kcearl
I see deaf people
interesting perspective
It’s 2013. 25 years ago hardware consoles were an essential tool. There wasn’t any alternative method to blending signals, routing signals, etc. The DAW / audio interface is VERY close to entirely replacing the analog console for the most demanding of users and for many people it already replaced the console 10+ years ago.
Since a hardware mixing console isn’t something we need anymore, it’s become something we want. Why? Nostalgia? Legitimacy? Radical improvements in recording quality? Let’s find out.
I’ve had my Toft ATB32 for 2+ years. I couldn’t sleep I was so obsessed with getting a console back in 2010. I’d wake up at 8am (3-4 hours of sleep for me) just to pour through the usual bs ruts/rants on the web. I was so consumed by the notion of “stepping up” and getting a console that it was affecting my ability to sleep and work.
I really expected my recordings to explode when I got all that “magic color”.
Now I feel like a alcoholic Nick Nolte talking about his ex-wife in any good 80s movie when I think of the console sound now. [Grizzly bear voice]What f’ing console sound????[/Grizzly bear voice]
Change The Name To Routing Machine
So what exciting thing does a hardware analog console let you do. The one BIG TIME feature of analog consoles can only be summed up by monotone comedian Steven Wright.
[Steven Wright voice]The hardware console does let you route signals. Thanks.[/Steven Wright voice]
Article Over. That’s my feelings. That’s what I got for the price of a new Kia and 30 days straight of soldering.
Let’s keep going.
Routing has many utilitarian uses. So do those 8 channel line level rack mixers. (“So do washing machines”, says one of the grandpas in Christmas Vacation.) The ability to route a bunch of crap together is of use.
I like being able to record the Skype audio output from my video computer to my recording computer on a separate track from my mic for interviews (Danny Danzi, Ethan Winer, etc). I like being able to record 5 guitar mics and sum them to a single bus if I want to…I did it a few times…..it was over rated I thought. I like having my 1/8th jack always on 31/32 so buddies can play audio from their phones. I like being able to feed the drummer a click, but not the rest of the live band. (That can be done with software pretty easily in most cases.)
Umm. I’m struggling to find more options, but I’m sure they exist.
Analog Summing?
Analog summing is as hyped as Michael Jackson. Mixerman based his reputation on it.
There are two sides of the analog summing camp. There are those of us who spent hours on as rigidly empirical tests as possible isolating as many factors as possible to hear that “magic” and there are those who DID NOT bother with any of these tests.
Those who skipped the tests are relying on faith. I had a rather spiritual buddy who prayed for twins. He got ‘em. What does that mean? Praying For Twins.....And Getting Them
People running their audio through a passive summer like the Fulcrum (I made one without the rack for $2.75 per channel) and then running that to an API or Neve are hearing the API or Neve. I’m not sure why that’s not overt. Has anyone ever bothered isolating just the Fulcum? I’d love to hear that. (I’m aware of the potential flaws in this.)
Analog summing through the ATB32 is a joke in my experience. (It doesn’t sound BAD. It barely has a damn sound at all no matter how hard you push it unless you just destroy the damn console. Then it just sounds bad.) The sonic changes are sooooo so small I can’t even put into words how damn uninteresting I found it. iZotope Trash2 on the 2bus is WAY (as in you’d need to use scientific notation to ditch all the zeros at the end) more interesting when used with ears.
It’s my view that the Toft ATB32 was designed to be as clean as possible. If not, they failed because the damn thing does almost nothing to the sound when using the line-level inputs. If the ATB32 is a real deal “colored” console, then it’s clear that console coloration is the most boring thing on Earth. It’s as bold as diet ice cream and as exciting as a wife who won’t nail you because she doesn’t like her self-image. THAT kind of color.
The Tape Op Review
Tape Op did a review of the Toft ATB32 I read it back before I bought the Toft ATB32. I remember thinking, “Hell yeah!”
I re-read the article. I’m an idiot! Never does the reviewer say the Toft does anything to improve sound (minus the equalizers), but he does go on and on how some other console he owned screwed up the sound and the Toft didn’t. This is a very old school perspective. Back in the old days gear sucked so bad you had to look for gear that sucked less.
In an age where DAWs don’t suck at all (they have no inherent sound), this notion of dreaming of a console that sucks less is entirely antiquated. It’s very similar to looking for a VCR with Hi-Fi right now.
When you found a console that wasn’t dull, muddy, or noisy you said, “Wow!!!”. Now sound is “too good” and we have to scrape up ways to tear it up with transformers and such.
The Reliability
The stereo output volume is so screwed we had to quit using it and go back to the master fader.
Now the left side cuts out of the master fader if you adjust it.
Channel 23 constantly dips in level by about 15dB and unplugging it and plugging the TRS input is the only way to fix it. This is a documented problem on this console and not caused by my cables, apparently.
2 EQs don’t work
2 channels don’t route to various buses
I imagine in a year I’ll have 10 more things to add to this list. “Console maintenance” is a fraudulent term. Replacing a transmission is NOT maintenance on a car. Not by my definition ‘Nuf said.
I’d be surprised if it cost less than a grand to fix all this stuff when you factor shipping. I may be able to do it all myself, but that sounds like a day from hell.
I don’t face these types of epic-undertaking problems much. I’m not used to it. Most home recorders would not.
I Don’t Blame The Toft
I want to point out that the Toft ATB32 does not suck. It’s been an excellent tool. I have a good shovel. It digs holes when I apply the effort. The problem is I know no one who believes in magic shovels. Most of us audio jackasses believe in magic consoles. That’s the damn problem.
The preamps on the Toft are very good (maybe a hair bottom heavy for my tastes, but they aren’t remotely cloudy). The EQ is as fun as a “simple” EQ can be. It does do an intentional thing that I like sometimes. A person could mix the old fashioned way if they could make that workflow work. Other than the problems listed above, it’s been reliable.
The Fake Console
If I could do it all over again, I’d rig up a fake console. I’d make a huge spectrum analyzer thing with Arduinos (and brawn) with a bunch of knobs that control MIDI and I’d probably just use the console as a monitor mixer for tracking bands. Maybe I’d bust up an old Behringer board and split the signal beforehand or something. I don’t know. I could make a mad scientist thing that would get the client wow factor and be a tool that does more than control headphone mixes and monitor levels.
Really, I don’t even need that. All I really need is an audio interface with a DSP routing matrix that I can control with a control surface. (Not sure if that’s out or not.) Controlling headphone mixes on the fly is a feature I can’t live without any more. Reverb should always be .04 seconds away. THAT is something analog consoles are awesome at.
I wish that was the marketing headline. “The Best Headphone Mixes EVER!!!!” No one would buy it.
Conclusion
So why are consoles so in demand? Nostalgia. That’s my formal answer. I have no other explanation. Nostalgia (ie: tradition) gets you Christmas and the Vietnam War. I guess it’s a double edged sword.
Their notions of “sound quality” is a joke, although I applaud Toft for making a console that doesn’t do any damage, but the magic audio fairy didn’t pay me a visit. (Good, he sounds gross. SMILEY)
Headphone mixes on the fly are great.
Snakes cost a fortune in money or time. Take your pick.
“Maintenance” scares the hell out of me.
It’s possible that if I had spend $20k or $50k or $300k on a console (When does it end???), I may have different thoughts. I doubt it. The only thing a console can do tonally is distort. I’ve heard rumors in electronic nerd circles that transformers are the king of distortion. My gut says we can find a better way to distort things….or just use iZotope Trash2.
By Brandon Drury
Hardware Consoles: Disappointments In Recording Gear #1 | Home Recording Blog
