@@Mike-vr7mb Spent 10 years working daily on a J - and it was a beast (and a headache) and you could fry an egg on the thing - but man did those channel strips sound good.
This thing is the BOSS for quickly and reliably creating AUDIBLE AGGRESSIVE COMPRESSION nearly immediately. Almost nothing equals it. Just imagine 80-channel consoles with these on every channel! Well, I’ve worked on a couple of them. It really was INSANE. You would just pray that the next client into the studio would lay something down intense enough that you could fire all of the guns up and go to town!! ⚡️⚡️✨💥💥💥⚡️⚡️✨💥💥✨⚡️⚡️ POW!!
@@phable If that is your best. It is perfect for me. I love detail and honest reviews of the good and bad. Do you know if Ferrofish is coming out with an updated version of the Pulse 16MX?
Sounds great ... also on the bus. I've worked on 4kE and G and 9kJ SSLs and I always loved not only the compressors, but especially the gates! Even if you do not dial in the compressors and the gates, they do a lot. Have to try out some of the SSL 500 modules finally!
When you say 19db of reference level, what do you mean? For example what should the peaks be hitting in the daw? -19? Or do you mean +19 of gain over 0? I'm not following.
There are days that I seriously miss my SSL J9080 Console (I don't miss the cost of running it) - it's the EQs and Dynamics I miss the most - even having 6-8 channels would be lovely. Wondering how does the B dynamics compare to the E series which I imagine would be closer to my old J desk.
I worked on Patchwerks J9000 and the Boom Boom Room's J9000 and a ton of E and G 4000's fron NYC, All, and LA. The biggest difference between the 4000 EQ's and Comps and the 9000 EQ's and comps are the 4000 are more mid agressive while the 9000 series are slightly less aggressive but more open across the freq range. If I could have 4000 EQ's and Comps for drums and 9000 EQ's and comps for musical instruments I would be in heaven.
