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Tag: aax


Some of you probably know that I work for a company where modularity and flexibility plays a huge role in our workdays. Few years ago when we decided to upgrade to Avid S6 controllers we had to find a viable solution to integrate them into our existing workflow. This also means we had to implement things that make changing from one workflow to another feels easy and can happen within a few minutes.

Our Studer systems has been updated and maintained for several years but for many reasons we felt that to remain future proof and to be able to serve the enormous amount of work we need better solutions, yet without abandoning the old one. We achieved this with special roll-over-car for the S6.

Here’s a video sped up to show how one person can change to S6 within five minutes. Five minutes including putting the S6 into position, connecting all the necessary cables and booting up Pro Tools and loading the session. The video is only a bit over one minute:

Avid S6 roll over the Studer system. from Tamas Dragon on Vimeo.

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Experiences with the Bx_console

Last week was the first time that I’ve thoroughly tested the Brainworx bx_console. As you probably all know, it’s a Neve VXS console emulation with one very interesting twist that is called Tolerance Modelling Technology. As Brainworx states that basically means they’ve modelled all the channels instead of only one, so they built in the analog components’ variations you’d find in a real console. Although of course all manufacturers try to keep everything as perfect as possible, there are certain tolerances between analogue components as nothing is completely perfect and this is even more true when it comes to older gear. This plugin includes these differences.

Make it even more clever

But “simply” modelling the console was not enough for the team, they made the original thing more clever than ever. There’s some inherent noise in the original which can be easily switched off in the plugin. Also parallel compression is easy within the plugin with the small mix knob. They improved the HP/LP filter section, we can swap the order of EQ and Dynamics. These little and not so little things can make our mix life so much better.

I truly love this new era of plugin emulations where a company not only capture the original hardware and code it into a plugin, but adds certain features that are really useful in real life. This is why we need real audio guys around the geeky coders because this is where engineering meets art and practicality.

Build a console

To really hear and feel the possibilities of this channel strip I decided to virtually build my Pro Tools session as a Neve console so every channel has one instance of the plugin with different channel inside to truly test the new TMT thing.

Only the audio subgroups and the final mix master had different processing. I made my own default preset that has no gate, the compressor is active but works only from -14dBFS if needed, eq flat, noise off.

Just a quick note. I applaud Brainworx for supporting the AAX DSP platform so it doesn’t matter if you use and HDX or a Native system, you can freely and interchangeably use this channel strip. The other huge plus is that their Eucon implementation is great! It’s very convenient to use it with the Avid S6. All the controls are mapped properly so even though it has a nice GUI you don’t see that most of the time because adjusting the parameters from the S6 feels natural.

The sound

Well, this is the hard part. To convey the whole experience, what I experienced, heard and felt during the test period. I only had very little time to test the TMT technology alone, but I feel it adds some intangible thing to the sound, you’ll perceive it’s there in depth rather than tone. It’s very, very subtle so anyone expect to hear those huge night and day differences will be disappointed. This is why I intentionally used the word feel. It’s definitely there but I don’t think there’s a proper term for it to describe what it does sonically. Truly the best way to appreciate it is to use it during a mix and then play the mixed material with and then without it. I liked it so much I saved a template with a full Neve console where every channel has a different number inside the channel stip.

Many times there’s an argument that you can recreate these EQ characteristics with a basic built-in EQ so these vintage emulations are rather useless pieces. Well, I’m here to disagree with this. I mean yes, there’s this possibility. If it’s very easy to recreate your vintage emulation with a built-in EQ, then you know you shouldn’t buy that emulation. This time I really tried to match the Neve curves with a few clean processors and I failed miserably. Sometimes I felt that I got so close but as soon as I tried to A/B the two it was obvious that I’m still far away from it. The key is that this is a real Neve console emulation and it reacts differently, it’s not a clean stock EQ. You can experience this if you really mix with the bx_console. I deliberately ignored the parameters during the mix, just did what I felt sound good and enjoyed the process. It turned out that I used bigger cuts and boosts than I thought. For example with a surgical, clean digital EQ I might cut 1-2dB at 2.3kHz, but with this channel strip it was 4-6dB at the same frequency. The same goes for boosting things. Most of the time I wasn’t shy to boost 4-6 or even 8-10dB and trust me it sounded spectacular. For me this is one of the main differences. You can be brave and nothing bad will happen, trust your ears here.

All in all you might get close to recreate these curves with some other processors but in my opinion it is a useless exercise. Why would anyone spend considerably more time to get in the near ballpark when you can reach THE SOUND in a second with this?

I’d been testing this on very delicate symphonic material where many different processors tend to show their weaknesses but bx_console really shined there. It’s very interesting that this EQ is almost never get nasty. The cuts are not surgical but effective, the boosts are gently shaping the overall sound without the obvious feel of EQ usage.

The second thing I fell in love with is its dynamics section. It’s a very versatile piece but this time you have to be cautious because it’s very easy to overdo things. My advice is to first use a signal generator to understand the threshold values. It works a bit differently than the usual ones. Once you get accustomed to it you can delve into it. This is the section where I feel the guys at Brainworx really did a great job adding more features. Without these, it’s a nice compressor but many times a bit too aggressive for my taste. But, additionally we have the high-pass section and the wet/dry knob. With the help of these it can be a real trusty weapon that does not change the characteristics of your source.

My favourite default setting is to have the dynamics high-pass section at 100Hz and use the wet/dry at 80% wet. Other favourite wet/dry ratios are 70% wet to dry and the 50/50. With these you are able to carefully choose how drastically you want to control the dynamics.

I’d like to emphasise something because if you simply want a vintage Neve emulation for the sake of having the “Neve hype” plugin then be prepared for a terrible disappointment. The original console is considered as a quite natural sounding clean device. It’s not a 1073!

What you get is a very subtle real analogue sound that actually behaves exactly like if you were using a desk for mixing. Except the hurdle of maintaining a real monster and paying the electricity bill. Not to mention the fact that this includes total recall capabilities and improved functions.

I highly recommend to use this channel strip in many cases to get used to its idiosyncrasies. As I already mentioned above, the threshold might feel a bit odd at first, the high and lo-pass filters are not what you might expect from a general digital EQ, as well as you need to get used to the fact that you may boost or cut bigger amounts than you think you should. But once you really start to feel how it really works, you’ll start to feel how fun is to just twist the knob and achieve great sonics without overthinking the whole process. I honestly highly recommend you to check out the bx_console if you haven’t done that already.

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Upgraded to Nimbus

As you probably know I’m quite a big fan of Exponential Audio’s reverbs. Beside the fact that they are amongst the very best sounding reverbs, it always amazes me when a small shop deliver something that truly change the scene, and does this only with their product. Without overly loud obnoxious marketing. Without unnecessary and unkept promises. Exponential Audio is in fact does the opposite. They not only keep their promises, but gives us more than their promised.

Before the release

First of all, anyone who’s ever owned any of their product is eligible for the discounted upgrade, although the introduction price is very fair in my opinion.

Since they announced Nimbus was coming, I was excited. Honestly I thought I didn’t need another reverb, but at the same time I knew Michael wouldn’t announce something that is only a minor facelift. Then, as more and more information came to light, I started to plan, what if it’s really that good I’ll want to upgrade at the minute is coming out? Then heard the examples on their page and felt that this is probably going to be my next purchase. But, I’m really a picky old cynic when it comes to choosing my reverbs.


So while I was really liked all the things I’ve read and heard, it was obvious that I need the demo to test it in my lab. Literally minutes after the official launch I immediately grabbed the demo. Loaded my trusty test session to hear what Nimbus could do.

For me two basic things are very important about reverbs. One is of course it must sound fabulous, and it must be very easy to achieve the best result easily. It’s not about laziness. It’s about maintaining the focus. If you have to tweak things endlessly, all your energy will be wasted on technical details instead of the creative side. So, achieving great results rapidly is a must.

Welcome to the preset library. Tons of spectacular presets are there to get you started. The navigation makes it even easier to find the right one. Up and down arrow let’s you change the category (plate, hall, etc.) while left and right arrow goes through the presets.

Without further ado, after about an hour of testing, I immediately bought the upgrade.


What it can do for us

Well, honestly I think the time has come to unplug your hardware reverbs. I mean it! The immediate feeling when I instantiated the plugin was that it is all that many felt missing from the plugin reverbs. It is such an amazing thing that it can be dirty, old-school, more modern or even unbelievably clean. After a day it has a permanent place in my template sessions.

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Slate VMR lack of mapping

Early on I liked the sound of Slate plugins, although we had many issues with them, it really seemed that they care and will make things right. After a certain amount of time it wasn’t really encouraging that their support always answered every question or request with one not really informative sentence.

For example I reported to them the fact that their VMR is practically unusable because the mapping is not telling you anything about the inserted processor. So instead of displaying Neve Low-Gain, it only shows A01. And it still A01 if you change the process order.

When I reported this to them, the answer was simple: “yes, it’s a known issue, please read knownissues.pdf”

And the rest is silence…

I commented on forums how bad this mapping is, but it seems they really ignore this issue. Even got messages telling me that according to some insider info, they are working on this.

Well, few days ago Slate released a new update and guess what, they didn’t do anything with the Eucon mapping. This is their idea of mapping in 2016:

slate eucon mapping

I think it’s sad. I know there won’t be a billions of control surfaces, but these issues certainly alter the decision process about what to buy and what to leave alone.

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Avid subscription

At the end of this month was a marked day in my calendar as this is the day when my Avid Pro Tools HD subscription will expire.

If you’re a frequent visitor at forums you might get the impression that no one will renew it. Obviously this is huge exaggeration. There’s many users, including me, who is not satisfied with Avid, but we still use and actually love Pro Tools. Yes, with its shortcomings.


To be honest due to the nature of my job I encounter many different DAWs almost daily and even tried some myself. Because I wanted to know how good they are. In my experience the grass is not greener at the other side, to be honest, it’s not greener anywhere else.

The tools, the implementation, the workflow enhancements, the stability (yes, you read it right), the backward compatibility, etc. I could go on forever. Believe me, I’ve done my research quite well, but Pro Tools is far the best DAW on the market for my job.

avid customer care

The outcome

Plain and simple today I renewed my yearly subscription. Because I wanted to, because I depend on this tool daily and I love to use it.

With all that said, I’d like to see more bug fixes, more features and first of all, more open and honest communication.

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