We have wonderful memories and amazing experiences of the Focusrite console and ELS together ... Also I really enjoy watching your videos you're always very good at explaining things and you always were ...throwning in those little nuggets a lot of people skip over.
I had *just* begun to put the Lindell 345E with the bx_N console (talk about dense sound!) and begun swooning over that when they dropped this thing. Loving it on my vocals so far, but still learning it. Thanks for your insight! When PA unveiled it (having answered my prayers by releasing it) I immediately downloaded and thought, "y'know...can't wait until Mixing With Mike breaks this down." So...thanks again.
Dear Micheal - I have remixed a song (commercial pop rock) which I had previously mixed with the bx_console SSL 4000 E from Brainworks and used this FOCUSRITE console instead. I must admit, it takes a while to get used to it, just because it is so responsive and so powerful. I took into account your take on the compressor sections of the plugins. Cut to the chase - I really am blown away by this FOCUSRITE console ! The first mix with the SSL4000 E was good by all standards and I could have gone to print with it - BUT there is something that you pointed out in your evaluation here which is that this thing just is so clear, so open and endless high end without sounding cheesy or squeeky. It's hard to describe, it's excactly how you described it - it's hard to put it into words. And the compressor section on vocal is impressive - although I ended up using not only the console compressor. What's funny though is that the Focusrite looks kind of funky cheesy - but working with it for real has converted me. I am very curious how this will fare in a Heavy Metal mix - I will try it. In short - this thing has surprised me very much in only positive ways. There is this console plugin from TBProAudio (CS3301) which was another console plugin which kind of surprised me (besides the brainworks consoles) and they came out with an extended 5 series recently which I have to try out too (but they don't have TMT techhnology) . They are a lower budget alternative to these "kinda" expensive plugins. Although Brainworks always has special sales and one waits, one can ususally pick up some great deals. Anyway - thank you so much Micheal, I can only second your enthusiasm about this wonderful console plugin, and thanks to your excellent demo videos I found my way around this plugin much faster --- Oh Yes. :-) "Nobody explains plugins like Micheal.... " I see this often and it's true.
The funny thing about this release, it made go out looking for a hardware rack version of this. While the ISA 430 is most likely the closes to the console version, I opted to buy a used ISA 220. Looking forward to using the rack and plugin!
I have two channel strips over all others. One is waves ssl e series…what are you gonna do…good, aggressive sound and light on the cpu. This is the other. It’s just *so* good. I wish it didn’t gobble my system as badly as it does. The eq is otherworldly, the compressor isn’t too pumpy and it’s got a nice flow once you get into it. I do my major repair work and general processing with fabfilter but when a bus/aux needs some life, etc…it’s probably gonna be this.
Hello Mike. I got a difficult question and hope you can spare some thoughts to it. I want to buy a console plugin, especially because of the interactive feature the small differences on each track makes a mix sound more legit. At least that is what I am thinking it does. Brainworx, as I understand, makes very good emulations with that feature (TMT) and they have a sale for their consoles plugins right now. As I got many coloring plugins and as I totally fell in love with the UNISUM compressor (I appreciate the prestine clarity of it) it maybe the best choice for me to go for the FOCUSRITE CS console, I guess. But there are also the 2 SSL and the and the now older Brainworx Console N. Is it still on par quallity-wise with the new emulations? Can I push the Focusrite into warm saturation territory as well as make it sound so typical precise? Or would it be better to go for a console inbetween both worlds? I know its a tough question, I would be glad if you could help me out a bit with what you are thinking. Thank you in advance. Cheers!
Nice in-depth plug-in review. Fun Fact, you sound a bit like George Lucas which is a bonus. I bet if you talked about Star Wars it would be spot on:)).
How does everybody think the EQ compares to the 9098 or in case of PA 2098 Amek EQ? I think Rupert Neve built that very shortly after and I would be very much interested on some opinions, especially if you have used the plugin or even hardware for a longer time!
Thank you so much Mr. White for this detailed review - nobody explains as well as you do. I listened to the Audio examples - and understand your exitement about this release - the TMT really takes it over the top. One question, if I may -- to me, that compressor section just really sounds incredible. I own the bx_Console_SSL_4000_E and G (as well as all the other ones too ). How are the compressors on SSL4000 E and G different from this Focusrite SC ? Am I imagining that the Focusrite sounds more punchy ??
Cheers! Thanks for the support! The compressor section of the FR is much cleaner sounding than the SSL E & G which has a much grittier sound. The FR comp can be used on almost anything and sound great, whereas the SSL Comps will sound amazing on Drums & Guitars, OK on most keys and is practically unusable on Vocals as a main compressor. Having a ton of experience with both consoles in the analog world, that's my take...
Different sound from the SSL. This console is far more transparent and open sounding than a SSL console that has a far more aggressive midrange. The VCA compressors of the SSL have a much grittier sound as well.
I bought it two weeks ago, but it is impossible to like this compressor. It has no character, acts very strange, so hard to hear the moment it start to work. I am not sure ISA430 I worked with was this bad, actually I remember it being very good, much different than this emulation. Again, bx SSL compressor also does not sound right so it might be something with bx and how they emulate those dynamics sections.
To be honest, I was never a big fan of ISA 130 compressor. For a VCA compressor, it was designed to be transparent rather than having character like the SSL channel comps or the API 525 comp. If your not looking for a sonic imprint, your not going to like this, if you want a functional compressor, this will do the job, no frills.
I have to disagree with you around 3:00. No... nOOoo... keep going about your experience with the actual hardware this console is designed after. I want all the background. Maybe there's a song you mixed on that console that we might know of for reference? That would have been a GREAT inclusion as to your own familiarity with the hardware. I'm going to have to give you a like and a subscribe. But you really can't give too much background. Just make people aware and put a spot in the video where they can jump ahead to skip it if that's too much. Or maybe you could allude to your experience and then put more detail at the end. If people are watching all the way to the end, then you know that they are interested in hearing your anecdotes. Cheers.
Pretty sad that they keep making emulations. You should tune in to Chris J from Airwindows livestream Q&A (Mondays at 11 AM EST), and ask him why emulation plugins don't work in digital processing... well, at least, not well enough to actually match quality of the analog gear (even if they completely match every process and every post filtering curve). In my not totally correctly stated understanding, those processes are huge amounts of math, and each process removes a tiny amount of bits. They don't just add up, but in most cases they begin to multiply with each other. The result is processed audio that doesn't quite sound as good as the real (expensive) boards. Where digital processing exceeds, is within simple algorithms that aren't possible in analog gear. The sound results can be compared and may sound similar to analog gear (in many cases, better results than real emulations); and very often sound uniquely different, often in good ways. I would assume that they give you free plugins or some financial aid, or that your RUclips is enough to stay on the train of "make it like the analog consoles that we love" bandwagon. Back when they did shootouts, Airwindows first channel and/or console plug-in blew away all of the big companies. Even more, they didn't even use his updated version, which was a big improvement. His isn't an emulation, and he explains why... but IMHO, console5, 6, and purest console (encode/decode algorithms) completely blow away emulations, period. I'd even go do far as to say they can sometimes (often) sound better than the analog stuff (depends on the material and taste of engineer). Furthermore, his encode/decode algorithms allow you to use any EQ/comp/etc plugins, within the setups. Lastly, they are free. Try them out, conpair them to them to what Google and RUclips ad driven systems say are "the best," and then if you like his stuff enough & can afford it... consider telling the public or donating to his Patreon (if you can afford it, and if you value one of his plugins at $50). I'm poor now, but he's they only dev I've supported, for the last year. Sure beats the thousands that I wasted on waves, plugin alliance, etc (long list). Not to be a dick, but I doubt you'll try them, and even if you did compare them & find that you're surprised... chances are you'd still tell the public about paid plugins, because that's how to keep making money with RUclips videos. Sorry, not sorry... Airwindows!
Maybe you should watch my video on "Why Plugin Emulations will Never Be Exactly Like the Original Gear" ruclips.net/video/77xIWBiEpF8/видео.html I think the biggest problem I have with a comment like this is the assumption that a purely analog mix will always yield better results. And also that a plugin emulation of existing gear is completely useless if it's not exactly the same as the original. Regarding the reviews, I only demo plugins that I think are worth having, that I personally would use, and can serve a valuable purpose in a mix. I do a lot of emulations because I love the history behind emulations which is a lesson in itself and valuable for everyone who wants to learn the art of mixing. BTW, I reject most plugins that come my way for review and never do negative reviews because many plugins, that I don't connect with, have a valuable place in other peoples workflows. My advice: Stop bitching about plugin emulations and focus on your mixing skills with whatever tools you have. No plugin will make someone a great mix engineer. That skill only comes from continued practice and study of the art. Cheers!
@@mixingwithmike yeah, I do need to refocus on mixing. I know my stuff fairly well, with mixing... but it's not been a serious short term goal since 2014. I switched my focus to mastering engineering, in the last few years, and I get by with self-employment... and, I admit that I love a lot of the plugin alliance VST's. I'll check out that video. I guess I came off as pretty crappy, in my comment... it's just strange to me, that emulations are still a thing, when the scientific evidence from tests, and mathematical explanations are clearly there. Thanks for actually reading and replying! My question, though: are you implying that airwindows plugins aren't worth having? I guess my biggest gripe with continued development in emulations is that the advertisement systems are in place, well enough to allow continued releases of kinda gimmicky emulations... it's not that I don't appreciate all of their hard work, it's just that they probably know that simple digital algorithms can result in a better sound, where as matching the processing of our beloved analog gear is more of something that sells (merely for the fact that every one already knows and lives the sound of those units). I'm sure you get asked for thousands of reviews, so I'm not butt hurt about you not considering showing your opinion on the better or worse resulting sounds, from comparing free plugins with the expensive ones. You already do what you do, and you do it well... but, to assume that I haven't learned the art of mixing would be a misfire.
@@DavidPixleythemuzzlZ No worries! Always love a good debate if there's one to be had. I have no problems whatsoever with any plugin if it sounds great. In that regard, the Airwindows plugins may be amazing and give you everything you need. I agree that many companies use (or overuse) the vintage emulation as a marketing strategy. There's a very good reason for that other than just a way to make money. To me, there are very few companies that do great emulations and Plugin Alliance is absolutely one of them. That said, you can't just extract something from its original environment and expect to have the same exact experience. Even when rack mounted Neve 1073s became popular to use in an SSL room, it still felt like it was only 20% of the experience of working on a full Neve 8048 console. The emulations of the 1073 will still give me a sound on a bass guitar that I have NEVER, EVER, come close to with any purely digital EQ. The same is true for many pieces of vintage gear I worked on. If you pay close attention to my videos, you'll notice that I talk about it "feeling" the same rather than saying it's exactly the same. I focus on the responsiveness of the emulation to match my experience with the real thing and notice if the results of my adjustments match my experience with the real thing. The "best sound" you reference to is a mostly subjective thing. Therefore, the "best sound" is personal to you. That sound may be best achieved with all digital plugins which is great if the results are well received. That doesn't make emulations better or worse necessarily. I couldn't even begin to approach a 70's sounding soul mix with digital only plugins and get the results I want to hear. I also have found that some EDM mixes I have done sounded way better using an all digital workflow. Whatever works!!!
Yeah, I can feel he's on a lot of those points. Ended up writing a book of a response dot-dot-dot and I've got to just copy it and paste it... And shorten it later. It's way too long. It's the most important thing that I wanted to stay with bit a GUI is pretty important, because the psychological and emotional responses of users goes a long way, not only in the creative and musical production part but in the technical engineering areas. I think, I went about six years of using pro Q2, instead of DMG equilibrium... Just because the interface DMG makes me irritable, or something... Where as, everybody and their mother could stair at pro Q2 for hours, every day. That being said, I'm kind of surprised that the air Windows plugins did cause me to fall in love, so much. I guess it was his explanations of things that helps me focus on the audio more, and to start to learn why two things sound arguably better. another thing that he pointed out is that if there is no GUI, the user isnt distracted by or misled by their eyes. We do rely on visual cues, quite a bit. Having no DUI also has a long list of drawbacks, but it doesn't bug me too much. Also, it's the fact that his plugins are small units, that we can think of is something that would add up in a way that once they're placed into a analog bored... The versatility of being able to place them in so many different configurations I want to make some more versatile then they would be if it was just one EQ plugin that did everything. The problem is, learning over a hundred sixty plugins isn't too easy... Especially when at least half of them are not ones that you would particularly want to use. I want to use all plugins, so I don't have that problem.
Your knowledge about the history of gear makes your reviews stand out. :-)
Cheers!
Exactly :)
Excactly my thoughts. Profound Knowledge here, GOLD ! Thank you for this review.
We have wonderful memories and amazing experiences of the Focusrite console and ELS together ... Also I really enjoy watching your videos you're always very good at explaining things and you always were ...throwning in those little nuggets a lot of people skip over.
Thanks Hal ! Been a while, hope all is well...
One of my favorite plugins ever made
It is now!
Michael White plugin alliance knocked it out of the park with this one!
I had *just* begun to put the Lindell 345E with the bx_N console (talk about dense sound!) and begun swooning over that when they dropped this thing. Loving it on my vocals so far, but still learning it. Thanks for your insight! When PA unveiled it (having answered my prayers by releasing it) I immediately downloaded and thought, "y'know...can't wait until Mixing With Mike breaks this down." So...thanks again.
Cheers!
Falling in love with this one, find myself reaching for it more than other console emulations. My DI guitar secret weapon
Dear Micheal - I have remixed a song (commercial pop rock) which I had previously mixed with the bx_console SSL 4000 E from Brainworks and used this FOCUSRITE console instead. I must admit, it takes a while to get used to it, just because it is so responsive and so powerful. I took into account your take on the compressor sections of the plugins. Cut to the chase - I really am blown away by this FOCUSRITE console ! The first mix with the SSL4000 E was good by all standards and I could have gone to print with it - BUT there is something that you pointed out in your evaluation here which is that this thing just is so clear, so open and endless high end without sounding cheesy or squeeky. It's hard to describe, it's excactly how you described it - it's hard to put it into words. And the compressor section on vocal is impressive - although I ended up using not only the console compressor.
What's funny though is that the Focusrite looks kind of funky cheesy - but working with it for real has converted me. I am very curious how this will fare in a Heavy Metal mix - I will try it.
In short - this thing has surprised me very much in only positive ways.
There is this console plugin from TBProAudio (CS3301) which was another console plugin which kind of surprised me (besides the brainworks consoles) and they came out with an extended 5 series recently which I have to try out too (but they don't have TMT techhnology) . They are a lower budget alternative to these "kinda" expensive plugins. Although Brainworks always has special sales and one waits, one can ususally pick up some great deals.
Anyway - thank you so much Micheal, I can only second your enthusiasm about this wonderful console plugin, and thanks to your excellent demo videos I found my way around this plugin much faster --- Oh Yes. :-)
"Nobody explains plugins like Micheal.... " I see this often and it's true.
Cheers!
Thanks for the info and the history behind the board. Always a learning experience.
Cheers!
thanks for taking the time to explain this all! much appreciated.
The funny thing about this release, it made go out looking for a hardware rack version of this. While the ISA 430 is most likely the closes to the console version, I opted to buy a used ISA 220. Looking forward to using the rack and plugin!
Let me know what you think of the hardware versus software
Thank you for the walk through. Very helpful.
I have two channel strips over all others. One is waves ssl e series…what are you gonna do…good, aggressive sound and light on the cpu. This is the other. It’s just *so* good. I wish it didn’t gobble my system as badly as it does. The eq is otherworldly, the compressor isn’t too pumpy and it’s got a nice flow once you get into it. I do my major repair work and general processing with fabfilter but when a bus/aux needs some life, etc…it’s probably gonna be this.
Not a big fan of the console plugins.. I have the SSL's, Abbey Road, Reds.. but this Focusrite is fucking fantastic
Hello Mike. I got a difficult question and hope you can spare some thoughts to it. I want to buy a console plugin, especially because of the interactive feature the small differences on each track makes a mix sound more legit. At least that is what I am thinking it does. Brainworx, as I understand, makes very good emulations with that feature (TMT) and they have a sale for their consoles plugins right now. As I got many coloring plugins and as I totally fell in love with the UNISUM compressor (I appreciate the prestine clarity of it) it maybe the best choice for me to go for the FOCUSRITE CS console, I guess. But there are also the 2 SSL and the and the now older Brainworx Console N. Is it still on par quallity-wise with the new emulations? Can I push the Focusrite into warm saturation territory as well as make it sound so typical precise? Or would it be better to go for a console inbetween both worlds? I know its a tough question, I would be glad if you could help me out a bit with what you are thinking. Thank you in advance. Cheers!
Gorgeous
Just like the original
Nice in-depth plug-in review. Fun Fact, you sound a bit like George Lucas which is a bonus. I bet if you talked about Star Wars it would be spot on:)).
How does everybody think the EQ compares to the 9098 or in case of PA 2098 Amek EQ? I think Rupert Neve built that very shortly after and I would be very much interested on some opinions, especially if you have used the plugin or even hardware for a longer time!
Thank you so much Mr. White for this detailed review - nobody explains as well as you do.
I listened to the Audio examples - and understand your exitement about this release - the TMT really takes it over the top.
One question, if I may -- to me, that compressor section just really sounds incredible. I own the bx_Console_SSL_4000_E and G (as well as all the other ones too ). How are the compressors on SSL4000 E and G different from this Focusrite SC ? Am I imagining that the Focusrite sounds more punchy ??
Cheers! Thanks for the support!
The compressor section of the FR is much cleaner sounding than the SSL E & G which has a much grittier sound. The FR comp can be used on almost anything and sound great, whereas the SSL Comps will sound amazing on Drums & Guitars, OK on most keys and is practically unusable on Vocals as a main compressor.
Having a ton of experience with both consoles in the analog world, that's my take...
great plugin on vox
Any obvious reasons to choose this one over the SSL series? Cheers!
Different sound from the SSL. This console is far more transparent and open sounding than a SSL console that has a far more aggressive midrange. The VCA compressors of the SSL have a much grittier sound as well.
I bought it two weeks ago, but it is impossible to like this compressor. It has no character, acts very strange, so hard to hear the moment it start to work. I am not sure ISA430 I worked with was this bad, actually I remember it being very good, much different than this emulation. Again, bx SSL compressor also does not sound right so it might be something with bx and how they emulate those dynamics sections.
To be honest, I was never a big fan of ISA 130 compressor. For a VCA compressor, it was designed to be transparent rather than having character like the SSL channel comps or the API 525 comp. If your not looking for a sonic imprint, your not going to like this, if you want a functional compressor, this will do the job, no frills.
I love the comp. Really great on acoustic guitar.
I like the compressor, but I use many different in chain. Usally at default attack and release, ratio between 1.2 to 5, and dry/wet.
why is there no option to resize the plug in???
There is now. 50%, 100%, 150% says Dirk.
I have to disagree with you around 3:00. No... nOOoo... keep going about your experience with the actual hardware this console is designed after. I want all the background. Maybe there's a song you mixed on that console that we might know of for reference? That would have been a GREAT inclusion as to your own familiarity with the hardware. I'm going to have to give you a like and a subscribe. But you really can't give too much background. Just make people aware and put a spot in the video where they can jump ahead to skip it if that's too much. Or maybe you could allude to your experience and then put more detail at the end. If people are watching all the way to the end, then you know that they are interested in hearing your anecdotes. Cheers.
Audio is dropping out all the time. Is this just me?
yup
hmmm... streaming well for everyone else so far. is it buffering? just audio cutting in and out or video too? Hopefully you sorted it out by now...
Pretty sad that they keep making emulations. You should tune in to Chris J from Airwindows livestream Q&A (Mondays at 11 AM EST), and ask him why emulation plugins don't work in digital processing... well, at least, not well enough to actually match quality of the analog gear (even if they completely match every process and every post filtering curve). In my not totally correctly stated understanding, those processes are huge amounts of math, and each process removes a tiny amount of bits. They don't just add up, but in most cases they begin to multiply with each other. The result is processed audio that doesn't quite sound as good as the real (expensive) boards. Where digital processing exceeds, is within simple algorithms that aren't possible in analog gear. The sound results can be compared and may sound similar to analog gear (in many cases, better results than real emulations); and very often sound uniquely different, often in good ways. I would assume that they give you free plugins or some financial aid, or that your RUclips is enough to stay on the train of "make it like the analog consoles that we love" bandwagon. Back when they did shootouts, Airwindows first channel and/or console plug-in blew away all of the big companies. Even more, they didn't even use his updated version, which was a big improvement. His isn't an emulation, and he explains why... but IMHO, console5, 6, and purest console (encode/decode algorithms) completely blow away emulations, period. I'd even go do far as to say they can sometimes (often) sound better than the analog stuff (depends on the material and taste of engineer). Furthermore, his encode/decode algorithms allow you to use any EQ/comp/etc plugins, within the setups. Lastly, they are free. Try them out, conpair them to them to what Google and RUclips ad driven systems say are "the best," and then if you like his stuff enough & can afford it... consider telling the public or donating to his Patreon (if you can afford it, and if you value one of his plugins at $50). I'm poor now, but he's they only dev I've supported, for the last year. Sure beats the thousands that I wasted on waves, plugin alliance, etc (long list). Not to be a dick, but I doubt you'll try them, and even if you did compare them & find that you're surprised... chances are you'd still tell the public about paid plugins, because that's how to keep making money with RUclips videos. Sorry, not sorry... Airwindows!
Maybe you should watch my video on "Why Plugin Emulations will Never Be Exactly Like the Original Gear" ruclips.net/video/77xIWBiEpF8/видео.html
I think the biggest problem I have with a comment like this is the assumption that a purely analog mix will always yield better results. And also that a plugin emulation of existing gear is completely useless if it's not exactly the same as the original.
Regarding the reviews, I only demo plugins that I think are worth having, that I personally would use, and can serve a valuable purpose in a mix. I do a lot of emulations because I love the history behind emulations which is a lesson in itself and valuable for everyone who wants to learn the art of mixing.
BTW, I reject most plugins that come my way for review and never do negative reviews because many plugins, that I don't connect with, have a valuable place in other peoples workflows.
My advice: Stop bitching about plugin emulations and focus on your mixing skills with whatever tools you have. No plugin will make someone a great mix engineer. That skill only comes from continued practice and study of the art.
Cheers!
Thank you Michael! Well said!
@@mixingwithmike yeah, I do need to refocus on mixing. I know my stuff fairly well, with mixing... but it's not been a serious short term goal since 2014. I switched my focus to mastering engineering, in the last few years, and I get by with self-employment... and, I admit that I love a lot of the plugin alliance VST's.
I'll check out that video.
I guess I came off as pretty crappy, in my comment... it's just strange to me, that emulations are still a thing, when the scientific evidence from tests, and mathematical explanations are clearly there. Thanks for actually reading and replying! My question, though: are you implying that airwindows plugins aren't worth having? I guess my biggest gripe with continued development in emulations is that the advertisement systems are in place, well enough to allow continued releases of kinda gimmicky emulations... it's not that I don't appreciate all of their hard work, it's just that they probably know that simple digital algorithms can result in a better sound, where as matching the processing of our beloved analog gear is more of something that sells (merely for the fact that every one already knows and lives the sound of those units). I'm sure you get asked for thousands of reviews, so I'm not butt hurt about you not considering showing your opinion on the better or worse resulting sounds, from comparing free plugins with the expensive ones. You already do what you do, and you do it well... but, to assume that I haven't learned the art of mixing would be a misfire.
@@DavidPixleythemuzzlZ No worries! Always love a good debate if there's one to be had. I have no problems whatsoever with any plugin if it sounds great. In that regard, the Airwindows plugins may be amazing and give you everything you need.
I agree that many companies use (or overuse) the vintage emulation as a marketing strategy. There's a very good reason for that other than just a way to make money.
To me, there are very few companies that do great emulations and Plugin Alliance is absolutely one of them. That said, you can't just extract something from its original environment and expect to have the same exact experience. Even when rack mounted Neve 1073s became popular to use in an SSL room, it still felt like it was only 20% of the experience of working on a full Neve 8048 console.
The emulations of the 1073 will still give me a sound on a bass guitar that I have NEVER, EVER, come close to with any purely digital EQ. The same is true for many pieces of vintage gear I worked on. If you pay close attention to my videos, you'll notice that I talk about it "feeling" the same rather than saying it's exactly the same. I focus on the responsiveness of the emulation to match my experience with the real thing and notice if the results of my adjustments match my experience with the real thing.
The "best sound" you reference to is a mostly subjective thing. Therefore, the "best sound" is personal to you. That sound may be best achieved with all digital plugins which is great if the results are well received. That doesn't make emulations better or worse necessarily. I couldn't even begin to approach a 70's sounding soul mix with digital only plugins and get the results I want to hear. I also have found that some EDM mixes I have done sounded way better using an all digital workflow.
Whatever works!!!
Yeah, I can feel he's on a lot of those points. Ended up writing a book of a response dot-dot-dot and I've got to just copy it and paste it... And shorten it later. It's way too long. It's the most important thing that I wanted to stay with bit a GUI is pretty important, because the psychological and emotional responses of users goes a long way, not only in the creative and musical production part but in the technical engineering areas. I think, I went about six years of using pro Q2, instead of DMG equilibrium... Just because the interface DMG makes me irritable, or something... Where as, everybody and their mother could stair at pro Q2 for hours, every day. That being said, I'm kind of surprised that the air Windows plugins did cause me to fall in love, so much. I guess it was his explanations of things that helps me focus on the audio more, and to start to learn why two things sound arguably better. another thing that he pointed out is that if there is no GUI, the user isnt distracted by or misled by their eyes. We do rely on visual cues, quite a bit. Having no DUI also has a long list of drawbacks, but it doesn't bug me too much. Also, it's the fact that his plugins are small units, that we can think of is something that would add up in a way that once they're placed into a analog bored... The versatility of being able to place them in so many different configurations I want to make some more versatile then they would be if it was just one EQ plugin that did everything. The problem is, learning over a hundred sixty plugins isn't too easy... Especially when at least half of them are not ones that you would particularly want to use. I want to use all plugins, so I don't have that problem.