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BTW, did I mention that I'm an idiot?
Old 25th October 2002
Gear Maniac
RSMITH123's Avatar
🎧 15 years
BTW, did I mention that I'm an idiot?

Well, about the time I think I have my feet under me, the rug gets a hard tug and it just happened again.

Very brief history just in case,
I have been involved in live sound for 20yrs. As an Artist/Producer, I have done a professional project mixed in a great studio on SSL. I also have a a small project studio.

Now, I am in charge (LOL) of putting a studio together. I have a good idea on pre's, mics, platform, and outboard gear. I thought I knew what to do console-wise as well. I now see that I don't.

I can't do a Neve or SSL and refuse to do a Mackie or A&H or Soundcraft. Thus, I have been browsing through mid range boards like Neotek, D&R, Audient, etc. (please don't cringe)

I had made my mind towards a D&R Cinemix (thus my thread) but keep hearing great things about Neotek Pre's and E.Q.'s. I decided to give Sytek a call and just see what a new board runs.

OK, cut to the chase...
What freakin' configuration do I use? I am intending to run Nuendo through Apogee converters and will have 48 outputs available. Point is, I am trying to avoid summing internally. I am rethinking my console choice but the major question is...

If you had a 48 track studio tape or digital, how would you want your console configured?

Feel free to bomb and blast and ask questions if you like. I honestly don't know who to ask.
Old 25th October 2002
One with big hooves
Jay Kahrs's Avatar
🎧 15 years
I don't have any problem doing submixes inside a DAW so I doubt I'd need one channel for each track if I was going that route. Maybe 32 or 40 inputs would be fine. Coming from tape is a different story. If I had 48 tracks of tape running at once I'd want a 56 channel console. I like bringing the effects back to channels rather then returns.
Old 25th October 2002
Gear Addict
🎧 15 years
Damned if I know. That's a different animal from mixing 8 tracks off of tape, isn't it? I'm multing and bussing the hell out of things, myself, but I'd imagine you will have done the equivalent work in tracking before the mix.

If you aren't going to have fader automation, you might decide how many faders you can reasonably get mileage out of. Digitally submix things that aren't as crucial (effects tracks, low level pads, maybe background vocals) and put the key elements straight to the board. I guess the flipside is how much submixing you can stand to do with a mouse.

Old 27th October 2002
member no 666
Fletcher's Avatar
🎧 15 years
56 inputs with an "inline" configuration, or 48 main inputs with a 24 input jukebox "split desk" cofiguration. Either way... with Nuendo, I have a whole lot less problem mixing inside the software than with something like Pro-Tools [the 'mix buss' in Nuendo actuall sounds good... while the 'mix-buss' in Pro-Tools sounds like ass on it's best days].

Best of luck with the project.
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