Bx pr clusters bx pr init. Initialize the IBM® Cloud Private plugin with the API endpoint. Command options-host value The API endpoint for the service-skip-ssl-validation Allow an insecure SSL certificate-insecure Allow an insecure HTTP connection. Example: bx pr init -host -skip-ssl-validation. BX SSL 4000 G vs E recommendation. Not sure which one to get. I have a good amount of experience with strictly digital EQs like Kilohearts', but haven't had. Bxconsole SSL 4000 E Approved by Solid State Logic (SSL). 72 channels of classic E series, injected with patent-pending Tolerance Modeling Technology.
PreSonus Studio One Tips & Techniques- DAWs >Studio One
Console Shaper is the first generation of Mix Engine FX and is included in Studio One Professional.
Console emulation is all the rage, and it’s now built into Studio One.
Console emulation and summing are hot topics at the moment. Increasing numbers of people who otherwise mix entirely ‘in the box’ are choosing to employ analogue summing mixers, while there’s also an ever-growing range of console emulation plug-ins on the market. Compared with the latter approach, however, there are obvious advantages to integrating console emulation directly into a DAW’s mixer, and this is what PreSonus have done with their Console Shaper.
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PreSonus President Jim Odom.Console Shaper belongs to a special category of processor that PreSonus call Mix Engine FX. It was first made available in Studio One Professional 3.2, and they’ve recently introduced a ‘second generation’ console emulator called the CTC-1 Pro Console Shaper. For this month’s workshop, I talked to PreSonus founder and president Jim Odom to get the inside track on what gives different consoles their individual sounds, how implementing Mix Engine FX as a feature of Studio One’s audio engine architecture enables more accurate emulation, and how to get the best from CTC-1.
It’s Now Or Neve
To begin, I asked Jim why it is that analogue consoles tend to have different sonic flavours. Why does an SSL sound different from a Neve, which is yet different from an API?
Jim: “There’s a lot of things that create the character of a console; it’s not just the summing bus. What makes the sound is all the input analogue circuits on each channel that finally get the signal to a summing node and out the back end of the console: whether or not you’re running the signal through transformer-coupled inputs, what type of discrete electronics you’re using, and so forth, just to carry the basic signals along the path.
“On the Neve consoles, those are all transformer-based inputs, so that gives the sound character before it ever gets to the summing bus. People said the Neve consoles had a warmer sound; the transformers were wound different on the Neve inputs, and in the EQ, the signal went through lots of capacitors and tapped inductors. SSL was said to have a little bit of a brighter sound that was good for radio; that was kind of accepted practice back in the ’80s.
“A lot of that difference had to do with the design of the channel strips: the type of op-amps or discrete electronics that they used, the headroom available before hitting the summing bus, the amount of crosstalk on the backplane. Those were things our guys looked at, because when they looked at the summing node alone it was hard to find a big character difference between consoles. The summing bus is supposed to be colourless in most consoles.
“We invented this DSP modelling we call State Space to emulate this. State Space Modeling models each of the electronic components individually. Others have done this in plug-ins, but it is what is running now in the back end of Studio One.”
Complex Characters
In other words, PreSonus’s Mix Engine FX do not simply apply one stage of processing that attempts to capture the complete contribution of an analogue desk. Instead, they model the behaviour of individual elements before applying it at the appropriate points in the signal chain.
“Let’s say that you want to model a console,” explains Jim. “You can’t just insert a plug-in on the main bus and call it a summing bus emulation because that misses the point. By the time the signal reaches the summing bus it should already have gone through the console’s unique input electronics topology, so you sort of have missed the sound of that.”
It’s not merely a matter of emulating intentional design features, either! “There’s crosstalk because the circuit boards in the old analog consoles were put on backplanes and the backplanes would leak signal back and forth between channels. And all of these things like input topology and crosstalk gave these consoles character in a musical way.Channel and bus audio characteristics both contribute to the sound of an analogue mixing console. The CTC-1 focuses on three fairly specific colouring mechanisms and the broader Character parameter.
“When you put in the CTC-1 on a bus, it actually installs the ‘character’ electronics on every single channel feeding that bus, and also does a little bit to the final summing node. So now each of your signals routed to that bus is going through a signal path that is an identical emulation of the circuitry of a specific console, and when you change the emulation it’s like swapping out the input electronics on every one of those channels. You really couldn’t do this by inserting a plug-in on every channel and one on the bus because the CTC-1 also emulates the crosstalk. In other words, it can share things down at a very low level in the audio engine between all of the input channels, which lets us emulate the crosstalk of an old analogue console. You can really hear what this sounds like because there’s a Crosstalk more/less knob on the CTC-1. It’s all a mathematical process, so we were able to make a parameter for it.”
In effect, then, using CTC-1 means that each channel carries a mix of that channel’s signal with appropriate amounts of signal ‘leaked’ from other channels. CTC-1 even considers proximity of channels in the Studio One mixer in determining how crosstalk occurs; so, for example, the snare will get lots of crosstalk from the kick channel if they are next to each other, but little to no vocals if those are far away on the other end of the Studio One mixer. PreSonus have also built in a few features to bridge the gap between actual analogue electronics and digital emulations. A gain-compensation feature is included to prevent the output signal from going through the roof when a lot of drive is applied to create input saturation, and a noise gate excises added noise when there is no signal happening.
Bus Service
The key question is, of course, how you can use CTC-1 to make your mixes sound better. Jim Odom: “People that are using the CTC-1 the most right now are doing things like saying, ‘I’m going to put a tube console emulation on just my drum set.’ You can create a bus, route all your drum channels to the bus, and you can add console emulation on the bus. Behind the scenes, it inserts the emulation on all of those channels, so it’s like I’m mixing my drums through an old tube console. OK, that’s cool. Now I’m going to route my vocals through a bus and use a different console emulation on them.
“The idea of adding these colours is a matter of taste and the type of music. For example, I probably wouldn’t use the CTC-1 while mixing down the LA Opera, but I’d use it on all of my dance and EDM tracks to give some punch and a different vibe. I would take some of these sharp-edged virtual instruments, bus them, and throw the CTC-1 on the bus to see what it sounds like, just to get it that old Neve 8000-series ‘punch’ sound that we used to get. The electronics back then couldn’t deal with these sharp-edged digital synths; it would freak them out. I remember specifically having to deal with that. It did something to the signal, but it sounded really good! Even a lot of video plug-ins are all about ‘I don’t want my perfect picture, I want it to be grainy for this particular scene because I want to paint emotion.’ And emotion in music is fine!”
The CTC-1 is an add-on Mix Engine effect that provides a more refined emulation than Console Shaper. Of the three models offered (Classic, Tube, Custom), the Custom model is not intended to emulate a specific console, but, instead, is a composite of bits and pieces from other models.
Channels Open
Mix Engine FX is an interesting new technology that serves now as a different take on console emulation, and has the promise to be much more in the future. The hope is that third-party developers will also jump in with Mix Engine FX. The architectural difference in approach represented by Mix Engine FX may give those developers pause, but, on the other hand, the flexibility and unique possibilities of the technology present positive incentive for developers, who are always looking for ways to stand apart from the crowd. A conventional emulation plug-in can only be placed in a channel’s inserts section, while Mix Engine FX have access to multiple points in the signal path. This enables emulation of crosstalk, but it also presents some fascinating possibilities for more imaginative and less imitative Mix Engine FX that could be created.
- Sound
- Features
- Ease Of Use
Brainworx BX consoles E and G Review
These are channel strips plain and powerful. They sound great, are very flexible, and very similar!
Pros
– True to the ‘SSL tone’
– Light on the CPU
– Great control over the analog noise and distortion
Bx Ssl 9000 J Review
Cons
– Not cheap, especially if you can’t decide between the two!
Plugin Alliance has, over the last few months, released several different console emulations to fit across your mix in a DAW, creating the analog inconsistencies and quirks that please the ear when it comes to making music out of the box.
In this review, I’ll walk through the structure for two of the emulations, as they’re identical with a couple exceptions, and then I’ll do my best to compare and contrast the ‘tone’ created by the emulations of the different desks, and what you can expect them to do when put on your mix.
These console emulations are of two SSL desks, one from the 70’s, and one from the 80’s, complete with the different characteristics that each console had.
The emulations each contain 72 channels, with extremely subtle tonal differences within the filter, compression, expander, gate, and EQ modeled on the original strips on the desks. More on this in a bit.
These plugins contain all the elements that were present on each channel, with the addition of some new hybrid elements that weren’t on the original, to bring the plugins into contemporary digital mix world.
Each plugin has 3 main sections; dynamics, EQ and the metering/Channel selection. Dynamics and EQ can be turned on and off at the bottom of each section.
Dynamics contains:
2 filters, Hi-pass and Lo-pass. You can triple the frequency range of each filter, as well as place it on the inputs of the Compressor if you wish.
The classic SSL compression is here, in its simple form. No menu diving on this one, there’s 3 basic knobs; ratio, threshold and release. The attack is automatic, unless you press a button to override to a fast attack.
One thing I absolutely loved about the compressor was the Mix control – adding dry signal back into the compressed sound, so if you’re too lazy to buss to parallel comp, you can do it all there in the plugin. Brilliant.
You can also stereo link if it’s a stereo signal, giving smoother stereo compression, instead of dual mono.
Expansion/gate. You can switch between the two here. Again it’s a simple powerful affair, with range, release, threshold and hysteresis knobs. The range affects the gain reduction, and the threshold dictates at what level the gate/exp kicks in. You can also switch to the inverse signal (you only hear the ducked signal).
The dynamics section can be swapped between the two series, so you can have the E or G dynamics on either plugin. This is fantastic, almost giving you 2 plugins for the price of one.
You can switch out depending on whether you want the more colourful E comp or the tighter more precise G comp, along with the exp/gate and filters that come with it.
The side chain is available on all the dynamics processing on both plugins. I absolutely love sidechaining, as I find it tightens up my mixes immensely. I’ve never done much sidechaining other than with compression, but using it with a gate was a great learning experience. Being able to open the gate on any track when the Kick hits can really tighten up a mix rhythmically.
EQ section
The EQ is 4 band – 2 shelves and 2 parametric bands. Each of the plugins has a switchable EQ type – in the E console it’s black and brown knob, and with the G it’s orange and pink knob.
On the G series, with the pink knob, there’s a x and / by three for the High mid and low mid freqs for a slightly wider frequency range than the E series.
I found the G series EQ slightly more aggressive in its sculpting than the E series, especially the pink knob version. It gave some serious punch to drums, compared to the other EQ’s. Both EQ’s are very flexible, with distinct tonal characteristics.
I also found the G to sound warmer to my ears. Less cutting than the E. But I definitely found that material responded completely differently to the two EQ’s, and your ears will pick up and appreciate different EQs for different source material.
Having the different colour knob flavours just gives you more choice to pick from! You can place the EQ before, in the middle of (side chain), and after the dynamics section.
Bx Ssl 9000
Metering
This is not just the basic utilitarian section. Yes, it has metering of the main signal, expansion and compression, in and out gain, phase and mute; all the standard bits on a metering section. But the additions to my mind are where the BX console plugins start to stand apart from their competition.
TMT – this element is what sets the BX consoles emulations apart, to my mind. Not only does the plugin emulate the hardware, it goes channel to channel, and emulates the tiny tonal differences between each channel, from each section.
Once you’ve instantiated the plugin on several (or all) your tracks, you can control which ‘channel’ of the mixer each track runs through. You can go through and select a channel on each track, you can randomise one track, or you can randomize all your tracks at once. Heard one channel at a time, I could sometimes hear distinct differences in the way the plugin responded to the source material.
Sometimes I couldn’t hear any difference at all. All your settings are kept the same, so you’re simply clicking through the different channels, until something pops out, or you give up. But where this truly shines, to my ears, was on full mixes.
Bx Ssl 4000
As our favourite philosopher, Marilyn Monroe, once said, “Imperfection is beauty”. Where this plugin really sings is where the ear picks up on slight imperfections in the sound, making the overall picture richer, fuller and wider.
Flicking through the ‘random all’ button I found caused really interesting changes in the mix – stuff would get darker, or closer, or stick out a bit. You can turn the TMT off, and have every channel identical, which is a good way to check you’re not going mad, or convincing yourself of something that’s not there!
The V-gain knob adds analog noise to the signal. It’s slightly fluctuating, and changes depending on the channel, so it’s not just straight noise. There’s thought gone into the noise! I really like the fact that you can choose whether to have the analog noise in or not, and you can adjust the amount. Per channel.
THD – this is possibly my favourite little knob in these plugin series. It adds harmonic distortion to each channel separately.
The combination of this and the modeling of slight differences in each channel just give the analog flavor, that warmth, color, grit that you might be looking for.
I love that you can dial it in per channel, so if you want some guitars dirtied up, but you want to keep the percussion and piano cleaner, then it’s as simple as turning some knobs, to get more of that analog distortion, and still keep the clean digital signal running through other channels. Here’s a (low quality) video showing Dirk explaining how the console itself had varying tolerances between each channel on his (and other) consoles.
I also like the surprisingly low CPU putting these plugins across the whole mix. It gives you all the basic sound shaping requirements you need on every channel. If only there was something like the Console 1 to enable you to use hardware mapped automatically to the plugins across the mix. That would be extremely useful!
Conclusion
These are channel strips plain and powerful. They’re designed to lay across all the channels of your final mix, so they’re coded light on CPU. They sound great, are very flexible, and very similar.
The differences tonally are there, but the best way to decide which you prefer is to demo them yourselves. I personally preferred the G console. I felt it was easier for me to give mixes more punch, and weight. But I did love the fact that you could swap out EQ’s and Comps on both plugins, giving you a lot of variety within the plugin. I absolutely loved the control over the analog noise and distortion, and the extra flavor the TMT brought.
Highly recommend both – but definitely check the demo versions to see which your ears prefer!
They’re $299 apiece, but who knows what the Christmas sale will bring!! More info on the Plugin Alliance website.
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