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I love the sample hold on that - the multiplier knob and filters let you capture and manipulate some great textures
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Code: xms18-ssl99-bxE187
Ends December 18th, 11:59PM California Time
https://www.plugin-alliance.com/en/products/bx_console_ssl_4000_e.html
BRILLANT!!!
If I did more mixing then it’s something I would buy especially at that price.
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
I'm going to talk about the consoles, specifically the 9000k where you could choose between E and G series EQ, rather than the plugins that emulate the consoles, but you can take this as being roughly equivalent for the various plugin emulations that exist, including the SSL Native plugins.
The shelving curves will overshoot/undershoot (for boosting or cutting, respectively) below the HF frequency or above the LF frequency.
Pressing the E button removes the overshoot/undershoot effect and provides a slightly gentler slope.
Normally, at any Q setting, the bandwidth of the HMF and LMF sections varies with gain, whereby an increase in boost or cut increases the selectivity of the EQ. This type of EQ can sound effective when used at moderate settings; the gentle Q curve lends itself to the application of overall EQ on combined sources and subtle corrective adjustments to instruments and vocals.
With an E series EQ , the bandwidth of the HMF and LMF sections remains consistent at all gain levels, so at lower gain the EQ curves are narrower for a given Q setting.
This generally sounds brilliant on drums but is not as useful for subtle EQ or EQing an entire mix. as you'd need to adjust the Q to maintain the same effect when the gain is altered.
When you are fully boosting or cutting then there isn't much of a difference (or any IIRC), but it comes down to how you wish to use the EQ.
My rule of thumb is for subtle or mix bus EQ I use a G, for drums, bass and vocals I tend to use an E.
There are exceptions to this, of course and before the 9k came out people did entire mixes with one or the other (because they owned an E or G series console).
The Brainworx plugins sound very fine indeed- I own them and I use them but IMHO the UA plugins absolutely smoke it in terms of sounding like the original.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
I have a couple of SSL 611 500 series hardware EQ's in my rack that I love on the OH's, try a couple of db of HF boost on any nice sounding OH, or on room mics.
They are excellent, even in plugin form.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
If you want the 'closet to hardware' emulation of the SSL E/G then UA nails it.
But imho a lot of how you use the hardware comes down to the physical interaction with the hardware.
I know no one here is going to go out and buy a 60k+ mixer so the plugins are good enough for most people, maybe almost all people.
At the price of the Brainworx though you'd struggle to do better without going for the UA DSP platform.
Have you looked at all at the SSL Native bundle?
There is a subscription now through Gobbler.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
So I guess what I would say is.... regardless of who you guy a 'console' plugin from, don't expect it to be a one-size-fits-all solution and don't expect it to cure everything magically. They still take work. And if you're not used to working on a console then they might be more confusing than individual plugs.
I'll also say that I didn't notice any real harmonic benefits from the Brainworx plugin - whereas with the Slate Digital Console Collection stuff, I do hear a harmonic difference, and I consider it to be a benefit.
I'm not sure about the UA ones. I should try them I suppose.