So, how do you set up the "Console Emulator" ?

You mean Console emulator?
Check: http://youtu.be/iZtJ9sLnwK8
 

You've answered your own question.  Why not start with +2 and go from there?  Use your ears and experiment. According to your first post, you already have heard the difference with it turned on.  I think you want to know more about why it works than how it works.  Apparently, it works by adding a tiny bit of simulated analog distortion to the signal, which one would naturally get with an analog mixer.  At least, that's my understanding.  If I'm wrong, then hopefully, someone will set me straight.

Lynn
Apparently, it works by adding a tiny bit of simulated analog distortion to the signal, which one would naturally get with an analog mixer.  At least, that's my understanding.  If I'm wrong, then hopefully, someone will set me straight.

I did some analysis of the CE, and found it does two things. First, there is some simulation of non-linearities (distortion) that occurs in analog consoles. With digital, left and right channels have identical characteristics; with analog, slight differences between left and right increased stereo imaging, and distortion also creates higher harmonics that added a very subtle brightness. Second, it seems the CE takes into account input transformers by adding slight frequency response alterations and the distortions typical of inductors in the low end.
 
As to adjusting the controls, my preferred method is to quick group the controls and experiment. The Drive control introduces the effect itself, while Trim is more about level-matching. However, you can turn the Trim way up to add distortion - I wouldn't recommend this for program material, but it's useful as an effect on individual tracks.
 
When adjusting Drive, adjust to taste but I'd then recommend backing it off just a bit. The CE is at its best when it adds a subtle effect rather than hit you over the head with it.

Anderton...As to adjusting the controls, my preferred method is to quick group the controls and experiment. The Drive control introduces the effect itself, while Trim is more about level-matching. However, you can turn the Trim way up to add distortion - I wouldn't recommend this for program material, but it's useful as an effect on individual tracks.
 
When adjusting Drive, adjust to taste but I'd then recommend backing it off just a bit. The CE is at its best when it adds a subtle effect rather than hit you over the head with it.

Thanks Craig. That is very good suggestion to quick group the controls. The electronics engineer in me wants to work with specs., data, etc. but this sounds like "add salt and pepper to taste".
I'm off to quick group!
 
Walt
 
 

MakeShift
I have found what works best for me is to adjust it to a light setting on all tracks and then mix into the CE from the start.  That setting for me has been right around 2.  CE is always last in my signal chain on tracks, except on the Master bus, its followed by Concrete Limiter.

I just did an experiment grouping all the "Drive" knobs in the console emulator on each channel (20 of them) per Craig's suggestion. It was interesting to flip the knob from -6 to 6. There was a definite improvement at 6. Going from  6 to 2 didn't "seem" to make any difference. Going below 2 made it worse. Looks like the magic "2" is a good default.
 
Walt 

MakeShift
Walt,

I am just using 2 as kind of a starting point on both the input and the drive. I may push it up a little or pull off the 2 knobs depending on listening to what sounds best in the overall mix on each track. I used to leave it all on one type of console, but I find myself switching from track to track, between the S,N, and A chooses, again by ear. To my ears the Neve emulation adds a little more punch, S seems to soften just a bit, and A seems to be somewhere in between. For instance on some songs, I may want to add a little more punch to a snare track by using N. Other times I may want to soften that snare and will use the S emulator.

Mike,
Thanks. I think your ears might be a little better calibrated than mine! At my age and all the years of playing, I'm glad I can at least hear a difference between w, w/o the console emulator. :-) But I'll keep "plugging" away.
 
Walt

the N-type Emulator to my ears beefs up low and highs, the other ones mainly process the mid and highs.
I find the N-type nice on a masterbus, puts the music 'alive' by just engaging it without dialing up the knob.
Adds around 1-2 db's by just enabling it.
I would only use it on tracks that need it, or the sound would become 'overprocessed'.
But technically I dont know what the Emulators do, if they compress or just add certain frequencies..
 

jb101
I found Craig's tips very helpful when I started out with the Console Emulator.  There was a thread when they first appeared where he went into great detail about his experiments ith it.
 
I have taken Craig's starting point of "2" and then experimented with tracks.  Now I have a better idea where to start on differing material.
 
The other great advice Craig gave was to insert the Console Emulators before you start mixing, and mix "into them".  Also play around with the different emulations, and see which work better on different program material.
 
It is a gross oversimplification, but I seem to prefer the N-type on rock-ier material, the S-type when I want it to be more transparent (Jazz, classical) and the A-type on pop/funk.  Having said that, there are probably as many exceptions for me as there are rules on this.  The A-type can sound nice on lots of things etc. etc.. 

First, thanks for the props! I hope to come up with something similar about ways to use tape emulation.
 
Second, I don't think what you're saying about the different types is a gross oversimplification - I've come to the same conclusions you have about suitability for different types of material. I think what you've presented is a very useful "point of departure" guideline for those getting into the CE. Also agreed that there are always exceptions.
 
One final comment is that overdoing the CE may not work well for mixes, but can be used on individual tracks as an effect. For example, I've had good luck with making bass "pop" a little more.