Quote:
Originally Posted by
GYang
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Nuendo user here.
During evaluation of similar setups (Nuendo + X) I went through SSL AWS, SSL Matrix, Tonelux, D&R, Rupert Neve 5088, API 1608, as well as, some vintage consoles options.
For DAW work I never found that console with integrated DAW control does it better than either smaller dedicated controller (if task doesn't require extreme use of DAW possibilities) or WK-Audio ID controller for real job (and impressive look).
So, analogue summing is by far the most critical part of evaluating choice + scalability of the system and quality of options.
Despite the fact that there is no apparently inferior or weak sonic paths among strong names on scene, nuances are there and to my ears preference can be rather easily judged on that.
Tonelux and Neve 5088 delivered the best overal sonics, with API clearly very good, on par with them in its own flavor. Modern SSL sounds clean and professionally up to any task, but lacks finer elements of character and sonic robustness of competing consoles.
I didn't find that functionality of AWS adds any particular advantages in DAW + good analogue summing over mentioned approach of DAW controller + console&best analogue sonics, so I wouldn't accept such kind of compromise.
If you prefer it to keep it in one package, than there are no options and no much sense in debating the subject.
All valid points, even though "
the best overall sonics" is based your personal opinion. Other ears might like something different.
Every analog solution has it's own sound. I like a lot of them, but personally want to have the least coloration when summing/mixing. I introduce color on the way into the DAW and don't want to be stuck with a certain "sound" when mixing. In the "old" days I normally used a Neve or API type console for tracking but always an SSL for mixing.
The AWS controls plenty of DAW functions and for in depth editing, there is still the mouse, if you don't want to invest in a dedicated controller (which can be had used for around $7K in the case of the MC Pro). On the other hand there are a loty more functions (analog inserts etc.) on the console than in a controller. I think it's best of both worlds, even though the price tag is quite up there. I also found that during the workshops it's a lot easier to explain signal flow with the analog console than with the dedicated controller, people seem more familiar with the analog terms.
Your argument for a dedicated controller (with faders etc.) plus any analog summing set up makes total sense, definitely a solution to consider.