Mixing With Mike Mixing Tip: Using Channel Strip Plugins

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[@youfkntubez]

Love your vids Mike. So instructive and also that mean I don't have to go search anywhere else now. Thank you for your great work!!!

[@mixingwithmike]

+Fabien Waltmann Cheers Fabien!

[@JG-to8sp]

Hi Mike, once again, practical and powerful advice delivered in a meaningful common sense way. You dont get this anywhere else. Thanks!

[@mixingwithmike]

+Jon Griffin Thanks again Jon!

[@kedavis]

Brilliant and makes so much sense..

[@mixingwithmike]

Cheers!

[@Guitarmfig]

I was watching a Geoff Emerick interview on recording St Peppers and he said everything went through a fairchild

[@jamescreekmusic]

Hi Mike. Would you say that using channel strips is also a win when dealing with system usage instead of stacking several eq's and compressors? Great info as always. Thx!

[@mixingwithmike]

+James Creek Hi James, Yes, although that is not the primary reason to use one. The modeled channel strip plugins are great for adding a tonal characteristic to the mix that binds it together. It is important to understand that you do not need to use any or all of the elements within the channel strip to achieve the effect. From this foundation, I nice blend of analog modeled vintage components will contrast the console sound nicely. Cheers! Mike

[@MrGiulianeddu]

Hey Michael ! Thx for all your tips, it's very useful and instructive ! I got a question: I use this SSL series (Waves plug-in) but I got a problem with the SSL bus compressor, the needle of the VU-meter on it doesn't move. I mean the sound is modificated I can hear the volume going up when I turn the make-up knob for instance, but nothing happens on the VU-meter. Is there something in the parameters for this ? Thanks again !

[@mixingwithmike]

+Julien M Hi Julien, Hmmm... Is the threshold low enough to get GR? Could also be the amount of level going into the plugin. There is no calibration for the meter on the Buss Comp because it does not show Input/Output levels, only GR. Best, Mike

[@os2w4rp]

After a decade plus of so many channel strip emulations - do you have an overall favorite in terms of sonic authenticity?

[@ddu1212]

Hey Mike, I see that you say use the character of these channel plugins as as a canvas (I'm assuming you mean first in the chain) that brings the whole mix together but when you reviewed the NLS Channel plugin you suggested that you put it on last in the chain. I noticed in the NLS manual they have 2 suggestions for using it. One way was as summing channel and bus where they suggested that it go on last on the channel and first on the bus. The other way was as an preamp emulation where it would go on first in the channel and anywhere on the bus. I'm just a little confused. i know that whatever sounds best to my ears is the right decision but id like to hear what you have to say about it.

[@mixingwithmike]

+Damien Dubose Hey Damien, The channel strip emulations embody not just the harmonic distortion characteristics that you can get with the NLS but also the unique sound of the EQ and dynamics. This becomes a sort of tonal character that acts as a canvas for the rest of the processing work. When adding vintage compressors and EQs on top of this layer, the character comes through more clearly. Regarding NLS and Tape Emulations, I think the placement of them is dependent of the quality of the source audio materials. The better the quality, the more likely I will place them first in the chain. Recording engineers in the analog multitrack era paid way more attention to the quality of their recordings. Todays engineers are more likely to say "I'll fix it later in the box. To me, the NLS and Tape are a complete waste on crappy recordings, better to save to the ens so you get the full benefits. Hope this answers your questions. Cheers! Mike

[@jeff7775]

Hi Mike: Great vid! Question for clarification: so in order to achieve that unifying sonic coherency you're referring to, a console modeling emulation (like Slate's VCC) is just as effective as a now-traditional vst channel emu strip like the Waves SSL you're using in this ex (with the familiar goodies of eq and comp and filters etc)?

[@mixingwithmike]

+jeff7775 Hey Jeff, Yes, Slates plugin emulations are great and often give you added flexibility that the original hardware doesn't have. The main idea is that you keep the same basic processing setup for each channel so that all the basic compression and EQ work is created using the same processing. You can use different EQs and Compressors on select tracks like Vocal, Kick, Snare, Bass, etc... to make them stand out. Cheers! Mike

[@jeff7775]

Got it, thanks! And one final follow question: would you consider it analog-simulation-overkill (LOL) to do both per track: say have the vcc first set to one of the SSL algos, followed by an SSL channel strip like Waves'? Or is the channel strip sufficiently taking care of the console emulating already (at least in theory)?

[@mixingwithmike]

No, it is not overkill. NLS actually emulates the harmonic distortion behavior of 32 different channels added a slightly unique character to each. Almost all channel strip plugins have the exact same emulation for each. VCC is the same for each as well but you can create variation with the Drive control. The only channelstrip emulation that does a unique, end to end, emulation for each channel (72 of them!) is the Brainworx-bx_channelstrip plugin kzbin.info/www/bejne/enzbZ4h8fcRjmZY Amazing, and hands down, the closest to the real experience I have seen or used. Cheers! Mike

[@dynatwenty]

When you buy the SSL bundle deal and have no clue what you´re on about. Thank you.

[@kye903]

Having tried to use a few of them, I just don't see the point really. Sure they look nice, and maybe they were OK "back in the day", but technology has moved on. Like, I know they're not a channel strip, but I tried to use an API 550A and B recently (Waves) and I just gave up on it. Why let yourself be restricted in terms of the frequency you can choose, and maybe the Q as well, when you could just use a Pro-Q 2 for example and have infinitely more flexibility..? Being able to choose an exact note, among other things. I'm sure there must be some kind of nostalgia factor for a guy like yourself, but would you not concede that evolution has made these things largely obsolete..?

[@sammysabbah6118]

Hello kye903, one great thing about channel strips is that they are multiple plugins in one, for example, if you know you want to gate, eq, and compress a snare drum for instance, the waves ssl has all of that built-in. so you get 3 plugins but with the CPU hit of only 1 plugin. plus, the sound of the plugins are really good. just my two cents

[@kye903]

It would seem pretty insane to me to accept the limitations of such plugins just to save a bit of CPU. Tracks can always be bounced or frozen or 'rendered in place' (Cubase) to save CPU, so it shouldn't have to be an issue for anyone these days, even those on a fairly weak system.

[@mixingwithmike]

+kye903 Hello Kye, I appreciate the perspective but there may be a larger point you are missing here. The point of using a channel strip plugin is not for the flexibility, it is for the tonal character it adds to the overall mix. Think of it more like a canvas from which you build your mix rather than the primary or only source of processing. Using the API 550A-B alone will not achieve that result nearly as effectively as the API Vision Strip from UA will. Alternatively you can build it with the Slate Console API and use 550A-B and 560 with the API 2500 to achieve a similar effect. It is very important to understand that when you need more flexible processing, you can go to whatever plugin fills the functional need that the channel strip cannot provide. You do not need to use every compressor and eq on every channel to get the effect. If you selectively add vintage emulations on top, you will get way better results. What I found with almost all mixes I hear is a lack of coherency. The instruments sound too independent from each other, too unique. The result is the opposite of what you would expect. What I hear are mixes that sound great but feel horrible. I can't relate to them at all because there is no foundation of perspective that ties them together. It's like watching a bunch of images coming at you from all direction against a green screen. There is no perspective from which you can relate to what is coming at you. The channels strip is the green screen. I have been working ITB for about 20 years now, and am just beginning to feel that the technology is catching up with the real thing. The bx_console is a huge step in that direction. I would suggest that you check out my Power Mixing Course (blog.music-production-guide.net/power-mixing-course/) as this is exactly what the course is about. Cheers! Mike

[@mixingwithmike]

+sammy sabbah Hi Sammy, Check out my reply to Kye's comment. The convenience of the channel strip as you state here is great but not the real reason you use it. Ultimately it has to serve a larger purpose than just convenience, it needs to add a tonal character or vibe from which you can build the rest of the mix. Cheers! Mike