This effect really can’t be done well as a plug-in?

Here’s another wrinkle. Maybe mix in a cost factor. “Yeah hardware EQ’s are great but you need to drop $4k per channel to hear the difference. Better off with a $1k compressor.”

Just giving examples. No idea if that’s accurate.

I think you can do just about anything ITB but not in the same way. Multiple plugins may be needed to do what one knob on an analog piece can do. I’d say heavy distortion would be the only thing you really can’t do perfectly ITB.

Still think hardware compression is better. EQ is a toss up.

Let’s see. I have hardware compressors, EQs, reverbs, delays, exciters, transient designers, and “color boxes” (Black Box, Chroma.) Also a truckload of guitar pedals and amps. Plus Hammond+Leslie, Wurlitzer and a Yamaha U1 upright.

Maybe I’m a sucker for knobs, switches and VU meters. In my experience, most things are nicer and easier to use in hardware, and can also be approximated ITB, with far easier recall.

I think only brickwall limiter is definitely better ITB.

P.S. the answer you are looking for is: but a Weight Tank compressor for single sources or a SSL-style compressor for the master buss ;-)

That’s the type of workflow I’m moving towards.

Plugs are slowly getting there but i agree there is something missing in the sound. Like comparing good mics v mid level mics.

For me the thread is back the front tho. The question i ask is

"this effect really cant be done well with hardware"

The list is just as long. Celerbrate what it is plugs bring to the table. They are great tools.

I think really good saturation isn’t quite there yet.

This seems like a sensible approach. Hardware reverbs aren't a thing for me since I'm generally fairly light on reverb use to begin with, but on the rest... makes sense.

Kind of a "bang for your buck" type approach. 

So in your DAW, are you just using your bus comp as an insert? Or is it only coming into play when you're doing a final mix down? I'm seriously considering the SSL SiX as a way to check some of these boxes. Plus it gives me some additional cue mix possibilities which is something I also need. Only problem is that while the super analogue preamps are great, I'm not really in need of any extra preamps and I hate the mental weight of feeling like "well, I paid for these preamps now I need to find ways to use them."

Justification confirmation possibly.  But that door can swing both ways as some folks think just buying gear will give them a leg up.  I like analog gear and I like plugins, and at times I have to shut off my inner bias that says outboard should sound better and just A/B the track and go with what sounds best at that moment.  

I will say I've yet to hear any plugin that does what the Silver Bullet does.  

I still like hardware for damn near anything. I don't have the budget for a ton of channels of it but I print tracks a lot. But I like plugs too. They're fun and useful.

We tried completely working ITB with plugins but couldn’t get the the organic early 1970’s vibe that kind of became our studio’s trademark with our clients.

The most used plugins were Soundtoys for some echo, Fabfilter usually only for subtractive EQ and occasionally some Valhalla verbs if we needed more than the EMT140 and both the 480L’s stereo processors during mixdowns.

Any additional high passing or selective peak limiting I did manually in a wave editor typically on individual tracks during mix prep. (Where was my underpaid assistant to do this stuff? Oh yeah it was me!)

Personally it’s not just the tone but also the workflow that often gets you where you need to be.

Treating the DAW simply as a recording device while tracking bands and, apart from monitoring levels and running cue send mixes from the console (zero latency), not spending entire takes staring at plugin settings on a computer screen meant you could concentrate better on the performance.

We never used plugins during tracking.

I cannot overstate how important good cue mixes are for artists especially in a live band tracking situation.
This is where hardware rules as you can get levels and sounds quickly without latency especially with a console.

Yep and hardware during tracking AND during mixdown.
Ever wondered why vocals were often tracked using an 1176 and then an LA2A during mixdown?

Real transformers, tubes, inductors and ending up with an actual EMT140 was a game changer and whether or not you can get the same thing in a plug-in the EMT definitely brought us clients simply due to word of mouth.

And the KM84’s and Coles 4038’s also made a huge difference.

I really appreciate that!  The crazy thing is the only one I have that would remotely be considered a classic is the PCM 70.  It definitely is special but I still also love the 80 and 91.  So even though they aren't the "best" of outboard FX I still find them to be really great. It helps that 99% of the time I'm using them on the same settings so no recall hassle...doing my best Andy Wallace impersonation with a tiled room, large chamber and large hall of some sort.  I also have a couple of Yamaha SPX 90ii units that are great for what they do(again thank you Mr. Wallace haha).  I mixed entirely ITB for years and got results I was very happy with but I personally get faster and overall better results incorporating the hardware that I do have.  I like being able to reach out and touch real knobs and faders.  I even have a D-Control so I can EQ/Compress with physical knobs(controlling software).  I'm really happy with my set up and just look forward to adding more special pieces of hardware as quickly as I can afford them(Highland Dynamics BG2 is next on the list).