I don't think that this is practical...

Here is why:
Let's take your usual consumer console, either a Mackie or a Behringer, maybe even Allan and Heith.

Most of these "cheap" devices do not work module based, but there are several channels soldered on to one board. Now if you overload a channel here, there is a huge chance you affect the others in the process. This is the nasty bleeding effect a lot of engineers try to evade.

A negative sideeffect of that "bleeding" (that some of you apparently want) is also ducking channels, or distorting them. Quinto pretty much implemented that with STRIPbus. Only that you have a certain control here.


Now... large scale consoles work module based. At least most of them. Meaning: each channel strip works individual and is connected to the full array (routed to the summing bus) in parallel through own means. Usually these channels are not connected unless you want them to. In theory we could talk about galvanic disconnection (which would be the best way possible), but in reality this doesn't happen (radiation, etc).

Here the channel differences make sense if you take a look at the whole module. A damaged resistor or a capacitor can mess with the whole channel. Or let's say the module wasn't properly installed, then you have additional noise and the liking. This is what Waves tried to pull off, and other firms/developers like Slate and AlexB (with modification of his own consoles) tried to evade. It can add some certain flavor, but I see it as damaged components that need to be fixed.


What you ask is a complete "console" built after. Which would mean you need a dedicated system. But we have that already! It's our host!

Our host is the most clean and most correct working tool that we have at our disposal. It is a tape machine and a console in one! You can't get any better than that.


The thing that we miss in this case however is the conversation from kinetic energy to electric energy and therefore bits and bytes. Stuff that let things sound alive. And here we talk about preamps and microphones. All with their dedicated frequency response, harmonic distortion (if the circuity demands it or does so on purpose) plus our more or less flat AD/DA's.

It is no weakspot whatsoever to just use a (simple) digital host like Cubase, Logic, Acid, FLStudio, Sonar, StudioONE, RECORD, Samplitude and how they are all called. If we want more flavour, we grasp for things that model analog devices such as certain EQ's, compressor, preamps, guitar amps, microphone modelers or in this case a console.


Really, in reality engineers around the globe tried to evade all he negative sideeffect of analog equipment. Now we scream for these tools again in digital form yet barely anyone realises what we have at our disposal already.

There were even A/B tests with passive summing modules (cables again), and the only "coloring" that happened here was due to the gain compensation of the preamp prior to the AD/DA again. That and the more finer resolution due to voltage rather than bits and bytes that literally no one can hear!

Forget the "blind tests" - there is no secret magic going on and a 20grand digital cable doesn't sound better than a properly built 20bucks DIY one.

Just a slightly OT sidetrack about the Beatles book...

I'm assuming it's the one by Kevin Ryan and Brian Kehew.

This book looks 'crazy' good. Apparently they discuss all the minutiae of what was used down to the exact second at which a certain compressor might kick in, etc. It seems that with the cds in hand and reading the book one could really get a good idea of what effect different things have, etc. as well as how things might be used and so forth. I really like that.

The book is available on Amazon from the Marketplace but not directly so the lowest asking price is currectly $137.69. That's for a used book classified as "good". The prices for "new" begin at $144.94. The shipping cost is an extra $3.99. Contrary to what Amazon lists, the book actually weighs 11 pounds! So another thing to watch for is Marketplace vendors cutting corners and trying to put extra money in their pocket by using ultra cheap shipping. Not to mention the "crappy" boxes, etc. that some vendors use.

The better alternative might be ordering directly from Curvebender Publishing. They have a special site: www.recodingthebeatles.com Their asking price is $100 and it looks like Fedex shipping is included. The book is listed as being in stock and the site appears to be current as they talk about the authors giving a presentation about Abbey Roads Studios in March 2012.

A big shoutout to Compyfox for mentioning this book!! It looks fascinating! It's been out for a few years now but I actually missed it... and probably would not have even known about until much later and much too late to even be able to get it. So, thank you, thank you!!!


Okay. Apologies for sidetracking (though not really) the thread. Now back to our discussion...

On the book again... I've updated my post to say that shipping from the publisher is extra and not included. But it's only about $10-15.

The book that I just purchased does look like it still includes the extras (and a slipcase?). I was really debating about whether to go for it, because it IS a lot for a book. But I decided to do it. It's one of those things... like the Alan Parsons DVD set from Keyfax that seems a good investment in learning more about the tools of the trade.

(And seeing the quote from AP on the site made me think... okay, I'm doing it.)

A negative sideeffect of that "bleeding" (that some of you apparently want) is also ducking channels, or distorting them. Quinto pretty much implemented that with STRIPbus. Only that you have a certain control here.

No a certain but a TOTAL control.

Well finally dived in and purchase NLS and decided to also get SSL pack using the recent WUP, will be testing and using over the weekend

I don't think that this is practical...

Here is why:
Let's take your usual consumer console, either a Mackie or a Behringer, maybe even Allan and Heith.

Most of these "cheap" devices do not work module based, but there are several channels soldered on to one board. Now if you overload a channel here, there is a huge chance you affect the others in the process. This is the nasty bleeding effect a lot of engineers try to evade.

A negative sideeffect of that "bleeding" (that some of you apparently want) is also ducking channels, or distorting them. Quinto pretty much implemented that with STRIPbus. Only that you have a certain control here.


Now... large scale consoles work module based. At least most of them. Meaning: each channel strip works individual and is connected to the full array (routed to the summing bus) in parallel through own means. Usually these channels are not connected unless you want them to. In theory we could talk about galvanic disconnection (which would be the best way possible), but in reality this doesn't happen (radiation, etc).

Here the channel differences make sense if you take a look at the whole module. A damaged resistor or a capacitor can mess with the whole channel. Or let's say the module wasn't properly installed, then you have additional noise and the liking. This is what Waves tried to pull off, and other firms/developers like Slate and AlexB (with modification of his own consoles) tried to evade. It can add some certain flavor, but I see it as damaged components that need to be fixed.


What you ask is a complete "console" built after. Which would mean you need a dedicated system. But we have that already! It's our host!

Our host is the most clean and most correct working tool that we have at our disposal. It is a tape machine and a console in one! You can't get any better than that.


The thing that we miss in this case however is the conversation from kinetic energy to electric energy and therefore bits and bytes. Stuff that let things sound alive. And here we talk about preamps and microphones. All with their dedicated frequency response, harmonic distortion (if the circuity demands it or does so on purpose) plus our more or less flat AD/DA's.

It is no weakspot whatsoever to just use a (simple) digital host like Cubase, Logic, Acid, FLStudio, Sonar, StudioONE, RECORD, Samplitude and how they are all called. If we want more flavour, we grasp for things that model analog devices such as certain EQ's, compressor, preamps, guitar amps, microphone modelers or in this case a console.


Really, in reality engineers around the globe tried to evade all he negative sideeffect of analog equipment. Now we scream for these tools again in digital form yet barely anyone realises what we have at our disposal already.

There were even A/B tests with passive summing modules (cables again), and the only "coloring" that happened here was due to the gain compensation of the preamp prior to the AD/DA again. That and the more finer resolution due to voltage rather than bits and bytes that literally no one can hear!

Forget the "blind tests" - there is no secret magic going on and a 20grand digital cable doesn't sound better than a properly built 20bucks DIY one.

Keep in mind that the SSL pack also tries to simulate a channel strip along with it's saturation.

If I want a console sound then I just use a damned console/desk. Its alot easier than farting around with my host/hosts of choice. I want my host(s) to do what they do best and my hardware/analogue to do what it does best. Its so much simpler

VCC has more of a vibe & Nebula/ Alex B beats them both.

If I want a console sound then I just use a damned console/desk. Its alot easier than farting around with my host/hosts of choice. ... Im a simpleton, Aslong as it sounds good/works I could not care less but it has to be easy to intergrate into my workflow bottom line

I think these kinds of emulations are the future. The workflow and capabilities of a DAW are just eons ahead of hardware and the sound is in some cases close enough and in some cases better (depending on the sound you're trying to achieve).

I've listened to interviews with respected mixing and mastering engineers who have given up outboard equipment completely.

The one exception is the input stage. You still need great musicians, great mics, good quality preamps, and please some degree of songwriting/music theory training!

No it doesn't.