I can't really give you "a" suggestion but maybe help you narrow down the list some:
CDSM's T*****t: If I could only buy one console program, this is it. It's versatile and it sounds fabulous on a wide variety of material. Very ballsy. In fact, all of your descriptors (balls, punch, separation, tightness, color) apply well to this program.
AlexB's CLC: Obviously you've already considered this; it's a great choice for electronic source material.
CDSM's Globe: Has a totally amazing, rich low end that none of the other consoles seem to rival. I really adore it; it gets used on a variety of material in almost all my mixes. The downside is the high end isn't always what I'm looking for, though, so it's not my go-to for every source.
AlexB's MWC: Like the T*****t, I've never heard anything that this console didn't work well on.
Do some A/B'ing with the consoles...Consoles...CONSOLES thread to compare apples to apples and it will give you some idea of how the different consoles compare to one another on the same material; that's the only way I've ever really been able to make good objective comparisons of the various consoles.
Hi Miro, I liked the nosferatu...hahaha I was in the same cruel doubt, There is some similar things in electronic music and samba, needed punch, definition in "surdos" (brazilian instruments), and kicks. and some harmonics on keyboards and basses, to give pulse, as a beating heart. And then I ended up buying more than one console, combine with one another,I make a Transformer. I really appreciate VBC console and MTC console, i use the N**e of 1073 Alexb. To use in many things, the VBC console is good. The CLC console, is good for R & B, Almost never i use . your punch is different from VBC, I think VBC with more depth on the pulse of music, but it is a personal taste. Hope this has helped, a big hug, Miro.
Back in the day I use to travel to various studios with certain producers that wanted a 'particular' sound when tracking out a song. Of course, the console at these facilities was not the ONLY impact on the recording, as certain rooms for drums, or string sections, etc had its own impact.
It was a great time [especially when the budgets were so big during those days] to be able to track with a variety of hardware, consoles, and rooms. And then came mixdown ... a completely different console could/would be used.
This is really the beauty of NEBULA, and the library developers. You can now switch hardware/console without leaving your chair.
Over the years [if you're as fortunate] you get to learn/identify equipment fingerprints [just as you learn microphone characteristics, and then the 'painting with sounds' becomes alot of fun.
I'd say you are more than likely going to own several consoles. I don't think any of these high-end consoles would be the reason a song didn't sound good [if you get my drift] ... NOR will ANY console make a hit song, or transform a poor recording into a magical masterpiece. [Although I have ask both Mike and AlexB to see what they can do about that !
I cut my teeth on MCI 400,500 & 636's ... through the years I developed a real soft spot for the N**e. The S*L was something that I did not warm to, but in later models I've come to enjoy their sonic character.
The longer you work with consoles, and really study and let yourself take in there sound, the better you'll be at implementing with a purpose. [remember, not all the music we worked on was enjoyable at first], a professional must discipline himself to 'find the magic'. Otherwise you'll be stuck working on your own stuff [which hopefully can be enjoyed]. Its' ART ... and some science thrown in for good measure. Learn analogues gain-structure rules [so you can break them with knowledge & purpose].
Of course I'm aware of not having a magic bullet when using a console. I'm also not a fan of having 5 consoles. Trying to keep things more simple, which is better for making decisions.
When I worked with mixing desks in the past (Allen&Heath GS3, Tascam 2600, D&R 4000, Soundcraft Spirit...Nothing on an S*L level, lol) I only had one at a time and was satisfied with what I had and used it well. On some I liked the Gain-drive more, on some less. The A&H was more punchy, while the D&R was smooth and warmer but they all worked well. Of course the EQ's were a big part.
If I get one of the Neb-consoles I really hope to get the right feel, since I will be probably forced to batch process (Macbook Pro 2.16GHz 3GB Ram..meh!). That will be against my workflow, that everything works/reacts hand in hand in one process.
All I hope for is an easier "glue" and seperation with some enhancement and tightening. I read that even if you pre-process with the consoles, it will make the mixing easier. Hope I will get to feel it.
Since I'm doing electronic mostly, I do the production AND mixing at the same stage...just used to that workflow and freedom to always edit things in last moments.
Anyway...I appreciate the replies so far. Now it's ust a matter of desicions (ther's TOO MANY consoles already IMO - errr....how was that: less is more hahaha!)