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The Waves SSL 4000 Collection is a faithful emulation of two classic SSL consoles from the ’80s—the 4000 E and 4000 G. The originals were responsible for the sound of countless recordings, with their distinctive EQ and dynamics sections lending that “sheen” that defined the sound of pop and rock tracks in the ’80s and ’90s.
Waves has modeled the complete channel strips from both the 4000 E and G series—which featured slightly different EQ characteristics—and the collection also provides a separate G-series EQ and the famous Buss Compressor from the G-Series center panel.
- The SSL G channel strip has more mid-range, which is great for rock’n’roll energy – a great thing whenever I’m working on that kind of material. The Glitch Mob “ We lean heavily on both the Waves SSL E-Channel and G-Channel plugins to help give our kicks and snares the correct tone to make them cut.
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- Jun 25, 2017 Only at Sweetwater! Instant Delivery and 0% Financing for your Waves SSL E-Channel Plug-in (Download)! Channel Strip Plug-in Based On E Series SSL Console with 4-band Parametric EQ, Highpass and Lowpass Filters, and Dynamics - Mac/PC AAX Native, AudioSuite, VST, AU, SoundGrid.
The SSL 4000 E Channel Strip Collection plug-in for UAD-2 and Apollo interfaces is the world’s best end-to-end circuit emulation, going far beyond UA’s original standard-defining SSL 4000 E Channel Strip.
But—vintage pedigree aside—what do these processors offer over and above the many other EQ and dynamics plug-ins out there, including the ones that come with every DAW? Here are a few tips and suggestions for getting the most out of the SSL 4000 Collection.
1. Channel the ’80s
Obviously, one of the reasons for going with a set of processors like this is their ability to emulate the sound of the vintage gear they’re modeled on. In this case, that’s the sound of the console(s) probably used on more recordings throughout the ’80s and ’90s than any other single piece of gear. What gives both the originals and these models their particular quality? Most people would attribute the characteristic “SSL sound” to the EQ sections, primarily. Compared with the relatively broad, smooth curves of many competing products (like the classic Neve EQs), the SSL’s EQ—captured faithfully here—offers up the potential for an edgier response. Sharper curves and a wider “Q” (bandwidth) range let you dial up a bit more of the distinctive ’80s crispness and punch that characterizes the sound of so many recordings from that era. And the included dynamics section, with its variable attack and soft-knee response, provides a compression characteristic between the sound of vintage tube and FET units and the squash of modern devices.
2. Alphabet soup: A/B E & G
But the 4000 Collection doesn’t just provide one sound. There are no less then three variations of the classic SSL EQ on tap here—the ones in the E-series and G-series channel strips, and the separate G-series EQ, which is based on a different circuit than either of the two versions included in the channel strips. Each has its own slightly different response. The E-series channels strip’s EQ was developed with the input of George Martin (how’s that for a pedigree); while similar in layout, the G-series channel strip EQ has a slight pre-boost dip and pre-cut rise—a response characteristic prized in the classic tube-era Pultec EQs—that distinguish it slightly from the E-series curves.
If you’re having trouble honing in on the best EQ settings, trying the same settings with both the E and G channel strips can offer a subtle but distinctly different tonal imprint, which can sometimes help nudge you in the right direction.
Audio Example 1—Acoustic Guitar 1) All EQs Bypassed, 2) E-Channel EQ, 3) G-Channel EQ with identical settings to the E-Channel in (2), to highlight the differences; 4) G-Channel EQ set to more or less match the tonal curve of the E-Channel:
3. Get that Analog edge
All of the 4000 series plug-ins feature a switch simply labelled “Analog”.
Fig 4 The “Analog” switch in the various SSL 4000 Collection plug-ins.
This may seem like a throwaway—an extra effect on top of the modeled character—but it is, in fact, part of the key to that character. While duplicating the curves of a particular EQ and the response of a specific compression circuit (like the ones in the original 4000 consoles) can go a long way to emulating the sound of the original gear, there’s more to it than that. The original analog components had a unique way of breaking up when driven, and those non-linearities (distortions to the layman) are a major contributor to the classic “sound” so sought after in models like these. While there may be situations where you just need the most neutral, transparent response possible, the point of collections like this is not neutrality, but color! Making sure this switch is on (it should be by default, but you never know) will insure that you’re getting all the analog “character” that makes these processors so distinctive, and so like the originals they’re based on.
4. Pump the drums
Compression has always been used in recording—originally it was meant to simply contain the dynamic range of music to fit into the limitations of traditional analog media (tape & vinyl). But talented and creative engineers started to use it as an effect, even as far back as the Beatles and other ’60s recordings. With dynamics on every channel of the classic SSL 4000-series consoles, compression really came into its own in that era, where it was used liberally on any channel that needed a little extra push. The SSL compressors—both the channel strip dynamics sections and the G-series Master Buss Compressor—helped to define the sound of the modern drum kit, with punchy compression on both individual drums, and on stereo overheads and drum masters.
For that kind of push, instantiating one of these channel strips on each track—kick, snare, toms—and possibly a G-series Buss Compressor on the Drum Master, can take a more traditional, laid-back drum sound, and both tighten it up and add a little bloom (ambient tail). Add a little of that characteristic crisp SSL EQ, and you’ve got that bigger-than-life ’80s drum sound you grew up with.
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Audio Example 2—SSL 4000-series compression on drums: Bypassed (1st 4 bars); On:
5. Add the “Glue”
Of all the things the SSL 4000-series consoles are known for, one of the most famous is the ability of the G-series Master Bus Compressor—the stereo dynamics processor in that console’s center panel, strapped across the L/R output—to add what’s come to be known as “the Glue” to a finished mix.
Fig 5 The Waves SSL 4000 G-series Master Buss Compressor.
Long before people were routinely smashing the hell out of their mixes with digital brickwall limiting (in the never-ending “Loudness Wars” for greater level), engineers would take a more subtle approach when it came to the master stereo bus. A little gentle compression (a medium-low ratio, subtly applied), with the compression circuit that was built in to the 4000 G console, was renowned for adding that final touch that could make all the elements of a mix gel—providing the “glue” that would hold the mix together. This gave rise to its nickname (the “Glue”), which has become a catchphrase for that final bit of master bus processing that helps keep up a mix’s energy and “push”, but does so without robbing it of its musical dynamics and punch.
And nothing does a better job of this—in the opinion of a great many experienced engineers—than the SSL 4000 G Master Buss Compressor. Duplicating the response of the original’s twin-VCA design—along with the “Analog” characteristics of the actual hardware—insures that this version is capable of that same magic. Just strap it across the mix bus and take advantage of its unique properties. But—like with any dynamic processing—just be sure not to push too hard! As I said, a medium-low ratio and a gentle hand will be the ticket to get you where you want to go.
Audio Example 3—The “Glue”: The SSL Master Buss Compressor applied to a mix: Bypassed (4 bars); On (4 bars); Bypassed (4 bars); On (4 bars):
The Waves SSL 4000 Collection offers a comprehensive set of tools, not only for those used to working on the original, who want to recapture that experience, but also for newer engineers and mixers, who are looking for a bit of the magic that launched a thousand records. With a judicious touch, and a little creative experimentation, you too should be able to find ’80s Nirvana with this capable bundle.
We had to update this list since Eventide gave us Ultrachannel. It’s not on the poll at the bottom, but for those of us who got it for free it’s a real winner to have in your plug-ins tool-box.
We’ve just started a series on the value of channel strip plug-ins in the modern recording set-up, so it might be good to know what AAX channel strip plug-ins are worth taking a look at.
For Pro Tools users with RTAS plug-ins, unless you read otherwise these will also work as RTAS plug-ins in Pro Tools. If you are not sure what AAX plug-ins will work in your Pro Tools system then check out our comprehensive AAX plug-in database.
Let us know what you think by taking our poll and also adding any comments at the end of the article.
UAD API Vision
A more recent addition to the UAD powered plug-in collection, this is an awesome model of a strip used on albums by such recording greats as Fleetwood Mac and the Foo Fighters. It packs a lot of punch we reviewed it here.
Avid Channel Strip
The Avid Channel strip is part of the plug-ins that ship with more recent versions of Pro Tools, it might be free but that doesn’t mean it should be dismissed in preference for those costing money. Modelled on the channel strip from the System 5 console it has a lot to offer, the collapsible GUI is a real bonus when running out of screen real estate.
UAD E Series Channel Strip
For those looking for a faithful model of an SSL E Series console strip this is UAD’s version. The British sounding E-Series console is ubiqutous in the world of professional recording and for good reason. The strip features all the orginal components from the channel, plus the addition of a ‘no chatter’ curcuit that was used in later designs of the console. You will need a UAD powered device to run this. More here
Softube Tube-Tech Classic Channel
The Softube Tube-Tech Classic Channel combines Tube-Tech CL 1B Compressor, Tube-Tech ME 1B Mid-Range Equalizer and Tube-Tech PE 1C “Pultec” Equalizer into one single plugin. Any more questions? Joking apart this offers some real classics and can really help to transform a mix when used on the master buss, the Pultec EQ can offer that great bottom end trick used by many top producers. More here
McDSP Channel G
Featuring an easy to use layout with excellent visual metering, the McDSP is a feature rich channel strip with lots of goodies that you would expect from McDSP, it also boasts tight inegration with several Avid consoles. More here
iZotope Alloy 2
Allow 2 is perhaps the most comprehensive channel strip in this list and although it may not have the sexy looks of some of the modelled classics, it packs a serious punch. The multiband transient processor alone is worth the price of admission. The modules can be turned on and off and the audio processing chain can be moved around. We reviewed it here
Waves SSL 4000 Plug-in Collection
Both these SSL channel strips based on the E-Series and G-Series consoles are big favourites for Pro Tools users, offering excellent models of Solid State Logic British consoles used on more recordings than you can shake a stick at. Even better you get the equalizer and master buss compressor thrown in as part of these collection. More here
Metric Halo Channel Strip 3
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The Metric Halo Channel Strip 3 is a big favourite of Windows Editor Neil and many other Pro Tools users too. It features a fully featured comp, expander/gate as well as a comprehensive 6 band EQ. It also includes a limiter and a resizeable GUI which is very useful. More here
UAD Neve 88RS
A faithful model of the Neve board that has found its way into some of the finest studios in the world, including Ocean Way, Abbey Road, AIR, and The Village as well as several top post production facilities. Described by some as the closest thing to having real hardware in your studio. You will need a UAD card or Firewire device, or an Apollo to run this - which of course means you can do old school tracking through this strip and print it to ‘tape’ as you record. More here
Softube Summit Audio Grand Channel
Another great channel strip from Softube, the near industrial grade Summit Grand Channel offers some nice features not found on other channel strips such as Saturation and Parallel Inject. It is a feature rich analogue wonder that would be eqaually at home in a mix or mastering situation. We reviewed it here
Waves Renaissance Channel
Perhaps not the most attractive plug-in on the market, the Waves Renaissance Channel is still a favourite amongst Pro Tools users looking for high quality processing in one plug-in. It features colour coding that helps the user get around the GUI quickly, the plug-in order can be moved around and it also features a rotation control for phase accurate flipping of the stereo image. More here
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Eventide Ultrachannel
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UltraChannel™ is Eventide’s new 64-bit native channel strip plug-in for AU, VST, and AAX64 for Mac and PC featuring micro pitch functionality from the flagship H8000, stereo delays with variable feedback paths, plus two stages of compression, gating, and five bands of parametric EQ.
UltraChannel was available as a free download but it now costs $249.
Now take our poll, which one is your favourite Channel Strip?
Which Is Your Favourite Channel Strip?Which Is Your Favourite Channel Strip?Which Is Your Favourite Channel Strip?