SWANG wrote:from michael's (cd soundmaster) "tride-n-tru" console manual (my fave console at the moment):
For those looking for the maximum in analog authenticity and using maximum resources, we recommend operating the console in full emulated analog mode, turning the DAW into a virtual studio as originally inspired in the "RASS" library. We highly recommend placing an instance like the "TRD-EQIN-ALL-K11" on your channel, followed by an instance of R2R (and TB+ if extra tape volume/saturation is desired) followed by a second instance of "TRD-EQIN-ALL-K11". This gives you the entire effect of sending your sound through the console channel direct out, to the tape for recording, and back to the console for mixing. You can group mix sections together in a group buss using the "TRG" as a single instance. Place a single instance of a "TRM" program on your master out section of your DAW. For the best analog effect, place the "TRM" program of choice in your chain ahead of your final limiting and other choices. If you use an R2R machine for mastering, place it just after the "TRM".
While this is indeed closer to the actual signal chain as it would exist in the real world I find many consoles to be a bit too heavy in terms of coloration to accommodate this strategy, the TriedNTrue in particular (it's one of the most colorful consoles I own which is both a plus and minus).
Also some of Michael's consoles are a bit different than Alex's as they don't tend to come with programs specifically designed for busses (it seems to me one or two of CDSM's consoles do have busses but most do not). So that line back out (after the tape and leading to the master buss) to some degree replaces the buss programs. But if you're bussing/sub-mixing and using console programs on the busses/sub-mixes it seems to me you might find doubling up all of your line inputs really heavy. But in cases where you're looking for heavier color from the console programs that is an effective way to do it.
Not sure how faithful this is to actual analogue chains, but I often use the following chains.
freeG satsun channel cdsoundmaster tube BB_LP_C 3K cdsoundmaster tubebooster low freeG MBC line/mic in freeG R2R tape, Otari-15-ATR-0 is a frequent pick. (or a studer) tapebooster low (only sometimes)
on the master buss:
freeG MBC MBM some sort of linear phase EQ (usually non-nebula) cdsoundermaster tube BB_LP-C 3K freeG MBC MGC freeG R2R tape, usuallly Otari-30 AtR 0 or something similar freeG alexbs GMC IL Stereo alexbs eqs from GMC. (Even if not needed for EQ, I run one of the programs static. I'm not sure if that adds anything.) GMC ST-OUT the Glue for compression. (usually two instances) some sort of limter. (I'm using the t-racks one often)
the end. I don't know if that's optimal use, and i'd welcome suggestions for mixing things up. But i've been pretty happy with the sound i get this way.
I’m interested in trying to replicate the analogue chain as much as possible, so I’m going to try experimenting with
Mic/guitar emulation (You47/Big guitar etc.) Mic Pre (a Telefuken or something if I want extra colour) Console Mic R2R Tapebooster + VTM – M2 Console Line (I might put the Console Line input in the next pass with the EQ etc. if I'm running out of juice)
EQ/Compression Console Grps Console FX
Console Master Compression etc. R2R Tapebooster + VTM – M2
Not using R2R or whatever on the grps/FX channels - that is entirely consistent with a real analogue desk isn’t it? Because, as with the master buss, you’re just summing the individual trks [which already have tape emu]…? I don’t get adding tape emu to grps etc. if you’re going for a ‘real world’ application so-to-speak. But obviously it’s not a rule, and if it sounds good doing that, it sounds good
I'd worked with real consoles and tape and recommend this settings. (Double numbered - not necessary options)
Tracking (on each track): 1. Preamp (Or Console Input-Mic) 1.1 - Console Line input (choose less colored strip) OR 1.2 - Light comp (to control level) 2. Tape Preamp (or Tube) 3. Tape. Render. Now you've tracked your tracks (taftooo =)) on Tape.
After that - Mixing : Each channel: 1. Console Input 2. FX (EQ, Comp, bla bla) 2.1 If u want more saturation and color - TAPE. Not each channel i'll be printin. Drums, Bass and guitars - 100%. Voco and other - it depends on you and sound u want. Group Bus: 1. Console Group Bus 2. Whatever you want Master Bus: 1. Console MixBuss 2. TapeMachine preamp (or Tube) 3. Tape
Pity what no one console has Insert-Return impulse.. Then chain will be Input-insert-comp-return-tape
I'll go with this setting, because they fairly represent my real world setup. I've looked on CLA chain and it's close to this. He's grouping tracks, printing 48 channel on tape, and then mixing it. But with real SSL4000 and so on)))))
botus99 wrote:If you are using a library calibrated for 0VU/-18dbfs (the AlexB libraries for example), then make sure your busses are also calibrated in that fashion.
Just to clarify, are we talking -18dbfs peak or RMS? Because I usually understand that as being an RMS value, but I've seen it referred (in relation to Nebula) in terms of peak also - "have the kick drum peak at 0VU..." etc.