If you're familiar with how Console works, you know that ConsoleChannels apply a distortion, and ConsoleBuss applies the complementary distortion- and that things like echoes, operated 'inside' Console, operate in the 'expanded mix space' generated by this, not merely summing the echoes using Console but summing each individual echo, even if the echo plugin doesn't itself have a provision to apply Console internally.

What you might not know is that some other processes have similar behavior.

Digital EQ is one such process. Shown is a routing for channel EQ that places the (very convenient) Logic Channel EQ 'inside' Console, but still on individual tracks. The effect of this is to spatially 'expand' the range within which the tone can be altered. Especially in a system using BussColors, less EQ is required when this is done- particularly with regard to high-Q filters, the tone is significantly altered.

The EQs can go anywhere, including on groups and 2-buss, and they can be any EQs, not just the Logic Channel EQ. Though it is a tiny bit more complicated to remember to place digital EQ 'inside' Console (and can't always be done- for instance, EQing in front of an extreme compressor would be done earlier than ConsoleChannel on the channel), in most normal situations this is how to do it on a Console-based mix.

If you use EXS24 instruments extensively, this trick might interest you, but it's even more radical.

EXS24 counts as its own elaborate mixer and EQ system. You can't route ConsoleChannel earlier than the EXS24 sampler- but you can preprocess SAMPLES using ConsoleChannel, or BussColors2's default settings.

If you do that, you can leave ConsoleChannel off that EXS24 track, because the processing is present in the raw samples EXS24 is reading- and the entire sampler, including all its synth-like EQ functionality, operates 'inside' Console and gets the expanded spatial qualities.

This one's a jaw-dropper if you have demanding ears. Play something like clusters of string notes, or a sustaining grand piano, through the Console-enabled EXS24 and you won't go back. It also helps drum kits, and indeed anything you'd play through EXS24.

That said, if you don't already know how to do this, you may not be well advised to tackle it- you'll need a batch-processing audio program that runs AUs, a good backup of your sample libraries, and a great deal of patience for tracking down all the sample folders. However, there's no other way to actually alter the internal mixing/EQ of EXS24, besides this. It might be worth the risk, for you. Back your libraries up first!

Here's an example of what it might look like if you were doing that, running an aux for reverb, and running audio tracks all at the same time, with the simplest Console setup. If you want to run advanced concepts in Console, this should make sense to you at a glance- including the 'hidden' Console tracks.

You can see how the audio channels have ConsoleChannel on them, and are sending a copy of their audio to Aux 1. The direct signal goes to the 2-buss and is decoded. The aux sends go to Echo on Aux 1, which is set all-wet, and their signal (already processed by ConsoleChannel) is delayed and duplicated and rolled in with everything else in the digital summing, also going to the 2-buss.

The EXS24 track looks like it has no ConsoleChannel, but the samples being used in EXS24 have had ConsoleChannel applied to them in batch processing, so if they overlap it's done with added spatial depth. The output of EXS24 drives the aux, and also goes directly to the 2-buss, where ConsoleBuss decodes it all.

This is a fairly simple Console configuration, apart from the use of EXS24 'inside' Console. It doesn't use EQ or grouping, but it's an example of what you might be working with.

This, on the other hand, is a picture of a (still fairly simple!) full mix using Console and a number of other Airwindows plugins. It's a mix using a bass, a distorted guitar, a vocal which has its own dedicated slapback echo, and a fairly comprehensive 2-buss chain.

The bass uses ButterComp to slightly bring up softer notes, and runs EQ inside Console/BussColors2.

The guitar's edge is being softened using Desk2, and the tube rectifier's qualities are being exaggerated using Desk2's power supply section.

Vocal's compressed hard with Pop, and the echo and EQ are run inside Console.

Preprocessed-with-ConsoleChannel drums are made 12-bit with ESP, then boosted slightly with Desk2, all inside Console. Intention is to make them flatter and more opaque so the dimensionality of everything else is heightened.

Gentle 2-buss compression inside Console, driving BussColors2, ToVinyl to cut stereo bass and soften extreme highs, ADClip as a safety clipper and DitherTo24 to the final 24-bit output. Many small plugins (some freebies!) combine in this modular system to deliver a powerful, flexible result.