Analogue console summing thingy

[cameltoe]

Read a post about this at KVR....and tried it..sounds good to my ears...mix seems wider and more full to me...

Using Cubase

Create a stereo group and 2 mono groups..

Have the Stereo group as the splitter and pull the fader all the way down.
Using the sends of this group, send to each mono group (make sure to click the pre-fader button)then click the routing button of the stereo group and pan the mono groups right and left.

Then goto the groups in the mixer and make sure they (mono groups)are panned correctly.

Place a saturation plug-in of choice on each mono channel....(i use the psp mixsaturator) for your "console sound"...

Thats it....dual mono.....

Make sure to route all audio to the splitter...

Thanks to kingofbeers at KVR for this tip...

 

[Y-Zero]

Seems too difficultly and nonsence. The same result will be at a usual mix with saturation plug-in in stereo mode on master bus.

 

[MKS]

As I read this, the movie Waynes World popped in my thought pattern. It reminded me when Garth was explaining the intricate plan to help Wayne get Cassandra back.

Garth Algar: OK... First I'll access the secret military spy satelite that is in geosynchronous orbit over the midwest. Then I'll ID the limo by the vanity plate "MR. BIGGG" and get his approximate position. Then I'll reposition the transmission dish on the remote truck to 17.32 degrees east, hit WESTAR 4 over the Atlantic, bounce the signal back into the aerosphere up to COMSAT 6, beam it back to SATCOM 2 transmitter number 137 and down on the dish on the back of Mr. Big's limo... It's almost too easy.

 

[Suicide_As_Alibi]

Garth Algar: OK... First I'll access the secret military spy satelite that is in geosynchronous orbit over the midwest. Then I'll ID the limo by the vanity plate "MR. BIGGG" and get his approximate position. Then I'll reposition the transmission dish on the remote truck to 17.32 degrees east, hit WESTAR 4 over the Atlantic, bounce the signal back into the aerosphere up to COMSAT 6, beam it back to SATCOM 2 transmitter number 137 and down on the dish on the back of Mr. Big's limo... It's almost too easy.

^This^ I understand... ^^That^^ I don't

Steve

 

[cameltoe]

Seems too difficultly and nonsence. The same result will be at a usual mix with saturation plug-in in stereo mode on master bus.

Difficult? Hardly....

Same result? Maybe not. The point is to have the left and right saturate independently...like analogue consoles...

 

[Aaron Smith]

A stereo plug doesn't apply the exact same thing to both channels...so I'm pretty sure that running two mono plugs isn't going to be any different.

 

[Seizure.]

As I read this, the movie Waynes World popped in my thought pattern. It reminded me when Garth was explaining the intricate plan to help Wayne get Cassandra back.

Garth Algar: OK... First I'll access the secret military spy satelite that is in geosynchronous orbit over the midwest. Then I'll ID the limo by the vanity plate "MR. BIGGG" and get his approximate position. Then I'll reposition the transmission dish on the remote truck to 17.32 degrees east, hit WESTAR 4 over the Atlantic, bounce the signal back into the aerosphere up to COMSAT 6, beam it back to SATCOM 2 transmitter number 137 and down on the dish on the back of Mr. Big's limo... It's almost too easy.

those guys are pure genious, this one allways cracks me up aswell hehehe:

Garth Algar: Uhm, Wayne? What do you do if every time you see this one incredible woman, you think you're gonna hurl?
Wayne Campbell: I say hurl. If you blow chunks and she comes back, she's yours. But if you spew and she bolts, then it was never meant to be.

 

[~BURNY~]

Putting a saturation processing on the master buss is the last thing I'd want to do. I don't get the point at all, especially with metal music.

 

[cobhc]

I love this one :

Honey Horné: Garth, Im going to be frank
Garth: ok, can i still be Garth?

 

[moose209]

Having a multiple-mono plug in means that although the two channels have the same setting applied to them they are effected independantly of eachother and through the program material on that channel only. A stereo plug in's use/effect - i.e compressor - is determined by whatever channel is pushing the threshold in this case, which inturn is applied to the channel that isn't pushing the threshold. A stereo mix will most definately have different voltage levels at most times throughout the course of the song, thus, I would argue it is desirable to have independant reactions for each channel.

It is quite common for this to be done by mastering engineers, as an awful lot of mixers will strap an eq across the master bus and a compressor and suck the life out of the less prominant signals. say your guitar is brighter than it should be on the left channel but darker than it should be on the right. By applying a multiband compressor to the sereo channel like a c4 and applying those pesking c4 settings you'll only make the bright guitar much brighter!. And so on and so forth.

I don't know about other programs but with pro tools you have the choice on stereo tracks for either a multiple mono plug in or stereo one. Try it out - try everything out once! You may not notice the effect until all is mixed down and your listening after the fact but although subtle the result is much much better. Especially with things like tape saturation or console effects.

Although full of a lot of shit a great example of this is Mix it like a record. A very clear if funny unintentionally illustartion.