WAVES SSL 4000 CHANNEL SERIES

The bx_console channel strip plugins-newly revamped with help from SSL’s own engineer-are arguably even more powerful than the original SSL hardware channel strips.

Winner: Best Overall SSL Channel Strip Plugin Brainworx bx_console 4000 E & bx_console 4000 G ($299 each)

WAVES SSL 4000 CHANNEL SERIES

OK, now that you know the basic differences between the E Series and G Series EQs, let’s take a look at what each of the top plugins that emulates them has to offer. The G Series consoles also replaced the shelf/bell shape buttons for the low and and high bands with “LMF/3” and “HMFx3” switches for the mid-bands, which would divide the Low Mid frequency or multiply the High Mid frequency by a factor of three- allowing for a single knob to cover even more of the frequency spectrum while still being usable. The G Series EQ used steeper filter slopes and incorporated a variable proportional-Q design, which increases the Q value the more you boost or cut the signal-much like a Pultec. While the dynamics modules on the E and G series consoles were nearly identical, the G Series is said to have a softer, more gentle EQ than the E Series thanks to the new 292 or 383 “G-EQ” circuitry. In 1987, SSL introduced the 4000 G Series console, which also featured a number of changes. In 1983, it was replaced with the “Black Knob” 242 EQ, developed with the help of the legendary George Martin, which corrected the filtering quirk and made a few minor changes to gain range, frequency selection and filter slope, offering a slightly different sound. Incidentally Brainworx is bringing something to this competition too, shortly.Early E-Series consoles used a “Brown Knob” EQ circuit, which always left the filters engaged, rolling off the very lowest and highest frequencies. They would usually get the first class royalty treatment. Especially with your main instruments like kick, snare, bass & vocals. It was always a classic move to use outboard equipment alongside with what the desk offers. If I'm not getting enough control from these channel strips then I'll just supplement it with something else.

I like to combine the E/G with the Waves NLS for some subtle body and depth. But then, maybe I want to use the API for rock or metal instead. I could use either of them on a variety of styles like rock, pop, metal or jazz.

In context with this conversation, I like to use the E for a slightly older sound than the G. What do I have that will help the song to sound like this or that. Once I have the concept I then look to the tech. There is always much to learn, but you have to start from somewhere. A retro vinyl sound drums and horn section for this hip hop sound, but modern synth elements to help it sound fresh. Perhaps I should do the sections differently.

I ask myself what style of song is this, what genre? Would a more vintage sound service it, a more modern sound or something in between? I tend to approach mixing with a concept. So choosing between the SSL E/G with your eyes shut is a good way to add a tiny bit of variety to your mix. His logic is picking an EQ at random, or not picking a certain EQ because you've already used it on a however many other tracks, will naturally get you closer to a non-linear and more 'analog' sound. Useful to know the subtle differences, but mix with your ears and not your eyes and you'll get great results either way.īut to answer your question: there was a video with Andrew Scheps where he talks about why he chooses certain EQs when mixing ITB. Also, the E is capped at +15db while the G can go up to +20.Į is pretty straight-forward, G has a little dip before it goes up (there's a name for this, not sure what it is though).Īt the end of the day, it doesn't really matter all that much. You'll notice the G has an adaptive Q and gets narrower the higher/lower you go whereas the E maintains its shape. Here's some visual references (white = E, red = G):

Waves ssl 4000 channel