Ken Andrews

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

According to Sound on Sound article, Andrews used Waves L2 in order to record drums for Paramore.

I have the NLS [plug-in] on a Spike Stent SSL setting, the Waves SSL G master bus compressor, and the Waves H-EQ. It is my favourite EQ, but it's a bit of a processor hog, so I tend not to use it on individual tracks too much.

According to Sound On Sound article, Andrews used this plugin for Paramore record(s).

I also have a Waves L2 and the seven-band Digirack EQ on some of the percussion tracks.

Sound on Sound article, 2013.

I added relatively few effects on the guitars and the keyboards. Some of the guitars have the Waves C4 and CLA-3A, and I sent three guitar tracks to the Altiverb plate reverb and two to the Altiverb bathroom space.

Sound on Sound article, 2013.

I have the NLS [plug-in] on a Spike Stent SSL setting, the Waves SSL G master bus compressor, and the Waves H-EQ. It is my favourite EQ, but it's a bit of a processor hog, so I tend not to use it on individual tracks too much.

I also use the Dorrough 380-D, which is just a stereo meter, and on the right side of my display I'll always have the NLS, the SSL G-Master and the Dorrough, because they show you all the things you generally would see if you were mixing on a desk. You really want to be constantly aware of how hard you are hitting the bus compressors when you are mixing.

After that, there's one of my favourite things on the mix bus, the PSP Vintage Warmer 2, which is mostly a saturator, though it also functions as a level maximiser. It sounds awesome. I used very little of it, less than 1dB gain reduction, but it really shapes the sound in a great way for rock.

I had the Waves C4 multi-band compressor on the bass track. That plug-in is a big part of my workflow. It's incredible, I love it. You can tame a track that has a few unruly moments with this plug-in and you're not hearing it work, because it's multi-band.

Sound on Sound article, 2013.

After that there's a tiny bit of overall control from the Waves CLA2A [compressor], with probably just 1dB of gain reduction.

Sound on Sound article, 2013.

The 'C' is the Sound Toys Crystallizer, and they were really into that one, because of its modulation effects.

Sound on Sound article, 2013.

There's also a Digirack Echo doing a quarter-note echo, and I also sent the glockenspiel to my EchoBoy quarter-note delay, and the two together make it a stereo quarter-note echo.

Sound on Sound interview, 2013.

According to Sound on Sound article, Andrews used the AutoPan for keyboards and guitars.

The last insert plug-in is the Waves De-esser. That was pretty much my vocal sound for this album. The sends are going to the Altiverb plate reverb, and the EchoBoy slap and long delays, and the amounts are tailored to each section of the song.

Sound on Sound article, 2013.

After that, there's the Cranesong Phoenix. I love that plug-in. It has five different versions, and unless I really specifically want to darken or brighten something, I usually pull up the Iridescent, because it is the most neutral in terms of EQ. It just adds more saturation.

I have the NLS [plug-in] on a Spike Stent SSL setting, the Waves SSL G master bus compressor, and the Waves H-EQ. It is my favourite EQ, but it's a bit of a processor hog, so I tend not to use it on individual tracks too much.

Sound on Sound interview, 2013.

At 17:30 in the video, he is demonstrating the FG-X plugin.

At 3:25 in the video, he is demonstrating the FET Compressor plugin.

At 2:52 in the video, he is demonstrating the Virtual Mix Rack plugin.

At 14:23 in the video, he is demonstrating the Virtual Tape Machines plugin.

At 07:02 in the video, he is demonstrating the Superior Drummer plugin.

At 01:40 in the video, he is demonstrating the Mellotron plugin.