I am a musician, songwriter, and audio engineer. I have a degree in audio engineering and have worked as an engineer in commercial studios and sound reinforcement over the years. I have produced and/or engineered tons of projects, some for commercial release. My channel mainly contains things that relate to music or audio, but the occasional vintage computer video might pop up as well as vintage audio/recording equipment related videos.
@@montanamaxxamillion the way it's wired it has to be mono but it's a stereo compressor without a mono mode and the left and right settings, side chain etc would all be matching anyway.
I'm glad you found the video helpful. I have made quite a few videos about analog consoles and tape machines of different kinds. I'll be back with new videos in the Fall after I finish moving.
@@TwinCreekAudio what a coincidence we starting the moving process too. So much fun. I’ll be watching them all. Gotten to the point I want to start producing other artist and want to do most of it from a home studio. I’m about to release my 20th record and haven’t learned anything about recording. Time to change that. Good luck on the move. 🫡
Wow loving this vid! So many try to get the best of the best $3k to $5k hardware units a piece when youve found and got quality gear all for under $2000
Hey Grady! I hope all is well with you! Quick question about my analog Mackie 32-8 Bus console.,Let’s say I don’t have an outboard EQ on the Main Mix Out/Inserts. Could I run back into two channels, and use the EQ on the Channels as the two Buss EQ? If so, what’s the best way to do that, and where would I put my two buss compressor in that scenario?
You could patch the master insert sends L and R to the line inputs if a pair of channels and use the channel direct outs to connect back to the master inserts return. You can put the compressor either before or after the EQ in the chain depending on your preference. Don't assign the channels you use to the buses or LR mix at all. This will work but there could be some crosstalk or other issues. You can certainly try it and see how it works.
@@TwinCreekAudio Wow! Thanks Grady! I’ll definitely give this method a try, and after I commented here, I was also thinking this other method of taking the main mix out of the 8-Buss, and into two channels of my Mackie 1640i, (which I use as the interface)putting the two Bus Compressor in the main mix inserts of the 1640i, and use main out of the 1640i to go into a tape machine. That way possibly crosstalk, and noise could be avoided. Do you think my idea is good ? Again, I thought of that after sending you this question. Lol
@@The-Jim-Miller-Project you could also patch the compressor between the 8 Bus main LR outs and the 1640i inputs. Either way might work but the best way is to try different ways until you're happy with the workflow and sound.
@@TwinCreekAudio I truly appreciate you my friend! I hope all is well, and have a great 4th holiday. Looking forward to seeing more of your excellent vids! Thank you again Grady!
These consoles are dope! I Owned both the 32x8 and 24E. They're super quiet, very warm analog sound. No issue with the top mounted jacks, no dust getting in there because every 8 channels had an 8 channel 1/4" snake connected to it. All direct outs went into 4 seperate Pro Tools interfaces. Back then I was using the Pro Tools Mix System. Btw, the eq's on this Console aren't bad at all. Don't expect SSL J Series sound but they do a great job especially for the price. These days you can't even find a great analog console with direct outs. I'm a big fan of these boards till this day.
I agree and I think the Mackie 8 Bus is one of the best of its kind. I made a lot of great records with them back in the 90s and this one is a cool addition to my studio.
Is the Otar still available? I am looking to upgrading to 1” 16 tracks. Sad to see this video but have been in the same boat plenty of times. Hope all is well and thanks for the very informative video series. Thanks, cheers!
Thank you! I am not selling everything so the Otari is not for sale. I might sell it one day but it's going to the new studio so I can finish restoring it. I wouldn't want to sell a non working machine. I also have a Tascam MSR-16 but I'm planning to keep both of my tape machines and downsize the console though it's looking like I might keep it too. Thanks again!
Use an Aux send to send the signal to a processing device and then return the output of the processor to an effects return or line input on a channel and route to the master with LR button.
Thanks for showing the oil tubes in the 80-8... not sure if mine has them or not. There were a lot of revisions on this deck so may need to look further. What oil do you use or purchase? If you don’t mind me asking?
I have used one of these for years. Absolutely love the 80-8 and everything about it. I have been recommending this unit for years all over RU-vid and the internet. I put up a review on Hi-Fi Engine. The unit I purchased was recapped unbeknownst to me at the time and there is zero hiss on mine even with all tracks used and mixed together. Mine was factory set up for Maxell UD 50-10r tape. ATR also sounds like magic on this deck. I couple mine with a 3340s and 35-2 2 track deck. Awesome song, reminds me of 90’s punk/grunge sort of like Nirvana. Great video series and congrats on the 80-8. Happy analog recording! Cheers!
Thank you! I love the 80-8 and hope to get it recapped one day. It sounds much better than I expected and is really simple and fun to use and also pretty reliable for an older tape machine. Teac really knew how to build things back then. I have an Otari and an MSR-16 so I love Japanese tape machines. I prefer British consoles to Japanese however although I used to have a pretty cool Ramsa(Panasonic) that had great EQ!
Do you have an opinion about making submixes in the box and then analog summing the submixes? Is this hybrid summing significantly worse than having a big enough analog mixer to sum everything analog?
That method seems to work fine. I tend to submit sounds that are similar when I work that way. You'll probably see most of the same benefits of total analog summing that way or at least most people won't hear the difference. That's a perfectly good way to work hybrid though.
@@TwinCreekAudio Thank you! I suppose in the worst case, I could also submix through the mixer and “print” the submix to a new DAW track. It just means I couldn’t tweak the submix during the main session without a lot of hassle.
@@hiteho_woozy that would work too but submixing in the box should work fine too. You can even submix each group of instruments types and then sum the groups on the console. Any of that will add some analog saturation to the tracks and combining similar sounds to submixes should still allow more of the original sound to come through with less digital loss.
The yamaha sounds smoother and more laid back. I think the repear summing sounds too perfect in my opinion, too many frequencies poking through at the same time.
Hi, really cool video, very interesting ! I have a question though: how do you connect the compressor to the main bus ? I have an insert on my mixer for the main but there are 2 outputs LR. Thanks !
I usually use the inserts but you can also run it after the master outputs before whatever device you normally run the master outs to. In that case, the compressor output would set the final level rather than the master fader.
I'll be back as soon as I'm able. It's a really difficult transition and move I'm dealing with right now but I'll be back one day. I'm hoping to have an even better space for sound and filming too but it could take some time.
I just bought your dual limiter. I just bought a house and am moving so it's going to be a month or so to use it but I watched your review on it and I liked the way it reacted.
I'm still moving and it's a huge project. I think you'll enjoy the Dual Limiter. It is more versatile than I thought as well. I'll get it out to you tomorrow. Thanks!
@@rocketsauce5067 it seems like they are to me with the Dual Limiter having a lot less noise and general dirtiness. It's like the style of compression of the Pye without as much grittiness and dirt.
Thank you for making this. I've wondered about this exact model but have never had the opportunity to try one out. This helps. Learned some nice fresh sounding licks from you too! ✌🏻
Thank you! I was really impressed with the Spirit Live. The preamps are way above average and better than the Ghost preamps in my opinion. I used to own a Ghost and it's my least favorite sound wise of the consoles I've owned except some small cheaper ones.
Thank you! The move and new possible studio space is looking good so I hope to be back before too long. Hopefully with a more purpose built studio. The existing studio was setup without video in mind which made it harder to film so hopefully I can correct that. Thanks again!
Yeah I was gonna say the overheads sounded really slick, like a smooth but grainy top end and a tiny bit fuzzy. You should split the signal of the overs and maybe rooms, and do a comparison so we can rule out what the mic is contributing and what the mixers preamps are
The graininess is most likely the AT Pro 37r mics I use on overheads. The M-34 is fairly smooth sounding. Unfortunately I cannot do another comparison soon as I have loaned the console out temporarily while I am moving.
Yes, It can be an issue with analog gear that needs service mostly. The LA-12 is probably 40 years old and probably needs service or new caps to perform to spec. Analog gear is not noisy by design, it's just that many pieces of classic analog gear are old and need maintenance to perform their best. For example, my Symetrix CL-100 is not noisy at all but it was recapped before I bought it.
Excellent Video here Grady! I've had a few songs of mine done by a "pro" Mastering engineer, and I must say that I believe now that we can actually master our own songs for commercial distribution. I've learned a few ways of doing it, analog, and ITB, and honestly, in a lot of cases, in my opinion, It comes out better than sending it to a "pro".
A lot of these so called "mastering" software packages and online processing don't really produce the finished master by ear. They are just using the same algorithms to do the processing using some basic settings that hopefully aren't too extreme and don't destroy the original mix too badly. Mastering yourself is probably a better option than these services and most software packages unless you're using a real mastering engineer that's actually going to listen to the audio. The other option is to use software that has enough options where you can tweak the finished Master to your own preferences. So unless you're going to pay a respected mastering engineer to master your project, you are correct that it's probably a better option to master it yourself with good software.
@@TwinCreekAudio Hey Grady! Great points here! Absolutely I also recommend stay away from the “instant mastering” AI mastering, etc… I have lately been mastering to tape from the DAW(logic) to Mackie 32 8 bus analog console with outboard EQ(DOD Q-231), and ART Pro VLA ii Compressor in the main inserts. Bounce the final mix from the board to Tape, and then from tape, back into the DAW, and lastly the only plugins I’ll use is the Adaptive limiter, and loudness meter to boost up the mix to streaming levels to around 14.0 integrated LUFS. To me I like this method best, and the mix/master sounds better than when I used to send to a mastering engineer.,
The comparisons are so cool!!! They all sound great. The one thing that I notice with the tape is it seems to sound livelier, especially between the snare and cymbals. Like I said, it sounds great with all of them, they all sound a little bit different from each other though in my opinion.
Different models of tape machines sound quite a bit different too. The MSR-16 actually sounds pretty modern but it's nice and smooth too. I think the dbx adds some analog vibe to the sound and it's pretty noisy without it.
@@TwinCreekAudio I have the MSR 16 and it sounds really good to me. I've published a few things that I did using it and the sound quality is professional in my opinion.
Thanks for all these videos! I've got an old Fostex 812 mixer and I'm in the process of setting up a new studio - you've definitely convinced me it's worth the cabling to get it set up for both recording and summing!
Thanks so much! The 450 is earlier so I'm sure the 812 will sound better as it likely has newer versions of the 4558 opamps than the 450. These small Japanese made recoding mixers are always reliable and not too noisy. I also tend to like the EQ on them.
@@TwinCreekAudio Good to know! I bought it a few years ago for super cheap on ebay and the seller informed me it used to belong to Edwin Starr! I did a few recordings on it and it definitely added some nice vibes and I remember EQing a snare and getting some nice thump as well as 5k bite on it!
Hi...thnx for your video....I have a Q....I have a mixer and I sent my sound via aux to my preamp and then print it in my daw....The Q is....If I have a stereo signal, how do I do that? I have of those preamps now.
The Pre573 is only 1 channel so it cannot be used for a stereo signal. Aux is strange way to send to a preamp? Preamps are for boosting the level of a microphone or maybe an instrument DI. You normally would not want to run a line level signal into a mic preamp as it will cause a lot of distortion and unpleasantness. Using a mixer to send something to your audio interface and a daw is a topic that is too large to answer in a comment, but I have made a few videos about it which I will link below. Mixing with an analog console: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OlMjnQP58nU.htmlsi=D1ikBwCuKQcBnC_e Recording with an analog console: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qEjg7h9iOqE.htmlsi=SlKLajcADTKrDwJV I hope this helps.
Can i use the Soundcraft GB2 32 console for a hybrid studio, i have a RME digiface usb and 4 Behringer ADA 8200 on order, is it possible to use the cosole to send and return signals from each chanel to the ADA 8200 and use outboard gear, best regards Patrick from Sweden
Yes, it is definitely possible to use that console. The best way is to send the direct outs to audio interface inputs and audio interface outputs to line inputs. It is best to use separate channels for recording to the interface and others to return the signal from the interface for hybrid mixing but you can get around that by repatching between recording and mixing. The GB was designed for live sound but with 32 channels you can use at least 8 for monitoring channels while tracking up to 24 channels simultaneously. There is a lot of flexibility with a system like that, even when using a console designed for something other than recording. Make sure to check out my video. How to set up for mixing on an analog console and how to record tracks with an analog console. I will copy and paste the link below. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qEjg7h9iOqE.htmlsi=fbUITsEkVxyq_pbr ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RWmxkO2gnOs.htmlsi=-FbH6YCoVTygh52- Thanks for your question. I hope this helps!
Hey, I have a question. I noticed in one of your videos that you were reviewing the Allen and Heath Zed series. I'm currently waiting on the Zed14. I just returned a Soundcraft EPM12 because I was having some issues, though it might just be due to my lack of knowledge about routing a mixer. Here's my setup: I connected the XLR main out to a Presonus monitor station and the channel 12 stereo on the Soundcraft to a Clarett +8pre monitor in. My connections go through a patchbay with hardware compressors on most inserts. I go from line mixer to patchbay, then Protools will not let me set outputs back to line mixer. I get a massage that output is in use, so I have to insert on track like a plugin. This works and sounds great, but when I create a print track, it only records the raw vocals back in. I'm lost and can't find any helpful videos-there's a lot of clickbait out there. I hope this wasn't too long or confusing. Please help if you can. P.S. I love the Soundcraft, but the EQ wasn’t built sturdy enough, and the Allen & Heath colors match my equipment better.
It sounds like there may be a limitation with either the Clarett driver or a Pro Tools limitation. I have not been a PT user for many years. It is difficult to understand such an individualized setup however, so it may be something else with the way you have things connected together.
@@TwinCreekAudio I was reading what comes with Protools Artist and it states 4/4 input and output I/O which I’m assuming that they are forcing anyone who’s trying to track back through a board has to upgrade, but I don’t want to jump the gun just yet.. I’m going to unplug my hardware and route the Zed soon it ship to me and see if that’s the problem. I also know that you can use USB with the Zed but me personally think that takes away from the analog sound I’m assuming again..
@@Ilikethatmusic_typebeats it shouldn't take away from the analog sound but the USB is only 2 channels I think. Ideally, you need a lot of separate outputs on an audio interface to connect to analog inputs.
@@TwinCreekAudio I failed to mention at the moment I’m using my old Pro 40 so I have 12 in and 12 out to the patchbay. And yes I would like to send the stems back in separately to finish with the mix then come back out the Zed for Summing.. Why the long process is beacuse for some reason my plugins aren’t active or like I said I could be just setting things up wrong..
@@Ilikethatmusic_typebeats the main thing is it have separate audio interface outputs which you send different tracks out through to inputs on the console. They can be line inputs or tape inputs if the console has them. Then connect the main LR out from the console to a pair of inputs on the audio interface to capture the analog summed mix back into the project. In my case, I use a completely separate interface to capture the final mix. This isn't really necessary, but I will do it this way in order to also record a voice track so the video will sync to the audio. A few of my most popular videos go into more detail of this setup with a Soundtracs Topaz. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RWmxkO2gnOs.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RWmxkO2gnOs.html
I have a TSR-8 and thoroughly enjoy it! I'll put it up next to a digital anyday. Doesn't need firmware upgrades, doesn't crash.. It just works! Would love to have an MSR-16 tho. Great vid! 👍
Thank you! I love using tape but its too expensive to use for most clients. The MSR-16 is a great machine provided you can find one in good condition. A lot of them have been broken in shipping too so I'd try to get one you can pick up personally.
