The make-up gain lets you compensate for volume loss from the compression. The ratio setting allows you to switch between a 2:1, 4:1, or 10:1 ratio, making it ideal for both subtle and aggressive compression needs.
#Waves ssl 4000 plugin review plus#
You can also change the release time from 100ms to a generous 1.2 seconds, plus there’s an auto release setting, which is ideal for mix buses with many different musical elements. You can change the attack time from 0.1ms to 30ms, which allows you to really highlight the punch of a track or reign in the transients. It’s characterized by its clear sound and flexible set of controls. Many mixing engineers swear by this bus compressor to add “glue” to the mix. The SSL Native Bus Compressor is based on the world-renowned G-bus compressor. This is accomplished by using the hold control, which determines how long it takes the expander to react to the signal. I rarely use the gate section myself, however, the SSL gate sounds really good, in the sense that it doesn’t make a track sound unnatural once you apply it. You can use the gate/expander section to get rid of that noise, which allows you to keep the vocal part instead of having to rerecord it. Let’s say you have a great vocal take but in between the vocal lines, you can hear the singer’s necklace rattling. The gate/expander section allows you to determine the amount of background noise you allow in your tracks.
#Waves ssl 4000 plugin review full#
You are given full control over the ratio, and release time (100ms to 4 seconds!), making this compression great for any application.
This turns the attack time from 30ms to 3ms. The attack time of the compressor can be changed by pressing the fast attack button. There’s a reason a lot of people will rely on this compressor for pretty much any kind of track. The compression section might look like a simple compressor, but don’t let it fool you. In addition to the E channel and G channel EQ sections, you are also provided with a high pass and low pass filter, which can be engaged simply by turning the knob.
The E-channel EQ section really shines when you want a nicely saturated low-end frequency boost that doesn’t get out of control by distorting in an unpleasant way. It’s also more aggressive, and tighter in the low end than the G-channel, making it ideal for drum processing. The E channel is known for its musical presence in the upper mid-range. The frequency response can be described as rounder and, in a sense, more forgiving than the E channel EQ response. You can easily boost 8kHz with more than 10 dB, and you would still hear something that sounds pleasing to the ear. The G console EQ, which loads as the standard-setting, is characterized by its warm EQ section. The SSL Native Channel Strip enables you to choose whether you want the EQ section of either the E or the G console. You can also very intuitively change the layout simply by clicking the arrows that correspond to the routing direction you want to go for. Instead of using some buttons like on many SSL channel emulations, the Native Channel Strip uses boxes and arrows that show you how the different sections are routed. The flexibility of the routing of the different sections also makes this plugin a breeze to use.
The larger size allows the knobs to be further away from each other, making it less cluttered than most channel strip plugins. One thing I really like about this plugin is its user-friendly interface. These consoles were used in the mixing of countless records, and are well known for their ability to be used aggressively, without losing musicality. The SSL Native Channel Strip attempts to recreate the sonic character of the legendary SSL 4000 E, and G consoles.
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