When I first started using the Console and Bus Emulators I would use them as the last FX in the chain. They seemed to have a subtle but pleasing effect, and I would start at about 2.0 and add or subtract a little to alter the effect. I rarely use the Tolerance emulation as yet.
Now, however, I have begun to use them as the first FX in the chain so that the clip is colored before it passes through the usual EQ, Compressors and other FX. I find that the effect is a little more pronounced in this position, and to my ears this feels a more natural way to use them.
I do still switch to using them last in the chain occasionally to get a particular sound.

I just added the Console Emulator to every track and bus in a current project.  The meters on the Bus Console Emulators never move.  The meters on the Track Console Emulators do.

olemon
I just added the Console Emulator to every track and bus in a current project.  The meters on the Bus Console Emulators never move.  The meters on the Track Console Emulators do.

Like with any distortion/harmonics emulation (and that's what these console plugs are) it totally depends on the material if meters basically shouldn't move or if you can drive them harder.
 
If not sure (or if just starting out to use these plugs) Mix Recall is a brilliant way to quickly create 2 mixes with different settings on the console emulations (use quick groups to quickly adjust multiple tracks as you won't hear much difference if just changing a few) ... batch export both mixes (using "Source Category" Mix Recall) and lock them away for a few days, then listen and decide ... after you have used console emulations for a while, you will quickly notice if you've gone too far ...

FreeFlyBertl
 
Like with any distortion/harmonics emulation (and that's what these console plugs are) it totally depends on the material if meters basically shouldn't move or if you can drive them harder.

After reading your post, I checked again.  I could hear the bus modules alter the mix when I turned them on, but I was expecting to see the meters move similar to the track modules - they do move on the busses, though barely detectable.
 
I experience some quirks with Sonar and thought this might be a new one:)

Can anyone give a brief overview on how each console affects the sound. I don't really have the knowledge about what 'classics' in the console world are and it's a little toungue in cheek for me.

bapu

...wicked
Yah but some people use them on every channel. 
 
I myself use it on my Master bus, it's part of my recipe for making stuff sound like it was made in a real studio :-)
 

But in a real studio would not every mic/line typically in go into the console?

Yep, that's the point exactly. Have them on every channel and bus right from the start before the first audio hits your project. That's the way Cakewalk recommend their use (see the Sonar Reference Guide).

http://www.cakewalk.com/D...lp=ProChannel.09.html# see the section entitled: How to use the Console Emulator.

The way a project sounds coming through a real desk is a cumulative effect of all the channels summed.
If you were comparing the sound of two or more desks you would check the cumulative sound not the channel sound to look for differences, but if not every track went through that desk it would be pointless.

So again, PC emulation on every channel and bus from the start.

Anyone willing to take a stab at answering my question? I realize there has been a flood of Dorchester threads

RSMCGUITAR
Can anyone give a brief overview on how each console affects the sound. I don't really have the knowledge about what 'classics' in the console world are and it's a little toungue in cheek for me.

Cakewalk posted this blog last October that should bring you up to speed. http://blog.cakewalk.com/..ole-emulation-in-sonar/

I always let my ears guide me and try different configurations, but usually the end of whichever tracks and it seems to have a bigger effect, especially on heavily distorted guitar etc.
On more acoustic sounds with less FX, I'll add a touch of saturation at the top and drop some gain below.
Sometimes it's only the bus, and most vox on both bus and tracks.
Generally speaking that is at least a starting point for me depending on what I'm going for. lol
 
I also seem to use the tape emulator more than any other across the board so far, and at least at the end of the chain it makes a greater overall difference usually, and I like what it does with some light compression behind it.
Especially on smaller projects for some reason, but they do sum across almost any project real nice.
 
Maybe I'm just strange. lol
 
Thanks for the blog link Mel .. helpful info!

I know that this is an old thread, but did find an interesting youtube video about Console emulations and how to use it in your DAW. However the video is about Waves NLS, but they discuss how CE are used as "Summing Mixing" units. The notion is that I better understnad why Craig Anderton recommendations the settings in his video. I did find it interesting as the video actually explain why to use it in this way and not as the first in the chain... 
 
https://www.youtube.com/watch?v=97t9Z4bEAZ4