#SOFTUBE TAPE MIXFX PASSTHROUGH SOFTWARE#

In the fader group (a), the channel faders are locked together, and adjusting one changes them all. Screen 3: The difference between fader groups, submixes and VCA groups. It also leaves fader settings and automation on a channel untouched, only scaling (changing the gain of) the resulting channel signal. This means that controlling signals in a VCA group does not submix or reroute them. When a channel is assigned to a VCA group (or вЂVCA channelвЂ™ as PreSonus even more inaccurately call it) in Studio One, the group fader controls a gain stage on each channel inserted after the channelвЂ™s fader and automation.

#SOFTUBE TAPE MIXFX PASSTHROUGH SOFTWARE#

Many analogue consoles contained actual VCAs (voltage-controlled amplifiers), but a software environment has no voltage control of any sort, so вЂVCA groupsвЂ™ or вЂVCA fadersвЂ™ in DAWs actually provide ganged digital gain control over all of the channels assigned to them. In v3.2, Studio One joins the ranks of DAWs that enjoy the eminently useful but archaically named VCA groups feature. The plug-in opens as any other does when inserted, but adjustments made on it affect all instances of the processing. Locate the MEF you want (which, at this time, just means Console Shaper) and drop it on the Mix FX section at the very top of the channel strip for a bus or the main mix. You wonвЂ™t find MEFs in the standard Studio One browser effects list, but above those in the Effects pane, in a folder just below the FX Chains folder. Using a MEF is easy - if you know where to look. Several software houses are already working on creating MEFs, not surprisingly including emulation-mongers like Slate Digital and Softube. Obviously, you can have Mix Engine FX that emulate different consoles, but MEFs can carry out tape emulation, or indeed any other kind of processing you might want to apply individually and collectively across the (mixing) board. It is easy to see possibilities for MEFs that go beyond Console Shaper. The MEF architecture allows for this sort of interaction, too, as is seen in Console Shaper. Another is that analogue mixers suffer crosstalk: signal bleed between adjacent channels. One is that analogue console circuitry (and Console ShaperвЂ™s emulation) is non-linear, reacting differently to loud and soft signals. Several important things are going on here. This processing is applied to each channel and to the mix bus into which the plug-in is inserted. Screen 2: The Console Shaper plug-in, Studio OneвЂ™s first Mix Engine effect, allows the user to adjust how вЂhotвЂ™ signals are passing through it, how much crosstalk there should be between channels, and how much noise should be added. In contrast, when a MEF, such as the Console Shaper included with version 3.2 (Screen 2), is inserted on a bus channel or the main mix bus, it is automatically instantiated on each channel individually and on the bus.

This makes setting up and changing settings tedious. In short, to get the effect of analogue summing in a DAW, you must apply analogue processing emulation everywhere - on each channel and mix bus - as is shown in Screen 1.ДЄ drawback of existing console emulation plug-ins is that they must be inserted separately on each channel, as well as on mix buses. In analogue mixing consoles, sounds are shaped by the circuitry on each channel, as well as by the audio characteristics of the summing buses. The original idea was to satisfy the demand for the sonic benefits of analogue summing. It looks like a special bus plug-in, but works as a separate plug-in on both the bus and on each individual channel feeding it. A Mix Engine effect is an audio processing resource that can be accessed by individual channels as well as mix buses. To me, this term seems a bit misleading, since the whole point of the feature is that it is not applied only to mixes. The biggest addition being touted by PreSonus is what they are calling Mix Engine FX (MEF). This month, I will discuss only a few of what I find the most significant of the new additions. PreSonus recently released Studio One version 3.2, with numerous new features: some useful, some even better than that. It may look like a humble point upgrade, but Studio One v3.2 brings with it some significant innovations. Screen 1: In summing tracks through an analogue console, the sound comes from signals being processed both dynamically through the circuitry on each channel and aggregately in the circuitry of the mix bus.

Softube tape mixfx passthrough