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#1
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"BEST CONSOLE ON EARTH"
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#2
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"reddred" wrote ...
ebay item=3759234629 Well, damn, I guess I can die happy. Buy It Now Price: US $365,000.00 Only $15209 per month What's in Hinsdale, Illinois? |
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#3
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"Richard Crowley" wrote in message ... "reddred" wrote ... ebay item=3759234629 Well, damn, I guess I can die happy. Buy It Now Price: US $365,000.00 Only $15209 per month What's in Hinsdale, Illinois? Why, the BEST CONSOLE ON EARTH, of course. jb |
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#4
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reddred wrote:
http://cgi.ebay.com/ws/eBayISAPI.dll...92346 29&rd=1 Well, damn, I guess I can die happy. And just in time for winter. That will keep my studio nice and warm  -- Eric www.Raw-Tracks.com |
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#5
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"reddred"
http://cgi.ebay.com/ws/eBayISAPI.dll...em=37592346 2 9&rd=1 Well, damn, I guess I can die happy. That's a Focusrite Studio Console. It has 64 channels of original Focusrite ISA110 micpres - those were designed BTW by Rupert Neve - and it has GML Automation, all patchbays and wiring, it was just recapped this year, and it does include delivery and commisioning in the USA. There were only 10 of those consoles made. From Mix Magazine " The original ISA 110/130 units were developed by Rupert Neve, who had been commissioned to supply 16 extra inputs for a Neve console at AIR Studios. These 1984-era ancillary input modules fitted vertically into a rackmounted card cage that required an external power supply. Around 1986, Focusrite began selling outboard racks containing two, four or eight ISA 110/130 modules, and in 1989 the module became the basis of the Focusrite Studio console (of which only ten were made). The Focusrite Red Range products and the ISA 215 units are also derived in part from the original 110 module." Maybe a bit expensive, but I wouldn't turn my nose up if I had to work on one either. Will Miho NY Music & TV Audio Guy Audioist / Fox News "The large print giveth and the small print taketh away..." Tom Waits |
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#6
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Maybe a bit expensive, but I wouldn't turn my nose up if I had to work on
one either. BRBR No ****. I hope to *have* to work on one someday. I do *have* to work on an API Legacy next week though, which ain't too shabby either. Joe Egan EMP Colchester, VT www.eganmedia.com |
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#7
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I think there was one here in nashville a couple of years ago that FINALLY sold
for...correct me if anyone knows...under $100k. These things have a great sound but I wouldn't wanna have to deal with all the bad pots and switches these typically had. Best console on eath? Nope. That would be the 8068 or the Sphere Eclipse C here in town at Quad. And I love the sound of my very own Trident 80! Lol.... searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#8
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JWelsh3374 wrote:
That would be the 8068 or the Sphere Eclipse C here in town at Quad. Hey Guido, I here they're trying to sell that Sphere over at Quad. Any idea what they are planning to do with that room? -- Eric www.Raw-Tracks.com |
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#9
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Great looking and I'd imagine sounding, console, but best in world?
I'd imagine there's a few API, Helios and Neve boards that might have something to say about that. later, m |
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#10
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chetatkinsdiet wrote:
Great looking and I'd imagine sounding, console, but best in world? I'd imagine there's a few API, Helios and Neve boards that might have something to say about that. I might give the Millennia Media Mixing Suite that award, if the knobs were bigger. Best console on earth for WHAT? --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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#11
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"reddred" wrote in message ... http://cgi.ebay.com/ws/eBayISAPI.dll...92346 29&rd=1 Well, damn, I guess I can die happy. jb Some of you may remember me bitching a few months ago about a gig in a studio that had really nice gear but lousy sound isolation. We ended up moving to another studio in the middle of the project because the traffic noise from the street outside was so bad. I'll swear that's the place - same console, same brick walls, same ugly chairs. the studio is actually in the city of Chicago, but it's pretty close to Hinsdale - west side. Not surprised if they need to sell. Bill Balmer |
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#12
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"WillStG" wrote in message ... Maybe a bit expensive, but I wouldn't turn my nose up if I had to work on one either. I'm sure the bad-ass factor is about as high as you can go, I just thought it was a hell of thing to say in an ad. jb |
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#13
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Scott Dorsey wrote:
I might give the Millennia Media Mixing Suite that award, if the knobs were bigger. If the _knobs_ were bigger? You Neandertal. Best console on earth for WHAT? For $365K! Only!! But I figure it's a hell of a board, joking aside. "Too many Neve-designed preamps, man." -- ha |
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#14
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Cosworth wrote:
Some of you may remember me bitching a few months ago about a gig in a studio that had really nice gear but lousy sound isolation. We ended up moving to another studio in the middle of the project because the traffic noise from the street outside was so bad. I'll swear that's the place - same console, same brick walls, same ugly chairs. the studio is actually in the city of Chicago, but it's pretty close to Hinsdale - west side. Not surprised if they need to sell. Buy a console like _that_ and not take care of isolation? Leasehold improvements start to look affordable... "All you really need is a spare bedroom." -- ha |
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#15
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"reddred" wrote in message
... http://cgi.ebay.com/ws/eBayISAPI.dll...92346 29&rd=1 Well, damn, I guess I can die happy. jb I like the fact that it was listed under "Musical Instruments Pro Audio Computer Recording Interfaces, Hardware". Myles |
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#16
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On Mon, 08 Nov 2004 17:22:50 GMT, "Cosworth"
wrote: "reddred" wrote in message ... http://cgi.ebay.com/ws/eBayISAPI.dll...92346 29&rd=1 Well, damn, I guess I can die happy. jb Some of you may remember me bitching a few months ago about a gig in a studio that had really nice gear but lousy sound isolation. We ended up moving to another studio in the middle of the project because the traffic noise from the street outside was so bad. I'm too lazy to google for it, but didn't you say back then that the studio was in Manhattan? Were you intentionally being misleading (to protect the guilty and all - shades of Mixerman), or what? I'll swear that's the place - same console, same brick walls, same ugly chairs. the studio is actually in the city of Chicago, but it's pretty close to Hinsdale - west side. Not surprised if they need to sell. Bill Balmer ----- http://mindspring.com/~benbradley |
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#17
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What's in Hinsdale, Illinois?
========================== Not much, it's a wealthy suburb about 20 miles west of chicago. Seems to me I did remember there being a Focusrite console listed in a studio in the Chicago area, but don't remember where. Twist Turner http://tinyurl.com/ul70 |
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#18
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"Ben Bradley" wrote in message news  I'm too lazy to google for it, but didn't you say back then that the studio was in Manhattan? Were you intentionally being misleading (to protect the guilty and all - shades of Mixerman), or what? Nope, you're delusional. Either that or you're thinking of a different "bad studio experience" story. Mine was in Chicago (as I always stated), but it's true that I never mentioned the name of the place, litigiousness (sp?) being what it is these days. Google away and you'll see. I showed the listing to the producer from that nightmare of a session, and he recognized it immediately as well. Although the studio is (was?) in the city, he also mentioned to me that the owner of the place does live in Hinsdale. Bill Balmer |
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#19
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I'm tryinbg to remember who has/had one of these that I used.
Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) It's a real nice console. Better than other consoles out there? That's a lot of $$$. --------------------------------------- "I know enough to know I don't know enough" |
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#20
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"EggHd" wrote:
I'm tryinbg to remember who has/had one of these that I used. Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) Electric Lady sold it maybe five years ago. Apparently NY didn't have enough SSL rooms. It's a real nice console. Better than other consoles out there? That's a lot of $$$. It sounded really good... when it worked (which was at least most of the time). But being a sort of an odd duck it was supposedly hard to book. -jw |
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#21
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I here they're trying to sell that Sphere over at Quad. Any idea what
they are planning to do with that room? ProTools! searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#22
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in article , EggHd at
wrote on 11/9/04 4:13 PM: I'm tryinbg to remember who has/had one of these that I used. Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) No, no. Lady had one of the "Forte" consoles http://manleylabs.com/ghost.html Totally different console. It was broken up into sidecars a few years ago. Focusrite history http://www.focusrite.com/products/history.html Only 10 Studio consoles ever built |
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#23
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I do *have* to work on an
API Legacy next week though, which ain't too shabby either. I have worked on a Legacy and didn't dig it. I was mixing and would bet that console rocks as a tracking console but I wasn't real impressed. My fave console (of the ones I've worked on...) is the 8068 at Quad. Their Sphere Eclipse C is second. If I had the bread to take a dump on my Trident 80 (w/new Uptown 990 automation) and a new patchbay I'd buy their Sphere in a heartbeat! For the kind of bread that guy is looking to get a guy could get the 8068, PT HD3 Accel and a whole bunch o' outboard gear. I have had issues with my Focusrite Blue 215's since day one. I can't imagine that many channels of those pots & switches. Urgh! My too sense... searching for peace, love and quality footwear guido http://www.guidotoons.com http://www.theloniousmoog.com http://www.luckymanclark.com |
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#24
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"EggHd" wrote in message ... I'm tryinbg to remember who has/had one of these that I used. Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) It's a real nice console. Better than other consoles out there? That's a lot of $$$. No ****... for that much money, I'd rather have a nicely-automated Trident 80-series, or an SSL 4000-series, plus every racked Focusrite ISA-110 I could find from people willing to sell them even at a premium, plus a couple of Ferrari's in the garage. ....and still have some money left over. Neil Henderson |
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#26
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JWelsh3374 wrote:
I here they're trying to sell that Sphere over at Quad. Any idea what they are planning to do with that room? ProTools! UUUhhhggg!! I always thought it was a waste to have that Sphere in that room anyway. I though it should be put to work as a tracking console, and that room was just mixing/overdubs. The Eclipse C was quite advanced for the time that it came out. Mucho aux/cue sends, etc. Man I'd like to have that console. Don't have the room or the cash right now. -- Eric www.Raw-Tracks.com |
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#27
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JWelsh3374 wrote:
I think there was one here in nashville a couple of years ago that FINALLY sold for...correct me if anyone knows...under $100k. The Music Mill was the one in Nashville. -- Eric www.Raw-Tracks.com |
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#28
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I have worked on a Legacy and didn't dig it. I was mixing and would bet that
console rocks as a tracking console but I wasn't real impressed. BRBR It is a tracking date. The studio I'm working at doesn't even have a control room. Its just a big barn with a Legacy, some really nice outboard and a big pair of ATCs at one end. We'll bring the project back here to mix. Joe Egan EMP Colchester, VT www.eganmedia.com |
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#29
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In article , EricK wrote:
JWelsh3374 wrote: I here they're trying to sell that Sphere over at Quad. Any idea what they are planning to do with that room? ProTools! UUUhhhggg!! I always thought it was a waste to have that Sphere in that room anyway. I though it should be put to work as a tracking console, and that room was just mixing/overdubs. The Eclipse C was quite advanced for the time that it came out. Mucho aux/cue sends, etc. Man I'd like to have that console. Don't have the room or the cash right now. Though I've been out of the business for years I really did love the Eclipse C. I still have a poster of it [that has gotten wrinkled over the years] that we shot when it was put in place. 10 minute slow speed 8x10 transparencies. Many of standard features were things that we paid extra for - as ours started out to be a stock model. Half-way though they changed their mind, built a brand new cabinet using aircraft style construction, remote power supplies, etc. It was to originally have 100 unit gas plasma displays but it got changed to 200 units. I don't know who was responsible for that - either Don McGlaughlin [sp?] or John Hall - but it was nice. So the first Eclipse C was basically a custom console for us. They held to the contract price even though it cost far more than they had imagined. I think we came in at $86,000. The next console came in at $125,000. Ronnie Milsap came down to hear it and ordered one for his Groundstar studios. And Band in Atlanta got one. The chief engineer from Globo TV in Brazil came to Orlando to see ours and they ordered two. With import taxes and all the other folderol going with imports theirs came to about $250,000 each. In taling with John on the design he used Electrol reed relays to take signals to ground when muting as he never found an FET that did it right. It was only later that others started cascading the FETs to give the same effect. John also put in light bulbs in the preamps so that if a transistor blew the lights acted as current limiters and all you had to do was open the back and see what module had the light burning. I think we had four spare preamps and only used two. We never lost an Electrol relay. The way the console was built to you could use a jacking screw to lift it at first and then stand it vertically made it easy to work on the backplane. I think we had pictures of Gary Corellii standing inside while doing wiring. Andy, Bob Todrank [his first full studio that gave birth to Valley Audio], Gary and myself were there every day for weeks. We took 1/2 day off on Thanksgiving to go eat dinner at my mother-in-laws - and then we went back to work. I cut the first session on that on December 27, 1977. It matched beautifully with the characteristics of our Steven 821B - 16/24/32 track. We later moved that to the B room and put in an A-800. We did pretty good for 6 people who had never worked at any other studio except the two warehouse studios we had built before that. A couple triple-plantinums, 7 gold, and a lot that barely went plastic. I really loved that console. Bill -- Bill Vermillion - bv @ wjv . com |
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#30
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In article , EricK wrote:
JWelsh3374 wrote: I here they're trying to sell that Sphere over at Quad. Any idea what they are planning to do with that room? ProTools! UUUhhhggg!! I always thought it was a waste to have that Sphere in that room anyway. I though it should be put to work as a tracking console, and that room was just mixing/overdubs. The Eclipse C was quite advanced for the time that it came out. Mucho aux/cue sends, etc. Man I'd like to have that console. Don't have the room or the cash right now. Though I've been out of the business for years I really did love the Eclipse C. I still have a poster of it [that has gotten wrinkled over the years] that we shot when it was put in place. 10 minute slow speed 8x10 transparencies. Many of standard features were things that we paid extra for - as ours started out to be a stock model. Half-way though they changed their mind, built a brand new cabinet using aircraft style construction, remote power supplies, etc. It was to originally have 100 unit gas plasma displays but it got changed to 200 units. I don't know who was responsible for that - either Don McGlaughlin [sp?] or John Hall - but it was nice. So the first Eclipse C was basically a custom console for us. They held to the contract price even though it cost far more than they had imagined. I think we came in at $86,000. The next console came in at $125,000. Ronnie Milsap came down to hear it and ordered one for his Groundstar studios. And Band in Atlanta got one. The chief engineer from Globo TV in Brazil came to Orlando to see ours and they ordered two. With import taxes and all the other folderol going with imports theirs came to about $250,000 each. In taling with John on the design he used Electrol reed relays to take signals to ground when muting as he never found an FET that did it right. It was only later that others started cascading the FETs to give the same effect. John also put in light bulbs in the preamps so that if a transistor blew the lights acted as current limiters and all you had to do was open the back and see what module had the light burning. I think we had four spare preamps and only used two. We never lost an Electrol relay. The way the console was built to you could use a jacking screw to lift it at first and then stand it vertically made it easy to work on the backplane. I think we had pictures of Gary Corellii standing inside while doing wiring. Andy, Bob Todrank [his first full studio that gave birth to Valley Audio], Gary and myself were there every day for weeks. We took 1/2 day off on Thanksgiving to go eat dinner at my mother-in-laws - and then we went back to work. I cut the first session on that on December 27, 1977. It matched beautifully with the characteristics of our Steven 821B - 16/24/32 track. We later moved that to the B room and put in an A-800. We did pretty good for 6 people who had never worked at any other studio except the two warehouse studios we had built before that. A couple triple-plantinums, 7 gold, and a lot that barely went plastic. I really loved that console. Bill -- Bill Vermillion - bv @ wjv . com |
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#31
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In article , Bill Vermillion wrote:
Just a short follow up as I left out one thing I though I had added. So the first Eclipse C was basically a custom console for us. They held to the contract price even though it cost far more than they had imagined. I think we came in at $86,000. The next console came in at $125,000. ... Those prices were the selling prices. Don and Judy had over $250,000 in our console by the time they were ready to ship it. That was in 1977 dollars. Our total expenses when we opened the doors were at $850,000. Hate to think what that would cost today. And getting it was a story in itself with taking 5 days via air freight from LA to Orlando. Engine trouble stopped on leg. It got stuck in N'ville for a day with fog. Overflew Orlando the next day because of fog. And the plane was set to take off and miss Orlando with the next stop NYC when Todrank got on the phone to someone high up at the air-freight company, and it was just about ready for take-off, and they brought it back and unloaded it. The we had to find a trucking company and an insurance company working on a Saturday that would truck it. The air-freight was to minimize the shaking of a cross-country truck trip but I think with all the ups and downs we gained nothing - except at $2300 air-bill. Buildint a studio from a raw piece of cleaned land gets you one the way you want it - but that was a painful 9 months. Bill -- Bill Vermillion - bv @ wjv . com |
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#32
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In article , Bill Vermillion wrote:
Just a short follow up as I left out one thing I though I had added. So the first Eclipse C was basically a custom console for us. They held to the contract price even though it cost far more than they had imagined. I think we came in at $86,000. The next console came in at $125,000. ... Those prices were the selling prices. Don and Judy had over $250,000 in our console by the time they were ready to ship it. That was in 1977 dollars. Our total expenses when we opened the doors were at $850,000. Hate to think what that would cost today. And getting it was a story in itself with taking 5 days via air freight from LA to Orlando. Engine trouble stopped on leg. It got stuck in N'ville for a day with fog. Overflew Orlando the next day because of fog. And the plane was set to take off and miss Orlando with the next stop NYC when Todrank got on the phone to someone high up at the air-freight company, and it was just about ready for take-off, and they brought it back and unloaded it. The we had to find a trucking company and an insurance company working on a Saturday that would truck it. The air-freight was to minimize the shaking of a cross-country truck trip but I think with all the ups and downs we gained nothing - except at $2300 air-bill. Buildint a studio from a raw piece of cleaned land gets you one the way you want it - but that was a painful 9 months. Bill -- Bill Vermillion - bv @ wjv . com |
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#34
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On Sat, 13 Nov 2004 23:35:00 GMT, (Bill Vermillion) wrote:
The air-freight was to minimize the shaking of a cross-country truck trip Bill, That's a great story! Thanks for sharing it here. Actually, the truck shaking might have been an excellent addition to your QC process, assuming you could be at the other end to commission it. I've always wanted a shaker table for product QA/QC -- even tried to build one once from a paint shaker, but believe me the one-gallon paint store shakers don't work with a 20 pound chassis! Still looking around for a surplus 5 gal shaker that we can modify. Speaking of big consoles, have you seen this? http://www.vintec-audio.de JL |
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#35
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In article ,
John La Grou wrote: On Sat, 13 Nov 2004 23:35:00 GMT, (Bill Vermillion) wrote: The air-freight was to minimize the shaking of a cross-country truck trip Bill, That's a great story! Thanks for sharing it here. Actually, the truck shaking might have been an excellent addition to your QC process, assuming you could be at the other end to commission it. I've always wanted a shaker table for product QA/QC -- even tried to build one once from a paint shaker, but believe me the one-gallon paint store shakers don't work with a 20 pound chassis! Still looking around for a surplus 5 gal shaker that we can modify. Considering the console came in at about 1900 pounds it would take a very big pain shaker. Thankfully when we built the studio we had wide doors into the 'garden' and the 'plant lounge' that made it straight through into the control room doors. The nice thing about building from the ground up is you can plan for things like that and make sure the building will accept the equipment. I always wondered if the Eclipse would have made it to production if we hadn't ordered the first one. And if so, what would it look like. We had to pay extra to get the master faders right after the first 24-faders, as I didn't want to 'skate' to the end of the 40 faders. Up until then most large consoles put the masters at the end of the individual faders. It's pretty standard now but quite rare then. Bill -- Bill Vermillion - bv @ wjv . com |
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#36
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In article ,
John La Grou wrote: On Sat, 13 Nov 2004 23:35:00 GMT, (Bill Vermillion) wrote: The air-freight was to minimize the shaking of a cross-country truck trip Bill, That's a great story! Thanks for sharing it here. Actually, the truck shaking might have been an excellent addition to your QC process, assuming you could be at the other end to commission it. I've always wanted a shaker table for product QA/QC -- even tried to build one once from a paint shaker, but believe me the one-gallon paint store shakers don't work with a 20 pound chassis! Still looking around for a surplus 5 gal shaker that we can modify. Considering the console came in at about 1900 pounds it would take a very big pain shaker. Thankfully when we built the studio we had wide doors into the 'garden' and the 'plant lounge' that made it straight through into the control room doors. The nice thing about building from the ground up is you can plan for things like that and make sure the building will accept the equipment. I always wondered if the Eclipse would have made it to production if we hadn't ordered the first one. And if so, what would it look like. We had to pay extra to get the master faders right after the first 24-faders, as I didn't want to 'skate' to the end of the 40 faders. Up until then most large consoles put the masters at the end of the individual faders. It's pretty standard now but quite rare then. Bill -- Bill Vermillion - bv @ wjv . com |
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#37
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Oceanway (L.A.) Studio A had a 72 input Focusrite, one of the first. I
tracked on it and it was awesome. I still miss the custom DiMedio in Studio B though. The sound of an Ampex ATR-124 through those 2 consoles was BIG! I hope they haven't been chopped up and sold. Audy O (EggHd) wrote in message ... I'm tryinbg to remember who has/had one of these that I used. Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) It's a real nice console. Better than other consoles out there? That's a lot of $$$. --------------------------------------- "I know enough to know I don't know enough" |
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#38
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Oceanway (L.A.) Studio A had a 72 input Focusrite, one of the first. I
tracked on it and it was awesome. I still miss the custom DiMedio in Studio B though. The sound of an Ampex ATR-124 through those 2 consoles was BIG! I hope they haven't been chopped up and sold. Audy O (EggHd) wrote in message ... I'm tryinbg to remember who has/had one of these that I used. Ocean Way LA I believe Jack Joseph Puig does all his mixes on that one now Conway had one I'm pretty sure. Electric Lady (was still there a few years ago) It's a real nice console. Better than other consoles out there? That's a lot of $$$. --------------------------------------- "I know enough to know I don't know enough" |
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#39
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#40
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