Waves SSL 4000 plugs vs. SSL 4000

bigwillz24

bigwillz24

New member
Has anyone had a chance to compare? In other words has anyone did a mix a real SSL 4000 and then one ITB and compared them?
 
You're gonna get mixed replies. I've worked on the 9000J and I can tell you right now, it would take some serious programming to mimic what an SSL does.

I've been eager to try out the plug-ins myself, but when I ask some of the engineers I work with about it, I get mixed replies. I'm particularly interested in seeing how the mix buss compression compares.

Some say they are extremely true to the original spec. Others say they are a total jip. Yet others say that the waves edition of the SSL plugs are not as faithful as the actual SSL plugs and get pretty close.

So I want to say that you'd get what you pay for, and that you could expect to have a little faith in the programming. But for those who are not so lucky to get on an SSL, I can't see why it would hurt anyway.
 
You're gonna get mixed replies. I've worked on the 9000J and I can tell you right now, it would take some serious programming to mimic what an SSL does.

I've been eager to try out the plug-ins myself, but when I ask some of the engineers I work with about it, I get mixed replies. I'm particularly interested in seeing how the mix buss compression compares to the real thing.

Some say they are extremely true to the original spec. Others say they are a total jip. Yet others say that the waves edition of the SSL plugs are not as faithful as the actual SSL plugs and get pretty close.

So I want to say that you'd get what you pay for, and that you could expect to have a little faith in the programming. But for those who are not so lucky to get on an SSL, I can't see why it would hurt anyway.
 
You're gonna get mixed replies. I've worked on the 9000J and I can tell you right now, it would take some serious programming to mimic what an SSL does.

I've been eager to try out the plug-ins myself, but when I ask some of the engineers I work with about it, I get mixed replies. I'm particularly interested in seeing how the mix buss compression compares to the real thing.

Some say they are extremely true to the original spec. Others say they are a total jip. Yet others say that the waves edition of the SSL plugs are not as faithful as the actual SSL plugs and get pretty close.

So I want to say that you'd get what you pay for, and that you could expect to have a little faith in the programming. But for those who are not so lucky to get on an SSL, I can't see why it would hurt anyway.
 
heheh. Props for that, Massive Master.

I've always wondered, since I've never had "big" studio experience, what's so special about the whole SSL master strip EQ-whatever? I know my shit on the home side, but some of these pro things confuse me.

Is it just a extremely precise and good sounding EQ mixed with the master compression of the console, or what? I use Waves RComp and REQ, and both of those seem to work extremely well, so why the need for the SSL plug? I'm not trying to talk it down, I'm just extremely curious. I'm going to school for this, so it'd be nice to have a heads up on why this stuff is so good.
 
Fireal402 said:
heheh. Props for that, Massive Master.

I've always wondered, since I've never had "big" studio experience, what's so special about the whole SSL master strip EQ-whatever? I know my shit on the home side, but some of these pro things confuse me.

Is it just a extremely precise and good sounding EQ mixed with the master compression of the console, or what? I use Waves RComp and REQ, and both of those seem to work extremely well, so why the need for the SSL plug? I'm not trying to talk it down, I'm just extremely curious. I'm going to school for this, so it'd be nice to have a heads up on why this stuff is so good.
Click to expand...

It's more the "color" that it imparts on the tracks.
 
But as the color is an artificially added thing, can't it be achieved by using pretty much any EQ and just fucking with it?

I'm waiting for the TC Powercore Firewire in the mail, so maybe I'll answer my own question. I've only ever used Waves, the EQs in logic, and the EQs on my Soundcraft (which admittedly do have a "warmer" sound), but I've never noticed any major differences. Lack of experience I guess.

I understand why various comps are different, but somehow boosting and cutting frequencies seems pretty straightfoward to me, and not really allow for much variation.
 
Ahh, sorry bout that.

That makes more sense then, as it's physical components that make the EQ, not software representations. OH GOD!! EPIPHANY!!! The software emulates the resistors and whatever else, and that's why it's so desired!

Thanks for tipping me off to the answer, I was dumb and didn't comprehend it at first.
 
There are huge differences. EQ is not just EQ just like a car is not just a car, a guitar just a guitar etc.... Something like a big SSL adds beautifully musical sounding EQ's on EVERY channel, and some of the best two buss compresison around. It also adds an excellent automation set which allows the engineers to create complex mixes with complex automation but still stay in the all so familiar analog realm where you really get to "feel" things.

Think if it as if you were a painter. Sure you can make some cool stuff on the computer as well, but you would probably always miss using the canvass and the brushes. Basically, each different method has its own unique advantages and disadvantages. The advantage that the major studios have is the raw sound quality capabilities and the sheer amount of options that are ALL of excellent quality as opposed to the home recordist who typically has a slew of tools, but only a couple cherished pieces so in many circumstances compromises have to be made. In a big studio, there are no real compromises except the sheer budget it takes to stay there.

Then there is the whole analog summing thing and the difference in imaging and depth that comes form a console as opposed to ITB stuff. I am not trying to start a debate, but as someone who constantly switches, there is a difference. Not always good, not always bad, and not always even huge, but different none the less.
 
Mucho thanks for the deep explination. I'll be moving back and forth between the two at school, so thanks for the heads up on the differences. At Berklee, their studios were pretty tight.
SSL 9000's in like every room GML EQ's out the ass, more U87s than you could shake a stick at. And maybe someday, I'll own my own kickass studio. I guess that's the goal of most of us here.
 
But wouldn't you think the advancement in home recording quality wise is putting pressure on big studios? I know most artists have their own mobile studios now, but they all probably go to the big ones for actual tracking. But that fact alone could mean less business. Look at Korn. I know they suck, but they've got a Euphonix on their tour bus, a mini studio with awesome shit.

I might be reading into this wrong though, because not having to worry about anything but the music is where we all want to be, and we're stuck with PCs that crash, hardware that burns out, and not enough money to get that damn preamp that sounds so good.

So therefore, we pay big money for the big easy (so to speak). Am I right? Did I just paraphrase what you said? If I did, sorry, I've got ADD and I tend to skip over parts without realizing it.
 
LeeRosario said:
Yeah, I didn't know if my thing was messed up. The forum was acting funny at the time.

My apologies.
Click to expand...
Hey, don't apologize - I don't get a chance to do a "made for TV" moment like that too often... :D
 
To some extent, advancements in home recording has put some pressure on the big studios. Not like people seem to think though. What has really put the crucnh on the big studios is the sheer amount of them, and peoples willingness to try and do it themselves. I am not sure that using the Korn analogy works though. First, a Euphonix is DEFINATELY not a peice of home recording equipment. Second, who knows what and how those tracks are actually used for. Some of the big studios have gone under, but there is more to all of those stories than most of us know. I have also seen a bunch of big studios expand. There is also a large influx of big name artists building their own million + dollar "home studios', but they still hire the big guns to do the work for them (production, engineering etc....).
 
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