Denver Trip to Pick up the Console
Ok. So, We decided we wanted a large format analog console in this studio. We felt it would best meet our needs, and the needs of our clients. The budget is limited, so a lot of decision making went into this process. I have really been mulling it over for about a year now.
We wanted an analog console because a big part of what this studio is being designed for is tracking. To me and most of the potential clients a talked to, an analog console is still more desirable for this role. I also wanted something that sounded really good so that the outboard gear we have would be the "cherry on top", not the "required signal path".
I also wanted the studio to be very flexible. The way it is all setup it will be that. Tracking or mix session will be able to be run in multiple ways.
So... after a lot of shopping, asking a LOT of questions, I finally settled on an Amek Mozart. I ended up getting an amazing deal one one. It was located in Denver, Colorado. It is a 56 channel frame (bigger than I wanted for our studio, but I couldn't pass up the DEAL). It also has 40 RN (Rupert Neve) channel strips in it! It has supertrue automation, a fantastic patchbay, and was very well maintained. Amek's former head technician (David Rochester) actually still lives here in Nashville, and it was he who actually helped me find this console. He is also going to come out and help me make sure I have it all assembled right, do some tech work on it to get it sounding the best is possibly can, etc.
I am really happy with this choice. I worked on a Mozart a long time ago and remember loving how it sounded. It has a great patchbay and that will save time in the studio wiring and also help to make the studio very flexible for our clients.
For instance, we have a VERY fast (dual, dual core Opteron 285) PC that will allow clients to run full 32 track sessions at 48k with 4 cue mixes, seperate studio mix, and internal verb for the talent all right in the box on Nuendo 3.0, Cubase 4, or Pro Tools HD 7.3. In this scenario they would use the outboard gear and the consoles channel strips as their front end and just monitor on a 2-track return of the console. So, for Pro Tools or Steinberg users that are very comfortable with the computer, but not so comfortable with the console.. they can work in the box.
Or... for those that want to work "old school" they can also work right off the console. The mozart with the RN modules gives 16 aux sends! 4 stereo and 8 mono! This will all tie into our Furman HDS cue system that will give the talent 4 stereo sends and 8 mono. They can adjust level on the stereo sends and they have an individual fader for each of the mono sends so they can create their own mix. They even have their own FX send so the artist can set his own verb level.
Also... when it comes to mixing... the client will be able to choose several scenarios. The can mix fully "in the box" if they like and just monitor off the 2 track in's of the console. Or, the client can mix "old school" style and just use the DAW as the "tape machine" and mix on the console. Finally, the client could do a hybrid (my favorite) and combine the best of both. Coming out of the computer into channels on the console using the console EQ, automation, FX sends, ouboard gear, etc... and also use automation, plug-in's, etc., in the console.
Anyway... more on all that in later posts. We investigated many scenarios of how to get the console here to Nashville and found the best was also the least expensive. That was for us to fly out to Denver, rent a truck, and drive it back. So we did. And I took a few pictures... and here they are:
We wanted an analog console because a big part of what this studio is being designed for is tracking. To me and most of the potential clients a talked to, an analog console is still more desirable for this role. I also wanted something that sounded really good so that the outboard gear we have would be the "cherry on top", not the "required signal path".
I also wanted the studio to be very flexible. The way it is all setup it will be that. Tracking or mix session will be able to be run in multiple ways.
So... after a lot of shopping, asking a LOT of questions, I finally settled on an Amek Mozart. I ended up getting an amazing deal one one. It was located in Denver, Colorado. It is a 56 channel frame (bigger than I wanted for our studio, but I couldn't pass up the DEAL). It also has 40 RN (Rupert Neve) channel strips in it! It has supertrue automation, a fantastic patchbay, and was very well maintained. Amek's former head technician (David Rochester) actually still lives here in Nashville, and it was he who actually helped me find this console. He is also going to come out and help me make sure I have it all assembled right, do some tech work on it to get it sounding the best is possibly can, etc.
I am really happy with this choice. I worked on a Mozart a long time ago and remember loving how it sounded. It has a great patchbay and that will save time in the studio wiring and also help to make the studio very flexible for our clients.
For instance, we have a VERY fast (dual, dual core Opteron 285) PC that will allow clients to run full 32 track sessions at 48k with 4 cue mixes, seperate studio mix, and internal verb for the talent all right in the box on Nuendo 3.0, Cubase 4, or Pro Tools HD 7.3. In this scenario they would use the outboard gear and the consoles channel strips as their front end and just monitor on a 2-track return of the console. So, for Pro Tools or Steinberg users that are very comfortable with the computer, but not so comfortable with the console.. they can work in the box.
Or... for those that want to work "old school" they can also work right off the console. The mozart with the RN modules gives 16 aux sends! 4 stereo and 8 mono! This will all tie into our Furman HDS cue system that will give the talent 4 stereo sends and 8 mono. They can adjust level on the stereo sends and they have an individual fader for each of the mono sends so they can create their own mix. They even have their own FX send so the artist can set his own verb level.
Also... when it comes to mixing... the client will be able to choose several scenarios. The can mix fully "in the box" if they like and just monitor off the 2 track in's of the console. Or, the client can mix "old school" style and just use the DAW as the "tape machine" and mix on the console. Finally, the client could do a hybrid (my favorite) and combine the best of both. Coming out of the computer into channels on the console using the console EQ, automation, FX sends, ouboard gear, etc... and also use automation, plug-in's, etc., in the console.
Anyway... more on all that in later posts. We investigated many scenarios of how to get the console here to Nashville and found the best was also the least expensive. That was for us to fly out to Denver, rent a truck, and drive it back. So we did. And I took a few pictures... and here they are:
At the airport
A very short moment of pure tourism... :)
My sister lives in Boulder, so she picked us up... we had lunch, and she dropped us off at the truck rental place.
Me and my sis.
Kansas City
St. Louis
And finally back home! We put it out in "B" until we finish the contruction in "A". Then we will move it into it's permanent location. Let me tell you... even the frame empty is about 800lbs! Crazy! It took 5 of us to move it and it was STILL very hard. I am not looking forward to moving it again... but I am DEFINITELY ready to have it all assembled and start turning knobbies... lol.
Steve Lamm
www.crypticglobe.com
www.cgrnashville.com
www.clubcubasenashville.com
posted by Steve Lamm at
8:26 PM
3 Comments:
Looks like you are taking a page from "stevep's" playbook. :0)
T
as for the ITB mixing scenario - I would introduce a monitor switcher, so that you can feed the mons directly of the PC (DA) instead of having to pass it through the desk. Just a thought! Good luck with the building, seems like an incredible adventure!
Good suggestion about the switching of the monitors. However, this console has an amazing patchbay. You can tie DIRECTLY into the speakers on the patch bay. Or, you can tie into one of 8, 2 channel inputs. So, all I have to do is take the stereo out of the DAW (which is also on the patch bay), and patch right into either the 2 channel input (and use the big knob on the console to control the volume, or directly into the speakers and control the volume from the DAW.
The second option is as pure as plugging the outputs of the converters directly into the speakers. The first option passes signal only through the control room output section of the console... so it's not going through a lot of circuitry.
These options on the patch bay make doing what you suggest very simple... and pure enough to satisfy even the super-purists among us. :)
p.s. Everything comes in and goes out via Mogami. :)
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