Waves SSL Across an entire mix...

[Table Syrup Records]

Just gonna throw this out there.

I had never done an entire mix with the same channel strip emulation across the entire mix.... Worked out great! I did it cause I was looking for a feel/vibe of some 90's Hip Hop stuff I knew was done on a G Series console, so I tossed Waves SSL E & G channels across every track, and used the bus Comp on the master.

Came out surprisingly good! Was definitely in the vibe of what sound I was looking for! I didn't expect as good a result as I got....

Every time I use an analog desk (studio or live) I always feel like I want more EQ points.... not on every track... but there is always a time I wish I had more, for that one or two really pesky track/s that fight lol....

This mix was no exception, and has generally been a reason I don't utilize this approach often...... I still popped a couple Q10's in there.... but, this approach gave me the sound I was looking for.

I guess I still have to wonder how much was from using a plug emulating what I know was used, how much was from using a workflow (ie, number of EQ bands, etc) that was used in the target reference material, and how much was just my take on the mix at that time. Or more likely a combination of all (but what percentages, or balance of importance)

Anyone here ever do this, this drastically? (developer or particular emulations doesn't really matter so much, more for the approach)

[musicman691]

One thing using the same channel strip across the whole mix is it gives you a consistent sound for everything. Like using, as you said, a big old SSL console for a session - you have the eq's and such on all channels and that's all you have. If you're trying to make your work sound like a record then that's the way to go. Vary the instruments used, mics, etc. but not the electronics.

[amagras]

I'd love to hear that when it's released

[mesaone]

Anyone using Softube Console 1 has probably done this.

I've done this before as well, but not with plug-ins. Turned out fine, but I did use some outboard dynamics processing because the SSL channel dynamics weren't a good fit for some of the material.

[Wall2Wall]

As mentioned, it does provide a certain consistency or direction.

I usually use UA SSL or UA Neve 88rs across all tracks and busses. Usually set up VCC on SSL along the busses and master. Throw in HEAT, Decapitator, UA Studer/Ampex and I'm good to go.

Using Waves SSL E across every channel has been pretty common in my circles since it's release. A colleague of mine mixed one of the biggest records of 2014 with Waves SSL E channel and Ren Comp (when needed) on every channel. On the busses he used Waves SSL E channel's comp.

[Table Syrup Records]

@Wall2Wall - I'm curious, was he using the Ren in place of the strip comp? Or in addition to? If in place of, I'm curious why? Specifically if you know. Thanks :)

@amagras - I'll post it up when it is, but I wouldn't be surprised if the official release is spring/summer lol

@Musicman and Mesa - Yeah, I get it. Totally do. I've worked with analog desks a lot... and tape... that workflow is extremely familiar to me. I also do a fair amount of workflow with PT and a Desk - emulating the tape/desk workflow ... and of course a lot of ITB, and Hardware inserts, etc etc... lol. I guess that about covers it lol

^One reason I often skip this workflow is likely because of my typical workflow, which is : Great Rooms, Great Mics, Great Pre's and Comps, Great Instruments, and Great musicians - into great converters. Then, a hybrid mix platform between plugs and some outboard.

I usually feel like using emulations, adds too much 'color' to what I already have from recording, which I usually DON'T want to color right off the bat. I am afforded the ability to spend the time to really get mic/pre/comp/placement/instrument selection/etc all really dialed on the way in.... So, this means I am normally reaching for plugs that are very CLEAN, and transparent, first. Like Q10 for EQ. H-Comp (can be super transparent, and can get colored) or C1 for Comp... and now EMOD5. I reach for these clean plugs cause I already have my color and mojo from recording.... I guess I am spoiled to be working in such an environment, and with the caliber of musicians that I am.

That is the majority of my work.... so it is my usual workflow and approach.

That said, I do a fair a mount of mixing that clients bring me... existing sessions and material. I tend to fall into my typical workflow habits, and I think I don't often enough think outside my InTheBox (see what I did there?)

I did this SSL mix on a hip hop track. I LOVE the way it came out. Of course the production was electronic, and while it was superb, it was very very clean, and needed a bit more mojo.... same with the vocal... while it was a great performance, and well recorded, it needed a bit more vibe and depth.

The emulations were great here, but tend to not work so well for me on the stuff I've recorded. I just need to remember to try them more, and reach for them more when I'm mixing. They are amazing! Really!

I am thinking I should do this with the API plugs too. For good measure / practice.

[mesaone]

Originally Posted by Table Syrup Records

^One reason I often skip this workflow is likely because of my typical workflow, which is : Great Rooms, Great Mics, Great Pre's and Comps, Great Instruments, and Great musicians - into great converters. Then, a hybrid mix platform between plugs and some outboard.

I wasn't saying one thing or the other about analog vs digital, just that I have never done it with a channel strip plug-in.

[Table Syrup Records]

I'm with you man, I guess I was just affirming I get it, and see the benefit of the workflow (cause I know it from working with consoles, so it makes sense to do it in a DAW), but the reason I tend not to, is cause of what I have on the way in (that I think a lot of people don't get on the way in)

I believe we are seeing eye to eye :)

[John_Toolbox]

I have always wanted to try this, the SSL plugs are a goto for me... Just waiting for the right project to try it on. Out of curiosity, did you leave the analog switches on for all of the tracks in this project? I usually turn them off anyways, but just curious if they get too noisy when you have them on every channel.

[Table Syrup Records]

Hey John! This particular track, on. A lot of them. As the mix progressed and some things got compressed harder, some of those got turned off.... but being everything in production was electronic and super clean, I felt they helped. I also left them on for the lead vocals

Maybe it was this song / the tracks ? But the analog worked great on this

This is odd for what I normally see and do with the analog switches on waves plugs, cause more often than not, they seem to hiss too much (namely H-Delay, good lord lol) - so I normally have em off on most plugs - with the exception of H-Comp, this doesn't do the same hiss thing H-Delay does, and I tend to lean toward settings 1 or 2 for stuff on the warmer end, and 4 for clean/punchy/nuanced transienty stuff. for reasons unknown I tend to not use 3 lol