![]() The Mac OS X version can host Audio Units plug–ins, while the Windows and Linux versions feature VST support (which is forthcoming on OS X too). What this means is that, as well as Harrison’s highly regarded audio engine with its ‘True Analog Mixing’, you now get support for unlimited MIDI tracks and virtual instruments. Mixbus 2 thus gave us Windows and Linux versions, while in the new version 3, MIDI is the obvious headline addition. Harrison were obviously aware that the appeal of Mixbus could be widened with support for additional computer platforms, MIDI and virtual instruments. Mixbus was, therefore, perhaps aimed at a very specific target audience that wanted the ethos of a more traditional, audio–only recording environment - version 1 didn’t support MIDI tracks or virtual instruments - where the emphasis was of the quality of the sound rather than on simply making the feature list as long as it could possibly be. The result was a computer DAW where the focus was on replicating both the workflow and sound of Harrison’s mixers in a convenient and cost–effective software format. Version 1, which was available for Mac OS X only, was very much designed around Harrison’s expertise in the construction of large–format, high–end mixing consoles, many of which are found in top film and television production suites. Priced at $79 and first reviewed in the May 2010 issue of SOS, Harrison Mixbus is a proprietary extension of the open–source Ardour project, and offers another low–cost yet well–featured alternative to the obvious market leaders. The grass has to look unbelievably green on the other side for people to consider switching to a different DAW. Equally, once a user has invested both time and money in a particular DAW/sequencer product, the prospect of jumping ship to a competing product can be a daunting one. There are a small number of products that, for reasons of history, are perhaps considered the ‘professional’ choices. This is also a product category that has considerable inertia. It used to be the case that getting access to a top–flight DAW/sequencer meant paying top dollar, but in more recent years, we have seen the appearance of several low–cost options that are equally well-featured, such as Reaper and Tracktion. If anyone can provide a logical explanation for the way computer–based recording software is priced, I’m all ears. Harrison’s Mixbus offers large–format console sound at a budget price, and the addition of MIDI and third–party plug–in support broaden its appeal considerably. Mixbus32C takes that concept to the natural next step by using the full resources of today's technological advancements to precisely emulate not only the operational advantages, but to faithfully emulate the analog performance of the traditional analog console.The Mixer window in Mixbus 3 sees Harrison's large-format console design recreated in software. Mixbus was hailed by the industry as a breakthrough for "in the box" mixing by incorporating decades of console building experience into a cost effective mixing platform for today. Mixbus32C is designed in the most operationally ergonomic manner possible. ![]() Harrison consoles are dynamically mature products – products that retain the benefits of long, successful experience while incorporating the best of all the new technology. Harrison Mixbus32C is as relevant today as the first Harrison 32 series consoles were 40 years ago. Many of those consoles are still in operation throughout the world. ![]() For example, the world renowned Harrison 32C analog console was used on records by Michael Jackson "Thriller", Paul Simon "Graceland", Janet Jackson, AC/DC, ABBA, Queen, Led Zeppelin, ELO, Genesis, Blondie, and Supertramp, to name a few, and was instrumental in establishing the sound of those amazing records. This real-time reputation is, without a doubt, the best measure of a product's true worth. ![]() Such a level of acceptance can only be gained as a product proves its maturity through performance in the field. Over the last 40 years, Harrison consoles have earned, throughout the world, an enviable reputation for excellence. Why Harrison? The Record Speaks for Itself. At the heart of every successful studio is a mixing environment capable of meeting the tough production requirements of producers and engineers, and capable of adapting to the uniqueness of every artist and every work of art. Its continued growth and refinement require the support of equally mature technical products that can keep pace with (or stay ahead of) the demands of the business. Mixing – as a discipline and as an art – has come of age, but is by no means remaining static. ![]()
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