I'm on the search for the glue. And i mean extra sticky. I want to try some different forms of compression, but i love how the SSL bus pulls everything together. I'm wondering about throwing this on the guitar bus or the drums bus. Considering these are stereo channels, i'm assuming a stereo compressor would make sense?
Using a SSL Bus Comp on guitars/drums?
- Thread starter jackobme
- Start date
Mago
Austrian Blech Machine
the ssl is actually considered as a favorite on drumbus as far as I know.
Seen it on the guitarbus too. I think Andrew Wade said he likes to use it to give them some attack for the palm mute parts
Seen it on the guitarbus too. I think Andrew Wade said he likes to use it to give them some attack for the palm mute parts
Fredrik-Ablaze
Member
Vice//Versa
Dude among dudes
VBC grey on drums and 2bus here. The guitars get hit by in on the way over anyway. I remember Collin Richardson saying that and it clicked to me.
Put the cla-76 bluey on my master bus the other day, it was hitting 1db of GR at most, but it adds a really cool saturation that brings the glue. It was on a fairly open sounding accoustic track though so YMMV
Machinated
Member
amarshism
Member
He's Dead, Jim
Member
How much gain reduction do people generally do with, for example, the VBC gray on a drum buss? I got it last weekend and I've been testing it out with around 4-7 db and it sounds fantastic, but I'm afraid of killing the transients.
UMF
Just Another Member
I'm also very interested in that,
but I'm guessing in dual mono the right an left side of the guitar bus are treated separately,
and the plugin looks at it as 2 individual sources, without any crosstalk or other connections you might have in stereo between L/R ????
Sloan
Sounds like shit!
Ermz
¯\(°_o)/¯
You can apply a single instance on a stereo bus, so long as the plug-in itself supports dual mono. What it means is that the plug-in has separate detector paths for both sides of the stereo image, and separate compression paths for both sides of the image. So if one guitar is chugging along heavily on the left and pinging the detector threshold, the other side which may be holding a chord which wouldn't ping it will otherwise stay uncompressed. The result is cleaner compression across a stereo guitar bus.
I haven't actually looked into whether VBC has that feature. I still use Waves SSLComp for parallel drum bus and some guitar compression. Down to 4dB GR that plug-in is the most authentic to all the GSSLs I've owned. The biggest downer is the plasticky digital attack, but no digital compressor, including VBC, I've tried has circumvented that problem.
RiF
Member
I would not use it in dual mono. The single sidechain that controls both left and right channels simultaneoulsy is what I think is doing the "glue". And it makes double or quad-guitars sound tighter as a whole.
On the drum bus, I always have a copy of the (Waves) SSL bus comp. Sometimes on the guitar bus and for sure on the mix bus. Always just 1-2 dB of GR.
On the drum bus, I always have a copy of the (Waves) SSL bus comp. Sometimes on the guitar bus and for sure on the mix bus. Always just 1-2 dB of GR.
RiF
Member
For the Waves one:
Threshold: 1-2 (max!) dB of gain reduction. Just so much that it does some glueing without actually making that compression effect audible
Release: fastest (100ms)
Attack: slowest (30ms) to keep the transients in place. 2nd slowest (10ms) if I want to tame the attack (rarely)
Ratio: 1:4. I'd prefer 1:2 for more subtle compression, but I never liked how the Waves sounds in 1:2 mode
Vihaleipä
Member
That is because it IS compressing
If you want less compression turn threshold all way clockwise and start dialing it in from there.Vihaleipä;10850651 said:That is because it IS compressing
Thats what i figured, thats how i had been using it. But why isn't +15 just 0? Its just confusing to me, no other compressors have a + and - on their threshold. How can the knee go above 0. There is nothing above 0. its just 0.
