G系列的声音：EQ的曲线在比较低增益的情况下，在带通曲线形式下会比E系列更加圆滑，而在低频与高频两个搁架下会在增益或者衰减的时候有一个先低于或高于0电平点的一个情况。假设我们在HF部分使用G系列EQ，不点亮BELL，Gain增益5db。那么在作用的频点刚开始的一些频段的增益会有一小段先变为负数，之后再提升至我们要达到的5db，这会给我们要处理的声音带来一种顺滑柔和的感觉。G系列比较适合人声和一些乐器。
E系列的声音：EQ曲线会相对于G系列有一些略微的尖锐，不如G系列那么圆滑。高低频的搁架模式也不会有一个先越过0点再回来的过程，从听感上来说比较冲，比较硬。E系列比较适合修正频率中的一些不好的成分，并且适合使用在鼓这样的打击乐器上。
出自:https://site.douban.com/yukin/wi ... 001/note/159008229/
E系列的声音：EQ曲线会相对于G系列有一些略微的尖锐，不如G系列那么圆滑。高低频的搁架模式也不会有一个先越过0点再回来的过程，从听感上来说比较冲，比较硬。E系列比较适合修正频率中的一些不好的成分，并且适合使用在鼓这样的打击乐器上。
出自:https://site.douban.com/yukin/wi ... 001/note/159008229/
SSL E-Channel or G-Channel?
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The dynamics section is identical in both plugins, consisting of a soft-knee compressor/limiter and an expander/gate, both of which can be used either pre- or post-equalizer. As in the original consoles, the compressor applies automatic make-up gain, calculated from the Ratio and Threshold settings, in order to maintain a steady output level. Likewise, the default compressor attack time is program-sensitive, responding to changes in the incoming audio signal.
In both plugins, bypassing either the dynamics section or the EQ section does not result in a flat signal, but rather one which mimics the flat response of an actual hardware SSL channel strip. A “Dyn S-C” control in the E-Channel switches the filters and EQ into the dynamics sidechain, enabling simple de-essing, etc., while a “FLT Dyn S-C” control in the G-Channel switches just the filters into the sidechain. Other features include dedicated compressor and gate LED-style gain reduction meters, a trim knob, a phase (polarity-reversal) button, and an output fader and meter. As in the SL4000 consoles, the order of the filters, EQ, and dynamics processing can be changed as desired.
One other interesting control unique to these plugins is an “Analog” on/off switch. When turned on, a realistic emulation of the noise and distortion created by the original hardware is added to the signal. If you’d rather have digital precision, simply switch it off – something you couldn’t do in the original consoles!
Producer/engineer Mark “Spike” Stent (Radiohead, Madonna, U2) takes a different approach to working with the E and the G, often combining the two in the same mix. On drums, he says, “I usually have a combination of the G-Channel and the E-Channel, depending on what part of the kit I’m mixing: I like the G-Channel on my overheads and hi-hats to give them top-end crispiness, and the E-Channel on the kick and snare.”
In any case, a little experimentation will go a long way in determining which is best for your particular needs, and when. Either way you go, you will have the legendary, familiar sounds of SSL as tools to facilitate your mix.
本帖最后由 Digifan 于 19-7-9 13:16 编辑
What makes the SSL E and G channels different? Why – and when – choose one over the other? Take a detailed comparative look at these two legendary channel strip processors that helped shape generations of music.
In 1975, a small English company called Solid State Logic (SSL for short) released their first analog mixing console, the SL4000 A Series. It was hardly a rousing success – only two were ordered and built. A couple of years later it was followed by the slightly more advanced B Series; it, too, was met with the sound of one hand clapping, though this time six were sold.
The big breakthrough came with the introduction of the E Series in 1979, the desk which, along with its later iterations (including the extremely popular G Series, first released in 1987), not only transformed but dominated the recording industry for decades.
What made the SL4000 E Series and G Series so special? In this article, we’ll take a closer look at these two powerhouses, and at the Waves SSL E-Channel and G-Channel plugins that allow you to access the sound of these much-loved consoles from within your DAW.
The big breakthrough came with the introduction of the E Series in 1979, the desk which, along with its later iterations (including the extremely popular G Series, first released in 1987), not only transformed but dominated the recording industry for decades.
What made the SL4000 E Series and G Series so special? In this article, we’ll take a closer look at these two powerhouses, and at the Waves SSL E-Channel and G-Channel plugins that allow you to access the sound of these much-loved consoles from within your DAW.
A Brief History of the E and G
The E Series provided a radical departure from anything that had gone before. It was the first console to offer a compressor/gate on every channel as well as a master buss compressor – features that undoubtedly led to the much wider, and more aggressive, use of dynamic processing in mixing, a trend that continues today. Its onboard computer and ‘Total Recall’ system, which enabled the user to take a snapshot of the desk and recall it at a later date, was another big selling point.
But perhaps most importantly, the E Series had its own unique sonic character. While some considered its EQ (four-band and fully parametric) to be somewhat harsh – at least in comparison with the Neves and Tridents found in the studios of the 60s and 70s – others loved its brightness and clarity, which, along with the characteristic punchiness of the dynamics section, made for a distinctive sound.
In fact, one could easily make the case that the E Series and later the G Series (which added a number of enhancements, including cleaner circuitry and a moving fader option) defined the entire sound of the 80s. Both were perfectly suited for the ‘big stadium’ pop and rock music of the era, and mixes created on them translated exceptionally well on radio and television. These two innovative consoles opened up a whole new world of opportunities for recording engineers.
But perhaps most importantly, the E Series had its own unique sonic character. While some considered its EQ (four-band and fully parametric) to be somewhat harsh – at least in comparison with the Neves and Tridents found in the studios of the 60s and 70s – others loved its brightness and clarity, which, along with the characteristic punchiness of the dynamics section, made for a distinctive sound.
In fact, one could easily make the case that the E Series and later the G Series (which added a number of enhancements, including cleaner circuitry and a moving fader option) defined the entire sound of the 80s. Both were perfectly suited for the ‘big stadium’ pop and rock music of the era, and mixes created on them translated exceptionally well on radio and television. These two innovative consoles opened up a whole new world of opportunities for recording engineers.
The Differences between the E and the G
The E Series and G Series offered virtually identical compression and gating (although later G consoles were outfitted with improved VCA chips), but their equalization facilities differed significantly. The G Series utilized steeper filter slopes and incorporated a variable proportional-bandwidth (‘Q’) design whereby the more you boost or cut, the narrower the Q becomes, thus keeping the overall energy change relatively consistent. In contrast, the frequency bandwidths in the E Series remained constant regardless of the amount of boost or cut, yielding slightly more presence and edge compared with the G Series, which provided a gentler tonal shift (i.e., a smoother sound) at typical EQ settings. (However, at maximum or minimum gain, the same curves result.) And while the E Series allowed the low and high frequency shelving filters to be switched to bell curves, the G Series instead provided switches labeled “LMF/3” and “HMFx3”. These divided the Low Mid frequency or multiplied the High Mid frequency by a factor of three, thus allowing substantial equalization changes at the touch of a single button.
Another major difference had to do with the internal componentry. Early E-Series consoles utilized what became known as the “Brown Knob” 02 circuitry, incorporating a “logarithmically symmetric” design that ensures that the ±3 dB up/down points in the low mid and high mid bands retain the same musical interval from the center frequency regardless of frequency and amplitude settings. In 1983, this was replaced with the “Black Knob” 242 EQ, developed in conjunction with legendary Beatles producer George Martin for the first (E Series) SSL console to be installed in AIR Studios. This circuitry offered enhanced cut and boost ranges (±18 dB instead of ±15 dB), along with a steeper 18-dB/octave high-pass filter for tighter control of low frequencies. G-Series consoles came equipped with newer 292 or 383 G-EQ circuitry, which offered greater gain change and a slightly different curve resulting from a pre-boost dip and a pre-cut rise, as well as a broader Q for more extreme equalization.
Another major difference had to do with the internal componentry. Early E-Series consoles utilized what became known as the “Brown Knob” 02 circuitry, incorporating a “logarithmically symmetric” design that ensures that the ±3 dB up/down points in the low mid and high mid bands retain the same musical interval from the center frequency regardless of frequency and amplitude settings. In 1983, this was replaced with the “Black Knob” 242 EQ, developed in conjunction with legendary Beatles producer George Martin for the first (E Series) SSL console to be installed in AIR Studios. This circuitry offered enhanced cut and boost ranges (±18 dB instead of ±15 dB), along with a steeper 18-dB/octave high-pass filter for tighter control of low frequencies. G-Series consoles came equipped with newer 292 or 383 G-EQ circuitry, which offered greater gain change and a slightly different curve resulting from a pre-boost dip and a pre-cut rise, as well as a broader Q for more extreme equalization.
The Waves SSL E-Channel and G-Channel Plugins
The Waves SSL 4000 E-Channel and G-Channel channel strip plugins (bundled in the SSL 4000 Collection) were developed under license from Solid State Logic and are modeled after the E-Series and G-Series consoles, respectively. The EQ section of the E-Channel is modeled after the “Black Knob” 242 circuitry, while the G-Channel substitutes a model of the 383 G-EQ circuitry. In this video interview you can get a glimpse into how the SSL plugins were modeled on the original consoles, and the decision-making process that was involved:
This content is not available in your country.
The dynamics section is identical in both plugins, consisting of a soft-knee compressor/limiter and an expander/gate, both of which can be used either pre- or post-equalizer. As in the original consoles, the compressor applies automatic make-up gain, calculated from the Ratio and Threshold settings, in order to maintain a steady output level. Likewise, the default compressor attack time is program-sensitive, responding to changes in the incoming audio signal.
In both plugins, bypassing either the dynamics section or the EQ section does not result in a flat signal, but rather one which mimics the flat response of an actual hardware SSL channel strip. A “Dyn S-C” control in the E-Channel switches the filters and EQ into the dynamics sidechain, enabling simple de-essing, etc., while a “FLT Dyn S-C” control in the G-Channel switches just the filters into the sidechain. Other features include dedicated compressor and gate LED-style gain reduction meters, a trim knob, a phase (polarity-reversal) button, and an output fader and meter. As in the SL4000 consoles, the order of the filters, EQ, and dynamics processing can be changed as desired.
One other interesting control unique to these plugins is an “Analog” on/off switch. When turned on, a realistic emulation of the noise and distortion created by the original hardware is added to the signal. If you’d rather have digital precision, simply switch it off – something you couldn’t do in the original consoles!
So Which One Is Better?
The short answer: It depends.
Back in the 80s and 90s, there was endless debate about which sounded better, to the extent where some studios commissioned SSL consoles with an even split of E-EQ and G-EQ channel modules. Today, of course, you can easily have the best of both worlds in the form of the Waves E-Channel and G-Channel plugins. The E-Channel delivers the classic big-console sound we all know and love, while the G-Channel adds notable midrange punch that enables individual elements like vocals or guitar to pop through the mix a little more.
Many leading engineers use the E-Channel’s equalization for detailed problem-solving, and the G-Channel to shape and give character to the sound. Famed mixer Chris Lord-Alge (Muse, Green Day, Bruce Springsteen) is firmly in that camp. “The Waves SSL E-Channel is my constant mix companion,” he says. “It gives me the vintage EQ curve, with the saturation that makes it so musical.” Yet, he adds, “for me, the G-Channel stands for Grit, Grind and Gain. The G-Channel ups the ante on SSL aggression, making it the turbo-powered channel strip plugin for hard corners and sharp boost.”
Grammy-winning mixing engineer Tony Maserati (Beyoncé, Jay Z, David Bowie, Weezer) tends to think about the appropriateness of the E vs. the G in terms of genre: “The E-Channel has a bit more roundness, which is what I’m looking for with pop, R&B and hip-hop. The G, on the other hand, have more mid-range, which is great for rock’n’roll energy.” In this video, Tony quickly compares the E and G plugins on a vocal and a full mix:
Back in the 80s and 90s, there was endless debate about which sounded better, to the extent where some studios commissioned SSL consoles with an even split of E-EQ and G-EQ channel modules. Today, of course, you can easily have the best of both worlds in the form of the Waves E-Channel and G-Channel plugins. The E-Channel delivers the classic big-console sound we all know and love, while the G-Channel adds notable midrange punch that enables individual elements like vocals or guitar to pop through the mix a little more.
Many leading engineers use the E-Channel’s equalization for detailed problem-solving, and the G-Channel to shape and give character to the sound. Famed mixer Chris Lord-Alge (Muse, Green Day, Bruce Springsteen) is firmly in that camp. “The Waves SSL E-Channel is my constant mix companion,” he says. “It gives me the vintage EQ curve, with the saturation that makes it so musical.” Yet, he adds, “for me, the G-Channel stands for Grit, Grind and Gain. The G-Channel ups the ante on SSL aggression, making it the turbo-powered channel strip plugin for hard corners and sharp boost.”
Grammy-winning mixing engineer Tony Maserati (Beyoncé, Jay Z, David Bowie, Weezer) tends to think about the appropriateness of the E vs. the G in terms of genre: “The E-Channel has a bit more roundness, which is what I’m looking for with pop, R&B and hip-hop. The G, on the other hand, have more mid-range, which is great for rock’n’roll energy.” In this video, Tony quickly compares the E and G plugins on a vocal and a full mix:
This content is not available in your country.
Producer/engineer Mark “Spike” Stent (Radiohead, Madonna, U2) takes a different approach to working with the E and the G, often combining the two in the same mix. On drums, he says, “I usually have a combination of the G-Channel and the E-Channel, depending on what part of the kit I’m mixing: I like the G-Channel on my overheads and hi-hats to give them top-end crispiness, and the E-Channel on the kick and snare.”
In any case, a little experimentation will go a long way in determining which is best for your particular needs, and when. Either way you go, you will have the legendary, familiar sounds of SSL as tools to facilitate your mix.
本帖最后由 Digifan 于 19-7-9 13:16 编辑
观众反应
总结
E系列均衡比较硬，适合修正频率问题、打击类需要比较硬的乐器
G系列均衡柔和，适合人声、柔和的乐器
上面waves解释机翻，少部分稍作修改调整
E和G的区别
E系列和G系列提供了几乎相同的压缩和选通（尽管后来的G控制台配备了改进的VCA芯片），但它们的均衡设施有很大的不同。
E系列的频率带宽保持不变，而不管增加或减少多少，与G系列相比，产生了稍微更多的存在和边缘在典型的EQ设置下
G系列提供了更柔和的音调偏移（即，更平滑的声音）。（然而，在最大或最小增益下，相同的曲线结果。）
E系列允许低频和高频搁置滤波器切换为钟形曲线
G系列提供了标记为“LMF/3”和“HMFx3”的开关。它们将低中频除以或将高中频乘以三的因子，从而允许在触摸单个按钮时进行实质性的均衡变化。
G系列采用了更陡的滤波器斜率，并采用了可变比例带宽（“Q”）设计，因此，您的升压或削减越多，Q变得越窄，从而保持整体能量变化相对一致。
另一个主要的区别与内部组件有关。
早期的E系列游戏机采用了后来被称为“棕色旋钮”02电路，采用了“对数对称”设计，以确保中低端和高端中频的±3 dB上/下点与中心频率保持相同的音乐间隔，而不考虑频率和振幅设置。1983年，它被“黑钮”242 EQ取代，它是与传奇的甲壳虫乐队制作人乔治·马丁合作开发的第一款（E系列）SSL控制台安装在空中工作室。这种电路提供了增强的削减和提高范围（±18分贝，而不是±15分贝），连同陡峭的18分贝/倍频程高通滤波器更严格地控制低频率。更大的均衡曲线，以及更广泛的变化，从一个新的或更大的均衡曲线，以及由一个新的38Q系列上升，以及一个更大的上升趋势。
Waves SSL E-Channel和G-Channel插件
Waves ssl4000 E-Channel和G-Channel-strip插件是在Solid State Logic的许可下开发的，分别以E系列和G系列控制台为模型。
E通道的EQ部分模仿“黑旋钮”242电路，
G通道替代了383 G-EQ电路的模型
动态部分在两个插件中是相同的，包括一个软膝压缩器/限制器和一个扩展器/门，这两个都可以使用前均衡器或后均衡器。与原来的控制台一样，压缩机应用自动补偿增益，根据比率和阈值设置计算，以保持稳定的输出水平。同样，默认的压缩器攻击时间是程序敏感的，响应传入音频信号的变化。
在这两个插件中，绕过dynamics部分或EQ部分不会产生平坦信号，而是模拟实际硬件SSL通道条的平坦响应。
E通道的“Dyn S-C”控件将滤波器和EQ切换到dynamics侧链中，实现简单的求值等
G通道的“FLT Dyn S-C”控件只将滤波器切换到侧链中。其他功能还包括专用的压缩机和门LED样式的增益减少表，一个微调旋钮，一个相位（极性反转）按钮，和一个输出音量控制器和仪表。与SL4000控制台一样，过滤器、均衡器和动态处理的顺序可以根据需要进行更改。
E-Channel提供经典大控制台声音，
G-Channel增加显着的中音冲劲，使个人元素，如人声或吉他，通过混合弹出多一点。
许多顶尖的工程师使用
E通道的均衡来解决详细的问题，
G通道用来塑造和赋予声音特征。
著名的混音师克里斯·洛德·阿尔奇（缪斯、绿日、布鲁斯·斯普林斯汀）坚定地加入了这个阵营。他说：
E Channel 是我的永恒伴侣。他给了我复古的音质，这让我的音乐曲线变得更加饱满。
G Channel提高了SSL攻击性的赌注，使其成为涡轮驱动的通道条插件，用于硬转弯和大幅提升。”
格莱美获奖的混音工程师托尼·玛莎拉蒂（Beyoncé，Jay Z，David Bowie，Weezer）倾向于从体裁上考虑E和G的合适性：
E通道更圆一点，这就是我在pop、R&B和hip-hop中寻找的
G通道有更多的中音，这对摇滚乐的能量很有好处。
制作人兼工程师Mark“Spike”Stent（Radiohead，Madonna，U2）采用了一种不同的方法来处理E和G，通常将两者组合在一起。
他说在鼓组上“我通常有一个G通道和E通道的组合，这取决于我混合的是什么组件：
我喜欢
E通道用在底鼓跟军鼓
G通道用在hihat 跟 overheads ，让高频酥脆
本帖最后由 mickey 于 20-12-27 14:58 编辑
E系列均衡比较硬，适合修正频率问题、打击类需要比较硬的乐器
G系列均衡柔和，适合人声、柔和的乐器
上面waves解释机翻，少部分稍作修改调整
E和G的区别
E系列和G系列提供了几乎相同的压缩和选通（尽管后来的G控制台配备了改进的VCA芯片），但它们的均衡设施有很大的不同。
E系列的频率带宽保持不变，而不管增加或减少多少，与G系列相比，产生了稍微更多的存在和边缘在典型的EQ设置下
G系列提供了更柔和的音调偏移（即，更平滑的声音）。（然而，在最大或最小增益下，相同的曲线结果。）
E系列允许低频和高频搁置滤波器切换为钟形曲线
G系列提供了标记为“LMF/3”和“HMFx3”的开关。它们将低中频除以或将高中频乘以三的因子，从而允许在触摸单个按钮时进行实质性的均衡变化。
G系列采用了更陡的滤波器斜率，并采用了可变比例带宽（“Q”）设计，因此，您的升压或削减越多，Q变得越窄，从而保持整体能量变化相对一致。
另一个主要的区别与内部组件有关。
早期的E系列游戏机采用了后来被称为“棕色旋钮”02电路，采用了“对数对称”设计，以确保中低端和高端中频的±3 dB上/下点与中心频率保持相同的音乐间隔，而不考虑频率和振幅设置。1983年，它被“黑钮”242 EQ取代，它是与传奇的甲壳虫乐队制作人乔治·马丁合作开发的第一款（E系列）SSL控制台安装在空中工作室。这种电路提供了增强的削减和提高范围（±18分贝，而不是±15分贝），连同陡峭的18分贝/倍频程高通滤波器更严格地控制低频率。更大的均衡曲线，以及更广泛的变化，从一个新的或更大的均衡曲线，以及由一个新的38Q系列上升，以及一个更大的上升趋势。
Waves SSL E-Channel和G-Channel插件
Waves ssl4000 E-Channel和G-Channel-strip插件是在Solid State Logic的许可下开发的，分别以E系列和G系列控制台为模型。
E通道的EQ部分模仿“黑旋钮”242电路，
G通道替代了383 G-EQ电路的模型
动态部分在两个插件中是相同的，包括一个软膝压缩器/限制器和一个扩展器/门，这两个都可以使用前均衡器或后均衡器。与原来的控制台一样，压缩机应用自动补偿增益，根据比率和阈值设置计算，以保持稳定的输出水平。同样，默认的压缩器攻击时间是程序敏感的，响应传入音频信号的变化。
在这两个插件中，绕过dynamics部分或EQ部分不会产生平坦信号，而是模拟实际硬件SSL通道条的平坦响应。
E通道的“Dyn S-C”控件将滤波器和EQ切换到dynamics侧链中，实现简单的求值等
G通道的“FLT Dyn S-C”控件只将滤波器切换到侧链中。其他功能还包括专用的压缩机和门LED样式的增益减少表，一个微调旋钮，一个相位（极性反转）按钮，和一个输出音量控制器和仪表。与SL4000控制台一样，过滤器、均衡器和动态处理的顺序可以根据需要进行更改。
E-Channel提供经典大控制台声音，
G-Channel增加显着的中音冲劲，使个人元素，如人声或吉他，通过混合弹出多一点。
许多顶尖的工程师使用
E通道的均衡来解决详细的问题，
G通道用来塑造和赋予声音特征。
著名的混音师克里斯·洛德·阿尔奇（缪斯、绿日、布鲁斯·斯普林斯汀）坚定地加入了这个阵营。他说：
E Channel 是我的永恒伴侣。他给了我复古的音质，这让我的音乐曲线变得更加饱满。
G Channel提高了SSL攻击性的赌注，使其成为涡轮驱动的通道条插件，用于硬转弯和大幅提升。”
格莱美获奖的混音工程师托尼·玛莎拉蒂（Beyoncé，Jay Z，David Bowie，Weezer）倾向于从体裁上考虑E和G的合适性：
E通道更圆一点，这就是我在pop、R&B和hip-hop中寻找的
G通道有更多的中音，这对摇滚乐的能量很有好处。
制作人兼工程师Mark“Spike”Stent（Radiohead，Madonna，U2）采用了一种不同的方法来处理E和G，通常将两者组合在一起。
他说在鼓组上“我通常有一个G通道和E通道的组合，这取决于我混合的是什么组件：
我喜欢
E通道用在底鼓跟军鼓
G通道用在hihat 跟 overheads ，让高频酥脆
本帖最后由 mickey 于 20-12-27 14:58 编辑
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