Recording - September 2010 - 14
Summit Audio ECS-410 Everest Recording Channel Strip
The tube stage builds on that by adding a beefiness to the sound, that is rich without being as imposing or thick as the 610, and it actually made my Robbie, which I have always thought of as a clean open pre, seem a touch soft in the highs. Wow. Although the eq has only three bands it is very successful as a tone shaper and broad sculpting tool. Even significant boosts yield musical results that add character without being overbearing. I do wish this section had a highpass filter, or lowpass for that matter; I know there is a fixed filter in the preamp section, but a second one for use in mixdown situations would have been handy. Squish, squash, and slam Everest’s compressor is one of the real strengths of the unit, in keeping with Summit’s previous compressor lineage. Classic mode is great for vocals, bass and keyboards, while the heavier-handed tight mode was useful for smacking snare drums and popping guitar solos out of a mix. It even tamed a runaway hihat with ease. Overall, this compressor is happiest and sounds the best when you run it hard with around 8–12 dB of gain reduction.
to function as separate individual audio processors that are accessed solely from their back-panel connections. Each section contains a small orange LED to let you know when and if it is active in a TouchPatch scheme. In use The Everest reminds me a little of Millennia Media’s SST-1 Origin channel strip, especially due to its dual tube/transistor topography. However, unlike the SST-1 or any other channel strip in its class, the Everest is the first channel strip I have seen that offers flexible internal routing as well as individual outputs for each section.
Minding my pres and Qs To get a sense of the Everest’s mic pre, I compared it side by side with a pair of tube preamps: a Universal Audio SOLO/610 and a BLUE Robbie, as well as a pair of solid-state models: a Millennia HV-3 and a Chandler TG-2. Fidelity-wise it holds its own with the lot, but the Everest has a low-mid fullness that stands out compared to the other units, and did take a bit of getting used to. The solid-state side, as you would expect, is the cleaner and a touch more open of the two, not as sparkly as my HV-3, but still clear in the highs. While not quite as punchy as my TG-2, it was just as solid with the above-mentioned low-mid vibe.
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Recording - September 2010
Table of Contents for the Digital Edition of Recording - September 2010
Recording - September 2010
Fade In
Contents
Talkback
Fast Forward
Ten Steps To Better Mixes
Summit Audio Everest
Mixing in Pro Tools: A 10-Step Program To Get The Job Done
FXpansion DCAM: Synth Squad
Miking and Mixing a SymphonyOrchestra
Focusrite Saffire Pro 24 DSP
Mackie Onyx-i Series Mixers
Zoom G2.1Nu
ADK Microphones Berlin 47 Au and Cremona 251 Au
Sanyo Xacti Sound Recorder
Recording’s Showcase of Sounds
iZotope Alloy
It’s Your Money—Know Your Rights. Chapter 6: Income Earned By Songs—Part 1.
Readers' Tapes
Advertiser Index
Fade Out
Recording - September 2010 - Recording - September 2010
Recording - September 2010 - Cover2
Recording - September 2010 - 1
Recording - September 2010 - Fade In
Recording - September 2010 - 3
Recording - September 2010 - Contents
Recording - September 2010 - 5
Recording - September 2010 - Talkback
Recording - September 2010 - 7
Recording - September 2010 - Fast Forward
Recording - September 2010 - 9
Recording - September 2010 - Ten Steps To Better Mixes
Recording - September 2010 - 11
Recording - September 2010 - Summit Audio Everest
Recording - September 2010 - 13
Recording - September 2010 - 14
Recording - September 2010 - 15
Recording - September 2010 - Mixing in Pro Tools: A 10-Step Program To Get The Job Done
Recording - September 2010 - 17
Recording - September 2010 - 18
Recording - September 2010 - 19
Recording - September 2010 - FXpansion DCAM: Synth Squad
Recording - September 2010 - 21
Recording - September 2010 - 22
Recording - September 2010 - 23
Recording - September 2010 - Miking and Mixing a SymphonyOrchestra
Recording - September 2010 - 25
Recording - September 2010 - Focusrite Saffire Pro 24 DSP
Recording - September 2010 - 27
Recording - September 2010 - 28
Recording - September 2010 - 29
Recording - September 2010 - Mackie Onyx-i Series Mixers
Recording - September 2010 - 31
Recording - September 2010 - 32
Recording - September 2010 - 33
Recording - September 2010 - Zoom G2.1Nu
Recording - September 2010 - 35
Recording - September 2010 - 36
Recording - September 2010 - 37
Recording - September 2010 - ADK Microphones Berlin 47 Au and Cremona 251 Au
Recording - September 2010 - 39
Recording - September 2010 - 40
Recording - September 2010 - 41
Recording - September 2010 - 42
Recording - September 2010 - 43
Recording - September 2010 - 44
Recording - September 2010 - 45
Recording - September 2010 - Sanyo Xacti Sound Recorder
Recording - September 2010 - 47
Recording - September 2010 - Recording’s Showcase of Sounds
Recording - September 2010 - 49
Recording - September 2010 - iZotope Alloy
Recording - September 2010 - 51
Recording - September 2010 - 52
Recording - September 2010 - 53
Recording - September 2010 - It’s Your Money—Know Your Rights. Chapter 6: Income Earned By Songs—Part 1.
Recording - September 2010 - 55
Recording - September 2010 - Readers' Tapes
Recording - September 2010 - Advertiser Index
Recording - September 2010 - 58
Recording - September 2010 - 59
Recording - September 2010 - 60
Recording - September 2010 - 61
Recording - September 2010 - 62
Recording - September 2010 - 63
Recording - September 2010 - Fade Out
Recording - September 2010 - Cover3
Recording - September 2010 - Cover4
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