Late to the party here. My go-to for poppy / dancey stuff is the SSL 9000J, it just gives it a "pristine" feel. Took a page out of Michael Brauer's book on that one, who swears that he can't hear the difference between the 9000J plugin and the actual console that he's used for years. For me when i turn the knobs and stuff i feel like the signal reacts in an analog way, it's pretty fun to mix with it, so i gave it my vote.

For drums i usually use the SSL 4000 G. It has a nice punchy feel that works well on drums. Also i discovered that i really like playing with the "REL2" knob. It's on 0% by default, and boosting it can really change the drum groove, it's almost like it gives the drums a subtle "lag / behind the beat" feel. I don't know what's going on exactly, it seems to do something to the transient character or something, but it can be a really cool "stylish" choice in the right circumstances. Kind of a secret weapon in my drum processing arsenal tbh. (works better on dancey/vibey stuff more than rocky/aggressive stuff)

I also gave the AMEK strip a good workout on a mix i did a few months ago. I liked it, but i found the SSL 9000 J to be more fun for some reason. It worked well on the song i was working on though which was a live recording of a singer-songwriter sorta band. It does something nice to the transients that i don't quite know how to explain, just by being active. The compressor sounds cool too.

Keen to give the new Lindell 69 strip a spin soon. I was wondering when PA would give us a 70's sound in a strip. Great amount of options now.

P.s. I didn't even know Channel-X existed. 1176 and Pultec in one? Ok i gotta try that thing

 

did you turn on the limiter ? I learn somewhere that you should gain stage the compressor until the signal barely hit the limiter and the limiter light will turn on ever few seconds for one or two peaks and then you set your compressor's setting between it. That's how it's done back in the days to get the best out of it.

There's a common trick for SSL type compressor too. It's simple but if anyone interested just watch this video so you'll get the sound example as well to understand it better.

 

Thanks for the reply, dude. I've never done it in this specific way, I was counting on my ears to show me the right sound. Also, note taken, will try it to see what it'll do, since this is the first time I'm hearing about it being done in this way to get the compressor to react.

I browsed the presets to see what starting points they gave us but they were all too aggressive for the material I was given. Then I was mainly slowly turning elements of it on and off trying to figure out which is doing what, then bringing elements in (as in they are turned on but the FX channel volume is all the way down and I bring it up in stages) , then the whole console gain up slowly (with my specific settings dialed in from scratch) on a parallel channel and it behaved properly only on guitars and drums. The vocals were dry but even if a hint of coloration from a specific mic makes it harder to dial in without getting it to sound crunchy.

Granted, I never tried to nullify the specific mic EQ curve with counter settings to get a flat signal first but I always tend to clean up and work forward from what I'm given, rather than trying to correct the material and then build it back up since the vocals are almost never recorded in studios these days and that tends to ruin the material or alter it too much from the original vocalist idea with their mic of choice and they never like that. I tried it on a female voice in a pop project and a male voice in a pop-rock project with the male voice being recorded on SM7B and the female on RODE-NT1 in artists' partially treated rooms (home studios) respectively.

It seems like PA uploaded a video yeasterday evening trying to hint at the instrumentation side of things:

and a console shoot out one just now straight up leaning into rock instrumentation with no vocals:

Usually they showcase the element which the specific product is best at in the beginning and/or most of the video itself.

 

Last edited: Jul 4, 2023

Just something I'd like to share and maybe could be useful for some. I figured that turning off the Clipping on all Lindell's channel strip plugins (50 & 80 Series) actually make them sound better, cleaner and more acceptable without that annoying thing I've been hearing before. I had them on "Soft" before but few days ago I tried to set them to "Off" and found out that when all of them turned on or off, the difference is sooooo huge and it's sweeter with them off. I believe the default setting was "Hard". I then checked them with Plugin Doctor just to see the behavior and found out that the harmonics generation goes to clipping real quick and works in conjunction with the Calibration settings that comes in default at -18dBFS. So, basically if you're mixing loud (on the meters) with the channel strips on its factory default, the audio is already somehow clipped when the VU hit -3 (Soft clipping knee goes before 0) and affect the overall Preamp and EQ section sound without really giving any indication to the user what's happening on the background. Also the clipping sound is bad IMO, if you want them track clipped just use other plugins. The desk original "clipping" already emulated through the Gain control on the preamp section, set UNITY on and crank em.

I used to not like the preamp section of the 50 Series, but now with the clipping off, it is more appealing to me. Don't forget to Save as default if you like it. Cheers.

 

Last edited: Oct 10, 2023

TBH, I found that pretty sneaky when I found out about it and switched it off immediately in my 50 and 80.

 

Thanks for keeping the thread alive, dude.
There's always something new to learn and this type of tried and true info is always appreciated.

 

I voted for the Focusrite since, even though I do like its compressor, I've found the EQ is complimentary to the way a lot of my go-to instruments sit in a mix, specifically EPs and pianos. Not gonna lie tho, despite knowing that Focusrite are revered consoles, I avoided it for some time, and all because of that candy-colored (but accurate,) GUI... which I've actual now come to like. Damn my eyes.

 

Guys, report this thing. It's not human.

 

Last edited: Nov 3, 2023

nice poll but i question not allowing results to be viewable until after i've voted, because it might skew the results..some people might vote anything just to see the results.

 

the result is on the initial post anyway, pie chart.

 

As much as i appreciate this bot choosing my post over everybody else's (which for me is the equivalent of winning the nobel prize), i agree.

 

Chose me twice for some reason. Out of its 5 posts. That's how I noticed it.
Perhaps it sees our posts as spam enough already.

 

Plugin Alliance released a new channel strip plugin bx_console AMEK 200

OVERVIEW

Unlock the sound of an analog-modeled dream
Brainworx’s bx_console AMEK 200 is a console plugin that combines the sound of the AMEK EQ 200, AMEK Mastering Compressor, and the gate/expander of the bx_console AMEK 9099; it would be nearly impossible for a console like this to exist in the real world. The complexities of physically integrating the components and the cost associated with such a hardware unit make the bx_console AMEK 200 an analog-modeled dream come true.

A blend between 80s mastering-grade transparency and “analog vibe”
The bx_console AMEK 200 is the successor to the bx_console AMEK 9099, which delivers the sound of the Rupert Neve-designed AMEK 9098i Master Console. Analog-modeled circuits infuse this channel strip with the analog vibe that bx_consoles are known for. Featuring an optimized GUI layout, the bx_console AMEK 200 allows you to mix and master your music with the transparency, precision, and detail of mastering-grade analog hardware from the 80s.

Gain the clarity of the AMEK EQ 200 and Mastering Compressor
The EQ section of the bx_console AMEK 200 integrates a five-band version of the AMEK EQ 200, recreating the unique sound of the most legendary parametric equalizers from the 70s and 80s. This plugin also includes the compression circuit from Brainworx’s AMEK Mastering Compressor, responding in a natural logarithmic way to audio, just like the human ear. These audio processors are well known for their unwavering clarity.

Simplify your mixing and mastering workflow
Say “goodbye” to the hassle of toggling between multiple plugins. The bx_console AMEK 200 is designed to handle a wide range of mixing and mastering tasks, all while consuming less CPU power than using individual instances of its included tools. This frees up your computer’s resources, allowing you to focus on the creative aspects of your project.

Add realistic analog variation to your mixes
The bx_console AMEK 200 features Tolerance Modeling Technology (TMT), which precisely mimics the component tolerances found in real analog hardware. This technology captures the subtle variations and nuances that make analog gear so appealing. As a result, each track processed with the bx_console AMEK 200 will exhibit unique characteristics, exactly like the individual channels of an analog console.

 

I wonder if this statement is rooted in reality. I liked the compressor plugin even though I rarely use it, 'cause of that cluttered UI. IF the "9099 successor" claims are true I wonder how much of the original code they kept or is it a whole new thing. Probably the latter. Either way since I'm a fan of their consoles I'll take it for a spin, even if it brings nothing new to the table. Thanks, Dude.

 

The gate module of the AMEK 9099 CS plugin is quite powerful function-wise IMO compared the other PA's CS plugins. From what I gather, the dynamic section of the AMEK real console is purely digital involving built-in AD/DA stage and Brainworx didnt really have the access to original code, rather they re-written it by reverse engineering them (there's a video where Dirk talked about it in youtube) and added a lot of modern controls and full independent side-chain filtering. He also said the conversion and some sort of lookahead function modeled too. For it to be a full digital design at the first place already suggested it is superior to an analog modeled one.

you are right about the compressor, I find it annoying af and never liked it.

Also from watching the walk-through video, the guy mentioned that the VCA Clip section of the plugin is similar to diode soft-clipping found in bx_clipper plugin. So, the AMEK 200 is basically some of their old/released plugins packed together, still I wonder how a mix would sound mixed through an imaginary GML console that will roughly cost around USD1 million considering each stereo pair channel's EQ & Dynamic alone is already USD18-20k, lol.

 

Last edited: Nov 8, 2023

I'm demoing it and, just like a few other people I know who're giving it a run as well, the CPU is ridiculously high almost like, as one person in particular mentioned, there's a leak. With zero audio running through it, it's hitting about the same CPU usage as the EQ 200 and Compressor stacked, if not a bit more. Plus, a couple people have mentioned they're having spikes every so often. It sounds great, but as it is, it runs way too hot for me to use in a full mix as a channel topper. Pretty ghatdam disappointed, as the EQ 200 is a go-to of mine.
... maybe it's a bug?

 

Last edited: Nov 8, 2023

If a channel strip is CPU heavy, it's a useless tool. Every dev which is planning on doing channel strips should keep in mind that those plugins are (generally) used extensively on a mixing section, across multiple channels. Releasing a CS with a high CPU hit is releasing a broken product IMO. And it's pretty strange coming from Brainworx, which have the tradition of overall CPU light channel strips.

 

Agreed—obviously—and it surprised me too. When I do use channel strips, it's usually the Focusrite SC or the SSL 9000 J (if I'm using PA channel strips,) and the AMEK 200 console's CPU variance puts its CPU usage at about eight to ten times that of either of those two. The Lindell 80 and the 69 Channel are a bit heavier, but still nowhere near the AMEK 200 console. Honestly, I'm hoping that it's due to a bug so they can sort it out, because it really does have a nice, solid sound to it.

 

As does our sister (fuck are they fast ).

Before I forget, one guy at YT found out that the 200 sounds like the 250 if their settings are matched and my personal findings are that Kniff Soma sounds better, SPL PQ even more and all of them worse than AA Azure (allthough these EQs are not based on the same model).

 

I wrote this on s/s release post :

Despite being the cleanest channel strip (clipping doesn't count) among PA CS line, when all modules turned on :

10x more CPU usage than brainworx Console SSL E, G, Console N
5x more CPU usage than brainworx Focusrite, SSL J, AMEK 9099, Lindell 80
3x more CPU usage than Lindell 50
2.5x more CPU usage than Lindell 69
2x more CPU usage than Lindell Channel X

- no preamp, THD knob will only functioning if EQ module is activated. Only 1 line of 3rd order (odd) harmonic same as AMEK EQ200.
- most of the "color" comes from VCA clip, same as Diode clipping on Bx Clipper. Headroom knob only work with VCA clip turned on, doesn't affect every other module. Think of it as gain compensated "clipping ceiling".
- so you have to clip all channels in your mix to get the most console color out of it. okay
- EQ, well it's a parametric EQ. wide range, versatile enough for all the mixing needs, sounds good too, also kinda overkill to EQ your Hihat with a GML8200 but whatever.
- compressor does its job, confusing but not that hard to use bcos it's a simplified version.
- Gate, epic as expected, taken from AMEK 9099 channel strip.
- compressor & limiter also produce distortion, another 3rd order harmonics, stack that up with EQ, VCA clip, overall character can be summarized as a little "edgy" and bright. I think it will do well at DnB, Techno all the hard hitting aggressive electronic music.

 

Last edited: Nov 8, 2023