No unfortunately not.
TC 6000 has some of the most sought after algos in the business
The more accessible TC Powercore system had a few of its more simple algos onboard, but still sounded incredible.
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haha yes that was an intentionally throwaway statement - although was more in reference to just the interface/remote-control side of things.
OT:
actually one of the attractive features of the Deepmind is their collab with TC Electronics for the fx, in combination with the DMās modulation matrix.
lashings of potential sonic fun times.
but after listening to the lush circuitry of the OB-6, i am now for sure going with that as the studio production synth. and perhaps even as a performance instrument (the desktop module being fairly size-economical).
//OT
Someone from TC hinted these were coming back this year in VST plugin form. I hope thatās the case as Iād like to try the limiter. I had a PowerCore at one point, but almost exclusively for the Virus plugin after I sold my Virus B. I canāt remember what dynamics/eq stuff was available when I had it. Honestly, I didnāt care at the time, it just wasnāt my thing then.
RE: converters ā I feel like the Hilo is the best overall package for what Iām doing if I can get it at the price I want used, but thatās a guess based on what Iāve read (all I can do right now). For the very foreseeable future I donāt think Iām going to have āmastering gradeā monitors nor will I have a room treated anywhere near enough to appreciate any of this.
Iām very honest and realistic about these things. Iām not kidding myself thinking I can buy my way into it or pretending Iām something Iām not. That said, itās not going to stop me from doing what I want try to do. Iāve long learned to stop waiting for whatās ābestā and delaying what I want to do because I think I canāt or donāt have the gear. Youāve gotta start somewhere and Iām saying this to encourage myself. 
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Cool
Hopefully they port the actual TC 6000 plugs, rather than just the Powercore ones, though I would doubt that
I had a Powercore 6000 back in the day. It had incredible reverbs and some of the basic mastering algos from the TC 6000 including MD3 and Brickwall Limiter.
Incredible back then, but I doubt these would be as good as standard native mastering plugs available now though.
Software has come a long way since then, particularly dynamics and eq
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on the subject of Limiters, i remember at some stage there was talk in the industry of how some engineers were choosing to ājust say noā to the use of a Limiter. Not sure why. Perhaps it was more in relation to the specific use of a ābrickwallā limiter.
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The āloudness warā getting out of hand no doubt
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If weāre talking affordable AD/DA, I got to throw down a recommendation for the SPL Crimson 3. Totally in love with the sound, considering its a ābudgetā device! SPL seems to know their stuffā¦
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also to mention, SPLās āTransient Designerā would be a fascinating sound design instrument to explore.
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Anyone using an SPL Iron by chance or an Elysia mpressor rack? Thoughts on either one for electronic music 99% of the time
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Just started using SSL SiX. Very well thought out and flexible routing options. Includes limited version of the Gcomp on channels 1&2 + another (very limited) comp on the master bus. The comps are surprisingly versatile and sound great. Iāll have the Heat on inserts for extra colour when tracking. Donāt think Iāll ever need anything else as plugins will fill any other gaps. It also does 12 channel analog summing.
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Ok I finally ordered my Rupert Neve Master Buss Processor. There was a seller selling one for a real good price on reverb. Itās the 125hz sidechain model too.
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I have the Iron. Itās a really amazing toolā¦ The compression is really flexible for a varimu. Lotās of ways to shape the side chain and it is by far the fastest of my 3 varimuās. It also has a great box tone with a lot of character available depending on how you drive it. The AirBass eq is nice when it works, but is usually too much boost when there is another eq in the chain.
IMO it works really well for electronic music, can really pull a mix together and make it sound āfinishedā in a cool way. More of a modern sound than my Phoenix, which is also great, but has a slightly more vintage sound.
edit: just saw the post about the Neve. The Iron and MBP work SOOOOO well together. Like PB and J.
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I got the MBP first. I may get the iron later on. But for now with all my compression knowledge Iāve got so many laps to run with the MBP. You got an MBP and an iron? When I want to grow up I want to be knobgoblin. Also I got the MBP from a recommendation by you earlier this year. I canāt wait to add blue silk and red silk to my synths.
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Very jealous! The MBP is one of the next pieces in my mastering chain. As for the Iron, for now, I settle for PA plugin. Enjoy and report back, especially for electronic genres!
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@knobgoblin @sl1200mk2 would you guys recommend my sound interface chain go SSL x desk āā> MBP or the other way around ?
I donāt know the SSL ā can you run the MBP as an insert on the master? I might try that first. Otherwise, I think youāre just going to have to experiment. I donāt have any sort of outboard mixer or console anymore. I run out of my soundcard (UAD Apollo right now) into my outboard chain, then back in. Fortunately, you have a few different ways to try things. I donāt think any of them will be bad, but more a matter of figuring out which works best for your scenario.
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I would use it on the master insert and have your DACs normaled to their own channels on the XDesk.
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About the love for rme. I have fireface802 and iām totally happy! Rock solid and soundwise a great upgrade from my motu828. A month ago i bought a ferrofish pulse ad/da adat converter( connecteed to the rme) BƤm! Its a good step up above the rme! Especially in the highs its more cleaner. So i connected my studio monitors to the pulse an can really turn up the volume to a loud listening level before it feels some how distorted. And you hear really tiny eq and level changes from about +/- 0.3 db. So with the right tools you can work very well. The Uad Api and Ssl are great alongside brainworx digital eq and elysia alpha comp. not sure if the real hardware is soooo much better then the software and if anyone can do or sharw a comparison it would be great 
Can I ask something from the bods that know more about this stuff than me?
I have little, to no interest in mastering my own stuff. On the (very) rare occasion I get something to the point that I might want to release it, I am happy to pay someone with the expertise and gear to do it.
I do use a bit of external gear for effects processing both in terms of stems and mixdowns that would ultimately be sent for mastering.
Presumably a crappy AD/DA is a crappy AD/DA no matter where it is in the process?
ie. if I run my mixdown through some external saturation/compression/reverb etc. to add colour/character/dynamics etc. to my mix (ie. not what I would consider to be mastering) but using my amateur grade Focusrite sound card, it doesnāt matter what fancy Lavry, Mytek, Benchmark etc. the mastering engineer uses on the resulting wav, as it shouldnāt make any difference at that stage.
Is that fair?
Also: mods feel free to move this elsewhere if you think it is sufficiently OT
good AD/DA has really good frequency response and can handle hot signals really well. I can clip my burl b2 and it sounds WAY different than clipping my uad apollo. Metering is also very important and they also tend to be more accurate with metering when reference levels etc are set correctly