I have! I find it works very easily to smooth out peaks, but it's a little too grabby for anything heavy handed - so better chained with something like custom opto or 1176 behind it.
@@WeissAdvice I have watched now and found it instructive, particularly how you used the gate. I seldom use gate on channel strips as I'm working on sampled drums but this gives me some ideas. Thank you.
Very thorough explanation for the FG. Just downloaded it & can't wait to see what it can do for some house music thump. Thanks for the video. Where did you get the wrist pad in front of your iMac keyboard? My wrists could sure use some relief haha
Do You prefer vocals that has been recorded further away than usual (50cm or more) and then bring them forward with compresion or regular distance? I found that voice bands are more even, there is not such proximity effect going on and less sybilance. But you need good preamp with low impedance… Can something like this be obtainable with uad neve preamp im talking about unison technology where they claim that impedance is physically changing while switching to LO Z mode for example.
As always it depends on the circumstances. Most of the time, I like a fair amount of space - but has to be in a well controlled space and has to be a vocal delivery that projects a little. If the space is too roomy (in a bad way), or if the vocalist is performing in a talk or whispery style, closer is better.
as for the impedance, I could be mistaken about this but I don't believe source sound level should change what impedance you're using. LO-Z impedance is for microphones, and if you have a variable range of lo-z you want to bridge the impedance to the mic spec. There are people who claim you can get certain benefits from mis-bridging your impedance from the mic rating, but I've found it's either (a) inaudible, or (b) bad.
The weird thing is I've never been enthralled with the SSL on board dynamics. So it's hard to make a comparison. I also haven't done a console mix in about five years. And when tracking on an SSL I'm usually using outboard comps. My experience with the SSL channel comp is that I would click it in - and either get not enough compression, too much compression, and an action that either felt pumpy or let these weird low end transients pop through. SO: this would be the first time I've actually enjoyed using this kind of comp and got results that I genuinely like. But that might also come from inexperience with the hardware.
Nicely explained :) Thank you Weiss
Thanks Dipshankar!
Matt is very good explainer - and adviser.
Thanks Phil!
Great informative content Matthew 👏🏽
Have you used it on Vocals yet and what’s your experience with that?
Btw (nice beard 👌🏽😅)
I have! I find it works very easily to smooth out peaks, but it's a little too grabby for anything heavy handed - so better chained with something like custom opto or 1176 behind it.
@@WeissAdvice awesome, i will try that :-)
Haven't watched yet but from the title I guess this is applicable to other SSL emulations? e.g. Waves and Plugin Alliance?
More or less. The linear release and the mix knob do make this a bit unique - but the thought process and experimenting would be the same.
@@WeissAdvice I have watched now and found it instructive, particularly how you used the gate. I seldom use gate on channel strips as I'm working on sampled drums but this gives me some ideas. Thank you.
Very thorough explanation for the FG. Just downloaded it & can't wait to see what it can do for some house music thump. Thanks for the video. Where did you get the wrist pad in front of your iMac keyboard? My wrists could sure use some relief haha
It was built into the desk when I bought it. And yea, it's nice to have it.
@@WeissAdvice Oh okay thanks for the reply! Subscribing
Do You prefer vocals that has been recorded further away than usual (50cm or more) and then bring them forward with compresion or regular distance? I found that voice bands are more even, there is not such proximity effect going on and less sybilance. But you need good preamp with low impedance… Can something like this be obtainable with uad neve preamp im talking about unison technology where they claim that impedance is physically changing while switching to LO Z mode for example.
As always it depends on the circumstances. Most of the time, I like a fair amount of space - but has to be in a well controlled space and has to be a vocal delivery that projects a little. If the space is too roomy (in a bad way), or if the vocalist is performing in a talk or whispery style, closer is better.
as for the impedance, I could be mistaken about this but I don't believe source sound level should change what impedance you're using. LO-Z impedance is for microphones, and if you have a variable range of lo-z you want to bridge the impedance to the mic spec. There are people who claim you can get certain benefits from mis-bridging your impedance from the mic rating, but I've found it's either (a) inaudible, or (b) bad.
@@WeissAdvice thank You!
Thanks man! super informative
Thank you!
Cool video. How did you think it compared to the hardware?
The weird thing is I've never been enthralled with the SSL on board dynamics. So it's hard to make a comparison. I also haven't done a console mix in about five years. And when tracking on an SSL I'm usually using outboard comps. My experience with the SSL channel comp is that I would click it in - and either get not enough compression, too much compression, and an action that either felt pumpy or let these weird low end transients pop through. SO: this would be the first time I've actually enjoyed using this kind of comp and got results that I genuinely like. But that might also come from inexperience with the hardware.
Nice beard, dude!!! 😎
Thanks my guy!
That shirt though!
even as an adult, I enjoyed it LOL