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Re: consoles...Consoles...CONSOLES

Postby prosodio » Thu Aug 19, 2010 11:32 am

Alex, the gain stage thing is only for preamps and consoles isn´t it? I work like this: recorded track, cdsoundmaster tape and tb+, eq´s, and finally input console . In the input console (last plug in the chain) is where I go the -18dbfs=0dvu, first I set the input of the console untill the gainstage is at -18dbfs and then I adjust the output until it fits the rest of the tracks of the song. Am I right?
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Re: consoles...Consoles...CONSOLES

Postby AlexB » Thu Aug 19, 2010 11:59 am

The gain staging is applied to all my programs since I respect the natural headroom or the gears. OK, some of them have more but I have find that -18dBfs works right to emulate the hardware sound in the box. For the eQ you can ignore this since the programs haven't the dynamic response, but generally I respect this with eQ to avoid DAW signal overload.
I don't know the gain staging by CDSoundmaster, you may better to ask him. I know that this matter of gain staging seems to be a little boring but you should do the same thing in the analog world 8-)
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Re: consoles...Consoles...CONSOLES

Postby mordecainyc » Thu Aug 19, 2010 12:50 pm

So in order to maintain the 'maximum analog' sound it is not a problem to turn up the output knob of Nebula in order to crank up the volume of a track, as long as the input knob is set so that the signal comes in at -18 dBfs (or another desired db level, depending on the program)?

thanks for your time to answer all these - quite basic - questions, Alex, it really helps me and other people who are new at Nebula.
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Re: consoles...Consoles...CONSOLES

Postby prosodio » Thu Aug 19, 2010 1:47 pm

mordecainyc wrote:So in order to maintain the 'maximum analog' sound it is not a problem to turn up the output knob of Nebula in order to crank up the volume of a track, as long as the input knob is set so that the signal comes in at -18 dBfs (or another desired db level, depending on the program)?

thanks for your time to answer all these - quite basic - questions, Alex, it really helps me and other people who are new at Nebula.


You got it!!!! :)
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Re: consoles...Consoles...CONSOLES

Postby mordecainyc » Thu Aug 19, 2010 5:49 pm

Thanks. I guess Alex agrees too ;)
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Re: consoles...Consoles...CONSOLES

Postby ngarjuna » Wed Oct 06, 2010 4:30 pm

Bumped for great justice...

Added:
Bogen MXM K93 Vintage Mixer/EQ Combo

Vintage BBC Console
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Re: consoles...Consoles...CONSOLES

Postby surbitone » Fri Oct 22, 2010 7:25 pm

Very surprised to hear so many people thinking that the consoles are almost inaudible/placebo, I can hear *very* distinct differences between them all. I've found the VBC to sound soft, rich & thick (listen to an acoustic guitar based song to really exaggerate the colouration) - with a more obviously coloured sound than even my OTB summing setup! When using the console channels throughout a mix, the presentation of the soundstage changes, albeit in a (hopefully) subtle way that is not of detriment to the program material. Although not a mixing/recording console, a very good example of this would be the GMC output program - very euphonic with more definition between m/s channels, but still a relatively clean, unspoiled sound.
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Re: consoles...Consoles...CONSOLES

Postby yr » Fri Oct 22, 2010 8:09 pm

I find that the vintage BBC console has similar qualities while sounding different from the GMC. It seems to really preserve the spectral balance and add a touch of clarity and sweetness to the sound. The GMC, to me, seems slightly more forward/aggressive sounding.
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Re: consoles...Consoles...CONSOLES

Postby faun2500 » Thu Mar 10, 2011 6:41 pm

ngarjuna wrote:I don't know how you guys are comparing but personally I load the WAV files up in my DAW and switch back and forth between program choices. To me, there are pretty clear and audible differences between the consoles. Is it subtle? Sure, especially if you mean that non-engineers will probably never perceive these kinds of differences; but most of what engineers do is subtle by that definition. When I focus on pretty much each of the instruments separately while I'm A/B'ing the way the curve of the board and the way it interacts with different program material seems pretty evident (even if it is subtle). When I A/B/X I can't tell you "Oh, that's the XXX console" but I'm just listening for the differences that I like and the differences I don't like and selecting on that basis, so it doesn't precisely matter which is which; I can, however, draw on my experience of the way the different programs have behaved on prior comparisons to make more educated choices so that I don't need to compare 7 consoles on every mix (which would get pretty cumbersome).


Exactly what I do. Well written!
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Re: consoles...Consoles...CONSOLES

Postby faun2500 » Thu Mar 10, 2011 7:45 pm

After comparing all of these it is quite obvious what the different consoles are doing! Some are brighter, some are tighter with punchy low mid bass(S*L) and some lose the bass altogether - how can you NOT hear that?! :shock:

Anyway, I guess the main point is the difference between the ITB mix and any of the consoles.

My conclusion: The consoles sound much better!

:mrgreen:
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