This is my dream mixer. It sounds quiet and neutral when I want it to be but full of musical character if I choose to push it hard. It has the most extensive routing features in its class. It took two years for Paul Wolff to design. Up until then, Paul had sold his modular Fix Console under his Fix Audio Designs brand; previous to that, he designed mixers and gear for Tonelux and API, two companies that he also previously owned. While I was planning my move to Nashville, I looked at contemporary consoles from API, SSL, Neve, Audient, Trident, Rupert Neve Designs, and Fix – after decades of relying on a Sony DMX-R100 digital mixer [Tape Op #25] as the centerpiece of my Boston studio. I was reluctant to give up the Sony's exemplary routing capabilities and the sound of its front end, which – by original design – distorts like an analog desk when pushed hard. Therefore, I was certain that I wanted an analog desk that offered flexible routing along with the ability to dial in sonic richness as desired. Zero maintenance was also important to me. The Fix Console was so close to being my ideal choice. It was built with many failproof strategies, including multi-wiper potentiometers for redundant signal conductivity, as well as switches operating sealed relays. Routing-wise, every channel strip had balanced I/O taps at strategic points within its signal flow. Meanwhile, the bucketed frame was designed to take advantage of all those I/O points by providing countless ways of interconnecting the console's modules, external recording devices, and other outboard gear through DB25 connectors, ribbon cables, bussing matrices, and patchbays. Importantly, the console could sound pristine and neutral, or you could turn things up to impart an "x factor" to a mix. And even better – x, y, and z factors, so to speak, were available with different tone cards on the three main summing busses. Unfortunately, the Fix’s routing capabilities, although extensive, were not 100 percent task-based. Therefore, progressing through recording, overdubbing, and mixing scenarios required too much repatching, all while trying to avoid feedback loops due to all the subtleties and complications of console, DAW, and outboard integration.
I bought the Fix Console anyway, but instead of taking delivery, Paul and I started to discuss modifications to the signal flow of the Fix 802 Channel Strip, with the goal of supporting every modern hybrid workflow using any DAW or tape machine, regardless of latency within pre-, post-, or blended monitoring schemes. The successful result is the 802a Input Channel Strip of what is now the rebranded Wolff Audio Console ST. Because the Console ST is modular, you can order a prebuilt "catalog" configuration, or you can choose a custom layout of buckets, channel strips, and modules. Thankfully, there's a configurator on the Wolff website, which I encourage you to visit to learn about the component modules and how they integrate. My desk includes three buckets holding 24 802a channels. Above are 24 508 Bus Assign Modules and below are 100 mm linear faders. I also have a penthouse with three additional buckets of 24 500 Series slots, which hold eight Wolff Audio FREQ 4-band EQs [Tape Op #168] and various modules from other manufacturers. In the master section, I have an 802m Stereo Master, three pairs of summing bus cards, a Wolff Monitor ST, eight 508m Bus Masters, a bank of eight Master VU meters, and four faders for the summing and grand master busses. In addition, my frame has producer wings on each end for standard 19-inch rack gear, including my Audio Accessories patchbays and Wolff Audio ProPatch 128R [#169]. The wings also feature 19-inch rack spaces below and behind the console, providing me with a total of 100 RU spaces! So far, this description doesn't stray far from what a typical large-format mixing desk includes. To understand why the Console ST is truly unique in its functionality, we need to discuss typical console designs and then dive into the features of the 802a channel strip.
Almost all analog consoles fall into three categories: single layer, split, and in-line. In-line consoles have at least two input paths, and the output of the first input path can feed the recorder, while a second input path monitors the recorder. The engineer can therefore record, overdub, and mix utilizing the same fader assignments, without any fear of creating feedback loops when the input monitoring switches on the DAW or tape machine aren't managed in sync with the console's I/O settings. The Wolff is an in-line console taken to the next dimension, thanks to the 802a channel strip and how it integrates with the rest of the desk. INPUTS 1, 2, and 3 are three inputs that can be individually enabled and summed together with a gain trim pot, before the sum feeds a polarity switch, a filter section (high- and low-pass sweep filters, plus T-Q, a tilt-style EQ), and an insert section with a BLEND function for dry/wet mixing. After BLEND, a fourth EXT INPUT can be optionally mixed in before the whole sum feeds the BIG (linear) fader, and in turn a direct output, followed by the SMALL (rotary) fader, the channel pan knob, and MIX A, B, and C stereo bus assignments. The BIG and SMALL faders can be flipped in position, and a DAW LOOP function between the two faders creates a path to/from the recording device. When enabled, DAW LOOP utilizes the first fader in conjunction with the direct output as the send to the recorder, and INPUT 1 is rerouted to the second fader as the DAW return. While tracking or overdubbing, I prefer to engage the fader flip so I can tweak the signal level going to the recorder with the SMALL fader while monitoring the recorder through the BIG fader. By doing so, I'm effectively working on my rough mix while I'm tracking and overdubbing. Meanwhile, I can let the DAW automatically switch the appropriate tracks between input and playback modes for record/play/punch operations, without repatching or creating feedback loops. Generally speaking, all in-line consoles work in a similar fashion, and this is the classic workflow used in most professional studios running DAWs with near-zero latency, tape machine-style monitoring, like Pro Tools Ultimate. I do the same in my personal studio with Cubase Pro and RME interfaces that support ASIO Direct Monitoring.
For the control room mix, DAW LOOP is easy enough to explain, but the Console ST also addresses the needs for the artists' mix, especially with multichannel cue mixers like the Wolff Audio MeMore [#173]. The 802a has four different points in its signal flow where SEND A, B, and C can be tapped, as well as an expansion bus feed that's entirely separate from the 802a's stereo bus assignments; to avoid confusion, I'll call this EXP BUS. On my console, I have each 802a's EXP BUS signal going into a corresponding 508 bus module, allowing me to individually assign these EXP BUS signals to one of eight external output busses. In my patchbay, these eight busses are normalled to the first eight channels of my MeMore system, so I can choose which of the console's channels are mixed into the busses feeding the MeMore's channels – pre/post-insert or pre/post-DAW. Then I feed a combination of SENDS and MIX A and B to channels 9 through 12 of the MeMore. This way, I have per-track control of which live mics vs. DAW playback channels go to the artists' mix.
If you prefer to work in a DAW without tape machine-style monitoring, or you're running lots of native plug-ins in high-latency mode, there are two alternate DAW integration schemes that are easy to implement just by repatching. The first is to simply use the BLEND function for sending to and returning from the DAW. I call this feature the "Focusrite Knob," because the Digidesign Mbox (developed by Focusrite) [Tape Op #30] was the first USB audio interface that had a pot for blending between live input and computer playback – a super-useful workaround for high-latency recording. The second integration method is to feed the DAW with the insert send or pre-fader EXP BUS, then utilize EXT IN as the DAW return. When EXT IN is enabled, the SEND C knob becomes the DAW return level, so you can dial in how much of the playback track you want to hear alongside the live mic, both in the control room mix as well as in the cue mixers. Also worth mentioning is that the 802a has backlit SOLO and CUT buttons that change color to indicate the different combinations of solo/cut/mute modes. While in its normal state, the CUT button also functions as an input indicator, turning green and changing brightness with signal level – an incredibly useful feature for understanding which channels are carrying signal with just a quick glance. The rest of the Console ST is just as thought-out and impressive in functionality.
The 802m Stereo Master includes master levels for mono SEND A and B busses. Because SEND C is stereo and can be assigned to SEND BUS 1/2, 3/4, and 5/6 on each 802a individually, the 802m has master levels for the 1/2, 3/4, and 5/6 busses. Each of these SEND buses can be folded down to the GM grand master bus. Additionally, MIX A, B, and C controls are here, each with an insert BLEND for parallel stereo bus processing and a level knob to fold down to GM. GM also includes its own insert BLEND for parallel mix bus processing. A small array of buttons can turn on/off INPUT 1, 2, and 3 on all 802a channels, as well as mute all channels and turn off signal lights. Solo mode buttons (latching SIP, momentary PFL, and CLR) and a solo volume knob round out the 802m's controls. Note that throughout the console, there are buttons to enable/bypass/zero the various trim, level, pan, blend, and filter pots. The FDR=0 buttons are especially useful for setting up and recalling mixes that are automated in the DAW, as they fix their corresponding fader levels to 0 dB.
The Monitor ST has a large, motorized knob that controls relays to change monitoring volume through a discrete resistor network, with a user-programmable calibration level – ensuring fidelity, stereo balance, and repeatability. Three stereo speaker outputs can be level matched, and backlit CUT LEFT and RIGHT switches perform double duty as signal level indicators. MONO and LEFT POL buttons let you quickly check your mix for mono compatibility and correct stereo polarity. A separate LFE button can be used as a subwoofer switch, programmable for each of the speaker outputs. Input selection lets you choose from any MIX bus, GM, or four external stereo inputs, one of which can be overridden with a 1/4-inch TRS jack on the faceplate. A ninth selectable input is an internal Bluetooth receiver; pairing a phone or laptop is dead easy and confirmed by voice. During every session I've done since owning the console, the Bluetooth input has come in handy for listening to demos. A high-output headphone amp is included, with the option to drive an external amp. Unfortunately, the headphone jack is right on the face of the panel, so there's a good chance of catching the headphone cord on one of the faders. I plan to drill a hole in one of the vent panels so I can route a headphone extension cable out the bottom of the frame. A talkback mic that's assignable to any combination of eight dedicated outputs is on the far right, with the option to use an external mic. Unfortunately, you can't assign it to any of the console's busses directly; you'll have to patch one of the talkback outputs to a console or DAW channel to do so. The T/B button is momentary only, and it can't be programmed for latching operation. It's also a long reach, but a 1/4-inch jack offers remote operation via a footswitch, a producer's switch, or the like.
In all, my 24-channel desk has 96 inputs and a variety of master busses, sends, and external busses that can be fed from many different points in the signal path, with faders, level knobs, and BLEND controls available where appropriate. Because all the buckets interconnect using balanced signals across DB25 ribbons, I can quickly reconfigure the console to address many different workflows. Maybe I want to operate my DAW like a tape machine or record to an actual tape multitrack. Perhaps while overdubbing, I'll commit the console's HP filters and Tilt EQ and insert analog compressors before hitting the DAW, while running CPU-intensive plug-ins on individual playback tracks. During mixing, I might do a second round of conversion to run plug-ins as insert effects within a chain of analog processing. The Console ST supports all these workflows on a per-channel, per-bus, or whole-console basis. Thankfully, it's also very power efficient, so its fan-less frame and rack mount power supply add very little heat to my room.
Crucially, the Console ST sounds fantastic. Simply put, I've had no issues with noise or unwanted distortion, and everything that goes through the console sounds better. I chose an analog console because I want it to impart some character to my mixes, and I want fine control over how much character is added. Instead of mucking with onscreen controls and an endless list of plug-ins that promise some type of enchanting effect, I'd rather turn actual physical knobs and hear the result immediately. If I keep everything at reasonable levels and sum through the IC-based tone cards installed on my MIX A bus, my mix remains clean but benefits from a subtle "glue." If I push levels harder and sum through the transformers and op-amps of the Tonelux cards on MIX B, I hear harmonic warmth akin to a vintage Neve's. My favorite is running through the CAPI op-amps and Litz transformers of the Classic American cards on MIX C and dialing up midrange punch and adding emphasis to transients, like I can on an API. I haven't tried the new Sunset cards that feature 990 op-amps and nickel core transformers, but those will be the next addition to my console.
Wolff Audio also offers the 812i 7.1.4 Immersive Channel Strip and corresponding 812L and 812R Immersive Masters for multichannel, object-based mixing. The 808 Send Module can be utilized with EXP BUS to add eight additional sends with level control to the 802a or 812i channels. Consoles can be ordered with W8 eight-channel mic preamps, or you can use your own mic preamps like I do. Regardless of how the Wolff Audio Console ST is configured, I'm convinced it's the most flexible mixing desk in its price range for both its sound and its functionality. I have yet to find a competing console that can offer, without custom add-ons, all that the Console ST accomplishes so seamlessly.