I use it (the Waves version), but not always.
I have tried alternatives from other devs.
And I'm embarassed to say that, although I'm aware of what it is supposed to do, I can't discern if it really does something that makes that much of a difference.

Please can somebody share their (more educated!) views on this?

 

You notice the difference it makes if you have 1 instance of it on every track of your mix. The more the tracks the more noticeable it will be so, on a 2 or 3 tracks mix, you won't really hear much difference compared to a 20+ tracks project.
My personal view is that NLS handles things in a heavier manner compared to Slate Digital's offering which, to my ears, sonds more open and three dimensional.
I've used NLS (and Slates too) for quite a long time until I tested them against the equivalent stock plugin available in my DAW (Samplitude).
Samplitude plugin won. It is a personal taste of course so others might disagree.

 

The NSL was designed to be the output simulator of a real console, 3 models available, as you know. They are mainly for "output" but you can use it as an input channel as well, bus chanel and master, first plugin in chain. It will add some distortion to the sound, make it more excited and just a little compressed, full of harmonic content. Then you can EQ, compress and so to taste...I like it more for this kind of approach. I think it is quite decent. Waves plugin works for me, I mean. You can find lots of options out there, of course. But they work and NSL are very nice to create this kind of content like I said.
Try it this way in a snare and kick channels for instance.
Good luck!!!

 

Last edited: Jan 13, 2020

I tried NLS years ago and it didn't convince or impress me.

I think brainworx does a better job with their Tolerance Modeling Technology (TMT) than Waves NLS. You can actaually hear the difference in channels on their console plugins. And it's not as compicated to set up. If you use Softube Tape and Presonus Studio One you can do a similar thing than NLS but tape-based. All the inserts than interact with cross-talk.

 

Maybe you didn't watch Jaycen Joshua's Mix With The Masters video on how he mixed Rosalia's Malamente song. He shared a technique where he used 8 instances of NLS bus on his Drums bus.
I will let you listen to his opinion on this plugin. Watch the trailer on youtube, at 0:34 he talks about the NLS bus :

 

Airwindows have PurestConsole.

 

Sorry for being off-topic but his comment at 1:23 is so great: '...make sure that her vocal is heard first, before you hear any reverb or delay.'

That's such an eye-opener.

 

Last edited: Jan 13, 2020

Wow. Thanks all!
Of the two ways of doing it that Waves mentions, I've usually gone for it being the last plug on ALL instruments of a 20+ track mix, and then the first on the Master. I could sense (with my ears, I guess!) some harmonics, but I'm surprised how subtle I found it.
Never occurred to me to just have it on drum channels and drum bus. Maybe it will shine more against other tracks in context?
Also tried the Airwaves Console 5/6 plugs and the Satson Buss and Channel. The crosstalk thang that was mentioned above is a desirable ingredient. I don't have Softube Tape, but I have all their other plugs.
I guess I need to just accept that it's doing its thing!
Many thanks to you all again for your input.

 

The point is that you can't be fulled by the volume differences between dry and processed source or even between plugin brands. Some guys think some plugins are better than others just because the volume they add to the track. Mainly when you put different brand side by side. Always match the volume.
You need to try. Once NSL is a channel output you can insert it in any channel you wish or even as an output plugin. Some tracks I do prefer it first and others, the last in chain. It depends on what you can get.
I've been recording for over 25 year now. Many demos, CDS...even from the tape deck era...
I use Waves plugins since the beggining, so I know they work. Sometimes they are not just plug and play, you need to learn them.
A good tip on those simulators plugin is to understand where is the sweet spot. Some of them are at -18LUFS...some -14LUFS...don't overload them otherwise you will never get what they can delivery.

 

You specifically need Studio One to do that. It's one those effects based on Presonus underlying audio engine. It does not work with other daws, afaik.

 

Cool, we've both been using Waves since the beginning! As I have MIDI lol
So the two ways are:
1. As a virtual summing box or summing console: NLS Channel last plugin of every track, NLS Buss first on the master OR
2. To simulate console preamp coloration: NLS Channel first plugin of every track, NLS Buss anywhere on master.
So I have to ask: when you say "tracks", please tell me you mean 'songs/projects'?
Because to try and do a mix of 1 & 2 in the same project is not how they are meant to be used, according to the manual.

 

In context:

I meant crosstalk with the Satson Buss. But the Satson Channel doesn't have it. And I thought that the Airwaves Console 5 was supposed to do it too, but I might be wrong.
Yeah, I'm not about to change daws for channel crosstalk.