Why Multiple Console Plugins are Essential for 21st Century Mixing and How To Use Them.
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- Опубликовано: 13 дек 2023
- Mark demonstrates the Brainworx Plugin Alliance SSL E, Amek 9099, Lindell API 50 series, Console N and Focusrite SC console plugins and why its important to have all of these different colors at your finger tips.
Mark Wingfield is an award winning jazz mixing and progressive rock mixing and mastering engineer. He has mixed or mastered three Downbeat Magazine Masterpiece Albums of the Year, a JazzWise Best Release of the Year and two All About Jazz Best Albums of the Year. Jazz albums he has mixed or mastered have received more than 300 rave reviews world wide. Mark mixes and masters at his UK based Heron Island Studio.
If you are interested in working with Mark on your next album you can contact him here:
heronislandstudio.co.uk 
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Thanks for diving deep into our console plugins, Mark. You delivered a great presentation and we've added this to our community content playlist.
For anyone new to console plugins, you'll tend to hear the biggest difference using extreme settings. For example, boosting 9 dB at 2,000 Hz using the bx_console AMEK 9099 will sound much different than applying the same boost with the Lindell Audio 50 Series. Have fun and don't be afraid to twist those knobs!
This is a unique video on YT for me, and such a great point and demonstration. Very helpful sir! I love that in a DAW we can experiment and setup 3 compressors and then split test them and see which one works best for a song. It’s not different with a console or any other effect. It’s an art and a science.
I agree with you, i'm using channel strips since waves introduced the original SSL strip, now i'm on softube console 1 SSL 4k and SSL 9k XL tha sound really great. Neve 1073 sounds greats on drums too. In a single project we can use diferent console colors. Thats the way of 21st century.
I thought of that concept many times in the past but that was a great deep-level explanation.
Thank you Mark. That was superb!
Absolutely brilliant! Yes indeed, if you know exactly what you can do with the plugins then you are really at an advantage...and I agree, there comes a time when it's more of an issue having to audition several...I have actually done something similar, so now I know exactly what I need for what genre, vocal, instrument et al...thanks for this
Thanks for making this available!
Another great video Mark! You have a new subscriber too.
I love PA plugins and have been using them since before the subscription days. Their console plugins are on pretty much all my work these days and along with my Mega XXL subscription, I have perpetual licenses for all of them.
The Focusrite SC sounds great on kick more often than not too. It gets that thick and warm Neve sound but without sacrificing clarity and punch which is exactly what Rupert Neve was aiming for with this design. IMHO, he succeeded.
I forgot to ask you what RME interface you're using. I spotted the ARC USB there and had to ask. Big fan of RME here. I'm running two Fireface UFXs and also have the ARC USB.
Love this. Thank you
Great video, Mark! Yes, having these pallettes/flavors to choose from is excellent. No different than a guitar player having a choice of guitar models, amps, effects, etc. to choose from. Just know/learn when/where/how to use these tools and you'll be great to go!
I'm gonna dig deep into this video and learn. I'm excited.... But gosh darn, a good digital eq and some saturation is good and quick.
Love this. My personal favorite console plugin is Console8 by Airwindows!
I have a Neve, an SSL and an API project template. Complete from tracking to mastering.
This way I get variation in the feel and sound of each project. Then I use different creative effects to spice it all up.
But at heart, I'm a Neve guy.
Different setting aside, yeah, it's about using each console emulation for what it's strengths are. Some consoles don't even have the same eq points, so sometimes you can't compare apples to apples. This is the same principle as the way people are using hybrid setups with analog. Instead of a console, you insert the type of gear that's best for the source you're mixing, and run it through the summing box of your choice. Thanks, great video!
I love the analog sounds and channel strip plugins can get close to that and I often combine it with digital EQs.
This type of comparison is what makes the most sense to me, not the "what do they sound with the same settings" type of comparison, although an interesting experiment, there's no real world application for that. Rather knowing what they sound like when trying to make the original material as good as possible, and what different results you get from that, that's a way more useful comparison :)
Love this thank you
Another great vid thanks again
I’m a believer. I used the non-virtual versions in Nashville early in my career for particular things and loved cutting pop tracts on the A-Range at Omni. Now that I’m retired, I use the 4000e, 9000j and Lindell 50 API…often combined.
To your point, it was Nirvana's "Nevermind" that was tracked on a Neve and mastered on an SSL. That album would never have been the towering recording without either of them.
I’ve used the BW SSL 4000 E for years, and love it. But…I have the Lindell 50 and 80 also, so I mixed a whole drum mix with each, using the same “this is what I’m hearing from each one” mentality you used here.
I found out I disliked the Neve, and thought my API mix was the best. I was surprised. Did it again a couple weeks later with a different drum session. My API mix, again, crushed the rest.
I’ve now adjusted my template for API shells, Neve overheads, and SSL everything else. Really love the different colors, and look forward to trying the 69 series for, yet, another flavor. Great vid!
Here's what an old hat engineer once told me:
1. A lot of people bought Neve consoles back in the day because they were great...but they weren't the best. API was considered top tier high fidelity for its time. Knowing what I know now, perhaps Flickinger's were "the best" but they were not mass produced like api's were.
2. We really are fortunate to have these excellent quality tools at our disposal for pennies on the dollar. As Mark and yourself have ascertained, different tools for different tracks = ideal situation. Mixing and matching can be fun. It allows you to have no mixing regrets later on.
Although, some times I personally like limiting myself to just one "recording console" flavor and then one "mixing console" flavor for a given song. Sometimes to challenge myself and sometimes because "it just works". I do cheat and throw in a Pultec style EQ, however. 😀
I practice restrictions! My next challenge will be Pro-Q 3, Kiive Xtressor, Black Salt Audio Silencer, Vintage Verb, EchoBoy, and Lindell 902 (could do the task with PQ3, but just don’t want to).
It all started on a 4-track for me, so I understand limitations, and, more importantly, understand how they can help making music great. Commitment is good. Thanks!
@@mcpribs nice 👍, that's a solid suite of plugins! Best of luck on your audio journey.
come on guy tell the truth the only reason why old guys like us work with plugins is because we're too tired to go around the rack and the back of the console and be wiring up gear. We sacrifice sound quality and fidelity for ease of use. We stopped drinking that Kool-aid a long time ago.☺
😄 I'll admit I don't miss all the hassle of an analog studio! And there was considerable time wasted just keeping it working. But it's hard not to love the look and feel of actual hardware. Though if I'm honest I do actually prefer the clarity of sound and control we have with plugins. 10 years ago I would have said analog had the edge sound wise. But these days I really don't think it does. But that's just my personal taste.
I still do it in my middle age, but when I hit 60 ill probably stop but a patch bay helps.
Lmao
I came from the analog world as well, I felt blessed that been able to work on all the major studios in NYC from the 90’s passing 2K
What a great times, until Pro tools broke the standard, even before was audio media 3 but nothing that steady until the 888 sys
Around 2015 bought the Softube with the 4K simulation, wasn’t ready let it collect dust for 4 years constantly crashes issues but they will getting there with simulation sound until the last few years been a pleasure to work with the MK2 system not desire to get into the MK3, when you got things working under a platform and are steady, stick with it unplug the Ethernet and WiFi and will never do one more update, got some obsolete system like WXP with Sadie and Samplitude work flow at 32 bit, as well Snow leopard with Soundblade amazing steady system in what I do Mastering even different kind of music will fit better like classical or jazz sound so natural on the old sys than the Mac mini M2 Pro with Reaper and Softube, definitely will not be able to distinguish if all the changes over time, if it wasn’t be able to started in the analog world, thx for your video have a nice Holidays
Wise words!
Very interesting. I was surprised you didn't use the api 560 eq on kick.
I could listen to you speak all day and night. You have such a gentle soothing voice. I gotta know more about you. Do you sing and write songs? What audio equipment are you using?
Good vid. Would be cool to hear the kick with no comp/eq - just to hear what color each plug imparts just running it thru the modeled circuit. Cheers
I totally agree you can now paint like real painters but I guess because you had so many years with old consoles you now are so aware
I see my beautiful Amek 9099
Thank you for the video. I think that all those software consoles emulation have nothing to do with hardware . People like to lie to themselves pretending they are getting SSL sound. Nobody knows what's inside of those nice looking software plugins. I have many of them (brainworx, softube, UAD, etc) but they never sounded the same as real ones. Some guys (me included) just like to tweak with knobs instead of adjusting the curves in VST like fabfilters or similar. This is my opinion and I'm not judging nobody just sharing my thoughts.
Thank you for putting this video out there. I really appreciated -
a) seeing you work 'live' b) the fact that each one takes you in a different direction and c) that each one offers a range of flavours (rather than there being just one perfect sound that we should be aiming for.)
May I ask- Most of my work (at home) is about trying to get a sweet vocal sound with effective master channel gluing. I mostly use individual plugins such as Fabfilter, Pulsar, shaper box etc and would now like to try a console. Which one/s do you use for vocal and / or guitar / piano? Any you would recommend for a beginner in console use?
Thanks again - its rarely I watch a video more than once but yours was totally engaging.
Cheers
Iain
I tend to use a clean EQ to fix the problems then I a hardware emulation EQ to bring out flavour and then compress, quite often more than one stage of compression. Sometimes saturation but often only in selected frequency areas. These are not things I have enough control over with a console emulation on it's own. But I might well use a console as the EQ but which one really depends on the vocal.
Great information- many thanks. I find ProQ3 useful for EQ problems but not thought of 'colour' or saturation at specific frequencies. I will explore further. My voice is baritone - any thoughts on which console or other would be appreciated. But thanks anyway on your suggestions :)@@heronislandstudio8054
I use Lindell 80,SSL 9000J and Amek9099 in all my mixes. Sometimes I'll use the focusrite and the UAD or Softube API channel strips
9000J is just unbelievable. My favorite ever. That Lindell 80 is wonderful as well.
Do you process vocals? if so which console/s do you prefer?
thanks
@@iainmackenzieUK still the SSL 9000j for vocals. i just love the compression and the high boost is amazing and very modern without sounding harsh. that’s my go to, but i try to pair console emulations with the style and flavor of the vocalist. a more aggressive vocal might want an API or a Neve style pre. Whichever inspires you is usually the best choice.
@@danielburns4483 Great - Thank you for the tips. Currently I am working at home on my own songs so the only 'voice' is my own. I have a U87, 1073 preamp CL1B which I love and feel like I am getting to know. I use separate plugins to process/ explore the sound but it would be good to try a console. Particularly compression/glue on the master bus. As Mark is suggesting, each one brings its own flavours and it would be great to explore. I will check out the 9000J
Thanks a lot :)
Focusrite ❤
Hmmm. And I have all those... thanks!
I really like your Cubase color scheme... Any way to get an empty project or a pref file to check out?
I am going to do a video on setting up a session, I'll try to remember to post a link the preference (if I can figure out how to do that!).
They actually do know the exact sound that’s how they can say they emulate it. They have the sound analyzed and mapped to put into a plugin, similiar to the way they can emulate reverb or delay. On the same exact plugin.
I really wanted to hear this on vocals
Yes, me too. Do you have any further info on consoles for vocals?
It does not matter if you use like 6 or 7 plugins on a particular track, if you just want to use the filters of a ssl strip but then the 10k band of a neve to add more top end why not, there is nothing wrong with that. That is not what those mixer mean when they say if you use more than 3 plugins then you are probably doing it wrong...they often mean when you put it on the master or mix bus then it is too much. mixing into a compressor or desk plugin is a good thing the sound will be a part of the mix. However, as you try to explain, you put like loads of plugins on a track, but that is not the important thing when mixing, what is is that you solve problems, when you hear things or not you have to get rid of it or add a bit to make the track sit well in the mix. What i have learned from the old timers is that you do it most effeciently possible. Use as less as possile plugins on a track to make it sound good, and learn this way what the track need or does not need and you will grow as a mixer.
As I’ve never worked on a console (unless you include my Portastudio😅) , i couldn’t care less about “analog emulations” or “mojo” or whatever, but I generally like the concept of a channel strip, being limited to use what is there instead of having say unlimited EQ bands and graphical animations… forces you to focus.
What I don’t like about most of them are the user interfaces . Imho it just doesn’t make sense to just recreate the physical console layout and workflow more or less 1:1 to a plugin, hardware and plugins are different domains with different requirements regarding usability and should be treated as such. It is of course a marketing decision to have the visuals just like the “analog legends”, and maybe for the people who actually used those consoles feel at home (but how many are that actually, percentage wise?).
This is just nostalgia.
He who dies with the most plugins WINS !!! 😜🧙♂
i love this...i only have a hundred+ channel strips but i must surely check my wallet to see if i have room for more!!!
i man geez everyone is so focused on work-flow and all i want to do is> EXPLORE THE POSSIBILITIES. i so f*in hate rules...
only 2TWO rules i have: 1) try to make it sound good....and 2) have fun. ..and 3) try to leave some money for food.
and 4) forget listening to stuff in isolation...pointless since it all changes in context.....but hey rules are good.....mine especially.
Would be good to try this experiment again, but with the latest strips like UADx Manley Voxbox, SSL Native 4K E/B and Softube's British Class A strip (All can be trialled for free). Then compare them to a real desk strip. The strips in this video are all $30 or less and the old generation. Some are 8 years old now. You should hear the new SSL Native 4K B.
What I'm trying to show is more the concept that different consoles naturally take you to a different place. And that if you know the sound of your console plugins well, you can choose just the right one for what you need in a given mix situation.
Crazy idea but bear with me - lets say you had like different modules that are infintely more capable of any single channel strip, and you use them in whatever way you want to create the sound in your head.
If only someone thought of this concept and made plugins that are separate processors which have many many more features and allow detailed control options over each aspect that console emulations can't even dream of.
I guess the name of a company could be Habbilder? Maptilter? Fadmiller? Something like that
One can only dream.
But none of those analog plugs capture the hardware mojo as they are algorithmic. Have you tried comparing them against the stock plugs in Cubase?
Could you not get the same results from the stock EQs?
so you can spend 150k?
have u tried the Brainworx stuff?
its not about algorythmic or not its about CPU and now its 2023 and not 2005
@@thegroove2000 Did you not watch the video? Most of the premise is about what direction each plugin takes you when you use it. He even tried to actively not make the plugins sound like each other and just follow what they do best. Yes, you could probably painstakingly EQ match similar sounds but who is going to do that? Nobody works like that. If I had to sit down and craft a neve type sound with a stock EQ and compressor everytime I wanted to mix, I would never do it. They do capture a certain particular mojo of the originals, thats why people buy them. Obviously just not all of it, and analog sounds different, it has a large immediate sound, hence why the plugs cost 30 bucks each and a console costs 30k+. Im not really sure what youre expecting from cheap plugins, but for me, the amount they can do for the price toward getting close to sounds we have all heard and loved is incredible.
Have a nice day.@@jackcrook4435
have you tried the Lindell 69 series (helios) if so what do you think
Essential? Is that really the right word? Essential? As in absolutely necessary?
Fair point. Not essential for sure. I try to keep bating the youtube algorithms to a minimum, but if you don't use some of those algorithm words you just don't get listed.
erm... I see it slightly differently. Coloring "analog emulation" plugins are not useful for all music productions. I often prefer clean non-coloring effects, like the Fabfilters and so on. also the internal cubase plugins, which are also very professional to use these days. Saturations and “warmth” can always be easily generated later anyway. Ultimately it's always about taste and skills of the mixing engee... Let's also not forget that more important what in front of the microphone: performance, the room sound, the microphone.... Too many audio people still mix in solo mode these days. It´s way better to mix in track context. Then these little "console nuances" are no longer even noticeable... I fondly remember Billy Eilish's brother who only produced albums with Logic Stock plugins! and there are no real Console emulation in this daw (except a EQ or a separate comp).
I am also using separate plugins (such as Fabfilter) - May I ask : what do you mean by mixing in solo mode? and 'track context'?
Mixing in solo mode means to solo and tweak individual tracks, like in this video (only snare, only kick etc.), isolated, as opposed to in the context of the whole song.
OK - I got it - Thank you. I didnt understand the terminology - I guess I would say in that case I tweak in solo mode to address any glitches of obvious EQ/ compression issues but try to do it in the context of the whole song where possible. @@KariKauree