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Post by jcoutu1 on Dec 15, 2018 11:23:22 GMT -6
So UAD hasn't followed that and still has only MK I? Yes.
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Post by M57 on Dec 15, 2018 11:52:57 GMT -6
I was under the impression that (with the exception of certain UAD plugins) the Console 1 only controls the proprietary modules that come with its console packages, but now I'm realizing there are a La Carte modules (made by Softube of course) like compressors, equalizers, and the Wiess de-esser. Anyone here are using any or all of these? I would think it might be a little messy to use them because you would have to set them up by maybe over-riding or deactivating the 'stock' console plug for each respective module (and remember what you're working with). Does the C1 "stock" GUI show what's happening with the A la carte module, or does the A la carte module just use it's own GUI and the respective Console 1 module goes 'dark?"
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Post by stormymondays on Dec 15, 2018 12:01:46 GMT -6
If you load any external plugins into the C1, they lose their GUI and any features that are not mapped. I did get their FET compressor, which is excellent, but I much prefer using it on its own when needed.
In my opinion, the best way to use C1 is to "trust the force" and act as if you were actually using a console. I put it on every channel, decide if I'm using an SSL, API or Neve desk, and go for it. It's very rare that I need to load any external plugins on a track unless I need something very specific, either to solve a problem or for special effect. Mixes come together quickly and beautifully.
By the way, I also use Slate's VTM (tape) in the same way. It's like having a make-believe analog studio with a multitrack and LFAC. Works for me!
EDIT: forgot to mention that I love using hardware and my mixes are usually hybrid, but when I stay in the box, that's how I do it.
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Post by swurveman on Dec 15, 2018 12:23:06 GMT -6
In my opinion, the best way to use C1 is to "trust the force" and act as if you were actually using a console. I put it on every channel, decide if I'm using an SSL, API or Neve desk, and go for it. Not just asking you stormy, though you might know, but back in the day when engineers could only mix on real console's was it common that they'd know three different desks for mixing? Or, would they pick one and master that?
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Post by stormymondays on Dec 15, 2018 12:31:07 GMT -6
In my opinion, the best way to use C1 is to "trust the force" and act as if you were actually using a console. I put it on every channel, decide if I'm using an SSL, API or Neve desk, and go for it. Not just asking you stormy, though you might know, but back in the day when engineers could only mix on real console's was it common that they'd know three different desks for mixing? Or, would they pick one and master that? I'm 43 years old, so I didn't get to experience that But yes, I agree with your thinking. 99% of my C1 work is on SSL, because I decided exactly that: to master it. The Neve (which I got a deal on) is only for special occasions for me. But I did demo and buy the API and I plan to master it as well. However, "track on a Neve, mix on an API" (or SSL) was/is quite common, I think.
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Post by swurveman on Dec 15, 2018 15:17:34 GMT -6
Not just asking you stormy, though you might know, but back in the day when engineers could only mix on real console's was it common that they'd know three different desks for mixing? Or, would they pick one and master that? I'm 43 years old, so I didn't get to experience that But yes, I agree with your thinking. 99% of my C1 work is on SSL, because I decided exactly that: to master it. The Neve (which I got a deal on) is only for special occasions for me. But I did demo and buy the API and I plan to master it as well. However, "track on a Neve, mix on an API" (or SSL) was/is quite common, I think. I never got to mix on any great console, but I believe the "mix on SSL" trend was due to the automation, gates, EQ and dynamics that SSL consoles had, while the other consoles only had EQ and had to use outboard for the rest. Now that (I believe) every virtual console channel has gates, automation, EQ and dynamics, I would think the preference would be based on which one sounds better to the engineer. How different do these different virtual channels sound just inserting them on each channel of the mix? Do the compressors sound different? Or, at the end of the day is there not enough difference which would lead one to just master one of them?
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Post by Mister Chase on Dec 15, 2018 15:37:50 GMT -6
Sure they had preferences but those guys knew all the boards back then. They understood how they sounded and worked just like different microphones. They worked around town at different studios with different rooms and boards etc. It was the only way to work at one time.
I think the different models all sound quite different in console 1. I have the all but the 9k. I hope they make an 88r or something too. I’m sure more are coming...
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Post by jcoutu1 on Dec 15, 2018 16:07:10 GMT -6
I'm 43 years old, so I didn't get to experience that But yes, I agree with your thinking. 99% of my C1 work is on SSL, because I decided exactly that: to master it. The Neve (which I got a deal on) is only for special occasions for me. But I did demo and buy the API and I plan to master it as well. However, "track on a Neve, mix on an API" (or SSL) was/is quite common, I think. I never got to mix on any great console, but I believe the "mix on SSL" trend was due to the automation, gates, EQ and dynamics that SSL consoles had, while the other consoles only had EQ and had to use outboard for the rest. Now that (I believe) every virtual console channel has gates, automation, EQ and dynamics, I would think the preference would be based on which one sounds better to the engineer. How different do these different virtual channels sound just inserting them on each channel of the mix? Do the compressors sound different? Or, at the end of the day is there not enough difference which would lead one to just master one of them? They definitely sound different. SSL consoles has the best routing ability of all the boards. You could basically route signal from anywhere to anywhere, which is much more comprehensive than any other boards. The SSL EQ with sweepable frequencies and Q control along with board compression/gates also provided all the basic tools. Layer in the SSL automation, and you had the most flexible mix console around. API and Neve have great sonics, but SSL has the features. The SSL rooms all still had 76's, 2A's, Pultec, Neve/API preamps and eq's, etc available for patching.
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Post by swurveman on Dec 16, 2018 12:15:08 GMT -6
I never got to mix on any great console, but I believe the "mix on SSL" trend was due to the automation, gates, EQ and dynamics that SSL consoles had, while the other consoles only had EQ and had to use outboard for the rest. Now that (I believe) every virtual console channel has gates, automation, EQ and dynamics, I would think the preference would be based on which one sounds better to the engineer. How different do these different virtual channels sound just inserting them on each channel of the mix? Do the compressors sound different? Or, at the end of the day is there not enough difference which would lead one to just master one of them? They definitely sound different. SSL consoles has the best routing ability of all the boards. You could basically route signal from anywhere to anywhere, which is much more comprehensive than any other boards. The SSL EQ with sweepable frequencies and Q control along with board compression/gates also provided all the basic tools. Layer in the SSL automation, and you had the most flexible mix console around. API and Neve have great sonics, but SSL has the features. The SSL rooms all still had 76's, 2A's, Pultec, Neve/API preamps and eq's, etc available for patching. Thanks for clarifying Jesse. I forgot about all the bussing/routing options, which we take for granted itb. Do you mix with multiple channel strips due to sound, or stick with one and use other plugins for color/sound? In this day and age it is very easy to fall into a "jack of all trades, master of none" situation. I sometimes wonder if I'd be better off just using an SSL channel strip and mastering every learned nuance that comes with the repetitive experience.
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Post by jcoutu1 on Dec 16, 2018 12:21:00 GMT -6
They definitely sound different. SSL consoles has the best routing ability of all the boards. You could basically route signal from anywhere to anywhere, which is much more comprehensive than any other boards. The SSL EQ with sweepable frequencies and Q control along with board compression/gates also provided all the basic tools. Layer in the SSL automation, and you had the most flexible mix console around. API and Neve have great sonics, but SSL has the features. The SSL rooms all still had 76's, 2A's, Pultec, Neve/API preamps and eq's, etc available for patching. Thanks for clarifying Jesse. I forgot about all the bussing/routing options, which we take for granted itb. Do you mix with multiple channel strips due to sound, or stick with one and use other plugins for color/sound? I mix it up. Different full strips on some channels, different compressor or eq section on other channels. Some non-Softube plugs throughout too.
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Post by schmalzy on Dec 25, 2018 14:55:27 GMT -6
So, I'm curious what everyone has been finding with the other console versions in C1?
I HATE trying to deal with demo stuff and I'm currently in the middle of some a tight-timeline mix project so I don't have time to screw around (and to not be able to recall stuff).
What are people finding the different console versions good at? Bad at?
I think I'm going to grab another console strip while the current sale is going on. I dig the SSL 4000 but I'm always trying to evolve and find the right way of getting "there." I end up using the Kush Omega A or N on a lot of tracks to shape and saturate. If I could get there faster (or get there more directly) with the other strips, I'd do it in a heartbeat. Maybe the Summit strip is just better than both of 'em all together? I have no idea!
What say you?
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