Mixing inside the box refers to mixing in a completely digital domain, never leaving the computer and mixing outside of the box refers to the use of analog hardware such as compressors, gates and EQ’s alongside time based effects such as reverbs and delays. Analog purists argue that the warmth and sound of analog hardware far outweighs the convenience of in the box plugins but this comes with a very costly price tag. Many other engineers such as Andrew Scheps argue that the benefits of hardware are nullified by digital technology. Andrew Scheps has in fact stated on many occasions that he has transitioned to mixing completely inside the box. So, if it’s good enough for Scheps why even question it?
Because, like most of the mixing world, everything is subjective. Also, the type of processing can create different results. For example the input threshold detector of an LA-2 compressor may create a warmth that the sample rate based input detector of a digital compressor just can’t quite emulate. This having been said there are a lot of digital plugins designed to specifically emulate these unique characteristics. The argument lies in whether or not they do this successfully. Analog circuitry can have defects and this can have a desirable effect of the output signal. In a lot of cases sometimes this gear isn’t used for its designed purpose but still placed into a signal path because those little bits of harmonic distortion or the unique way that piece of gear filters the sound for example is intangible in its actual effect but that effect is still wanted.
On the flip, there are many benefits of digital plugins. For example, it would be almost impossible and crazily expensive, to stack 10 fairchild’s on top of one another in an analog format but if you wanted to do this in a digital domain, as long as you have the CPU the world is yours.
Effectively, like many of the arguments to be had in the world of mixing, this choice is completely subjective and if it sounds good it is right. So surely, it is just a case of training your ear to know what sounds good, weighing up the monetary viability and trying everything to know what sounds connect well with your now trained ear. Easy, right?
In the video above JJP discusses the development of the Puigchild 660 and 670 which is an emulation of the mono and stereo Fairchild compressors. And here, Puig states that a large majority of the time, he opts for the virtual representation of this compressors mostly because of its dexterity and flexibility. With Jack Joseph Puig having such an extensive collection of hardware and software being so renowned within the industry, it’s safe to say that this opinion should have some weight. But, regardless the most important tool that we have at our disposable is our ears and they should have last say. But sometimes, trusting the ear of a revered engineer isn’t a bad idea.
To sum up, this phrase quoted from Alan Parson, seems perfect: “Technology is important but we must be in control of it”. At the pinnacle of everything, a piece of technology regardless of its realm of existence, must be mastered to be effective. Mastering the piece of gear is the key to getting the best sound out of it. So, both hardware and software have their benefits and applications but, mastering these, knowing their unique qualities and fully knowing how to get what you want from the gear is the key to getting the BEST sound after all it takes around 10,000 hours to master any specific skill.
Jordan Vaughan: Creative Sound Design 