SSL SUPER 9000 Channel Strip

When it comes to historic SSL mixing consoles, two series are usually mentioned: the 4000 series and the 9000 series. Thanks to its more modern sound design, the 9000 series has made a name for itself not only in rock and pop music but particularly in hip-hop and R&B.

Legendary studios such as Abbey Road, Real World and Metropolis in England, as well as Record Plant in LA and Avatar/Power Station in New York, helped establish the 9000 series’ reputation. Sound engineers such as Manny Marroquin (Alicia Keys, Rihanna), Michael Brauer (Coldplay, John Mayer), Kevin Shirley (Iron Maiden, Led Zeppelin), and Tony Maserati (Jay-Z, Beyoncé) have produced countless hit recordings using the SuperAnalogue™ preamp.

The idea behind the SuperAnalogue™ design was a signal path so transparent and offering such a wide bandwidth that nothing of the original sound is lost. The sound engineer should, so to speak, be right there in the room with the artist. To achieve this, the preamp had to possess the following characteristics: an extremely wide audio bandwidth, a linear frequency response (±0.1 dB between 20 Hz and 20 kHz), no capacitors, and extremely low noise and distortion levels. This preamp also impresses with exceptionally low phase shift across the entire audible spectrum.

The result is unrivalled dynamics, definition and ‘soundstage’, which define the modern SSL sound and have made it the first choice for professionals. Alongside the SuperAnalogue™ preamps, SSL has integrated an additional VHD™ control for second- and third-order harmonic distortion into its current flagship model, the ‘DUALITY’. With this “Variable Harmonic Design”, everything is possible, from warm tube tones to gritty grunge sounds. The VHD™ control has also been incorporated into the SUPER 9000 for additional sonic options.

Furthermore, the SUPER 9000 features the typical, modern SSL dynamics section for precise control and exceptional punch. The compressor is based on the powerful THAT 2181A VCA and features a switchable Fast Attack mode as well as the Peak Detect option, which was first introduced in the SL 9000 console and has also been incorporated into the DUALITY series. You’ll also find SSL’s classic expander/gate section with variable hysteresis at the threshold, as well as a HOLD control for precise gate and downward expansion management. Of course, it’s also possible to position the dynamics section before or after the EQ.

For tone control, you have the option of choosing between the ‘Pink Knob’ EQ of the 292 G-series or the ‘Black Knob’ EQ of the 242 E-series. The 292’s variable Q design delivers smooth, wide boosts and cuts that become more compact with increased gain, whilst its shelves feature a steeper slope and the characteristic ‘undershoot/overshoot’ for that famous SSL musicality. The 242 design, developed in collaboration with Sir George Martin, features a constant Q factor and offers more precise control compared to the 292.

The SUPER 9000’s EQ section also features two buttons labelled “E Bell/G÷3” and “Gx3/E Bell”. In 292 mode, these allow the lower mid-frequency to be divided by 3 and the upper mid-frequency to be multiplied by 3, so that the mid-bands can be used for frequencies that normally lie far outside their standard range. The result is incredible flexibility and bandwidth.

In 242 mode, these buttons switch the low and high frequency bands between Bell and Shelving modes. The EQ can, of course, be inserted into the dynamics sidechain. You can also completely bypass the high-pass (18 dB/octave) and low-pass filters (12 dB/octave) or route them to the input or sidechain.