Waves ssl e channel vs uad how to#
Waves ssl e channel vs uad manual#
Waves ssl e channel vs uad plus#

Only 64bitfp audio files gives you the dynamic range to achieve this. This requires a higher gain level in most cases, and sometimes a lesser one to achieve this. To really bring out the idea of analog emulation you need to be able to replicate analog nuances like higher gain stage, because in theory, and especially with Wave's plugs, each of these plugs operate best in the sweet spot. I would also switch on the 64bitfp audio file format and up sampling facility to get the best out of the Wave's plugs. This means the NLS is the last effect in the chain and you would put the SSL channel strip before. The other way to use the NLS plug is as above suggested as a summing box, which I recomend if you're like me and only a few instruments are acoustic. If you want to put a DT effect or something along that line as well - you can put it after the SSL.just leave enough headroom for the DT effect - mostly I use these types of effects before any compression and EQ processing. If the OPs uses the plugs this way, then the SSL channel strip would come second.

Of course all processing is done non-destructivly. Think acoustic instruments, and as the above post suggests this is for colouring of the input of the audio signal. The first at the beginning of the signal chain, which I don't use very often, and would only use if I was going to create an almost exclusively analog track.

Waves ssl e channel vs uad how to#

And even though it may appear obvious to some - you should still really think about it and then decide how to employ these console emulators.Īs two of the posters above have suggested, there are two ways to use these plugs. I believe that I may have the best understanding of this question, as I spent some time fathing about in the beginning with this very same question. A word on the ProChannel, don't get to hung up on it, it is nothing more than a glorified FX bin, nothing special or remarkable about it, or what it contains, you can achieve exactly the same using a plain old FX bin, it's pretty much a gimmick IMO, of course the fanbois would disagree, but whatever makes you happy As for the SSL, always first, but again, if you think it sounds better elsewhere, by all means.

Waves ssl e channel vs uad manual#

But in the end put them where you think is best, I have found the way the manual says works best of all, and it is certainly noticeable. To simulate console preamp coloration - The NLS Channel is placed on the first insert of your DAW audio tracks, and the NLS Buss can then be inserted at any point on the Buss or Master track. The NLS Buss is placed on the first of the the master track or any other buss, just as the stereo return would be routed from the analog console back to the DAW.

From the Manual As a virtual summing box or summing console - The NLS channel is inserted on the last insert of the DAW audio tracks, like a direct out routed to an analog console. NLS certainly makes a difference, on tracks/channels the idea is to place it last in the chain, on buss's you place it first. emulations can do because of the character of their eq and dynamics. If there are only a few tracks I’m not convinced NLS makes much difference, but the SSL, Abbey Road etc. As should the master, or if you mix to a stereo bus which then feeds the master that bus instead. a reverb bus, should also have console and tape emulators of their own. Not forgetting that any auxiliary busses/send channels, e.g. I generally short-cut the decision making and put them last, or next to last if I’m using a tape emulator as well.

Waves ssl e channel vs uad plus#

So in that kind of setup you have channel->tape->channel, plus whatever else is being used to process the audio. Which then feeds its audio back into the mixer via another channel. Once the audio passes through the mixer, in a tape based setup it goes on to the tape recorder. Processors placed on aux busses then get fed into the mixer via other channels. Which might be pretty much anything really. So to my mind they go after anything that would be used as an insert effect/processor. Then may be passed to inserted processors then on to the eq and channel fader. Generally I go with putting NLS at the end because that seems to be where it has most of its limited impact.Īs for the SSL or similar console strip emulations, in a mixer-based studio the signal usually gets passed through the preamp. If you look at how analogue consoles are used there are arguments for placing them at the start of the processing chain, at the end and in the middle.