Обзор Waves Aphex Vintage Aural Exciter
#Mixing vocals with waves ssl 4000 license#
Developed under license from Solid State Logic, the SSL 4000 Collection includes four plugins meticulously modeled on the legendary SSL 4000 mixing consoles: SSL E-Channel, G-Channel, G-Equalizer and G-Master Buss Compressor. Описание: Waves Audio объявила о выпуске Sibilance и Flow Motion FM Synth Get the Waves SSL G-Master Buss Compressor in these packages. MAC: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core Формат: STANDALONE, VST, VST3, RTAS, AAX, AU It’s never going to be my first choice as a glamour EQ, but it’s a workhorse – you could do a whole mix with nothing else.Waves - 10 Complete STANDALONE, VST, VST3, RTAS, AAX, AU OSX “While some EQs are deliberately warm or flavoured, the SSL EQ just seems to get the job done in a clinical way, which I love for carving up sounds to leave behind only the sonics I want on the record.
#Mixing vocals with waves ssl 4000 series#
Mike Hillier of Metropolis Studios, London still uses the 4000G series that’s in Studio B.
The EQ was considered harsh in comparison to the Neves and Tridents of the day, while others loved the brightness of the desk, which was out of keeping with the ‘tweed’ of SSL’s competitors. Like any desk, the SSL had its own unique sonic character – one that delighted some and offended others. It wasn’t long before the SSL became a ubiquitous feature in the world’s recording studios. This new-found functionality delighted record companies and producers alike, as tracks could be recorded and mixed, and the mix settings saved and then revisited later if the A&R man thought the lead vocal needed a further nudge, for instance. Every channel had its own compressor and noise gate, and the centre panel that housed the VDU and QWERTY keyboard enabled you to take a snapshot of the desk to be recalled at a later stage, by carefully matching the settings on the desk to those stored on the eight-inch floppy disks that were used by the first E series computers. The SSL was radically different from anything that had gone before. Nick Robbins of Sound Mastering, London recalls seeing an SSL for the first time: “I went to an APRS show at Earls Court in the early 80s and visited the SSL stand: it was like stepping onto the bridge of the Starship Enterprise!” In the mid-70s they’d come up with the idea of using a computer to automate the desk that they’d designed and built for Acorn, and this led to the launch of the first SSL 4000B series at the Paris AES show in 1977.
The seeds of the total recall and automation that we now take for granted were sown at Solid State Logic’s own staff recording facility, Acorn Studios. The SSL desk fundamentally changed the working practices of nearly everyone working in the mainstream music industry from the 1980s. When business-savvy Colin Sanders and his original partner Paul Bamborough started their business developing electronic control systems for pipe organs in churches, they couldn’t possibly have foreseen their incredible influence on the recording process – and the sound of a period in music-making that you either love or hate.