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Brainworx BX consoles E and G Review. These are channel strips plain and powerful. They sound great, are very flexible, and very similar! Pros – True to the ‘SSL tone’ – Light on the CPU – Great control over the analog noise and distortion. Cons – Not cheap, especially if you can’t decide between the two! Review: BxConsole G by Brainworx. Bxconsole G was developed by Brainworx using its own modeling techniques, and one of the products studied was the SSL 4000 G. And while we are focusing on the Brainworx SSL 4000 E and SSL 4000 G, pretty much everything you see can be applied to the other Plugin Alliance channel strips, and channel strips from other companies as well (i.e. IZotope, Waves, etc) We will cover everything: Filters, Compressor, Expander, EQ, Side-Chain, TMT, all the buttons, and more. Brainworx bxconsole N, SSL 4000 E, SSL 4000 G Brainworx bxconsole SSL 4000 E. From the article Brainworx bxconsole SSL 4000 E an SSL console Emulation by Plugin Alliance Review. Brainworx bxconsole SSL 4000 E is an SSL console emulation. There are several in existence and available to buy as a software version.

• Bx Console G
• Brainworx Bx_console Ssl 4000 G Review
• Bx Console Ssl 4000 E
• Ssl 4000 E

The Bx_Console G is part of the TMT console line of plugins from Plugin Alliance & Brainworx. What makes these consoles standout is the (TMT) Tolerance Modeling Technology.

Check Out the BX_Console G —PluginAlliance/BX_Console_G

Tolerance Modeling Technology creates channel to channel variances so that each of the 72 channels have slightly different characteristics like what you would find on the analog SSL Console.

The Console G has many variations of routing & features that helps you really sculpt your mixes and the layout of the plugin allows you to get a great sounding mix fast. The filters are smooth and the VCA style compressor sounds great on just about everything you put it on.

I switched between the black & orange EQ and my personal favorite is the black knob EQ. I love the low shelf and it just sounds a little brighter, which I happen to like.

My Favorite Features

THD

THD knob, It adds weight & warmth to kicks & bass with being muddy, It also adds nice sauration to piano synths & thickens vocals as well.

Random All

Hitting the random all feature after copying all the instances on the tracks will randomly select different channel of every instance you have inserted on your mix and this gets you as close as you can be to mixing on a real console, Do not hit the random all if you have a final mix the way you want it because this will change characteristics of your mix and you may not be happy with the changes.

The EQ’s sound great even when boosting 6 to 7db .

PROS

• Sounds Great
• Great design
• Able to get a great mix faster
• Tolerance Modeling Technology ( TMT )
• Light On CPU

Cons

• Can’t resize the GUI
• ​​​​​​​Routing can be a little complicated if you’ve never worked with a SSL style plugin

Watch The Video Review

Release Notes

OVERVIEW

If you’ve ever yearned to mix your projects on a large-format analog console, your dreams have just come true! bx_console G is a rigorous 72-channel emulation of the legendary British G Series mixing console used on countless hit records and by top-tier engineers and marquee artists around the globe. Belonging to Brainworx’s expanding line of mixing-console emulations, bx_console G uses groundbreaking Tolerance Modeling Technology to precisely reproduce the three-dimensional analog sound of a high-end, large-format console—inside your DAW!

But bx_console G doesn’t stop there. Producer/engineer Dirk Ulrich (Brainworx’s owner) and his award-winning development team tossed in a heap of switchable mods—including some from the earlier-released E Series British console—and contemporary features. The resulting turbo-charged plugin goes way beyond a model of the original G Series console, giving you a classic-contemporary hybrid mixer updated with modern controls.

Every Channel Sounds Different—Just Like with Analog

Typical channel strip plugins only model one channel of a mixer. When you apply that same plugin channel across all of your tracks in a mix—even using different control settings—you get flat, narrow, two-dimensional digital sound. bx_console G is different—and it sounds huge. The plugin uses Brainworx’s proprietary, patent-pending Tolerance Modeling Technology (TMT) to accurately replicate variations in the values of individual components specified by the manufacturer and/or original hardware designer. This creates, in separate instances of bx_console G, the small channel-to-channel variances in phase and frequency response you would expect to hear in the original G Series analog mixer. bx_console G’s smart interface and extremely low CPU load let you instantly recall up to 72 slightly different-sounding channels across all plugin instances on your tracks, giving you the deep and wide “mixed on a big analog console” sound your DAW has been missing.

Each instance of bx_console G includes a comprehensive Compressor/Limiter, full-featured Expander/Gate, powerful 4-band Parametric EQ, and wide-ranging High Pass and Low Pass filters—with incredibly flexible signal routing between processors just like in the G Series analog console. But because bx_console G was designed using TMT, the EQ and Dynamics curves are just a hair different on each and every channel, just like in a real analog console. These slight variations add the complexity, nuance, depth and width that only analog could bring—until now.

As you add bx_console G to each of your tracks, you can either manually select the channel number you wish to use or click the Random Channel/One button to select the channel number by chance. (Quick tip: duplicate one instance of bx_console G across all your tracks and then click the Random Channel/All button to randomize all the channel numbers at once and instantly create that big-console sound!) Select Digital Mode for any channel pair to bypass TMT and match the two channels’ responses exactly—useful when, for example, gating both sides of a stereo track in perfect synchrony.

Build a Hybrid Mixer!

The analog G Series console had different EQ revisions over time, and each revision has its die-hard fans. But why settle for one? In bx_console G’s intuitive GUI, simply click a button to swap models of the “Orange” and “Pink” EQ revisions—which sound dramatically different—on any channel. This feature alone gives you a selection of 144 different-sounding console channels to choose from!

Boosting with the Pink EQ in the midrange band produces classic Brian May-style guitar tones, while prominent resonance in the Pink’s low shelving band adds extra-powerful punch and weight to kick drum and electric bass guitar tracks. The center frequencies for the Pink EQ’s HMF and LMF (midrange) bands can be respectively multiplied and divided by a factor of three, giving you an extra-wide range of tone-shaping capabilities. (Likewise, you can shift the High Pass and Low Pass filters’ original frequency ranges by a factor of three to create midrange bandpass filters.) And while the Pink EQ makes a dramatic statement, the Orange EQ is your toolbox for applying ultra-smooth and musical sweetening. Both EQs feature proportional-Q filters that let you apply large boosts and cuts with incredibly precise focus—there’s no spreading of boost/cut effects to adjacent bands no matter how much you crank the gain knobs. When you need surgical precision in your mixes, these are the EQs to use!

In any channel, another simple mouse click swaps out the pristine-sounding VCA from the G Series console’s compressor for the more colorful VCA from the earlier-released E Series console. And just like in the analog G Series console, both the Compressor/Limiter and Expander/Gate can be triggered by another track routed to their external sidechain input—in a snap, you can create super-tight, pulsing rhythm tracks, and automatically duck guitar fills whenever lead vocals are voicing.

More Powerful Than the Original

bx_console G adds many mods and new, contemporary features lacking in the original analog console, greatly increasing the plugin’s power and flexibility. Adjust the Compressor’s convenient Mix (Dry / Wet) control to add supersize girth and density to vocals and electric guitar tracks—while fully preserving detail. When delicate acoustic guitar tracks call for totally transparent level control, use the Compressor’s secondary release-time knob to keep pumping at bay. Raise the Compressor’s dedicated HPF control to keep bottom-heavy tracks from getting squashed: on room mics for drums, you can let the kick drum thunder while smashing the snare drum to smithereens! Crank the new THD control to lather colorful saturation and density (on a per-channel basis) on vocals, bass, electric guitars and drum-room mics.

bx_console G also provides two alternate threshold ranges for the Expander and Gate—covering a whopping 70dB range—making it possible to hush tracks no louder than a mosquito. And the new Hysteresis control makes chattering gates a thing of the past: a simple knob twist sets a dedicated close threshold up to 25 dB lower than the open threshold, smoothly fading sustained guitar notes and ringing cymbals to silence. An innovative Expander Invert button lets you hear only the portion of the signal that will be expanded or gated, helping you set the threshold quickly and with confidence. And using simple mouse clicks in the plugin toolbar to alternately solo mid and side channels for stereo tracks, you can quickly find the source of undesirable distortion and phase problems and get your mix quickly back on track. bx_console G’s potent modern features create a G Series console on steroids!

No, it’s not just a channel strip model. bx_console G is hyper-realistic analog large-format-console sound for your DAW.

Legal Disclaimer: bx_console G was developed by Brainworx using its own modeling techniques, and one of the products studied was the SSL 4000 G. Solid State Logic and SSL are registered trademarks of Red Lion 49 Limited, which is unaffiliated with Brainworx. Red Lion 49 and Solid State Logic have not licensed any intellectual property for use in the bx_console G, nor have they endorsed or supported the bx_console G in any manner.

FEATURES

• Models the classic British G Series mixing console, offering 72 different channels
• Full-featured channel strip includes a Compressor/Limiter, Expander/Gate, 4-band parametric EQ, and wide-ranging High Pass and Low Pass filters
• Tolerance Modeling Technology (TMT, Patent Pending) simulates channel-to-channel variances in electronic components for the most realistic analog sound
• “Orange” and “Pink” EQ revisions can be swapped independently per channel with the click of a mouse
• EQ can be placed before or after the Dynamics section (Compressor/Limiter and Expander/Gate) in the audio path, or routed to the Dynamics’ sidechain
• Frequency ranges for the High Pass and Low Pass filters and the Pink EQ’s two midrange bands can be independently shifted by a factor of three, greatly expanding tone-shaping capabilities
• High Pass and Low Pass filters can be placed in the audio path or the Dynamics’ sidechain
• Compressor/Limiter features continuously variable Threshold, Ratio, wet/dry Mix and two-stage Release controls; a dedicated High Pass filter; and a toggle for Auto- and Fast-attack times
• Swap G and E Series Compressor VCAs independently per channel with the click of a mouse
• Expander/Gate features continuously variable Threshold, Range and Release controls; two alternate Threshold ranges; and an Auto-/Fast-attack toggle
• Gate features continuously variable Hysteresis control that prevents on-off chattering when input signal level fluctuates around the threshold
• Expander Invert function lets you hear just the portion of signal that will be gated or expanded, helping you quickly set the most effective threshold
• Dynamics section can be keyed by an external sidechain input signal
• Continuously variable THD control adds colorful saturation independently per channel
• Continuously variable Virtual Gain control adds simulated analog noise independently per channel for extra vintage vibe
• Comprehensive metering and monitoring facilities incl. M/S solo features
• EUCON parameter mapping provided for Avid controllers, including the S6 control surface

​​​​Connect with Marcus & Machine City Audio

bx_console SSL 4000E is a channel strip modeling the filters, compressor, gate, and EQ section from the venerable mixing console by Brainworx.

The legendary sound of the Solid State Logic 4000 series consoles brought to you by Brainworx. With the power of TMT this officially licensed SSL plugin allows you to build a 72 channel analog console in your DAW. Harness the power of the most famous British console ever produced.

Stripped Bare

On my journey to obtaining mixes that don’t sound like the inside of a dumpster fire, I’ve messed with a lot of tools meant to make things “easier” for lack of a better word. Fancy equalizers with spectral visualization, compressors that show you exactly where the knee and slope of the compression activate, and a litany of other devices have graced my DAW and none have ever really stuck.

Enter the channel strip, I believe I was introduced to my first one with Audio Track by Waves back in 2013 or so. I didn’t quite grasp the appeal, but I liked how immediate everything was. If you’re new, or perhaps skeptical, a channel strip combines all the core functions of a mixing console in a handy dandy little plugin that you just insert on individual channels during your mix session.

Now, my mixes sound more like inside of a clean dumpster, and that’s largely thanks to trusting my ears and leaning heavily on tools like a channel strip, and this particular one is among my absolute favorites.

Solidly Stated? Where’s the logic in that?

The bx_console 4000 E by Brainworx is one of those remarkable tools that you don’t quite understand you need at the time, but by golly did I need this as soon as I heard it on a bass channel.

The 4k E, as I’ll refer to it because the whole name is a bit of a mouthful, is a channel strip running in VST2, VST3, and AAX for Windows and OSX. It’s officially endorsed by Solid State Logic, which has its perks if you operate on name recognition or you’re a brand snob I suppose.

When you initially launch it, you’re presented with a very cozy little arrangement, with a pair of filters on the upper most left, the legendary dynamic section directly below, an EQ to the right, and a gigantic fader to the extreme right. There’s also these funky little buttons for something called TMT and stereo mode, but we’ll get to those.

Where’s the glue? I thought there was supposed to be glue

The dynamic section is comprised of two sections, a compressor and a gate/expander. The compressor itself operates from 1:1 ratio up to extreme limiting at an infinity:1. The attack is fixed but you have the option of a fast attack in addition to the release. There’s also some other nifty little knobs like a wet/dry mix for parallel compression on say a particularly lifeless kick, a high pass filter for letting some of those extreme lows escape, and a secondary release setting for fine tuning the action of the compressor itself.

This comes in two flavors, an E and a G. Now you might be asking yourself, what on earth is the difference? The E is an earlier revision of the 4000 series console, and I find the compressor lends a darker tone overall. It’s a smooth and pleasant operator, but it isn’t what I’d call in your face. The G on the other hand is perhaps its more famous sibling, and has a nice snarly midrange and overall brings things slightly more forward, not unlike a more polite API 2500.

The gate/expander is also rather full featured. In gate mode it allows you to dial in hysteresis, the range of the gate, and the threshold. The expander operates largely the same but you miss out on the aforementioned hysteresis control.

The dynamics can also be set to operate on an external sidechain, which is highly useful.

All Frequencies Created Equal? Wouldn’t that sound muddy?

The equalizer section is rather magical, as it models two different E consoles. In its default state, it’s the black knob filters, mash the button and it becomes brown. If you’re not versed in vintage audio consoles this could be pretty confusing, but each option has different tonal characteristics.

You’ve two shelves, which can be set to peaks, and two filters with adjustable bandwidth. In black mode I found the EQ filters to be rather aggressive, with larger adjustments grabbing my frequency selections out and slapping me in the face. The brown mode is smoother, while those big jumps are still noticeable, it isn’t nearly as aggressive.

The EQ can be placed before or after the dynamics, I won’t start that fight on where it works better because people get passionate and I’m just here for the channel strip honestly.

TMT? Where’s Raphael and Donatello?

Bx Console G

The master section has some unusual choices, and some rather obvious ones. The input gain does what it says, but the knobs next to it bear some more mention. V-Gain can be characterized as the noise of the console. There’s a low operating cycle that gets very very evident when you have this cranked up across a large project. If you don’t like a bit of that old analog grit, it’s easily bypassed.

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THD is total harmonic distortion, and functions as the desk’s color or saturation. It defaults very demurely to a reasonable position, but I’m an unreasonable person so I just crank it to get things going.

These last two puzzled me however, the TMT and the stereo mode. The stereo mode in practice is modeling nonlinearities in the volume of the left and right channels of a console. In analog mode this effectively means the compressor might be doing 3dB of gain reduction on one side and 1.5dB of gain reduction on the other. This can be readily disabled for more uniformity by switching to digital mode.

TMT, or tolerance modeling technology as the good folks at Plugin Alliance call it, is modeling 72 different stereo channels on the SSL. This boils down to 36 stereo pairs in analog mode, or 72 in digital mode. If you’re familiar with Waves NLS, it’s the same sort of functionality, but just right there and ready for you. I have noticed on larger projects this makes a massive difference just hitting random across the entire project.

Automated Processes? Never heard of them

This is a fantastic little strip, and I have done entire projects with just this and a bus compressor to control everything at the 2bus level. It normally retails for $249 over at Plugin Alliance, but if you’re diligent you can easily grab it from anywhere from $29 to $49.

It does take a bit of manual reading to get the absolute most out of it, but I like reading manuals so this isn’t a huge issue to me. I would love to see an independent attack control on the dynamics, I understand this is supposed to be an accurate emulation but I get fussy about fixed attacks.

If you’re in the market for a great general-purpose channel strip well suited for any sort of material you can toss at it, this would be at the top of the heap.

• Sound Quality
• Ease of Use
• Interface
• Presets
• Value for Money
• Turtle Power

Brainworx Bx_console Ssl 4000 G Review

Summary

Bx Console Ssl 4000 E

Would I recommend bx_console SSL 4K E to anyone? Absolutely, it’s a great bundle of useful processors that can be as colorful or as clean as you could desire. Being able to randomize certain parameters in pursuit of that ever magical mojo from yesteryear is just icing on the cake.

Ssl 4000 E