Neve, API Console Emulation N-Console, A-Console Comparison Review

I tend to be skeptical of statements like "this one thing will definitely make your sound better." While there are indeed some magical hardware or plugins that produce special effects, such claims can easily mislead us when mixing and lead to poor results.

Every process must have a reason. Thinking "I don't know why, but it sounds good" should not be the basis of our judgment. There should be no unexplained effects in mixing.

'Analog' holds a kind of magical allure for novice engineers, especially analog emulation plugins. Among these, console emulations are particularly enticing.

Plugins that emulate analog consoles typically take the form of channel strips. Brainworx's channel strips are a prime example. They offer the convenience of using FX like compressors and EQs in one unit while also reproducing the noise, harmonics, and THD of an analog console.

However, there are plugins that, excluding dynamics and EQ sections, focus solely on the effects of an analog console. The 'Buss' section of the Lindell 50 Series plugin emulating API is an example.

sc 2 lindell 50 series buss — Lindell Audio 50 Series Buss Plugin

These plugins certainly have their advantages. But it's hard to feel the immediate impact of dynamics or tonal changes upon user manipulation. Therefore, it's easy to fall into the preconception that they are 'good to use no matter what,' which increases the risk of misuse.

Sonimus is a company well-known for its console emulation plugins. While I have great trust in other Sonimus plugins like TuCo and SonEQ, I remain skeptical about console emulations. Even if they improve audio, we must consider whether these improvements could be achieved through other FX, whether the performance is overhyped, and whether the price is reasonable.

I received NFR licenses for Sonimus's A-Console, inspired by the API 1608, and N-Console, inspired by the Neve 8014, for review. Along with comparing these two Sonimus plugins, I will also compare them to the Lindell 50 Series to determine their value.

1. Interface Description

2. What Effects Are There?

2.1. Introducing the Example Stems

3. Subtly Emphasizing Low and High Frequencies

4. Comparison with Other Plugins

5. Additional Uses

6. Sound Examples

7. Overall Evaluation

Interface Description

Both A-Console and N-Console allow for 'Channel' and 'Buss' mode selection at the top left. Buss mode lacks volume faders and high/low-pass filters.

To use these as general gain staging plugins, load the plugin in Channel mode at the start of your track FX chain and adjust the gain staging using the built-in VU meter.

You can also load the console plugin on the master bus or stereo out track (or folder/group track) for Master Grouping purposes.

When a group is designated on individual tracks where the plugin was loaded earlier, gain staging can be done once more at the master group plugin. In this case, the fader values applied to individual plugins remain unchanged, allowing for initial gain staging per track and secondary gain staging at the master group level.

If Buss mode is applied to each track, the fader operation is collectively handled at the master group. Generally, Channel mode would be used, but if grouping multiple tracks for batch processing, Buss mode might be practical.

You can also adjust the overall volume fader at the master group (in this case, the master group plugin should be in Channel mode).

What Effects Are There?

I tested with drum beats. The stem files used in the example were already balanced with gain staging and FX processes in the work stage, but for an AB test, I compared using a standard digital gain plugin and the Sonimus console plugins with the same settings.

Introducing the Example Stems

The example used is from German electronic music artist Koltbach.

For reviews, I have used self-produced music, authorized works from colleagues, and Creative Commons data. I discovered Koltbach online, who generously offers stem files for free.

sc 5 koltbach — Click the image to visit Koltbach's website.

Koltbach is a producer and musician creating music with minimalist sensibilities and unrestricted arrangements, often presenting meditative, cinematic, and narrative tones. A new album is also set to release later this year.

Notably, Koltbach distributes stem files of his music for free, allowing anyone to remix his tracks non-commercially. These can be downloaded without sign-up or email subscription at koltbach.com/download.

I'd like to thank Koltbach for this opportunity, and for those interested in his music, you can follow updates on Spotify, Apple Music, Instagram, Tiktok.

Subtly Emphasizing Low and High Frequencies

While you may not notice a significant difference at first listen, comparing with phase inversion reveals a clear emphasis on low frequencies centered around the kick.

sc 6 a console n console difference — Blue area: standard gain staging plugin, Orange line: N-Console, Red line: A-Console

Using TDR Prism for comparison, both plugins actively highlighted frequencies below 200Hz and above 4kHz. The API-style A-Console had a slight boost starting from 1kHz (results may vary with non-drum instruments).

Given the added harmonics, signal boosting is unavoidable, and this should be considered during mixing. Overall, the effect created smooth, subtle low and high frequency emphasis.

Additionally, the advantages of the console plugins will become more pronounced as more effects are added after the A-Console and N-Console in each track's FX chain.

Comparison with Other Plugins

Previously, I used Lindell Audio's 50 Series plugin for gain staging and preamp effects. The Buss plugin from the 50 Series, modeled after the API 512C preamp, provides similar effects to the Sonimus products.

sc 7 lindell a console difference — White line: 50 Series, Red line: A-Console

Both A-Console and 50 Series, being API-based, produced similar effects. Resonance curves around 25Hz created differences in the low-frequency range.

sc 8 clean n console difference — Blue area: standard gain staging plugin, Orange line: N-Console

The N-Console showed different low-frequency responses compared to the 50 Series and A-Console, with more sustained emphasis below 40Hz. Although not easily audible, this contributes to the vintage feel of the N-Console.

A-Console, in contrast, sounded more refined, with emphasis on higher frequencies, likely due to the 1kHz-4kHz difference.

These elements aren't solely judged by numbers. Overall, I found that the reactions produced by the Sonimus products offered pleasant improvements without making the sound exaggerated or awkward.

Additional Uses

Sonimus products have some additional useful features.

The Channel mode includes high-pass and low-pass filters, enabling basic sound cleanup during gain staging. These filters have a wide range (low-pass filter can cut up to 100Hz, high-pass filter can cut up to 2kHz), making them suitable for adjusting track positions via automation by section.

If gain staging is already well-done across all tracks, the AS DRV function in the master group can be used to add more distortion. Activating this button adjusts saturation without changing volume based on the fader.

The PUSH button, initially off, can be set to 'Warm' or 'Hot,' reducing dynamic range and facilitating clipping. This can be used for a flatter, more distorted sound.

The FAT button increases the distortion effect, though it won't create dramatic saturation effects like Decapitator.

Sound Examples

The examples below are from part of the instrumental track Koltbach - Firebird. To make the differences more audible, the PUSH setting was set to Warm and FAT mode was enabled on the Sonimus plugins. For detailed listening, studio monitors or headphones are recommended.

Standard gain staging plugin

Lindell Audio 50 Series Buss

Sonimus N-Console

Sonimus A-Console

Overall Evaluation

I appreciated the subtle warmth of the N-Console. For a more refined sound, I would use the A-Console. Even without using the FAT, AS DRV, or PUSH functions, subtle differences were noticeable across the entire mix.

I don't think Sonimus's console plugins are the most user-friendly. Analog equipment can create creativity from inconvenient and limited interfaces. Sonimus products, despite being digital plugins, interestingly offer an analog approach in various ways.

The prices for A-Console and N-Console are $49 each. These plugins are not essential for mixing or the first products to purchase. However, once you gain some mixing experience, they can be a good choice for enhancing sound quality at a reasonable price.