to the OP - do you have the MTC? I'm curious how the tube sound would fair here, I like what it does to vocals - honey like
I thought the T*****t had a nice organic earthy tone, but on close listen the drums sound strangled I do dance and analog heavy synthy music, so drums must be nice!
White Console - is fairly even all round, nicer, but not sticking out like a sore thumb in any major area Black console - is pretty nice, with a bit more air
VBC has this sheen to the sound that is similar to the preamp in the N-TEN-AT4 demo. And when you line up the level to the original signal, the bass end is dipped I like the EQ, but the tone of the console gets a bit on my nerves after a while, a bit artifical like
So in reading this whole thread and drawing from personal experience (I'm a MBC owner) I realize for some that can't hear the difference its a maturity of the ears that you lack. I've heard a lot of people discribe how they switch from one console to the next and can barely hear any difference. That makes me both sad and happy. Only because my ears have finally reached that level of maturity where I realize what I'm listening for and sad because a lot of people who can't hear it yet don't understand.
These consoles (or at least my MBC) give my audio depth and width that i was unable to achieve with just Slate VCC. But in combination of the two I have achieved "that" sound I've been looking for. I hope everyone gets to that point
I want to say that the MLC is really good for modern percussive dance stuff.
Fairly neutral, but still does its 'thing' and would be super clean and right on the money for what you want.
Personally though I really am into the Tride n' True console out of the CCC vst plugin. The others included in the pack could be cool for other projects, but not really so much for your wanting it to. The TnT really hit home on a few projects spanning a few different styles so hats why I'm really into it generally. The MLC might be to 'clean' for some more of the character driven material...
Does that make sense at all?
If your not into the sound of the TnT, I'd naturally gravitate toward the MLC.
Though I don't get to hung up as its not the biggest part of the sound. I think its best to use a combination and gain a deeper understanding of getting as much as you can out of a library like the CCC or the cluster of AlexB stuff, yet apply it appropriately. What you'll find is you get your own favorites, and mix and match.
There are already a ton of great tips here if you want to follow that path too.
Which reminds me, I need to upgrade to the newest PCS upgrade... Pre amps and color for days...
S*L is usually preferred for electronic music, N**e is more "rock" (smoother and thicker), A*I is "harder". The vintage consoles definitely have their character and it's not always even desirable for modern productions.
I'm using the MWC because it has the N**e smoothness but it also sounds pretty modern. Took me a year to understand that it's not the tube sound I'm after, it's solid state. I rarely use tube gear for anything but vocals.
Also, I've noticed that with fully nebulized mixes the subtle acoustics improve hugely and make the mixes way more pleasant to listen.
When mixing into a console like AlexB consoles, the console has its peak at -18dbfs correct?
Well, does that mean that mixing in a console should be like mixing digital? What I mean is, do we leave headroom like in the digital domain? Like, lets say im using a LVLmeter that shows me 0db at -18dbfs... Is it best to be mixing into the console bus at -6db on the LVLmeter? Or is the goal to mix everything to hit the console master bus at 0db?