• Waves Ssl 4000 Review
• Ssl 4000 E
• Ssl 4000 Plugin Free Download
• Waves Ssl 4000 Collection Review
• Waves Ssl 4000 Collection Free Download

Developed under license from Solid State Logic, the SSL 4000 Collection includes meticulously modeled plugins based on the legendary SSL 4000 Series Mixing Consoles. These plugins sound so close to the original consoles, even experts who work with SSL boards day in and day out can’t tell the difference.

Waves Ssl 4000 Review

1. SSL 4000 Collection by Waves is a Virtual Effect Audio Plugin for macOS and Windows. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX Plugin.
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The Waves SSL 4000 Collection is a faithful emulation of two classic SSL consoles from the ’80s—the 4000 E and 4000 G. The originals were responsible for the sound of countless recordings, with their distinctive EQ and dynamics sections lending that “sheen” that defined the sound of pop and rock tracks in the ’80s and ’90s.

Waves has modeled the complete channel strips from both the 4000 E and G series—which featured slightly different EQ characteristics—and the collection also provides a separate G-series EQ and the famous Buss Compressor from the G-Series center panel.

But—vintage pedigree aside—what do these processors offer over and above the many other EQ and dynamics plug-ins out there, including the ones that come with every DAW? Here are a few tips and suggestions for getting the most out of the SSL 4000 Collection.

1. Channel the ’80s

Obviously, one of the reasons for going with a set of processors like this is their ability to emulate the sound of the vintage gear they’re modeled on. In this case, that’s the sound of the console(s) probably used on more recordings throughout the ’80s and ’90s than any other single piece of gear. What gives both the originals and these models their particular quality? Most people would attribute the characteristic “SSL sound” to the EQ sections, primarily. Compared with the relatively broad, smooth curves of many competing products (like the classic Neve EQs), the SSL’s EQ—captured faithfully here—offers up the potential for an edgier response. Sharper curves and a wider “Q” (bandwidth) range let you dial up a bit more of the distinctive ’80s crispness and punch that characterizes the sound of so many recordings from that era. And the included dynamics section, with its variable attack and soft-knee response, provides a compression characteristic between the sound of vintage tube and FET units and the squash of modern devices.

2. Alphabet soup: A/B E & G

But the 4000 Collection doesn’t just provide one sound. There are no less then three variations of the classic SSL EQ on tap here—the ones in the E-series and G-series channel strips, and the separate G-series EQ, which is based on a different circuit than either of the two versions included in the channel strips. Each has its own slightly different response. The E-series channels strip’s EQ was developed with the input of George Martin (how’s that for a pedigree); while similar in layout, the G-series channel strip EQ has a slight pre-boost dip and pre-cut rise—a response characteristic prized in the classic tube-era Pultec EQs—that distinguish it slightly from the E-series curves.

If you’re having trouble honing in on the best EQ settings, trying the same settings with both the E and G channel strips can offer a subtle but distinctly different tonal imprint, which can sometimes help nudge you in the right direction.

Audio Example 1—Acoustic Guitar 1) All EQs Bypassed, 2) E-Channel EQ, 3) G-Channel EQ with identical settings to the E-Channel in (2), to highlight the differences; 4) G-Channel EQ set to more or less match the tonal curve of the E-Channel:

3. Get that Analog edge

All of the 4000 series plug-ins feature a switch simply labelled “Analog”.

Fig 4 The “Analog” switch in the various SSL 4000 Collection plug-ins.

This may seem like a throwaway—an extra effect on top of the modeled character—but it is, in fact, part of the key to that character. While duplicating the curves of a particular EQ and the response of a specific compression circuit (like the ones in the original 4000 consoles) can go a long way to emulating the sound of the original gear, there’s more to it than that. The original analog components had a unique way of breaking up when driven, and those non-linearities (distortions to the layman) are a major contributor to the classic “sound” so sought after in models like these. While there may be situations where you just need the most neutral, transparent response possible, the point of collections like this is not neutrality, but color! Making sure this switch is on (it should be by default, but you never know) will insure that you’re getting all the analog “character” that makes these processors so distinctive, and so like the originals they’re based on.

4. Pump the drums

Compression has always been used in recording—originally it was meant to simply contain the dynamic range of music to fit into the limitations of traditional analog media (tape & vinyl). But talented and creative engineers started to use it as an effect, even as far back as the Beatles and other ’60s recordings. With dynamics on every channel of the classic SSL 4000-series consoles, compression really came into its own in that era, where it was used liberally on any channel that needed a little extra push. The SSL compressors—both the channel strip dynamics sections and the G-series Master Buss Compressor—helped to define the sound of the modern drum kit, with punchy compression on both individual drums, and on stereo overheads and drum masters.

For that kind of push, instantiating one of these channel strips on each track—kick, snare, toms—and possibly a G-series Buss Compressor on the Drum Master, can take a more traditional, laid-back drum sound, and both tighten it up and add a little bloom (ambient tail). Add a little of that characteristic crisp SSL EQ, and you’ve got that bigger-than-life ’80s drum sound you grew up with.

Audio Example 2—SSL 4000-series compression on drums: Bypassed (1st 4 bars); On:

5. Add the “Glue”

Of all the things the SSL 4000-series consoles are known for, one of the most famous is the ability of the G-series Master Bus Compressor—the stereo dynamics processor in that console’s center panel, strapped across the L/R output—to add what’s come to be known as “the Glue” to a finished mix.

Fig 5 The Waves SSL 4000 G-series Master Buss Compressor.

Long before people were routinely smashing the hell out of their mixes with digital brickwall limiting (in the never-ending “Loudness Wars” for greater level), engineers would take a more subtle approach when it came to the master stereo bus. A little gentle compression (a medium-low ratio, subtly applied), with the compression circuit that was built in to the 4000 G console, was renowned for adding that final touch that could make all the elements of a mix gel—providing the “glue” that would hold the mix together. This gave rise to its nickname (the “Glue”), which has become a catchphrase for that final bit of master bus processing that helps keep up a mix’s energy and “push”, but does so without robbing it of its musical dynamics and punch.

And nothing does a better job of this—in the opinion of a great many experienced engineers—than the SSL 4000 G Master Buss Compressor. Duplicating the response of the original’s twin-VCA design—along with the “Analog” characteristics of the actual hardware—insures that this version is capable of that same magic. Just strap it across the mix bus and take advantage of its unique properties. But—like with any dynamic processing—just be sure not to push too hard! As I said, a medium-low ratio and a gentle hand will be the ticket to get you where you want to go.

Audio Example 3—The “Glue”: The SSL Master Buss Compressor applied to a mix: Bypassed (4 bars); On (4 bars); Bypassed (4 bars); On (4 bars):

The Waves SSL 4000 Collection offers a comprehensive set of tools, not only for those used to working on the original, who want to recapture that experience, but also for newer engineers and mixers, who are looking for a bit of the magic that launched a thousand records. With a judicious touch, and a little creative experimentation, you too should be able to find ’80s Nirvana with this capable bundle.

Anyone who's ever heard music recorded and mixed in the '80s and '90s has heard the sound of the classic SSL 4000 consoles. These boards were more or less the standard in high-end studios for many years, until they eventually gave way to SSL's 9000 series, and later digital consoles. But the 4000, while perhaps not as clean and transparent as the later models, had a sound all its own, and one that engineers all over the world came to love, and rely on, to record and mix some of the biggest albums ever. Many people still gravitate to the sound of these consoles, now long out of production, and with the coming-of-age of digital modeling, they can have them, without having to worry about maintenance and parts, via one of the many plug-in emulations of these classic boards.

The Real Deal

Fig 1 An original SSL 4000 console.

The SSL 4000 came in two versions'the original 4000E, which established itself as the de-facto studio standard, and the later 4000G, updated with additional routing options, somewhat cleaner circuitry for greater transparency, and slightly different EQ characteristics. The 4000 channel strip EQ'both the E and G versions'has its own 'character' (as distinct from EQs in SSL's competitors, like Neve and API), perhaps a little more aggressive, some would say a little more 'rock & roll'. The G-series EQ introduced a proportional-Q design, which meant that, with the same settings as the E-series EQ, it would sound noticeably different'you get different curves, for what many feel is a smoother sound, at typical EQ settings. However, with the broad range of adjustment available, you can get pretty much any sound you want with either, it's just that the different versions tend to push you more in one direction than the other'the E-series toward more presence and edge, and the G-series toward more gentle tonal shifts. That said, I hear people describe the differences in contradictory ways'it really does depend heavily on exactly what kind of EQ tweaks you're dialing up, but there's no doubt that either gets the job done!

The other component of the original SSL 4000 channel strip was its dynamics section, which included a noise gate and compressor on every channel'a first for consoles in that era. The ready availability of compression undoubtedly led to its much wider, and more aggressive, use in mixing, a trend that still continues today. And for many people, the jewel-in-the-crown of the 4000 series was its G-Master Buss Compressor, a final compressor strapped across the main outs, that achieved an almost legendary reputation for being able to magically 'glue' all the elements of mix together, making it more cohesive.

Enter Waves

Quite a while back, Waves introduced a set of plug-ins emulating the SSL 4000, including complete E and G-series channel strips, a separate G-series EQ, and the G-Master Buss compressor. Since then, many others have also set out to duplicate the analog magic of the 4000, but these Waves plug-ins remain one of the most respected, and most popular, bundles, for lovers of the classic SSL sound.

Fig 2 The Waves SSL 4000 Collection.

The four plug-ins in the Waves SSL 4000 bundle are faithful recreations of the originals, down to the last detail. Let's take a look at them, starting with the channel strips.

The 4000 E-Channel & G-Channel

The E-Channel and G-Channel share the same layout and features, for the most part'I'll describe the E-Channel, taking note of any differences in the G.

Fig 3 The Waves SSL 4000 E-Channel & G-Channel.

The E-Channel lays out the original console strip in two sections, side-by-side. On the left are the four-band EQ, plus highpass and lowpass filters. On the right are the channel Compressor and Gate, each with its own (LED) gain-reduction meter, a Trim knob and Phase (polarity-reversal) button, and the output fader and meter. There's also a switch labelled ANALOG'this lets you enable or disable Waves' digital emulation of the original console's noise and distortion characteristics. This is, of course, part of the 'sound' of these processors, so it would normally be left on. However, for situations where a more modern, less 'characterful' sound is needed, the option to turn it off is there. The BYPASS buttons for the EQ and Dynamics differ from the DAW's channel strip Bypass function, in that, while they bypass the processing on that section, they don't bypass the simulation of the analog circuitry'what audio would sound like running flat through the console's electronics.

Ssl 4000 E

As in the originals, the order of the Filters, EQ, and Dynamics sections can be changed'two buttons control the re-ordering. Normally, the Dynamics section is first, followed by Filter, then EQ, but engaging the SPLIT button in the Filter section makes it precede Dynamics (Fig 4). The CH OUT in the Dynamics section moves it to the end of the chain, after the Filter and EQ (Fig 4).

Ssl 4000 Plugin Free Download

The Filter & EQ can also be routed to the Dynamics' sidechain input, via the DYN S-C button (or the FLT DYN-SC button on the G-Channel). Different combinations of that button plus the SPLIT and CH OUT buttons provide various routings, as shown in the diagrams in Fig 4 (from the Waves manual)'the routings are different for the G-Channel.

Fig 4 Filter/EQ, Dynamics, & Side-Chain Routing Options for the E- & G-Channels.

Another difference between the E- and G-Channels is the EQ. Besides any under-the-hood difference in sound quality'from the emulations of the different analog electronics and EQ circuit designs in the original consoles'the EQs also have somewhat different layouts. The E-Channel EQ is a four-band, with fully parametric controls for the two mid bands, and semi-parametric controls for the high and low bands (Fig 3). The BELL buttons switch the high and low bands from Shelving to a Bell curve (like the mid bands). As you can see from the screenshot, each band covers a pretty wide frequency range. The G-Channel EQ is also four-band, but the high and low bands are fixed Shelves'instead of the BELL buttons, there are HMFx3 and LMF÷3 buttons, which shift and extend the respective frequency ranges of the high-mid and low-mid bands.

Fig 5 The settings used for the E- and G-Channel EQs in Audio Example 1

Audio Example 1'Acoustic Guitar: 1) All EQs Bypassed, 2) E-Channel EQ, 3) G-Channel EQ with identical settings to the E-Channel in 2), to highlight the differences; 4) G-Channel EQ set to more or less match the tonal curve of the E-Channel

The SSL G-Equalizer

Fig 6 The Waves SSL G-Equalizer

The separate G-Equalizer plug-in, despite the name, is similar to the E-Channel EQ, with a slightly greater gain range than the E, and slightly different EQ curves. It's modeled on the rack-mount version of SSL's G 292, a different design than the E-Channel EQ (242) and G-Channel EQ (384) circuits. A Phase button and Trim knob are included, but the Lowpass Filter of the Channel EQs is omitted.

Master the buss

The Waves SSL G-Master Buss Compressor is modeled on the master buss compressor from the 4000G, which, as I mentioned earlier, has achieved legendary status as the secret ingredient to finish a mix, the 'glue' that pulls everything together. But this plug-in will also sound great on individual instruments, especially drums.

Fig 7 The Waves SSL G-Master Buss Compressor.

The original was a VCA design, which is faithfully modeled here. The G-Master has the usual compressor controls'Threshold, Ratio, Attack, Release, and Make-up Gain. There are Ratios of 2:1, 4:1, and 10:1'2:1 is probably best for mix bus applications. Attack and Release span a wide range, and Release can also be set to Auto, for a program-dependent response, like many classic compressors.

Waves has even included the controls for creating an automatic Fade-Out (remember, the original was a master bus compressor, in the days when console automation was not as quick and easy as DAW automation is today). If you are using the plug-in on the master outs, this feature does create some nice, smooth-sounding fades when enabled'you can set the fade time with the RATE-S knob, from 1 to 60 seconds.

Finally, as in the other SSL plug-ins, ANALOG disables the analog circuit emulation component, for a cleaner but less 'Characterful' sound.

So what is the special quality of this compressor that's made it so popular with so many engineers and mixers? I recorded two quick examples. The first is the G-Master on drums (Audio Example 2), where it adds some nice 'push' (there's also a touch of the G-Equalizer as well). Ratio was set to 10:1, with a fast (1ms) Attack and Auto-Release.

Audio Example 2'Waves SSL G-Master Buss Compressor on drums:

The second example is the G-Master on the mix bus'its main application (Audio Example 3).

Audio Example'Waves SSL G-Master Buss Compressor master bus:

Waves Ssl 4000 Collection Review

Wrap-up

Waves Ssl 4000 Collection Free Download

I hear some people argue endlessly about plug-ins like these'which emulation is the 'best', and 'do they sound exactly like the original'? But I think that misses the point'the Waves SSL 4000 Collection not only captures the quality'the sound and vibe'of the originals, in spades, but it also offers an interface that's so familiar to those accustomed to working on the real thing, that they can instantly achieve the sounds and effects they're used to getting from the original hardware'and that's a big part of the appeal of these plug-ins! A friend of mine, who was an SSL devotee, then working in his own smaller studio, was ecstatic to get a hold of plugins that let him utilize the techniques he'd developed over the years on actual 4000-series consoles. And users new to the SSL universe will be pleasantly surprised at how these models really do add something of that classic analog sound to tracks and mixes.