You've not tried them to make that judgement

A wizard is never late. He arrives precisely when he means to…. We have been selling them for ages - the story told in the video is actually from around the time VSX was released; we haven’t had chance to make a video to tell this story before now!

@@minwoo9153 If you can afford to, both are worth having. I’d use MBT on the stereo mixbuss and I find fusion more useful on individual buss elements, as demonstrated in the video on drums, vocals, etc!

@@sxproaudio That would be great! Thank you so much!

@@shaft9000 sxpro.co.uk/product/igs-audio-rb500me-rubber-bands-500-mastering-edition-3945/

@@shaft9000 thank you for the kind words!

@@nathanielhawkins8674 they save on the hardware

This might be something that got mixed up in the editing stage but the UK Trinnov distributor did review this video and verify it for us. Regardless, you're absolutely right about being careful not to boost too much, which I definitely highlight in this video. The point here was to guide you on how to make these adjustments should you want to experiment, but with caution! Completely agree! Thanks for the comment!

I needed to increase the amount of attenuation the Trinnov is doing, so by raising the curve I'm increasing the amount the Trinnov will attenuate it.

@@sxproaudiohi. But the attenuation curve is the lower blue curve. Raising the upper blue curve will increase the maximum boost the algorithm will consider. Since you want to increase the amount of attenuation, that should be done by dragging down the bottom blue line (which is the same as increasing the attenuation limit).

@@paboloish The Trinnov UK distributor watched and verified the video was all correct before going out. Regardless, if there are any such errors in future we’ll pay extra attention to such details and ensure nothing slips through!

@@gwsound I did cover the HPF settings in this video, but you’re absolutely right about the phase being important. The results of this weren’t massively important for this particular video but there are certainly things to look for!

@@McDSPTV Thanks for the amazing product!! More videos to come!

Glad you found it helpful!

@@zanza_the_rewolverine you really should!

@@sxproaudiois very expensive 6550EUR 😢

@@studioneo986 thank you for the kind words!

@@charlychalton7743 If a little is good, more must be better!

Thank you! You don't necessarily NEED something else, but something like the IGS Tubecore 3u would help give even more huge analog sounds!

As the Trinnov has no wifi built-in, you need to connect it via ethernet to a router. I guess it's possible that some sort of wifi dongle may work, but I haven't tried that so cannot verify that as a solution.

As with any analogue outboard gear, you can't run an offline bounce as the audio won't be run through the Fusion. As such you do need to print the recording in real time. Cubase has an option to "ping" the outboard to measure the latency of the round trip and compensate for it. You can search for "cubase external fx delay compensation" for further info on this.

@@sxproaudio Thnks for answer. For example, should it be necessary to export the vocal process as a wave file and transfer it back to the project in a separate channel, as you did here?

@ Not at all, that’s not what I did here. The audio is run in real time from a single output of my audio interface, into the Fusion, then back to an input of my interface. In Logic I’m using the i/o plugin to send and receive the audio on the track the audio is on, not bouncing through to another track. I run all my analogue gear in real time until the mix is done then perform one bounce to capture it all in one go.

Thanks for the kind words! Great question. C-18 for the "quick" compression and C673 for the leveling after!

@@quietpersona Different price points so not the fairest comparison. The Amphions are proper midfield monitor, with full bass extension to 25hz. The SCM25 is a near field monitor with roll off at 54hz. They have very different designs (Amphions sealed, ATCs ported) and crossover points. If you can afford the Amphions they are definitely a better purchase; you get what you pay for. Again, not a fair comparison due to the Amphions costing over £4000 more.

@@sxproaudio thank you so much! I would probably pair the ATC's with the ATC SCS70 Pro Sub, which would bring their prices to about equal. I'm looking for the best mix translation and I'm upgrading from Focal Solo 6be gen 1 speakers.

Thank you. More videos are coming if people keep asking for them!

@@calib5 It’s so easy to do it’s almost self explanatory. There are two ways to do it depending on if you want to be able to bypass the sub with the Trinnov. If you run stereo into your sub and from there into your speakers, you can use the Trinnov exactly as I’ve set it up in this video. If you wish to run the sub on a separate output, you will need to purchase the 4-license Nova, and then specify an extra output in the “speakers” part of the configuration pages. Then proceed with the calibration as normal! If you have the La Remote, you can bypass the sub at the simple push of a button and it also restores the full range to the speakers when you do so.

Would love to see this!

@@joeyf808 We have scheduled a video in for this :)

Now is the time to buy an APB - they are 20% off for Black Friday! sxpro.co.uk/product/mcdsp-apb16-8952/

@@dougleydorite Really fair comment. In this room it really doesn’t matter; I’m just demonstrating concepts and principles here. I have a better room available for critical mixing which is nigh on perfect (spoiler alert: it will appear in certain product videos soon!)

@ awesome! You make an interesting point that a flat room can sound like it’s not bass light in a good room. That must be my problem haha

As you can see in video, the Trinnov show the elevation on the left speaker to be -2 degrees, and the right speaker a tiny bit above zero degrees. This is about as level as you could hope for in real terms and is probably attributable to my mic stand not being completely straight/vertical. Besides, The actual acoustic centre of the speaker is between the mid-range and tweeter, a little higher than you're suggesting. I knew someone would spot that I had no speaker isolation under these. On this particular day of shooting I had to loan my ISO-PUCKS out so had none to hand, but thankfully it doesn't remotely harm the concept of the video.

@sxproaudio hey take a look at the description at PMC, it says that the central point for the height of the monitor on the 3-way speaker is the midrange speaker, which should be at ear height!😉 The way you do it is the same as with 2-way speakers!😉

@@mosermichael4404 I was actually thinking of the PMC 6 where the acoustic centre is indeed between the woofer and tweeter so you are indeed correct about the 6-2 in this regard! Apologies! Regardless, Trinnov says that the measured acoustic centre of the speaker is at between zero and two degrees from level; ie perfectly ear height - did you see that part in the video?

@@GoldnhourMusic Absolutely, and also far exceed the GLM capabilities. At the time of writing, the GLM system does not provide any boost in the gain, you can only cut gain. As such this means if you have an 8dB notch at 100Hz in your room, you’re stuck with that. The trinnov can take care of that for you, but note what I said in the video that this can cost headroom etc; using a sub is a helpful solution as they often have enough power to help with this.

@@cubaseman1487 If you have a 500 series rack the Harrison Pre is a brilliant addition. It’s super smooth, really fat and warm and very much more “analog” sounding than you’ll get from any mic ore that comes built into an interface.

@@sxproaudio Thank you very much for the answer, I'm torn between Harrison or Neve, but I think I'll give Harrison a chance :)

The real Fairchild, at higher compression levels, 'darkens' or softens the audio a fair bit, which sounds really, really nice. The APB C673-A, however, retains the original tone at higher compression levels more precisely, so you keep the same brightness of your original input, which may arguably work much better for many peoples workflows, especially for modern music styles. It's a case of different tools for different jobs; McDSP modelled the C673-A on the Fairchild but also made a few changes to the sound that they preferred, and clearly this was to have the C673-A not darken the sound at all, allowing you to have similar compression characteristics of the Fairchild but without essentially changing the EQ!