Brand New Waves SSL EV2 & FREE Multitracks

hi everybody hope you're doing marvelously well we're going to review a brand new plugin by waves it's the ssl ev2 now it must be said that i know ssls fairly well i mix on a 4000 and i've owned this console for about 12 years now and of course made many many records not only on this console but ssls in america and of course back in the uk when i lived there so this is going to be interesting i have very very high hopes for the waves ssl plug in the ev2 because their recent iterations which they've done with the cla mix hub have been excellent and a massive step up from their original ssl plugins which are now probably around 20 years old 15 or 20 years old what is unique about this is they've done this with full cooperation of ssl so this is something they are jointly doing together so let's check it out [Music] so what i've done is i've got a track here by pete morales pete if you don't remember was on the voice who's on one of the most recent iterations of the voice and i produced an album with him a few years ago and this is one of the tracks off of it it's a really fantastic track it was recorded in my old studio so in a really large live room with most of the band playing live this is a perfect track for me to mix as though i was on an ssl so what i'm going to do is i'm going to take this track and i'm going to use the ssl plug-in in the same way i would with the console to see if it reacts the same way and of course you can download the multitracks if you download the multitracks you can follow along with me you can go and download the plugin and mix along with me so here is the mix that i actually did on the console and you will find a great singer it's a big [Music] here's the drum sound love hearing the vocal bleeding what i would typically do is bust my kick on the console so i'm going to do that i'm going to mirror the kinds of things i would do so here we go now i've got the kick summed together i'm going to do the same moves and see what kind of results we get here's the channel out that's what you want to engage so dynamics to channel output or not let's play the kick and i'm going to do some basic stuff now what i would normally do believe it or not is go to about 20 so i'm actually going to high pass really not quite 20 but up to there because that allows me to then go in and grab around about 60 hertz here and then boost the schnitzel out of it [Music] now it's got there's a clip indicator on on my console i don't care if there's occasional light on it's when it stays on you start to hear it get a little spongy and not in a good way but we've got a line control here so for the purists out there the people are going to say it looks like it's distorting it looks like it's clipping because we know you know that's more important than what it sounds like i'm going to bring the line amp down there's an occasional red light now all of which is perfectly fine in my world and you've got an n and an output on the meter here that's cool okay so the next place i would always go is about 350 on the console and cut looks like i got two cut types of eq here brown or black so i've got two types of eq here and if you look down the high and low pass here when i click this button here you'll see the churns change to black and brown so when people say which key do you like do you like the brown the black that's what they're talking about when they mean the brown or black the selection there i'm going to stick with the brown and you can mess around see what you prefer the sound of so it's ugly about that 350 area cutting quite a lot of it and then typically i go to about two five-ish and boost that especially on a song like this which is not like a rock kick it's bypass quite interesting how much that reducing that line amp is okay let's bring the compressor in so when i hit channel out let's move to the end after the eq you can see if you watch down here listen obviously but if you watch down here and watch me boost quite dramatically there see how much more compression is being had that's what you want that is the sound of the ssl the eq going into the compressor and the compressor squashing it back down and you don't hear a massive volume shift because there's auto game functionality built into the classic ssl to be honest it's a huge part of the sound i'm going to bring these down i've heard lots of people talk about like um crystal algae and being critical of like oh he's always boosting like the high end yeah he's boosting the high end into the compression and it gives it that spankiness and and uh excitement it's not after compression so it's not like just on the top like super super bright he's boosting it and the compressor's pushing it back down and it adds some excitement to it so be very very aware of that if you want that ssl sound that's the button you have to push now you might not want it on every track but it's a huge deal and when i see people check out and demo ssl plugins and they're not using that function i realize that they haven't had the ssl experience so this bypass bring it back in that's cool so what i've done once more is i've shaped the low end here so i've done a little bit of high passing and then i've done a lot of boost a huge amount of boost at about 50 or 60 hertz around that area and i've done quite a lot of cut at 350 and i've done a decent amount of boost at about 2.5 if you wanted to be a bit more rock you could get a bit more aggressive maybe you go 7k and boost that but this is not obviously a heavy rock song so let's go and go to the snare so far so good this is sounding exactly like i wanted to [Music] channel out again i'm gonna go to about 70 for my high passing go down to about one 150. [Music] give me some more body on the bottom of that snare again i got the channel out i'm actually going to bring the compression in earlier [Music] we've got about 7k [Music] so 7.257 ish boost that i might even go a little bit lower than that like 5k bye pass back in [Music] so [Music] actually increasing the compression quite dramatically and digging it [Music] i'm on the the black at the moment you could go between the black and the brown you can mess around the differences are subtle so far this feels like i'm using an ssl and that's what we want okay my overall drum buss the first thing to do is actually bring some compression [Music] like what it's doing with the kick bypass this is the air it's bringing that i'm really tempted just to put some just to do some generic over-the-top kind of eq on it so again i'm going to bring in a little bit of high passing at about here i am i'm at 17. [Music] i'm not hearing those sponginess even with the red lights i know there's so many of you itching to go but put the clip lights on i know you're dying go and do it just write it don't listen look at it it's sounding good to me it's sounding good i'm doing a little 3-400 cut just for all of the people that just can't handle seeing the red light i'm just gonna cut a little bit on the lineup [Music] bring up the compression a little bit [Music] so bring that all the way down there [Music] there's some of us we watch our meters on an ssl kind of go bang the beginning of the song and kind of do this and then finish and there's something about the way that an ssl sort of naturally limits just being pushed really really hard i love neves i had an 8058 for 10 years incredible console but if my bus did this it would go especially on things like pianos i remember mixing like frey stuff and every time isaac would just crank down and go so for me it's like the ssl is a little bit more forgiving as long as that red light's not staying on for long periods of time that's when you start hearing it get kind of mushy but the moment i'm digging it [Music] we haven't touched the expander or the at the moment or the gate sometimes i use that on the on the kick but the moment i haven't felt like i needed to well why don't we do this so we got the drum bust now i love it sounds great i'm going to duplicate it so i'm going to mute the original one and now i'm going to a new one here and you know what i'm going to do i'm going to parallel it i've i've got the attack set so it says fast attack i've got it set on the normal there we go [Music] how good is that bypass now you got the spanky ssl that you we all know and love okay so what am i gonna do i'm gonna put that underneath put the two together [Music] mute it that's just the standard drum bus that's with the two together again here's the two together [Music] now you're seeing why we love ourselves two together is just great you've got the body of one a little spankiness of the other and yeah you can use a transient designer but i just did it in seconds some of you will have noticed i didn't use the channel out feature on the drums i could have but i didn't i was using it more as a global because i've already done all the exaggerated eq on the elements going into it there and then i just did some adjustment you can but that's actually a perfect example of the differentiation i'll take the individual elements and go eq channel out and then when i bust them together i might do that but hopefully i've already mixed the elements leading up to it in a more you know precise manner but try it if you really want to exaggerate again then try the channel out function now here's the overall bass sound [Music] now i'm not doing anything clever to this i'm done any eq to this at all typically what i would do is separate out the di for the low end and then have the base be the personality but i'm leaving all of them pretty much coming straight out because i want to test the ssl here so let's grab it let's have a listen so the first thing i'm going to do is high pass a little higher i'm not going to go as high as 60 on the bass but i'm just going to get the low lows out of the way of the kick drum you could even low pass [Music] could probably go about four or five k because quite often for finger attack and buzz and stuff like that i'll probably go about 3k so i could come down 3k here on the high end quite dramatic but yeah there's about nice and then you could go to about one five [Music] gives you a bit of kind of woodiness and then maybe about 750 800 [Music] okay and now let's do some really nice stuff it's got about 80 to 100 here i've got an 88 there you go [Music] okay let's engage some compression i'm going to about three to one [Music] channel out [Music] so here i've got the channel out engaged on the bass and what's important about engaging the channel out here is i want the bass to be really even sounding so if i'm boosting excessive like low end like this like really going for it and then some kind of like brightness here with the with the fingers and a bit of mid-range honkiness these are like spiky areas so now i want the compressor to go and stick them all down why because if they're all boosted up especially the low end the compressor will push them down and it will keep it even keeping the low end super even so that's why you engage yes you guessed it channel out [Music] put the faster attack on so with the faster attack it's just grabbing it super quickly but it could be good in this situation i'm actually bringing down the high mid boost and the mid range boost now [Music] you can really have that fast attack now has like leveled out the base so it's not a keyboard base but it's pretty even it's quite tasty [Music] but i feel like i want more lows [Music] now i feel like it is where it's staying on you can hear that sponginess so that means i do have to bring down my level going in [Music] that might be too much but let's take a listen i just brought the high passing down a little bit in this instance i didn't like the channel out working on there i felt like the channel out was because the low end was the main thing that was coming up and being compressed it actually i don't know it actually didn't help it lost the bloom and the roundness so i took the channel out so now it's eq'ing after compression so let's just see how it benefits now it benefits from to be honest being compressed not too aggressively i'm pulling it back um and then going into the eq but the eq is quite aggressive but it's also high pass so it's like some low lows in there it's gorgeous this is my old baldwin grand piano played by mr zach ray first thing i'm gonna do honestly is compress it [Music] get rid of some of that attack listen to it with the faster attack time nice compression so i got faster attack fastest release bypass back on kind of more of what it is so i'm actually going to come up quite dramatically probably 90 on the high passing i do like a little bit of lolos so i've got 115 but i'm also here at about 90 so i'm shaping the low end [Music] some high mids some high end [Music] throw in the base [Music] [Music] no verbs on the piano or anything yet just the natural sound recorded in the room that day [Music] so here's the acoustic we'll listen to it in the track [Music] i'm actually going to move it over to the left out of the way of the hi-hat [Music] i'm going to leave the attack time on the slower time because i don't want it to crush it too much i still want to enough the percussiveness but i'm going to go channel out and i'm going to [Music] making a bright already is really helping [Music] high pass all the way up to like over a hundred get out of the way of the low end of the piano [Music] so i'm gonna do is i'm gonna grab a reverb even though we're not talking about reverbs here so here i have i have the vocal and the acoustic guitar going through the same reverb and why don't we even put a little bit on the piano we're really making this simple this is a recorded live inner room minimal amount of eq compression now we've got some piano so no eq compression on the vocal yet so let's grab a channel [Music] i'm gonna go to like 10. open up your eyes [Music] and you will find it's a big at the end of the day peter's a great singer not doing much i'm boosting some high end i'm doing an [Music] you intercompression find it's a big old world and it's yours and it's mine open up your [Music] [Music] it's a big [Music] did you ever stop to think there's a dominant [Music] [Applause] [Music] i'm tempted to just take the snare and fold that also into the reverb we're ending up using just one reverb for everything [Music] [Music] is there a darkest mountain coming into view if we take a little time and dare to climb there's hope for me and you it's it's all in hell [Music] is there a darkest mountain [Music] is there a darkest mountain [Music] [Music] [Music] i'm cutting the attack on the kick we have enough it's a big exaggerating eq actually turned the channel off so now the compression is on the kick pre-eq [Music] so i think it's working much better just the same way as it did with the base so i'm actually reducing the low mid cut have you got an ocean that you're crossing now is your compass all confused can you hear the wind the storm cloud's grabbing you it's all night [Music] [Applause] [Music] [Music] open up your [Music] it's a [Music] and it's big [Music] it's a big old world and it's yours and it's mine open up your eyes [Music] honestly there's more definition on the new mix we can spend more time kind of getting in there and stuff but yeah it's pretty darn cool download the multitracks go and try out the new plugin um this is as i said earlier has been done in association with ssl i like this i've been using the old original waves 15 plus year old ssl plug-in a lot i think most of us do most professionals i know have that plug-in and use it and then when the cla mix hub came along i know a lot of like younger guys that were coming up like that plug-in a lot not necessarily for using all the buckets but just like the ssl emulation so i think what they've done here is they've sort of gone and done that and then taken it to the next level there's a lot of ssl emulations out there the waze one is a so-called you know it's a standard that most people have some of the new ones are really really good you know i haven't done a shootout between them all yet that's probably in the [Music] offing it's a big old world and it's yours and it's mine open up your eyes [Music] have you got an ocean that you're crossing now is your compass all confused can you hear [Music] a little bit bring up the other ones [Music] and you will find [Music] it's a big i love that tambourine is great [Music] [Music] when the key it is [Music] open up your eyes and you will find you will find it's a big [Music] so here's the system usage let's play it we've got i don't know how many iterations but we got a bunch so we're like thirty percent and you will less it's somewhere between 25 and 33 it's dancing around obviously um we've got a whole bunch we've got other plugins and we've got the abbey road chambers which is you know not really heavily cpu but it is a very complex and amazing sounding chamber so [Music] [Music] download it try it for yourself i think there's more definition in this mix now i had more channels going through the ssl on the original here's the original you're right sounds like the bass is overpowering it and you will find kick is lost now we got this it's a big world and it's yours and it's mine i prefer what we're doing with the plug-ins but you know this was originally recorded in a beautiful room with a bunch of incredible musicians going through really really beautiful gear api console um bae um 1073s and 1272s lots of everything was really world class mixing in the box using plugins is a perfect thing for a mix like this so thanks ever so much thank you for watching please download the plugin for yourself and try it out for yourself and let me know what you think leave a bunch of comments and questions below thank you so much so long farewell avida zayn au revoir speak to you all again soon thanks bye-bye [Music] [Applause] [Music] you

Channel: Produce Like A Pro

Views: 59,506

Keywords: Warren Huart, Produce Like A Pro, Home studio, Home recording, Recording Audio, Music Production, Record Producer, Recording Studio

Id: b-mFnVYdbrc

Length: 35min 21sec (2121 seconds)

Published: Mon Nov 15 2021