Want an SSL in your studio? This may
be it!
Recently, I was able to have a "sit down" with the
latest SSL offering, the AWS 900 Analog Workstation
System. This hybrid board is actually several things in
one compact package; a top-notch analog mixing
console (based on the XL 9000 K Series) and a fully
functional DAW controller. In this day of less
equipment covering more bases at lower price points,
this board was right on the money.
When you first sit in front of the 900, it has a
comfortable and relatively simple feel about it. The
faders are ergonomically positioned perfectly for me,
and with the way I sit to mix, my hands naturally fell
right onto them. These 100 mm touch-sensitive moving
faders have a solid feel, with just the right amount of
give. Since this is a dual function console, with the flick
of a switch, they can either be assigned to analog
channel gain or DAW channel level. Next to each of the
24 faders sits an Auto Button, which is an automation
mode switch for the currently assigned DAW channel.
These are simply selectable via the 16 soft keys and the
consoles Master TFT Display.
Above: The AWS 900 Analogue Worstation System. Is it an analog console? Is
it a DAW controller? Is it an affordable SSL for your studio? Mark "yes" on all
of the above.
Each independently removable channel module
features a full four band parametric EQ section,
including a switch to select either ‘G’ or ‘E-Series’
operation. There is of course Mic and Line gain
controls, phantom, pad, etc. Each channels’ FX Sends
1/2 and 3/4 are dual mono Post Fader FX Sends. Each
is also switchable between a primary, secondary, or
EFX bus, all activated by the Push-Push switch. Direct
PRE/EFX and CUE/FX sends can source the channel
direct output from either the pre fader or post (default)
setting. The Cue St is a pre fader stereo cue bus with a
panner switchable to a Cue B bus via Push Push
switch. Note that every channel on the board also has
an insert point and a direct out.
There is a scribble strip for displaying names, I/O data,
etc. from the DAW. The Rotary encoder adjusts either
DAW controls or Analog Channel level in Master Flip
Mode, and each channel of course has Cut and Solo
switches. I liked the fact that each channel has a dual
function 12-segment fader – indicating the channels
input level or Mono/Stereo DAW level. Below the fader
sits an assignable dynamics routing to insert one of the
boards’ dynamics modules into the analog signal.
Above: Centre section and DAW control panel.
The Center (Centre!) section controls are quite simple,
offering full functionality over monitoring (two 5. 1
main outs plus two stereo mini LS), Main Stereo
Outputs, Foldback, Cue/Fx and Stereo Returns, and a
Miscellaneous Panel for pink noise/tone output, etc.
That’s also where the G Series stereo mix bus
compressor sits, as well as the assignable dynamics
section with gate, comp/limiter and expander.
Also in this section is the important DAW Workstation
Control Panel, with a color TFT display, soft keys,
bank swap keys, Master Analog/DAW fader flip
button, etc. This is where you would ween yourself off
total reliance on a mouse and keyboard, and get used
to a hybrid method of working. The transport section
sits there as well, offering a comprehensive control
section with everything you might need for DAW
control. SSL did their homework here – the
functionality with workstations is the most I’ve seen on
any console and rivals discrete controllers.
Above:a great-looking setup with the AWS 900 as the centerpiece of a DAWbased production system.
I plugged in a full-blown Pro Tools 5.1 session, and was
happy to see the console immediately jump to attention
with all 40 or so of my channels. Operation was
thoughtless, but I had to get used to ‘breaking out’ the
channels to access the boards EQ’s and dynamics. It
seems the mode of operation for me would be to create
certain stems inside Pro Tools, then use the board for
its 9000 K type functionality – as in kick ass analog
sound. Those channels could then be re-recorded back
into Pro Tools with processing, or the whole mix could
be recorded externally.
Note that the board does have a built in bass
management system set at 80 Hz, but this can be
bypassed for those with external or software bass
management systems. There are plenty of I/O
provisions as well, to hook up external meters,
recorders, outboard gear, 5.1 encoder/decoders, etc.
Since I happen to think the SSL channel strips sound
amazing, I would love to track a project with this
console, then utilize its analog strengths in conjunction
with Pro Tools strengths to do an entire record. I have
no doubt somebody will be outputting some major hit
records with this board soon.