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Along with the fader and peak meter is a gain<br />
reduction meter, sliding threshold, and rotary<br />
knob labelled ‘speed’. These all relate to the builtin<br />
compressor/limiter options: level, compress,<br />
and limit. There is a selector button to scroll<br />
through them, each with its own characteristic.<br />
Level is an LA2 type subtle style of limiting,<br />
Limit is a far more aggressive 1176 style with<br />
Compress giving a wider range of control between<br />
the two. Next to the automation mode<br />
selector, below the fader, is a somewhat<br />
inconspicuous dot that, when clicked, reveals a<br />
range of controls relating to various aspects of<br />
the audio strips’ processing.<br />
There are numeric values and fine adjust<br />
sliders for all the parameters, along with an input<br />
trim level. Here we can fine-tune our settings<br />
if need be, and the addition of an input trim<br />
control is a rare and welcome sight. We then<br />
find a fader group assign button next to a meter<br />
mode selector to show either pre/post fader or<br />
input levels. Post fader redirects follow with all<br />
the options we have seen earlier with the pre<br />
fader redirects.<br />
A post fader direct output assign through<br />
the jack utility leads to a comments section<br />
to complete this rather comprehensive audio<br />
channel strip layout.<br />
The analogue algorithms used in the<br />
Harrison Mixbus are well modelled on its<br />
analogue systems.<br />
The tape saturation function is extremely<br />
usable, adding to the already warm rounded<br />
sound that you have as your foundation.<br />
Subtle use is certainly the way to go under normal<br />
use as it can quickly start to crunch your audio to<br />
quite an extreme.<br />
The routing flexibility is very good indeed<br />
and familiar, with the Jack utility program<br />
making the process simple throughout. A delay<br />
compensation feature is particularly useful<br />
when routing the Harrison Mixbus through<br />
external hardware for processing purposes.<br />
The system sends a ping through the routing<br />
setup then automatically adjusts the audio delay<br />
accordingly. This works very well indeed and is a<br />
fantastic addition.<br />
Conclusion<br />
As an open source system you can stump up<br />
the cash to have someone develop further<br />
compatibility with plug-in formats as well as<br />
other functions. Harrison itself is continuing<br />
to develop, and updates are coming<br />
online quickly.<br />
I could easily pick holes in the Harrison Mixbus<br />
by saying that plug-in compatibility is limited,<br />
and some functions still needs a little smoothing,<br />
etc, but when you consider that this system is<br />
US$80 in total you can only say that it represents<br />
a fantastic bargain. As an additional mixing<br />
option in my DAW toolbox, the Harrison Mixbus<br />
is something I am already finding indispensable.<br />
∫<br />
...................................<br />
INFORMATION<br />
$ US$79.99 (download)<br />
A Harrison Consoles<br />
T +1 615 641 7200<br />
W www.harrisonconsoles.com<br />
A Harrison UK<br />
T +44 (0) 208 607 8908<br />
Mixbus Strip<br />
Each of the four two-channel Mixbus strips<br />
feeds into the main output. Top to bottom<br />
we have the track name with phase invert<br />
above a sidechain input selector. As with audio<br />
strips, we have a pre fader redirect section with<br />
options as before.<br />
The Mixbus strips have three tone controls<br />
with variable characteristics, and these<br />
are high shelving, low shelving, and a mid<br />
variable bell.<br />
This leads us to one of the interesting<br />
features of the Harrison Mixbus summing<br />
engine; the tape saturation. A meter indicates<br />
how much is being applied to the signal with<br />
the Tape Sat rotary control. This introduces<br />
some thickening around 200Hz, it seems, with<br />
an ever increasing crunching of the audio.<br />
The remainder of the Mixbus strip matches<br />
that of the audio strip with fader and related<br />
functions, three compressor/limiter options,<br />
automation, post fader redirects, direct output,<br />
and comments.<br />
The layout and function of the Harrison<br />
Mixbus Master channel strip is very much the<br />
same as the Mixbus strip with the exception<br />
of the main output meters that indicate light<br />
automatic limiting being applied at -2dBFS in<br />
yellow, and the K-Meter.<br />
There is a significant amount of additional<br />
information about the design and background<br />
to this meter, and the link can be found on the<br />
Harrison website.<br />
Use<br />
I took a couple of mixes that I had put through<br />
Pro Tools and simply imported the audio files<br />
into Ardour so I could mix through the Harrison<br />
Mixbus for comparison.<br />
Simply pulling up the faders for a basic<br />
balance illustrated a significant difference<br />
instantly. I have read about, and looked at,<br />
some digital summing systems that claim an<br />
analogue feel and sound, but this is the first<br />
time that I could really hear that happening.<br />
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AUDIO MEDIA jA n UAry 2010 31
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