SSL E Channel users, do you use it on EVERYTHING?

[nwright]

This is kind of a dumb question, but more out of curiosity than anything.

Those of you with SSL plugs, do you guys use them on the group channels as well?

I've been contemplating throwing it on ALL my channels as an experiment with giving every channel an old analog style channel strip. I'm not in my studio, so rather than being able to try it, I just wanted to see how many of you do it (if any).

Right now, I just use e channel on my drum tracks, but not the drum bus or anywhere else.

 

[gabriel g.]

I´m using it on a lot of things, but not on everything.
But most of my projects and up with some analog emulation on every channel and group....

 

[musickey]

I use the e channel and uad's 88rs on drums alot, even on groups. and lately i have been using the e channel the way Mark lewis described as parallel eq on guitars. its pretty fookin cool.

 

[Ermz]

Fuck yes I do. I'd use them in triplicate if it would actually be useful.

All these years after release it's still my #1 go-to plug-in.

PS. I'm hammering the Softube guys to do one.

Also, bear in mind having it on every channel is not the same thing as running your project into the console. For this effect you need to use it in conjunction with either Alex B's CLC console or the upcoming Slate 4k model in the VCC.

 

[pipaguapique]

pretty much on everything here...

be careful with the compressor though....it's pretty rough, u gotta know how to use it.

 

[Ermz]

Kinda hard to go wrong with it. Slow attack, release to 100ms, ratio 4 to 8. Auto gain set for you. Proceed to win. My main complaint is it's too clean. It doesn't slam hard enough, and you can tell by listening to Randy and CLA's drums that the compressor is missing next to the real deal in that department.

 

[HDWR]

Fuck yes I do. I'd use them in triplicate if it would actually be useful.

All these years after release it's still my #1 go-to plug-in.

PS. I'm hammering the Softube guys to do one.

Also, bear in mind having it on every channel is not the same thing as running your project into the console. For this effect you need to use it in conjunction with either Alex B's CLC console or the upcoming Slate 4k model in the VCC.

Ermz, are saying you use an SSL strip and the Nebula CLC program on each track? The CLC mic or line (even the Send too?) and the CLC busses as well?

I've heard some of your mixes and find them stunning. I would love to get near to that sound.

Thanks!

 

[nwright]

Fuck yes I do. I'd use them in triplicate if it would actually be useful.

All these years after release it's still my #1 go-to plug-in.

PS. I'm hammering the Softube guys to do one.

Also, bear in mind having it on every channel is not the same thing as running your project into the console. For this effect you need to use it in conjunction with either Alex B's CLC console or the upcoming Slate 4k model in the VCC.

Isn't that the same idea as running e channels into the SSL bus comp, though? The Slate VCC looks like the same idea...Never heard of Alex B's CLC...

 

[Ermz]

@HDWR: I process all my audio tracks offline with the CLC ILC programs. Running them in real-time would cripple my already pretty CPU-intensive sessions. I had to sacrifice using the bus group programs just to maintain workable speeds. So all I do is process offline and then run the master bus program across the (you guessed it!) stereo bus. Most of the tracks run into the SSL E or G channel plug-ins and across the stereo bus I have a GSSL compressor strapped, so it's a pretty cool way of emulating SSL sound and workflow when dealing with largely ITB mixing. Mind you only one of the sample tracks on my site was done using Alex B's programs, and that was Memnoir. Prior to that it was just the SSL channel and GSSL.

@nwright: Not quite. They're very different things. VCC and Alex B's consoles are there for the saturation effect. They naturally prep your tracks and glue them in a way that the console would. It makes the mixing process easier and more musical. There are no settings beyond the input level, and how much drive you want. They complement the existing SSL plugs rather than trying to replace them. Mind you I think we're about due for some more accurate 4k strips.

 

[HDWR]

@HDWR: I process all my audio tracks offline with the CLC ILC programs. Running them in real-time would cripple my already pretty CPU-intensive sessions. I had to sacrifice using the bus group programs just to maintain workable speeds. So all I do is process offline and then run the master bus program across the (you guessed it!) stereo bus. Most of the tracks run into the SSL E or G channel plug-ins and across the stereo bus I have a GSSL compressor strapped, so it's a pretty cool way of emulating SSL sound and workflow when dealing with largely ITB mixing. Mind you only one of the sample tracks on my site was done using Alex B's programs, and that was Memnoir. Prior to that it was just the SSL channel and GSSL.

Ermz thanks for being so forthcoming with your methods!

So if you had more cpu horsepower (I have a new comp with an i7-950 oc'd on air to 4ghz) would you use the CLC bus programs in addition to the ILC or IMC input programs? I'll def be bouncing down using SSL and CLC on each channel plus busses and master! I just have to get away from the 100% ITB sound.

Sorry OP for the hijack but this def good info!

 

[Mikaël-ange]

I use it on everything (and sometime I chain 2 E channel), really my go to eq plugin for sure.

My main complaint is it's too clean. It doesn't slam hard enough

Sound like you forgot something, CLA stack compressor and TLA even more. Some 80 comps for a mix history are true

 

[soundsunderground]

and you can tell by listening to Randy and CLA's drums that the compressor is missing next to the real deal in that department.

Well that's because they don't use them a lot on drums. CLA uses distressor a lot on snare.

 

[Ermz]

CLA does like it on the kick however. I'm not entirely sure whether Randy uses the inline channel comps on the desk, but I've heard he either uses that or the outboard versions of their bus comps, at least for parallel work.

@analgrinder: Yes I know those guys stack comps, but I've done comparisons before and the Waves compression isn't true to the analogue, at least in terms of the bus compressor. The inline comp seems to suffer from the same 'cleanliness' issues, especially on the attacks. They can get very harsh, especially when paired with the very forward sounding EQ.

@HDWR: The saturation programs aren't a magic fix. You still have to work hard at the mix, and I only considered it an addition. For instance I don't feel I do better mixes overall now as a rule, I just feel that they are perhaps a few percent better than they would have been without it. It's a lot of effort to go through prepping all that stuff just for a little increase, but to me it's worth it. You get a bit more vibe and flavor, which can be hard to achieve ITB. It still won't salvage a poor recording though, and you're subject to the source tracks, as always.

 

[Mikaël-ange]

@analgrinder: Yes I know those guys stack comps, but I've done comparisons before and the Waves compression isn't true to the analogue, at least in terms of the bus compressor. The inline comp seems to suffer from the same 'cleanliness' issues, especially on the attacks. They can get very harsh, especially when paired with the very forward sounding EQ.

I couldn't agree more to this point, hybrid setup ftw

 

[Sickan]

Ermz, are you using the renderer? Otherwise, how do you (offline) process them?