Channel strips that you actually use

[ramseysounds]

Recording and mixing are 2 totally separate sessions, typically done months apart in different studios with different gear.

Except I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' (nothing wrong with that before the pile on) so your comments are quite ridiculous.

[Agreed]

I like PA SSL9000J when I want to use the gate/expander a lot with some general compression, pretty often I use it on tracks; PA Amek 9099 on mix bus (I like its comp as a second to last dynamics stage with like a 2:1 ratio and tickling the threshold, slow recovery, and its EQs are quick and nice, good de-esser too); Lindell 80 for tracking through because I think it has a nice color sometimes, easy to work with, preamp can sound cool if not pushed TOO hard but getting some harmonics; every once in a while I will run a mix through Waves Kramer HLS for the band limiting and coloration but not that often.

If I want some Neve-pre-esque coloration and a little tone shaping, but don't need a whole console thing going on, I'll track through Black Rooster VPRE-73 because it sounds great to me and has effective, quick tone shaping capabilities. I've got a particular sound overdriving synths through it a number of times now and go back to it. Ray D. has had a knack for saturation for a while now, I sometimes use his Warble in a similar role for a different but related thing.

To the above discussion I personally still view tracking as its own process, mixing as its own process, and most-mix fuckery as its own process. I don't think of what I do as mastering because I have no formal background there and that's a professional description, but I do get a consistent stereo image, slightly adjust overall EQ with an eye toward consistency with other tracks, get my LUFS where I need them to be after having mixed a track. And breaking those processes up like that has been productive for me. I like a process that requires commitment so I don't dick around endlessly tweaking stuff. I like to treat it like I'm recording to tape, working with tape, except when I need to take advantage of what my DAW can do that is not as limited as that.

[jamcat]

Recording and mixing are 2 totally separate sessions, typically done months apart in different studios with different gear.

Except I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' (nothing wrong with that before the pile on) so your comments are quite ridiculous.

Or you could try actually reading past the first sentence.

[Unaspected]

Recording and mixing are 2 totally separate sessions, typically done months apart in different studios with different gear.

Except I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' (nothing wrong with that before the pile on) so your comments are quite ridiculous.

Discussion of a variety of approaches doesn't seem ridiculous. I'm sure people benefited from jamcat's post. Including interior designers. Though I'm not sure what they have to do with this.

[ramseysounds]

Recording and mixing are 2 totally separate sessions, typically done months apart in different studios with different gear.

Except I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' (nothing wrong with that before the pile on) so your comments are quite ridiculous.

Or you could try actually reading past the first sentence.

I read the whole post. Cheers.

[jamcat]

Then you failed to comprehend it. Cheers.

[ramseysounds]

Not at all. Your post was in-depth, articulate and comprehensive for YOUR workflow. My point is that I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' meaning that the points you have made will not apply to a hell of a lot of people reading this forum. Comprehend?

[dumbledog]

why does every single thread on KVR turn into this

[Agreed]

Too many pointless fights. Jamcat's post was fine and clearly geared toward helping exactly those folks implement a workflow consistent with how consoles are used with these console emulating plugins, and calling it out was unnecessary. Further digging in and this snarky shit (edit for clarity: responding with a combative tone to someone speaking in a friendly & helpful manner, no personal judgment of the poster who did so intended) is ego stroking.

[cryophonik]

Focusrite ISA 220 as my front end channel strip, Waves RenChannel and SSL e/g as my main software channel strips

[jamcat]

Not at all. Your post was in-depth, articulate and comprehensive for YOUR workflow. My point is that I'd hazard a guess that at least 90% of the people reading these forums are 'bedroom producers' meaning that the points you have made will not apply to a hell of a lot of people reading this forum. Comprehend?

It applies to anyone who wants to recreate an analog studio signal path in their DAW. It can be done in a bedroom, or a studio, or a studio apartment.

It's a process based on a tried and true workflow that gives you a logical structure and limitations to work within, keeping your focus on the mix rather than playing with plugins with no rhyme or reason. And it gets results that sound "like a record." Most of the time, most channel strips just sits there with everything at unity, imparting a subtle colour to each track, and not much else. But If I need some EQ or compression, it's just there. Make the adjustment and move on, and the session doesn't devolve into plugin playtime.

Personally, I think that's exactly the help bedroom producers need most.

[Scrubbing Monkeys]

After years with Waves SSL G. I replaced it with Fuse CS1. I also use Fuse TCS 68 for tracks that just need broad strokes. I like the detail workflow and reasonable cpu hit

[kevingham]

Does anyone have experience/impressions of the Fuse VCS-1? Using channel strips is a very new concept to me for working in the box, but after picking up the white/black channels in the IKM Group Buy, and then upgrading to the PA 9000 J soon after, this work flow is really a revelation for me. I've been enjoying Ray's code a great deal via the PA and NEOLD stuff so really interested in the VCS-1. Is it attempting to emulate any classic gear specifically?

Also, thanks to jamcat for your earlier informative post, I found that very interesting and a great insight into a far different workflow to my own. It's a shame that discussion like this can devolve so quickly on here. As you can see, I'm an infrequent poster, but have been a member/reader here for a long, long time. It never used to be like this.

[ramseysounds]

Also, thanks to jamcat for your earlier informative post, I found that very interesting and a great insight into a far different workflow to my own. It's a shame that discussion like this can devolve so quickly on here. As you can see, I'm an infrequent poster, but have been a member/reader here for a long, long time. It never used to be like this.

Look, can I just state that this is a discussion forum. People are going to disagree. Jamcat had his opinion and I had mine. If you read a later post of mine I actually state his post is articulate, comprehensive and informative. With hindsight, I’ll apologise if my comments were taken as anything other than discussive as that wasn’t the intention. You’re going to get different opinions on a forum. Too many woke people around.

[DJ Warmonger]

I use no strips, only custom tools picked by hand.

However, Ableton Drum Bus is quite handy for drums. Useful stuff in tiny package.