The magic of large analog consoles in the colloquial sense is a mixture of opportunism, talent, technical thought and personal preferences of artists and musicians. This is the mariage of the right moment, available components, the possibilities and decisions taken. People gifted with remarkable imagination and very good hearing.Ī mathematical mind and a thoroughly humanistic soul. People who in these great constructions have noticed and still see the element of magic.Ī large format analog console is not the result of complicated experiments. It is not quantum physics, it does not require cosmic, scientifically developed technology. In its construction there are no unusual components, something inaccessible, escaping the schemes. There is an immeasurable passion, devotion, commitment, ingenuity, reliable manual execution, a deeply thought out logical scheme. Only that much and so much at the same time. Magic often began after the first completed mix. In contact with a man sitting at the heart of the control room.Īs I mentioned earlier, a classic DAW does not color the signal. I will concede that there are setups that would come closer to that sound( perhaps Harrison's strip and even that has an asterix), but my way too long point is I struggle to find scenarios that make DAW jumping a better use of time than creating your own simplified workflow where your work is already living.It does not make it colored, does not dress in any additional shape.ĭigital equipment also does not add anything. No, it doesn't sound like Harrison, but the simplified workflow gives me something similar to what my main purpose if using Mixbus would be. I also have a sort of sizzle buss with new fangled audio saturate and a high pass filter and boost( I use very little since Amek has saturation). I have three verb sends( little plate, supermassive and stock). I have Echo Boy on 2 effects sends ( one ping pong and one set to 1/8s). My newest ST1 template is Amex 9099 on all channels and busses with a Softube Drawmer 1973 on my mixbus. This workflow can be achieved in any DAW after a one time template setup. Part if the results one gets when using Mixbus are a result of following a simplified workflow. I will occasionally mix a project I received as stems on Mixbus, but the colorization I get in Mixbus is just not worth the process to move from another DAW. If Mixbus did AAF import natively it would be an improvement, but as it stands, the process now involves having to delete silence on every track I import. I have tried the bounce stems to mix in mixbus approach and the time never seemed worth it. Harrison even sells channel strip plug now. I have templates in studio one and Cakewalk( since this is a cakewalk forum) that have simple console style channel strips on every channel and buss. It sounds good, but for me that comes down to a combination of the consistency of having same channel strip and saturation on every channel. With that said, the main appeal is the sound, which I am still not convinced is as magical as people make it out to be. I will preface this by saying I never updated past v4 so I am far from an expert. How’s the transition between other DAWs and Mixbus? Who’s using Mixbus? My main DAW is Studio One Pro (which I’m comfortable with). I hope to actually finish a project to justify a future upgrade. I purchased V6 and 32C V7 (having spent a grand total of $19 + $49), but haven’t completed a project with them yet. I connect with Mixbus having learned sound on old analog sound boards (lower end Mackie, Yamaha, Soundcraft).
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