I've been using Waves' plugins for years and really started to get the kind of mixes I wanted when I spent a lot of time practicing with the SSL collection (thanks markno999). I recently picked up the NLS and I need some advice from someone here who is familiar with it. 
 

• Based on my reading, it appears that freezing tracks will prevent the NLS from functioning as designed since the summing needs to take place in real-time. Am I correct in this understanding?
• if a project is too big to handle an NLS channel on every track, is the recommended workflow to mix to stems and then mix the stems into the NLS?
• How does the use of other channel strips (like the SSL or Redd) affect the setup and usage of NLS?

 
At this point, I'm not certain I will go down this particular rabbit hole, but I picked it up cheap and now I'm curious. 
 
Regards,
Dan
 

You can certainly freeze the tracks that have NLS channel plugs on them. The Buss plugs don't actually do any summing; the buss signal is already summed by your DAW before it hits the plug.
 
If freezing channels, you would just lose the grouping function which lets you change the channel plugs' settings from the buss GUI.
 
The "magic" comes from having 32 separate console channels modeled for each desk. They claim that it's the tiny differences in each channel's sound that gives you the feel of a real console. Just be sure each channel plug is set to a different channel before freezing and you'll have the full effect.
 
The only caveat I would add is that the sonic changes aren't nearly as subtle as other console emus like VCC. I always leave the Drive at 0 unless I'm going for a specific grungy sound. And on some material NLS just doesn't sound very good and I turn it off.
 
There's no problem using additional channel strips like SSL along with NLS, as long as you like the sound. 
 
Cheers,
Eddie
 

So then, at the end of the day, it isn't much different than a coloration/saturation plugin and the way tracks get summed is not changed from the underlying DAW's internal processes?
 
That's a bit of a letdown after reading the marketing hype...
 
Regards,
Dan
 

In order for it to do a replacement summing engine you'd have to put transmitters on every track and a receiver on a bus with no other inputs.  It's what I thought NLS did, but after seeing some posts and getting a trial version, it doesn't actually do that kind of bus replacement.  All it does is "color", even though it appears to have the "parts" it doesn't work that way.  Just glad I did the trial.
 

I'm just glad I only paid $29 for it. I'd be pissed if I shelled out $250.
 
Dan

NLS has its benefits, and for some Pro's, the idea is to deploy it across your DAW up to 32 channels. NLS should iterate the modeled channel correctly from each mixer that was modeled. The idea is not really try and color the sound, but just the very subtle character the modules give each channel or how it handles transients (sometimes better than an EQ), when mixed together should give you a better idea of what they do. Using the buss module probably doesn't really do much for you.

With all that said, there's some good things the NLS can do that some plug-ins can't. Like, for example, try the Spike Stent SSL Channel 29 on a distorted guitar. There's something edgy-but-good about that channel. Try the Mike Hedges Channel 2 on a kick drum with the Gain up 75% and see how the kick drum low-end is affected. I like trying different channels on different sources if I think it does something good to them. Otherwise, I just leave NLS out. I'm not a fan of just putting it in on all channels to mimic an entire console. I think many high-end recordings are finding less and less console time and more in-the-box time these days. People's ears will forget.

Still, it's totally worth $29. I paid $99 when I bought in.

Dan,
 
In many cases I will put NLS or Slate VCC on a group/bus rather than individual tracks (like all rhythm guitars, or amped and DI Bass for example).   The result is similar to putting it on individual tracks,  uses less resources and doesn't impact freezing.  Neither the VCC or NLS are very resource heavy at the end of the day.    As a rule of thumb, put the console emulation last on a group/bus or individual track, and first on your Master Bus.
 
I know NLS is promoted as, "each channel having a unique character" but good luck hearing that in a mix or figuring out which instrument is going to sound best on an individual channel.   Personally, I reach for Slate VCC 9 times out of 10 over Waves NLS.   It is more transparent and I like what it does to the overall sound.   Very important, if you are using them, to mix through them from the start of the project as they will affect EQ and placement in the mix.
 
Here is a video below  that has some relevant information about Console Emulation (VCC) in this case.  The basic fundamentals are the same as NLS, however, I like this video because it also includes using Buss Compression in conjunction with Console Emulation.   Very important, IMHO, to use both bus compression because NLS or VCC will not give you a magical mix alone.  Look for your mixing skills and buss compression to give you the punch and bottom end and NLS to give you some seasoning over mix with the introduction of harmonics/distortion.  This video below illustrates this point.  
 
As a side-note, I would use the SSL Buss Compressor over the Slate plugs most of the time, except the Slate FG-Red does a great job on rock guitars  Hope this helps.
 
https://www.youtube.com/watch?v=eAcg3q2DF-g
 
Regards
 
 

brconflict
NLS has its benefits, and for some Pro's, the idea is to deploy it across your DAW up to 32 channels. NLS should iterate the modeled channel correctly from each mixer that was modeled. The idea is not really try and color the sound, but just the very subtle character the modules give each channel or how it handles transients (sometimes better than an EQ), when mixed together should give you a better idea of what they do. Using the buss module probably doesn't really do much for you.

With all that said, there's some good things the NLS can do that some plug-ins can't. Like, for example, try the Spike Stent SSL Channel 29 on a distorted guitar. There's something edgy-but-good about that channel. Try the Mike Hedges Channel 2 on a kick drum with the Gain up 75% and see how the kick drum low-end is affected. I like trying different channels on different sources if I think it does something good to them. Otherwise, I just leave NLS out. I'm not a fan of just putting it in on all channels to mimic an entire console. I think many high-end recordings are finding less and less console time and more in-the-box time these days. People's ears will forget.

Still, it's totally worth $29. I paid $99 when I bought in.

I still plan to experiment with it. At the moment, I'm debating with myself on trying it out on an "almost done" mix, knowing that I'll likely end up having to remix a bunch of stuff, if only to adjust the gain into the NLS. I really should have mixed into it and decided whether or not I liked it, but I totally forgot about it until I was already way down the road.
 
Thanks for the feedback. The hopeful meter filled back up a bit...
 
Regards,
Dan

markno999
Dan,
 
In many cases I will put NLS or Slate VCC on a group/bus rather than individual tracks (like all rhythm guitars, or amped and DI Bass for example).   The result is similar to putting it on individual tracks,  uses less resources and doesn't impact freezing.  Neither the VCC or NLS are very resource heavy at the end of the day.    As a rule of thumb, put the console emulation last on a group/bus or individual track, and first on your Master Bus.
 
I know NLS is promoted as, "each channel having a unique character" but good luck hearing that in a mix or figuring out which instrument is going to sound best on an individual channel.   Personally, I reach for Slate VCC 9 times out of 10 over Waves NLS.   It is more transparent and I like what it does to the overall sound.   Very important, if you are using them, to mix through them from the start of the project as they will affect EQ and placement in the mix.
 
Here is a video below  that has some relevant information about Console Emulation (VCC) in this case.  The basic fundamentals are the same as NLS, however, I like this video because it also includes using Buss Compression in conjunction with Console Emulation.   Very important, IMHO, to use both bus compression because NLS or VCC will not give you a magical mix alone.  Look for your mixing skills and buss compression to give you the punch and bottom end and NLS to give you some seasoning over mix with the introduction of harmonics/distortion.  This video below illustrates this point.  
 
As a side-note, I would use the SSL Buss Compressor over the Slate plugs most of the time, except the Slate FG-Red does a great job on rock guitars  Hope this helps.
 
https://www.youtube.com/watch?v=eAcg3q2DF-g
 
Regards
 
 

Thanks Mark. Well, in that case, remixing my current project probably isn't going to happen. I already have too much time invested and I already like the mix I've got. There's always the next one...
 
I was already aware that VCC/NLS isn't an EQ/compressor, but like Brian mentioned above, it will affect how much EQ/compression is needed. I don't generally compress buses, except for the drum bus and a very light compressor on the master that I like to mix into. And, I agree with you on the other Slate stuff. I bought VMR on a whim a couple of years ago and I've tried to use it several times, only to replace it with the SSL or API stuff. I'm sure that on certain material, the Slate stuff could be useful, but I haven't found any yet.
 
All of this has also made me curious about the Pro Channel's console emulator. I don't use the PC at all anymore, but I'm wondering if, at least for this purpose, how it compares...
 
Regards,
Dan
 

Dan,
 
You can certainly introduce NLS mid-project, you may just need to pull back some EQ on a few tracks.   Just saying as a general rule I think it is best to start mixing through your project template so you have to mix less.   
 
Personally, I don't like fiddling with a project mix too long and find starting with a few simple additions to the mix template from the start really cuts down the tweaking, particularly EQ and placement.  For me, those additions are Bus Compression, tape,  and Console Emulation, with a limiter on the Master Buss for reference only.   I find with a lot of tracks, faders up is all the mixing that needs to be done.  
 
Regards