I’ve spent time A/B’ing the G384 against some of the plug-in simulations. Having become very accustomed to the snap and punch it can bring to a mix following much time spent mixing on SSL E, G & K consoles it was an essential additional to my outboard when moving to a hybrid and summing based work-flow. On my mix bus currently is one of my all-time favourite compressors, the SSL G384 ‘Greyface’. It seems like a lot but each of the boxes is doing a small amount of something important!
#Mixchecker gearslutz pro#
Occasionally I'll do multiple mix busses in Pro Tools if I feel I need to compress the bottom end in a slightly different way and blend it, but for the most part the analogue is 90% of it. That is all printed back into Pro Tools via an auxiliary that has a FabFilter ProMB on it which just gives it a bit of a modern thing.
Finally that goes into the Roger Mayer 456HD which does what 1/2" tape used to do for me - a beautiful bloom in the bottom with the high frequency limiting that made tape so lovely! Afterwards that goes into a Thermionic (yes, again!) Culture Vulture just tickling it a bit and adding a little saturation and volume. That goes into the Thermionic Culture Swift EQ, which is hands down the best mix EQ I've ever heard and does something very special. The output of that goes to a Dramastic Obsidian compressor which is like a SSL Quad but with the bottom end of a 33609 and is amazing! I sum all my drum parallels in my Thermionic Culture Fat Bustard which comes back into Pro Tools via a Roger Mayer 456HD where everything is summed in pairs through my Dangerous 2 Bus.
My mix bus is mostly analogue, as I still think there's an indefinable mojo to a proper analogue mix bus. This month we ask a group of producers, engineers and mixers to reveal their current mix bus processing.
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