I work on ssl4000g in the studio and this is literally how I set up compressors on almost all sources. There’s kinda narrow sweet spot on preamps on a real thing if you want use small ratios on a channel compressors. To mush gain = overload indication led lighting up (good on percussive stuff and guitars but can be nasty on vocals or other melodic sources), too little = no compression even at lowest threshold until you crank your ratio up to 4-6. So basically i turn threshold all the way to the right (lowest), set up my preamp gain to the 3-5 db gr on a compressor and then use small fader (in fader reverse mode) to feed signal to my adc (usually it stays at -5 to -10 position to avoid any clipping)
And man I’m so in love with low ratios of ssl channel compressors. Yes they can do heavy lifting too, but 1.5-2:1 sounds so beautiful on all kind of things
This has long been my default method to start every compressor - hardware & software - as it makes perfect musical sense. This method naturally results in an ‘evening’ of an instruments volume at the lower end of the ratios, which is often the goal, while simply increasing only the ratio eventually turns it into a sucking beast. I learned this on my UREIs long before plug-ins and tried it early on with my Waves C1, the first compressor plug-in I ever owned. The habit stuck. A very quick and intuitive way to use compressors.
Hi @Lanewood...and thanks again for your vids. Just a couple of personal thoughts 1. Dont use the input path filters; in the bx version, you use the hicut on the sidechain of the compressor by using the hpf trimpot under the threshold knob. this keeps the body of the kick 2. You can ditch the gain stage plugin and use the input gain located above the TMT logo; use this to gain stage and simultaneously calibrate the input signal using the vu meters in this plug/feed in to compression. If the track is out by too much, use clip gain on the recording so its locked in to at least as close as poss (-18/20) to start with. 3. You can get much better control by a. setting ratio to eg 3:1 b. setting the threshold to -20 (this becomes the gain stage threshold now) c. now use the iinput gain to actually adjust your compression to taste as you have done eg 3-6db. This automatically sets levels in>out at -20db 4. Add thd to taste for transient rich material 5. You have the Vgain knob up quite high...this just add 'realistic' hiss...turn it off...unless it was something you were wanting in your mix 🙂 The end result is now quite similar ie 1 knob to control it all but in this case it becomes the input gain to the channel. This trains your ears to proper gain and ratio impact. Using the input trim is how you would use it on the desk. HTH
Wow, thanks for all the great tips. Related to 2, I use the gain stage plugin on all channels for the console emulation as well so I have it there anyway ;).
That makes a lot of sense. The SSL rackmount version is switched though, so you cannot do that, but one can do this on any other compressor with a freely rotating ratio knob.
This is a cool trick but you could just have pressed "dyn SC" to make sure the compressor still reacts above the desired frequency without making your audio track thin.
Excellent tip! Can't wait to try it out. I think it also adds a slight bit of color and presence. Love it! I wonder if this tip also works with API or NEVE emulations as well :) Thanks for all you do!
Thank you! I actually have a couple of videos about that. One video about how I use OSB to record these videos and one video about how to make money (not) with RUclips videos.
why not use the compressors internal hpf for the comp detection? I understand that on the snare/ac but with the kick one could argue just to leave it, and let the compression eat the lowest of the lows
I suppose that it’s always interesting to share techniques. Yes, I’ve tried this but I don’t really use it regularly. First of all, when I sweep the “high-pass filter,” I always listen for the “thinning out” of the sound, then I turn it anti-clockwise. 90% of the time I set the EQ tone be “pre-dynamics.” I also set the “release time” and “attack time” in accordance to what I’m applying compression to. I DO use the bx SSL 4000 as my personal favorite “SSL-type” channel strip. I’m very wary of “tricks,” andi always listen to what I’m doing. How can there be a “trick” which works on any type of audio in every situation? I’ve assisted Andy Wallace years ago and thought that I would “steal all of his tricks”! Guess what? After working with him for months, I found that he had NO tricks. He concentrated and listened very, very hard; that was his “trick.” Thank-you.
Thanks for adding your real-life experience on working with such a legend. And yes sure, always listen to what it does. It is a 'known' technique with people working with the hardware though (see some of the other comments too) so I thought it would be worthwhile to share.
i like the sound tis trick produces. there is however a ssl channel strip it doesnt really work on. its the 4kb ssl native version. that one has stepped ratio so to go from 0 to 3:1 on the first click which is usually too much with the threshold dimed
Mhh, it all depends on what you are trying to achieve. This method does not take that to account. It is like: DO this and see what is coming out. As audio engineers it should be the other way round.
Bingo, They are a RUclipsr and RUclipsrs love showing you how great they can make an isolated snare sound. You can get a better (yes better) snare on a mackie mixer but so what. I’ve put songs on the radio where the bass was out of phase and the snare sounding like a trashcan lid. But hey, the song was better that way. Here’s how a mixing channel should work: “Hey guys, here is my music. This is the kind of thing I make. If you want to make something like this, I’m going to show you how I did it.” It’s honest and to the point. 90% of RUclipsrs have never even made a record. They a have a band or something (if that) and give out tips like this. I see about 3 things things in this one video I would highly recommend not doing but hey what do I know.
@Ryan-rn3cf thanks for your honest opinion. It’s not a technique that I came up with, I’m just sharing it as another tool in the toolbox. It’s up to you what you do with it of course.
Nope? Why would you want to do this on mixbus it's way too much what you would want to use for mixbus...😄 For mixbus SSL has dedicated bus compressor which was designed to be used on mix bus or drum bus and it glues things nicely together and adds punch if you want that. This technique is for individual elements for groups check out SSL bus compression techniques on RUclips. Cheers!
![[TF2] The Russian Bear Trap](http://i.ytimg.com/vi/YFNSwz2_rOA/mqdefault.jpg)
Have you tried it or know where it's coming from? Let us know in the comments :).
I work on ssl4000g in the studio and this is literally how I set up compressors on almost all sources. There’s kinda narrow sweet spot on preamps on a real thing if you want use small ratios on a channel compressors. To mush gain = overload indication led lighting up (good on percussive stuff and guitars but can be nasty on vocals or other melodic sources), too little = no compression even at lowest threshold until you crank your ratio up to 4-6.
So basically i turn threshold all the way to the right (lowest), set up my preamp gain to the 3-5 db gr on a compressor and then use small fader (in fader reverse mode) to feed signal to my adc (usually it stays at -5 to -10 position to avoid any clipping)
And man I’m so in love with low ratios of ssl channel compressors. Yes they can do heavy lifting too, but 1.5-2:1 sounds so beautiful on all kind of things
Great, thanks for adding that experience on the SSL hardware!
I learned this trick a few years ago and I use it all the time mostly in the kick. Gives it that extra cool punch I love.
Great 👍.
This has long been my default method to start every compressor - hardware & software - as it makes perfect musical sense. This method naturally results in an ‘evening’ of an instruments volume at the lower end of the ratios, which is often the goal, while simply increasing only the ratio eventually turns it into a sucking beast. I learned this on my UREIs long before plug-ins and tried it early on with my Waves C1, the first compressor plug-in I ever owned. The habit stuck. A very quick and intuitive way to use compressors.
That does make quite a lot of sense actually, ease into the compression until it's enough ... thanks for adding that!
Hi @Lanewood...and thanks again for your vids. Just a couple of personal thoughts
1. Dont use the input path filters; in the bx version, you use the hicut on the sidechain of the compressor by using the hpf trimpot under the threshold knob. this keeps the body of the kick
2. You can ditch the gain stage plugin and use the input gain located above the TMT logo; use this to gain stage and simultaneously calibrate the input signal using the vu meters in this plug/feed in to compression. If the track is out by too much, use clip gain on the recording so its locked in to at least as close as poss (-18/20) to start with.
3. You can get much better control by
a. setting ratio to eg 3:1
b. setting the threshold to -20 (this becomes the gain stage threshold now)
c. now use the iinput gain to actually adjust your compression to taste as you have done eg 3-6db. This automatically sets levels in>out at -20db
4. Add thd to taste for transient rich material
5. You have the Vgain knob up quite high...this just add 'realistic' hiss...turn it off...unless it was something you were wanting in your mix 🙂
The end result is now quite similar ie 1 knob to control it all but in this case it becomes the input gain to the channel.
This trains your ears to proper gain and ratio impact. Using the input trim is how you would use it on the desk.
HTH
Wow, thanks for all the great tips. Related to 2, I use the gain stage plugin on all channels for the console emulation as well so I have it there anyway ;).
I'm not sure who came up with it first, but I have seen Joe Barresi do it and mention it in a "this is the way" type comment.
Yes I've heard that reference before actually, thanks for reminding me!
I have doing this a couple of years now . Got the tips here on youtube in one of the mix chanels🤗👌👌👌
Ah yes it was featured on some channels, just not as heavily as the Pultec trick for example. I understand that you like it 😎😉
That makes a lot of sense. The SSL rackmount version is switched though, so you cannot do that, but one can do this on any other compressor with a freely rotating ratio knob.
👍
I do this as a vocalist aswell, works great. Solid video!
Thank you!
Nice trick … gonna try it with other compressors as well 😊
Yes please do and let us know how that works 👍.
I like the Amek 9099 Compressor for the punch, and I like the low pass, high boost on a vocal. The gate is also really nice
Thanks for sharing.
Thanks for this. Great video. I’m a big fan of this!
My pleasure!
This is a cool trick but you could just have pressed "dyn SC" to make sure the compressor still reacts above the desired frequency without making your audio track thin.
Sure, good idea 👍
Excellent tip! Can't wait to try it out. I think it also adds a slight bit of color and presence. Love it! I wonder if this tip also works with API or NEVE emulations as well :) Thanks for all you do!
Thank you and just try it 😁😎
I was curious to hear that in the main buss for the entire mix. Maybe not as much as 3 to 6dB but up to 3dB would be interesting to see what it does!
Give it a go!
Great video! Tried it myself, good sound. :)
Cool, thanks!
Great job! And would love to see a video on how you create your content. You are pretty good at it!
Thank you! I actually have a couple of videos about that. One video about how I use OSB to record these videos and one video about how to make money (not) with RUclips videos.
I love this trick, I use it all the time! Is there a general setting for the gate too?
Not that I know of.
why not use the compressors internal hpf for the comp detection? I understand that on the snare/ac but with the kick one could argue just to leave it, and let the compression eat the lowest of the lows
It’s not my technique but I believe the idea is that you don’t want the very low end to trigger the compression too much.
I suppose that it’s always interesting to share techniques. Yes, I’ve tried this but I don’t really use it regularly. First of all, when I sweep the “high-pass filter,” I always listen for the “thinning out” of the sound, then I turn it anti-clockwise. 90% of the time I set the EQ tone be “pre-dynamics.” I also set the “release time” and “attack time” in accordance to what I’m applying compression to. I DO use the bx SSL 4000 as my personal favorite “SSL-type” channel strip. I’m very wary of “tricks,” andi always listen to what I’m doing. How can there be a “trick” which works on any type of audio in every situation? I’ve assisted Andy Wallace years ago and thought that I would “steal all of his tricks”! Guess what? After working with him for months, I found that he had NO tricks. He concentrated and listened very, very hard; that was his “trick.” Thank-you.
Thanks for adding your real-life experience on working with such a legend. And yes sure, always listen to what it does. It is a 'known' technique with people working with the hardware though (see some of the other comments too) so I thought it would be worthwhile to share.
👍🏻👍🏻👍🏻
Thanks!
i like the sound tis trick produces. there is however a ssl channel strip it doesnt really work on. its the 4kb ssl native version. that one has stepped ratio so to go from 0 to 3:1 on the first click which is usually too much with the threshold dimed
Ah yes, if the ratio is stepped I can imagine it might not work well. Thanks for adding that!
Andy Wallace ? Was this mixer the one that made it famous ?
I don’t know, was it?
Mhh, it all depends on what you are trying to achieve. This method does not take that to account. It is like: DO this and see what is coming out. As audio engineers it should be the other way round.
Fair point yes!
Bingo, They are a RUclipsr and RUclipsrs love showing you how great they can make an isolated snare sound. You can get a better (yes better) snare on a mackie mixer but so what. I’ve put songs on the radio where the bass was out of phase and the snare sounding like a trashcan lid. But hey, the song was better that way.
Here’s how a mixing channel should work: “Hey guys, here is my music. This is the kind of thing I make. If you want to make something like this, I’m going to show you how I did it.” It’s honest and to the point. 90% of RUclipsrs have never even made a record. They a have a band or something (if that) and give out tips like this. I see about 3 things things in this one video I would highly recommend not doing but hey what do I know.
@Ryan-rn3cf thanks for your honest opinion. It’s not a technique that I came up with, I’m just sharing it as another tool in the toolbox. It’s up to you what you do with it of course.
It's just something to know about and an option you can try.
Wait are you dutch ? I'm hardly noticing
Yes I am 😇
Can i use this trick in mix buss? please reply thank you!
Nope? Why would you want to do this on mixbus it's way too much what you would want to use for mixbus...😄
For mixbus SSL has dedicated bus compressor which was designed to be used on mix bus or drum bus and it glues things nicely together and adds punch if you want that.
This technique is for individual elements for groups check out SSL bus compression techniques on RUclips.
Cheers!
It wouldn’t be my first choice on the mix bus either but you can always give it a try and start a new trend 😉.
no dude, on your mixbus u want something rly subtle