ISO50

@Anonymous. Part of the reason those forms exist is because they actually work very well from the user point of view. With the advances in technology there is more flexibility in the form and we’re seeing quite a bit of that already. One example is perhaps the single most popular cameras out there today – mobile phone cameras.

Anyway, back on the topic.

@Scott. Beautiful examples. If you’re seriously considering a mixer for yourself, you could look at the Toft ATB Series Consoles. Designed by the original Trident Series 80 designer, Malcolm Toft. I’ve heard good things about these and the price (all things considered) is relatively affordable.

These are Awesome, Scott.
I downloaded Coastal Brake & Adrift/From Home this weekend and I am tripping out daily to the wonderful sounds emanating from my earbuds. I’m trying to own the whole Tycho catalog; love the music & design!
-Will

I recently got certified to use a recording studio with a 48 channel analog API vision console, which now that I think about it might be the most expensive piece of equipment I’ve ever been allowed to pilot.

I didn’t understand at first why a professional level studio might opt for fully analog gear as opposed to something with more digital integration (the furthest the API console goes is synching motorized fader automation with the MIDI timecode coming from the DAW), but as I learned how to use the studio it started to make much more sense. Using primarily consumer equipment before working at the studio, I was used to keeping almost everything minus mics and pres and monitors in the digital realm, which made sense economically, and seemed simple and flexible enough, but once you get the hang of a patch bay and a 2-fader console, your workflow starts to follow smoother patterns. Less clicking through windows, more reaching for knobs.

Good stuff
-r.

Ive been working on an old Neve 8078 for a few years and it is awesome of course. But I have to say I am just as happy to mix in the box. Tracking with a couple of nice mic pre’s is always going to be essential as is fundamental recording techniques but ultimately as technology progresses it is inevitable catching up with the ‘sound’ of these beats in my opinion.
Perhaps the workflow and the feel of using outboard changes ones perception in the mix/tracking but that will change. Most people I teach today are more familiar with a laptop than anything with Neve stamped on it. Of course this stems down to the way we consume audio to.
As for the summing bus’s – Ive used a few and they dont really do it for me. Especially if you are having to D-A and back again!

ooops sorry – bit of a rant. Scott…more studio pics, recording and tracking techniques please! I wanna know about all your lovely sidechaining and use of saturated effects peas :-)

Scott, I have to say these pictures are so nostalgic for me!
I got into the industry when the change from Analog to Digital was going into the very large audio post-production facilities. I recall the most incredible workmanship when it came to wiring – the artistry, the labor, the hours.
The consoles were massive! And the tape! 35mm mag.

It’s sad to see that go. Now all there are, as you say, are remnants of that scale.

Having worked on software for the AMS Neve desks, I am a bit biased, but I remember when the 88R was being developed and designed to be a bridge between analog and digital with the automation combined with the classic Neve channel – nice to see people like it. The 8 ball is not one of my favourite bits – looks good, but I hated trackballs. How do you like the MCS interface???