humbly submit this console just alive from new zealand. 4 months in the making. 12 channels neve-ish preamps and line amps (zero eq) with 2 stereo busses and 4 auxiliary sends - full afl - full control room monitor select - full patchbay - multis wired for 8 track tape - 8 channel interface - 18 outboard devices. nestle up to this honey and yes... very sexy i reckon.
Vintec C3 complete tube design!!!
26 tubes per channel, 23 kW/h
Tube dynamics&Eq in every channel, SSL automation and V76's
OMG, that's just the most exciting console I've ever seen !!!
I wanna hear&see this beast in action so badly,
just seeing this pics make feel dizzy
humbly submit this console just alive from new zealand. 4 months in the making. 12 channels neve-ish preamps and line amps (zero eq) with 2 stereo busses and 4 auxiliary sends - full afl - full control room monitor select - full patchbay - multis wired for 8 track tape - 8 channel interface - 18 outboard devices. nestle up to this honey and yes... very sexy i reckon.
Oh Greg I just got to hear that mate!!!! Well done.. Sexy as **** in the flesh too I'd reckon. Great stuff!!
thanks doctor. but i gotta say that vintec mutha kicks my ass . geez. its even got room for a spa pool in that left hand end. 24kw should get that thing real hot! too. how slutty is that?
I saw those consoles a couple posts back at the Country Music Hall Of Fame too, but this one over at the nearby Musician's Hall Of Fame and Museum is credited as being Owen Bradley's Quonset Hut console:
And check out this old beast also on display at Studio B:
i think there are some interesting design elements here which need clarifying...
some may call this personal preference but i don't like brightly colored surfaces for mixing desks. i think this detracts from the visual cues the lights/meters/knobs/switches provide and is ultimately distracting and fatiguing. think of martin hannet behind that bright red helios board (he went a lil round the bend and ended up pulling a gun on someone in the studio.. something like this.. it's in 24 hour party ppl.. prolly cocaine induced.. anyhow!)... they use red lights in submarines and on car dash boards because red is the color of blood.. it puts ppl in a hyper-vigilant attentive state... at least in a subtle way.
so, as a mixAE, i'm against anything brightly colored... too distracting!
i prefer the subtler more utilitarian style of old Neve or EMI desks.. the EMI kind of looks like something the Luftwaffe would design. the way to emphasize color in a design is to provide a background of no color... black and white with one color always adds to the stunning effect of the one color. in other words, for the sake of ergonomics and speed every color on the surface of a mixing desk SHOULD MEAN SOMETHING which relates to the state of the desk's effect on the music being mixed...
ok, nightmare description admittedly, but you get the idea? i hope..
differences in color should be restricted to tones of one color... at least on the surface of a LFAC.... call this 3WO's 1st law of Large Format Analog Console Design
there is no point in putting BRIGHT RED PAN KNOBS on anything. i'm an LCR guy. LCR is the one true way. there are only 2 speakers. etc... I set pan knobs and then leave them there for the duration, generally. i do not need a constant visual reminder of this... they can happily fade into the background... sends are much more important to emphasize... group assigns which are color coded on the channel strip and fader cap could be useful... etc.
the important thing is to make every color mean something... this frees up the brain to be more creative... it's just a good all around design practice.
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