Direct from the Desk
The following are some tried-and-true chains which take advantage of the Studio Classics Collection’s unique strengths:
On Master Outs, whichever combination you choose, you can count on power, transparency, and smooth response, plus that unbeatable classic vibe.
Buss Comp > EQ:
SSL G-Master Buss Comp > API 560
EQ > Buss Comp:
API 560 > SSL G-Master Buss Comp
On Vocals, try the following settings using either the versatile, full-featured SSL G-Channel or SSL E-Channel plugins.
EQ Section
- High Pass Filter: 120 Hz
- HF: 8 kHz
- HF Gain: + 4 dB
- LMF: 1 kHz
- LMF Gain: - 3 d
- LF: 200 Hz
- LF Gain: + 2dB
Dynamics Section
- Compressor Ratio: 1:3
- Compressor Threshold: -12dBu
Gain Section
- Output Gain Fader: +2dB
- Analog: Off
Production Notes
As head FOH at the B.B. King Blues Club in New York City, Val Gamarnik did sound for numerous blues and rock legends including Jerry Lee Lewis, Etta James, Chuck Berry, Little Richard and, of course, B.B. King himself. In this installment of Production Notes, Val tells us how Waves SoundGrid saved the day.
“Last week I got a call to mix a live show with 12 full bands, DJs, videos, and a three-hour live broadcast. Due to financial constraints, the broadcast truck couldn’t split the inputs, so I had to provide some kind of feed to the truck, in addition to mixing FOH.”
“At this point, every engineer envisions hundreds of ‘disaster strikes’ scenarios. So I had to devise a plan, quickly. I decided to split 8 groups to the broadcast truck, providing it with maximum control, given the situation. The broadcast engineer told me that, from his experience, group tracks usually sound ‘tinny’, so I had the additional challenge of proving otherwise.”
Waves to the rescue.
“My board for the evening was the reliable Yamaha PM5D, equipped with a Waves SoundGrid WSG-Y16 I/O card. For the broadcast feed, I created a control chain in MultiRack SoundGrid, inspired by the Waves MaxxBCL hardware, switching out the Renaissance Compressor in favor of the C4 Multiband Compressor.”
All 50 channels were divided into Groups 1-8.
Group 1-2: Drums, Percussion, DJs
MultiRack Chain: Renaissance Bass + C4 Multiband Compressor + L2 Ultramaximizer
Group 3-4: Keyboards, Guitars, Horns, Strings
MultiRack Chain: CLA-2A Compressor + C4 + L2
Group 5-6: Vocals
MultiRack Chain: SSL G-Channel + C4 + L2
Group 7-8: FX
MultiRack Chain: C4 + L2
“In addition to using MultiRack on group inserts, I used Vocal Rider on all 8 wireless mics, which turned out to be a wise choice: It did a great job of riding my levels, freeing me up to deal with the inevitable surprises that did (and always do) come up.”
“The show went well for me at FOH, nobody died, there were no embarrassing lead vocal mutes, and everything sounded healthy and in-your-face. But how did it go for the broadcast truck? I didn’t hear much from them during the show, so is that good or bad? I went backstage where I was greeted with smiles and handshakes. The broadcast engineer was clearly satisfied with results, but I asked anyway: “So...did it sound ‘tinny’?”
“No man, it kicked! Everything sounded clear, beefy and glued.”
Mission(s) accomplished.