Transcript for:
Comprehensive SSL 4000e Plugin Guide

so welcome to a new guide on this channel and this occasion is the SSL 4000e from plug-in Alliance now this is not a review it's a deep dive guide about this plugin now everything is in tiny chapters so if you look at the description or the timeline you can jump to a section or skip the ones you don't want of course if you like what I do remember to like And subscribe and if you want to buy me a coffee you can just check the description okay so first we need to start with the filters now this is a pretty simple thing now whenever you start to plugging and you start and reset the expander will be doing something if you go down on the Range you're gonna be pretty much disabling the the expander the expansion right here so right now we need to talk about the filters and by default uh they they are on that is that we have a red light this means they they are on so if I click on them and I just you know toggle them off they go away so by default they cut you know they do they cut a little bit you know and if I turn this one off we can see that this is doing something thing and the plugging by default is just kind of a rolling off the super low that we cannot even hear of course so basically on the filters you have a low pass and you have a high pass so of course the high pass you need to turn it on is going to cut the low frequencies and as soon as you turn it on it's just going to do a little bit of cutting right here so you can start from the 16 Hertz which is super low and go all the way up up to 350 Hertz you know you're just cutting and the other one it does the same but it's gonna start from 22k all the way down to the 3K right so pretty simple stuff then you get this uh buttons you get the multiply and the Divide Now by default again this goes from 16 to 350 so you cannot go further than this so what this will do it will pretty much multiply whatever is that you're doing so if you're doing 16 now it's going to be 16 times 3 so when you enable this button of course 16 times 3 is going to to be a lot more than 16 so this is going to kind of a move whatever your start so now instead of going to 16 uh you're starting from a different place and if you go all the way up notice that we can go up to 1K and we we get a reference right here if we go we are in the 48 not 16. it's a you know when we move the knob then if we go up we are going all the way to 1K now if you do save your disable or or maybe disengage this you're gonna go back to the 300 ish so if I go all the way down you have the same thing for this one as soon as I enable this of course this will do the opposite the that this is doing you're going to be starting from a different points you're going to start earlier so we if you go right here it's from the 7.2 K all the way down to the 1K if you think about this if you do the same thing you're just kind of a chopping everything down to you know you're just removing everything but yeah you can do it if you want to so this is what this means all right right so if I go down you get a button right here that says Dynamic side chain so this one what will do it will kind of a remove this from whatever is that you're doing right here it will not react on the incoming signal but it will uh work or will you know we are going to be putting it on the side chain of the dynamic section that's why it's Dynamic side chain so now when you're compressing for example instead of compressing the signal it comes in without filtering you just can maybe remove the low frequencies and then compress it without the low frequencies but you're not affecting whatever that comes in you're just compressing or actually affecting what comes inside the dynamic section so we're gonna use it much later for now I'm just gonna leave it right here now I'm going to go back to reset and remember that the expander I'm just gonna go back on the Range so as soon as I move this notice that it's kind of a pretty clean right here even if I if I turn it on we see one line right here now as soon as you turn them on we could see that it's kind of a deviating a little bit you know we see two lines it's because this is the stereo kind of a representation we got the uh pinkish which is I guess to the left and then we get the blue or light blue which is going to be the right channel the left and the right so as soon as we start messing with this or we start cutting and doing more things notice they are going to be uh you know they're different now since this is an emulation of a real mixing console every channel uh will be a little bit different so the plugin is emulating that the left and the right signal going through different channels and if you take a look right here it's using the channel one and the channel two so you're left to you know channels going to the one uh to the console one let's say instance ones and one and then the right channel is going to the instance number two now of course remember this is an emulation so both instances are both channels might be a little bit different so they are a little bit different especially when you start moving the knobs or you start using using the EQ or even the compressor and this is actually some you know something that you get right here along with the TMT this is tolerance modeling technology that's the name the TMT is what is what plug-in lines and brain works actually develop is patented so whatever whatever you put right here uh what they did they modeled different versions of the channels they Model A lot of different versions so as soon as you and for now I'm just going to do something like that so we can you know kind of see what is going on right here just gonna do something like that something like that so we can see that there's a difference a clear difference right there so right now we are using the channel uh one on the left and the right we are using the number two so we there is a little bit you know a tiny difference between them both now of course they modeled the several channels so by changing the channels that is that they all they're all a little bit different and yeah they did the work you know in modeling different channels so all of them they're just a little bit different they're very very close of course but you know you can just you know toggle to through different channels and see or maybe just you know choose the one you like the most now also you can go right here and randomize the channel so if I do this it's going to select a random Channel notice that you have a lot of channels they all you know are a little bit different you just need to choose the one the one you like now what if you don't like this let's say that teachers don't like this you don't like this uh you know separation so right here you have the stereo mode and right now it says analog so if you just click on that one it's going to go to digital so what it does is it will pretty much choose the channel and now it's going to use the same channel on the left and the same channel on the right now can you choose channels yeah you can still change channels and this will kind of use whatever emulation they did for that channel but now you're using the same on the left and the right so you're not going to get this kind of a separation okay so let's just talk about the EQ this section we have right here now we need to I need to cover a lot more things that we have right here I much prefer to get this down and this down so we can talk about the THD and everything else because this gives you this analog Vibe you know using the different channels but also the THD will give you that we're going to get that in a minute so okay so let's just talk about the EQ when I do reset and kind of use the default configuration by default they expand it's right here we need to go down but this ones are on as well and they are doing a little bit of magic so we if you want to get them to get them off we just can remove them by just clicking Now by default you get four different bands you get the high frequency band you get the high mid frequency and then you get the low mid and then you get the lows of course it's okay so right here of course we can go up and down I believe I don't need to explain this and right here you can go from 1.5 K all the way to 16k so by default this band is going to be a shelf if you're wondering you know how do I know if I'm doing a shelf or something else well most of the buttons will tell you some of them are going to be like on on and off in the case of the turf for example the times 3 when it's not engaged it's going to be like this but when it's engaged it's going to be like that now in the case of this one by default if it says shelf this is going to be a shelf EQ and we can actually see it right here but as soon as we could have engage it it's going to change to Bell so in this case whatever it says right here is whatever it is so we get the same thing with the analog right now it's analog and right now it's digital so it's so you know a little bit better than having on and off just less confusing because what you see right here is what you get so of course you can boost and you can attenuate in this case in uh with the shelf or you just can use a bell and you know you just can choose Whatever frequency and use a belt pretty simple I feel like I don't need to explain anything so I'm just gonna go back to shelf and do a little bit of a little bit of boost right there so then we have the next band and it's going to be a high mid frequency this is pretty simple you just can go all the way from 600 Hertz all the way to 7K so I'm gonna maybe stand right here and I'm gonna do a little bit of boosting Now by default this is a is going to be a bell now the difference between this and the odd one the odd this Bell is that you can just manage the queue right here how wide is going to be so if I do narrow it's going to be very narrow let me just maybe go right there so it's going to be super narrow and if you go wide it's just gonna be fine now also one thing that you need to notice when you use the channel is that whatever you do right here is going to be a little bit aggressive so if I I'm going right here we are doing six DBS of boost which is a lot so when you use this plugin sometimes you just need to kind of a go into smaller values you can do shift hold the shift on your keyboard and just drag and do small values and that's just going to give you you know just gonna work a little bit better as soon as you just drag this you're you're always going to do a lot more than you want to always you need to use your ears of course but you know you need to know that you can go up to plus 15 DBS which is a lot I'm gonna go and do something like that and maybe do a narrow queue so then you have your low mid frequency band and this one can go from 200 all the way to 2.5 k and of course this one works exactly the same than this one exactly the same so maybe I can stand right here do a little bit of boosting or maybe a little bit of cutting and get maybe closer to the 400 ish and I'm just going to do a tiny cut so one thing that makes the SSL one of the one of the most kind of a revered channels or in this case analog emulation is that all the values right here and the fact that you can use the queue and you can go wide or you can go narrow lets you work a little bit better in maybe removing frequencies you don't want or maybe boosting very specific frequency frequencies that's why this channel is so beloved other channels maybe more vintage vintage kind of channels you don't get this you just can boost and everything is kind of a super smooth and you don't have a way of kind of a removing frequencies like we are doing right now so let's move to the next one the next one is going to be the low band and on this one works the same way as the high frequency band you have a boost you can go really wild all the way from 30 you know from 30 all the way to 450 Hertz and maybe I'm going to stand right there and I'm going to do a little bit of boost or you know go crazy so of course this one can be a shelf or it can be a bell EQ it depends on of course what you want to do now remember that everything that you do right here depends on what you do right here this will be affected if I enable this that is that everything changes a little bit it's just changing how it works even if I cut you know it's going to bring this down of course and I'm cutting too much on purpose of course so yeah you need to be aware it's especially when you do a shelf that this will just you know bring it down just a little bit same thing with this one if I go up like that it's just gonna chop it and notice how much the uh you know the analog mode the TMT is doing right here for us especially on the higher frequencies so one cool thing that you get with this plugin and the other ones as well is that you can switch between two different versions so this one is the Black Version but you get the brown version and notice the difference on the curves if I go to the black and I go to the brown so they they all are very different so you just need to kind of uh change the times when you do something and choose the one you like the most now usually the brown one uh sounds smooth smoother let's say because the queue for each band is kind of a wider so that's why the brown it's kind of associated with a smoother kind of a sound and the older one is just a little bit more kind of a Punchy or a Snappy or precise let's say so it depends on what you want to do or what you what you know what you like you need to choose between the brown or the black one if I do reset and go all the way back let me just do maybe some boost just change just doing this a tiny boost changing between the black and the brown we'll show you what will give you you know a big difference let me just get rid of the filters just it's gonna be really different right same thing if I go to the other one if I do a boost right here and I change between this and this the brand the black and the brown it's going to be really different so you really need to change or maybe just swap between the black and the brown and just just see which uh which one you like the most and notice how different this that was notice this and there's this it's very different so yeah you just need to kind of uh you know toggle between them both and then just choose whatever whatever fits uh your mix better right so at the bottom of the EQ section you have some options right here and it says equalizer two so the this one it's it's actually pretty simple this is going to be the on and off so if I do something like that whatever it doesn't matter I'm just going to do it kind of a you know just randomly doesn't matter just doesn't matter I'm gonna do something like that maybe this is just too much and of course this one is going to be on and off so if this is green it means that the EQ is on if not it's going to be off so if you turn it on we are going to be using it but then we have other options we have the pre-dynamics and we have the Dynamics side chain notice that this button sounds like this one and it's because it has the same purpose on this one we can use it to go and use it with the compressor you know remove it out of the chain and just use it with the dynamic section and we can do the same thing with the whole EQ not just the filters so when I do this notice that we get nothing it's not processing anything and it's because whatever we process whatever process we do right here it will go to the dynamic section and that will of course affect the compressor and affect the expander so by default how it works the new on the channel works is that first we are going to be working with the dynamic section and then it goes to the EQ section so what if you don't want this why what if you want to do EQ first and then do compression well this one is the button for you pre-dynamics that's why it's pre-dynamics if I turn this on of course it will not affect it but now we are eq'ing first and then we are compressing or expanding you know then we are going to the dynamic section but first we are comp we are eq'ing so this you know button might be really important for you if you want to EQ uh first before compressing so I'm gonna go back to or reset remove the expander so this is an emulation so it will give you of course saturation and harmonics and so on and so on because it's an emulation and with a vintage vintage channel uh you get noise and you get harmonic Distortion as well so of course since they kind of made an effort to to model different channels they model the the harmonic Distortion that you get the saturation that you get with the with the uh with the gear with it with the channel the real Channel and they added the v-gain to the noise so we can actually see this so if I go to here into the plug inductor and I go to the harmonic analysis it shows me right there how much in terms of total harmonic Distortion we are doing and if you uh want to find where it is well you have it right here it says THD total harmonic Distortion yeah that's what that's what it means so of course we are now feeding one single tone so we are not doing a lot right because it's just one single tone so this what this plugin is doing just kind of feeding a single tone so this is how much the plugin is adding in terms of harmonic Distortion now of course you can go down on this one all the way down and it's going to be kind of off it says but you're still doing a little bit and it's pretty nose useful but if you go up on the THD you're going to be doing a lot more Distortion right now of course we are not able to hear anything because we are not feeling anything to here but if you put a kick or whatever you know whatever Sound Source and you go up you're gonna you're gonna hear a little bit of saturation going on right there and this again depends on what you want to do but it's nice that we have the uh option to kind of manage this you know you have it right there so I'm going to go back to default values of course you have the in-game and this will affect the total harmonic Distortion because you're going up and this one will give you a lot more you're gonna start doing more saturation right here I'm going like crazy so if you have something that it's kind of a super quiet uh you can just go up in the on the in-game so then you have the V gain what the f is this now of course this one will just give us this you know harmonic Distortion we can mod but we can just check the gain go up again go down again and then we have this this crazy thing going on right here so what is this so this is noise so of course when you work with analog gear and I'm not I'm not talking about old uh analog gear uh I have some Modern analog gear and I get this ground noise and this is something you know that comes with it you know when you you're talking about Transformers or tubes or whatever you do get some natural noise so what they did they just modeled this right so the V gain is going to be that that noise that you get from analog gear so if you go down it's gonna bring that noise down which is maybe something that you want now we can still see that it's going on right here but the this is super low you're not going to be able to hear this now if you go up on this one and maybe you're gonna go up right here you're gonna be able to hear some noise some kind of a ground floor or something like that it's just noise so maybe if you're using it on one single Channel it will not affect it that much but if you use this uh this plugging on many tracks on on your session you're going to start hearing that noise so maybe just kind of a taming uh the the V game is going to remove this uh noise in the background but of course since you want this analog five this B Gain Is Gonna add this tiny little bit of noise that you might want if you want this kind of an analog 5 to on your tracks well we kind of know a lot we know the filters we know how the EQ works in the v gain how the TMT or what it's doing pretty much and then you know we have the digital the analog we can randomize channels if we want and then we have this options right here at the top now this one will invert the face pretty simple right now you know I feel like I don't need to explain it it's just going to invert the face and if I go right here and do something like that this one is going to mute it so it's going to pretty much just save all the the whole thing so we are not gonna get anything right here you control the output of the plugin right pretty simple again I feel like I don't need to explain it and notice that again right now we are just randomizing this instance of this plugin now all what it will do if you're working on a DAW and you know in a session and you have many instances of the same plugin it will just randomize all the instances that you have available right there pretty much and as a way to you know add a randomization to whatever is that you're doing right here a more kind of an analog Vibe same thing you have right here at the top this one will kind of a randomize uh all the different instances of the plugin that you have on your on your session now right here at the top you can just kind of change the V gain for all the instances or you can do the cheat the THD for all and again this will affect all it's not the same than doing it from here this will just alter this instance and this will just affect all right so hopefully that is clear so I'm going to go back to reset and all the way down on the Range and uh right here at the top it says m solo and S so maybe you're thinking oh okay so we can work on Mid and we can work on site not really this is just to audition whatever is that you're doing right here so if you have a track and you're doing something you can go to m and you are going to be listening to the mid side and if you go to S you're going to be listening to the side so of course you have different versions you have an A B C and D you just can make whatever change you want and this is going to be kind of a store on the a instance okay you can maybe go to the B and do something else and then you can you know toggle between a and b and choose the one you like the most that's pretty much the whole idea so of course if you like what you did on the a but maybe you just want to shift it a little bit more you can just copy whatever you did on the a go to the B and then paste it and now they're going to be pretty much the same but maybe right here you're just gonna be making a bell or just do do something else maybe do a little bit more compression whatever and you can toggle between both and just just choose the one you like the most and just like we did before this one is going to be back and it's going to be forward and this one is going to reset whatever is that you are doing and take you back to a default patch alright so let's dive into the Dynamics section first we can start with the compressor and notice I'm trying a different approach right here on this guide uh you can find a lot of videos on YouTube just showing or reviewing this uh playing sounds and just maybe compressing and this is not what I like to do first I want to be as visual as possible because of course in real life you're you are going to be using your ears uh but this guy is kind of targeting all audiences so maybe you're starting and when you're starting it's kind of hard to hear compression sometimes right because you don't know what you're doing or maybe you don't know what you need to hear or where you need to focus uh Focus your hearing or what you are listening to so that's why I make it visual so you can see what we want to hear and then we can understand how this works you know that's the main purpose okay so the compressor it's a very simple compressor compressor you have the ratio very standard control that you get on the old compressors and you can go from one which is pretty much nothing all the way up to limiter land uh of course I'm gonna be putting it right here so then of course you have the threshold which is the level uh where the compressor starts to compress of course and then you have the release which goes from 0 10 up to four seconds now notice that uh for other with other compressors you have an attack knob you know an attack value you can set your attack time and on this one you cannot this is kind of a program dependent we're going to talk about this in a minute but you have pretty much two settings you have the fast and you have the slow so if this one is on it means that it's going to be fast and notice this on the on the actual console it's kind of a push uh Push Pull kind of a knob so if it's on it means it's fast attack and if it's off it's going to be it's going to be the slow attack and if you're wondering fast it's going to be around 1.4 1.5 milliseconds uh to three 1.5 all the way to three milliseconds and the slow is going to be around 30 milliseconds and I test to tested this behind the scenes which is just a different thing and it kind of uh it's uh it changes depends on what you're doing how much you're doing and what is that you're compressing so it's more kind of a program dependent but the values kind of oscillate between that the fast it's from one five all the way to three and the slow is on the 30 ish all right so I'm gonna go back to reset and the range is going to be all the way down so we are doing pretty much nothing so this plugin and what I did the processing right here is that on the left we are going to be uh watching and hearing uh what we are going to be doing with the compressor and the right side is going to show me uh the waveform of the unprocessed signal so you know without the plugging so if I play right now we have a kick that has a good Transit you know a good punch and it has a lot of body we can hear the oomph right so what I want to do I want to compress and this is going to be the Left Channel and at the end we are just hearing the Left Channel everything is mono so of course I need to select my uh you know ratio I'm gonna go to maybe four and I'm gonna go all the way down to the release and right now you're just not doing anything with it with the SSL so I'm going to start compressing and what did this could happen since we have a slow ish release um sorry attack remember 30 milliseconds or so we are going to be getting uh Punchy kind of a sound and the body the oomph is going to get attenuated of course as soon as they go up foreign nothing happens and now we notice that something's going on if you take a look at the you know the difference between both like do more and I do more all right so maybe gonna stay right here so have a little bit of a div difference in terms of a gain so I'm going to adjust this and go down [Music] maybe a little bit more there we go something like that so notice the difference between both let me just pass it right here and just stop this out so of course when we are compressing we are letting the attack move forward and we get a lot of punch right here uh we get a big transcend right there and then of course the body gets attenuated and this of course is kind of the vibe of this of this compressor it's punchy so if you uh I'm pretty sure you you uh actually is snappy snappy kick or a Snappy sound and I'm pretty sure that you uh already kind of listened this statement with the uh with the SSL that it's a very Snappy and very Punchy so yeah it actually it is it's giving you quite a punch right here you get a big transient right there and then of course uh this bot the body gets attenuated and you can actually hear this I'm gonna do the play again and I'm gonna do play right here and what I want to do I want you to listen is to the punch and then the oomph of the kick so if I turn it off [Music] we have the transient but we have a lot of oomph on so we get the transient and we get less oomph [Music] now of course if we compress more we are going to be getting a lot more of this so I'm going to go up and at some point when you go up you're going to need to manage your the volumes because this one it's a little bit louder than this one and you always need to adjust just to uh gain too much to gain and notice it's not there anymore and we can actually see it right here this one has a lot of um this one we get you know a lot less so we get a lot of punch and not a lot of body that's the idea in this case off very different now of course we are doing a lot of compression we are doing almost 10 DBS of compression and I'm kind of it's exaggerating uh everything so we can clearly see it uh so this is the SSL Channel compressor uh Vive is it snappy and Punchy now then of course we have the release and right now we are doing a fast release and let me just go not so aggressive maybe to somewhere like there so right now again we are just getting less of them and if I go up on the release is that we are getting that back we get the oomph less oomph and we can again clearly see it right here when I go to a fast release we have this shape let me do a little bit more compression all right so I'm gonna go back to harder release and we get less oof notice that yeah of course since we are using this that we have uh this signal you know we are using this clip we have a lot of space right here so using a slowest a slow uh release we don't have a problem with that because we have a lot of space fast so yeah so what's going to happen when we do a fast attack of course a fast attack it's gonna be around 1.5 and 3 so it's gonna react almost and I say almost instantly and this is just gonna change the kick by a lot and notice that we get a lot of difference in doing in the game territory so I'm gonna go up on the volume right here I'm trying to match the volumes right here uh almost there and notice how it sounds it sounds pretty compressed off on okay all right so let's go the other way let's try a different Sound Source not just a kick so I have a right here I have some tambourines I'm going to play the clip and this is how it sounds so of course I this I created this sound on purpose notice that you get some transient right here it's much louder right here loud right here super live right here and then again we just get the same thing on different parts so of course we are getting accents but sometimes the actions are just a bit too much so what if we wanted to use the compressor uh to kind of obtain the transients or just kind of a kind of a glue or compress everything so everything can sound a little bit closer and smooth okay so let's do the same thing we did before we're gonna evaluate how much compression we do you know how we compress on the left is going to be the SSL process signal and on the right it's the unprocessed signal so what we want to do we want to kind of a tame the transience and bring everything closer of course we can do it with compression I'm going to remove this remove this and remember the expand the range needs to be all the way down so okay so again what we want to do we want to compress and bring everything closer and we can see the Peaks right here so in this case I'm going to go to a kind of a fast release uh so almost nothing I'm gonna go right there in this case I'm going to start compressing so of course since we have a slow attack this is not going to give us what we want a slow yeah slow attack not gonna give us what we want we are just making this transience louder so maybe a fast attack is gonna do the trick for us because what we want to do we want to bring everything closer and we are going to be getting that there's a difference between this one and we can see it right here this one and this one right there and all of this all the in-betweens are closer to the other ones it's the whole trick we're just kind of a you know making making them sound a little bit closer wait what if we go crazy I'm gonna go right there and just do a lot more notice right here it's going to show you how much compression you're doing now sometimes when you're working in this case it's not the case uh when you're working with a stereo Channel and right now it's super mono this one is going to be compressing on the left and on the right and sometimes depends on the signal that you're processing and notice how compressed everything is sounds really close not super close really close notice it listen to the transients to the accents you can really hear that one and now everything's kind of a bit smoother closer all right so we can get that punch and maybe a little bit less of the oomph from a kick for example you know bring that you know transient up or we can just compress it and just kind of a glue everything's just a little bit better fine so this can do both now what happens if we do a slower release well it's going to start working a little bit different because we that is every here it sounds a little bit funnier so maybe with the faster some release it's gonna you know just gonna do the trick so yeah and we can really see the waveform right here if I stop it everything is kind of a super close now right here everything is super Dynamic and this one is just less Dynamic that's why of course we are compressing and that's happened when we compress we make things less dynamic so what's going to happen when you're working with a signal or with a clipboard whatever is that you're processing uh with something that it's not super mono so in this case what I'm doing and I'm for now I'm just going to close it so I can show you what I'm doing and you can see we have a signal of course it's going to be stereo and they are a little bit different it's a stereo file and I'm doing with all the way down so I'm just monoing everything so what I'm going to do I'm just going to make a copy of this one I'm going to paste it right here and I'm just going to disable all the processing that I'm doing so we can of course compare A and B with the wave of server so now we are going to just kind of see the same thing and we can hear now the ethereumness okay so I'm gonna bring it back now I'm gonna do play and now we are just kind of getting the same thing on the left and right and if I go down we can hear now that it's super dynamic but that's fine now what I want to do is if I as soon as I go up in on the compression we are compressing more of course but we can see that there's something funky going on right here we see the left and this is the left and this is going to be the right so what is going on right here why this one is going you know a little bit more aggressive than this one at some point so remember when we do this since the uh in this case we are working with a stereophile we have a left and the right Channel and we are kind of running two instances for of this uh channel on the left you know one on the left and one on the right so of course since we have the uh more intense signal on the left and a less intense signal on the right the compressor on the left is just compressing a little bit more so maybe you don't want this maybe what you want to do is just compress the same for both left and right so that's why you have a link right here so whenever you link it's just gonna be the left and right is going to be compressed equally that's the idea now this of course depends on on what you want to do right so that's what the link uh means pretty much now I'm gonna go and play it again in this case I'm just gonna you know remove the link now you you have a mix knob in this case I'm going crazy I'm just gonna I'm just chopping and just smashing everything squashing everything so right here you have more controls and this ones of course are additional something additional that you get on the compressor section so you have a mix control so you can do a little bit of parallel compression right now it's all the way wet so whatever we compress is whatever is coming out whatever we see right here but we can maybe uh we are maybe compressing too much so we can make a blend of this and it is as I go down we are getting a more Dynamic Sound you can hear the accents and you can go all the way down and you're not doing anything you're just that compressing but maybe instead of going all the way you just you know just want to blend and what you're essentially doing is a little bit of parallel compression all right so remember that on the compressor you have the dynamic side chains we can do it with the EQ or we can do it with the filters so if I do something like this and I'm going to go wet you know all the way to 100 percent let's say that we want to chop some of the frequencies because this is just going wild so I'm going to enable the dynamic side chain and now the filters are not kind of working on top of the incoming signal they're just you know working with the compressor so maybe I just want to chop a little bit a little bit of high frequencies so notice that the compressor will start reacting differently because we are feeding less sound to it so it's reacting differently and of course this will affect how the compressor will work you know we're feeding everything reacting to pretty much everything it is reacting a little bit less and we can see it right here and how Dynamic it's getting so anyway so let me just stop it and give you a better example okay so I have a drum kit right here and I'm using Superior Superior uh drummer three just a fantastic plugging and uh we have some you know some guns all right let me go back to I'm gonna go back to reset and go all the way down now the signal is a little bit too hot and we can see it right here because at some point this you know it's compressing and the threshold it's all the way down so we are doing some compression right which is bad because we are just kind of a going to hot and we can see it right here on the Overlook so what I want to do I want to go down kind of a you know just the levels just a little bit so now we are not compressing anymore so what I want to do in this case I do want to compress with the kick and I made this on purpose digits and purpose the kick is kind of a little bit louder then the rest of the kit but I still want to compress I'm going to go up on the threshold and we're going to start compressing and I'm gonna go down on the release now if we take a look at right here we can see how much compression we are doing almost 10 DBS and a little bit more [Music] but we can see that when this goes up is when the kick hits we just maybe not what I want because if I go a little bit more it's kind of a really driving or you know making the compressor compress too much when the kick hits and I want this so what we could do we can do this Dynamic side chain so now we can filter whatever sound we are feeding to the compressor so we can have the kick Drive the compressor a little bit less and you know make it work a little bit more natural so if I go up and start chopping low frequencies [Music] notice that now the compressor is way different the kick is not driving the compressor crazy and we get a you know just a different and five from the compressor of course all the way down we are almost getting this kind of a breed kind of a sound because we are compressing too much on the kick so the dynamic sidechain will you know fix that problem for you and now you're just kind of compressing everything a little bit more equally [Music] now the issue right now is that we are doing the filters we are using a filter uh to affect this you know to make this work but you lose the filters because you're using it along with the compressor what if you don't want to use to lose the filters now you can disable the dynamic sidechain if you wish and you do have a high pass filter right here so this is going to do pretty much the same we have a high pass filter right here but this one has an included high pass filter so now if I do the same notice that the kick is really going make making the compressor go crazy but I can go right here and start doing the same so we don't have to use the dynamic sidechain just can use this one and have the compressor work the way we want to [Music] let me do a little bit less all right pretty different right all right so that's you know the main purpose of the high pass uh you know filter now remember of course you can do the same trick with the EQ um if you don't want to use the EQ so let's say I want to compress and I'm gonna kind of go crazy I'm not gonna do this or maybe I'm just gonna you know I'm Gonna Keep It but now I'm gonna do uh the dynamic side chain so now this EQ is doing the same thing we did right here so if we want to drive it less maybe I just want to lower the uh you know the low frequencies just gonna you know bring them down this is just not gonna do the same so I much prefer to use the high pass frequency the high pass filter sorry but you know you can do this if you wanted to that is just driving a lot less the opposite way you can just make it make the compressor react to some other frequencies and have the compressor react on a different way by using the EQ on the dynamic sidechain so it's pretty much the same idea okay so let's uh you know let's just move on because this one has a different option called release two or second release or whatever you want to call it and it's a little bit hard to explain if I don't give you the right example okay so let's talk about the release too that we have right here this one so I need to provide the a good example so you can you know you can see and hear what it's doing so the release 2 is something that works with the uh with the release and it was it's something that it was added something that we get on the original one and this is gonna be this is going to help you to do your pumping and breeding for example and maybe you're you know maybe ask you're wondering yourself what the f is pumping what the f is breeding so okay so let me just give you the right sample right here I have a snare and if I play it as just a snare and on the other track I have a noise I'm going to go to the noise and play the noise just turn everything off and if I if I have to show you how the noise looks it's going to be like that so if I play both uh tracks you have a snare and we have a noise now on this channel on the noise Channel I'm using the console I'm going to turn it on and make sure everything's back to default and bring the expand down so right here what I'm doing I want to listen to The Snare and I want to duck the volume of the of this you know I want to compress it in this case we just plug the volume uh when this snare hits right that's what I want to do so that's why I'm using sidechain the side chick is listening to the snare and I want to compress every time that the snare hits how can we enable this so this is going to be the key option as soon as I enable this the compressor is going to react to whatever we have on the noise right here now right now nothing's happening because you know we are not doing compression but as soon as I go up maybe do something like that I'm going to keep the release all the way down and the fast attack I'm going to start compressing what is this doing it and make sure the release 2 is all the way down it's okay so now I'm going to mute the snare so we can hear what is going on to the noise so every time the snare hits we are docking the volume now there are we have two things main things going on we are going really aggressively down in volume and then we go up and it's really aggressive because the release is super fast now what if I do something like this it's just gonna be a little bit kind of a more natural instead of just very going back to kind of the normal volume very very hard you're just gonna do it a little bit more kind of a smooth so the pumping is going to be the docking the volume and the breathing is going to be the going back to you know the normal game so that's pumping breeding yeah yeah pretty much now of course we can use it on different with different clips different sounds but in essence that's you know that's a perfect representation of what this is now when you're pumping well and this is something that you uh on EDM or you know kind of electronic music and you know that kind of a Vibe we do it the whole time especially when the kick hits we can deduct the volume of the bass or other instruments something that we do the whole time and we do something like this we go back a little bit more aggressively but in some styles of music depends on what you what you're doing doing something like this it gives you this kind of a kind of a sucking like it's sucking volume and it's because you're going all the way down and then just going back really quickly right it's like maybe not not the right sound for that but yeah that's what we are doing and sometimes this is just not gonna fit or not gonna work with the whatever it is that you're doing so adding a little bit of release will give you this smooth going back to Unity right okay now here comes the release tool now there is two is kind of a on an addition for this and it's viable to whatever we have right here so if I go all the way down in the release and I go to the release two and I go up we are not going to detect a lot of change but if I go down and I make a long release that is that we are kind of docking everything because the release is too long if I go crazier yeah it's just not maybe what we want um now I'm gonna stay right there so the release number two it's just going to make kind of a variation between this so I'm going to go up on the release two and you're going to see the change that's how different sounds they go up on the release number two and maybe go up on this one then we go down a little bit so this is no release too really aggressive so the release two will just change how the release pretty much works and notice that there's a tiny curve right there let me just put it right there no no release dude it's kind of a a time a slow break here going like this and if I do play and do a release two that changes a little bit notice it's different now it's going like that so it's a different curve so again the release two kind of a helps you to get uh to get a different breathing that's pretty much what it's doing it's very subtle you might not you know use it maybe in your life but you know it really helps if you're doing pumping and breeding that's the whole point right so let's talk about the expand and the gate that we have right here now if you already have a experience in and you know what the gate and what an expander is uh you're not gonna learn anything new the controls are very simple you have your range you have your release you can go fast attack you can change the thresholds you know the uh you know the amount right here you might minus 30 to plus 10 or you can go to minus 60 or minus 20. that's that's it and right now we are on the expander if I click this we are going to the gate mode and right here you're just going to invert it so you can hear what the you're getting or you're expanding that's pretty much the controls now uh of course I know that sometimes then I'm going to reset this and go all the way down so I know that sometimes um if you're starting you don't understand maybe the difference between an expander and a gate and it's a little bit confusing to be honest but that's fine I'm gonna now I'm going to show you right now you know in a more visual way so you can uh tell the difference of between an expander random gate now an expander and a gate they are kind of a siblings and we use it for a very particular situations and it's kind of a like the opposite of a compressor let's say so we when we compress what we want to do sometimes we want to make something less Dynamic uh with an expander we want to do the opposite right we want to make it more dynamic and again I'm just going to give you an example so we can see how this works and you can learn it so right now I'm doing the same thing than before we have some hats and we can see that the one two three four five six seven and eight the one and the six are just a little bit louder than the other ones we can clearly hear and see it okay so on the left I have a BX console and on the right we have the same VX console but we are not doing anything so on the left and the right we are going to be uh you know we're gonna see the differences when we do it so okay now I'm just gonna stop it okay so remember uh that the expander what we want to do we want to make something more Dynamic right so let's say just to give you an example that we want to grab that hi-hat and we want to reduce the uh Dynamic part we want to make it less dynamic so what are we going to be doing we are going to use a compressor because we want to kind of a make it sound very close we want to reduce this Peaks and bring everything up so we can level everything so we are going to be doing some compression so in this case I'm just going to do the link and I'm going to start compressing and I'm gonna go hard I'm going to do a fast attack a fast release and I'm going to start compressing all right notice that right here on this one we can see that everything is kind of a super close now on the other one this is soft and this is loud but now everything is just super close to each other and of course it sounds like this because we are just compressing like hell so what we are doing we are changing this sound the one you know we have right here that it's a lot more Dynamic and we are making it less dynamic that's you know what happens when we compress cool so I'm gonna maybe do it like that so we can have a tiny little bit of difference okay so we can still hear the accents but we can also hear the in-betweets it's okay so cool now let's just pretend that the file that we received that we want to mix is the one that it's compressed the one at the top the one that is less Dynamic the compressed one but what I want to do I want to make it more Dynamic I want to bring the accents up a little bit and just bring the non-axis down so that's what the expander will do we'll grab something and we will make it more Dynamic so we expand the dynamic range so it's an expander now of course depends on the expander you could have a lot more options and right this is this one is an emulation of course so we have very limited amount of options but it's just you know it's going to get the job done so remember that we want to grab this and we are of course leave this compression because we are pretending this is the original file and we want to make it less dynamic I'm sorry more dynamic so what I'm gonna do okay so you have your controls right here this is how much you're gonna be doing right now nothing is happening because this one again it works like a compressor but it just works a little bit different so if I do this it's going to be between the 10 and minus 20 minus to 30. and then of course you have your release for now I'm gonna go all the way down on the release now this is doing something right now okay so what I want to do remember that we want to Target the non-axis and we want to bring them down we don't want to affect the accents so what you need to do is you need to move your threshold and find The Sweet Spot and notice that it already sounds different they have a different energy and where you can actually see it on the waveform right now okay I'm gonna do a little bit less so we can get a little bit more of those Peaks and now we can we can really see it okay so notice how different this sounds if I disable this everything of course sounds a little more closer but we can see the accent right here and when I enable the range or go up range what we are doing we are catching the in-betweens not the accents you're just letting the accents pass but the other thing everything else is just getting ducked by the expander so what we are doing it what we are doing we are just making the clip more dynamic we can hear the accent and everything that is in between is just going to be a little bit lower now if I go up in range it's just gonna attempt to do more but we are doing a lot already and at some point if you go up on the threshold you're going to be catching your accents as well notice how how everything changed right now now again if you go up you're going to start catching and reducing this one the absence as well so you need to find the sweet spot where you want to let your your uh you know your accents pass and you want to reduce the non-actions in this case all right so that's what we do with the expander we grab something that it's uh you know not uh very Dynamic and we make it more Dynamic that's you know the whole point okay so I'm gonna go back to reset and we are not gonna do any of compression so let's pretend that again this is the original file and we want to do the same trick we want to grab this and make it less Dynamic I'm sorry more dynamic so we are not going to compress we are just going to use the expand so I'm gonna of course do some range right here gonna go for now the release all the way down and we are going to do some threshold and you're gonna start to get the magic that is how it sounds so even though you we don't have we already have something that it's you know pretty Dynamic you can still use an expander to make it more dynamic now again if you go up you can still you can start affecting whatever you know you want to make it you make uh you want to keep so you need to get find a sweet spot so we are reducing the in-betweens a lot but it sounds a little bit you could have a you know dull and if I pause it maybe right here we can see that right here on the ones we are letting it pass it's affecting it just a little bit especially in the attack right here and on the tail so you could add a little bit of release just to make it sound a little bit more natural for now notice that we get that tail back now you can do a fast attack and this is gonna give you that punch back and if I pause it right here now this is it almost almost the same pretty much the same now sometimes when you go up on the release it's going to be a problem because it releases so long that you're just not going to be able to go back in time to just you know duck the uh non-axis so you really need to watch right here what they're doing and if I go up or maybe right there there we go all right so this is why we would use an expander we grab something that we want uh you know it's maybe uh not that Dynamic and we want to make it a little bit more Dynamic so then you have another option which is right here it's going to be the norm so this is normal and if you do this we are doing exactly the opposite of what we wanted to do we are catching the transient and when that transient you know the accent is kind of a hitting then we are ducking like crazy and you know you could use this of course to use it named on your track but sometimes we use it just to uh recognize whatever it is that we are doing just to fine tune whatever is what that we want to do with the expander now expanders are very useful with vocals for example uh when with voiceovers and if you think about what what do you what do you think I'm using I'm using an expander of course so yeah so this is why we would use an expander now maybe you're wondering what is the difference with the other one with the gate so the thing is that the expander uh and the gate they're just you know very similar to compressors now the thing is that the expander what it does is a little bit smoother than the gate now the expander uses a ratio to you know to do its its job uh and it's uh and the gate is kind of a uh all the way in on the ratio if we kind of compare this with the compressor so the gate uh in this case let's say that we want to kind of keep the accents but we want to remove the in-betweens so the gate is super aggressive and the expander is smooth because he's using it uses a low ratio and the gate it just goes all the way in that's pretty much you know the difference so if I use a gate notice what happens and if I do more range we're just letting the we are letting the accents accents pass and we are just kind of killing everything that it's after the accent that is the gate pretty much is a much more aggressive expander in this case so the expander smooth gate heart right so I'm going to go back and we have this option the you know this novel says so this is going to be history that's the name so this one is something that we use with the release it doesn't it doesn't work alone we need to use some release time and right now I'm going I'm going to go all the way down on the release and I'm going to tell you what the problem is especially when you know with the gate and notice that this is an option that we get for the gate now this 360 is something that is fixed on the hardware on the channel the SSL the original one but on this one they they kind of gave it gave us an option to kind of a fine tune this so okay so remember that the gate opens and close and it's pretty aggressive not like the expander so we are opening and closing at some point now when you open and close it's going to open in some fashion and it's going to close in some fashion and the gate is pretty aggressive so we can see right here that winning closest is pretty aggressive on this one so we are chopping the tail of this which is you know maybe not bad so we can of course kind of uh do something like that but you know that's not what we want we want to get rid of that but when we do that we are chomping a lot of the tail and we don't want that so maybe we can add a little bit of release okay so if I add a release it's gonna give us that tail back a little bit of that but also we will be getting the other sound because we are making the release longer so he's kind of um you know no solution kind of a situation well that's why you get the hysteresis so this one it's like a halt let's say it's a it's a halt so I'm just gonna go to Shorter times and I know that it's chomping the things that you know we don't want so this the hysteresis and I'm just doing a little bit too much let me just adjust it right there so okay so remember we want a little bit of the tail so I'm gonna go up on the hist and again this is like a halt it's gonna open and it's going to cover kind of a maintain the gate a little bit more open now if open for a longer time and it's very subtle of course so this is going to help us to get the tail back foreign now we get a little bit more more of that tail and I am at 12 the bees if I go down it's chopped and if I go up we get the tail so that's how the hysteresis work it works with the release now of course if you have more release you're gonna need to kind of a fine tune this one and if you go up you're gonna get more of course which is in this case not what we want so we have a fast release the history is just going to help you just to fine tune that opening and closing of the gate all right sorry so that's the little last thing we need to cover the history system I believe that's how you pronounce it hysteresis and yeah it's something that we use along you know when we use the gate just to keep it maybe open a little bit more so we can you know get a little bit more of that tail it's just a fine tune just like the release too that's why we get them right so that's pretty much uh everything now of course just like you get the brown and you get the black right here this button the E is gonna you know give you the G version of the channel the compressor and the expander and the Gate of course as well and this is going to take you back to the E they're just kind of different versions they sound very very similar of course now the main difference are between the G and the E is the EQ and I guess at some point I'm gonna be I'm gonna be covering the other one the G1 all right so that's pretty much it so we learn how to use the controls all the buttons oh all this works how to use the compressor the expander you know the difference between the expander and the the gate and when to use it when it's going to be useful and when it's not and all the different options that we have in between right so hopefully you learned something on this one and notice I'm kind of trying trying to do something new it's the first time I do this with a channel you know make it this visual by using plug inductor and using the wave of server just to kind of make everything super obvious and I don't know I don't know if it's good for you maybe you like it maybe you're not just let me let me know down in the comments and again if you learned something you find this precious remember to like And subscribe and if you have the money and you want to buy me a coffee of course you can't just check the Links at the description you have PayPal you can be a patreon maybe a one month Patron or uh maybe you have the YouTube thanks now so you can do that if you wish right so see you on the next one