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trock.lucasmicrophone

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Posts: 343 Member Since: 11/10/2013

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Mar 11 17 12:36 PM

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Hey All

I love learning about all of this and especially the analog side of things. I was going thru some youtube stuff on consoles and watching who used what and when etc.

Just wondered since so many hear use them or have what was your fav console to own or work on, when, and why? model? year?

What did you record on them? and if you want to add more I would be curious to know what the upkeep was like. So if say your fav console for workflow and sound was an API something or other but the upkeep was horrendous, that would be cool to know as well.

Thanks!
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soapfoot

Ruby Baby

Posts: 7,323 Member Since:04/02/2011

#1 [url]

Mar 11 17 12:55 PM

I haven't tried every single desk, or even close to it.

But my answer is really boring... I enjoy the Neve 80 series for tracking, and the SSL 4000 series for mixing.

You will find many experienced folks here who dislike both of those consoles in either role, find them overrated, and prefer things I haven't ever had the pleasure of working on for extended periods... I've never worked on a Trident A Range, for example.

And totally valid, I'm sure.

brad allen williams

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weedywet

Ruby Baby

Posts: 5,879 Member Since:20/01/2011

#2 [url]

Mar 11 17 5:28 PM

My favourite is unquestionably the Trident A. Followed probably by API. 

I make no distinction between recording and mixing in this regard. Better sounding is just better sounding. 

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chance

Aqua Marine

Posts: 2,665 Member Since:30/01/2011

#5 [url]

Mar 11 17 8:58 PM

If the ultrasonic cleaning messed up my board, I might just get this to get me by. They've had this board for years and the price keeps going down. Right now it's $3000.00image   Last Viewed 11 minutes agoTrident Audio 88 Series 40-Channel Full VU Meter Bridge (Factory Install) SKU: TA8840VUMB MFR: 88-40VUMBBe the first to review this item ASK a Question$3,000.00 Add to wish list Sale alert Free Shipping See all shipping options

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tim halligan

Platinum Blonde

Posts: 1,345 Member Since:04/02/2011

#6 [url]

Mar 11 17 10:18 PM

Chance...I clicked on the link.

As far as I can ascertain, that price is just for the meter bridge.

Cheers,
Tim

An analogue brain in a digital world

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tb av

Platinum Blonde

Posts: 1,154 Member Since:24/04/2011

#10 [url]

Apr 19 17 3:50 PM

I thought it said, .. Ask a question.. $3,000. So you at least get something you can hold in your hand for the $3K.

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maarvold

Aqua Marine

Posts: 3,106 Member Since:23/01/2011

#11 [url]

Apr 20 17 9:22 AM

weedywet wrote:
My favourite is unquestionably the Trident A...

I worked at a Neve 8038-based facility for over a decade.  Every once in a while I would end up at a studio down the road, recording something on their Trident A Range and I always felt those preamps had a depth of character, albeit a different one, just like the old Neves did... but it was a better-sounding preamp.  Ironically, I did not like the 80-B, which seemed like a very different animal.  

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weedywet

Ruby Baby

Posts: 5,879 Member Since:20/01/2011

#12 [url]

Apr 20 17 10:35 AM

completely different.

the TSM and Series 80 were IC based,as opposed to the Class A, discrete, A Range.

not bad desks, but nothing near as special as the A (and even B) Range

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maarvold

Aqua Marine

Posts: 3,106 Member Since:23/01/2011

#13 [url]

Apr 20 17 4:13 PM

weedywet wrote:
completely different.

the TSM and Series 80 were IC based,as opposed to the Class A, discrete, A Range.

not bad desks, but nothing near as special as the A (and even B) Range

 
I will qualify my statement to say that there was a Trident 80-B in O'Henry Studio B (Burbank) that must have been highly modded because the top end was so pure and extended... but, as I said, it must have been highly modded because it sounded so much better than stock.  Someone said that console ended up in Nashville.  Harold probably knows something about it.  

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silvertone

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Posts: 2,743 Member Since:26/01/2011

#14 [url]

Apr 21 17 6:04 AM

I liked each one of my consoles for different reasons. Mainly for what they taught me about getting sounds and what I personally like while trying to capture these sounds.

Also the combination of recorder and console influenced the sound just as much. Loved the sound of my Ampex MM1200 16 track with the 80B but not as much with the Pacifica.

The Trident 24, Soundcraft 200B and 600 as well as the Ramsa WRT820B I used to own had a very transistorized sound, yet combined with an average Tascam machine didn't sound half bad (or half good).

The Flickinger, Neve and the Langevin stand out to me. These were all bold sonic signature consoles I owned. Each bringing something different to the party. The Neve and Flick really worked well with my MCI/Sony 1" 8 track analog machine, good combo.

i bought the Flickinger when no one could tell me anything about it... because of how it sounded.  On drums, it smoked the Neve 1073's.  Yet no one would use it as it didn't have a name.  Told me how much most engineers did not trust their own ears!  Bragging rights were more important.   That taught me a lot as well.  It's why I only trust my ears.  

The Electrodyne had a nice warm sound to her, almost tube like quality in some ways. She loved digital. As an interesting side note, Brian McIntyer of Soma Studios in Chicago sold his Trident A Range and replaced it with my Electrodyne ACC1204.  He is very happy with the sound.

In the end the only console I have is now the old Langevin... and am very happy for it. For me, being the simpleton that I am, it just works for me.  My ears tell me, I like this sound... that is enough for me.  

Like anything in life, these tools are there to help (or hinder) us in expressing art.  We are trying to connect to the soul.  Anything that makes that easier is the best tool for the job. So indeed I have had lots of favorite consoles, for various reasons and at different stages in my growth.  I always say, the learning is the fun part of this job.

You will forever learn just by choosing to be an audio engineer... nothing wrong with that IMHO.  

Silvertone Mastering, celebrating 28 years in business.

www.silvertonemastering.com

Last Edited By: silvertone Apr 21 17 7:16 AM. Edited 1 time.

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maarvold

Aqua Marine

Posts: 3,106 Member Since:23/01/2011

#15 [url]

Apr 21 17 8:28 AM

silvertone wrote:
...i bought the Flickinger when no one could tell me anything about it... because of how it sounded.  On drums, it smoked the Neve 1073's.  Yet no one would use it as it didn't have a name.  Told me how much most engineers did not trust their own ears!  Bragging rights were more important.   That taught me a lot as well.  It's why I only trust my ears.  

The Electrodyne had a nice warm sound to her, almost tube like quality in some ways. She loved digital. As an interesting side note, Brian McIntyer of Soma Studios in Chicago sold his Trident A Range and replaced it with my Electrodyne ACC1204.  He is very happy with the sound.

In the end the only console I have is now the old Langevin... and am very happy for it. For me, being the simpleton that I am, it just works for me.  My ears tell me, I like this sound... that is enough for me.  

Like anything in life, these tools are there to help (or hinder) us in expressing art.  We are trying to connect to the soul.  Anything that makes that easier is the best tool for the job. So indeed I have had lots of favorite consoles, for various reasons and at different stages in my growth.  I always say, the learning is the fun part of this job.

You will forever learn just by choosing to be an audio engineer... nothing wrong with that IMHO.  

 
Like!

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gtoledo3

Aqua Marine

Posts: 4,120 Member Since:23/10/2013

#17 [url]

Apr 21 17 12:07 PM

I'm curious how the Daking consoles would compare sonically to the discrete Trident. I get the impression that the Daking preamps and EQ are based on the Trident designs, so it would seem to reason that the console might be in that vein?

On an entirely different note, The Roots console by Tree Audio looks pretty sweet.

So, I'm not really adding anything here, just soliciting for more info myself :-)

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scullyfan

Platinum Blonde

Posts: 1,597 Member Since:27/07/2011

#18 [url]

Apr 21 17 7:37 PM

One of my favorite consoles was the one in studio B at Chess Records when it was at located at 320 East 21st St. It used the Langevin 5116 mic preamps and was built by Malcolm Chisholm. A very simple board with channel assignments on each input to a Scully 284 12-track (yes that's right, a 12-track) and 3-position switches for monitor. I don't think it even had EQ, but it never sounded like anything going through it wasn't already perfect.

Malcolm and I also rewired the Neumann console in studio A so the studio mic sends went to 5116s on their way to the 3M M79 16-track. Malcolm never liked the sound of the solid state preamps in the Neumann desk that Marshall Chess bought for studio A and decided to make the change. The original Neumann preamps were still an option if you wanted to use them, but the Langevins were available by moving the channel input switches to the line position. Those Langevin preamps just have an incredible, almost bigger than life sound.

Years later when I needed a desk for my 16-track studio I bought a Ramsa WR-8816. It was the fifth one in the country and about the only one that I could afford. They used a discrete transistor differential input without transformers and 4560DX ICs throughout. It was relatively quiet and didn't sound too bad. I took a lot of flack because it had a "Panasonic" label on the lower left front. I still have it and use it almost every day. Not one of the premier consoles by any stretch, but one of my personal favorites nevertheless.

Last Edited By: scullyfan Apr 21 17 8:24 PM. Edited 1 time.

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silvertone

Aqua Marine

Posts: 2,743 Member Since:26/01/2011

#19 [url]

Apr 21 17 8:25 PM

scullyfan wrote:
One of my favorite consoles was the one in studio B at Chess Records when it was at located at 320 East 21st St. It used the Langevin 5116 mic preamps and was built by Malcolm Chisholm. A very simple board with channel assignments on each input to a Scully 284 12-track (yes that's right, a 12-track) and 3-position switches for monitor. I don't think it even had EQ, but it never sounded like anything going through it wasn't already perfect.

Malcolm and I also rewired the Neumann console in studio A so the studio mic sends went to 5116s on their way to the 3M M79 16-track. Malcolm never liked the sound of the solid state preamps in the Neumann desk that Marshall Chess bought for studio A and decided to make the change. The original Neumann preamps were still an option if you wanted to use them, but the Langevins were available by moving the channel input switches to the line position. Those Langevin preamps just have an incredible, almost bigger than life sound.

Years later when I needed a desk for my 16-track studio I bought a Ramsa WR-8816. It was the fifth one in the country and about the only one that I could afford. They used a discrete transistor differential input without transformers and 4560DX ICs throughout. It was relatively quiet and didn't sound too bad. I took a lot of flack because it had a "Panasonic" label on the lower left front. I still have it and use it almost every day. Not one of the premier consoles by any stretch, but one of my personal favorites indeed.

Couldn't agree more not the Langevin assessment.   See below.

I had a Panasonic WRT820B, it smoked the Soundcraft 600 I had  at the time in my B room. That got replaced by a Trident 24... but that console was nothing like the 80B. Still I thought the Panasonic sounded better than the 24 I replaced it with.  To be honest I only did it for the name.  Everybody gave me a hard time about the Panasonic name as well.  Engineers really need to trust their ears more. lol

Funny thing is I just found out from the only other guy that owns a 3 track Presto, his came from Chess Records.  How is that for small world. 
image

Silvertone Mastering, celebrating 28 years in business.

www.silvertonemastering.com

Last Edited By: silvertone Apr 21 17 8:27 PM. Edited 1 time.

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