Solid State Logic

It's going to be what it is.

It's going to be like Pro Tools took over SSL, Solid State Logic and Big Rooms, and it's going to have its place, but it's never going to take away from live music.

I can't see it ever happening.

Well, I wanted to ask you, you were talking about it before, before we talk about the latest single, this song, Back on My Knees, that is on you there's an ep right entitled push that came out see on my streaming site that ep is not on there i use deezer and it's just singles so i was listening to the singles and this back on my knees i the song i i go through it and i'm like oh it says 1986 and so i listened to it i was like i've never heard this song well it turns out it was jeff paris right

And they're, um, they're either sitting there dormant, ready to reactivate or they're sitting there active, sort of ready to go straight away.

Um, after the, after those I've got, um, just an SSL channel strip.

And then I've got a send off to a hardware compressor in parallel for my parallel, uh, slam, uh, on the kick drum.

I also have it going off to the base to duck the base.

So I'm looking for that in the, obviously it starts with tracking.

We want a snare that works on the song at the tracking stage, but at the point of mixing, I'm looking to take it further.

and play with it more then it then that those snares feed into my mono snare and stereo snare template channels and then very similar to the kick um so I've got I've got a transient design I've got saturation um the gating would happen on the on the raw tracks not the not the template part um SSL style channel strip.

I've got a parallel slam to a hardware compressor.

Obviously the EQ is for some kind of final tonal shaping and then compression is for gel, glue or creating a bit of energy if I feel it needs that.

If I'm not using that, it might be going into a bus compressor and that's either going to be the townhouse bus compressor or the SSL G-Comp which probably doesn't need talking about.

From there, I might swap these around.

It's going into FabFilter because I'm going to be doing some top and low end filtering.

And no work in audio tools, mixing analogies.

I know, fucking book.

I would say that this is something I've been thinking about, is that if a client does come back to me and they're saying to me, no what Paul there's I don't know I just maybe feel like there's just I can't put my finger on it you know you get some clients that are just like I mean can you be a bit specific is it like something no it's just I'm not sure that's when I'm thinking I would maybe go to some of the analogue but it was interesting I was watching a video from our good friend Mitch and they've got an audio project I think it was called Audio Boys Podcast and they were doing comparisons between two SSL style plugins hardware I think it was the Brick Lane and it was an actual SSL compressor and it was interesting listening to how they want the 2 bus compressor to send in the same way that CLA and the same way that TLA Tom Lordalgy and Chris Lordalgy do it where that was something you were doing for a while you liked that kind of hitting the SSL G bus comp and it's just something I don't know why there's something about a compressor hitting 2-4 dB that I don't know it doesn't work on my mixes I think because maybe I I've always liked to do 1-2 dB there's just something about compression just for me and again this is so subjective and there's no right or wrong answers there's just something for me if I've got a 2 bus compressor doing 2-4 dB on a mix bus I just I feel like I'm losing something Does that make sense?

Yeah, that's a lot.

And then these things came out, and you could run, you know, you could track through your plug-ins.

You could... plug your bass in into a tape machine, into a Fairchild or an LA-2A compressor, into an SSL EQ with no latency for the same price, basically, as buying a Distressor.

Wild, bro.

So I ended up getting one of those and then loving it.

I've got that Grace Designs Opto optical compressor.

It's nice.

And then recently I just got this SSL ultraviolet EQ.

It's a really nice stereo EQ that kind of the low and high bands came from their Fusion kind of two mix bus processor thing that they sell.

If you look around, there's an incredible amount of gear.

We've got an SSL board also.

It's trying to figure out the best way to kind of use the SSL as the heart of the studio and then figure out what sort of workflows that we can put together to make things streamlined.

Yeah, that's

such a big part of what we do now is in these hybrid digital analog worlds.

So it's actually, the way I use it now is actually as my summing mixer.

As

opposed to like an old school quad SSL, is that what you mean?

No, no.

Actually, the SSL 2 Mark 2 was I came in to Launchpad with it.

OK, so you had it before before Caesar was telling everybody to have it.

How do you think he found out about it? Oh, snap.

But it basically models the C2...

Smart SSL C2 Crush bus.

And we modeled a bunch of different other SSL bus comps.

So it's like the FET compressor or the VU compressor where you can switch between the models of it.

It's an SSL bus, but you can switch between which of the models of the SSL bus.

And they all sound so fucking... similar but so different in subtle ways and it's just been really awesome uh really excited about that i'll send you a beta by the way scott you'll probably enjoy it um but yeah like so many betas been going on like a lot of shit been going on uh you know life is kind of crazy uh and yeah i'm i'm pretty excited to be alive and doing it you know

Sick.