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Last Friday I worked my last session on the api Legacy at Firehouse 12.
It’s bittersweet, over the last 5 years I’ve logged hundreds of hours recording and mixing on this beautiful beast of a console. That and scraped countless knuckles fixing intermittent quirks on tech days. I’ll miss ‘her’.
The good news: This week Nick and I will take it apart and pack it up to move it out of the way for a new console! If you’ve recorded on this Legacy before, don’t worry, the new console will wow you! I’ll share pics when it arrives.
each individual console has its own unique sound - similarly - each individual person has its own unique taste for sound
but- well- i was looking at this blog about how daws - protools or cubase - actually - very specifically - the channel strip plugins - ssl & neve plugins - just don’t accurately recreate the sound of the actual consoles
i guess i was focusing solely on the complaint concerning lack of “punchiness” - from daws - compared to consoles & the channel-strip plugins that attempt to simulate the consoles don’t make up for it
I happen to be someone who prefers the digital sound and the sound of daws - just my personal preference
i don’t even like speakers - i’d prefer the sound to be directly inputted into my head - second best - i suppose is headphones
sound quality is compromised by air molecules
anyhow - you recapture that “punch” - via gating - you gate every track
on a daw you could easily run into CPU problems - depending on how many tracks you have - could be 50 - 100 - 200 tracks and depending on your computer
but - and - why should you even need noise gates on daws - not counting using samples that aren’t perfectly “clean” - it has nothing to do with noise - the gate is just another compression setting - and compression at the right setting - in the right amount - adds “punch” - it super charges the track (not counting the “brick wall” limiter)
today - guys are sharing alot of info - info that was definitely not shared yrs earlier - but they’re not sharing everything
“comping” is important too - how you comp - what you comp - how you use the comp - you can use a comp like a sample - like - reuse it - triggering the comp with some other track - and mangle it - all different ways - with reverb & delay
anyway - its not really the channel-strip - its the gate used as compression on every track which closely approximates the “punch” achieved by actual recording consoles - imho
More recording love! Gonna post a few more pics of the EP recording sessions. This vintage EMI console had wonky pots, out of phase inputs, noisy EQ modules & mice scurrying around inside. As you can imagine, it sounded absolutely wonderful…
Counterintuitively, pulling the faders down makes the source louder!