In Summary
G3 MultiBusComp adds multi-band operation to their classic bus compressor. 4k Drive, and comprehensive sidechaining options promise the G-comp experience for traditionalists, plus turbo-charged bus shaping for everyone else. Here we get the Experts’ verdict.
Going Deeper
The Real Thing
Of all SSL’s classic hardware pieces they are perhaps best known for their formidable range of battleship consoles that filled control rooms and the airwaves of the 1980s, 90’s and beyond. The bus compressors built into these desks are perhaps the most recognised pieces of analogue processing associated with the marque. These have been available as standalone devices for a number of years since their inception, with offerings from SSL themselves and quite a few others as well.
Living in the centre section of SSL consoles starting with the initial release of the SSL 4000 B console in 1976, different versions of the bus compressor were developed to refine the sound and to cater to various briefs. Based around VCA feed-forward topology, the G-Series compressor that came before the G3 MultiBusComp arrived at the end of the 1980s.
They say that imitation is the best form of flattery. Confirming its legendary status, SSL’s famous hardware continues to inspire dozens of software homages from both software giants and indy devs alike. Expanding upon SSL’s own virtual Bus Compressor 2, G3 MultiBusComp adds features that aim to make it a more comprehensive tool than its progenitors.
SSL G3 MultiBusComp Overview
As its name suggests, G3 MultiBusComp sets out to deliver the G-comp legacy with one key difference: multi-band operation. This expands upon SSL’s Bus Compressor 2 with three bands available, which can also be linked for dual or single band use for classic-style glue across the board.
Each band can be triggered internally or from an external sidechain input that is common to all three detectors. Usefully, each sidechain has its own 3 band EQ that is independent of the compression band crossovers. This means that compressor reaction can be tuned in each band without the complexity of multiple sidechain inputs.
Adding to the goodies on offer is SSL’s 4k Drive saturation that’s available in each band. As well as for straight-ahead controllable character, this could be used for a whole raft of gear emulating tricks such as HF weighted compression and/or saturation for tape-like effects. Global Input and Output controls are inversely-linkable to simplify driving things harder or softer through the plugin.
G3 MultiBusComp trumps the hardware original with each band given its own mix control. Another feature that definitely won’t be seen on hardware anytime soon is the inversely linkable Threshold and Makeup controls via the link latch icon. Momentary link is enabled with keyboard Shift.
G3 MultiBusComp Key Features:
Classic SSL bus compression.
New 3-band operation for frequency-dependent shaping.
Parameter Linking - inverse changes for threshold and makeup for instant level matching. Hit the ‘link’ icon, or hold down the shift key.
‘4K’ Drive - per-band drive feature inspired by SSL’s ‘4K’ drive circuit.
Band Graph View - intuitive, draggable way to set threshold and frequency crossovers.
Powerful sidechaining and filtering options - customisable sidechain filters that can be unlinked from the band crossover and external sidechaining to drive the dynamics from a different frequency band, or a completely different signal entirely.
Band and Sidechain Solo - mutually exclusive operation.
Resizable GUI from 50% to 200%.
SSL G3 MultiBusComp In Use
In the video below we show how G3 MultiBusComp expands upon the legendary G-comp sound with multi-band flavours coupled with flexible sidechain EQ, 4k Drive, and more besides. We use generous treatments to solidify and fold the tops over in the low end of our mix, while applying steep, quick intervention in the middle for a classic G-comp flavour. We also dial in some HF compression and saturation in the upper band for some subtle analogue flavour cushioning at the top.
Expert Panel - Hit or Miss?
In every Expert review we ask three of our team of contributors to give their first impressions of the product. We ask them to give the product a hit or miss, based on factors such as originality, innovation, usefulness, quality and value for money. For each hit the products gets an Expert Award. One hit and it gets our bronze award, two hits gets silver and for a hit from all three of the panel it gets a coveted gold award. Of course if there’s three misses, there’s no award.
Dom Morley On SSL G3 MultiBusComp
I should start out by saying that I hardly ever use multiband compressors. I see them as mostly a tool for mastering or post – if you can’t access the original source material to compress it or rebalance frequencies then a multiband is your best option. But I’m a mix engineer so I’d rather dig down into the mix and find the specific track or instrument that I want to adjust and do it there.
That said, when I heard there was a multiband version of one of my favourite compressors, I was very interested. I’ve used hardware and software versions of the SSL G-series compressor for almost my whole career, and I love the way it’s pulls everything together in a mix and pushes it forward, so I did wonder whether a multiband version of this classic would be an upgrade. I’ve used clones which have sidechain filters that the original does not, and I’ve enjoyed the extra control that this gives. So maybe this is the compressor that will get me into using multibands.
In use it does what I expect the G-series compressor to do. It glues the mix together nicely and the whole thing sounds a bit more like a record when the plug-in is on. When it comes to the multiband function, I’m really surprised how much I’m enjoying it. There is the same SSL character that I want, but the ability to tailor it across the frequency spectrum really opens up that sound for me and I find I’m varying the amount of compression in the different bands more than I thought I would. One thing I’ve sometimes struggled with the G-series compressor on is that it does ‘punchy’ really well, but ‘open’ less so. With this version I’m finding a G-series version of ‘open’ that I’ve not found before with the hardware. The subtle saturation from a touch of drive is also really helpful, and although I realise there is a danger of disappearing down a tweaking rabbit-hole with the depth of features available I’m finding that I can get an SSL compression sound that’s wider and fuller than I’ve been able to achieve before.
For me this is a definite HIT.
Luke Goddard On SSL G3 MultiBusComp
I get to try a lot of different audio plugins that hope to conjure the magic of tasty hardware, but often I have to take the dev’s word for it when the question of authenticity crops up. I’m thinking about the 670s and Manleys of this world, but SSL’s G-Series buss comp is a lot closer to home for many engineers, and this is a comp I can claim familiarity with.
I would describe the G-sound as compression that manages to sound incredibly transparent even when the meter says “Well, actually that’s quite a lot of compression…”. All down to what you dial in yes, but nonetheless I’ve found this most achievable with the G-Series design. I’d describe it as pleasingly melded (only because I’m trying to avoid the Gl**-word) when stamping down hard, without the kind of mayhem you would get with other designs. At lighter settings it just slightly folds over the peaks in a way that is perfect for lighter styles or where buss compression is supposed to be off-limits.
Rightly or wrongly the influence of G3 MultiBusComp’s pedigree could give this XL bus comp the competitive edge, but so much more importantly its strengths lie in its features and sound.
Used single-band, the signature G-sound that makes the hardware so desirable for busses is alive and well in the G3 MultiBusComp. Using two or three bands is child’s play thanks to things like the draggable crossover points and inverse control options. These extra practical and artistic flourishes are executed in a way that leaves no doubt about the lineage of this tool.
With that, G3 MultiBusComp’s Platinum sound and flawless execution might just make it a modern classic for ITB mixers across the board. HIT.
Steve DeMott On SSL G3 MultiBusComp
I’m a big believer in bus processing before individual track processing, so it would stand to reason that the processing I put on my busses is chosen carefully for what it brings to the overall sound and feel of each bus. I replaced my go to compressor on my busses with the SSL G3 MultiBusComp. Here’s what I discovered: True to its heritage, the G3 MultiBusComp is clean & transparent sounding. It compresses without adding colour or grit (unless you engage the “Drive” feature for deliberate saturation effects). The controls are instantly familiar to anyone who has used an SSL bus comp on a 4000 G, E/G or later, or its many plugin variants.
Having the multiband controls opens up a wide range of options for controlling the balance of a group of instruments. I was particularly fond of using the high band to control cymbals on a drum bus to keep them really tight but slightly pushed back, and I was able to achieve this without the dreaded cymbal “wooooooshhhh” when a compressor is grabbing those gong like frequencies lower down in the range. I was also able to set the crossover of the low/mid band to keep the kick in the low band and the snare in the mid band, giving me further control of the overall balance of the drums.
On an instrument bus I loved how I was able to set the crossovers to ‘melt’ guitars and piano together into a beautiful gumbo of sound (note to self, that’s a great album title). By choosing the crossovers to isolate the peaky frequencies I was able to make them breathe together, while still being defined enough to hold their own in the track.
Maybe it’s because the SSL bus compressor is so ubiquitous that I wasn’t expecting to be this excited about a multiband version. Colour me wrong. This is a HIT.
SSL G3 MultiBusComp gets the Experts’ Gold Award
G3 MultiBusComp is now available with SSL Complete from $14.99 p/month
$199.99 / £159.99 / €199.99 – Rent To Own / Paid In Full perpetual purchase.
A Word About This Article
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