B
Beeernd
Guest
Dear Pros - please help me out:
We are about to finish off our new studios and install the SL 4056 G/G+. My questions concern two important aspects of this particular equipment: its ergonomics and how they relate to the "history" of pop/rock music mixing/recording. Please forgive my long-windedness and multi-level questions.
(1) Seeing the long succession of SSL consoles since the B series, what do you find is the most significant change in functionality from B and E series throughout the numbers G - J - Ks? What can you do on one series, but not on the other? What would you do on one vs the other? I am aware of changes in the electronics/eq/bus compressors and the consequences on the sound, but I am curious to address those who have spent many hours working on this style of console.
(2) The sound of the consoles are often described as "crunchy" (G,E), "extended bottom, smooth top" (J). Given any other console/ mix situation, could you actually pick out the sound of a console in a recording? How would YOU describe the sound?
(3) Given specific mix situations, which are the creative possibilities and what are the Mixing CLICHES that are UNIQUE to SSL consoles and cannot easily be duplicated by other mixing consoles? Have you ever found yourself longing for a specific console's routing system/computer automation functionality/ espresso machine outlet?
Thank you so much - your help is invaluable.
jkthtyrt
We are about to finish off our new studios and install the SL 4056 G/G+. My questions concern two important aspects of this particular equipment: its ergonomics and how they relate to the "history" of pop/rock music mixing/recording. Please forgive my long-windedness and multi-level questions.
(1) Seeing the long succession of SSL consoles since the B series, what do you find is the most significant change in functionality from B and E series throughout the numbers G - J - Ks? What can you do on one series, but not on the other? What would you do on one vs the other? I am aware of changes in the electronics/eq/bus compressors and the consequences on the sound, but I am curious to address those who have spent many hours working on this style of console.
(2) The sound of the consoles are often described as "crunchy" (G,E), "extended bottom, smooth top" (J). Given any other console/ mix situation, could you actually pick out the sound of a console in a recording? How would YOU describe the sound?
(3) Given specific mix situations, which are the creative possibilities and what are the Mixing CLICHES that are UNIQUE to SSL consoles and cannot easily be duplicated by other mixing consoles? Have you ever found yourself longing for a specific console's routing system/computer automation functionality/ espresso machine outlet?
Thank you so much - your help is invaluable.
jkthtyrt