Mix through GSSL

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Hi Mac,
my builds are mnats J, with op-amp inputs. I used these really old big output transformers from some old Moviola/Magnasync equipment they have "zenith" on them but I would be surprised if zenith actually made them. I finished building them about a month ago, and decided if the rest of my life I spent sitting around building more 1176s my time would not be ill spent. Love them and still experimenting on how to get the most out of tthem. Did you use transformer or op-amp input on your examples? edit, ahh read on your other post you used the transformer inputs, sounds great! Cheers,
AC
 
SSLtech said:
abechap024 said:
Colin Sanders. Brilliant. is he still alive?
AC
Sadly, no.

Like Colin McRae, he was a keen pilot, with a rotary wing license. He died in a crash in 1989.

I met him several times, and he -TRULY- was Brilliant. -Humble, modest and pragmatic. He regularly -quietly- gave considerable sums to several charities.

His wife now runs an innovation centre in Banbury (yes... near the famous cross!) founded in his name.

http://www.banburyguardian.co.uk/news/Musical-legacy-of-inspired-inventor.1222040.jp

Keith

First KFC then SSL and Mix Buss compressors, then helicopter enthusiast.  This guy was the man.
 
Superb song! I've played it several times in a row now, and I like what the GSSL does to it, glues it and makes it sound more 'finished'.
 
For the record, I always mix through a compressor.  Most mixers I know do.  Compression after the fact changes the perceived balance of things.  If you have a really popin snare or a bumpin kick drum, they are going to be smoothed into the mix more after compression, especially with the SSL style.  Vocals sit back in the mix more after compression as well.  I can't tell you how many times I've sent a mix for mastering and been shocked at how much the balances of things are off when I get it back.  Nope.  I want to hear the effect of the compressor while I've still got control of the mix. 

Just my 2 cents.  Carry on...
 
mushy said:
For the record, I always mix through a compressor.  Most mixers I know do.  Compression after the fact changes the perceived balance of things.  If you have a really popin snare or a bumpin kick drum, they are going to be smoothed into the mix more after compression, especially with the SSL style.  Vocals sit back in the mix more after compression as well.  I can't tell you how many times I've sent a mix for mastering and been shocked at how much the balances of things are off when I get it back.  Nope.  I want to hear the effect of the compressor while I've still got control of the mix. 

Just my 2 cents.  Carry on...

EXACTLY why Colin built it into the console.

That is all.

-Keith
 
Great recording mate!

What gear did you use in terms of mic, outboard, converters, etc.

Also any special techniques?

Also which gear was DIY in the song?

Well done dude, sounds great.
 
I'm downloading a couple of posted files, I'll try using them in a video to show how the settings on the units make things different...

...And possibly how different haptics on the front panel affect perception of the effect

Keith
 
mulletchuck said:
methinks people are forgetting that multiple songs were treated in this thread...

You're right, there's my song "Maybe Tomorrow" pretty much all acoustic instruments, and your fusion-awesomeness pretty much sequenced song with real sax, did you name it???? Sorry if I missed it. IMO 2 great comparison pieces for this exercise anyway...

Keith, you da man...

 
greetings again, folks.   Here's a 'golden age' thing I just finished arranging and programming.    I'm curious what types of outboard EQ/Comp you guys would use to breathe more life into it.   I'm having a really tough time getting a better reverb sound on the strings(LASS).

http://www.zshare.net/download/7837898173d1881b/

chuck

 
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