Thank you for taking the time to respond by the way! It's great to hear that the drive section on the channel strip is adjustable with the trim knob. Your clarification is helpful for those who may not have been aware of this feature. I also appreciate your kind words and ongoing support for this channel, and I look forward to sharing more great music with you and Harrison Consoles. 😊

Also, we need to get that guitar collaboration going. 😎 Would love to hear you do a fabulous guitar solo on a cool synthwave beat I have in mind. 😊

Absolutely! This is by far their best version!

Thanks man! Yeah, I love it!

Great to hear! Yeah, I got on with version 6, and I been hooked ever since!

Thanks! 😊 Haha yeah! I had to make a video the day I got it! 😂

Yeah I was looking for those, and Guitar Center said they don't carry that brand anymore, so I went to a Best Buy to see if they had it because they did on the website, but they only had 1 pair of Sennheiser HS560S. So, I went with that because I heard good things of that as well, and it is good, so I am happy with the purchase, but I do still want the Beyerdynamics.

dt 880 pro are far better though for mixing

@@LaidbackSounds I've heard those are good too, but haven't had a chance to compare them to my 990's.

@@LaidbackSounds yeah I would like to get a pair. 😁😁

@@MarcKorte the 990s are cool but more hi-fi, the dt880s have more a neutral tone

Thanks, my friend! 💯💯💯

Yeah I was on v6 before this. V9 is worth it!

@@vigilantestylez V8 was worthless

@@keithfarrar-haygar-184 I will tell you v9 is everything. At least to me.

I upgraded yesterday from V7 to V9 skipped V8 and this version rock's specially the tape saturation is what motivated me to go the extra mile

Thanks! 😊💯💯💯

Ooh! That sounds like a fun setup!

Couldn't agree more!

Same! I keep coming back to Harrison Mixbus 32C for a reason. 😊 Thanks for checking out the video as soon as I uploaded it, but yeah it takes about 2 hours for the HD version to process.

What work you do in cubase and why you go to Harrison?

Same! I guess they are in bed with Protools is what it is, so they came up with the very underwhelming SSL 360 plugin mixer. Looks cool but does nothing special. Harrison right now has the market on lockdown. They are the only console manufacturer with their own DAW. UAD Luna tried to steal Harrison's thunder, and it requires an apollo or other UAD hardware to use it. Instant fail to me haha. Harrison Mixbus 32C is one of a kind.

They tried .......

@@BlackGritsDoesIt when??

@@djsilent01 I think he means the SSL 360 plugin mixer.

@@djsilent01 Is was back in the early 2000s. No one wanted it.............

Absolutely. You are correct.

Same! This update is everything!

@@vigilantestylez yeah well, you already know what i mean, its just yes! pretty much, you know all those tunes that need to be done over time? well, that's the way now, so its just really enjoying doing that on a solid system you can lean on for that, just vibes and feels and they are all good. the drive and the comp updates make a massive difference, just solid as magic.

oh and excuse my muso vibes, ha, was on a jam lost in the tunes, I forgot to say that tune your working on sounds good bro, best with everything and enjoy the music.

oh bro, quickly, did we loose our stereo width on the busses? just how wide the field is, must be hiding, guess I can plugin anyway, but that was handy

@@jeramiahrossnz thanks brotha! I appreciate the kind words on the music! 😊 Yeah, I don't think we lost stereo width on the busses. I was able to pan some hats and I had them run through the bus. So it is stereo, but I don't know if they had a stereo widener on the busses before. I don't see one now tho.

That's a good question. I have seen other people do it, but I don't know how.. yet. I have been running the default theme.

@@vigilantestylez Ok, understood, I'll keep messing with it. Thank you

Great to hear!

Thanks for letting them know I influenced you to get their product! It's a wonderful product! 😊

@@vigilantestylez I use this one plugin from Waves called Tonecentric on 4 Mixbus instead of using Mixbus compressor. Next time, I can drop it and just use Mixbus 32c compressor. Now that we can control the compressor, now we have gate/expander. I still use 3rd party verb and delay and phaser.

@@vigilantestylez I just emailed them.. Maybe they'll give you future vouchers for V10

@@audiolego Cool! Thanks! One can hope! 😊😊😊

V10 is right around the corner already. This one will come with an SSL 9000 J EQ and Dolby Atmos. Really excited for this. 😊

I'm on 48khz. And I'm on an MSI gaming laptop.

That's it! That's exactly what I was thinking. Yeah, the V-Gain! Man they really had me excited for a moment, but it's still a solid upgrade.

I am guessing it is not yet compatible with the SSL hardware. Version 10 coming soon should be since this will be the first version of Mixbus that would be done in collaboration with SSL, since SSL now owns Harrison Consoles.

I do the best I can with what I have. There are times where I get some horrible tracks, and I tend to do a mix preparation session just to get things to a point where I can finally mix them. Usually using Izotope RX to clean the tracks up, but man is it time consuming! When in Harrison Mixbus, I try to not use plugins, and just use what they give. This video here is a little bit older, so I have changed some things with my workflow since, and just trust that I can get the sound with Harrison Mixbus. 😎🔥🔥🔥💯💯💯

@@vigilantestylez Good advice. Thank you.

It does leave headroom. I try to make sure that the output levels are just under 0db on the k-14 meter. Now, that will not be loud at all, but it is plenty of headroom for mastering. The mastering stage I do in a different DAW and make it loud. Right now I use BX Masterdesk to master my Harrison mixes, but I also have used Ozone of course. You can get it incredibly loud with Ozone. I tend to like quieter masters, so that the full range of sound is not being compromised. I tend to aim for AES recommendations of -1db headroom true peak, -16 LUFS. It's definitely "loud enough" but not so loud that there is smashing from limiters, and harshness introduced by over compression etc. But that kind of loudness might not work if you are sending this to a DJ who will play the music in the club up against other loud masters, and especially if that DJ just runs a playlist, and does no actual DJ-ing.

@@vigilantestylez ok, so I’m not the only one that noticed it. I do have T-Racks I can run it through. And i don’t mind doing it that way for mastering. Makes much more sense to separate the jobs anyway in different processes. And I have other mastering options as well. I really like the look and flow of this V9. It feels like they did a lot. My main DAW is Reason and they are not wanting to even become M1 native yet.

@@vigilantestylez as far as the club scene, I use the Slate VSX Headphone system. One of the emulations is a club. That helps alot.

@@djsilent01 I have been curious about T-Racks mastering plugins. Have you compared them to ozone? I have been on the fence about T-Racks for a while, and I know they make solid plugins no doubt.

@@vigilantestylez im telling you, if anything, try there mixbox. That is worth it. All of t-racks doesn’t get enough love. I’ve been using it for years.

Yeah, I have mess with preferences to make everything the size that works best for me, but it's worth it. Yeah, I am not familiar much with the editing yet. I normally mix tracks that are already edited, so I just drop in and start mixing.

I love it!

It looks good! I am not really into having millions of plugins. I use reason ssl and the built in stuff. Less options. I use a few bits of 3rd party stuff. But it’s a rabbit hole. Most people will probably benefit from just using Harrison mix bus. And avoiding all the endless plug-in bs.

Absolutely. I get so much spam from Waves about another sale, and I am tired of giving them my money. I'm tired of their update plan, and I just want a professional mixing environment that gives me a pro sound, intuitive workflow, and a consistent amazing result. There are so many gimmicky plugins out there nowadays to part people from their money, and as they learn how to mix, and as they grow in their craft, they eventually end their journey on something like this when they realize they never needed all that other crap, they just needed a good, solid piece of gear, in this case a virtual mixing console DAW, and that's it.

@@vigilantestylez yea. I think that it was companies like korg that were the first, or at least early adopters of component modelling. Way way back when korg released the legacy collection, those emulations modelled the components of the monopoly and poly six. When you use the workstations they come with multi fxs processors. For instance my kross 2 has 70 different effects. A lot of them are modelled emulations of classic eq’s and compressors. It’s a hard thing really. What do we do? Do we use the specific compressor in the circumstance that is the best? And mix using multiple compressors or even many. Matching up maybe dbx 266 on bass and Urei on vocals? Or do we just use the one we have at hand? Luckily in reason I only have 5 compressors. While the mc dsp sound fantastic, a lot of time I just reach for the ssl dynamics, because if I just want a keyboard part to sound harder, it’s enough. Maybe if it’s a big sound that is the focus of the song, I will use the McDsp cr670 or something. I wouldn’t feel like I was missing out if I could t tho. I always feel like it’s a trade off. Sure some plugins sound amazing, but in the time it takes to find audition, buy and master, in the basic tools, one may have made a load of more music. Also the simpler and basic I keep things. Well for instance, at times I have reached for a different compressor, when really the problem was my settings were wrong, or some other area of the mix that was wrong.

Sorry it took so long to reply. Send me a message on either Twitter or Facebook. Look for Vigilante Stylez.

I haven't used the midi. I usually do my music creation in FL Studio, and I don't use a DAW controller. I just mix with the mouse and keyboard.

Drive on the channels, and a bus compressor is what did it for me.

I am thinking monitor size perhaps a 4K monitor to do that, so that you can have the whole channel strip visible, because I do not know if you can unlink them.

@@vigilantestylez I found a workaround...not ideal...but works for me, with out switching back to comp mode while im staying in sends mode, i can always go to the chanel in question or group, right click the channelstrip `comp or eq´ go to inline controls, click show `show all´ or the ones i want for direct access and that's it... i don't have to keep clicking to switch between modes if i want a slight change with the mouse on the fly and i can keep my third eye on the settings so i don't have to use my very bad memory to remember which settings i have...because i never remember and then i start to get nervous... Before i was using Ableton to do the mixing in a live situation, with 4 Traktor channels routed in, a stereo channel for NI Machine to, using channels with loops and efx sends from ableton, channels with synths, etc etc...now i just root everything in separate channels and groups in Mixbuss saving me all the VST´s i used to use to make everything sound good and gel in Ableton...saving me between 35% and 45% in CPU resources because i can get everything sound and gel so much better in Mixbuss without additional plugins.

@@egoxploit You taught me something! I think I will do the same, as that makes everything easier. Thanks, my friend! 😊😊

@@vigilantestylez this morning i suddenly realize there are this things called...manuals🤯🤯...so yhea, im glad that my reading of the morning could help some else somehow 👍

@@egoxploit I skimmed it at best.

I haven't done it, so I don't know. Only automation I have done is fader automation, but that's it. I wish I knew.

Amen to that! And the fact that they are generous with their licensing and not going down the path that Waves, and Avid are doing forcing subscription models down our throat, should be the opportunity that Harrison Consoles needs to take over the industry! Their marketing people need to be all over this, and taking advantage of the mistakes Waves Audio, and Avid are making right now. We all want to OWN our software and pay for a perpetual license. We do not want to pay for subscriptions, or update plans. None of that. Harrison right now is the best company in the business for sticking to a good and honest business plan. Also, they listen to us, and they gave us a great product in the end as well. 😊

@@vigilantestylez exactly

It's too bad for them too. Because I feel like the classic dance tracks that were all done with analog gear sound much better than what they're doing today.

Coolio? He was a great hip hop artist RIP. Yeah, I don't use any hardware with it, I think those seem like MIDI controllers for composing music? It might work. In terms of a DAW controller for mixing, I have heard of some old Tascam unit that works well with Harrison Mixbus 32C, but idk if that same unit will work with the new v9 since they overhauled the mixer.

@@vigilantestylez thanks….midi functionality is big part of working in a Daw…..I found a few things in prefs….it’s big plus (32c) is that it’s a cool Daw to work in.

After the Dan worrell thing, I started to doubt Harrison, but got a new windows pc and didn’t have logic anymore to mix, so decided to re-install mixbus…now I’m a believer again it just sounds warm thick and pleasing..no cap.

Protools doesn't really have a sound, but maybe people like the way their plugins operate and sound in it because of the DSP and how that interacts with their AAX plugins. I have noticed the same plugin as AAX doesn't sound totally the same as the VST versions. Similar of course, but a tiny bit different, and I can't place why exactly. But there is a different kind of sound processing going on in protools, but to me, Harrison Mixbus 32C slays them all, but ofc I love the Harrison sound quality.

If we're talking about hardware, of course! Yeah classic gear sounds great and was simplistic in nature, but had great sounding transformers, tubes etc. Software, yeah that too. Some old plugins are coded well, and still do a good job in today's world. While I think the Metric Halo channel kind of sucks, Serban Ghenea still uses it, and wins grammy's with it, so its not a bad plugin, and its very old. The old waves SSL channel strips still sound great today, and even though its debatable if they really sound like a true SSL console, they still sounded good, and gave music a good vibe when the sounds were processed through them.

@@vigilantestylez right! Phil tan went from ssl to pro tools. He said it was mainly about convenience. He didn’t have time to set up the ssl desk and all the effects again to make one little change his clients would ask for three weeks later. Tbh eq and compression is a thing. But so is reverb, delay and chorus! And also automation! That’s the big one for me nowadays. As a little bit of automation fixes so many problems. Tho my opinion still is, all these tools. If the engineer is skilful, and the production is good, and the song has a life to it. Well, it’s huge getting all those steps in place. That said jimmy loops is 11 to 1 on buy beats. I didn’t even know he was using loops until you said. I just assumed as he got so much clout, he was playing all himself. I remember the days when loops were seen as an insult! Which makes me want to say. Maybe it’s just about getting the pay cheque, whatever that entails. Maybe integrity is a concept from a bygone age.

@@samheim253 The main reason why people like Phil Tan and Serban Ghenea went totally in the box is because they are mixing and not recording people. So, the tracks they are sent already have saturation, character etc, and all they have to do is balance the tracks, tighten them up a bit, and send it off to mastering. That was the point of the SSL console to begin with is that it was supposed to be a transparent sounding console with a good computer, and automation etc. Ofc over time the plugins got better, and now they have plugins of a lot of the gear they would have reached for in a mixing studio. Also, the mastering process was still analog, so there was no reason for the mixing process to have any analog flavor. But nowadays, recording is digital, mixing is digital, and mastering is digital, so using plugins that give some warmth, or to use a DAW that sounds like an analog console helps in the box users get a polished sound like they get in top-of-the-line studios.

1080p version was processing. You can watch it now. It usually takes 2 hours after upload to process the HD version.

Yes, and I wonder if they will make an SSL Mixbus DAW.... Crossing my fingers.

@@vigilantestylez I love Harrison Mixbus32C. I’d be interested in a hybrid, where maybe you could choose between 32C, SSL 4000 & 9000 in each section. So 4000 EQ, 9000 comp, 32C gate, etc.

​@@bnjmnwstthat sounds cool or they could release it as different DAWs, so they can focus more on the proper routing signal flow and DSP to sound and perform like a certain console. Otherwise we get CPU issues I think.

@@vigilantestylez I don't know. Maybe they just build each module as if it's a separate plug-in. Softube is already doing something like what I described with their Console 1 software, I believe. I don't think it's that difficult. They could just have a set of three presets, one for each unified console type. You choose 32C, you get the standard modules & signal path of a 32C. You choose an SSL 4000x, & you get the same for that board, etc. I think it's infinitely doable.

Dan Worrall hasn't evaluated the DAW software just their plugins from Harrison.

But yeah, him. 😂😂

To each their own I guess. I like it however.

Thanks!

The 1080p version was processing. Watch it now.