if you could build your perfect console..just for fun:)

ebaysellerrob

If you could make your dream console what would it have ie pre/eq and general signal flow,would you bother with groups,would it be split or in line,how would you design the master section?

DamagedTrax

inline desk with full bus grouping or direct option.

input - 48 neve mic pres
mon returns - 48 ssl
with full throw faders on both in and mon sections.
and some valve inputs on a sidecar.

ssl g+ eq, neve vr dynamics.

8 vca groups.

ssl style "float" for audio group channels

ssl g+ master comp

full digital routing computer on the master.

switchable vcu/ppm metering on each channel

and all for less than €10,000


.. also a hd7 rig with 4 fully loaded uad2 quads... just incase :-)

ebaysellerrob

no bad at all any one like the idea of helios 69 eq api trident 9098 ect

DamagedTrax

i'd go with you on the api eq.

helios is a little isoteric for my tastes on a full console but i wouldnt say no to a few custom channels. maybe 2 channels with helios eq and 2 with ears (for bass)

actually, just thinkin. ill swap my ssl filters for some harrisons :cool:

ebaysellerrob

how about an inline desk with either 16 or 24 neve mic pre
ssl mon returns
direct outs
p+g faders
pultec eq unless you ready would prefer the harrison(only ever heard of harrison never actually heard them)
and any of the following as your comp
elysia mpressor
ssl bus compressor
charte oak
manley
and a routing system
say4 aux
perhap in the 24 a 4 different channels from the others and its all modular:)






and all for less than €10,000

DamagedTrax

oooohhh... manley massive integrated on the master :cool:

sounds like a plan, when do we start building it?

ebaysellerrob

After the electronics courses lol actually how hard would it be to get the circuit diagram...

Bluebirdstudios

Ye put me down for one of those !! 10,000 grand ye can't go wrong make sure to stick a vertigo compressor on stereo bus, 8 crane song trakkers on the group inserts and Rupert Neve portico expansion bay for groups or tape returns.

PS don't need daw control - so can I have mine made for 9,000 do we have a deal ???????

If Carlsberg made consoles ................
-Dec

splitrmx

And a cup holder.

PaulBrewer

No ash tray or bottle opener?

ebaysellerrob

at its always in vegas mode

dabhoys

I'd got with

Neve mic/ line input stage ala 10 series but just with the filter section of 1084 ie Hi and Low Pass filter
BFE/ Filtek MK3/5 EQ
Distressor for my dynamics section
I'd go with Neve 1272 for the main stereo bus along with a Focusrite RED Comp and a pair of EQP1a's on there too for good measure

That be my favourite setup. Along with the new SSL automation system from the Duality's for recall/ automation...

ebaysellerrob

distressor for dynamics lol after a distressor what dynamics "nuke"
not with you on any of the focusrite red stuff(just personally not into them)
And to be honest with protools having all the automation you dont really need any on the console how about raised frames between fader banks that allow you to rest a keyboard or mc control on the board without any issues
A recall system would be nice but prob add loads to the price

Do you mind me asking what made you pick the focusrite red and distressor?

PaulBrewer

ebaysellerrob wrote: »

how about raised frames between fader banks that allow you to rest a keyboard or mc control on the board without any issues

Ssl do that with their Matrix console.

ebaysellerrob

I know its why I said it

Quiggers

it'd be just a big midi controller with loads of visual feedback with a monitoring section.

if behringer could steal novations auto-map tech for their bc controller range basically.

ebaysellerrob

why dont you want great pre's routing good eq and compression

Quiggers

i've got clean pre's, good eq, routing and compression in software, and as time goes by they'll get better and will never need re-capping

ebaysellerrob

you have missed the point of this completely

DamagedTrax

Quiggers wrote: »

i've got clean pre's, good eq, routing and compression in software, and as time goes by they'll get better and will never need re-capping

who let the buzz kill in?

Quiggers

just my personal preference, which was the original question.
different strokes, different folks.


buzz kill, lol, no buzz with my solution, or hum, or hiss, but then i make electronic music,
and the clinical suits me, recording say a typical rock band is a completely different job and
understandidly requires completely different tools

ebaysellerrob

no my question was built your dream console not midi controller lol

Quiggers

hmmmmm.....irreconcilable differences?

DamagedTrax

Quiggers wrote: »

just my personal preference, which was the original question.
different strokes, different folks.


buzz kill, lol, no buzz with my solution, or hum, or hiss, but then i make electronic music,
and the clinical suits me, recording say a typical rock band is a completely different job and
understandidly requires completely different tools

no differance in the two jobs. only in the concepts. since when is that the norm for electronic music. im making it and releasing it years and ive always strived for a warm analog sound. did i miss a meeting?

Quiggers

this reminds me of the time i told some proud parents that i didnt think i'd ever want kids of my own, they freaked, took it personally, but its nowt to do with them, just my outlook.

as ye were gentlemen.

DamagedTrax

not taking anything personal just adding a counter argument to a sweeping generalisation that you made.

as you said, as you were.

dabhoys

The Distressor's do a lot more then just Nuke sounds. Its the varibale swiss army knife of the studio. I know I can achieve a wide range of sounds with it. Anything from LA-2a to LA-3a to 1176 to just subtle distortion box too. I love the distressor on Bass with a 1:1 setting and Dist 3 no compression just pure 3rd order harmonics An ssl comp can destroy a sound much faster then a distressor does.

I'm always on the fence about either SSL comp or Red but I prefer the red as it is a VCA designed similar to the SSL but the red has transformers in there and I like the way it sound. It doesn't sound as constricting to as the SSL does. Having said that I still try both the SSL and Red on any given mix I'm working on. But the red usually wins out for me. I mean I'm talking a 4:1 ratio with slow attack fast release and soft knee tickling in a cool 1-2 db reduction on high levels. So I'm not crushing the poor ****ing mix even on heavy rock stuff. You should try the focusrite and listen what it does to snares on your overall mix. I've even used the plugin one alot on my mixes. Don't be afraid

The biggest reason I would still want analogue automation. I love pro tools. Its automation is simple, easy and extremely versatile. As you would expect from any modern DAW but if I'm running compressors on the board or in the rack. If you automate the levels in pro tools going out. Its going to change the level hitting the compressor, in turn changing the sound and what your compressor maybe doing for you. Sometimes you can get away with it.

When I'm mixing in box/ desk I will have a bit of both going on. I gotta say the new automation system they've got on the newer SSL's are much easier to use then the G's and K's systems.

But different strokes for different folks thats just my reasoning behind the compression decisions...

ebaysellerrob wrote: »

distressor for dynamics lol after a distressor what dynamics "nuke"
not with you on any of the focusrite red stuff(just personally not into them)
And to be honest with protools having all the automation you dont really need any on the console how about raised frames between fader banks that allow you to rest a keyboard or mc control on the board without any issues
A recall system would be nice but prob add loads to the price

Do you mind me asking what made you pick the focusrite red and distressor?