5 Reasons this is BETTER than your Software!
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- Опубликовано: 2 июл 2024
- Plugins are great, but they DO have disadvantages. Here's a list of why you might want to consider some hardware, as well as some basics on how an audio compressor works! Check it out here: www.solidstatelogic.com/produ...
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Without doubt the best compressor explaination ever, nice
to this day i recommend every single person to watch Kush audio about compression. Its simply the BEST
Fab filter also does awesome compressor/midside tutorials too.
If there is one thing we can learn from this video, it's how to absolutely market the crap out of something even when really good low-cost alternatives exist.
Grab a free Variety of Sound compressor-y'know a software compressor that actually saturates the signal like analog gear-with a non-linear response to get that aggressive sound and map the controls to a controller with knobs on it.
Not saying it's a bad hardware compressor. The mix sounded great (better with the hardware but still good even without all the extra saturation on the software mix), but the best thing in this video is unfortunately Glenn's marketing skills.
Dude your mixes these days are to die for. I don't know what has changed (not attributing it to this hardware compressor of course). Just over all. Unique and Massive sounding. Nice
Step 1 is getting an excellent recording. What happens BEFORE the converters matters A LOT!
F that step up and the mix can't be as good as it could have been.
From what I remember, SSL Native plugins do not have the saturation that the analog does (or any at all for that matter). So no wonder why the analog gets aggressive faster.
The right plugin has. Glenn took the wrong one, the SSL 4000B is another SSL plugin (not for regular sale but part of a subscription) and it has loads of colour
I use SSL's VST's for their console stuff, pretty good match to my 9000J channel strip for everything I've thrown at it.
The E switch seems to work as advertised as well.
they get aggressive and yet somehow don't get that unnatural pumping with the compression so there is that.
I would have liked to see the difference between the hardware and the SSL 4000B channel strip plugin as Channel strip 2 is based on a 9000 series console. Would love a stack of these but I don't want to get out of the box because that seems like it will open my wallet too far hah.
I'm sure you're working on the counter argument video for this one; though the there aren't too many cons to hard ware. But the few I can com up with:
1. It takes up physical space that could be at a premium where you live.
2. Increased energy costs. Now this might not be that crucial of a deterrent, but it will require power. The more things are plugged in, the more power consumed, the higher your bill.
3. It just works, until it doesn't. Analog components breakdown over time. If the company goes under, you're stuck fixing it yourself, and electronic components aren't as easy to find these days.
4. Much more difficult to move. Should one have to move house, and the rack in which they're mounted isn't portable where the cables can be unplugged and a couple if lids clamped on the front and back. The entire assembly would need to be broken down, packed, moved, unpacked and reassembled.
5. Mixes have to be bounced in real time. Granted, the time this takes can be gained from what wasn't spent mucking about with plug-ins. (Provided that you don't have a mix template made with all your routing, plug-ins (and the preset selected) as a sort of digital "set and forget".)
I'm thinking of going outboard for dynamics, so this video is right up my alley. But you're missing all the things that are making me hesitant. Like:
- You first need to buy a good 500 series rack.
- Let's say you have a couple of compressors. You are never going to get enough to do the entire mix, so you're going to have to bounce the track every time you use compression.
- Even if you can get the sound quicker, it's a painfully slow process to re-record every track.
Fair point on the 500 series rack. Those can get really expensive.
On the other two points. Most people just use outboard gear for specific things. Like snare, vocals.
So you are usually pretty solid with 4 or 5 compressors.
Wish they would make these things in 19 inch rack form with regular connections. That would be a fantastic deal!
Fredenstien makes a good one that’s budget friendly - and companies like WesAudio make hardware with a software interface- so u can store mix specific info - similar to the new 2254’s by Neve
Hey Glenn. What you're comparing here is not Hardware/Software, but entirely different compressor topologies. 4K B compressor is a *FEED-BACK* compressor, while 4K E&G, 9K J&K are *FEED-FORWARD* . Of course they would sound different. SSL has a 4K B plugin channel strip, you should've used it instead to make it a fair fight...
Love your videos. ❤
Oh and also, 4K B comp reacts to peaks while 4K E&G, 9K J&K react to RMS signal.
Thank you! You explained more about compression techniques in 2 minutes than most other tutorials that take 18.
Well done! The presentation of the material was concise, and with proper support of the product's advanced offering(s). I must also commend you on the example of contrast between hardware versus the typical software option. Finally, pointing out the relevance of overall cost with the added value of purchasing one unit at a time, and pure ownership of that module. A distinct wonder what you can do without a crew.
Usually is really hard to tell through yt the differences between one gear or the other, but it's super noticeable, specially how the snare comes to live with hardware mix. Great example, and greater mix!
I have been looking at a lot of hardware for audio editing. This is a great video. Thanks for the info.
Love your videos! And thanks for explaining compressors. \m/ gonna watch your in-depth video on them next!
Thanks man I always love a compressor review from a trusted source.
This is by far the best explanation of compression I’ve heard to date... well done! 👍🏻
I think this is a more subtle trolling video. Reason 1 is just that the SSL plugin is not an accurate emulation of the SSL hardware. Reason 2 could be remedied by just learning how to get the sound you want on a more powerful plugin and creating a preset with some notes. Additionally, you can usually map the "knobs" of a plugin to faders or knobs on a midi controller to achieve a very similar effect to manipulating hardware. Reason 3 is just presets with extra steps if you want to have more than one source for which you use the same hardware module. Reason 4 can be remedied by using plugins with less annoying DRM. No DRM at all (physical) is still less annoying to be sure, but how much value does it add vs the increase cost? Software companies can go under, but software cannot be physically damaged. Learning or purchasing board-level repair for a discontinued product can be a nightmare, incredibly expensive, or both. Reason 5 can be a benefit as well as a setback. If a manufacturing tolerance is a key part of your unique sound and you have to replace that piece of hardware, there goes your unique sound. Labeling the mixes at the end instead of leaving a blind A/B was the biggest tell that this is a troll video. Well done, sir.
He’s wearing a Slurm shirt. He’s on the clock.
@@jrrarglblarg9241 Ahh I see. I'm not familiar with the reference.
@@sitzkrieg8032 From Futurama, a cartoon. Slurm is a soda-type product in the cartoon’s world, highly addictive and made by explointing other beings. It’s a product placement running gag in the show, among other things.
Close your eyes and listen to the snare and kick, you'll hear it.
I think he could have probably tweaked the VST a bit to match though, I can do that with my VST and my racked ssl channel strip.
It's basically as accurate as they can get it. Your other counterpoints aren't actually correct.
great video about why i LOVE hardware. i'm gonna be selling some gear to eventually get some 500 series gear so i can easily get it out and easily transport it.
also I love the SSL gates for some reason. best part of the SSL signal chain that is often underrated. I also dig the compression and EQ, but something about that gate is so easy to set and smooth. Compressor wise i sometimes use it but usually end up reaching for others in plugins. I also think the difference is more felt these days than heard. the results 'feel' like a record. also workflow makes things faster than dicking around with a mouse.
Awesome explaination. I was just in a guitar store 2 days ago looking at noise gates and beside them were compressors. I was asking why i might want a compressor. He said it eliminates transience, and i was thinking "but I like the quirky noises my strings and pick make."
I think that's a terrible explanation, but he's not wrong.
Hey Glenn! thanks for the video, a very nice explanation for this tool, compressors in general and real sound demos, cheers!
You are an absolute champion audio engineer Glenn. That is by far the best compression explanation I have ever seen. I love your videos man \m/
Wow, thanks!
I’d love to integrate some hardware into my set up eventually. It’s not in the budget at the moment, but those 500 series racks seem like a good way to go. I have the SSL Channel Strip plug in, and it’s awesome on drums! Game changer. The SSL bus compressor plug in works pretty well too.
First time watching this and I immediately closed my eyes and just listened to the last bit. I could could hear the differences straight away without looking and it was pretty obvious!
I kinda think that most people need maybe about three or four hardware pieces in their production line and then the rest can be handled by software on a channel by channel basis.
Myself, I use an ART Pro VLA II, an ART TPMS II and a Behringer FX-2000 3-D Virtualizer in my hardware case. Still learning some of the intricacies of all these units, but, I love the fact that I don't have to menu surf through countless screens.
Great video Glen, need more like this.
Ten years ago, maybe a little more, I found that the Waves L2 was a life saver. I know newer stuff is infinitely better now, but back then, Waves L2 was used by me abundantly. It was my best friend. Possibly one of the first really valuable VTS/DSP/Whatever digital interfaces. I haven't kept up with tech since those days, took my career in another direction. But I still like to peek-a-boo what is new and hot in the realm of digital recording tools. I would like to record some stuff for my own interests in the future. Not looking to become commercial, just for fun stuff.
I don't have any hardware yet, but that's the idea i have from it. Strait on point, no bullshit, unique caracter, you actually touch something and the best part: cool lil lights and knobs everyware
I've been building up my outboard gear so I may have to grab one of these 500-series SSL units too! Thanks for the walkthrough, Glenn :)
Slurm ftw!
Great video and even better compressor explaination, I really enjoy this videos. Honestly... both mixes sound great and you can get great results with plugins, but there is a big difference between the two. For me the software sounds kind of generic and the hardware is really something else. What about an EQ hardware vs EQ software? Wich one you think it´s better? Greatings from Chile, thanks for the content and keep up the good work!
Dude great vid! Now what are your thoughts on using a compressor stompbox on your pedal board?
Great video as always!! But what about the "ins and outs"? I have never seen one of those up close, I imagine that this is the case for most of us, so I wonder how do you actually set it up? Where does it go between the computer and the instrument? Thanks Glenn!!
I love hardware. I am an electronic musician and run everything into a 24 channel Mackie console. I sequence my drums and bass with an Arturia KeyStep Pro. It's so nice to reach over and move a fader. It's not uncommon for me to have just one track in Reaper. Currently I only typically use plugs for mastering. A bit of EQ and some light compression. With drums and bass it's nice to just reach over and turn up the bass on the console. Another advantage to mixing on a console is that I can't tweak the mix endlessly. Once it's recorded if I want to tweak the mix I have to re-record everything. It's pretty common for a song to start as a live jam. I mix as I go. Then I might say to myself "that sounds cool, I should record that." The other benefit is that my Behringer interface only has two channels. So I just have the main mix output going into the interface. Sometimes I may do multiple tracks in Reaper and do a hybrid mix.So the drums for example will be one track in Reaper that was mixed on the console.
Same for instruments. I have some fantastic VTS synths. But I hardly use them. I prefer my vintage synths and drum machines from the 80s. There is just something nice about physical buttons and knobs. I am even thinking about adding physical media for recommending. I thinking Mini Disc for digital convince and cassette for some lo-fi flavor. Then that would get recorded into Reaper so I can post it on the internet.
I sounds like the attack and release times are different. the plugin kills more of the transients in this example and releases slower compared to the hardware. But maybe its just because the gain reduction meter didn't kick in at all on the hardware and it just got louder and drove your bus comps harder😅
Not quite… plug-in manufactures haven’t quite figured out how to emulate certain parts of hardware just yet… believe me everyone on the world is trying. It’s not just 1s and 0s, there’s something else going on… one day, they will have it, and it’ll be fucking glorious! But alas, today is not that day.
@@BeatsAndMeats believing sounds a bit too religious for me ;) I have heard enough double AB blind tests on other hardware vs plugins with properly matched levels, matched gain reduction and manually adjusted attack and release times. I respect Glenn and enjoy his energetic style, but this test could have been done better. Output level matching, at least similar gain reduction would be a start. The hardware needs tons of level going in to start compressing, but uses automatic gain compensation on the threshold knob, which makes this difficult though. I am not saying there is no difference at all, it's just not so big as heard here.
Glennnnnnn.
Could you explain the mic signal change?
I have an NT1a that I'd love to run through a compressor before the preamp so I'm not recording peaks.
Would this setup work? And could I run 48v thought a compressor? Or would I be better running the preamp on a lower gain and then using compression and makeup gain?
Thank you and cheers from Scotland
Great video. I just got into playing with bass compression a few weeks ago (I wanted it to be simple) when my Spectracomp pedal arrived. Well, simple is exactly what I got because this pedal has only one knob! It instantly improved my bass tone and leveled out the volume in a major way.
When I first started playing bass I bought a zoom 506 multi effects pedal. Every effect was terrible except the compression was perfect I used it live and ppl always said my bass sounded awesome I always thought it was funny it was such a terrible pedal
@@Durkhead Awesome LOL - I love stories like that
Glenn, great explanation on what each function of a compressor does and how it works. To my knowledge, I have never seen such a simple explanation done in a video before. Most engineers who discuss compression take you into the depths of audio engineering and expect you to understand what they're talking about. Same with an analog mixer. I have never seen a video yet on how to use an analog mixer for a guitar rig using hardware devices in the aux sends. Do you think you could do a video on that?
Two last points.... Regarding the comparison, I could hear more detail coming from the hardware mix vs a more "blanket" tone when using the plugins. Not sure if that was done on purpose but, that's just what my ears heard. Since you raised a good point about hardware vs software.... Would you be up for doing a Pepsi challenge between an Eventide H3000 and the H3000 Factory plugin? I hope that since you're an engineer you have a real H3000 in your studio......
I'm listening with AKG K701 and i think that the main diference could be some saturation, but i could be wrong. The thing where i completely agree is the "not mixing with your eyes" thing. I really feel the difference since i switched to an icon qcon and a softube console 1 for mixing. I know it's not the same thing, but at least i'm not watching the monitor anymore and even if i'm probably a really crap sound engineer at least i'm trying to get better and most important find my sound this way!
I was not prepared to hear you screaming without the comp... THANK YOU FOR THE TINNITUS !
Very good video indeed. This SSL is so efficient on drum and not so expensive for hardware. May I suggest you to listen to the Crane Song Falcon witch is killer on lead shred guitar from hell.
You should definitely try comparing a couple of the other SSL Plugin Emulations, most notably, the BX SSL’s are my favourite straight up SSL plugins, they even model channel tolerances… another great channel strip (especially the dynamics) is the Metric Halo Channel 3. I like the SSL Native plugin, but the lack of harmonics make it a bit too clean, which is what I think you’re hearing as the difference between the plugin and hardware here.
I love SSL and as much as having a big full size console would be absolutely amazing for it’s tactical feel and vibe…(for the record the hardware definitely is still better) but having one channel and having to print all your tracks through it would get wayy too tedius and not worth it compared to the right plugins.
I have an SSL Fusion and the warm audio Bus Comp and use them on my 2 bus to inject some analog mojo into the mix and that seems to be the best and most practical way to get that hardware “sound” without having to constantly be running prints.
Thanks for the vid Glenn! Cheers!
I've downloaded fluffs amped roots plugin and it sounds pretty damn good. However, when I play the audio back while reamping in software, I get 5 figure sample this and that recognised. I know its a synchronisation issue, but I really don't know how to fix it and no youtube video has that exact info on there. Any help would be very much appreciated as my new band are looking to release our first single at the end of this month. And I'm still not happy with 2 of the 4 layers of guitar tracks.
Love from the UK
I honestly felt the hardware just made the drums sound a little more present/louder than the software. I could just be my ears playing with me.
There are certain things that they just haven’t yet figured out how to emulate in software. One of them, is how hardware manages to get everything sounding a little more separated. It’s something literally every software company in the world is trying to figure out. The end result is everything seems a bit louder and clearer without actually being any louder… one day, plugins will get there, but that day is not today.
This is the same tech used in the Loudness Wars fought over earbuds that I've heard some engineers reference but I can see gow it can be applied tastefully
Are they the same settings on software/hardware? Be interesting if it's something to do with it having physical knobs, something to be said for being able to turn knobs rather than a mouse though!
Best explaination of how compression and compressors work.
Really good video.
You also just made the argument against modeling amps.
in this case the metering is liner in the software so the RMS values are misleading - the swings appear less dramatic. You'll be making changes that are over or under what your doing with the hardware. I have the same issue with the control software on the X32.
I miss turning the knobs. Everything regarding the knob turning is 100% correct. EQ, compression, everything. Grab it, turn and you hear instant results. Used to use a G series back in 1989. Now days it feels foreign working in the box. Who even has room for the 2 entire racks it took to run that console back in the day?!? I miss the good old analog days.. I would love to have an SSL Origin console. Thanks for the video..
I have a channel that one day changed and its tone is different from the rest 12 total. At 1st I was pissed, but now I love it. It's my favorite solo channel and second rhythm channel.
Awesome video Glen. I do appreciate it, and it got me thinking about what someone said on a video about modern music.
He basically said all modern music is too noisy...everything is loud, there's no sound difference in any part of the song. Is this a compressor thing or something else??
It refers to modern, commercialised, manufactured crap, I mean pop which I unfortunately have to hear when I go out in public.
Also, I'm sure there are plenty of albums I've heard where they probably use a compressor, but turn it off during some parts of a song.
Cheers mate.
For the past few years I've been mixing with the CLA plugins. I don't touch the faders on the daw. They all stay at zero and I do my mixing on the SSL plugins on every channel. I've had people tell me that my mix has a West Coast sound. And they are exactly right. I never want my mix to sound like New Orleans.
Very cool! Although it’s super nice we have AMAZING plugins today to get the sound we’re after, I can definitely see the benefits of using hardware. Set it and forget it is my favorite point of this video. It’s very tempting to endlessly make the smallest changes that nobody can hear to your mix. Love your channel! Also, are you still doing mix reviews? We submitted our debut song psychopath a long time ago now and greatly appreciated the feedback! Keep doing you and f#%* you Glen 🤘🏻
Would love to have one! This brings up another question for me: where do you find good 500-series chassis that won't break the bank, and happen to be in stock? I'd love to buy/build a CAPI, but they are unobtanium right now.
Glenn, for someone on a budget wanting to get into outboard gear (mic pre, comp) what would you suggest??
You have a passion for recording drums. I have a question in regards to that. My friend is a DJ and he got this hardware called a Rotary Mixer / Isolater. Idk if it could have a significant studio application compared to existing tech but I thought it might be a tool to customize a unique drum sound in a live context or otherwise. I thought you would have a much better estimation of that.
Hey Glenn so I have a question that I can probably answer by googling or youtubing. But do you know of a dial like knob or set of knobs that are ran through the USB and one can control the different things,such as compression or eq, or whatever.? Thanks
Why is the snare so much lower in the softwaremix ? it kinda clouds up the comparison for me.
Glen please do a video on how to hook up external gear like this in a small home studio setup! I'd love if you could do a $2000 setup which includes some external gear!
what are the blurred out amp heads on that drum stool ... too hot for youtube monetization?
I have no doubt the differences were more dramatic in your CR but a couple of things to consider. The cheapest 500 series rack that I found on Sweetwater is the Midas L6 at $279 which holds 6 modules, the SSL B Dyn is $699 each, for 2 + the least expensive rack will cost $1,677 US without tax. The SSL G3 MultiBus Compressor Plug-in is going for about $200 US and can be used on multiple channels. The SSL Bus Compressor 2 Plug-in is going for $330 and it can be used on multiple channels. Don't you use presets on your plugins for repeat sources?
I was listening to the mixes the first time on a good set of earbuds, Grado 250's and could hear NO difference between the mixes but just to be sure listened again on my calibrated headphones and heard only a marginal difference. To me on the calibrated headphones there was a slight increase in punch but not enough to justify a $1.5k difference in price for only 2 dedicated channels of processing. Then again, there is no ROI on recording/musical equipment these daze.
I came up through the daze where we only had analog gear and I don't miss it. I don't miss the heat, the thermal drift, or the noisy pots. For that matter, I don't miss having only a few processors in the rack due to the expense or having to calibrate, demag and align the machines every morning.
I've been using Sonible plugins as they are a tremendous time saver, the AI does a lot of the heavy lifting. The new Smart:Gate is pretty impressive on multiple sources and the Denise Poltergate is great on live drums.
Admittedly, I don't miss analog at all, also I don't primarily record metal but I've been recording since the middle 70's. I've worked on SSL, Neve, Harrison, API, ADM and a bunch of others over the years. One of the things I liked about the earlier SSL consoles was that they had a gate on each channel.
I owned and rebuilt a pair of LA-2A's that had the T4 original control modules. I loved the sound but I didn't love the thermal drift, I sold the pair about a decade ago, the software emulations I have now sound close enough and don't drift at all. I like the ability to close a project and come back and open it later [maybe a LOT later] and it still sounds the same as when I closed it. Couldn't do that with analog gear, there was such a thing as a studio lockout for a mix and I did more than a few 36 hour album mix sessions.
BTW: Most of those that still mix on SSL, Neve or other consoles bought 'em new and are probably still payin' 'em off, the others are just knob jockeys that haven't been able to adapt to the newer technology. A classic Neve or SSL 2000 can be bought cheap but the cost of re-capping is pretty daunting. Don't even bother trying to find parts for the early SSL computers.
That "classic sound" is just an aural quality we are accustomed to, all the great recordings were recorded with the technology they had at hand and mostly wasn't even state of the art for the time.
The trick is to capture a great performance with the tech you have available, there is still no technology available to fix a bad performance. Don't fret, AI will soon make all of us obsolete.
Slurm 🤘🏽…
Built in de esser! Cool comp🤘🏽
What is the gear blurred out in the background?
I have issues with power consumption and, with the sheer amount of computers / audio gear going into this single room, i have tripped the breaker on a few occasions. I just can't use anymore hardware, i have to switch as much over to software as i can. I'm trying to maximize efficiency over chasing after "The Sound", it is what it is.
YAY - THank you so much for doing more 500 series gear - I am really considering picking up the Bluey 500 size. // FWIW I love my SSL SIX such a great piece of gear that I just route to my interface.
Also, have you fucked around with Purple Audio's 500 series gear? I just checked one out from work, and holy shit that thing is amazing. Unfortunately it's kinda expensive.
Just wonder why Glen used the SSL Channel 2 plugin for comparison(which is a 9K emulation) instead of the SSL 4KB plugin emulation, which would arguably be much more close to the hardware
I'm new to your channel, so I might have to dig a little deeper if you've already done this, but I'd sure like to see a 'getting started in the 500 series' video series...
Noob hardware question Here - I'm in the process of building a new studio from scratch. I have the budget and would love to have a 500 series rack, but I'm confused about one thing. In simple terms.. obviously, you cant have one compressor processing multiple tracks simultaneously. So how do you get around that? I understand how to do all the routing in cubase (daw to interface to hardware, back to interface and daw) if I want to use the same compressor for multiple tracks how does one accomplish that? For example, if I have one compressor and want to use it on the snare and kick, how the hell do you "print" the compression settings on the snare track before setting everything to zero and moving on to the kick? Then, if you want to go back and adjust the snare, do you just make notes to know where your settings were at? I assume there has to be a way being I doubt everyone is only using their one compressor for one track.( I havnt found the answer on youtube) i hope this makes sense and any insight would be helpful before I drop the money lol.
My favourite compressor explanation is :
“It’s like your mum when you are playing music in your bedroom …
Threshold is the level at which your mum comes in to tell you to turn it down
Ratio is the proportion you turn it down
Release is how long after she leaves the room that you turn it back up again. “
It's the A/D D/A conversion that causes the difference in quality, it's the same difference between real amps & digital of the same amp !
Reason #6 why I like analog hardware vs. cartoons: If I decide I don't like it, or if I just no longer use it, I can sell it. I can't sell a plugin. I'm just out that money.
BUT... "If the company goes under, who gives a shit?" Me, actually. If I need parts or repairs, can I get them? If it's something like a well-known transistor, then sure, I can buy one off Mouser and perform a repair (or have a technician do it). But if it's a proprietary component made for that unit by the manufacturer, then I'm going to have a much harder time servicing it. As an example, Charter Oak microphones. They're pretty much out of business now, and the toggle switch for the pad on one of my mics of theirs broke. I can't get a replacement part. I need to use a pen to switch the pad in/out. Combine lack of parts/service that with the company's now-tainted reputation on e.g. Gearspace, and I won't be able to sell these mics for anywhere near what they'd be worth with a different badge. However... The mics do still work just fine.
At first I thought… not THAT much difference! But when I heard the full mix at the end… damn. It’s in the snare, where it’s most audible. The software snare sounds like a high-calorie fat burger versus that no bullshit ribeye steak hardware snare. Big difference.
After watching your videos for years, and have asked you about it a few times, I am convinced you are channeling Tim Gilles (RIP Slippy).
I may have been a fan :)
I have zero clue how to get 500 series gear into my box. Like how do I hook these things up?
It sounds good but I don’t know that the difference is worth the money (at least for me.) The difference to my ears is there seems to be more punch and top end in the hardware mix but I think that could be dialed in with compression and eq in the digital realm if you’re cognizant of that. I also like mixing in the box is being able to recall everything quickly. If you get into mixing a lot of stuff recorded in different locations, you’ll have lots of different settings; you can’t just set and forget. To dial in the mix from six months ago might be difficult with hardware. I know a lot of top mixers have gone completely in the box for that reason. Just my two cents. Keep kicking ass, Glenn!
What's the real difference and uses when it comes to compressors versus limiters?
The most recent discipline I studied was sound design through synthesizers and this video explains the exact reason why I want to dump some money into hardware synths.
Granted... xfer Serum, Massive, Kilohearts and Harmor are extremely powerful tools; yet, they will make you scramble for hours tweaking settings and trying shit out.
On the other hand, if I were to just buy a midi controller and some modulators, I'd instead be looking to get the best out of something simple that I can manipulate with my hands and more than likely stumble upon happy accidents.
Like you said, it's an entirely different mindset. And I guess the same applies for guitar gear, at least in experimental phases of recording.
Rad video, as always! Fuck you, sir!! 🔥🖤
I love hardware synths. I have some vintage synths and drum machines from the 80s. My tip is to get stuff that has MIDI. MIDI makes things so much easier. I use an Arturia KeyStep Pro to sequence my drums, bass, an other things. The two MIDI outs on the KSP go to a couple of 6 way MIDI through boxes. The MIDI in is connected to a MIDI merger so I can use my DX7 and Roland Alpha Juno 1 as master keyboards. The AJ has a neat chord mode. That's why I use it as a master keyboard. But the DX7 has a nicer key bed. So it's what I usually play. You can get DX7 sounds for free with the Dexed VST. To my ears it sounds identical to my DX7 and works with DX7 patches. But I love owning the synth king of the 80s. And it's really nice to play. If you are interested in vintage synths I recommend the channels Vulture Culture, Doctor Mix, Alex Ball, and Espen Kraft. Espen does 80s style synth pop. So if you like the 80s, check him out. I also recommend looking at vintage rack mount synths. A lot of keyboard synths were also available as a rack version if you want to save space. But sometimes they keyboard version is better because they have more room for controls than on a 1U rack unit. For pre MIDI stuff there are clones from Behringer that have MIDI. You might even start with Behringer before moving on to vintage. The Behringer Wasp Deluxe is a clone of a British analong synth from the 70s if you want to play around with old school subtractive synthesis. It's a fun synth. It has an external audio input if you want to run tjings through its analog filter.
There is so much out there in the realm of harware. Do plenty of research before spending money and stuio space on hardware.
Another thing about vintage. It might need a repair. Even just replacing the battery for the memory requires soldering. So keep that in mind.
Good luck on your hardware journey and have fun.
@@jennoscura2381 sheeeeesh...! That's precisely what makes it scary 😂
Appreciate the insight!!
@@dshredmusic Thankfully there are loads of good videos demonstrating various synths. So you can get a good idea if it's a synth you might want in your studio.
One series I really like is Bad Gear on the AudioPils channel. He reviews synths that enough people don't like. There are some really cool things that show up in his videos. And he crams his videos full of synth memes. It's really entertaining.
Do you hook this up
Into your pci-e slot on your motherboard?
No. It’s 500 series
Honestly if I were working in the recording industry I would be using a physical console. I'm not against working in the box but the major downside is you can easily end in up decision paralysis loop.
When you have the physical gear you know exactly what it does, how it sounds, and how it works with the rest of your gear. So you dial in a mix much faster as opposed to jumping from plug in to another. And you can easily make on the fly changes if you think of something you want to try.
I put the same console strip plugin on every DAW track by default to reduce decision fatigue. Most of the time the included EQ and comp really are sufficient to accomplish the task.
Would you do a blind test like you do with amp vs amp sim?
Yes!
Very cool video 👍 I believe hardware definitively adds more to the mix BUT, I believe in this examples, you could´ve make the software brighter to sound as alive as with the Hardware. Not?
I mean, I can get maybe 99% that hardware drum sound using the plugins....the last 1% I know, it´s what really makes the difference. . . but I don´t think it get to even pass through RUclips compression . . . . so imho, I believe the difference in the video mostly is from the settings of the plugin vs the hardware. . . being possible to have, through RUclips, the exact same sound.
Not?
How many of these do I need?
One of the most surprising lessons learned from this video,
I think I need to go buy me some Slurm™....🤔
Seriously though, I love the videos explaining recording gear and techniques....more please. 🍻
It's a metal channel too and that's cool too, but the recording content brought me to this channel a few years ago but I've enjoyed it all. 🤟
Thanks for your work Glenn F*cker,
Frick you very much. Keep doing you.✌️
But the real question is, what are the blurred out amps(?) on the stool?
I would love to get into hardware but I'm finding plugging everything in confusing. Could you please do a video on how to plug everything in?
Sure!
SSL Native is nearly like using stock plugins. The hardware is warmer, hence saturated. Try this comparison with BX Console SSL 4000 E or G, and it might sound much closer.
The best thing about hardware is that you actually OWN it, were as software can be deemed outdated and loose support without a heads up from the developer.
Any good quality hardware, if properly maintained and cared for, will last pretty much forever. That's why we still have vintage gear around
Without looking at my TV I couldn’t hear any significant difference with the sound comming out of my big floorspeakers.
So it doesn’t really matter, even for workflow you would always have presets saved like written down for the hardware… unless it has digitsl controls with storage for presets.
I used a pawnshop 3630 in the signal chain of my FM yardcasting rig back when I did that. Totally inappropriate choice for the task, but it was in budget.
I love my plugins for surgical changes in the box, but to me...when I need the sauce...outboard gear kinda gets me where I need to go a little bit faster. Still though...I'm like 80% in the box for EQs, Reverbs, Delays, and basically any and all ear candy.
I love hardware compressors! Have several in my homestudio. But I think your comparison isn't fair. You compare a SSL 2 Channelstrip Compressor with a hardware that is new. Maybe it is better to compare the hardware with the new SSL 4K-B channelstrip plugin. I like to know if the diverance between the new plugin and the new hardware is also clear. Even SSL say it is a SSL-Console with a new flavor.
I think this video is trolling, but just in case. The hardware compressor examples were louder than software ones (automatically better!), and they were also slightly brighter with less mud (probably the saturation).
Fuck you glenn! I was just about to turn my 12x20 garage into a home studio. I was planning on running 100% in the box except for amps. Now i need to modify my plan to have a hardware rack.
I aways love your videos, keep making my life easier.
Thank you for making this video. There are so many reasons why Analog equipment is better than plugins. Your sound has a UNIQUE SOUND. There is a reason why records back in the day had its own sound. Digital mixing and processing were not a thing, because of the lack of computing power, so when they used outboard processing, they are creating their own SOUND. Also, I want to add that plugins have been stolen, by pirates. If you have the right computer skills, you can easily get them all for free. The value of plugins is very low. I recently bought some waves plugins at a very low price because they have already been stolen by pirates. This cannot be said for analog hardware. Also, one bad thing about analog hardware, is, it does color the sound a lot....it is electronic, and relying on electricity to process, which means any audio going in is going to lose quality when going out... but.... this is EXACTLY what you want in the professional audio world. You want the sound to be PROCESSED, and with the multi-grand equipment, the sound changes in a GOOD way. With plugins, when you process the audio, you will always get the same sound, which in some cases, might be a good thing.
Has to be my favorite demo of a vocal compressor. The other audio people aren't dramatic enough to go AVGN into their microphones.
I use the SSL compressor plug in and it sounds identical.
The software sounds just a bit flatter and quieter to me. It was almost un noticeable. The hardware sounds just a tad better because its just that slight bit fuller and crisp. I'm using Steel series arctis 5 headphones, not top of the line but not cheap either.
I’m so glad you’ve done this! Thank you! QUESTION- is this the same thing as a distressor?
GLEEEEEEEEEEEEEN, GREAT STUFF!!!! Only caveat is time. Impatient clients demand EVERYTHING NOOOOOOOOOW!!! Using hardware requires real time (and slower) bouncing/mixdown vs. nearly instant offline bouncing. Hardware "Plug-outs" are trying to address this issue, though they are also digital, albeit outside the "computer/box". This 4K B-Dyn Module, though, is a must have for the front end of a Mic/Recording chain!!!!
Glenn on amps "they dont matter, just use this plug in or whatever". Glenn on compressors "HARDWARE OR DIE"
Hardly. The plugins sound very good. I even said that SEVERAL times in the video. Please pay attention.
I've heard a quite a few things about these New modules, I know Joel wanasek returned his, but I like the go hardware one better!! Great vid GLENN
2 major downsides (aside from pricing and maintenance):
You need to print it (takes time) or commit to it on the way in (not flexible)
Makes recalls/revisions tedious if not a nightmare
theres a plugin that lets you store .jpgs so you can take a photo with your cell and leave it there. Next time i open the project if i need to check if my channel has the correct settings i just look at the .jpg...
great video
When is the Slate VSX video coming out? Thanks.
Next Thursday!
@@SpectreSoundStudios Nice!
OMG, the attack and definition.
That first scream made me jump haha 😂