Electronics nerds like me love thinking about all this stuff and how it applies to our other passion of music.Ĭlick to expand.Yeah we are on the same page. It's all a very complicated and interesting field of study. seem to be today's "holy grail" to put back in ITB. I personally find it kind of funny that all of the things designers went through great pains to eliminate - crosstalk, THD, noise, etc. Like I said, I also agree that "summing" is chasing phantoms. (thus potentially reigniting the old debate "does DAW X sound better than DAW Y." There is an interesting study online somewhere that compared the mixing results of various DAWs, looking at spectral analysis to see the differences, and yes in fact the differences were quite noticeable in the visual spectral analysis (interestingly theoretically Pro Tools being the worst of the bunch) but whether or not all that translates into something you can actually hear still is what's most important at the end of the day.) It takes a fundamental implementation of the actual audio mixing algorithms in the digital realm. Just slapping a plugin or two in the chain on a channel does not and can not simulate this merging of multiple audio paths. the physical merging of the electrons from multiple sources occurs later in the process. That is because it is later on down the chain that still other analog components are actually doing the summing, not the individual channels and buses themselves. What you are describing is simulating an individual channel strip on a console and not summing. That's it.Ĭlick to expand.I agree with you 90% except for this part. A good desk will just sum the tracks, nothing more, nothing less. It's the accumulation of these passes, adding harmonics in each part of the signal flow, that gives the color and the sound footprint of the consoles back in the day. Bill, that helped to create the Silver Bullets, says that a lot. The Track goes out the channel modules, passes through the components emulated and ends up in a Bus, passing through new components, etc.ĭr. A plugin like Satson, Britson and Luna Neve will emulate the components of the Outs of a console. Let's put this way: you are only emulating the In part of the console, and not the Outs. Because that's how a console works.Īnd that's why no, you'll not emulate a full console just putting an SSL strip on your inserts. And to emulate that you just have to put those components on the outs of each track and bus. What changes the sound is the components of that path. I doubt anyone would notice a difference with a clean path. That's why slapping a plugin on a bunch of channels won't emulate it fully.Ĭlick to expand.Like I said, the summing part is negligible sound-wise. it's in how the multiple paths come together that makes summing it what it is. But, it's more than just a single audio path going through a linear path of components. It's the current "hot topic you gotta do this for good sound" discussion in digital audio. putting the UAD SSL channel strip on EVERYTHING will get you closer to that sound as well, so hopefully the OP is still around and willing to give it a shot. Does it sound just like using an SSL or Neve console? Probably not, but I like what it does to my sound so there you go and just as importantly (or even moreso) I love what it does for my workflow.Īnd, yes. I get my "console vibe" from putting Console 1 on every single track, FX return, & bus. especially in their insistence that crosstalk and noise are actually good for your "console vibe." Yuck. It is a very cool concept but it falls pretty short. That's why slapping a plugin on a bunch of channels won't emulate it fully.īut like I said earlier, if you like it, who am I to tell you that you're wrong? Personally I don't like the Studio One MixFX engine at all. Click to expand.I agree with you for the most part.
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