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The first thing to say about CLA MixHub in appraisal is that it sounds superb. ![]() There’s also a Dry/Wet mix control for parallel processing.įinally, the Output module houses a bank of buttons for selecting mono or various stereo output formats, stereo widening and narrowing, a 200Hz LF shelf, and comprehensive metering. Below that, the Gate/Expander adds ducking to the SSL setup, complete with Hold control, and a full-on sidechain EQ for highly detailed shaping of external keying signals. Both models offer ratios up to inf:1, and two Attack speeds. The Dynamics section is headed up by a compressor that switches between the original SSL design and sound, and an emulation of Lord- Alge’s ‘blue stripe’ (or “Bluey”, as he calls it) Universal Audio 1176, with its lightning fast attack and alternative sound. UAD VS WAVES SSL E CHANNEL MANUALThe name of each plugin’s host track appears at the top of its strip in Bucket View (although we did experience the odd bug in that department, necessitating manual renaming), and channels are rearranged within Buckets by dragging and dropping. UAD VS WAVES SSL E CHANNEL FULLMost of the Channel View controls are visible for each module, and those that aren’t (the Output format buttons, for example) can be revealed via the Expanded VIew button, which shows the full module for one channel - but not, alas, its full strip. Then, flip any instance of MixHub from the regular Channel View to Bucket View to see your choice of the four channel strip modules (Input, EQ, Dynamics or Output) for the up-to-eight component channels of the active Bucket, ready for visually grouped editing, with eight tabs along the top used to switch between Buckets. So, you have one Bucket for your drum channels, another for your vocals, one for your guitars, etc. You then assign each instance to one of eight ‘Buckets’ - each of which holds up to eight channels - either via a menu or a colour-coded assignment overview. You start by loading the plugin onto every channel of your mix - don’t worry, it’s impressively light on CPU usage. Even if the sound of a real console is another thing.MixHub’s multitrack workflow couldn’t be easier to operate. You can notice the differences between SSL: more punchy, and Neve: more silky.ĭefinitely I prefer when both works together. Neve+SSL: I have put in every track, groups and mixbus the UAD Neve 88RS as described before BUT for drum tracks and drum buss I have used the Waves SSL Channel.Īll mixes have the same settings and audio levels. The volume control knob for setting the audio level of the track has been used. When it not need EQ and Dynamics the buttons have not been activated. Neve: I have put in every track, groups and mixbus the UAD Neve 88RS, setting for EQ and Dynamics when it need. The ANALOG button always has been actived. Always the analog button has been engaged and his fader control for setting the audio level of the track has been used. When it not need EQ and Dynamics the controls has been bypassed with the bypass-button. SSL: I have put in every track, groups and mixbus the Waves SSL Channel, setting for EQ and Dynamics when it need. Convertion at 44.1/32 with Voxengo R8Brain and dithering with Apogee UV22HR. UAD VS WAVES SSL E CHANNEL WINDOWSThe mixing has been made at 96Khz/32bit into Nuendo3.2 running on Windows XP SP2, Athlon64 X2 3800, 2Gb Ram and four UAD-1 dsp cards to simulate consoles using UAD-1 Neve 88RS and Waves SSL 4000 Channel. This is a small demo that I have mixed in three ways what now I explain. I have spent some time to make a test to listen how much a great plugin can really simulate the sound of a console.
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