Waves NLS usage

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
 

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
 

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

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
 
 

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
 

markno999
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

 
That's true, particularly with orchestral instruments and many synths. Guitars, bass, and drums though...
 
Regards,
Dan

Rob[atSound-Rehab]

markno999
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.   
 

that's what I usually do. throw it in midway. which is after tracking is done, when a rough mix exists.
 
throwing it into an almost final mix didn't do much (or much positive) here as if the mix is almost there, NLS won't contribute, sometimes even color it the odd way ...
 
throwing it in midway may indeed result in fewer tweaks applied to the mix afterwards (which is also how some of the advertising goes). some of it may be placebo, some of it real. but even placebo can be good if it keeps you from over-tweaking ;-)

For my current project, I might experiment with it as a coloration/saturation plugin on a couple of tracks that I think may benefit, particularly snare, kick, bass and a couple of synth tracks that need to stand out better but I don't want to be louder, if you know what I mean...
 
My next project will definitely start with it so I can see what it is like to mix into it.
 
Regards,
Dan

I quite like NLS. I was aware of what it does before I bought it, it simply models the characteristics of channels on certain mixers with the convenience of being able to alter a bunch of hem at the same time and using SSL for some tracks, Never for others and so on. I use it with Logic, in Sonar I'd probably just use the PC equivalent.

Like most such processors it's pretty mild in what it does, which isn't surprising given that the desks it models were designed and built with low noise and low distortion as a priority. Using an analogue mixer for summing really does pretty much the same thing - a set of channels each with it's own characteristics and minor differences which are then fed into a master bus which itself has some "imperfections".

As a way of making stuff sound less pristine and "digital" it does it's job, though on a project with few channels it makes little audible difference - which is how it should be, if it had a pronounced effect on audio it wouldn't be acting like a high-end desk does.

As for using it with things like Waves REDD or TG12345, I wouldn't go down that route as those plugins model very different kinds of desks to the more modern ones and have their own characteristic sound "built in". Unless you've a use for emulating a setup where a 50s or 60s console is then plugged into a more modern desk.

I've been experimenting with it and, in moderation, I like what it does. I don't use it on every track in a project, but I generally do on guitars, bass and drums. Things like synths I route to a bus and add NLS there to fatten things up.
 
Regards,
Dan