{"id":15863,"date":"2014-04-07T10:34:27","date_gmt":"2014-04-07T14:34:27","guid":{"rendered":"https:\/\/noelborthwick.com\/cakewalk\/?p=15863"},"modified":"2014-04-07T10:34:27","modified_gmt":"2014-04-07T14:34:27","slug":"mixing-with-the-console-emulator","status":"publish","type":"post","link":"https:\/\/noelborthwick.com\/cakewalk\/2014\/04\/07\/mixing-with-the-console-emulator\/","title":{"rendered":"Mixing with the Console Emulator"},"content":{"rendered":"

Mixing with the Console Emulator<\/strong><\/span><\/span><\/p>\n

Snake oil, or useful processor? Read on, and find out<\/em><\/span><\/span><\/p>\n

by Craig Anderton<\/span><\/span><\/p>\n

Console Emulator plug-ins are controversial. First, a lot of people are convinced they don\u2019t really make a difference. Second, there\u2019s the philosophical question of whether emulating a console is a good thing\u2014after all, you\u2019re emulating imperfections. And third, there\u2019s the question of which console you want to emulate.<\/span><\/span><\/p>\n

However, before you can judge whether a console emulator is going to be useful, you need to know how to use it correctly…so let\u2019s investigate.<\/span><\/span><\/p>\n

About Console Emulation<\/strong><\/span><\/span><\/p>\n

There are legitimate reasons why analog consoles can sound different compared to mixing \u201cin the box,\u201d and also, legitimate reasons why some might consider these differences desirable. Technically speaking, there are two main differences compared to digital summing.<\/span><\/span><\/p>\n

First, analog circuitry has inherent non-linearities (or in less polite terms, distortion). As a signal goes through multiple analog stages, these non-linearities add up although the end result can still be extremely low-level. Because there are differences between the left and right channels, this tends to \u201cwiden\u201d the image and create the appearance of a wider soundstage. If the distortion is relatively high, as can be the case with older consoles, distortion generates harmonics in the audio spectrum\u2019s upper range. With increased highs, and given that highs are more directional, this can widen the sound even further.<\/span><\/span><\/p>\n

Second, consoles often use audio transformers and it\u2019s not an overstatement to say that transformers are some of the most complex signal processors ever introduced into a signal chain. What\u2019s more, the transformer\u2019s characteristics are dependent on the circuitry that surrounds it\u2014such as the source impedance, capacitive loading, resistive loading, and the like. For example, the external circuitry may damp some of the \u201cringing\u201d that occurs when passing square waves through audio transformers. Transformers also generate distortion (primarily odd-order) that\u2019s highest at lower frequencies. While the effect of all of these variables is subtle, many people like the sonic characteristics transformers can impart to a signal. Overall, good transformer implementations provide a somewhat \u201cfatter\u201d low end, and can add \u201cwarmth.\u201d <\/span><\/span><\/p>\n

Inserting Cakewalk\u2019s Console Emulator<\/strong><\/span><\/span><\/p>\n

As with any processor, there are no rules if you want to get creative\u2014so take the following as personal preferences, not as \u201crules\u201d that must be followed. <\/span><\/span><\/p>\n

Prior to mixing, I\u2019d recommend inserting a Console Emulator Channel plug-in (CEC for short) last<\/em> in the ProChannel for every track, and a Console Emulator Bus plug-in (CEB for short) in the master bus. The easiest way to do this is with the Quick Grouping command: in the Console view, open a ProChannel in a non-selected track. Then while holding the Ctrl key, right-click within the ProChannel, select Insert Module, and choose Console Emulator Channel; this places the CEC last in every audio track. You\u2019ll need to insert the CEB in the master bus manually, as Quick Group works only across similar track types.<\/span><\/span><\/p>\n

To ensure that the CEC is last in the chain, place the ProChannel post-FX bin (right-click in a blank space or effect header in the ProChannel, then select Post FX Bin\u2014see Fig. 1<\/strong>).<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

Fig. 1: Placing the ProChannel post-FX bin, and inserting the Console Emulator plug-in as the last effect in the ProChannel, guarantees that all effects in the track will go through the Console Emulator.<\/em><\/span><\/span><\/span><\/strong><\/p>\n

Of course, this may not matter because with SONAR<\/a> you can also place FX Chains within the ProChannel; this means you can position any VST or DirectX effects you\u2019d normally place in the FX Bin anywhere you want within the ProChannel signal chain.<\/span><\/span><\/p>\n

Then again, some SONAR users prefer putting the CEC or CEB first in the ProChannel chain, while others like adding one at both the beginning and<\/em> end of the chain. Hey, whatever works\u2014but I\u2019d recommend starting with a \u201cplain vanilla\u201d setup (Fig. 2<\/strong>) as you learn what the CEC and CEB do.<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

Fig. 2: The Console Emulator Channel comes last in this chain, after the EQ and Concrete Limiter. Note the clip \u201cLEDs\u201d to the left of each module\u2019s bypass button; make sure these aren\u2019t lit solid red, as that indicates distortion occurring within the ProChannel.<\/em><\/span><\/span><\/span><\/strong><\/p>\n

The main point is you want to mix while the Console Emulation plug-ins are active. How they affect a sound isn\u2019t something you can necessarily predict, so you\u2019ll want to make your EQ and dynamics decisions with the CECs and CEB in place. Also remember that you can use Quick Grouping to bypass\/enable all CECs simultaneously for comparison, as well as select the CEC type and control settings. Remember, though, that Quick Grouping using a CEC won\u2019t affect any CEB modules.<\/span><\/span><\/p>\n

Dialing in the Sound<\/strong><\/span><\/span><\/p>\n

Start by choosing your emulation. To my ears the S-type console is the most subtle, the N has the most \u201ccharacter,\u201d and the A type lies in between. As a very rough rule of thumb, I like N for rock, S for electronic (which already tends to have some \u201csizzle,\u201d and benefits from the S-type\u2019s \u201crounder\u201d sound) and A for primarily acoustic projects to add a bit of a high-end \u201clift\u201d and where \u201cfatness\u201d isn\u2019t as essential.<\/span><\/span><\/p>\n

These are very subjective opinions, but they can be borne out somewhat objectively. I generated sine waves at various frequencies and processed them through the emulations to find their essential characters, as well as how the controls affected the sound (check out Fig. 3<\/strong> to see how the waveforms are altered at 100Hz).<\/span><\/span><\/p>\n

\"\"<\/a><\/p>\n

Fig. 3: The non-processed, \u201ccontrol\u201d sine wave is at the left. The waveforms for the S, N, and A types are to the right.<\/em><\/span><\/span><\/span><\/strong><\/p>\n

It\u2019s well worth taking the time to run some tests of your own; Sound Forge, WaveLab, and Audition can all generate high-quality sine waves, and you\u2019ll learn a lot when you hear how the console emulation controls affect the sound. Of course, you wouldn\u2019t judge a Console Emulation by how it processes sine waves, but you can get a handle on how it affects particular frequency ranges.<\/span><\/span><\/p>\n

There are two main controls, Trim and Drive. The Drive control sets how much of the dry signal is affected by the emulation process, with higher levels producing more of an effect\u2014think of this as a \u201ccharacter\u201d control. According to Cakewalk, Drive is designed to produce the most realistic emulation with settings between -6 dB and +2 dB; the additional range beyond those limits allows for more exaggerated effects.<\/span><\/span><\/p>\n

Trim adjusts the input level going into the CEC so for example, if you have Drive for two modules set similarly but one is dealing with a lower-level signal, you can turn up Trim to compensate. I tend to keep this at 0 unless I need more input level, but if you want to really blow out the saturation, then turn it up. At that point, the CEC becomes more like an obvious saturator effect. (Note that the CEB doesn\u2019t have a trim control.)<\/span><\/span><\/p>\n

Again, remember that you can Quick Group the CEC controls to adjust all instances of a parameter simultaneously. <\/span><\/span><\/p>\n

The Component Tolerance switch strikes me as one of those \u201cwhat the heck, why not?\u201d controls. In theory, it emulates component variations among channels, but I leave it off because I don\u2019t feel the need to have variations among channels . . . life is random enough!<\/span><\/span><\/p>\n

For best results, pay close attention to gain-staging within the ProChannel. There\u2019s a clip \u201cLED\u201d to the left of each module\u2019s enable\/disable switch within the ProChannel\u2014make sure no module\u2019s clip LED lights solid red. Even a little bit of distortion can negate any Console Emulator benefits; you want carefully-controlled non-linearities, not splattering digital distortion.<\/span><\/span><\/p>\n

But Can You Hear a Difference?<\/strong><\/span><\/span><\/p>\n

To hear a song that uses the Console Emulator on all channels, check out \u201cWhen the Grid Goes Down\u201d<\/a> on my YouTube channel. I also posted an excerpt with A-B comparisons<\/a>, both of which were discussed in the SONAR forums. Some people heard a definite difference with the A-B comparisons, while others didn\u2019t. But what was interesting to me was that sometimes the transition from processed to unprocessed is obvious, and sometimes, it isn\u2019t. Overall, though, there\u2019s no question that when I bypass all the Console Emulation plug-ins, the sound becomes slightly less \u201calive.\u201d <\/span><\/span><\/p>\n

One aspect that makes console emulation both controversial and enigmatic is that it\u2019s not a broadband effect; it affects different frequencies differently, particularly with respect to transformer emulations and varying input levels. As a result, it\u2019s one of those \u201cmojo\u201d effects that\u2019s difficult to explain. When I first started using console emulation, I wasn\u2019t all that impressed. But as I learned how to tame it, and how to mix through it, I started using it more and more\u2014sometimes the results are very subtle, but the end result is better than not using it.<\/span><\/span><\/p>\n

And that\u2019s what matters, right?<\/span><\/span><\/p>\n

Try the Console Emulator with the SONAR X3 Web Trial<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Mixing with the Console Emulator Snake oil, or useful processor? Read on, and find out by Craig Anderton Console Emulator plug-ins are controversial. First, a lot of people are convinced they don\u2019t really make a difference. Second, there\u2019s the philosophical question of whether emulating a console is a good thing\u2014after all, you\u2019re emulating imperfections. And … <\/p>\n

Continue reading “Mixing with the Console Emulator”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45,92,2251,71,52,111,1],"tags":[1806,72,1984,1978,1979],"class_list":["post-15863","post","type-post","status-publish","format-standard","hentry","category-audio-analysis","category-daw-best-practices","category-dsp-101","category-mixing-tips","category-sonar-x3","category-studio-recording","category-uncategorized","tag-console-emulator","tag-mixing-tips","tag-sonar-x3","tag-sonar-x3-producer","tag-sonar-x3-studio"],"_links":{"self":[{"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/posts\/15863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/comments?post=15863"}],"version-history":[{"count":0,"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/posts\/15863\/revisions"}],"wp:attachment":[{"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/media?parent=15863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/categories?post=15863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/noelborthwick.com\/cakewalk\/wp-json\/wp\/v2\/tags?post=15863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}