“The SSL buss compressor is about as legendary as it gets, so I tend to reserve it for the main stereo buss. I gravitate towards the SSL E-Channel plugin for vocals: the overall EQ is more transparent, which is what I like to have when carving corrective issues out of a vocal, or even brightening it up on the high-end shelf. This one has the most natural feel to it, so it’s my top choice for that type of sound. The SSL G-Channel plugin sounds more noticeable and a touch more aggressive in the mid range, which is really excellent for making EQ choices in the instrumental parts of a track.
Presenter Info Jeff Dykhouse has been actively involved in audio engineering for more than 20 years. He has been a user of computer-based recording systems from their inception. Jeff’s diverse career has earned him gold and platinum awards (RIAA). Many of Jeffs endeavors have been within the Praise & Worship genre, where he has worked with top artists such as Paul Baloche, Crystal Lewis, Kevin Prosch and The Violet Burning. Additional clients include corporations such as RCA, Apple Computer, NBC and Charles Schwab. Jeff owns and operates a recording facility and systems design company in Temecula, CA.
One of the most important components of online business is creating a trusted environment where potential customers feel confident in making purchases. SSL certificates create a foundation of trust by establishing a secure connection. To ensure visitors their connection is secure, browsers provide visual cues, such as a lock icon or a green bar.
SSL certificates have a key pair: a public and a private key. These keys work together to establish an encrypted connection. The certificate also contains what is called the “subject,” which is the identity of the certificate/website owner. To get a certificate, you must on your server. This process creates a private key and public key on your server.
The CSR data file that you send to the SSL Certificate issuer (called a Certificate Authority or CA) contains the public key. The CA uses the CSR data file to create a data structure to match your private key without compromising the key itself. The CA never sees the private key. Once you receive the SSL certificate, you install it on your server. You also install an intermediate certificate that establishes the credibility of your SSL Certificate by tying it to your CA’s root certificate. The will be different depending on your server.
In the image below, you can see what is called the certificate chain. It connects your server certificate to your CA’s (in this case DigiCert’s) root certificate through an intermediate certificate. The most important part of an SSL certificate is that it is digitally signed by a trusted CA, like DigiCert. Anyone can create a certificate, but browsers only trust certificates that come from an organization on their list of trusted CAs.
Browsers come with a pre-installed list of trusted CAs, known as the Trusted Root CA store. In order to be added to the Trusted Root CA store and thus become a Certificate Authority, a company must comply with and be audited against security and authentication standards established by the browsers. An SSL Certificate issued by a CA to an organization and its domain/website verifies that a trusted third party has authenticated that organization’s identity.
Since the browser trusts the CA, the browser now trusts that organization’s identity too. Download template nuked klan wow. The browser lets the user know that the website is secure, and the user can feel safe browsing the site and even entering their confidential information. What is Secure Sockets Layer (SSL)? Secure Sockets Layer (SSL) is a standard security technology for establishing an encrypted link between a server and a client—typically a web server (website) and a browser, or a mail server and a mail client (e.g., Outlook). SSL allows sensitive information such as credit card numbers, social security numbers, and login credentials to be transmitted securely. Normally, data sent between browsers and web servers is sent in plain text—leaving you vulnerable to eavesdropping.
Waves Ssl 4000 Collection Plug-in Bundle
If an attacker is able to intercept all data being sent between a browser and a web server, they can see and use that information. More specifically, SSL is a security protocol.
Protocols describe how algorithms should be used. In this case, the SSL protocol determines variables of the encryption for both the link and the data being transmitted. All browsers have the capability to interact with secured web servers using the SSL protocol.
However, the browser and the server need what is called an SSL Certificate to be able to establish a secure connection. SSL secures millions of peoples’ data on the Internet every day, especially during online transactions or when transmitting confidential information. Internet users have come to associate their online security with the lock icon that comes with an SSL-secured website or green address bar that comes with an Extended Validation SSL-secured website. SSL-secured websites also begin with https rather than http. Already understand the basics of SSL certificates and technology? Get Standard SSL certificates for just $139/per year. When a browser attempts to access a website that is secured by SSL, the browser and the web server establish an SSL connection using a process called an “SSL Handshake” (see diagram below).
Note that the SSL Handshake is invisible to the user and happens instantaneously. Essentially, three keys are used to set up the SSL connection: the public, private, and session keys. Anything encrypted with the public key can only be decrypted with the private key, and vice versa. Because encrypting and decrypting with private and public key takes a lot of processing power, they are only used during the SSL Handshake to create a symmetric session key. After the secure connection is made, the session key is used to encrypt all transmitted data. Browser connects to a web server (website) secured with SSL (https).
Browser requests that the server identify itself. Server sends a copy of its SSL Certificate, including the server’s public key. Browser checks the certificate root against a list of trusted CAs and that the certificate is unexpired, unrevoked, and that its common name is valid for the website that it is connecting to. If the browser trusts the certificate, it creates, encrypts, and sends back a symmetric session key using the server’s public key. Server decrypts the symmetric session key using its private key and sends back an acknowledgement encrypted with the session key to start the encrypted session. Server and Browser now encrypt all transmitted data with the session key. Is My Certificate SSL or TLS?
The SSL protocol has always been used to encrypt and secure transmitted data. Each time a new and more secure version was released, only the version number was altered to reflect the change (e.g., SSLv2.0).
However, when the time came to update from SSLv3.0, instead of calling the new version SSLv4.0, it was renamed TLSv1.0. We are currently on TLSv1.2. Because SSL is still the better known, more commonly used term, DigiCert uses SSL when referring to certificates or describing how transmitted data is secured. When you from us (e.g., Standard SSL, Extended Validation SSL, etc.), you are actually getting a TLS Certificate (RSA or ECC). What Does EV Look Like? If your site collects credit card information you are required by the Payment Card Industry (PCI) to have an SSL certificate.
If your site has a log-in section or sends/receives other private information (street address, phone number, health records, etc.), you should use to protect that data. Your customers want to know that you value their security and are serious about protecting their information. More and more customers are becoming savvy online shoppers and reward the brands that they trust with increased business.
The ground swell of interest in SSL plug-in emulations is growing fast, and the 4000 Collection is proving to be one of the biggest waves in the set. Text: Andy Stewart One thing SSL consoles have never been short of over the years is comprehensive individual channel EQ and dynamics. Come to think of it, SSLs have never been short of anything much. And while they may not offer every sonic flavour known to man (and what board in history ever has?), the ‘sound’ of a large-format SSL console is unmistakeable, and ubiquitous. SSLs are generally fantastic to work on, have functionality up the wazoo and are undeniably one of the kings of the analogue domain. Of course, anyone concerned with the production of quality audio recordings knows this, but unfortunately, only a very small percentage of us ever learn it from first-hand experience – even though we’d all like to.
Assuming then you don’t have a dedicated control room, a large crane, several hundred thousand dollars (give or take half a mil’) and your own service department, with which to invest in an old (or new) SSL console – or alternatively, a hefty recording budget to hire a studio that does – you might be considering (along with the rest of the plug-in fraternity) some of the new-generation ‘SSL channels’ hitting the market. These plug-ins are vastly cheaper, lighter and easier to look after than the real deal, and they don’t shoot your quarterly power bill into the four-figure stratosphere either! (If you’ve ever been one to stare at a meter box and see the disk with the little black mark on it spinning round and round, check it out the next time you’re in a building housing an SSL console; it’s a blur!) THE SSL ‘SOUND’ An SSL console can be brutal, radical, super sweet or crunchy, depending on your intentions, and, by and large, an E-, G-, J- (I’ve never used a J) or K-series console can take your sounds wherever they need to go with little fuss. They’re in some ways like an F111 aircraft: savage, awe inspiring, complex and deadly in the wrong hands. The question is, can the same be said of the new Waves SSL 4000 plug-ins that aspire to break this same sound barrier? Well, right off the bat, anyone who hasn’t heard the new Waves native SSL 4000 Collection will be asking this same question (as I did): ‘Do these plug-ins sound anything like a real SSL circuit or do they just have a pretty SSL interface?’ Certainly from a sonic (and aesthetic) point of view, the new Waves SSL plug-ins sound pretty remarkable to my ears.
I’ve mixed quite a few albums on various SSLs over the years (and I owned one for a while there too) and I’d have to say that when I first encountered the Waves SSL E-Channel strip I was quite taken aback. The EQ’s tone, look and functionality were all instantly recognisable, and unlike so many plug-ins I’ve used, I was immediately at home with the interface. I was especially impressed when I switched in the compressor and expander/gate to discover a whole world of plug-in ‘attitude’ that’s so often lacking in the digital domain – my eyes widened as I tweaked a pair of drum room mics, transforming the slightly timid drumming on offer into a battering ram. The fast attack switch (1ms) on the compressor (one of my favourite switches on an SSL console), in particular, does a great job of emulating that bombastic SSL sound, which crushes the life out of any transients that dare to pass through. This switch is, in many ways, indicative of genuine SSL equipment; engaging it transforms the behaviour of the compressor from chalk into cheese, or perhaps more accurately, passivity into aggression. It’s a little switch with a big attitude.
The compressor itself is otherwise soft-kneed, which, by default, automatically adjusts itself in response to your source material. And like the original, it can be placed before or after the equaliser section. What’s also cool about this compressor (and one of the many smart aspects of an SSL console) is that makeup gain is applied automatically to maintain a steady output level, so messing with the compression settings doesn’t send your fader levels up the garden path – beautiful. These automatic features are why an SSL compressor has so few knobs. The expander and gate (located immediately below the compressor on the plug-in window) are very controllable too – not twitchy or clicky by any means either. Both do a fantastic job of isolating front-end mics from their ambient surroundings; the expander in particular is brilliant at smoothly and seamlessly ‘drying out’ a ringy room mic or shutting off the spill around a close mic (and it’s especially handy if heavy use of channel compression has lifted up the background ambience).
In fact, this was just about my favourite aspect of the channel strip. It should also be noted here that the dynamics section of the plug-in defaults to pre-EQ, and engaging the ‘CH OUT’ switch moves the dynamics directly to the output, making it post-EQ (I’ve noticed recently that many users I know have a tendency to assume that the EQ comes first in the ‘signal flow’ because it’s on the left, but this is not the case see the Signal Flow box item for details. The E-Channel EQ – which is a four-band parametric with variable ‘Q’ on both mid bands and 18dB/octave high- and low-pass filters – is also very powerful.
Again, the emulation sounds very reminiscent of the real McCoy and is more than capable of manicuring or savaging your incoming tone, depending on your needs. The overlapping frequencies (LF: 30Hz – 450Hz; LM: 200Hz – 2.5kHz; HM: 600Hz – 7kHz; HF: 1.5kHz – 15kHz) work well together and provide a great deal of control. As is the case with a real E-Series console, the midrange is the focus of proceedings, although a little tends to go a long way, so be warned! Being quite a fan of filters, I’ve already found myself using the E-Channel plug-in regularly just for its high- and-low pass filters; great for all kinds of tonal manipulation and often the most overlooked aspect of any comprehensive channel EQ. There’s also a ‘split’ function that enables the filters to be placed directly before the dynamics processors in the chain. The four-band parametric section can also be fed into the dynamics sidechain for things like de-essing duties: to clarify this by way of an example, prior to engaging the ‘DYN-SC’ switch, simply rip out the bottom end with the LF shelf (or a high-pass filter), boost 5 – 8kHz until the sibilant frequencies are horrendously exaggerated, then simply engage the sidechain switch.
The horrific EQ you’ve created will now no longer be audible at the output, but will instead be dedicated to tripping the compressor whenever the singer enunciates an ‘S’. Other handy features on the ‘E’ strip include input and output faders (the former a rotary pot, the latter a long-throw fader), metering of either input or output as well as numerical representation of peak level and fader position (which is handy at times). There’s also a polarity (phase) inverter and an ‘Analog’ switch that apparently boosts the harmonic distortion content, but which I’m yet to really hear do anything much at all – I suppose if I was forced to comment then I’d say that it colours the midrange slightly, but I’d hate to be blind-tested over it. G-WIZZ The G-Series EQ differs from the E-Channel strip in that it obviously only emulates the EQ stage of a G-Series console (the SSL EQ292 to be precise). Personally I thought it was a little odd that Waves didn’t create a full G-Series channel strip plug-in, but there you go.
Regardless, the G-Series EQ has two major differences to the E-Series channel EQ. Firstly there’s no low-pass filter and, secondly, the two midrange controls have much wider sweeps. The low midrange on the G-Series has a frequency divider switch, which allows this EQ stage to descend all the way down to around 67Hz, while the upper-midrange frequency selector has a multiplier switch that allows it to reach right up beyond 20kHz. This effectively gives the two mid bands control over virtually the entire frequency spectrum, with the exception of the sub-harmonics. The other principal difference between the G and the E EQ is that the G-Equaliser’s curves exhibit a slight dip before a boost and a slight rise before a cut, which makes the G-Series EQ sound a little more ‘musical,’ i.e., not as savage or indeed ‘accurate’ as the E. Other features of note are a phase switch, a master output ‘pot’ and a trim button that indicates the remaining headroom before digital clipping.
Overall, the Waves SSL ‘G’ EQ is, sonically, remarkably similar to a real-life, flesh ‘n’ blood G-series console. LAUDED MIX BUS COMPRESSOR Last, but not least on the agenda, is the Waves SSL G-Master Buss Compressor plug-in. Based on the sonics of the renowned master bus compressor of the SSL 4000 G console, the Waves emulation again does a great job of mimicking this legendary compression circuit. The SSL compressor is quite a beastly thing in the analogue domain, and that tendency has translated well across into the Waves digital format. The SSL bus compressor is probably amongst the most damaging of all compressors in the wrong hands.
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It’s powerful, chock full of artifacts (most of them good) and is in no way inclined to be transparent. In fact, neither version makes any real attempt to be invisible; quite the contrary. And certainly if you’ve got the four main controls, of attack, release, threshold and ratio, set up inappropriately to the mix information, expect it to be fairly merciless. Once you grow accustomed to the sound, however, you’ll start hearing it everywhere you go.
And what’s more, the SSL buss compressor is a great educator; while it doesn’t allow you to get away with sloppy settings, it soon reveals what’s going right and wrong with your setups. It’s a ‘stepped’ device (which means there are only so many ‘garden paths’ you can travel down before you pick the right one) offering only three different ratios (two, four and 10:1), six attack times (0.1, 0.3, 1, 3, 10, 30ms) and five release times (0.1, 0.3, 0.6, 1.2 and the ‘Auto’ setting, the reactions of which are determined by the duration of the program peak). The only continuously variable controls are make-up gain, threshold and the sixth knob ‘Rate-S’ which brings me to the final noteworthy feature of this compressor: the ‘auto fader’. In this day and age the auto fader on an SSL bus compressor might seem like a bit of an anachronism, but it’s still eminently useable, even in a DAW environment. The auto fader performs two essential functions: fading in and fading out. Variable from 1 to 60 seconds, the fader can be engaged with a single mouse click to fade out, or with two clicks, to fade in, but it’s really only useful when this plug-in feature is automated. By automating it in your DAW, controlling the point at which a song begins to fade out (or in) is a piece of cake, and the fade time can then be simply adjusted by either twiddling the ‘Rate-S’ knob, or single-clicking it and typing a numerical (seconds) value into the window that appears next to it.
This feature works beautifully and is very handy for quickly auditioning fade out points and durations – very cool indeed. There’s hours of fun to be had with this knob, which also mercifully stops you drooling, slack-jawed, on your shirt as you stare mesmerised at the fade-out curve you’ve otherwise drawn in your DAW automation. THE LARGE FORMAT PLUG-IN? Having said all this, just one last thing don’t think that by buying these new plug-ins you’re actually getting an SSL; you’re not. There’s no question that these plug-ins are great to use and sound very much like the hardware they purport to emulate. But make no mistake, there’s far more to an SSL than the channel strip and mix bus compressor – the routing, analogue summing, master section, monitoring and headroom features being but a few of the other facilities and sonic ingredients. Going into detail about all this, however, is well beyond the scope of this review.
Suffice it to say, an SSL console is a comprehensive and extremely complex series of analogue circuits, and sitting at the helm of one during a recording or mix session bears little resemblance to the experience Waves plug-ins offer you. I mean, when you get tired and you want to put your feet up, where are they gonna go? Oh, and one last thing I’d love to see Waves do an SSL E-Series Recall computer plug-in next emulating the shenanigans of the original SSL PC, which utilised eight-inch floppy disks and a blue screen. And maybe an ‘Asteroid’ emulation as well, for everyone to play whenever the computer plug-in mimics a crash followed by three hours of ‘down-time’!
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The Waves SSL 4000 Collection was developed under license from Solid State Logic. Includes 3 meticulously modeled plug-ins based on the legendary SSL 4000 Series: the SSL E-Channel, the SSL G-Master Buss Compressor, and the SSL G-Equalizer. This set of TDM format plug-ins sounds so close to the original consoles, even experts who work with SSL boards day in and day out can't tell the difference. SSL G-Master Buss Compressor Based on the renowned master buss center compressor of the SL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of the original's IC input and twin VCA gain-reduction amplifier design. SSL E-Channel The SSL E-Channel delivers the incomparable sound of the Solid State Logic 4000-series console's all-discrete design and its Class A, VCA chip. It's a slice of the world's greatest hit-making machine, in your computer.
The equalization section of the SSL E-Channel is based on the renowned Black Knob equalizer, developed in 1983 with legendary producer George Martin. It features a High Pass Filter, Low Pass Filter, and a 4-band parametric equalizer. The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E.
Like the original, it can be placed before or after the equalization section, and makeup gain is automatically applied to maintain a steady output level. SSL G-Equalizer This 4-band equalizer, modeled on the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. The SSL G-Equalizer includes a preboost dip and a precut rise, as well as a broader Q for more extreme equalization. That's why many leading engineers use the E Channel's equalization for detailed problem-solving and mixing, and the SSL G-Equalizer to shape and give character to the sound. Note: Waves products require iLok USB key authorization.
Authorizing your bundle to your iLok is a one-time process that can be completed on any computer with an internet connection. It doesn't have to be your audio computer.
The iLok authorization process consists of 2 phases: Selecting your products and iLok in your Waves account. Running the Authorizer to complete the process. Features SSL G-Master Buss Compressor Controls Threshold is continuously adjustable from -15dB to +15dB Make Up Gain is continuously variable from -5dB to +15dB Attack offers a choice of six attack rates: 0.1; 0.3; 1; 3; 10 and 30 ms Release time can be set to 0.1, 0.3, 0.6, 1.2 seconds, or automatic. Ratio is switchable between 2:1, 4:1, and 10:1 Rate-S sets the Autofade duration, from 1 to 60 seconds. Analog allows disabling of analog emulation In serves as a bypass button SSL E-Channel Controls Equalization: Low Pass Filter 18dB/octave slope, adjustable from 20kHz to 3kHz.
High Pass Filter 18dB/octave slope, adjustable from15Hz to 350Hz. High (HF) Choose from shelf (16.5dB/octave boost or cut) or bell shape (18dB/octave boost or cut with a fixed Q of 2.5).
Range is from 1.5kHz to 16kHz. High Mid (HMF) Range is from 600Hz to 7kHz, with an adjustable Q from 0.1 to 3.5.
Gain varies from ±15dB when Q is set to 0.1 to ±18dB when Q is set to 3.5. Low Mid (LMF) Range is from 200Hz to 2.5kHz, with an adjustable Q from 0.1 to 3.5. Gain varies from ±15dB when Q is set to 0.5 to ±18dB when Q is set to 3.0.
Waves Ssl 4000 Collection Review
Compressor/Limiter: Ratio/Slope Variable from 1 to infinity (limiting). Threshold Variable from +10dB to -20dB Attack Normally auto-sensing (Slow), switchable to 1ms (Fast) Release Variable from 0.1 to 4 seconds Expander/Gate: Range Variable from 0 to 40dB Threshold Variable from -30dB to +10dB Attack Normally auto-sensing (Slow), switchable to 1ms (Fast) Release Variable from 0.1 to 4 seconds Gate Toggles from Expander function (default) to Gate function SSL G-Equalizer Controls High Pass Filter 18dB/octave, 16Hz ” 350Hz.
Filter on/off switch. Low Frequency EQ Shelving. Range 30Hz ” 450Hz. Gain range ±17dB Low Medium Frequency EQ Range 200Hz ” 2.5kHz. Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The 3 button divides the selected frequency by three High Medium Frequency EQ Range 600Hz ” 7kHz.
As in the LMF EQ section, Q is continuously adjustable from 0.1 to 3.5. Gain varies from ±20dB when Q is set to 3.5 to ±15dB when Q is set to 0.1. The x3 button allows you to multiply the selected frequency by three High Frequency EQ Range 1.5kHz ” 16kHz.
Gain range ±17dB, shelving EQ In bypasses the EQ section but leaves the filter in if engaged Phase Reverse reverses the phase of the input signal Master Output fader controls overall output of the processor Trim button indicates how much headroom remains before digital clipping.