Edgetone Studios is a professional recording studio in North Cowichan, BC, Canada. My goal with this channel is to share what's happening in the studio and highlight artists that record here. A long term plan is to set up live streams of bands and solo musicians.
I got them on Amazon. I basically just looked for the skinniest side tables I could find. www.amazon.ca/Yusong-Industrail-Magazine-Storage-Assemble/dp/B08GKR4NM6?th=1
Well I had the faderport before the board, so that probably influenced my decision to have one. The board obviously has faders, and basic transport controls (rew, stop, play, rec). But the Faderport puts the controls right beside my keyboard, which is a much easier reach. With the keyboard tray in front of the mixer, the transport controls are just far enough that I have to lean forward to use them. But also the Faderport has a scroll wheel. I ususally have it in "Scroll" mode for moving around a project. It has previous/next buttons for jumping between markers, you can turn the track automation settings to Write, Read, or Touch with the push of a button. Also there are dedicated buttons for click on/off and loop on/off. So overall the Faderport makes Studio One navigation faster. I rarely move multiple faders at once when mixing, because that's what automation is for. So for me the mixer is basically a glorified tracking control surface and I rarely use it in DAW mode.
@@EdgetoneStudios A few people have said they rarely use it in DAW mode. I’ll be starting with a FP 16, dropping dime on the actual board may not be necessary…
Like I said in your first video, we had two of these at Reflection Sound Studios packed full of John Hardy Mic Pres, and some of the very rare Avalon pres, yes Avalon made a mic pre plug in for this console. Also, there were 4 different mic pres made by Sony for these and three different EQs. Loved these desks and for certain kinds of music much better than our Neve V Series. Just a really fun desk to track on.
I do not have a breadth of console experience to draw on for comparison, but based on everything I learned and seeing how well constructed this board is, I don't think I was overstating my click-bait title. ;-)
@@EdgetoneStudios Not at all and I am impressed with what you did. I only have experience removing consoles so I’ve never actually installed a large format desk.
Thanks. I'm really excited about featuring some bands. I was supposed to start in February, but the two bands I had lined up both suddenly got really busy.
Glad you found it useful. But I will note that I moved away from the Burl B2 because after months of listening, I found that the difference in clarity (which was slight) wasn't worth the price of the DAC and the fact that I couldn't solo channels while tracking if listening to the Burl.
Criminal, you can't be president, you're a felon, they won't even be able to let you see top secret material. You're worthless now ... go enjoy the sunset years of you're life doing something else (if they don't lock you up 1st)
I have the same console and it's a life changer. I had a hybrid studio with a small tape machine and my drums are ten feet from the console. I don't know how many times I said "good enough" after the 100th trip from the console to the drums after tweaking eq and comp. Being able to setup the sound with an iPad is epic. I always print to track and the Fat Channel effects make it sound awesome. The Alpine 550 and FC670 are made for guitar.
I was in IT, specifically managing networks and server environments. I happened to start my career just as most businesses were ramping up Local Area Networks, and just at the start of the rapid rise of Internet connectivity. The first web browser, Mosaic, came out during my first job. At that time Compuserve was the king of online services (modems, bulletin boards, etc). Most people still didn't know what email was. I started as a Network Communications Specialist in 1991 (soon after my first child was born), and retired as an IT Manager in 2017 (two years before my planned retirement and pension kicked in). But of course that was primarily due to us taking advantage of the value of our house in Victoria at the time. My wife also had a good paying government job as a Policy Analyst. The coolest part is, I quit music in 1990 to prepare for the birth of my daughter and get a "real job" to support a family. And now, that same daugther and I have just released our first album together as Waveform Mountain (recorded and mixed here in the studio). Check it out here: waveformmountain.com/processing Sorry for the long answer, but I felt verbose this morning. ;-)
Its so inspirational to see the whole series. Definitely massive works and sacrifice, and i can see it with the happiest dance after years of building😂.. Respect from 🇮🇩
2 things. 1. The Lead sound at 50:45 is SO Gorgeous! 2. The LFO 1 trick where Gemini becomes a 3 OSC Poly is very cool ! As I understand, you assign the sound from OSC 2 to the LFO 1 (LFO running in whatever super duper rate) BUT THEN, you can Reassign a completely different sound for OSC 2, while leaving LFO 1 in its assigned state. Voila! 3 OSC synth. Bye-Bye-TRI-GON-gone
Hey! That’s the POLY I decided on. It reminds me of nothing…other than a UDO synth. Screen, schmeen! This one will force me to Learn it. Spectacularly Glorious!! Backstory, I was within minutes of wedding the SUMMIT. I would have sinned, been unfaithful to my vows, secretly dreaming of the Gemini. Great review! Thanks.
Thanks. I had the Super 6 and didn't think I needed a Gemini. But then I found out it has polyphonic aftertouch and was so lucky to find that a shop in Vancouver had one coming in the next day. So I pulled the trigger and had it in a week. Will likely stay my all time favourite synth for decades.
@@EdgetoneStudios I can recall not so long ago thinking, ‘I would NEVER consider this Super 6 synth, good as it sounds because you’d forever be NOT ABLE TO remember what you just tweaked 10 minutes before!’ That was just plain WRONG ; I was looking at it 180 degrees backwards. What do I do with synth screens now?? Mostly check to see what preset I’m playing. I’ll have to learn to play and design with intention! I’ll have to actually try to Master the instrument.
I currently have the Universal Audio X4, and I’m thinking about maybe more inputs in the future, my thoughts are to add the PreSonus StudioLive 16R 18x16 Digital Rack Mixer With 16 XMAX Preamps- what are your thoughts? Or should I just use another audio board? 7
Well the Studio Live don't have ADAT, so they can't be used as an expansion for the X4. If I was sticking with an X4, I would add a Cranborne 500ADAT and fill it with nice 500 series preamps. But there are lots of other options too. MOTU makes some nice gear like the 8Pre, which would be a nice 8 channel expansion.
I’ve always wondered how the StudioLive faders would work in control surface mode. I’m very happy with the Pro Tools mixer so would use very little of the StudioLive. Primarily, channel faders, mutes and pans if they can be used as control-only, plus monitor functions such as talkback. As a result, the sound of the StudioLive would be irrelevant. There is a number of models but I don’t know if there is any MIDI available.
With Studio One, the DAW mode give contol surface integration for faders, mutes, pans and integrates with Fat Channel plugins. With other DAWs it presents as an MCU protocol device. So you get fader, mute, pan and of course the transport controls. When in DAW mode, you can still use all the line and mic ins, but you have to switch out of DAW mode to adjust the local mix on the mixer. None have MIDI and none have ADAT expansion. Both of which are a shame.
@@artysanmobile I suppose they only implemented it for HUI/MCU over USB. But it does support it. support.presonus.com/hc/en-us/articles/360055704452-StudioLive-Series-III-DAW-Mode-Setup-Troubleshooting-Guide
It sounded great. But the size of it was just a bit too much for my space, and in the long run I realized I would be happier with my hybrid digital mixer/analogue outboard gear setup.
NE!! I get a ton of stuff from there. I've been trying to decide if I actually need the Super G. It's a beautiful sounding and looking synth; the build quality is insane (I own a few top-end synths and UDO is beyond premium). Looks like you've got a few great synths yourself. What role do you see this filling in your studio?
Well if you want to buy my Super Six instead... ;-) This is my main MIDI keyboard now for composing. I expect for my next album the Super G will take centre stage on most of the songs. I've also set up a Tempest and a K.O. II as a jamming setup with it. I've been too busy with album promotion to do any yet however. waveformmountain.com/processing
Apollo isn't a mixer it is a DSP audio interface totally different product IMO, if this mixer had DSP and DSP plugins different story but didn't find the chapter talking about DSP processing on this.
Yes. The StudioLive has the Fat Channel DSP on every channel. It's a selection of compressor and EQ models with a gate and limiter. Studio One can sync it's Fat Channel plugin settings with the Studio Live (or they can be used independently). So you can record while listening to FXs, with no effects applied to the recorded audio, but then the Studio One plugins apply the same effects on playback. In this way you can record with FX on, but then alter the FXs when it comes to mixdown (and still retain the unprocessed audio if needed).
@@EdgetoneStudios You should do a video on Fat Channel plugin I havn't heard of it before even after researching DSP plugin interfaces like Antelope Audio Synergy and UA's UAD-2 architecuture. I will look into this more.
Thanks for the series, I found it really interesting. I went through the big console itch right before Covid lashing out with a big $$ loan to buy a SSL 6048 that was supposed to be in excellent condition. I couldn't check it before buying as it was in storage 3000Km away so only had a few photos and the seller's word on it. The seller removed it from the studio he bought it from and assured me it was near perfect when he decommissioned it also sending it via SSL in England for extensive re-capping so by all accounts it should have been good. Totally my fault for not considering old complex gear in long term storage of around five years. It works but with lot's of small issues related to the long term storage and being a thirty-eight year old console. It takes up loads of space, is super power hungry (When it runs) and since Covid my work life has changed totally so it is really nothing more than a very beautiful piece of furniture now. Everyone has changes in life, we just have to embrace them and move on to a better place whatever that might be so my SSL will be for sale once I can get it fully functional again. I also have a SL32 which I'll probably end up using, smaller, reliable and feature rich as you know. All the best from down in Australia.
Thanks for watching. It really is easy to desire an analogue beast such as these when you have memories and nostalgia and have the space. But I think for most of us, a really nice interface, or a digital console, or a modern analogue console are all we really need. I think if I had the opportunity to get a smaller analog board with enough inputs at a cost I could afford I might still do it. But for now I'll stick with digital.
Hi, thank for the explenation. I have a question about setting up a mix for my drum bus using a warm stereo compressor. I need two inputs on😂 the mixer and two outputs. I want to use input 13 and 14 (i have a studio one III 16 presonus mixer) for the input and 7/8 for the output. And when i try to set it up via Pipeline the compressor it is not comressing the drum bus I tried several settings but I can’t seem to get it right. So, how to set it up for my drumbus to get it working. I hope you can figure out what I need to do? Greets from Holland, Albert
In order to directly send out Mix 7/8, you need to put the mixer into "Interface Mode". Press "Home", then "System" on the touch screen. There should be an "Interface Mode" showing as "Off". Press that to turn it on. If you don't see the Interface Mode option then you will have to update the firmware. Note that when you are in Interface Mode, you can't send to the Mix Outs from the mixer directly, only from software. Let me know if that helps.
Amazing series documenting your build. Ive never seen bass traps built that way, hanging insulation etc. How well do they perform and where can I find more information on that design? I will be building a fairly large room myself, thank you for sharing your experience.
Well, the room sounds great to me so they seem to be doing their job. We just released our debut album and the first project I fully mixed and recorded in the studio. You can check out the results here: waveformmountain.com/processing As for more info, in the video description there is a link to the plans by John L. Sayers. There may be more info about them on his old online forums: johnlsayersarchive.com/ Thanks for watching.
i don´t use interface mode. i use my daw as tape machine, for cutting and arranging the recordings. the mixdown i make with the presonus console to a stereo mixdown on a sd card. so i can use my outboard effects in the mixer for the song. And then make the mastering from the stereo mixdown of the console in wavelab. its the easiest way for me and a good workflow.
It's funny when people are so caught up with how a digital desk "sounds", like anyone listening to a song is going to know what you recorded the sing through. Beck Hanson's song "Loser", and the entire Mellow Gold album was recorded to a Fostex 8 track 1/4" tape machine, and the vocals were sang in to a Shure BOUNDARY microphone. 😂 That album went platinum.
Indeed. I'm really of the opinion now that any mid-range price gear will sound amazing and low priced gear will sound great. So just choose the budget and format that works best for you.
Great video! Thx! I’m using an old eMagic mt4 (2 ins/4 outs) with 3 old synths + eDrums. I was looking at a used Unitor MT8 and connecting more hardware, but the MioXL looks much better. The real issue is having stereo 1/4 audio cables for every synth. 4 pairs + midi now, more to come. It’s a mess. Do you have your synths midi & audio connected at all times? Mixer? Audio interface? [I’m also Canadian with a studio in the Toronto area] 😊
I ran a 28 channel snake cable to the back of the room from the desk (24 ch + 4 returns). So I do have all the audio stereo connected "most of the time". Because the StudioLive is a 32 input console, I've set up my patchbay such that I have 12 external mic pres going to Line ins, and I patch in 8 of the synths to those mic pres (the ones beside my desk and in the tracking room). The synths at the back of th room are all wired direct to the desk XLR ins. When I want to use all 12 mic pres for tracking, I just unpatch the synths.
@@EdgetoneStudios I’m not sure if there reverbs do but there Freq Echo plug-in does and it’s almost a reverb anyway. You could use plugins to bend the pitch of the tails.. Valhalla verbs are incredible though try there supermassive one it’s free! And all the others are set price of 50 dollars. Incredible value.
I think I wouldn't be able to tell the difference between a clean Apollo Unison preamp and the Presonus XMAX preamps. The big difference in design is that the Apollo Unison preamps alter the input impedance when you use one of the UAD plugins (such as a 1073 or SSL, etc.) It would be really interesting to hear the difference between using one of those preamp emulation plugins with the Unison preamps vs. another preamp such as the XMAX.
Why don't you record some impulse responses (IRs) of the reverb. Then you would have it in the box. You could also let others have the IRs so we could all have that lovely sound. :)
Although I could capture a few specific settings, the unique thing about the Mercury 7 is the ability to have the reverberated sound both pitch bend and modulate as it trails off. Of course the type of of pitch bend and amount of modulation needed is very source dependent, so it really wouldn't be able to be captured in an impulse response (as far as I know).
I watched the three videos it was really interesting and the studio ended up looking really nice but I was wondering what materials you used for the insulation like what is the name?
The insulation is extruded rock known as rock wool. Here in Canada it goes under the name of Roxul. www.rockwool.com/north-america/products-and-applications/products/safensound/
So beautiful. I built a studio once - not nearly this nice - and remember fondly the excitement during construction and the fulfillment of having it done and in use. Nicely done sir.
I’ve been using a Studiolive iii SC in my studio for about 4 years. I’m very happy with it. I also added a Studiolive iii 16R rack mount mixer. In the studio, I use it as a 16 channel stage box to expand my system to 32 channels. I set it across the room for additional instruments and run a single network cable to connect it to the SC. I also use the 16R as a live mixer when my band gigs. It’s been a very flexible system for me and sounds very good.
They really are great studio mixers. For a while now I've had a 16R connected to my 32S as an "alternate" set of inputs for the tracking room. So to go between my synths and the tracking mics, all I had to do was press the Network or Analog button for the channel. The AVB works great. I've decided to simplfy my setup and remove some gear so I'm selling the 16R, and just using the patchbay for those connections again.
@@EdgetoneStudios I record all of our rehearsals as well as recording tracks regularly with the band. I’m also a keyboard player so having 32 inputs suits my workflow very well. Thanks for the video. Nicely done.
Guys! What about that Fat Channel and being able to sit at the drum kit, with a tablet, and meticulously set gain, eq, and comp without getting back up and running to the mixer for every move. I use the DBX 160, the Everest, and the Fairchild quite often, and you just can't beat the 1073, and Api eqs. What's your favorite Fat Channel fx fellas?
@@gillihansmobilewelding I used the Everest on vocals a lot. One with Fast attack Fast release and moderate compression followed by another with Slow attack Slow release with heavier compression. It sounds great. I also like the Brit Comp as my bus compressor for drums. I'm talking about mixing in Studio One more than FX on input. I have a bunch of SSL Six CH 500 series preamps as well as a Rupert Neve Newton channel strip. I still love using this external hardware for recording (though I could do everything inside the StudioLive). To me it's just nice to have individual knobs per channel that I can reference at a glance without having to select the channel first.
