@@chrisbaseford A new NTM of a mix walkthrough of the "Silent Majority" song you mixed, would be a dream come true for me... Talk to Joel and the team at URM to make it happen please! it has been my mixing reference song since released!! It sounds super balanced and punchy, even if the drum samples sounds too fake to my taste... but who cares!!
Very true about the workflow. And wouldn't mixes sound "boring" if we all used the same plugins? You go with the Waves, I go with the brainworx or Acustica while Joe down the street uses the Native plugins and recorded music as a whole benefits!
In some ways I believe this should be one of the biggest mixing channels on any platform. But in other ways I’m glad it’s not because you’re advice is too fucking good 😂. (Seriously tho if you’re looking for mixing advice. You found the right place)
Still the best SSL plugin. The way the EQ meshes with the sound is like any other SSL plugin I've tried. The only thing that comes close is the SSl native
Would you consider a setup with the SSL UC1, UF8, UF1 etc? I bought into the eco system with 2 UF8 (giving 16 faders), the UC1 to control the channelstrip and the UF1 for transport. Gives me the look and feel of a SSL console, and the workflow is basically the same. Sounds fantastic too.
@@chrisbaseford Workflow-wise, if you're used to consoles, it is really worth it. The UC1 layout is exactly like the plugin too, so the muscle memory is already there. It's actually fun mixing music ITB again.
@@chrisbaseford just chiming in to say that I recently bought the SSL UF8 controller, more or less expecting it to be a dud. BUT it's actually been really amazing for hands-on mixing, especially when working with drums that can have so many channels. really great
This. This plugin. Same era. Same problem for me. Tried the others. Stick with the og. I did some measurements. The newer ssl strips add too much distortion as colour and make the eq’s bigger and more obvious. In the 80’s and 90’s we fought distortion. Now everyone lays it on too thick. Makes me cringe. This has a tiny bit. Just enough to get the ssl sound. But like Frank’s red hot I slap this shit on everything.
@@chrisbaseford I just figured it had something to do with the editing of the videos. I didn’t mean it as a stab at you. If I repeated myself a million times to get your mixes I wouldn’t give it two thoughts! Haha
Well Chris sounds a lot like I do. We are very Pragmatic, Practical, Audio Engineers. Which is basically an, Oxymoron. There is nothing practical about what we do. It's all for fun and enjoyment and money and money. I have serious ADD. And while I work well in the studio. Ingenious ways. I prefer Live Capture & Mix for Broadcast, best. Everything is Take-1. And only one. And you better make it sound great. That's all they care about. They don't care about, technical blah blah. The only want to hear something that sounds great. And I deliver that. Each and every time. Guy, definitely started the Live On Location thing more fully. An earlier than I did. I was in the studio. I had just designed and built in Baltimore. When he built his truck. And 13 years later I would build mine. But it's going through a couple of permutations and readout fittings. From what I started with. What are transformed into. What it became later. With a vintage, 36 and put Neve. Not 24. It's so wide it had to be mounted, lengthwise. In my Truck Control Room. Because Guy and I have of both use, JBL, speakers. I already know what his control room sounds like. It sounds a lot like mine. Though he's got bigger JBL's, than I have. Oh well. He's a French-Canadian and I guess they are that way? It's the accent. It's coming from wealthy old money. The fact that we both had similar facilities is amazing. I just could never really take more than, 40 inputs, effectively. And oh well. I was the Bargain Truck. If you wanted more nights of recording for the same money? I was your truck. If you could make do with slightly less? It depends on what you wanted to produce. Yes pulling up to somebody's place. To cut an album. Was very enjoyable work to do. Always far more relaxed and informal. And fun to record in their homes, garages, warehouses.. And yes. I started with a pair of Ampex, MM-1200-24 track machines. I don't mind saying. That was a better machine for the road. Than, any Studer. For a myriad of technical reasons. A: it's American-made. And B: It's Analog Tape Heads. Were adjusted at the factory. And never need any adjusting. No matter how many bumps they go over. And they are screwed onto the deck plate of the recorder. With a single screw. So very easy to remove. To swap out or for servicing. Not so with stupid Studer machines. I mean come on Guy? That's why all the other trucks packed,, Ampex,, MM-1200's. You didn't get the message? Up in Montréal? Was it too cold? The message never made it? No wonder you moved to Los Angeles. That way your console truck would no longer freeze solid. Good move old man! Maybe one day soon we shall meet? Before I drop dead or you. I probably won't make it to Quincy's place. If he is still at his place? He's not getting around very well these days. If he's getting around at all? You would know better. I haven't spoken with him in decades now. I'm sure you've taken good care of him. I see how thorough you are. When you have the money. You remind me a little bit. of. The now late, Joh Ariosa. Owner of Sheffield Recordings Limited of Baltimore, Maryland. He passed on a couple years ago at 70. Or 71? He was a good guy. Very exacting like Guy. With an even bigger truck. A truck that could not go. To the same places that Guy and I could. He needed 52 feet. I only needed 30. My truck could practically turn on a dime. As trucks go. And I never had to worry about going over 60. Because it couldn't. It's like the Tortoise and the hare. I may be slow but I get there. I'm not in a rush. I'm never, in a rush. SSL 4000's work out very well in, Software. Emulated by many. And if you've never been on a SSL 4000 before. Then virtually any emulation will do. You have no muscle memory. No time spent on those. So don't sweat it. Any will do fine. Whatever shivers your timbers. Then if you still get, shitty sounding recordings? Ta-da! You are a shitty engineer. Find another career. Or go to a Recordin Skoool and get a Worthless Certificate. It shouldn't cost you more than, $20,000. Think of all the gear you could have bought. But no! You blew it on a worthless course. And you have nobody but yourself to blame. When you could have purchased everything you needed. And then some. And just gotten stupid free rock bands to use, as guinea pigs. To teach yourself what you need to know. Much cheaper than stupid schools. You just start doing it. You'll learn. We never had any schools for this stuff. Why should you? It's easy to do. Plug the microphone in. Turn up a volume control. Until meters start moving or lights start flashing. Then hit record. It really is that simple. RemyRAD
Dude!!!! I have been raving about slate for years. These plugins are game changers
Make more videos! I loved your Nail the Mix! I can tell you enjoy teaching and enjoy discussing different mixing philosophy
Thank you 🙏🏻. Yes I do enjoy sharing and plan on doing more. Stay tuned.
@@chrisbaseford A new NTM of a mix walkthrough of the "Silent Majority" song you mixed, would be a dream come true for me... Talk to Joel and the team at URM to make it happen please! it has been my mixing reference song since released!! It sounds super balanced and punchy, even if the drum samples sounds too fake to my taste... but who cares!!
I find the Brainworx SSL emulations to be by far the best. They sound better to me than either the Waves or SSL plugins.
The 9000j is amazing twist the lil screw and boooooom!!
I have to agree 100%. It enabled me to jump into the box back then and I still use the Waves even though I have others
Yep, use what you like and resonate with you and what helps you to achieve what is in your head
💯
Such a classic that has never failed me haha. Love the video and the plugin.
The best!
Very true about the workflow. And wouldn't mixes sound "boring" if we all used the same plugins?
You go with the Waves, I go with the brainworx or Acustica while Joe down the street uses the Native plugins and recorded music as a whole benefits!
Absolutely. Use whatever works best for you! 👍🏼
Haha! I still find ITB challenging... for this reason to some degree! Great content Chris!
Finding the right tools is key.
That is the plugins that are always on my drums!
GOOD POINT CHRIS
Love this, Chris!! SSL Channel hits every time 💪
The OG 🐐
What a great channel. Do you have a podcast or something else I can follow?
Podcast is coming 👍🏼. In the meantime. Check out my livestreams on UA-cam and sign up on my website for exclusive content and to stay in the loop 🙏🏻
Awesome. Thanks Chris!
🤘🏼🤘🏼
yep waves ssl did sound the best out all my test. slate 2 and ssl 3 then plugin alliance about 6th.
Every time a new SSL channel comes out I think it's going to replace the waves, but it always comes back into the flow eventually. lol
Same!! Definitely interesting that after almost 20 years later, this one still works so well.
In some ways I believe this should be one of the biggest mixing channels on any platform. But in other ways I’m glad it’s not because you’re advice is too fucking good 😂. (Seriously tho if you’re looking for mixing advice. You found the right place)
Thank you so much. Glad you’re liking it. Much more to come.
Still the best SSL plugin. The way the EQ meshes with the sound is like any other SSL plugin I've tried.
The only thing that comes close is the SSl native
I agree! The SSL E channel is the best plugin that Waves has in their entire arsenal. I put that $@3! on everything!
😂. Me too. On just about every channel
What control surface are you using with this plugin?
I’m now using a Rocksolid Audio Micro 4k.
Would you consider a setup with the SSL UC1, UF8, UF1 etc? I bought into the eco system with 2 UF8 (giving 16 faders), the UC1 to control the channelstrip and the UF1 for transport. Gives me the look and feel of a SSL console, and the workflow is basically the same. Sounds fantastic too.
Yes, been very interested in the SSL controllers. I own the plugins, but haven’t gone all in on them quite yet 😉
@@chrisbaseford Workflow-wise, if you're used to consoles, it is really worth it. The UC1 layout is exactly like the plugin too, so the muscle memory is already there. It's actually fun mixing music ITB again.
@@chrisbaseford just chiming in to say that I recently bought the SSL UF8 controller, more or less expecting it to be a dud. BUT it's actually been really amazing for hands-on mixing, especially when working with drums that can have so many channels. really great
mh3 Metric Halo Channel Strip for the win. I love that thing.
I love it too. Was one of the first great sounding channel strip plugins.
its also my favourite as well
The UAD SSL 4000 E sounds the best and is the most authentic. Next would be brainworx version.
Most authentic meaning most accurate to a physical SSL 4k?
@@chrisbaseford yes.
“I don’t care.” Quote of the day. Use what gets you there, regardless of what it is, or what else there is. Thanks!
Hahaha. Exactly!!!
Audio assault has something similar give it a try is cheaper 😂😂
Agreed!
So we’re clear, That fork poking in the eyes thing never ever goes well just don’t do it!😜
Hahahaha😂. Yes. Avoid at all costs.
This. This plugin. Same era. Same problem for me. Tried the others. Stick with the og.
I did some measurements. The newer ssl strips add too much distortion as colour and make the eq’s bigger and more obvious. In the 80’s and 90’s we fought distortion. Now everyone lays it on too thick. Makes me cringe.
This has a tiny bit. Just enough to get the ssl sound.
But like Frank’s red hot I slap this shit on everything.
Differences with all of them, but ultimately it’s about what works best for each individual. 🤘🏼🤘🏼
Dude why is he repeating everything twice or more?
Because I work for the Department of Redundancy Department. 😂. Thanks for the comment 👍🏼
@@chrisbaseford I just figured it had something to do with the editing of the videos. I didn’t mean it as a stab at you. If I repeated myself a million times to get your mixes I wouldn’t give it two thoughts! Haha
🤘🏼🤘🏼
Hey Chris I feel u on this one heavy. I’ve midi mapped the parameters to a akai mpk before 😂. Only to find out about the SSL UC1 🫣🔥
Well Chris sounds a lot like I do. We are very Pragmatic, Practical, Audio Engineers. Which is basically an, Oxymoron. There is nothing practical about what we do. It's all for fun and enjoyment and money and money.
I have serious ADD. And while I work well in the studio. Ingenious ways. I prefer Live Capture & Mix for Broadcast, best. Everything is Take-1. And only one. And you better make it sound great. That's all they care about. They don't care about, technical blah blah. The only want to hear something that sounds great. And I deliver that. Each and every time.
Guy, definitely started the Live On Location thing more fully. An earlier than I did. I was in the studio. I had just designed and built in Baltimore. When he built his truck. And 13 years later I would build mine. But it's going through a couple of permutations and readout fittings. From what I started with. What are transformed into. What it became later. With a vintage, 36 and put Neve. Not 24. It's so wide it had to be mounted, lengthwise. In my Truck Control Room.
Because Guy and I have of both use, JBL, speakers. I already know what his control room sounds like. It sounds a lot like mine. Though he's got bigger JBL's, than I have. Oh well. He's a French-Canadian and I guess they are that way? It's the accent. It's coming from wealthy old money. The fact that we both had similar facilities is amazing. I just could never really take more than, 40 inputs, effectively. And oh well. I was the Bargain Truck. If you wanted more nights of recording for the same money? I was your truck. If you could make do with slightly less? It depends on what you wanted to produce.
Yes pulling up to somebody's place. To cut an album. Was very enjoyable work to do. Always far more relaxed and informal. And fun to record in their homes, garages, warehouses.. And yes. I started with a pair of Ampex, MM-1200-24 track machines. I don't mind saying. That was a better machine for the road. Than, any Studer. For a myriad of technical reasons. A: it's American-made. And B: It's Analog Tape Heads. Were adjusted at the factory. And never need any adjusting. No matter how many bumps they go over. And they are screwed onto the deck plate of the recorder. With a single screw. So very easy to remove. To swap out or for servicing. Not so with stupid Studer machines. I mean come on Guy? That's why all the other trucks packed,, Ampex,, MM-1200's. You didn't get the message? Up in Montréal? Was it too cold? The message never made it? No wonder you moved to Los Angeles. That way your console truck would no longer freeze solid. Good move old man! Maybe one day soon we shall meet? Before I drop dead or you. I probably won't make it to Quincy's place. If he is still at his place? He's not getting around very well these days. If he's getting around at all? You would know better. I haven't spoken with him in decades now. I'm sure you've taken good care of him. I see how thorough you are. When you have the money.
You remind me a little bit. of. The now late, Joh Ariosa. Owner of Sheffield Recordings Limited of Baltimore, Maryland. He passed on a couple years ago at 70. Or 71? He was a good guy. Very exacting like Guy. With an even bigger truck. A truck that could not go. To the same places that Guy and I could. He needed 52 feet. I only needed 30. My truck could practically turn on a dime. As trucks go. And I never had to worry about going over 60. Because it couldn't. It's like the Tortoise and the hare. I may be slow but I get there. I'm not in a rush. I'm never, in a rush.
SSL 4000's work out very well in, Software. Emulated by many. And if you've never been on a SSL 4000 before. Then virtually any emulation will do. You have no muscle memory. No time spent on those. So don't sweat it. Any will do fine. Whatever shivers your timbers.
Then if you still get, shitty sounding recordings? Ta-da! You are a shitty engineer. Find another career. Or go to a Recordin Skoool and get a Worthless Certificate. It shouldn't cost you more than, $20,000. Think of all the gear you could have bought. But no! You blew it on a worthless course. And you have nobody but yourself to blame. When you could have purchased everything you needed. And then some. And just gotten stupid free rock bands to use, as guinea pigs. To teach yourself what you need to know. Much cheaper than stupid schools. You just start doing it. You'll learn. We never had any schools for this stuff. Why should you?
It's easy to do. Plug the microphone in. Turn up a volume control. Until meters start moving or lights start flashing. Then hit record.
It really is that simple.
RemyRAD