Do they offer anything you couldn't get by using separate EQ and compressor plug-ins, or are they just a clever marketing trick to get us to buy more plug-ins? And which ones shine from the bunch?
WAVES SSL 4000 PLUGIN PRO
There has been a mild explosion of channel strip plug-ins in the Pro Tools universe recently, so I thought it would be good to take a look at what makes them tick. It saves on insert slots, but do channel strips offer any other benefits, and which ones stand out from the crowd? People who worked with that level of equipment mostly commented on how awful it was.The trend among plug-in designers is to integrate commonly used processes such as EQ and compression into a single plug-in. Heck, some of it was recorded in studios where you had to request an equalizer, which would be wheeled in on an equipment trolley. The music recordings that mean most to me were often recorded on equipment that was fairly basic. While this is a very pleasing feature, it should be possible to get close to any given setting using a fully parametric EQ – as long as you're prepared to take the time. For instance, some world-class EQs vary the 'Q', or bandwidth contour, depending on the amount of cut/boost. What you tend to lose is operational convenience, which is a different story. What all of them do is manipulate streams of digital data, so with patience, it 'should' be possible to make one digital EQ sound quite like another, for instance. I am absolutely sure that the musically talented and technically tenacious among us can get most of what they need from a relatively small number of plug-ins. (It's $149 today but I've seen it at $99.)ĮDIT: Just discovered the Web is awash with impulse responses from major-league reverbs for the IR-L. Better still, the plug-in version is stereo, whereas the hardware original was mono. Most of the time, it has a usable setting before you've even touched it, and the threshold and compression ratio controls are the only ones you're likely to need on a regular basis.
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I like the basic sounds but it doesn't seem to come with the vast amounts of factory presets I thought it would, so I need to find time to revisit that because I think I need to download the library of impulse responses.Īt the risk of sounding like a Waves salesman, their dbx 160 plugin is great for keeping individual tracks under control without being confronted with a bewildering array of options. I also bought the Waves IR-L reverb on a silly deal (ie not $249).
Fezz uses a Lexicon plug-in to great effect.
The Eventide Ultraverb is my weapon of choice, although it's quite dense and dark by modern standards. I quite like Space Designer as a sort of 'speciality reverb' in conjunction with something else.
Meanwhile, I've got pretty good results running the Logic Adaptive Limiter after the SSL Buss Compressor.
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So I need to install the version 8 licensing system on another computer, then transfer the licence onto a USB stick, which I'll need to plug into my computer just to get the licence recognised. Yes, it's never-ending, isn't it? The annoying thing is I bought one of the UltraMaximiser's but I can't get it working yet because my OS is too old for the latest Waves Licensing system.
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