For more than four decades, Solid State Logic (SSL) has been synonymous with the ultimate in audio console design. It started with the SL 4000 Series analog desks which heralded the world debut of built-in dynamics processing, Total Recall (of console set-up) and integrated machine control. Yes, that little text-only computer monitor in the meter bridge looks quaint by today's standards, but it represented a technology breakthrough at the time.
Of course, it was more than bells and whistles. These innovations allowed engineers to work faster and set up mixing moves that were practically impossible before. And the sonics were second to none, to the point where leading mixdown specialists – notably the estimable Bob Clearmountain – refused to work on anything else.
Fast forward to the 21st century, where we find new technologies, a new range of applications, and the newest member of the family: SSL Live L200. It's the third entry in SSL's series for live applications, one the company describes as a “mid-scale console that makes…SSL Live available to a much wider audience.”
Hmm. It seems SSL is hinting that the L200 is more affordable…relatively. And that raises a fundamental question: What is the essential difference between a pricey console like the L200 and one that, at least superficially, seems to offer the same capacities and features at a significantly lower cost?
This is a case where it helps to ask one who owns one. So I reached out to my friend George Relles, who purchased the flagship L500 a couple years back. Relles owns one of the Northwest's leading regional sound companies, and he has an enviable reputation for “golden ears” mixing of acoustic music ranging from bluegrass to symphonic. He also owns consoles by two other “A level” makers. Why this major investment in SSL?
“I think first and foremost it's the sonic quality,” he replies. “And it's not just the transparency of the sound from input to output. It's also how the EQ and dynamics work. With the SSL I find it's effortless to mix. When I hear something, I go to that input, do what I think I need to do, and there it is. It sounds great right away. I don't have to second guess myself, and keep trying other things.”
Relles also praises the architecture and ease of set-up. “I like the fact that each fader tray is independent of the others, which is unusual and gives you a lot of different combinations. Another cool feature is the drag-and-drop layout, which is convenient and incredibly flexible.”
Those are his comments regarding an L500, for which he paid more than double the asking price of a base L200 system. Does everything still apply?
Yes, so far, so good. All three consoles in the Live range use the same remote I/O racks, the same audio converters (selectable for 48 kHz or 96 kHz) and the same internal audio processing engine. The software, routing channels and audio processing tool kits are all the same. That means, within system limitations, a show file written on an L200 can be loaded into an L500, or vice versa. All three desks share the same Fader Tiles, 48 simultaneous internal effects, optical MADI effects loop, and optional 32 x 32 redundant pair Dante integration.
The features and capabilities unique to the L200 are noteworthy as well. It offers 144 processing paths (all with full effects) which can be freely configured as up to 96 inputs, up to 48 aux sends, up to 24 stem groups and six masters. The output matrix offers 4 x 32 inputs with 24 outputs, all with extensive EQ and delay features.
So, if this is half the cost of an L500, what are you giving up? Well, the L500 has 256 processing paths (though 48 are dry only), which Relles describes as “enormous capacity, beyond what I'll ever use.” (Remember, he does symphonies!) The screen is 17 inch rather than 19 inch and with lower resolution, though still competitive in its class. Relles also lauds the extensive local I/O on his L500, and although the L200 is scaled back somewhat, he points out that the L200's 12 local analog ins and outs mark a 50% improvement over one of his other “A level” desks.
The bottom line: Is SSL Live now affordable? Well, George Relles paid roughly $150,000 for his L500, so halving that number lands the L200 in the upper five figure bracket. Pricey, yet well under what cutting-edge media ministries were paying for premium digital consoles – with more limited capabilities – a decade ago.
When I bluntly asked Relles if the SSL was the favorite among his current consoles, his answer was an unhesitating affirmative. If the qualities singled out by him are also vital to your music and media ministries, then yes, the ultimate might be your best choice and yes, it is now (relatively) affordable.
Editor's Note: The new SSL S200 has a list price starting at $69,000.
