-able and graceful way to integrate the two worlds. At this point, I can't imagine ever going back. If you have any more questions, feel free to ask.... Here's a screenshot of a mix I'm setting up today. You can see most of the inserts are hardware or dither before hardware. Well, when I remember to put dither in... Thanks for answering that... Thats really cool way to work, and no "real world audio degradation " is very cool... Its probably nearly the "perfect" way to work actually.
thanks again cheers Wiz Yeah, I think so. I like to change things up every so often so I don't get in a rut, but at this point I can't envision ever going back to working the "old way".
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Post by javamad on May 15, 2017 5:47:59 GMT -6
Hi drbill do you ever patch one unit into the other via the patch bay? Or just using IO plugs? if using multiple hardware insert plug ins, in pro tools... what happens latency wise? I have only ever used one IO plug in per track in logic and one on an Aux (bricasti). Usually, my IO related latency is 42 samples per track, and 88 for the Bricasti. Just wondering how it all fairs, I mean obviously it works LOL or you wouldnt do it. I had considered doing something similar and basically getting rid of the patch bays at one point, and just getting more AD DA... Its an interesting idea... just having all the hardware connected to AD DA and using multiple conversions... especially if you are feeling the sonic penalty is inconsequential compared to the work flow... I also imagine you could trim the AD DA such that you wouldnt be adjusting things all that much as well cheers Wiz Hey Wiz! Yes, sometimes I'll patch away - cascading one piece into another in the bay just like I would with console / tape if the console only has one insert. But....... At this point, although I do have a 576 point TT bay, I MOSTLY (not always) patch all my hardware (OK, most of it) inside Pro Tools via individual i/o's. (I have 64, going to 80 in a couple months, after that to 96). PT has 10 inserts on every track strip, and you can literally patch one piece into another, into another, into another, etc. right in the software - alleviating all those re-patching patch bay recall nightmares. You can flip insert orders, etc without crawling over to the bay. I've done 5-6 hardware inserts before. Zero issues with Latency. But it should be noted that I'm on a HDX system and have always had DSP based systems (HD and before that Mix) and have not had latency issues. I know SOME people with native systems have fought this, so that's my Caveat. Get HDX and Latency is a non issue. Even with a half dozen pieces of hardware patch in. The 16X16 interfaces are world class, albeit not "botique" quality, and I have no issues going in and out to my hearts content. There may be some degradation of signal, but I have not noticed it in real world applications, and the benefits..... Oh man. It's changed my world. Rocking it. Honestly, I probably could do away with the patch bays, or maybe trim down to one or two. It's a very sweet way to integrate analog into a DAW environment. I use trims to regulate how hard to hit compressors, silver bullets, etc.. It's a very automate-able and graceful way to integrate the two worlds. At this point, I can't imagine ever going back. If you have any more questions, feel free to ask.... Here's a screenshot of a mix I'm setting up today. You can see most of the inserts are hardware or dither before hardware. Well, when I remember to put dither in... That looks great! I am starting off on the Hybrid Road myself and I have been planning to get enough I/O to handle the 24 channels of the RND 5060 with some capacity to spare. The patching in of HW EQ and Compression I am planning to do via patchbays for the moment, until I can fund a larger I/O farm (and the outboard farm to go with it!) I have a question though about recall and stems. With all your hardware patched in on channel inserts, when you finalize a mix, do you save channel stems to disk in case when a session comes back some months later for recall you have sold a piece of gear?
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Post by drbill on May 15, 2017 10:27:39 GMT -6
No. Unless the project requires stems, no. Most times these day I am my own client. So if I'm happy, that's good enough for me. :-) If I had to be pleasing outside clients, then yeah, I'd probably move that direction. In the above screenshot you can see that I notate change settings in the comment area of PT's mixer.
At the start of a project, I'll make a master sheet of all outboard settings. I TRY to leave all my outboard set into a sweet spot that I like. Then I'll patch into the outboard via PT inserts. If I like it, it stays on the insert. If it's not being driven hard enough - or too much, I use a trim to adjust levels going into it. But if it doesn't work, I'll take it off and try something else. That's the PLAN at least. There are times when it's 100% absolutely necessary to tweak the knobs. Silver Bullets come to mind. Luckily they have stepped pots. I'm trying to move over to as many pieces with stepped pots as possible. It's a bit of a pain compared to a plugin "recall' of a session, but it's not too bad and it's something that I'm willing to tolerate. Hope that helps.
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Post by schmalzy on May 16, 2017 11:06:57 GMT -6
Holy shit, I type too much. Sorry for the long posts (every single time I post, it seems). I'm still fairly new to really utilizing a summing workflow but I'm seeing a couple patterns emerge. Pattern #1: my mixes come together faster. Of course, I might just be getting better and the summing has nothing to do with it - except I mixed a project all ITB a month-ish ago and I fought it the whole time. Pattern #2: I'm more inclined to commit to gain/level-related decisions early in the process - especially on drums - and I'm sticking with them because it makes more sense. That translates for me to mixing by pulling things down rather than mixing by pushing things up. If my drums are hitting my analog compressors a certain way I like, I'm not about to push those shits up to live with the bass and guitars. I'm going to pull the bass and guitars down to live with the drums. That's the way I work when I'm mixing a live show and I'm not sure why it's different for me when using a mouse, but apparently it is. When I work "the right way" then I seem to see better success. This methodology encourages me to work the way that works better for me. Here's my setup: I'm using a passive summing box. I've been sticking to 8 outputs (four stereo pairs) and trying to pair them up in a "what makes the most sense" fashion. I have 16 outs available in my DAC and 16 inputs into summing my but I just haven't used it in that way yet. Most of what I've been mixing through my summing box has been rock stuff - vocals, drums, bass, guitars - so it's not like I need too much bussing anyway. I've basically been stemming them out to the summing box the same way (with the vocal bus getting all the ambience effects, too). My passive summing runs to my Chameleon Labs 7602 XMods (Neve-style preamps with 3-band EQ and Carnhill mic and output transformers plus a "custom wound" line input transformer - a noticeable difference we shall talk about soon), through my Stam SA4000, and back to the ADC. I have six channels of available compression (in varying forms of stereo linkability) and I've been able to work four of those channels in comfortably - the other two channels are part of Presonus Eureka channel strips and are hard to get to behave (they work well enough for individual instruments but not great - at this point with me steering the ship - when working on a stereo pair). DAC - to compressors - to preamps - to bus compressor - to the ADC has been part of my workflow as I have been getting to the end of mixes faster. Is that contributing? Possibly. I'd imagine the analog compression is doing as much (or more) than the summing to help me get there. Of course I could go line out of the DAC - line input on the preamp - bus compressor - ADC but something's a little off when I do that. Going straight into the line input transformers on the preamp seem to have a less bottom available (maybe that transformer high-passes higher up) and less upper mid clarity than the summing box into the mic inputs. I tried to test fairly but we all know how easy it is to be fooled. My summing box was a pretty cheap DIY thing so I'm not out a ton of money if I don't use it. I'd love for the difference to be negligible and not have to run a bunch of extra cabling back and forth. As of right now, though, it's not. BradM , is the line input transformer much of a different beast from the mic transformer on the Silver Bullet? I don't know enough about that stuff, do you see any sorts of difficulties or advantages of using one or the other? One cool thing I was able to do, though: DAC - Bus Compressor with slowest attack, fast release, and dimed makeup gain - into the line inputs of the preamp (with the output trim turned way down to not clip the ADC). Huge distorted transients. It was a super cool sound that would be great - probably in parallel - on the right project. That project hasn't come along for me yet. I also bet it would be easy to set up and get close to it (or beat it) ITB. As of now, I'm sticking with the passive summing world for a while. I've got two projects in the not-too-distant future that will be great to test if the hybrid thing is really doing anything for me. I'll report back with any significant findings!
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Post by mikec on May 17, 2017 10:16:32 GMT -6
Sorry to get this thread of topic, guys. Okay, back to questioning the audibility of fancy summing setups... Brad Brad, I am convinced I need to add the Silver Bullet to my setup. I was looking to add a couple Neve or API flavor pre amps anyway so this seems like a no brainer. Can you tell me when they will be back in stock? Mike
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Post by BradM on May 17, 2017 10:51:41 GMT -6
BradM , is the line input transformer much of a different beast from the mic transformer on the Silver Bullet? I don't know enough about that stuff, do you see any sorts of difficulties or advantages of using one or the other? It's true that the line inputs and mic inputs on Neve gear don't sound the same. That's because not only do those two paths have different input transformers, but they also see different gain stages. The Silver Bullet architecture is a little different than most vintage gear. It's a bit unconventional in the way it assembles various circuit blocks together and that's what allows me to present such an streamlined experience. So I'll answer your question like this: your audio will experience the same mojo regardless of input used. The Mic inputs have a different input impedance and gain sensitivity than the Mix or Track inputs. What you experience in terms of tone will be the same though. Brad
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Post by BradM on May 17, 2017 10:54:35 GMT -6
Sorry to get this thread of topic, guys. Okay, back to questioning the audibility of fancy summing setups... Brad Brad, I am convinced I need to add the Silver Bullet to my setup. I was looking to add a couple Neve or API flavor pre amps anyway so this seems like a no brainer. Can you tell me when they will be back in stock? Mike Hi Mike, I fully support that conclusion. I'm dangerously low on stock right now. I have a new run underway, but chances are high that I'll be out of stock for a month once the last couple units go. I have two B-stock units available at a slight discount. If you want to grab it, send me an email through my website. thanks, Brad
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Post by keymod on May 17, 2017 11:20:47 GMT -6
Brad, I am convinced I need to add the Silver Bullet to my setup. I was looking to add a couple Neve or API flavor pre amps anyway so this seems like a no brainer. Can you tell me when they will be back in stock? Mike Hi Mike, I fully support that conclusion. I'm dangerously low on stock right now. I have a new run underway, but chances are high that I'll be out of stock for a month once the last couple units go. I have two B-stock units available at a slight discount. If you want to grab it, send me an email through my website. thanks, Brad Must....find....budget.....
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Post by mikec on May 17, 2017 11:42:12 GMT -6
Brad, I am convinced I need to add the Silver Bullet to my setup. I was looking to add a couple Neve or API flavor pre amps anyway so this seems like a no brainer. Can you tell me when they will be back in stock? Mike Hi Mike, I fully support that conclusion. I'm dangerously low on stock right now. I have a new run underway, but chances are high that I'll be out of stock for a month once the last couple units go. I have two B-stock units available at a slight discount. If you want to grab it, send me an email through my website. thanks, Brad Thanks Brad, just sent you a message through your site.
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Post by drbill on May 17, 2017 13:25:57 GMT -6
Holy shit, I type too much. Sorry for the long posts (every single time I post, it seems). I'm still fairly new to really utilizing a summing workflow but I'm seeing a couple patterns emerge. Pattern #1: my mixes come together faster. Of course, I might just be getting better and the summing has nothing to do with it - except I mixed a project all ITB a month-ish ago and I fought it the whole time. Pattern #2: I'm more inclined to commit to gain/level-related decisions early in the process - especially on drums - and I'm sticking with them because it makes more sense. That translates for me to mixing by pulling things down rather than mixing by pushing things up. If my drums are hitting my analog compressors a certain way I like, I'm not about to push those shits up to live with the bass and guitars. I'm going to pull the bass and guitars down to live with the drums. That's the way I work when I'm mixing a live show and I'm not sure why it's different for me when using a mouse, but apparently it is. When I work "the right way" then I seem to see better success. This methodology encourages me to work the way that works better for me. Here's my setup: I'm using a passive summing box. I've been sticking to 8 outputs (four stereo pairs) and trying to pair them up in a "what makes the most sense" fashion. I have 16 outs available in my DAC and 16 inputs into summing my but I just haven't used it in that way yet. Most of what I've been mixing through my summing box has been rock stuff - vocals, drums, bass, guitars - so it's not like I need too much bussing anyway. I've basically been stemming them out to the summing box the same way (with the vocal bus getting all the ambience effects, too). My passive summing runs to my Chameleon Labs 7602 XMods (Neve-style preamps with 3-band EQ and Carnhill mic and output transformers plus a "custom wound" line input transformer - a noticeable difference we shall talk about soon), through my Stam SA4000, and back to the ADC. I have six channels of available compression (in varying forms of stereo linkability) and I've been able to work four of those channels in comfortably - the other two channels are part of Presonus Eureka channel strips and are hard to get to behave (they work well enough for individual instruments but not great - at this point with me steering the ship - when working on a stereo pair). DAC - to compressors - to preamps - to bus compressor - to the ADC has been part of my workflow as I have been getting to the end of mixes faster. Is that contributing? Possibly. I'd imagine the analog compression is doing as much (or more) than the summing to help me get there. Of course I could go line out of the DAC - line input on the preamp - bus compressor - ADC but something's a little off when I do that. Going straight into the line input transformers on the preamp seem to have a less bottom available (maybe that transformer high-passes higher up) and less upper mid clarity than the summing box into the mic inputs. I tried to test fairly but we all know how easy it is to be fooled. My summing box was a pretty cheap DIY thing so I'm not out a ton of money if I don't use it. I'd love for the difference to be negligible and not have to run a bunch of extra cabling back and forth. As of right now, though, it's not. BradM , is the line input transformer much of a different beast from the mic transformer on the Silver Bullet? I don't know enough about that stuff, do you see any sorts of difficulties or advantages of using one or the other? One cool thing I was able to do, though: DAC - Bus Compressor with slowest attack, fast release, and dimed makeup gain - into the line inputs of the preamp (with the output trim turned way down to not clip the ADC). Huge distorted transients. It was a super cool sound that would be great - probably in parallel - on the right project. That project hasn't come along for me yet. I also bet it would be easy to set up and get close to it (or beat it) ITB. As of now, I'm sticking with the passive summing world for a while. I've got two projects in the not-too-distant future that will be great to test if the hybrid thing is really doing anything for me. I'll report back with any significant findings! Nice post. Sometimes "workflow" affects your mixing and sonic quality just as much - if not more - than the sonics of the pieces we employ. If it make you mix better, it IS better - even if you can scientifically prove the opposite in a test tube environment. <thumbsup>
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Post by guitfiddler on May 18, 2017 7:31:18 GMT -6
This has always been a sniveling little @$&?!" for me. I will soon have answers for myself, so I can finally get to work. More db25's on the way...tbc
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Post by mrholmes on May 18, 2017 8:38:59 GMT -6
I just can say that drbill advise to not patch in the DAW and to get rid of the console and doing this part by coloring the 2 bus not only freed my mind, it also is more fun to work and easy to set up. It took a while before the penny drooped but than YUPPP why not doing it at home like they do it in studios. Its more fun in mixing stage, its more intuitive and worth the recall trouble. Second PP is ordered and more real gear is to come.... If its not about the fun than what is it? Doing real work, not only clicking, that is fun to me.
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