"I use the SSL Channel strip on his vocals, just for high- or low-pass filtering, because most of my vocal EQ is done on the board. "

According to Sound On Sound, Andrews used SSL-G Channel plugin to record drums for Paramore.

In the Skillshare video titled "Young Guru's Essentials of Audio Mixing: How to Use Compression," Young Guru discusses using the Waves SSL-G Channel Strip Plugin while explaining the controls in the dynamics section.

Used for vocals on "Sum 2 Prove", as stated by mix engineer Tillie in this June 2020 Sound on Sound interview. An image of the settings can be found here.

"All Lil Baby's vocals go through an aux track," says Tillie, "on which I have the Waves DeEsser, Avid EQ3 7-band, Waves SSL Channel and Compressor, Waves RCompressor, UAD J37 and the FabFilter Pro‑DS de-esser. There are two sends to reverb aux tracks and one to a half–note delay. The Waves DeEsser is there because I felt the vocal was too bright. The EQ3 has a pretty involved curve, with a low cut at 69.8Hz, notches at 184.7Hz and 425.2Hz, and me adding at 2kHz and high end at 5.37kHz, because I wanted some more presence. The SSL Compressor is not doing much, it's just there for vibe. I do the actual compression with the RCompressor.

"The J37 adds analogue vibe — it's one of my favourite plug–ins on vocals. It really brings them to life. I did all the heavy lifting with the first de-esser, and the Pro‑DS is just to catch anything that's the result of the EQ curve that I added. There's also a Vocal Parallel aux with the Softube Tube‑Tech CL‑1B to add more body and a bit of beef. I think that compressor just makes everything sound better. It gives you a different tonal character.

"The first send goes to the Verb aux track, which has the DVerb, set to a Large Hall, and an EQ3 7-band, taking out low end below 100Hz. The second send goes to the Verb 2 aux, with the Waves RVerb, the Waves REQ, again rolling off low end, and the Waves S1 Stereo Imager. I use the Imager on my reverbs probably 75 percent of the time. My style of mixing is very wide, so I tend to spread out my instruments and my effects, and I place things in different places in the stereo mix. I always like to add width and depth, so you can feel things and they are not necessarily right up in your face. But I leave the vocals to be the centre point of the mix."

When mixing, Humphreys combines IK Multimedia’s T-RackS with physical SSL channels and some Urei 1176 compression to get valve-like warmth (or a little positive “filth for color and feel” adds McCluskey). “First, I do like to ride things intricately, even down to the syllables, to get almost like a hand-drawn compression, then I’ll put something like an 1176 on it so that’s not moving so much as holding it right there,” says Humphreys. A Waves G-Channel on the mix bus complements the SSL hardware EQ, and the Waves Renaissance bundle adds parametric options for more forensic carving.

Used for the drum tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“The main sonic treatment on the drums came from the aux effects tracks: the Drums Ambient, which had a UAD EMT140 for some plate reverb with a small decay and some predelay, and the Drums Amp, with the SansAmp for parallel distortion. All drums go through the MF Drums group track, which has the UAD SSL G‑channel and Avid EQ3 7‑band, for some compression and minor EQ adjustments.

"Even though the SSL E-Channel is my go-to for most everything, I do grab the SSL G-Channel if I want to get a bit more aggressive. I miss having a physical plate, but the Abbey Road Reverb Plates plug makes up for it. I also love the Abbey Road Reel ADT and of course the J37 Tape – old-school saturation and delays!"

UAD Neve 1073 is rad, Valhalla Vintage Verb, Waves SSL G Channel is cool too. All the Sound Toys stuff is ridiculous.

In this video at 8:15 see Waves SSL E-Channel Strip Plugin