I have the compressors patched into the record path of a number of channels. There's a rack of hardware compressors, reverbs etc., and a patchbay, that I use while tracking. (Most of the aux sends are post-fader, so I mostly keep the faders at 0.) I have four channels of aux sends feeding stage monitors, and one stereo aux send as the control room mix. The studio is a combination rehearsal, performance and recording space, so the way I have things set up is slightly unusual. In the studio I work in most, there's a mid-sized analog console as the front end of the recording system. With dsp or native your limited to a certain selection of plugins. Since not all native plugs have 0 latency mode this 'mix as you go' workflow does have some compromises. I like the idea of working off what inspired you, and dialing in sounds as you go. There's enough re-work going on in mixing and editing, i really don't want to have to recreate the monitor mix. Or mixing with a console, but that's not in the cards right now. These experiences led me to the conclusion that either a low latency native system, or dsp that has daw plugs was really the best way to go (for me). You dial in delay and verb that the artist responds to, and then have to recreate it again using native plugs. Plus the dsp in the apogee didn't have a pluggin version, so it was just for monitoring. So if you thought your done tracking, and you added plugs to tracks, then the artist wanted to overdub, the switch back to hardware monitoring caused level and tone changes cuz the plugs were now bypassed.

I really disliked the apogge monitoring, because it relied on hardware monitoring mode and the apogee dsp. Super useful for dialing in mixes while tracking, or zooming in on problems. So i could solo stuff, eq it, whatever while they were tracking and they didn't hear it. What was best was i could change the mix in for the control room without changing their aux mixes, by using a feature that 'locked' their mixes. It was fast, and i could use 'fader flip' to control auxes with the faders. I liked the console because it has built in dsp, and 2 seperate headphone mixes via auxes. Or everyone was live in the room, no headphones.Īt the studios i used either the apogee monitiring app, or the D8B console. Ive either tracked 1 person at a time, with them on speakers, or headphones. In 21 years ive never had to setup multiple mixes via a daw, which is kinda crazy to say. ITB ive traditionally used hardware monitoring, and use the mix balance from the faders.

Magix samplitude pro x