I'm using the Softube Console and Fader system with a UAD Apollo/Mac setup to emulate an SSL 4000 and I am absolutely blown away by how much it has improved my workflow and by how much easier it is to achieve superior quality mixes. I have always preferred the SSL sound, but I had no idea just how flexible their consoles are.
That's so beautiful ;) Waves releases SSL 4k collab [$250] - Chris Jenkins: "Ah it sounds like the actual hardware" Universal Audio releases SSL 4k collab [$300+UAD DSP] - Chris Jenkins: "Ah it sounds like the actual hardware" Softube releases console1 SSL 4k collab [$500] - Chris Jenkins: "Ah it sounds like the actual hardware" Brainworx releases SSL 4k with 72chan.TMT on collab [$350] - Chris Jenkins: "Ah it sounds like the actual hardware" SSL's own developed plugin SSL Native [$300] - Chris Jenkins: "it's the sound of OUR actual hardware!" Slate releases VCC VMR FG-S without collab - Chris Jenkins: "...." [no comments] Chris Lord Alge: "I've used the actual SSL4k desk for decades, that desk is my life" When interviewed by SSL "I love waves 4k E.chan, often prefer it over the actual desk" When interviewed by Waves "I love slate vcc vmr fg-s-amazing job, love it" when interviewed by Steven Slate. Fans & Critics "None of the plugins sound alike! Let's buy/demo all & have shootout comparisons!" *eats popcorn* You've gotta love marketing lol But fact is Brainworx took SSL4k one level further with 72chan.TMT plugin design ;D
Having worked with the Brainworx 4000E, the Waves 4000E & The UA 4000E, I'd say the Waves is now garbage compared to the others; the (new) UA is probably closest in terms of console path grit, circuit interactions & op-amp clipping; the Brainworx gives the most console-like cumulative vibe via TMT and is the most flexible with the 2nd release rate and the mix vernier kob. (sknote has a nice console emu that also includes controllable crosstalk, although it is fiddly and not well documented; but it adds another aspect of analog behavior that is missing from plugins that duplicate single channels or units). Having used other Softube & Slate products, I can't comment on their SSL emu, but I've found Softube hit & miss with nailing distortion characteristics (their 'Tape' is excellent IMO; the Summit Grand less so and their virtual amps are mediocre). I also don't care for their TSAR reverb - it's too transparent without the touch of vibe provided by Lexicon's PCM collection or Exponential Audio's R2, R4 & PhoenixVerb. Slate - I want to like their products, but every time I've used them in a mix, I end up opting for something else with a few exceptions. The VBC Red is kinda nice; the VCC stuff is pretty good; the FX-G is generally overbearing, fiddly and prone to distortion depending on the source material. The VTM high bias setting is fizzy (though I will occasionally use the VTM on normal bias on the rare occasions where Tape sounds overbearing or when there's not enough DSP to use UAD Studer, Apmex or Oxide). The Slate drums are good though; different from Toontrack SD3; SD3 is all around better, but the kiys typically have clanky overbearing cymbals; Slate has smooth cymbals that sit in the mix better (though they have fewer RR samples).
@@jeremias3363 Using a send for parallel is stupid? lol...says the guy who has never mixed on a large format console... Careful what you say on the internet, you don't want people to think you have no idea what you're talking about.
@@tempesthoughton4441 doing parallel compression on a send is not the best idea as a beginner in a digital daw. I was not talking about analog mixing, there are no mix knobs on analog desk compressors. It's easy to make anyone look stupid by taking their comment out of context. I use the technique a lot myself (parallel compression using sends) but one has to take care doing so, because it does make whatever you are sending, sound louder in addition to changing dynamics / timbre. As a beginner, in which case one is most likely in the box, it's better to use the mix knob to do parallel compression, as it's very easy to gain match and actually hear what is happening, so only the change in timbre and dynamics, not gain. Thus preventing being fooled by making something louder as we all know, louder pretty much always is better. Exactly this can be a great reason for not liking parallel compression the way it's done in analog. Next time think a little before writing condescending comments, that in turn make you look narcissistic.
@@tempesthoughton4441 I deleted the other comment because the other one does explain what I meant much better. Calling the technique stupid, was stupid but it is iffy.
SSL4000. The desk we had in our 'new' studios at HTV back in the 80's. I loved that desk and the version that SSL made for us was a great broadcast/recording hybrid.
Nice IV ... RIP Colin Saunders ... That pic at 2:30 is sick, I wonder the year!? Look at all that gorgeous gear! Reminds me how fortunate we are to live in this time we are in now though as most of us couldnt get anywhere near a room like that, but today with computers & incredibly clever people (coders & techs etc) look at all the great tools we all have available to us. The results you can achieve today because of the initiatives these software (& hardware) developers is incredible. The thing I always keep reminding myself is it's only going to get better & better as we go along ... Very appreciative ...
I thought the same ahaha. But then i’ve downloaded the trial and it really sounds awesome. You can crank the top band and it sounds musical and not harsh, like the waves or slate. That thd thing its quite amazing, and so far, i’m loving the compresor. What a great time to be alive:)
Such a lovely journey through the story of WHY we love and need this console to live on in the Emulations, for the remaining desks won’t live forever. 😎👍👍
Thanks BW, nice to see. (Maybe you should write “re-developed” in the info text since you already had this plug-in before you got an official license from SSL.)
SSL Native is just plain Digital EQ and compression. No attempt at recreating their console harmonics, warmth, channel separation, etc. Also the G curve in SSL Native is missing the slight dip on the high shelf that is prevalent on the actual SSL G series console. You really paid for a name rather than quality. These Brainworx and other plugins are stimulating the sound of the entire desk or a channel off the desk. Not just curves and compressor responses.
