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Really gives the drum a richer character and finished sound. LoAir is my go-to for kick drum and large toms. It takes me back to a time when having that sound was a luxury. I love the H-Reverb, if for no other reason than the 224 rich plate preset. I always use the API 2500 for my drum squash buss for parallel compression – it just makes everything rock! Be judicious with the attack time and ease into it – that really makes the punch element shine without losing dynamic range. The NLS is like glue, making things merge and play well with the other tracks. It provides a very smoothing harmonic character on everything. I like the CLA-2A Compressor/Limiter for vocal buss compression, as it just seems to put a warmth and character on vocals. I use the SSL G-Channel on vocals – very smooth, and the vocals jump out in the mix. I also can’t do without H-Reverb and LoAir. My must-have plugins are the Waves SSL 4000 Collection, the CLA Compressors, API 2500, the NLS Non-Linear Summer, and the Scheps Omni Channel. They will spoil you before you know it, and you will question how you ever mixed without them! All my go-to plugins are zero-latency, which is indispensable since I mix monitors from FOH. Using Waves plugins inside the LV1 is essential to Nolte’s workflow: “The plugins are reliable and a joy to have sonically. Our FOH position is permanent, but the video post’s LV1 sometimes moves around: it’s mounted in an OCD LV1 CNTRL housing, and when required, it is ridiculously easy to strike and move to another location.” There are a couple of simple rules to adhere to, which make setup, networking and connectivity very intuitive and concise. ”Setup is also really quick,” Nolte reports. It’s also so easy to navigate from page to page, whether it’s accessing mix busses in flip fader mode, or quickly building mixes on the fly.” The LV1’s custom pages are so simple to build and populate: every time I have a new challenge that requires changing the layout of the faders, it’s painless to change it up. I really enjoy how I can change the layout quickly and on the fly. Everything is neatly laid out and always seems to be right in front of you. He continues, “I love it how with the LV1, I find myself focused on mixing.
#WAVES SSL 4000 YOUTUBE UPGRADE#
After doing a bit of research, however, we realized that with just a slightly higher investment, we could upgrade from our antiquated console to the LV1 with its new technology, and even add a second LV1 for post-production.”
#WAVES SSL 4000 YOUTUBE TV#
“Before we got the LV1,” Nolte says, “we were about to invest in a copper split to accommodate a post-production feed for TV and online transmissions. The mic pre’s of the accompanying Waves SoundGrid ® stagebox, the DSPRO StageGrid 4000, have a very unique warmth to them, which I don’t find in all the other digital consoles.”
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We moved from an Avid Profile to the LV1, and the LV1’s transparency and warmth are especially noticeable. But the icing on the cake was the sound – the LV1 really sounds great. The first thing I fell for was the modularity of the design, which will enable us to grow on the fly when we need to. We now use two eMotion LV1 mixers, 64 stereo channels each – one at FOH, and one for video post-production. “We didn’t realize how much the Waves LV1 could do,” says Bethel FOH engineer Jeff Nolte, “until we started throwing requirements at it.
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Bethel World Outreach Church in Brentwood, Tennessee, has chosen the Waves eMotion LV1 Live Mixer and Waves plugins to mix and stream the church’s services.