What to do with SSL-type compression?

[Burillo]

I have a few SSL-inspired comps lying around - DCAM Dynamics Bus Comp, IK British Channel being among them - but i never quite made much use of them. Whatever settings i try on whatever material (most often on drums and master bus, since i hear so much about SSL comp being good on drums and buses), i always end up preferring LA2A/Fairchild/1176/something else to SSL compression (be it channel or bus) - most often because SSL is too aggressive and/or pumps too much. Maybe that's just my taste (i.e. i just don't like the sound of this type of compression), but i very much doubt it. I suspect i just don't know how to use it

So, with that said, i'd like to hear some examples of what you think is a good-sounding SSL compression, and what were the settings (i.e. fast/slow attack/release? ratio? how many dB reduction?). Please keep in mind that i don't do electronic music and i don't squash anything to death - so whatever examples you people would be generous and helpful enough to come up with should ideally exclude those two scenarios

[B.A.Tech.]

I use SKnote StripBus compressors.Mostly slow attack and release times on bus i use.But the material is important of course.When i work with high tempo and really dynamic song,i use fast attack and middle release.

Or i follow dominant instrument to setting bus compressor.Mostly snare...

Actually everything depends on song.I don't like use too much compressor.Cause if i want to get 3D effect,i leave instruments with its own dynamics.Maybe little bit bus compressor.

SSL type compressor are fit for everything.You can use it for everything in the box.Cause you have unlimited SSL compressor I have a SSL clone compressor that i built.I use it when recording bass,drum bus or master bus.When i record bass GR is maximum 10dB but on the bus GR is maximum 3dB.

I prefer slow attack and release time cause i don't want to push song's dynamics.SSL compressor easy to use compressor.

Finally watch videos of SSL hardwares and softwares.There are good explanations.

[Andywanders]

SSL have some very useful tutorials for their Duende series. Might be worth a look as it could apply to other SSL-type comps.

http://www.solid-state-logic.com/suppor ... /tut_1.asp

[Halma]

I just know the bus one inside Reason (but not sure if I actually use one with similar layout as a vst). I really liked the results and most of the time I started with the following:

- auto release (dang, most of the time it sounded nearly perfect)
- slow attack (mostly 30 ms but sometimes also 10 or 0.3)
- 99% of the time I stick to a ratio of 2:1 (sometimes 4:1 if 2:1 sounds to subtle)
- always sidechained to a processed signal where the lowends have been treated with a lc and the rest of it with an eq. That way you can drive it pretty hot. A/B your settings with and without sidechain and you will hear a difference like night and day: subtle vs pumping
- very low threshold so I never ended up with more than 1-2db in GR, sometimes the needle even does not have to move to get some really nice glue.
- always set your makeup gain to match input. That way you can a/b it better and can hear it subtle effect on the signal.

I really like the overall sound of it as a very subtle compressor. I never was into pumping (though a tiny bit sometimes adds a little bit of breath to it). I really like how the SSL glues the whole signal and adds some nice air and space to it even or especially on very low settings.

The thing is I find the sound very transparent so it took me some time to hear the actual results on low settings. But that's what I really like about the sound. You even hear minor changes when switching from 30ms to eg 10ms attack time. Maybe some slight adjustments afterwrads but that really makes a difference.

Regards
Sebastian

[Aloysius]

Make sure you're going IN at the right volume level. Otherwise these FX can't function as intended and therefore, the results will not be the best (generally speaking).

I'd use VUMT [-18] to set the level going IN to the Compressor. And VUMT to set the level coming out of the Compressor.

Maybe you already do this. Thought I'd mention it anyways just in case.

Klanghelm VUMT - http://klanghelm.com/VUMT.html

[lacandon]

More in the face sound perhaps sometimes feels very overcompressed depends of the style in dance music overcompressing is the target.

[Burillo]

Thanks for all the insights and links!

Halma, so what you're basically saying this aggressive compressor is meant to be used subtly? i'll try that again, although i'm sure i already did several times...

[4tune]

Make sure you're going IN at the right volume level. Otherwise these FX can't function as intended and therefore, the results will not be the best (generally speaking).

I'd use VUMT [-18] to set the level going IN to the Compressor. And VUMT to set the level coming out of the Compressor.

Maybe you already do this. Thought I'd mention it anyways just in case.

Klanghelm VUMT - http://klanghelm.com/VUMT.html

Since finding this out with the ik bus comp: http://www.kvraudio.com/forum/viewtopic ... highlight=


I am finding keeping the threshold at about +10dB and adjusting input and makeup to get the desired gain reduction works nicely.

You seem to get less of a blocky slapping sound for the same GR. Probably worth experimenting on different settings for different material.


An interesting post from gearslutz thread regarding the waves emulation that put me on to this:
http://www.gearslutz.com/board/1832080-post20.html

[Halma]

Thanks for all the insights and links!

Halma, so what you're basically saying this aggressive compressor is meant to be used subtly? i'll try that again, although i'm sure i already did several times...

Sidechaining is the key. Imagine this: you feed your signal through it (un-sc) and the kick triggers the comp every damn time. And the SSL is not picky about it. It reacts pretty aggressive imho (well, could be used ion a drumbus perhaps but not on master).

If you now sc your whole signal to it and dial out the kick trigger frequencies via lowcut you will have a way easier task now to find the sound you are looking for. Listen carefully what the SSL is doing to the transients (subtle, but still audible, here is where the 30ms,10ms or 0.3ms come into play...transient shaping on low values).

The thing is: I worked exclusivly with Reason for a long time (no VSTs). And the SSL one was the only one that was different from the stock one and usable for that kind of task. I have no clue if it's a good or a bad emulation of it but I tried to find every piece of info I could get. Mostly gearslutz and various pdfs.

All of them are using them mostly the same: sidechained, slow attack, low ratio, autorelease (or to taste if autorelease does not come up with the needed results but that is pretty rare) and only 1-2db in GR. I think the key of this comp is the way how you treat your sidechained signal. This is where it starts to shine for me. The results are that much better than without.

Regards
Sebastian

[Burillo]

OK now i have a better idea of how to approach it i'll experiment with sidechaining more, thanks!

[ObsoleteAcc99]

[DELETED]

[V0RT3X]

SSL-Type Compression? I assume your talking about the SSL 4000 G BUS compressor which is very famous for it's transparent compression? It seems many software compressors are modelled on this one.

I have not really worked with a lot of compressors but I do really enjoy using The GLUE because it really does what it says it does by "Glueing" things together. It took me a while to realize what it was doing but I understand now and I think it works very well on the more edgier material i make.

When people talk about transparency in compression i think it means there is less of a "Sucking" effect in the sound output. The SSL 4000 Console compressor is pretty famous for this and is held in high regard as being one of the best BUS Compressors because you can get great results on so many different genres. I mean using a compressor that is less transparent is not a bad thing either which is why so many big name mixing engineers have a huge toolkit for various compressors.

It takes a while to tune in your ears to the results of compression and how to use it but once you start hearing the nuances it really helps make your mixes that much better.

[lfm]

Many claim doing SSL-type compression - but how many succeed in doing that?
They may try to emulate hardware, but may be a small aspect only.

So even looking at settings - they would be anything on one vendor version and something completely different on another.

So a particular brand must be considered, as I see it.

And how much work is put down on doing it properly - may be reflected in price. But having the SSL in the name, you may be paying royalty to use the name obviously. But it may also be that they are more accurate in what they do since they were allowed to use the name.

In other cases since hardware are really individual - and one unit does not sound like the other - a plugin series may be based on a particular studios units.

So all these things must be considered looking at hardware emulating plugins.

So don't blame SSL not being good to your material unless you try one with SSL in the name first.

[Uncle E]

I suspect i just don't know how to use it

I suspect you just don't like this kind of compression.

Seriously, it's not for everyone. LA2A's, Vari-MU's, and 33609's are all popular buss compressors and they sound nothing like the SSL. The SSL makes everything sound more in-your-face, maybe that's not a quality you're going for?

[Halma]

The glue, dcam bus, slate, psp buss, all have a one click high pass to stop the kick triggering heavy compression. And that's simply the easiest way to so it IMO. Before the dcam was available as an RE, in reason one would have to do some clever cabling with the whole song feeding into an eq and side chaining out the bottom frequencies before they went to the ssl mixer on the reason desk, because propellerheads didn't want to do the simple thing of adding a high pass knob to it

Burillo, ssl compression can actually sound fabulously transparent and gentle, and just "glue" everything together. Its hard to explain without actually using it and hearing the results.

I don't like the ssl style bus comps on individual tracks myself, and I rarely even use the duende channel comp on those, but I do love the ssl style gate as it is very smooth and my go to (the NI and I'm ones are also tops).

I decided to just take the easy route and only use bus comos with internal sidechain high pass, otherwise especially in daws like logic it's far too convoluted to set up an entire mix sidechained into itself with an eq cutting out the bottom for comp triggering.

Since I added Reaper and VSTs to my arsenal (beside Reason which I don't use anymore) I really appreciate some of the extra options some VSTs offer (like the internal sidechaining option). But at least I have done it the "oldschool way" and know how to setup stuff manually (and how to sc avoid latency).

I really like the timbre from the SSL bus comp inside Reason. Again, I don't know how close it sounds to the real deal but regarding to some other users they captured at least some of its essence. And it starts pumping really fast even on low settings if not sc so I think a lot of people enable it, turn a few knobs and say "whoa, that pumps". But if sc (even with only a little bit of lowcut) it can do so much to your signal: it glues it in a very pleasant way and seems to make the whole signal sound more compact and upfront without any loss in dynamic.

Btw I really like the SSL comps on the channelstrips too. I avoided them for a very long time but the automakeup gain and the sound of it on drums was that pleasant that they became a permanant part of my workflow. I really miss them and thinking about buying a channelstrip for Reaper...

Regards
Sebastian