Since the dawn of the digital audio revolution, engineers worldwide have been striving to replicate the sound of analog summing within the box (ITB). Many top engineers add an analog hardware console or summing mixer to their setup, routing multitrack audio from the DAW to the analog device and back again to achieve the analog summing coloration. Waves has created this plugin aiming to recreate the perceived depth and image that occur when summing in analog. The non-linearity of this summing is the result of subtle differences in frequency response, harmonic distortion, and noise between channels. The computer processor plays a significant role in summing audio signals within a Digital Audio Workstation (DAW).
Jaycen Joshua admits that for many engineers, mixing in analog is the preferred choice. This is because when passing through the mixer channels, each channel imparts its own frequency response, and each equalizer is not exactly the same as the others, resulting in greater harmonics and depth that cannot be achieved by mixing in the box. However, there is an alternative to this issue: using multiple instances of the NLS plugin on the drum bus effectively emulates an analog console where the stems pass through.
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In the C Drums M (Master Track) post-fader insert section, there are 4 NLS Bus inserts in series with different settings, followed by the FabFilter Pro-Q3. Four additional NLS Bus inserts in serial are followed by the expander gate. The individual drum channels are routed to an internal Pro Tools bus called C DRUMS, which is selected as both the output of the C Drums M track and the input of the Stereo C Drums aux (as shown in the Video). The Stereo C Drums aux track, which has the Waves RBass plugin in series, then passes through the UAD-2 Shadows Hills compressor, a native Pro Tools expander gate, followed by BlackBoxAnalog, and finally, a FabFilter Pro-Q. Jaycen Joshua ensures that the peak reaches minus one on the meter for proper gain structure on the drum elements. In hip-hop, this is the part that will sound the loudest in the song, so with the right gain, there will be space for the other elements. Joshua always leaves the Mix Bus at minus 5 dB to have a 5 dB headroom before reaching zero, where exceeding leads to clipping. He also uses a dedicated routing for the 808, similar to that of the drums but with different NLS Bus settings.
There are several alternatives for the NLS available, with Slate Digital VCC being the most comparable in terms of features and console models. It even simulates crosstalk between bus channels. When compared to Waves NLS, in my opinion, Slate VCC performs better in the low-end department but tends to narrow the stereo panorama just outside the phantom center. However, some might interpret this as a focusing of the center signal. Another noteworthy plugin worth trying is Sonimus Satson, priced at $39, which can effectively blend a mix together almost as well as an analog summing box. Additionally, Sknote Stripbus, Airwindows Console2, and Nebula3 with its console libraries are other intriguing plugins that serve a similar purpose.
Absolutely, it’s important to keep an open mind in the world of audio engineering. The Jaycen Joshua NLS Technique, like many other techniques, can spark discussions and differing opinions. It’s true that there’s no magic formula that works perfectly for every music genre or situation. Each song, each mix has its unique needs, and what works well for one may not work as well for another. That’s why it’s essential to be familiar with a variety of techniques and tools and, most importantly, to develop the ability to adapt and customize the approach according to the circumstances. Experience and a deep understanding of audio fundamentals are crucial for achieving optimal results. So yes, every situation calls for a unique approach. It’s important to be flexible, experiment, and find what works best for the specific project you’re working on.
