Brainworx bx_console Focusrite: support fail

[abi]

So were the compressors used after recording (say, a band with multiple mics), to bounce certain channels that needed dynamic reduction? So you’d play that channel back via the compressor and record the output on another channel?

I think they rather patched the signal through the compressor while recording (tracking) but I’m not sure.

[Googly Smythe]

Exactly. It was to protect the tape.
Compression was used in the cutting room, too, because of the limitations of vinyl.

[lajosuti]

Oh wow, you should read this https://www.webmd.com/mental-health/wha ... -mentality instead of the block diagram.

[Googly Smythe]

If you want the authentic mixing desk work flow in the box, you should do something like this:
Put an instance of your channel strip on every channel;
Print to audio;
Create a new project and import that audio;
Put a channel strip on every channel;
Now mix.

To emulate using different studios for recording and mixing ( a common practice) use a different channel strip.

Any pros out there to help us out?

[Googly Smythe]

Oh wow, you should read this https://www.webmd.com/mental-health/wha ... -mentality instead of the block diagram.

I don't think it's entitlement to expect someone to do the job they're paid for.

[sikdrumz]

Don’t feed the trolls

Imagine telling the owners of Focusrite 1-10 that they weren’t entitled to a manual or circuit diagrams

[Ploki]

did someone call

[sikdrumz]

Call brainworx?

[jamcat]

Exactly. It was to protect the tape.
Compression was used in the cutting room, too, because of the limitations of vinyl.

Yes! The needle could actually jump out of the groove with a transient that was too loud.

And master buss compression kept the tape from distorting during mixdown if the mix was too hot.

At some point engineers started using compression on drums while tracking to tape to avoid distorting, and then to tame errant dynamics of vocalists and bassists who lacked the skill to do it themselves.

Compression on everything is the result of SSLs, which first introduced track compressors in the late ‘70s/early ‘80s.

SSLs were mostly used for mixing, not tracking, so that’s when you started seeing per-track compression on the mix.

It steadily became more and more abused until you have the sad state of music we find ourselves in today.

[sikdrumz]

SSLs were mostly used for mixing, not tracking, so that’s when you started seeing per-track compression on the mix.

It steadily became more and more abused until you have the sad state of music we find ourselves in today.

So do you think the Brainworx Focusrite channel strip is an attempt to apply the SSL philosophy of per-track compression, using emulation of the ISA 130 in a way it was not originally designed to be used?

Also can you explain briefly what’s wrong with modern music in your opinion?!

[jamcat]

I think it's just expected that a channel strip has an EQ and compressor, so they included it because otherwise it would have just been an EQ plugin. Particularly because channel strips also have preamps, but Brainworx didn't model the preamps for any of their channel strips, though Lindell Audio does.

What's wrong with modern contemporary music (generally speaking) is it's overly compressed, obviously. It's also overly sterilized and homogenized, and there is no "performance" in it anymore. It doesn't sound like a group of people playing together at a specific time in a specific place. There's no "there" there.

Also the songwriting sucks. It's less a dynamic interweaving of melody and harmony, and more a flat collection of unnatural sounds. With nothing tangible to latch onto, it has become inaccessible and quite boring.

[Ploki]

I think it's just expected that a channel strip has an EQ and compressor, so they included it because otherwise it would have just been an EQ plugin. Particularly because channel strips also have preamps, but Brainworx didn't model the preamps for any of their channel strips, though Lindell Audio does.

What's wrong with modern contemporary music (generally speaking) is it's overly compressed, obviously. It's also overly sterilized and homogenized, and there is no "performance" in it anymore. It doesn't sound like a group of people playing together at a specific time in a specific place. There's no "there" there.

Also the songwriting sucks. It's less a dynamic interweaving of melody and harmony, and more a flat collection of unnatural sounds. With nothing tangible to latch onto, it has become inaccessible and quite boring.

you're just old.

i'm becoming old as well, but so far, music is fine.

[machine_spirit]

Also the songwriting sucks. It's less a dynamic interweaving of melody and harmony, and more a flat collection of unnatural sounds. With nothing tangible to latch onto, it has become inaccessible and quite boring.

you're just old.

i'm becoming old as well, but so far, music is fine.

There's great music being written for sure, but pop/radio music is another thing entirely IMO.
I can listen to pop music from the 1950s forward until about 2000 or so. It's usually tolerable and sometimes even enjoyable. I'd like to know what the hell happened after that. I'm in my early thirties so obviously there's something else than being stuck in time happening here, if i can see the appeal in pop music from 60+ years ago, while 95% of the pop music from especially around 2010 forward - just have nothing. No groove, no interesting harmony or melody, insanely repetetive timbre, dull vocals and pathethic lyrics (that last one was always a thing though). And all this pushed as loudly as possible through the miserable speakers.

[Ploki]

There's great music being written for sure, but pop/radio music is another thing entirely IMO.
I can listen to pop music from the 1950s forward until about 2000 or so. It's usually tolerable and sometimes even enjoyable. I'd like to know what the hell happened after that. I'm in my early thirties so obviously there's something else than being stuck in time happening here, if i can see the appeal in pop music from 60+ years ago, while 95% of the pop music from especially around 2010 forward - just have nothing. No groove, no interesting harmony or melody, insanely repetetive timbre, dull vocals and pathethic lyrics (that last one was always a thing though). And all this pushed as loudly as possible through the miserable speakers.

Idk.
i'm in my early 30s as well.
here's a few pop from recent years things i unironically enjoy and like:




also f**k
Stromae - Sante?

Haven't heard a beat this odd and groovy like EVER. EVER in my life. Stromae is wonderful.
also this?

This has f**king great lyrics, it's a perfect balance between escapism and subversiveness with a melancholic yet absolutely danceable hook.

for current billboard, i absolutely love Stay by Bieber/Kid Laroi and 29 by Lovato.
Also love most of the things Clean Bandit did.
Also like Dua Lipa.


there's more, but some are more some are less chart topping.
When you move from majors and chart toppers there's more interesting music than has ever been created ever.
I don't enjoy most 90s and early 00s pop, aside britney spears
80s pop annoys me because i don't really like the sound of the 80s.
I wish i was born 10 years later so i could be in my 20s and dance to all this wonderful music without looking like a creep. Stromae was on Sziget this year, regretting i didn't attend.

I absolutely don't appreciate the derivative classic rock revival alla Greta Van Fleet, Maneskin and similar shit. I f**king hate ed sheeran, harry styles and charlie puth

edit: i also like billie eilish.
I think it's wonderful that singing has shifted from aggresive screaming to more variety of expression.

[Ploki]

wait what thread is this