Coleman Audio RED48
The Coleman Audio RED48 summing console fills the void left by the mixing console you still wish you had. It brings back the analog console sound that’s been missing in the mixes and adds essential control room functions so your studio is easier to navigate.
The RED48 consists of three sections: the control room monitor, the communications, and the mix buss.
The control room monitor section has three balanced stereo input sources and the mix buss to select from. A passive stepped attenuator to adjust the level for the control room monitors or alternate speakers and a remote dim switch for those important phone calls.
The communication section includes a talkback mic and level control which feeds the cue system, a separate slate output to designate tracks, remote switches for both these functions, and an extra remote jack for yet another remote talkback switch. The cue signal can be either a dedicated cue mix or the control room signal, for that quick overdub. The engineers headphone can select the control room signal or the cue signal, has it’s own level control, and also gets the talkback signal when the cue feed is selected.
The mixing section has 48 balanced analog inputs summed down to left and right. The 48 inputs are hard left and hard right so they combine to 24 stereo inputs. When working I suggest bringing signals in as stereo inputs so the pan pots of the DAW will be active in your mix. All the level control, EQ and panning is done in the DAW, or if you have a patchbay, you can get in and out of any of your analog gear on the way to the summing inputs. There is a balanced stereo insert making it easy to put a compressor or limiter across the entire mix. If the insert is not wired it is completely bypassed. When connected into your system it has a bypass
switch making it easy to A/B the mix.
The remote for the RED 48 has a Penny and Giles stereo master fader along with function switches for slate, talkback, and dim.
The mix buss feeds a balanced analog signal out to a pair of XLR connectors to burn a CD, or to be recorded back on the DAW. Since the mix output is always present on larger tracking dates it can be used as a second cue feed so the drummer can get a click track, the horn players can get more horns, or the vocalist can get plenty of “more me” in their headphones.
With all these functions in only 2 rack spaces the RED48 will save space in your control room, improve your work flow, and bring back that large frame console sound to your mixes.
- Control Room Selector has three balanced input sources and the mix buss to chose from
- Passive stepped attenuator for control room monitors
- Alternate speaker select
- 48 summing inputs (24 stereo inputs)
- Balanced stereo insert across the mix buss
- Remote P&G stereo master fader
- Remote switching for slate, talkback, and dim
- Talkback mic with level control
- Slate output for track designation
- Cue feed to headphones can select a dedicated cue mix or the control room signal
- Engineers headphone with a separate level control selects the cue feed or the control room signal
I own the RED48 and I love how it sounds. It is clean and does not impart any analog character to the sound unless you start to drive it hard. I only use the summing feature of the unit. I also love the fact that it was 48 inputs in one unit. Most people agree that summing definitely sounds better when more than sixteen channels are being summed. My only gripes with this unit are that there are no dedicated mono channels and it does not have a digital input for the 2 track input. How I got around the mono channel issue was easy. I also have a Dangerous DBox. First off I have a 40 input, 64 output protools system and a good bit of outboard gear. I have every analog input and output connected to a patchbay system. My first 16 x 16 interface is connected so that I easily have 16 (or up to 24) as direct inserts to protools. The other three interfaces 16 ch outputs (48 ch total) each go into the patchbay system and feed 46 of the 48 inputs on the RED48. Through the patchbay I have the summing output of the DBox going into a custom made balanced stereo to balanced mono box so the left and right mono output feeds channel 47 and 48 of the RED48 the mono signal. This way I use the 8 summing channels of the DBox for the usual mono suspects … bass kik snare ldvox etc …… and I can patch outboard and / or do whatever I want. I also own a Smart CILA, Elysia Xpressor 500, API 2500, Millenia NSEQ2 with NOS Telefunken tubes, a matched pair of Distressors, a pair of Warm Audio Pultec clones and more so I have all flavors of tube and solid state gear that I can use after the RED48 to get any sound I want. I have a very flexible mixing system (in the box, summing and / or outboard patching) that sounds incredible clocked with a Mytek A to D converter.
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