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PA Flash Sale Bx_Console E


Larry Shelby

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I picked this one up with one of their $29.99-for-any-plugin vouchers previously, and am thinking about maybe picking up some of the other consoles at some point in the future. Sorry for the naïve question, but is there a general rule of thumb for when it's best to use the Neve (bx_console N), SSL 4000 E, SSL 4000 G, or even the newer SSL 9000 J? Are any of them better suited to any particular genre?

 

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20 hours ago, antler said:

I picked this one up with one of their $29.99-for-any-plugin vouchers previously, and am thinking about maybe picking up some of the other consoles at some point in the future. Sorry for the naïve question, but is there a general rule of thumb for when it's best to use the Neve (bx_console N), SSL 4000 E, SSL 4000 G, or even the newer SSL 9000 J? Are any of them better suited to any particular genre?

 

That's a highly subjective question.  It all depends on "what you're after" and the "sound" you're going for!

Edited by cclarry
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Larry is correct. Very subjective. 

But I have used this same plugin to do mixdowns of entire songs. Used them on every trk and buss. I did a comparison between this and the Waves version. Both have great sound. I do like the TMT feature in this plugin. It really does work!

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8 hours ago, antler said:

 thinking about maybe picking up some of the other consoles at some point in the future. Sorry for the naïve question, but is there a general rule of thumb for when it's best to use the Neve (bx_console N), SSL 4000 E, SSL 4000 G, or even the newer SSL 9000 J? Are any of them better suited to any particular genre?

 

Really though usage is subjective. 

In terms of characteristics...
G Series is said to have a softer, more gentle EQ than the E Series

Here's a history lesson from https://sonicscoop.com/2018/07/26/best-plugins-great-ssl-channel-strip-roundup/

...they released the classic “E” Series console [in 1979].

The SL 4000 E Series was unlike any other console to date—it was the first to feature a dedicated compressor/gate on every channel, as well as a master bus compressor.

Many engineers cite the 4000 E with starting the trend of heavy, aggressive dynamics processing we know and love today. The original E Series’ 4-band semi-parametric EQ included options to toggle between shelf and bell shapes on the top and bottom bands, as well as dedicated high-pass and low-pass filters.

Early E-Series consoles used a “Brown Knob” EQ circuit, which always left the filters engaged, rolling off the very lowest and highest frequencies. In 1983, it was replaced with the “Black Knob” 242 EQ, developed with the help of the legendary George Martin, which corrected the filtering quirk and made a few minor changes to gain range, frequency selection and filter slope, offering a slightly different sound.

In 1987, SSL introduced the 4000 G Series console, which also featured a number of changes. While the dynamics modules on the E and G series consoles were nearly identical, the G Series is said to have a softer, more gentle EQ than the E Series thanks to the new 292 or 383 “G-EQ” circuitry.

The G Series EQ used steeper filter slopes and incorporated a variable proportional-Q design, which increases the Q value the more you boost or cut the signal—much like a Pultec.

The G Series consoles also replaced the shelf/bell shape buttons for the low and and high bands with “LMF/3” and “HMFx3” switches for the mid-bands, which would divide the Low Mid frequency or multiply the High Mid frequency by a factor of three— allowing for a single knob to cover even more of the frequency spectrum while still being usable.

 

From: https://www.waves.com/ssl-e-channel-or-g-channel

The Differences between the E and the G

The E Series and G Series offered virtually identical compression and gating (although later G consoles were outfitted with improved VCA chips), but their equalization facilities differed significantly. The G Series utilized steeper filter slopes and incorporated a variable proportional-bandwidth (‘Q’) design whereby the more you boost or cut, the narrower the Q becomes, thus keeping the overall energy change relatively consistent. In contrast, the frequency bandwidths in the E Series remained constant regardless of the amount of boost or cut, yielding slightly more presence and edge compared with the G Series, which provided a gentler tonal shift (i.e., a smoother sound) at typical EQ settings. (However, at maximum or minimum gain, the same curves result.) And while the E Series allowed the low and high frequency shelving filters to be switched to bell curves, the G Series instead provided switches labeled “LMF/3” and “HMFx3”. These divided the Low Mid frequency or multiplied the High Mid frequency by a factor of three, thus allowing substantial equalization changes at the touch of a single button.

Another major difference had to do with the internal componentry. Early E-Series consoles utilized what became known as the “Brown Knob” 02 circuitry, incorporating a “logarithmically symmetric” design that ensures that the ±3 dB up/down points in the low mid and high mid bands retain the same musical interval from the center frequency regardless of frequency and amplitude settings. In 1983, this was replaced with the “Black Knob” 242 EQ, developed in conjunction with legendary Beatles producer George Martin for the first (E Series) SSL console to be installed in AIR Studios. This circuitry offered enhanced cut and boost ranges (±18 dB instead of ±15 dB), along with a steeper 18-dB/octave high-pass filter for tighter control of low frequencies. G-Series consoles came equipped with newer 292 or 383 G-EQ circuitry, which offered greater gain change and a slightly different curve resulting from a pre-boost dip and a pre-cut rise, as well as a broader Q for more extreme equalization.

Edited by TheSteven
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Yes, what Steven said!! I had forgot about those articles. I have read lots of stuff on the distinct types of mixers used in making the records I know.

If you have time, demo the different types for what sound your looking for. 

Cakewalk By Bandlab still has the console emulations in it. If nothing else you could use it for comparing the different types. It has the Console Emulation in the Pro Channel on every track and buss. They have the S (SSL), N (Neve) and A (API) Type and they do work well.

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36 minutes ago, Grem said:

Cakewalk By Bandlab still has the console emulations in it. If nothing else you could use it for comparing the different types. It has the Console Emulation in the Pro Channel on every track and buss. They have the S (SSL), N (Neve) and A (API) Type and they do work well.

It also has SSL E and G type settings for the Quad Curve EQ along with the S-Type bus compressor.

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16 hours ago, antler said:

I picked this one up with one of their $29.99-for-any-plugin vouchers previously, and am thinking about maybe picking up some of the other consoles at some point in the future. Sorry for the naïve question, but is there a general rule of thumb for when it's best to use the Neve (bx_console N), SSL 4000 E, SSL 4000 G, or even the newer SSL 9000 J? Are any of them better suited to any particular genre?

 

Api coming .... shhhhhh i said nothing ...

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I'm such a console noob - I'd seen and been using the S-Type/N-Type/A-Type Console Emulation buttons, and E-Type/G-Type EQ buttons for ages, but hadn't made the connection ?

Thanks for the advice - I'll still need to properly try out the PA modules (as suggested), but at least I have a better idea of what I'm looking at now.

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39 minutes ago, antler said:

I have a better idea of what I'm looking at now.

Very true. But don't forget, learn to trust your ears.

Like Zo says:

21 minutes ago, Zo said:

To be fair , any good channel strip can get the job done ´ i would be able to mix with any model , witch is a sign of good quality ..

 

API coming? First time I tried a API channel strip was UAD on the Apollo. I was really surprised with the character of this console strip.

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