Studio One Console Shaper Review Sound on Sound
Studio One is breaking water ice again past being the beginning DAW to integrate a console shaper deeply into its organization, bringing an analog mixing desk experience into the digital earth.
by Alex Arsov, Mar. 2017
A Revolution in a Zoo
I've been expecting this for years, and I'chiliad not sure why no-ane has tried to integrate anything similar into any other DAW before. A while ago, when I was visiting my friend – one of the all-time mixing engineers and producers in our country – I asked him what the underground of his sound was. He surprised me with a question: "You know which is my favorite effect?" I said: "Aye, distortion." (He had mentioned that on several occasions.) "And so, basically, I slightly distort every sound through my hardware mixing console. Information technology adds an analog distortion, which is so pleasant, giving that special character to nearly every audio. That'southward why I'g notwithstanding using that erstwhile mixing console." I instantly idea, this is something that every DAW should have. Lately I got concord of CTC-one from Presonus and I'm certain that like plugins volition become a standard role of every DAW sooner or later. Until and then, Presonus is the first in the field.
What Is It All Almost?
CTC-i is totally integrated inside Studio One, and so yous tin can't use it on whatever other DAW. Although there have been a number of plug-ins that emulate console charabanc and summation behavior in the last few years (examples: third party add-ons from the likes of Slate and Waves, DAW enhancements from Cakewalk), this one is different. All those others are implemented as insert plug-ins. CTC-1 is directly integrated into the software bus/mixer processing. So, there are some similarities with panel emulation plug-ins, only CTC-1 is not the same thing as plug-in implementations.
It works through coach channels and on the main output (not on all, just the ones you select). It is non a standard insert plug-in because Studio Ane has added an option on all buses and output channels to insert the then-called Mix furnishings that are inserted into a separate slot in the insert rack. All furnishings inserted in the Mix slot are candy on all channels that are connected to this particular omnibus. So, when you put an case of CTC-i onto any bus, it affects every channel separately inside the autobus and not directly the bus itself.
CTC-one emulates three different mixing consoles. First is the Classic British console, which adds a bit more weight to the bottom end, and then the Vintage Tube console with a slightly boosted mid-range, and finally the Custom Analog console, where the Presonus squad took the best parts from both consoles and fabricated their own. At first I chose only one for the whole song, presuming that onetime mixing engineers besides worked with merely ane, real console but somehow I didn't similar the end event, every bit there were no big distinguishing characteristics between guitars, bass, drums and vocals. And so, I decided to try an "idiot approach", using different consoles on various jitney channels, and was somewhat more than pleased with event.
I added Archetype British on drums, trying the same on bass, but I establish that although information technology gives a more rounded low end on bass it suddenly loses definition on small speakers. And so I tried Custom Analog, since it more or less leaves the betoken equally it is, just adding its magic. Then I processed guitars and synths with Vintage Tube and used Archetype Analog on vocals. A few tweaks on all three consoles and I got my starting points for the whole project. I was never expert on details, specially on those that only some selected gurus can hear, but the end effect was noticeable meliorate. CTC-1 adds seize with teeth to all songs. Guitars, drums and all instruments sound snappier. In rock production guitars of a sudden start barking. CTC-i finally gives me an respond as to why all big studio guitars and drums are so much more bright and aggressive in some mode. Not a meg miles of difference, but nevertheless noticeable plenty to hear how everything gets some additional drive. When I asked for this i I was afraid to inquire myself what if this would exist some other one of those things that draws a smile on an experts face, explaining what a large departure they hear while stupid ignorant me hears nothing. Not that I hear much difference on separate instruments, obviously I'm a bit deaf in that field, merely at that place is a significant departure that can be heard on groups of instruments, as for the whole mix. I just tried not to overdo it with the controllers, since adding as well much tin can make the whole mix sound fifty-fifty worse than information technology was before.
Controllers
All three consoles share a similar number of controllers. First in line is a Drive section, with a big knob for adding drive / analog baloney to the bespeak, with ii additional switches, the beginning one for turning Bulldoze on or off and 2nd i for boost, calculation an additional xviii dB to the input stage, overheating the signal if the input point is as well low to be affected. CTC-1 works on the same principle every bit all real analog consoles – the hotter the betoken, the more than distorted information technology will be. So, being far abroad from 0 dB will non give you lot much distortion. The adjacent i in the row is a Noise button with on/off switch and Racket gate switch. Dissonance on only a few tracks can sound quite subtle, merely having dissonance on 40 or even 60 tracks could as well be quite subtle until the break or any quiet role arrives – that's the moment when you figure out what this Gate button is for.
Side by side is a Crosstalk option, a clever programmed device that offers the same behavior experienced with analog consoles, adding bleeding to other tracks depending on the horizontal rail position in editor. The closer the rail in a row to other tracks the more bleeding you volition get into those other tracks. Platonic for drum tracks and, in my experience, also song tracks, peculiarly if you take plenty of groundwork vocals.
There is likewise a Character button that emphasizes the general character of chosen panel, maximizing the characteristics of the panel.
Finally there is a Main level knob forth with Channel / Bus gain compensation. CTC-ane by default takes care that the full general level on a bus channel will not exist changed, same goes for all channels inside the group. Those knobs are there to tame the compensation and level variations to your taste.
Conclusions
I'grand non an proficient with an ultra skilled ear, but you'd exist really deaf and dead to not hear the departure. It adds this special something to the sound, beefing information technology upwardly, making it more vivid and adding that "something" that's lacking from your well balanced mixes. I saw some presentation clips on Youtube and can ostend that on a bad mix even the gods can't brand a difference, and then don't look that from CTC-1. But if it happens that you beefed your mix up to the maximum level and it still doesn't have that extra bit of mojo, and then CTC-one can help, every bit WD-forty would do to your sometime bike. As I wrote at the beginning, this is something that every DAW should have. Studio I did it again, existence the starting time one to integrate an analog console into a digital DAW. A perfect lucifer – and maybe a perfect time for my dear friend to sell his magical analog console and change his DAW. Maybe it doesn't look like anything special at first sight, but with CTC-ane, Studio One made ane of the biggest steps of any DAW in the terminal few years. A plug-in that is far more than just that. Virtual reality that's becoming less and less virtual.
Any Room For Improvements?
Of grade. Crosstalk also picks another tracks from other buses and too from the muted tracks, and so this is something that deserves at least an choice to control. Every bit far as I know, this is something that is also present in a existent consoles, simply sometimes as well much reality is almost like, er… too much reality. I would rather see some additional Crosstalk option increasing bleeding from upper channels toward the bottom ones (for drums, of course). After all, we are still in the virtual domain, so nothing should exist impossible. Also, it would be prissy to use it as a mail service fader, affecting the afflicted indicate, ones that are already processed past plug-ins and non just the dry signal. After all, all my guitars are recorded dry, beingness blest with amps internally, afterward the CTC-1. OK, it is just a 1.0 version, and then I presume some of those bug will exist sorted fifty-fifty earlier this article will see the lite of twenty-four hour period. Until then, enjoy the revolution.
More than info on the Presonus site. http://world wide web.presonus.com/press/press-releases/CTC-1
You tin get CTC-i for $99 USD – a bargain for three analog consoles.
Source: https://soundbytesmag.net/ctc-1-pro-console-shaper-plug-studio-one-presonus/