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.

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

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.. 

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..
 

Wouter Schijns
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..
 

If you read Craig's post above:
 

Anderton
 
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.
 

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.