Hollywood, CA (January 20, 2021)—Nick Gross, drummer, producer and entrepreneur, is a busy man, recording and performing with a variety of bands while also overseeing Gross Labs, his growing entertainment, media and investment company. Amidst all that action, Gross found the time over the past year to expand his Noise Nest production complex in Hollywood.
Now spanning an entire block in the heart of Hollywood’s media district, Noise Nest began more modestly under another name about eight years ago. “We leased the smaller space for the first three years for a production team that I had at the time; we used it as a songwriting facility,” says Gross. “We later built it out to be more of a recording studio facility where other managers, publishers and labels could use the space.”
When his neighbor’s larger building became available, Gross snapped it up, gutting the structure and calling in Peter Grueneisen’s nonzero\architecture to design a three-room complex with lounges, kitchen and other amenities. He then had designer and acoustician Chris Owens of F.C. Owens revamp the two production rooms in the original, smaller building.
“It started as this sort of punk-rock, grungy little studio and it’s turned into a multi-purpose, multi-use content factory,” Gross says. His vision for Noise Nest was inspired by pro skateboarder Rob Dyrdek’s now-defunct Fantasy Factory in downtown L.A., which he calls “a cool and creative way to think outside of the box.”
The initial two rooms catered to outside clients while Gross was growing his business, but Noise Nest now focuses on in-house content creation. “I host a lot of our internal publishing and label clients; they each get to use the space for free,” he says. “We’re doing all kinds of things: music production, live streaming, gaming. It’s an epic live event space; we built two basketball courts.”
The Gross Labs umbrella company, launched in 2018, encompasses record label and music publisher Big Noise Music Group, Noise Nest Animation, e-sports organization Team Rogue, and philanthropic education and self-discovery platform Find Your Grind. Gross co-founded Big Noise with Vagrant Records co-founders Jon Cohen and John “Feldy” Feldmann, the man behind SoCal ska-punk band Goldfinger; signings include The Used, Ashley Tisdale and The Wrecks. Gross still sometimes plays with Goldfinger, as well as his own bands, Half the Animal and girlfriends. His many investments range from consumer products to new tech ventures.
A common thread throughout Noise Nest is PMC speakers. “The choice of PMC was a no-brainer,” says Gross, who first heard the monitors at the studios of his friend, producer and songwriter Dr. Luke. “They’re incredible. We’re super stoked to have them.” Studio A features PMC’s flagship QB1-A in-wall main monitors, while various IB1S-A, twotwo.6 and twotwo.8 models provide near field coverage there and in the other rooms.
There is a consistent aesthetic between rooms. The largest space, A, is dominated by a massive console supporting a split analog API 1608, with the main desk to the left and 16 more channels to the right, plus a Slate Raven system. “It’s a one-of-a-kind desk that I wanted to build out with a cool mixture of analog and digital. The outboard gear that sits behind it is pretty special as well,” he says, and includes SSL and Neve mic preamps.
The tracking space is just the right size, he says: “It gets the job done. We wanted to be smart with the space and be as effective as we could, knowing that we wanted to build three studios in a 4,500-square-foot building,” he says.
The B room, equipped with an SSL Matrix2 and soffited Genelec 1238A SAM main monitors, transforms into an indoor/outdoor space. “People can be playing basketball outside and see what’s going on inside the room at the same time,” he says. The console in Studio C, the smallest room, overlooks a small booth and houses an industry-standard vocal chain—Neve 1073 preamp and Tube-Tech CL 1B compressor—with ATC SCM25A Pro monitors and a rack of additional outboard gear.
“All three studios have their own vibe. I wanted to take the feeling of old recording studios, whether that was old brick or old wood or analog gear, and give it that high-end, digital, 2020s modern vibe. So we have white brick everywhere and polished concrete for all the floors,” says Gross. “It’s just a fun hang and a good vibe. You don’t want to leave.”
Loire Valley, France (January 8, 2021) — Flow Studios, a new recording facility based in France’s Loire Valley, has opened with a 32-channel Solid State Logic Origin analog in-line console in its control room.
Studio owner Luke Aaron Clark reportedly built the studio control room to accommodate the Origin desk. The studio itself was designed by John Brandt, took three years to complete and involved modifying an old town hall.
“What I love about the Origin is that it gives me the ability to work with one artist in the control room, or to have a band or larger group spread out throughout the studio, with all instruments recorded simultaneously,” says Clark. “As a commercial studio owner, I wanted to create a beautiful space where an engineer or producer can get to work quickly. Thankfully, the engineering and design behind Origin is very intuitive.
“The SSL Origin is set up as fully patchable, which provides a highly flexible workflow throughout the studio. We have 96 patchable audio lines accessed via wall panels located throughout the facility, while we also use the intelligent and intuitive bus routing on the SSL Origin to manage our dedicated hearback system.”
Clark says the console can create a comprehensive workflow: “For tracking, if someone wants to get a session up and running quickly, they can run everything through the desk and it all sounds harmonious,” he explains. “After tracking, the desk, outboard gear or trusted plug-ins can be employed for mixing.”
He adds, “I was already familiar with the snarl and crunch of the E series 242-type EQ. It gives some added weight and the ability to fine-tune during or after tracking. And the glue you get from the classic bus compressor is indispensable.”
Los Angeles, CA (December 1, 2020)—Republic Records, a division of Universal Music Group (UMG), has installed a new 32-channel Solid State Logic Origin analog in-line mixing console at its 6,000-square-foot Republic Records Studios facility in Los Angeles.
The label opened Republic Records Studios in 2017 and in the first year of operation produced projects by a host of label artists, including The Weeknd, Metro Boomin, Amine and others. The facility has produced six #1 albums over the last 18 months. The building encompasses a tracking space large enough for a medium-sized orchestra, two control rooms and four production suites.
Earlier this year, Rob Christie, Republic Records studio director since the facility opened, elected to replace Studio A’s aging mixing console with a new SSL Origin. With so many Top-40 artists and their production teams coming through the room, he wanted to eliminate any maintenance issues in the space. “One thing that we need on a session is reliability,” he says. “I need to know that everything is going to work, and that it’s laid out nicely and easily for access, speed and reliability.”
The in-house technical staff wired and installed the Origin console, which Republic Records acquired from Ferndale, MI-based Vintage King. “The SSL is just plug-and-play; it’s ready to go,” says Christie. During the installation, the control room front wall was customized to accommodate a soffited pair of Augspurger main monitors, complemented by a pair of 18-inch subwoofers positioned behind the console. Pairs of ATC SM45A Pro reference monitors and Yamaha NS-10s nearfield speakers are additionally available.
The technical staff also added a bay at both sides of the Origin. One houses a patchbay and the other contains a selection of outboard processing units, including several preamplifiers, equalizers, compressors and limiters.
Republic Records was honored as the top Billboard Hot 100 label for a sixth year in a row at the beginning of 2020 as a result of the success of artists including Ariana Grande, Post Malone, the Jonas Brothers, Drake and Taylor Swift. Billboard also named Republic Records the overall label of the year for the fourth time in five years.
2020 will be remembered as the year we’d like to forget, but when 2021 is recalled one day as the year everything bounced back, much of that will be due to groundwork laid down in the preceding 12 months. That includes the pro-audio industry—next year, when live events and concerts return, new hits rule the airwaves and the latest must-hear podcasts land in your listening queue, many of them will be created using pro-audio equipment that was introduced over the last 12 months. With that in mind, here’s the Gear of the Year for 2020.
So what was the Gear of the Year? That’s not an easy thing to determine, so rather than weigh a hot new plug-in against an arena-filling P.A. or an audio console years in development, we decided to let our readers show the way.
Product announcements have always been among the most popular stories on prosoundnetwork.com, so we dug through our Google Analytics (readership statistics), sifting through all the “new product” stories we ran 2020 (well into the triple digits!) to determine which ones were the most popular with PSN readers. With that in mind, here’s the Gear of the Year that YOU unknowingly picked—a true Top-20 for 2020.
1. YAMAHA RIVAGE PM3 AND PM5 DIGITAL MIXING SYSTEMS
This dual product launch in May was far and away the most popular product announcement of 2020 with our readers. Yamaha introduced two consoles—the PM5 and PM3—as well as a pair of DSP engines—DSPRX and DSP-RX-EX—and version 4 firmware that provides features to new and legacy Rivage systems.
Both of the new consoles feature large capacitive touchscreens that allow users to use multi-finger gestures, with the PM5 sporting three screens and the PM3 getting one. As with their predecessors, the PM5 and PM3 sport 38 faders—three bays of 12, with two masters—but each of the new control surfaces is laid out with an eye toward increased efficiency.
2. SOLID STATE LOGIC 2 AND 2+ USB AUDIO INTERFACES Solid State Logic unveiled its first personal studio-market products—the USB-powered SSL 2 (2-in/2-out) and SSL 2+ (2-in/4-out) audio interfaces—at the Winter NAMM Show. The 2+ in particular caught our readers’ eyes, with a 4K analog enhancement mode “inspired by classic SSL consoles,” monitoring and an SSL Production Pack software bundle. Offering expanded I/O for musicians collaborating, it includes two analog mic preamps, 24-bit/192 kHz AD/DA AKM converters, multiple headphone outputs with independent monitor mix, MIDI I/O, and additional unbalanced outputs for DJ mixers.
3. JBL 4349 STUDIO MONITOR
The JBL 4349 studio monitor is a compact, high-performance monitor loudspeaker built around the JBL D2415K dual 1.5-inch compression driver mated to a large format, High-Definition Imaging (HDI) horn, paired with a 12-inch cast-frame and pure-pulp cone woofer. The JBL D2415K compression driver features a pair of lightweight polymer annular diaphragms with reduced diaphragm mass, while the V-shaped geometry of the annular diaphragm reduces breakup modes, eliminates time smear and reduces distortion, according to JBL.
4. APPLE LOGIC PRO X 10.5 Apple updated Logic Pro X with a “professional” version of Live Loops, new sampling features and new and revamped beatmaking tools. Live Loops lets users arrange loops, samples and recordings on a grid to build musical ideas, which can then be further developed on Logic’s timeline. Remix FX brings effects to Live Loops that can be used in real time, while the updated Sampler augments the EXS24 plug-in with new sound shaping controls. Other new tools include Quick Sampler, Step Sequencer, Drum Synth and Drum Machine Designer.
5. AMS NEVE 8424 CONSOLE
The AMS Neve 8424 is a small-format desk based on the 80-series console range. Intended for hybrid studios, the desk provides a center point between analog outboard gear, synths and the like, and the digital world of DAW workflows, software plug-ins and session recall. As an analog mixing platform, the 8424 offers 24 DAW returns across 24 channel faders or, for larger DAW sessions, a 48-Mix mode that allows a total of 48 mono inputs with individual level and pan controls to be mixed through the stereo mix bus.
6. MILLENNIA MEDIA HV-316 MIC PREAMP Millennia Media bowed its fully remote-controllable microphone preamplifier, the HV-316. Offering 12V battery operation, the HV-316 is housed in a 10-pound, 1U aluminum chassis housing 16 channels of Millennia HV-3 microphone preamplifiers with simultaneous analog and Dante 32-bit/192 kHz Ethernet outputs. Other digital audio output options are planned, including USB and MADI. The unit is designed for high-temperature continuous operation (up to 150° F), is powered by both 12V DC and worldwide 80–264V AC, and features “pi filter” shielding on audio and digital feeds to prevent interference.
7. SHURE SLX-D DIGITAL WIRELESS SYSTEM
The Shure SLX-D, offered in single- and dual-channel models, provides operation of up to 32 channels per frequency band. Transmitters run on standard AA batteries or an optional lithium-ion rechargeable battery solution with a dual-docking charging station. For less technically inclined users, it offers Guided Frequency Setup and a Group Scan feature that sets up multiple channels by assigning frequencies to all receivers automatically via Ethernet connections, allowing a 30-plus channel system can be set up via Group Scan within a few seconds.
8. MEYER SOUND SPACEMAP GO
The Meyer Sound Spacemap Go is a free Apple iPad app for spatial sound design and mixing. Working with the company’s Galaxy Network Platform, Spacemap Go can control Galaxy processors using a single or multiple iPads as long as the units have current firmware and Compass control software. Spacemap Go is compatible with various sound design/show control programs such as QLab, so designs assembled using them can be implemented into a multichannel spatial mix using Spacemap Go’s templates for common multichannel configurations.
9. D&B AUDIOTECHNIK 44S LOUDSPEAKER
Housed in a flush-mountable cabinet, the d&b audiotechnik 44S is a two-way passive, point source installation loudspeaker with 2 x 4.5-inch neodymium LF drivers and 2 x 1.25-inch HF dome tweeters, delivering a frequency response of 90 Hz–17 kHz. The 44S features a waveguide and baffle design intended to provide horizontal dispersion down to the lower frequencies while being focused vertically, providing a 90° x 30° dispersion pattern to direct sound to specific spaces.
10. BEYERDYNAMIC TG D70 AND TG 151 MICS Beyerdynamic made two additions to its Touring Gear (TG) series. The second-generation TG D70 dynamic kickdrum mic is meant for capturing the impact of bass drums and similar low-frequency-intensive instruments, while the TG 151 instrument mic is a lean microphone with a short shaft that can be used on everything from snares and toms to brass instruments and guitar amplifiers.
11. QSC Q-SYS CORE PROCESSORS QSC’s Q-SYS Core 8 Flex and Nano audio, video and control processors provide scalable DSP processing, video routing and bridging for web conferencing, as well as third-party endpoint integration without the need for separate dedicated control processors. The 8 Flex includes onboard analog audio I/O and GPIO plus network I/O, while Nano offers network-only audio I/O processing and control.
12. TELEFUNKEN TF11 MICROPHONE Telefunken‘s TF11 is the company’s first phantom-powered large-diaphragm condenser mic. The CK12-style edge-terminated capsule is a single-membrane version of the capsule featured in the TF51, and the amplifier is a proprietary take on the FET mic amplifier similar to the M60, coupled with a custom large-format nickel-iron core transformer.
13. L-ACOUSTICS K3 LOUDSPEAKER
K3 is a compact loudspeaker from L-Acoustics that is intended as a main system to cover up to 10,000 people, or for use as outfills or delays for K1 or K2 systems. Designed as a full-range line source, K3 integrates 12-inch transducers for large-format system performance in the form factor of a 10-inch design.
14. CLEAR-COM HEADSET SANITIZATION KITS Clear-Com has sanitization kits for its CC-300, CC-400, CC-110, CC-220 and CC-26K headsets. They include replacement ear pads, pop filters, sanitizing wipes, ear sock covers and temple pads in a cloth bag. Items for each kit vary depending on the headset, and can also be purchased separately.
15. ZOOM PODTRAK P8 PODCAST STUDIO
The Zoom PodTrak P8 provides recording, editing and mixing capabilities all in one unit. Six mics, a smartphone and PC can be recorded simultaneously, each with its own fader and preamp with 70 dB of gain. A touchscreen controls monitoring, adjusting, onboard editing and more.
16. WAVES SHIPS KALEIDOSCOPES PLUG-IN Waves’ Kaleidoscopes plug-in creates classic analog studio effects such as 1960s phasing and tape flanging, 1970s stadium tremolo-guitar vibes and 1980s chorus sounds.
17. OUTLINE STADIA 28 LINE ARRAY SYSTEM
The Outline Stadia 28 is a medium-throw system intended for use in permanent outdoor installations. A single enclosure weighs 46.2 pounds and can reportedly reach 139 dB SPL.
18. LAB.GRUPPEN FA SERIES AMPLIFIERS Lab.gruppen‘s FA Series Energy Star-certified amplifiers are intended for commercial and industrial applications, and are offered in 2 x 60W, 2 x 120W and 2 x 240W.
19. D.W. FEARN VT-2 PREAMPLIFIER
The updated D.W. Fearn VT-2 Dual-Channel Vacuum Tube Microphone Preamplifier now features an integrated, switchable 43 dB pad, aiding patching into a master bus.
20. KEF LS50 META SPEAKER
Our Gear of the Year list concludes with the LS50, featuring KEF’s Metamaterial Absorption Technology driver array, a cone neck decoupler, offset flexible bass port, low-diffraction curved baffle and more.
New South Wales, Australia (November 24, 2020)—Damien Gerard Studios became Australia’s first client for the new Solid State Logic Origin after relocating to West Gosford in New South Wales.
“Once we had completed the move into the new larger facility, the old Soundcraft 2400 series console was probably our weak link compared to the quality we had elsewhere in our outboard and mic inventory, which had upgraded considerably with the move,” explains studio manager Marshall Cullen. “My new business partner Jason Stenning and I began looking at vintage consoles that might be available — including Sylvia Massy’s old Neve in the USA — but the economics of it didn’t stack up.”
Cullen had reportedly heard good things about the Origin, and was swayed by the advantages of buying a new console, including a warranty and a modern power supply design. Local AV distributor Amber Technology organized the testing and delivery of the new desk. Since the day Damien Gerard’s new control room came online, the studio has been busy with tracking, mixing and mastering, as well as hosting solo artists and voiceover sessions.
The studio’s large live room, which can accommodate 20 or more musicians, has recently done a number of sessions with people live streaming or recording and filming live for post production. “Having the workflow of the console with 64 faders in front of you, the split paths and being able to fly different ins and outs where it’s needed has really helped those sessions,” says Cullen. “Also having an engineer on the left-hand side of masters and plenty more faders for a producer or assistant on the right-hand side has been a great boon.”
Tuscany, Italy (November 12, 2020)—Italian producer/remixer Gianni Bini, owner of Viareggio-based recording studio House of Glass in Tuscany and one of the prime movers behind the Ocean Trax record label, has replaced a 10-year-old Solid State Logic Duality with a new System T.
The original House of Glass was destroyed in the tragic Viareggio railway disaster in 2009 and, as part of the rebuilding process, Bini decided to place a SSL Duality console at the new studio’s heart. A decade on, it became time to replace it and he found himself on the verge of signing a deal for a different brand.
“I really wanted to stay analogue and I was about sign the deal for a new analogue console when two things happened,” he says. “The first thing is that at the end of last year, I signed a huge contract for 100 albums to be produced in the next five years. And the only way to produce 100 albums in five years, is to record it live. I needed something that was going to be able to do that and manage the throughput.
“The second thing was that I heard System T,” he continues. “This console is closer to the SSL 4000 than the Duality is. I don’t know what they did, because this is a computer, but they did it. I wanted some input from people that I trust—and I expected them to come in and say, ‘No, no no, digital is no good, don’t buy it’—but they came in, listened to it, and they said, ‘Wow, this is fantastic, the sound is brilliant.’ The word they used was ‘stellar.’”
The new installation at the House of Glass consists of a 64-channel SSL System T S500 surface, Tempest Engines and Network I/O AoIP stage boxes, featuring SSL’s SuperAnalogue mic pre technology.
Bini has found that the System T has come in handy has he tackles the mammoth 100-album project. “I did 10 albums in two and a half months because the console let me do it,” he says. “I do a set up and I can save it, and when the next band comes, if I use the same mics, then it’s already saved. The gains are already done, the workflow is already done…it’s very quick.”
New York, NY (November 5, 2020)—Two weeks after a massive three-day fire ravaged the Nobeoka City, China factory of semiconductor producer Asahi Kasei Microsystems, pro-audio manufacturers around the world that are dependent on AKM’s high-end audio chips are still looking for information and determining their next steps.
AKM produces a variety of ADCs, DACs, ASRCs and Receivers for numerous pro-audio and high-end consumer audiophile manufacturers, including Solid State Logic, TASCAM, miniDSP, Merging Technologies, SPL of Germany, Focusrite, RME, Schitt Audio, SMSL, Monoprice and others. All of AKM’s audio-related chips were produced at the now-closed factory.
That all of AKM’s audio-related manufacturing could be wiped out in one fell swoop blindsided many of its customers. “We were unaware that only one facility manufactured the AKM DACs and ADCs—that shows how small our industry really is,” said Hermann Gier, managing partner of SPL of Germany. AKM officials have said publicly they hope to be operational again in six months, and the company is expected to engage independent fabrication houses in an effort to keep production going, but nothing concrete has been announced.
“I still have close to zero information as far as the AKM prognosis is concerned,” said Chris Hollebone, sales and marketing manager at Merging Technologies. “As far as we are concerned, we are taking stock, literally, over the weekend and trying to ascertain whether an order that was about to be delivered was destroyed in the fire or might still make it…. We have enough parts in-house to keep us going for a while, but not knowing when any production might start may cause us headaches down the line. It is a bit like COVID-19—very hard to predict!”
Paul Youngblood, director of Product Marketing at TASCAM, admitted “This has all happened so fast that all we can say is we are still in the process of analyzing the situation.” A spokesperson for RME echoed that sentiment, stating that company was “currently still ascertaining information, and it’s too early for them to comment.”
SPL of Germany’s Gier noted that his company was “fortunately…in a comfortable position,” adding that while it uses AKM converters in a number of products, including its Crimson, Madison, Phonitor range of headphone amps, and the new Marc One interface, among others, SPL has stocks in-house that it estimates will last between six months and a year, depending on the product.
That hasn’t stopped some from trying to capitalize on the situation, however. Gier noted, “It is unfortunate that stock brokers take advantage of situations like this, making it increasingly worse by charging ridiculous prices for remaining parts. We already rejected various unethical offers; now it looks unlikely that our industry can sustain production and keep the prices stable.”
For now, the pro-audio industry awaits news from AKM.
North Hollywood, CA (November 3, 2020—Fever Recording owner Eric Milos recently swapped out the aging Solid State Logic 4048G console for an SSL Duality Delta Pro-Station desk in the facility’s main control room. “It sounds great, it looks great and the functionality, with Pro Tools control on the surface and the marriage of the console automation with the Pro Tools automation system, really gives you the best of both worlds,” he says.
Milos acquired Fever Recording, formerly owned and operated by multi-Grammy-winning producer and songwriter Warryn Campbell, at the tail end of 2016. The main studio, with its own tracking room, lounge and kitchen, is separate from the rest of the building, the other half of which houses three production rooms, rented to long-term clients, with shared amenities.
“There’s a gated back parking lot where you can pull in and walk straight into the studio. We’ve had a number of artists in who appreciate that privacy,” he says.
Milos, originally from Ohio, graduated from Berklee College of Music in 2010 and cut his engineering teeth at Henson Recording Studios in Hollywood. He subsequently hired on as an engineer at Clear Lake Recording, which chief audio engineer Brian Levi established in 1987. In 2012, Milos purchased the Clear Lake facility and much of the equipment in it.
Clear Lake’s Studio A was designed by George Augspurger. “It’s got a really great Trident 80B console. It has been a great tracking room for all of its life, with a wonderful sounding drum room and a great grand piano. We do everything—every style, every type of session,” says Milos, from large ensembles to solo vocals.
Pro Tools Ultimate and a Studer A827 tape machine are both available. Outboard, there is a Neve sidecar and various pieces of vintage Pultec, Eventide and Lexicon gear alongside some of the newer studio standard gear, plus classic Neumann, Sony and other tube mics. “There’s also a nice smattering of modern mics. We’ve never not had enough microphones for a session,” he says.
“When I took over, probably half the cool vintage equipment there. I could never dream of spending the money you would have to pay for it now.”
Milos built a B room in 2016 to handle overdubs, vocals, tracking and mixing. “It’s got an Avid D-Command and a basic set of outboard. We do a lot of vocal overdubs in there, for all genres of music, and we do a little bit of 5.1 mixing and some ADR.”
Two small production rooms, designated C and D, are leased out on a monthly basis. “In one room, we have a composer who has been with us for three or four years,” he says.
Fever Recording, located a couple of miles west along Burbank Blvd., underwent a bit of a remodel along with the Duality desk upgrade, says Milos, to give it more of a boutique hotel vibe. “We also got a few pieces of outboard gear, like the SSL Fusion, which everybody has been loving. The price-to-fun ratio has been excellent.”
The control room door barely cleared the old short-loaded 64-frame 4000G desk. “It was too big for the room. This Duality fits, and it looks like a spaceship,” says Milos, who bought the console, formerly at a N. Hollywood recording school, through Vintage King.
“I’ve done a couple of mixes on it; it’s so much fun and clients have been loving the Duality. I couldn’t be happier.”
The Duality behaves more like an SSL 9000 series desk, he says. “We can push it a little bit harder than a 4k. There have been occasions where we were getting a little bit of distortion on the master buss of the 4k, because we didn’t have the headroom for a massive 808.”
On the subject of headroom and 808 kick drums, Milos has also bolstered the Bryston-powered Augspurger main monitor system at Fever. “I added some dual-18 Meyer Sound subwoofers that I saw on Craigslist. It’s a great full-range system when you switch up to the mains. For the most part, people are up on the mains when they’re doing production and getting a feel for the song. Then they switch to the ATC25A nearfields for tracking and mixing, for more detail.” There is also a pair of Yamaha NS-10s.
“Anybody familiar with the 4k pretty much gets the Duality right away. In that studio, we do a lot of hip-hop and top-40 stuff, so there’s a lot of production—keyboards and that kind of stuff—and not a lot of full tracking. The Duality is nice for the situation where there are 20 people in the control room, and everything is interfaced, and being able to control Pro Tools.”
Pasadena, CA (October 16, 2020)—Just in time for the Fall semester, Los Angeles College of Music (LACM) finished renovating its Student Recording Studio, which now features a new 32-channel Solid State Logic Origin analog in-line mixing console.
Once classes resume at LACM, which is in Pasadena, CA, the studio will be used by faculty member Andrew “Mudrock” Murdock — known for his work with Godsmack, Avenged Sevenfold and others — to teach students the fundamentals of audio engineering and production. “At first, I was thinking we should buy something used,” says Murdock, who has been teaching LACM classes since 2011. “But Andre Knecht, Music Producing and Recording department head, said ‘Let’s look for something new. Did you know SSL is coming out with a console?’ He showed me the Origin brochure and I said, looks good to me!
“It looks familiar; it’s got the classic SSL look. I didn’t even get to drive it until it was in my room. As soon as I did, I said, this feels like an SSL. And it sounds great.”
The Origin console, acquired from Westlake Pro, has all the necessary features and functionality for teaching mixing console signal flow and routing, says Murdock. “The routing is really ingenious. It’s got 16 buses — which is plenty these days — that feed eight stereo subgroups, which you can treat as mono or stereo. Instead of having a routing switch for each subgroup, there’s a single Route button on each channel. You push the button, the light turns blue, then you push the button next to the subgroup master you want to assign it to. That works super well.”
The in-line desk features three inputs—mic, line and monitor—on each channel, he continues, and offers flexible fader flip switching to assign various functions to the large or small faders, including the channel insert and direct output paths. “You can also control all the cues and all the auxes individually. They’ve really thought about everything,” he says.
Murdock has a long history with SSL, having mixed numerous records on the manufacturer’s consoles at Los Angeles area facilities such as NRG Recording, Larrabee and Track Record Studios. His discography includes engineering and production credits for his work with Alice Cooper, Powerman 5000 and The Riverboat Gamblers.
New York, NY (October 13, 2020)—Secret “Easter Eggs” have been a staple of pop culture for decades, rewarding those with an eye for minutiae with cool surprises, like hidden features or modes in games, cameos or in-jokes in the background of movies, and more. Now Solid State Logic has revealed its own Easter Egg—a “new” capability hidden inside every Fusion unit since the outboard processor was launched two years ago at the AES Show.
Intended for use in tracking, mixing and mastering, Fusion shipped with five “colors” to help users add tonal character, weight and space to stereo stems using real analog circuits. Now it turns out there’s a sixth color hidden in there—a full-band LMC processor with wet/dry control.
HOW TO ACCESS THE SIXTH COLOR
Push and hold the HF Compressor button on Fusion’s front panel for five seconds. This will unlock “full band LMC mode.” When in LMC mode, the X-OVER knob turns into a ‘Wet/Dry’ control, providing LMC processing with parallel control.
Andy Jackson, studio product manager of Solid State Logic, explained, “During the development of Fusion, we experimented and trailed many variants of the five analogue circuits. One variant of particular interest was an alternative mode for the HF Compressor section, making it operate across the full audio spectrum. As the design of the HF Compressor section was based on the legendary SSL Listen Mic Compressor circuit, it came as no surprise that this alternative mode sounded damn cool. Two years on, it’s finally time to reveal this special audio treat to our Fusion family, giving everyone a sixth “secret” color to get creative with.”
The SSL Listen Mic Compressor, based on the SSL 4000 series consoles, was originally designed to prevent overloading the return feed from a studio communications mic, but the LMC’s fixed attack and release curves were soon discovered to be suitable on drums, and equally interesting on guitars, vocals and many other instruments.