Anyone using the Waves SSL G Master buss compressor?

  • 19 Replies
  • 3060 Views

0 Members and 1 Guest are viewing this topic.

cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« on: April 16, 2018, 08:24:43 AM »
I don't normally use an overall master buss comp as I like the sound to be as 'open and airy' as possible, but I interested to give it a try, this one is highly rated, but does anyone out there use it?

cpm

« Last Edit: April 16, 2018, 12:40:48 PM by cowparsleyman »

Boydie

  • *
  • Administrator
  • Stadium Tour
  • *****
  • Posts: 3975
« Reply #1 on: April 18, 2018, 04:07:37 PM »
I use it ALL the time

IMHO it works best used sparingly across tracks busses to "glue" elements together

Eg on your drum bus to glue the drums together, on a group vocal, string groups etc.

It is also a great first step in the mastering process - just "tickle" the needle and you are good to go

I am about to post another thread alerting people to the current offer of $29 for the SSL G-Master Buss Comp and $29 for the SSL E-Channel - which is no brainer territory IMHO

To check out my music please visit:

http://soundcloud.com/boydiemusic

Twitter: https://twitter.com/BoydieMusic

cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« Reply #2 on: April 18, 2018, 07:57:39 PM »
Thanks Boydie, I'll be forever in your debt.

cpm

Ramshackles

  • *
  • Global Moderator
  • Stadium Tour
  • *****
  • Posts: 1432
  • https://soundcloud.com/ramshackles
    • Ramshackles @ Facebook
« Reply #3 on: April 19, 2018, 09:15:43 AM »
I sell a hardware compressor based on the SSL bus compressor, so I guess I use some version of this. I often have one on the bench plugged in. Boydie is right, use sparingly. I wouldn't call it open an airy, being a VCA compressor, you can really make it crunch if you over do it.

cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« Reply #4 on: April 19, 2018, 10:32:03 AM »
I sell a hardware compressor based on the SSL bus compressor, so I guess I use some version of this. I often have one on the bench plugged in. Boydie is right, use sparingly. I wouldn't call it open an airy, being a VCA compressor, you can really make it crunch if you over do it.

Thanks for the info Ramshackles, I'll tickle the needle.

cpm

Cawproductions

  • *
  • Platinum Album
  • ****
  • Posts: 687
  • Producer, Engineer & Songwriter
    • AtticVibes Music Library
« Reply #5 on: April 20, 2018, 09:56:18 PM »
Hi Guys,

I use the IK multimedia version of the classic Bus comp. I read as a basic rule of thumb, never let it compress more than 4 db on the master bus for that (GLUE), Whatever that actually is.

Cheers
Andy

Boydie

  • *
  • Administrator
  • Stadium Tour
  • *****
  • Posts: 3975
« Reply #6 on: April 20, 2018, 10:16:19 PM »
Quote
never let it compress more than 4 db on the master bus for that (GLUE), Whatever that actually is.

I would definitely concur with this

IMHO the "glue" people refer to is the compressor giving everything going through it the same "colour" (i.e. Sonic imprint) and the compression gives everything the same broad dynamic "movement" as it compresses and then releases, which brings (glues) everything together

This is just my take on it but it makes sense to me
To check out my music please visit:

http://soundcloud.com/boydiemusic

Twitter: https://twitter.com/BoydieMusic

Cawproductions

  • *
  • Platinum Album
  • ****
  • Posts: 687
  • Producer, Engineer & Songwriter
    • AtticVibes Music Library
« Reply #7 on: April 20, 2018, 10:23:11 PM »
You could be spot on Boydie,

I always feel it just calms the mix down slighly and makes it pump just a little.

Boydie

  • *
  • Administrator
  • Stadium Tour
  • *****
  • Posts: 3975
« Reply #8 on: April 21, 2018, 11:15:52 AM »
Unless using it as an effect I think hearing a compressor "pump" is usually not a good thing, although as always what is not "right" sometimes "best"

The more I learn and get in to "production" the more I realise that the "pro sound" is more about lots (and lots and lots) of VERY subtle things mixed together rather than broad effects or single "magic bullet" solutions

It makes learning it all much harder but the rewards getting ever closer to that "professional" clarity, with warmth, that sparkles and shines with lots of dynamics but still being loud!!!
To check out my music please visit:

http://soundcloud.com/boydiemusic

Twitter: https://twitter.com/BoydieMusic

Cawproductions

  • *
  • Platinum Album
  • ****
  • Posts: 687
  • Producer, Engineer & Songwriter
    • AtticVibes Music Library
« Reply #9 on: May 01, 2018, 04:10:11 PM »
Hi Boydie,
Yeh agree pumping on a mix not good, (unless like you say, a dance track)

I always drop it on the master bus, in my mastering chain, after a subtle Linear EQ, tiny bit of work from the soft clipper.
I find after this it gives a bit of control but makes it come alive a little. (hence my pumping statement)

Then on to widening, exciting and on to the final limiter.

Cheers
Andy

cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« Reply #10 on: May 02, 2018, 12:42:23 PM »
Thanks for all the responses, I'll be trying things out soon, I've managed to pickup the Waves CLA classic compressors bundle for 39 quid so I think I have enough now (also the Russian Molot) that emulates the Fairchild 670 so I'll do a bunch of benchmarks to see where they are useful, also downloaded the Acustica Free TAN compressor (that sounds pretty good indeed).

@Cawproductions - Thanks for the advice, I really appreciate it, do you always use a limiter at the end of your master fx chain?. I've learned that lesson about lots of little things rather than a big thick spreading of peanut butter, I think that's why I've avoided comps on my master buss, I want it to breathe, I used to put just a stereo enhancer on the master buss, then master it in soundforge where I'd normalise it, but often the dynamic range would dissappear, so I stopped doing that.

If I had any more compressors I'll be able to make music cider...I'll let you know how it goes,  it might be that you don't hear anything in my songs as all the juice has been squeezed out, I think it'll be hard for me to learn using these as it's very very subtle.

@Boydie - Thanks for your advice, I think you're right about that, if it sounds right to your ears then it is right.

cpm


Cawproductions

  • *
  • Platinum Album
  • ****
  • Posts: 687
  • Producer, Engineer & Songwriter
    • AtticVibes Music Library
« Reply #11 on: May 02, 2018, 07:42:24 PM »
Hi CPM

Yeh, My final plug in is my Limiter, How much to push that limiter...? thats a tricky question, I read that you can push your limiter until your ears start to hear it squashed then back it off. Its one way. Lots of other people have other opinions. It works for me though.

I master and mix completely in the box on my song project...Yeh, yeh, I hear a lot of old school guys saying NOOOOO.

It works and it save going back, fixing things then having to render out again.

Basically in Cubase, I create a Mix bus that sits before my master bus.All tracks are routed to the mix bus,. All may mastering plugs sit on this bus. Then I can add reference tracks that outputs directly to my stereo out enabling me to compare with my reference. Anything not working in the master, easy to fix. Hope that makes sense.

Heres my master chain. (It may not be industry standard but it works for me)
Linear Phase EQ - Softclipper - Masterbus Comp - Multiband Widener - Exciter - Brickwall Limter

Multiband compression could slot in there if required.

I am sure there are many ways to master but this is just one, Hope its some help.

Cheers
Andy


cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« Reply #12 on: May 03, 2018, 08:02:28 AM »
Hi Andy

Yes it does help, and yes it does make sense, I tend to use instrument submix busses and then have an non LVox Mix buss, so at least I can stick a s/c Comp on it if I need to.

I think you should stick with what works for you and you'll get your signature  'CAW Productions' sound, and artists will want that sound.

Thanks again Andy, I think I could chat for ages with you.....

cpm

Boydie

  • *
  • Administrator
  • Stadium Tour
  • *****
  • Posts: 3975
« Reply #13 on: May 03, 2018, 08:45:09 AM »
I have a very similar approach to @Cawproductions

I am also now 100% "in the box"

I have all my tracks go to sub busses and then "master busses" - before they go to my actual "Master Buss"

E.g. If I have 4 individual rhythm guitar tracks and 2 lead guitar tracks my routing would be:

4 rhythm guitar tracks -> Rhtyhm Git bus -> Guitar Master Bus -> MASTER BUS

2 lead guitar tracks -> Lead Git bus -> Guitar Master Bus -> MASTER BUS

When mixing I have options to reduce increase either all rhythm or lead guitars on one fader (the "git busses") AND I can raise or lower ALL guitars using the "Guitar Master Bus"

If I want to provide some bus compression to glue all of the rhythm guitars together I simply put the ssl bus compressor on the "Rythm Guitar Master" bus and all 4 rhythm guitar instantly all take on the same tonal flavour of the compressor and the same subtle compressor "movement" to glue them together

This flexibility with routing is really useful - and once you set up a template all the routing it instantly there

I take the same approach with all instrument/vocal groups

The MASTER BUS then has my mastering chain ready to go (but when I am mixing I leave this turned off so I do not "mix in" to any mastering effects - I just concentrate on getting a good mix and do a separate mastering process. Others like to "mix in" to mastering effects so this is a personal choice

A typical master chain for me would be:

Master bus compression (The SSL bus compressor we are talking about - but VERY subtly used)
Mastering EQ
Any "exciter" effect
Multiband compression
Stereo effects (usually multiband narrowing and widening effects)
Analogue Tape Saturation (if a warm analogue sound is appropriate)
Final corrective EQ - another instance of a mastering EQ for some final shaping
Limiter - a brick wall limiter set to -0.3db to avoid any clipping - as @Cawproductions has said the key final judgement is how much to apply - the basic balance is overall volume (i.e. Getting the track to commercial volume levels to stand up against commercial mixes) against retaining the dynamics of the tracks

For me this is definitely the "dark art" bit and is purely a judgement call based purely on the song (as is the rest of the mastering but this last step is where the whole process can be made to sound amazing or all the hard work gets ruined!)

The time taken moving the final limiter to the perfect level is a big part of the process for me
To check out my music please visit:

http://soundcloud.com/boydiemusic

Twitter: https://twitter.com/BoydieMusic

cowparsleyman

  • *
  • Stadium Tour
  • *****
  • Posts: 2700
  • What would you rather be or a wasp?
« Reply #14 on: May 03, 2018, 11:34:42 AM »
@Boydie Thanks very much, really interesting, up till now I don't use exciters, which one do you use @Cawproductions - and you?

Rgds

cpm