There are two key differences between them, both related to how ‘big’ your virtual mixing console is. Both also offer the console workflow and sound that is at the heart of the design. Both also offer third-party plug-in support, video playback, ripple editing, LTC/SMPTE sync and the usual array of audio and MIDI editing tools required to construct your projects. Both offer unlimited numbers of audio tracks and MIDI tracks, and plug-in support constrained only by your host computer’s resources. MixBus 4 comes in two versions: MixBus and MixBus 32C. Does this mean the program is now ready to relinquish its specialised status and move into the DAW mainstream? Big & Bigger Harrison have now delivered MixBus 4, with an array of new features. MixBus is also unusual in being available for Linux as well as Mac OS and Windows. This has won MixBus a number of admirers, including many who record in another DAW but use MixBus as their mix platform of choice exactly because of the workflow and sonics. However, the fundamental design elements of console workflow and console sound remain at the heart of the design. Harrison have added to its feature set in subsequent versions and, by the time SOS reviewed version 3 in September 2015, it had become a very capable DAW. From day one, MixBus was intended to provide the same recording and mixing experience as their large-format consoles and, as importantly, the same ‘analogue’ sound. The design and implementation was built very much around Harrison’s console-based background. MixBus wasn’t conceived as a standard DAW, though. The Editor screen provides a fairly conventional timeline-based view of your project, with tools for all the usual audio and MIDI editing. In more recent years, they have integrated digital technology into their hardware consoles and, in 2009, they added the next logic step in the product line: MixBus, a consumer-level digital audio workstation. These are used in some of the best studios around the world, and many classic recordings have been made through them. Harrison have built their reputation around the construction of high-end, large-format mixing consoles. Harrison’s MixBus promises the sound and user experience of a large-format console, at approximately one-thousandth the price! Through some unlikely circumstances she was able find her way back to music.Published November 2017 Harrison’s MixBus is intended to offer the ‘look and feel’ as well as the sound of a large-format mixing console. At BBC, she worked hard and met some amazing people but she eventually decided to leave the BBC in 2009 and tool a complete break from music and audio. This was her chance and she went all out to make it happen. Shortly after leaving SAE, she saw the BBC advertising for Trainee Studio Managers in their radio operations headquarters at Broadcasting House in London. Through a set of circumstances and meeting new people, it became possible for her to move near to London, and go to the SAE Institute and gain an audio engineering diploma. At the BBC’s Maida Vale Studios, she worked on hundreds of sessions for Radio 1, Radio 2, 1Xtra, and 6 Music, developing her skills by assisting the best audio engineers in the business. She worked with artists across all genres although now, her expertise is rock, post-punk, indie and alternative music. Sara had a fantastic experience mixing music at the BBC in London for nearly 7 years. Everyone deserves a genuine, professional record-making experience, with releases that sound expensive A.F. She believes that all independent bands and artists should have the same broadcast quality releases as major label artists. Sara is an audio engineer and audiophile totalling 18 years experience recording and mixing music. Today we have the wonderful Sara Carter joining us to share her Most-Used Mix Bus Plugins!
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