I am wondering how folks are utilizing the Premium rack in the CL consoles. I will be mixing a blues fest next weekend on a CL5. I have some ideas of what I would like to try but I am looking for any trends out there.
CL Premium Rack
- Thread starter Tim Folster
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Re: CL Premium Rack
I just took delivery of a QL1 and have been playing around with the premium rack a bit at the shop. It has several of the classic "vintage" compressors and EQ's, so that's pretty straightforward. I'm mostly interested in the Neve stuff. Would be curious to see what people are using them for.
I am wondering how folks are utilizing the Premium rack in the CL consoles. I will be mixing a blues fest next weekend on a CL5. I have some ideas of what I would like to try but I am looking for any trends out there.
I just took delivery of a QL1 and have been playing around with the premium rack a bit at the shop. It has several of the classic "vintage" compressors and EQ's, so that's pretty straightforward. I'm mostly interested in the Neve stuff. Would be curious to see what people are using them for.
Re: CL Premium Rack
I have been using the Portico eqs as additional parametric output eq when I don't have a Lake or similar. That typically takes up 2-3 of them. I really like that I can have that as well as a graphic inserted just in case it comes to that.
The main thing that I use them for is the 901 emulation which goes on whatever calls for it as the situation dictates. It's a great tool, especially on voices. I typically load the whole premium rack with these and change them out for a standard parametric if I need one.
For most applications I don't find the fancy compressors worth the trouble. I think there is too much chance that I would inadvertently crush something without knowing it because you have to be on that page to see the metering. They do sound nice and each have their own character, but for a run and gun situation I think bothering with it will cause you to miss something more important than the tone of the compressor. For a tour or a more consistent situation I would have a different mindset.
thomas d.
I have been using the Portico eqs as additional parametric output eq when I don't have a Lake or similar. That typically takes up 2-3 of them. I really like that I can have that as well as a graphic inserted just in case it comes to that.
The main thing that I use them for is the 901 emulation which goes on whatever calls for it as the situation dictates. It's a great tool, especially on voices. I typically load the whole premium rack with these and change them out for a standard parametric if I need one.
For most applications I don't find the fancy compressors worth the trouble. I think there is too much chance that I would inadvertently crush something without knowing it because you have to be on that page to see the metering. They do sound nice and each have their own character, but for a run and gun situation I think bothering with it will cause you to miss something more important than the tone of the compressor. For a tour or a more consistent situation I would have a different mindset.
thomas d.
Re: CL Premium Rack
I like the Portico compressor on vocals.
BTW, the insert box on the channel home screen does show gain reduction using a green/yellow/red "lamp". So you can sort of see if you're accidentally squishing something too much.
I like the Portico compressor on vocals.
BTW, the insert box on the channel home screen does show gain reduction using a green/yellow/red "lamp". So you can sort of see if you're accidentally squishing something too much.
Re: CL Premium Rack
Ok, I had the opportunity to take my new QL1 on its first gig so I'll give my first impressions of the premium rack(s).
The show was a well known rockabilly / early rock band. I opted to use the 1176 on bass and the portico compressor on vocals.
Because I was doing monitors from FOH, I copied the preamp over to a second channel so I could have an uncompressed vocal send for monitors.
The 1176 seemed to work well. From the videos I have watched describing it's characteristics in the studio, I would say its a fairly reasonable emulation. There is even the "all in" buttons mode which is pretty cool. I can't wait to try that one on a more modern rock band to give it a little more fuzz.
The portico compressor was very "nice." By that I mean, if I had a female classical singer on stage and wanted something incredibly transparent, it would probably be my go to choice. That being said, in a loud environment with a rock singer, the neve was not as apparent as say, SMACK! on an avid console. Still an early observation though, I'll keep trying it on various sources. I really wish I had thought to try the dynamic compressor on vocals to tame some upper midrange peaks.
Functionality wise, the premium rack works fantastic with the QL1 interface. Everything is touch and turn and very fast to make changes. There is a shortcut to the plugin right on the channel which I liked a lot. As Scott mentioned, it has a 3 color indicator so you know when it's active and compressing. One thing I noticed on the premium stuff is you need to hit the input of the console a little hotter or else you end up having to set the threshold of the various devices fairly low.
Between the easy to use interface and the wide variety of plugins available already included, I think the premium rack puts Yamaha back on the map as being an "artistic" console for band engineers as well as the workhorse corporate and utility board.
Ok, I had the opportunity to take my new QL1 on its first gig so I'll give my first impressions of the premium rack(s).
The show was a well known rockabilly / early rock band. I opted to use the 1176 on bass and the portico compressor on vocals.
Because I was doing monitors from FOH, I copied the preamp over to a second channel so I could have an uncompressed vocal send for monitors.
The 1176 seemed to work well. From the videos I have watched describing it's characteristics in the studio, I would say its a fairly reasonable emulation. There is even the "all in" buttons mode which is pretty cool. I can't wait to try that one on a more modern rock band to give it a little more fuzz.
The portico compressor was very "nice." By that I mean, if I had a female classical singer on stage and wanted something incredibly transparent, it would probably be my go to choice. That being said, in a loud environment with a rock singer, the neve was not as apparent as say, SMACK! on an avid console. Still an early observation though, I'll keep trying it on various sources. I really wish I had thought to try the dynamic compressor on vocals to tame some upper midrange peaks.
Functionality wise, the premium rack works fantastic with the QL1 interface. Everything is touch and turn and very fast to make changes. There is a shortcut to the plugin right on the channel which I liked a lot. As Scott mentioned, it has a 3 color indicator so you know when it's active and compressing. One thing I noticed on the premium stuff is you need to hit the input of the console a little hotter or else you end up having to set the threshold of the various devices fairly low.
Between the easy to use interface and the wide variety of plugins available already included, I think the premium rack puts Yamaha back on the map as being an "artistic" console for band engineers as well as the workhorse corporate and utility board.
Re: CL Premium Rack
So here's what I did. I inserted the parametric eq's in the fx section on the mains which worked great. I also had graphs inserted but never used them. I created four groups for drums, bass, instruments, and vocals. I put an 1176 on drums and bass and 2 A on instruments and vocals. Then I added the compressed groups to the main mix. I was blown away by the richness of the sounds I got. I wound up using the dual band comps a lot for vocals and guitars. They worked great to just tame the shrill peaks a little. All in all I had a fantastic time mixing on this desk and look forward to using it again. Lots of cool features like DCA spill and fader page snapshot. I got some great comments on the mix from both audience and bands.
So here's what I did. I inserted the parametric eq's in the fx section on the mains which worked great. I also had graphs inserted but never used them. I created four groups for drums, bass, instruments, and vocals. I put an 1176 on drums and bass and 2 A on instruments and vocals. Then I added the compressed groups to the main mix. I was blown away by the richness of the sounds I got. I wound up using the dual band comps a lot for vocals and guitars. They worked great to just tame the shrill peaks a little. All in all I had a fantastic time mixing on this desk and look forward to using it again. Lots of cool features like DCA spill and fader page snapshot. I got some great comments on the mix from both audience and bands.