Enjoy guys :) NOTE: regarding being able to change the headphone out to high impedance, this makes a small difference but volume still needs to be 12 o’clock or higher (for my headphones anyway)
There's plenty volume for me, driving a wide range of headphones and it's always plenty volume. Especially when set to High Impedance mode in 360 software.
It would help to know what headphone model you're using. Impressions of the headphone outputs seem to vary greatly, but I do have two pairs of 300 ohm headphones to drive.
Which cable did you use? I heard on the Audient ID24 you have to use the usb-c to usb-c to get full headphone output power. USB-C having higher power delivery rating.
Not doing any studio work but I have a SSL 2 that I use to livestream with. Minimalistic, clean preamps adn no cloudlifter needed for SM7B or RE20... I use the latter.
Hi mate, love this review, subbed. Really well produced content. keep it up. Just a quick (important) note - the headphone outputs can be configured to either high or low impedance in the software, an important thing to make an amendment about because you do list it as a con. I imagine you just needed to change this setting in the software to get better level from your headphones. There are also some other pretty awesome benefits to the outputs - for one they can be configured to work as voltage controllers (so for synthesisers etc). The software as a whole has a lot of extremely important features like this that really make this interface to me seem just head and shoulders above it's competition.
Seems like a fair review. I've had the SSL2+ for a while now. Like you, I combine it with a preamp beforehand to get some warmth before the clean. Best of both worlds. I find the 4k button handy for bass and percussive tracks that need more bite.
I'm using the SSL2+ since it came out and love it, especially because of the UX! The additional headphone outputs are so great I can design my very own monitoring situation with them (while mixing, I'm constantly switching between my main monitors, my headphones, and a Mixcube-type mono-speaker, all three controllable with the main knob and the headphone knobs). I also love the knobs haptics exactly how they are, I whish the knobs on the NI Kontrol S61 would feel like the SSL ones. Very smooth. When it comes to the 4K knob: I think it depends. A podcaster starting out his recording experience would benefit by that top sparkle, but I keep them disabled, because I have a SSL 9000J console plugin and tape emulation inserted on every channel by default to colorize my sound in the box right away. The 4K would just crank the highs too much and I don't like baking sounds either (my bad habit I guess).
I have this interface as well. I liked your review and agree. The looks don’t bother me - I like the more muted look. I would love to see SSL come out with a rack mounted 8 pre expansion unit. I’m a drummer and would love to have more of these. I will say, as far as the 4k button, the only thing I have really liked it on is my kick drum - and if I record bass in the future, I wonder if I’d like it on that too. Something about the boost on low frequency instruments that might benefit from the upper boost it gives - but that might all just be in my head. Great review!
@@sufc43 hey how’s it going. I’ve grown my setup over the last few years, but this is what I am currently using. Audio DP7 mic kit. I love the D6 on kick. The 2 condenser mics can work as OHs just fine, but I upgraded to a pair of Roswell Pro Audio mini k47’s which are beautiful. Can be used for vocals and other acoustic instruments too. I also have a couple of old sE 1 pencil condenser mics that still sound great. Lastly I have an off brand sub-kick mic that I use for a kick out. I play with the mic setup a lot depending on the sound I am looking for. I have 12 pres- the SSL 12 with a focusrite 8preX - so more than enough pre amps for what I do. I typically run snare top & bottom, kick in & out mic each Tom and stereo OHs. If you are looking to record, I would put the most emphasis on the good drums and heads and good cymbals. The better the source sounds the better your recordings will be. From there start where your budget allows. If you can upgrade to a 4channel pre, this SSL-12 is fantastic. If you can swing for an 8 pre interface, there are a lot of good options too from audient and presonus (I’m not a huge fan of my focusrite) SM57 for snare is still my favorite option. Like I said earlier, the Audix D6 is my personal favorite but a lot of people still prefer others. For Overheads there’s a lot of good options, sE7 mics are great for a budget - if you can upgrade the sE8’s are amazing. So many great options out there nowadays, but this is what I’ve tried and use. Good luck and have fun with it all!
I really like the look I think it’s simple, no nonsense and most importantly, not distracting when I’m working, I do use the 4K button on vocals occasionally has a preference, but most of the time I’m looking for a balanced, sound true to the instrument and I feel I get that with the SSL 12. It also looks good next to my other SSL controllers. And I like the 360 options and 32 bit + two headphone inputs at the front with the other inputs at the back, it looks tidy and professional.x Note: on the 360 software, you can change the headphone impedance to a high impedance, which makes a massive difference and could solve the problem.
I love my SSL interface. But I never use the 4k button, harshes my vocal, too sharp n 'spitty'. No point putting it on to try EQ out! But everything else works so well. Very pleased with it. Thanks for the review, excellent job bud.
I’ve been fortunate to work on a variety of consoles over the years: SSL E/G/J, API Legacy/1608, Neve 8048, Trident 80, MCI JH, and a few others. For recording, I preferred API due to the sound is imparts and also it’s workflow. 2nd would be Neve for its sound and their EQ. For mixing, I much preferred SSL G. 2nd & 3rd would also be SSL - other models. Then would be API.
For the headphone volume go into the software and change the headphone settings from standard to High impedance. And you get much more volume. Way more.
I personally like the aesthetic. Judge me all you like. I also love that the headphone outs are on the front... where they should be. Cheers for the in-depth review.
I really like the simplicity of this unit. I haven't been able to play around with it too much, but I was looking for a unit to replace my x8p and am happy with my purchase... I just wanted to downsize a bit I am hoping a firmware update will be available soon for Harrison Mixbus, compatability in the daw configuration section, but not a big deal. I just figured with them purchasing Harrison, they would have the DAW on the list...
Can you please tell me if the SSL 12 has loopback out? I need to combine the 1-2 and 3-4 outputs in OBS (not ASIO but Windows WaveRT drivers) so that I can make a mix minus for my headphones and speakers.
The natural sound of SSL makes this unit the perfect foundation for plugins. We use plugins to color the sound. You wouldn't want to buy all the hardware, including channel strips, just to try it out, and then, if it's wrong or not perfect, start recording everything again. It's the 21st century, folks! I just upgraded from SSL 2+ to SSL 12 because I need more line-ins.
Thanks for a great review. I have the SSL2+. I agree that 4K should be used carefully and not accumulate into the mix. But guess what? It just suits my singing voice spot on 😊
I actually liked what the 4K button did to your audio clips. This might be just the extra bit of sheen I need for my vocal recordings, which always sound a tad boxy and sparkle-less through my AKG C214 and my old UR44 interface. But only a direct test will show whether the 4K button works well in combination with my voice and mic. In any event, I suspect the SSL 12 will be a step up from my UR44 and M-Track Eight in terms of audio quality and useability. And, boy, that on/off switch! I keep missing that so dearly on the M-Track, which only has a power-saving mode. Thanks for pointing out all those relevant aspects in such a balanced manner, this was really helpful!
The headphone outputs are one of the better I have tried, I have used Apollo, Audien ID44 etc. You can configure the headphone outputs via the SSL 360 software, three settings, Standard, high impedance or high sensitivity. I love the interface!
Hello Harv, first time viewer and subscriber as of today. This was a great video. I have owned this unit for nearly a year now and it is fantastic for recording woodwind instruments, especially the saxophone. The 4K Legacy really amplifies the high end on the saxophone and is fantastic for contemporary styles of music but highly overboard when recording genres such as jazz. You can hear my saxophone cover of a Whitney tune on my channel with 4K applied. When you did the comparison between SSL and the other unit, the SSL is so much more unforgiving and picks up every nuance in the sound. Which is great for a good take, but if you're looking to quickly track/overdub a part, it's likely to exacerbate any unwanted background noise or "rushed" gain staging. Fantastic video, super informative. Cheers George
I have the SSL 2+, and aside from 32-bit recording and I/O, much of what you said applies to this model as well. Yes, the headphone amp, as well as the XLR inputs, could use a lot more gain. There's barely enough gain to drive an SM57. I own the same AKG 414 that you have, and with that particular mic I really like the 4K button engaged when recording narration. With brighter mics, such as my U87, I would leave 4K off as the U87 is plenty bright and crispy to begin with. Oh, you left out one Pro -- the master volume knob goes up to 11. ;)
Thank you for informative video. I've been using this interface for quite a while and honestly I'm very happy about. Would agree 4K button is a very specific tool you don't get to use often. But I would disagree with you on the design of the unit - I don't really feel like wooden elements are appropriate for use in SSL products, and it might be subjective of course. IMO the product stays coherent with most previous outboard gear SSL have produced. I'd like to praise the clean and neutral sound quality as you have mentioned. It really helped with the mixes lately. I consider this interface great for small project and home studios. It has everything one might need - just enough mic inputs for some sound design jobs or drum kit recording, and DI inputs sound well. The only difficulty I ever experienced with this SSL 12 was the correct usb driver installation. I remember I looked up their website for a specific driver bundle which installed at least 4 different SSL drivers and then interface started working stable without any bugs. Gain control is pretty much enough for a passive ribbon mic (mine were Oktava ML51) if you record louder sources like drums or gtr cabs.
haha, I totally agree with you on calling it the SSL4+! AND I can hear even on this review, what the 4K button is doing. But I already have an SSL2+, so I know what this does. Nice review. I love having more ins and outs so I came here to look at this review. Thanks..
For A LOT of us the ability to add 8 ADAT light pipe inputs is a BIG deal. Drummers and basically anyone that wants to track more than just a guitar and a vocal a once need that feature. I would not even consider the UA VOLT offering for that reason alone. I think the "SSL 12" nomenclature makes sense and that the ADAT light pipe option is a HUGE feature and value. Thanks for this good review!
Many thanks, I get that the ability to expand is appealing but you still have to pay for extra preamps. I’d say something like the Tascam US16x08 represents far better value if you need lots of pres on a budget
Interesting that the 4K button which adds that 2-4K presence boost so loved of the Shure SM57 (helping PA engineers to get vocals to cut through back in the olden days). I totally agree that it should not be used, especially during recording. Maybe as an effect later (not for me). I love the connectors at the rear and angled panel. Very usable. The potentiometers are API as used on the original mixers. Personally, I like the feel. I prefer the neutral sound. The USB C connection, powering etc, is great for me as I use the SSL2+ as a better DAC than my Surface Pro 7, when testing and certifying audio systems. Am not too fussed about the aesthetics. Excellent review of the SSL4+. Well done!
Thoughtful, useful review. I compared everything I could find about the SSL 12 to the Motu M6, and for me, the Motu edged out the SSL for simplicity, preamp dynamic range (albeit at 24 bit), and headphone power. Same price in the U.S. Motu has no full-feature software controller (SSL 12’s looks incredibly versatile but fussy), no 4K hard-written in, no ADAT - just right for my home studio where I’ll track acoustic guitar with 3 or 4 mics. I also think you could compare the SSL 12 to the Focusrite Scarlett 18i8 (same price) or Scarlett + 4Pre (couple hundred $ more). It looks like 4-XLR USB-C interfaces have arrived.
You're confusing 32 bit integer with 32 bit float. What you mean is 32 float (like used in fieldrecorders like the Zoom F3), but that's not in this SSL. The SSL uses 32 bit integer. So you still need to make sure your inputs don't clip, just like with 24 bits and 16 bits. There's only more resolution.
Great review video, just became a subscriber to the channel. Quick question if not asked before in here: does it work with ipad pro out of the box? ( i use logic pro for ipad). Many thanks & keep up the good work! Cheers
Oh wow I totally agree with everything you’re saying here. My SSL 2+ busted due to a usb power issue, and I was offered an SSL2+ or SSL 12 replacement at a discounted price as it was out of warranty and I’m seriously considering the 12 for all the same reasons ur saying here.
Good review. The 4k button is similar to the Focusrite Air Mode, both are a kind of harsh sounding presence boost that may end up being an issue by the time you get to mixing. Best to leave these off in most cases. Beginners might be fooled at first that it sounds clearer and better using these magic buttons but experience will show them up for what they really do and that they are mostly marketing gimmicks rather than actual useful recording tools.
I note your comments about the aesthetics of the unit, but obviously that is purely a matter of taste and personal preference. Nothing wrong with that. Personally, as I have the full suite of SSL controllers (UF8, UF1, and UC1), the aesthetic fits in just nicely. Wooden ends would be purely a gimmick as far as my studio's overall aesthetic. But for me, it is the sound - which after all is the function of the unit. And I happen to like the sound. Like you, I find it to be neutral and transparent, which is perfect, and anything I do to the sound once it is in my DAW can be undone or modified all the way to being undone to get me back to the raw sound. I don't really want an audio interface to be adding "colour" to my sound before I even have a chance to record it. And for me, the SSL works perfectly in that regard. Your A/B/C comparisons in the video were interesting. Yes, I did hear that phasey thing with the 4K button active, but I also found the Brit strip to be not just "softer" but a bit more "muffled" - the natural sparkle of the guitar strings, the finger tips sliding across the strings, etc, just sounded more natural via the SSL. But who knows what the RUclips algorithms are doing to the sound anyway....! Keep up the good work :)
Happy new Year! This is my first go on your channel. Dig the vid. If the mic inputs, on the Volt were on the back, like the SSL, which one would you choose?
I have the SSL2 with that 4K. I don't like it on vocals but use a different vocal chain and not using the mic pre's on the SSL but like the 4k on analogue synths.
The SSL consoles are legendary for first mixing tracks to have a lot of energy, but also, they are for mixing tracks that were recorded on a far more colourful console and need to be mixed without adding too much more colour to the footprint. Then what the console lacks in the extra bits of sound needed it would be then sorted by other outboard while the console remained quite natural. It's not completely neutral of course but clearly fits a type of energy, but it is a second stage console, never popular as a console for all stages. It some times would be two much to record on a neve then also mix on a neve as it can become a little cloudy with colour... with the harmonic content being added in the same way twice. Some times going neve to api or the other way around or many other console sounds being mixed as doubling the harmonic content in the same way can be a bit too much. A SSL for mixing is the safe bet in the big studio world, it will fit with more than less after a song has been recorded with a different console. These interfaces are about bring the clean sound... the 4K is a silly thing using the misunderstood name to sell rather than them explaining what was good about the consoles rather than people buy for being starry eyed. I think the SSL consoles are the most widely know consoles, and it seems to be a way of jumping on the popularity band wagon while not really understanding to musical properties. This being said, for a cheap interface, the best thing you can hope for is a clean sound, and this delivers with that.
Mine sounds like crap ... buzzes bad in the first channel and the second doesn't work at all. Either I got a lemon, or these things are seriously overhyped. The build quality is also questionable... buttons are fuzzy and it feels cheap to me. It may have an SSL logo on it, but I think that's all gimmick. Junk interface and I can't wait to throw it in the garbage.
I am thinking of getting this interface to replace my 1st gen UAD Apollo Twin. I use the 8 ADAT inputs on the UAD, so this is why I prefer it over the Volt 476P. I Like the idea of having 4 preamps, instead of 2 on the UAD Apollo Twin. This would give me 12 inputs instead of 10. Should I change ? I like to be able to give reverb to singers when they record, but that's about it... The UAD Processing is so bad on the 1st gen apollo, that after 2 or 3 plugins, it is maxed out.
I would add separate, per channel phantom power switches as a definite pro. It bugs me that almost all interfaces have a universal phantom power switch for all preamps.
Cool review, thanks for all the details :) I looked at the Volt series, and while it looks cool and simple, it lacks the modularity SSL360 seems to offer in terms of audio routing. For example the Volt headphones outputs just follow the main output and can't be dissociated from it, which is quite limited. The routing capabilities of the SSL12 make it a good option for live music as well as studio recording. For the price it looks clearly better. And for the software packages, I'm actually not a great fan of companies offering a ton of "lite" editions of software with hardware. Sure it's nice for the beginner producer, but honestly most of it is useless and I'd prefer a cheaper hardware with no software at all instead of paying for their partnership on software products I won't use. Cheers !
Excellent review and video! 👍 Great B-Roll, I think the SSL 12 looks great! 😉 Except for the four 4K buttons, those are a waste of space! Edit: Maybe they could enable with a firmware update that you can reassign each button to a custom function, to make the buttons more useful.
Great review! I have the SSL2+ and totally agree on the 4k button. I leave it off by default and only occasionally will try it if I am looking for some coloration but even then usually opt not to use it. I may have missed it, but do line inputs on this unit bypass the preamp circuit, unlike the 2+? I am experimenting with external preamps and wonder how much of the signal is distorted going through this circuit unlike interfaces with dedicated line inputs.
Another person commented that it sounds a lot better when you enable the 4K button on instruments like Sax, Trumpet, etc. Vocals don't have enough high tones to make use of the 4K button. Also too snare and bass can benefit.
Yeah im listening on my iphone speakers and i would have guessed the 2-4k was boosted with the 4k button. You “ch” and “s” consonants jumped out a bit when you switched to 4k
Been thinking about getting this, but the whole how many ins and outs is quite common, like when you get a 4x4 which is really two, and other products have optical I/O.
4K legacy button is great. But you can use it on other things, bass for example are very pleasant or a kick drum and ofcorse you can use it if you have a podcast situation and you have speaking voice. Or you want to push more some very distorted guitars
I have 2 ssl 2 plus's. was gonna buy a ssl 12 because of the loopback feat but ssl just released a firmware update that can allow loopback! yasssssssss. ssl is the cleanest sound, even better than the apollo
....well... and the Focusrite Scarlett 18i20 has.. you guessed it: 8 mic inputs... and the focurrite liquid saffire56 had... you guessed it... 8 mic inputs... it totally usual to name interfaces (and desks...) like that and it makes total sense to me
Another reviewer pointed out that the 12 channel in can only be fully realized through ADAT. The full 8 out can also only be realized digitally. You'll need the app-based mixer (that you dismissed) to work with these tracks.
Yes indeed, I did explain this in this video at 12:10. Also I didn’t dismiss the SSL360 software, I just pointed out that it’s not a necessity if you only need the stock 4 inputs (I even called the software ‘awesome’ at 8:42). I believe this was clear enough in my review
Is it just me, or there's someone else who's their SSL12 wont handle the buffer size on his bigger sessions? 🤔 My 2+ was doing just fine. Is it my laptop ??
Great video. I also replaced my SPL Crimson with SSL12. Maybe you can help, I'm trying to figure out how to send the audio from my DAW (cubase) to Zoom..
I absolutely love the 4k button. There’s one thing about it you failed to mention and that is that the character it creates is gain dependent. To me it is a single complex option available at the simple press of a little button. That is a valuable feature. It’s valuable on and off. So it certainly isn’t a drawback. Btw, it is not a DSP function. It is fully analog. Re its name, I fully agree that it is shamefully misleading and very UN-SSL. A really serious mistake they cannot undo. They should drop its price $100 and issue a formal apology.
I think you're not considering the advantages of an adat input enough. This means you can upgrade the interface instead of having to replace it when you need additional inputs. Good review!
Yeah, but if you have a rackmount converter, then why would you want to waste space on your desk? I want the SSL2+ primarily for the Vocal Channel Strip and Drums Channel Strip VST plugins because those are some of the best channel strip plugs. I would say that is the primary selling point that no one is talking about. Also, no one goes into detail about how the mixer works.
It will also bring forth. A very interesting, psycho acoustic phenomenon. You might notice. The sound is no longer, seeming to come from the speakers? Where is it coming from? It's coming from about, 1 foot. Out in front of the speaker. In midair. It's out in front. It's not coming directly from the speaker. And that's because. While the sound is now being pushed out toward you. The difference in distance from the speaker cone. To where the sound is being produced in front of the speaker. Is that positive pressure wave. Because your speakers are now no longer sucking! They are not sucking inward anymore. They are protruding out toward you. And so for those that don't want any out of phase anything in their signal chain. Will have to realize. Inverting the polarity at the speaker. It is not out of phase. In fact it is more in phase.. And everything in your room. Will now combine as it should. And you will suddenly notice. Your Stereo Sweet Spot.. It is no longer just a spot. But it has grown why. The entire width of your room. It's crazy! You will be Surrounded in Sound. From only 2 speakers. It's an amazing sensory experience. When you experience it correctly. It'll change your life. You will understand what you are hearing much better. You will be able to evaluate what you are hearing, much better. And this is all because. Your brain cannot comprehend sound. In front of you. That is moving away from you.. From in front. Your brain doesn't know what to make of that? Because it shouldn't be hearing it that way. Because your speakers are wired inverted. Yet they now appear to be. And so audio is not perceived through emotions alone. You still have to listen. And you have to know. What it's supposed to sound like. Coming out of an electronic reproduction system. Where none of that is natural at all. Yet people keep talking about Natural Sound which is a complete and total misnomer. It's not natural. To make it sound good. You can't make it sound natural. Because sounding like natural sounds like muddy mud of nondescript sound. And getting natural sound. Doesn't mean doing nothing. That is amateur hour. I am not an amateur. You are. You don't know the characteristics of your microphones. And you think you need condenser microphones on everything. You don't. They didn't use a condenser microphone to record Michael Jackson's lead vocals. They used a cheap microphone. They could have used the SM-57 on Michael Jackson. You would have never known the difference. That it wasn't an, SM-7B. Because both of these microphones. Use the exact same identical microphone cartridge, capsule. They are identical. There is no difference. The difference is in the body. The difference is in the features. The difference is not in the sound. And I had to no such stuff. In order to write contracts for, studio constructions. And you have to know the equipment extensively. So in the end, kids. There are actually. Basically. 2 kinds of Audio Engineers. There are those of us. That not only use the equipment. We have also designed and built the equipment. And we know what makes it work. And we know how to use it effectively. Professionally. And then there are, all of you, audio engineers. I referred to as, Feder Flippers. You know how to plug-in microphones. You know how to turn up the volume control. You know how to press the record button. And play with your software. You don't know how anything works. You know nothing about the design concepts behind that which you use as your tools. You do not have a full understanding of your tools. Because for the most part. To make your little pop music recordings. You really need No College, Degree. It's a needless waste of money. You learn by doing. You learn by reading. You learn by listening. You learn by watching others. Like a monkey would. And you can get by that way. But you will never get beyond that way. And so there is your audio lesson for the day. The most valuable audio lesson you have ever gotten in your lives. And now. Aimed with better knowledge. And being able to hear what you're listening to. It will bring forth a great change for you. It will give you much greater confidence in your capabilities. Because now you can hear it! The way you're supposed to. The way your brain needs to. And because some of us also know the Psychology. Behind how human beings perceive, electronically recorded and manipulated, sound. Because there is nothing normal about this process. Not even close. As your crappy run-of-the-mill, hi-fi. Really can't reproduce a rock band. And we have to get it out over a crappy little, 4 inch speaker, generally. How do you get a huge sounding rock band. Out of eight 4 inch little speaker? You can't. Physics says it's not possible. And so there is no dynamic range, really to speak of. You only need between 1 and 6 DB of dynamic range in pop music. And none for the vocals. We crush the dynamics of the vocals. You don't because you think that's wrong. It's not. It's the thing to do. It's the way it needs to be. Because the human voice. Has a far wider dynamic range. Than, any musical instrument the planet. And we really don't want to hear that dynamic range. Trying to come out of a 4 inch speaker. It just doesn't work. I mean you can get pleasant recordings. Doing what you do, incorrectly. And it will sound pleasant and placid and boring and muddy and nondescript. But some people like that. I don't know why? I don't think they know why either? Because it doesn't have to be that way. They can just be friends. And let the music roll. Don't worry about the accuracy. Just get through the song. Many mistakes come out good. Because when I do the mix without the mistake. Everybody comes back to me and says. It actually sounded better with the mistake. That's right. It did. This is how it goes. The other thing people failed to understand. You create a song. You know what you want that to sound like. However. You cannot be that kind of dictatorial. And expect your song to come out good. Because it won't. It'll be forced sounding. Because it is. And so I usually tell people. We get a couple takes down of your song. All will be good efforts. We can then composite those takes together. For one stellar take. But even that won't always work. And that's because. When you have a good song. You cannot force it to be what you want it to be. No. The song, itself. Will, begin to take on a life of its own. It will inform us. How it is to be mixed and presented. I am not going to force it into anything. I'm going to let it determine. How it wants to be presented. I am merely the facilitator of the electronics. And this is how you allow a hit. To just happened for its self. And we go along for the ride. So you also have to have the right mindset for this. You have to be empowered with lots of knowledge. And that takes years to accrue and experience. Nobody knows what they are doing fresh out of college. Most like you have a dearth of information. And can end up. Choosing the wrong microphones. The wrong kind of preamps. The wrong kind of equalizers. The wrong kind of limiters. Any number of horrors can be realized. When you don't know what you need to know. And so there you go. Give the speaker polarity thing a try and a shot, for yourself. You can change it back again the other way. It only takes 2 minutes to do. And it's free. And you will be hearing things in a whole new way. Anyway everybody has been doing it wrong. Since at least 1968. That I know of. When I was 12 years old. I already knew. I was going to be an, Audio Engineer. The rest of my life and career long. And I heard something very different out of these JBL. Brand-new, 4310 speakers they had just introduced. Which I heard at the music store with my father. And I knew there was something different going on here. I could plainly hear it. Though I wasn't sure what I was hearing, yet? (More Compound Audio in following post)
I want you to give me some advice. I want a professional audio interface that will help me in my singing work. I want to get a warm and beautiful sound recording. Which audio interface do you recommend for me?
Hmm if you want something fatter with more saturation, the SSL12 is a great platform for adding an external preamp. The warm audio 1073 clones are good, but honestly I’d say the mic choice would make a much bigger difference. I’m currently testing the warm audio wa-47 and it’s beautifully warm and rich on male voice. Review coming soon for that
i want an audio interface thats current that has 6 inputs 4 is not enough they dont need to be mic inputs something with warm tones. what would you recommend. I agree i hate this fake inputs through adat. so whats a good 6 input unit.
You could look at the Tascam SERIES 8p Dyna, 8 pres (6 of which are XLR) with compression on every channel. I’ve not tried it myself but it’s well reviewed and not crazy money for that much IO 👍🏻
@@HarvVideoAudioStuff thanks I checked it out it's super high end and cists a fortune compared to a couple of other units audient and presonus Evo 16 are way cheaper
HI, great video, 🙂 with 32 bit recording, will this unit work well with my Windows 10 Pro, I ask, as the Sound settings in the W10 Pro, show only up to 24 bit? Also, what affordable ADAT preamp unit would be a good choice for the expansion?
I know this is a little old, but what about the drivers? Mac silicon here. I can't get my Babyface Pro to work after a clean install (long story) so I'm using my "backup" which is the Volt 2. I'm selling the BFP and still want a 2nd unit and I'm intrigued about the SSL, maybe even as my main. I saw another viddy where the drivers are roughly the same latency as the Volt series, but are they stable? Also, are you running USB C to C or C to A?
I am not too sure about the "32-bit" feature of SSL 12. Is it the same as "32-bit float"? I would love to know if the 32-bit AD/DA converter actually means that we can stop worrying about clipping. It's certainly not advertised as their key selling feature! There were other interfaces that features "32-bit" such as Steinberg URC-22C.. and apparently that is "32-bit Int". You'll get the higher resolution.. but it's not the same as "32-bit float" that prevents clipping. Would love to hear others on this. What does this "32-bit" mean??
@@HarvVideoAudioStuff I know it all to well. I Should probably heed your advice. Just, for me, it was an amazing little Revelation. I bought the interface so I should use some room modeling headphones, and be able to switch back to regular headphones without faffing about with interface mixers etc. I only found the cv capability when reading the manual. It's literally not advertised anywhere as far as I know. I have a filter that accepts CV and a quirky little semi modular that could only be pitched using banana jacks. Now I can just plug it into one of my headphones jacks.
Good, balanced video. Good production values, including audio. I agree with you about the nomenclature. I have a SSL12, as well as other audio interfaces. I prefer a clean, flat sound so I do not use the 4K. I can always add color later in the chain. The SSL 12 is, however, an excellent interface with very good preamps and converters. The converters are different than the ones used in the 2 and 2+. Inputs on the rear instead of the front is essential for me. I would never buy an audio interface with the main inputs on the front. I do wish that instead of the midi ports, it would have insert sends and returns like the Audient iD44 mk II, which is also a very good audio interface. The 360 software works quite well in managing the SSL12 as well as the UC1, UF8 and UF1. SSL is doing a great job with their non-console equipment. I also appreciate that they designed the SSL 12 to coordinate aesthetically with the UC1, UF1, UF8 and even the Big Six, Fusion and Bus+. I like having them all together for the mixing/mastering station in my studio. TES Productions. Soundclick.com/ThomasShea
are you saying that because 32bit...i can record a track in DAW and the recorded audio take has way more dynamic range and headroom than any other interface??? (becasue as you said others dont have????)
Theoretically yes, but there are other things to consider of course (noise floor, the physical limitations of other gear in the signal chain). I did a video specifically about 32 bit float recently that you might find interesting 👍🏻ruclips.net/video/IcuzuYlSGLk/видео.html
While trying to record my guitar/bass through input one high z…I want to hear the relative track louder than the mix of the song…but when I turn down the master fader…it also turns down the track I’m working on. What is the workaround for this ?
I'm running SSL 12, Pro Tools 12.8, and with no tracks inputs enabled, I'm still hearing my guitar input, almost like a mix knob that's not set correctly. If I use an amp sim, and enable the track input, I'm hearing the processed and unprocessed sound? What's wrong here?
Enjoy guys :) NOTE: regarding being able to change the headphone out to high impedance, this makes a small difference but volume still needs to be 12 o’clock or higher (for my headphones anyway)
There's plenty volume for me, driving a wide range of headphones and it's always plenty volume. Especially when set to High Impedance mode in 360 software.
It would help to know what headphone model you're using. Impressions of the headphone outputs seem to vary greatly, but I do have two pairs of 300 ohm headphones to drive.
Which cable did you use? I heard on the Audient ID24 you have to use the usb-c to usb-c to get full headphone output power. USB-C having higher power delivery rating.
People that don't like "The SSL Sound" probably love lots of records that were recorded and mixed on an SSL console.
Ha ha yes 🙌🏻 well said
It is a matter of taste though.Choice.
I also suspect that SSL haters won't consider buying this anyway, so in that regard it seems like something of a moot point.
Not doing any studio work but I have a SSL 2 that I use to livestream with. Minimalistic, clean preamps adn no cloudlifter needed for SM7B or RE20... I use the latter.
Hi mate, love this review, subbed. Really well produced content. keep it up.
Just a quick (important) note - the headphone outputs can be configured to either high or low impedance in the software, an important thing to make an amendment about because you do list it as a con. I imagine you just needed to change this setting in the software to get better level from your headphones.
There are also some other pretty awesome benefits to the outputs - for one they can be configured to work as voltage controllers (so for synthesisers etc).
The software as a whole has a lot of extremely important features like this that really make this interface to me seem just head and shoulders above it's competition.
Seems like a fair review. I've had the SSL2+ for a while now. Like you, I combine it with a preamp beforehand to get some warmth before the clean. Best of both worlds. I find the 4k button handy for bass and percussive tracks that need more bite.
I'm using the SSL2+ since it came out and love it, especially because of the UX! The additional headphone outputs are so great I can design my very own monitoring situation with them (while mixing, I'm constantly switching between my main monitors, my headphones, and a Mixcube-type mono-speaker, all three controllable with the main knob and the headphone knobs). I also love the knobs haptics exactly how they are, I whish the knobs on the NI Kontrol S61 would feel like the SSL ones. Very smooth.
When it comes to the 4K knob: I think it depends. A podcaster starting out his recording experience would benefit by that top sparkle, but I keep them disabled, because I have a SSL 9000J console plugin and tape emulation inserted on every channel by default to colorize my sound in the box right away. The 4K would just crank the highs too much and I don't like baking sounds either (my bad habit I guess).
Thanks for another great review. I have a SSL 2+ but the 32 bit and the talkback feature might be enough for me to trade up.
I really dig that design. It looks exactly like a tool for professional audio recording, robust physical controls without unnecessary stuff.
I have this interface as well. I liked your review and agree. The looks don’t bother me - I like the more muted look. I would love to see SSL come out with a rack mounted 8 pre expansion unit. I’m a drummer and would love to have more of these. I will say, as far as the 4k button, the only thing I have really liked it on is my kick drum - and if I record bass in the future, I wonder if I’d like it on that too. Something about the boost on low frequency instruments that might benefit from the upper boost it gives - but that might all just be in my head. Great review!
8 pre extension - see OCTA :)))
Hi there. As a fellow drummer looking to expand from a 1 mic set-up, I would be really interested to know how you're mic-ing your kit. Thanks!
@@sufc43 hey how’s it going. I’ve grown my setup over the last few years, but this is what I am currently using. Audio DP7 mic kit. I love the D6 on kick. The 2 condenser mics can work as OHs just fine, but I upgraded to a pair of Roswell Pro Audio mini k47’s which are beautiful. Can be used for vocals and other acoustic instruments too. I also have a couple of old sE 1 pencil condenser mics that still sound great. Lastly I have an off brand sub-kick mic that I use for a kick out.
I play with the mic setup a lot depending on the sound I am looking for. I have 12 pres- the SSL 12 with a focusrite 8preX - so more than enough pre amps for what I do.
I typically run snare top & bottom, kick in & out mic each Tom and stereo OHs.
If you are looking to record, I would put the most emphasis on the good drums and heads and good cymbals. The better the source sounds the better your recordings will be.
From there start where your budget allows. If you can upgrade to a 4channel pre, this SSL-12 is fantastic. If you can swing for an 8 pre interface, there are a lot of good options too from audient and presonus (I’m not a huge fan of my focusrite)
SM57 for snare is still my favorite option. Like I said earlier, the Audix D6 is my personal favorite but a lot of people still prefer others. For Overheads there’s a lot of good options, sE7 mics are great for a budget - if you can upgrade the sE8’s are amazing.
So many great options out there nowadays, but this is what I’ve tried and use. Good luck and have fun with it all!
I really like the look I think it’s simple, no nonsense and most importantly, not distracting when I’m working, I do use the 4K button on vocals occasionally has a preference, but most of the time I’m looking for a balanced, sound true to the instrument and I feel I get that with the SSL 12. It also looks good next to my other SSL controllers. And I like the 360 options and 32 bit + two headphone inputs at the front with the other inputs at the back, it looks tidy and professional.x
Note: on the 360 software, you can change the headphone impedance to a high impedance, which makes a massive difference and could solve the problem.
I love my SSL interface. But I never use the 4k button, harshes my vocal, too sharp n 'spitty'. No point putting it on to try EQ out! But everything else works so well. Very pleased with it. Thanks for the review, excellent job bud.
I’ve been fortunate to work on a variety of consoles over the years: SSL E/G/J, API Legacy/1608, Neve 8048, Trident 80, MCI JH, and a few others.
For recording, I preferred API due to the sound is imparts and also it’s workflow. 2nd would be Neve for its sound and their EQ.
For mixing, I much preferred SSL G. 2nd & 3rd would also be SSL - other models. Then would be API.
For the headphone volume go into the software and change the headphone settings from standard to High impedance. And you get much more volume. Way more.
I should have said in the video I did this already, honestly the difference isn’t huge. Volume still needs to be up at 1 o’clock at least
@@HarvVideoAudioStuff Yeah, you're right. But why would you need more? Do you really need the ability to hurt your ears? ;-)
Can I use a 250 ohm impedance headset with this interface would it be loud enough for mixing?
@@sagarkochar yes. I at times use my DT 770 Pros which is 250. The High impedance option in the 360 software will push it to where you desire.
Yes, to my opinion. I use an old AKG 240 with 250Ohms and I like it.@@sagarkochar
Thanks for a real review on the SSL 12,appreciate the pro's,con's and meh's.
I personally really love this cold esthetics of ssl12. It would fit my home studio really well and I'm actually thinking to upgrade to this interface
I personally like the aesthetic. Judge me all you like. I also love that the headphone outs are on the front... where they should be. Cheers for the in-depth review.
4k adds a lot of presence
to the sound. I feel it gives more stereo width I use it on synths
What an excellent presentation and channel.Well Done !
Great points about whether your ears like the overall accumulation of sheen.
Many thanks 🙏🏻
Great review. Thx. Didn't see a comment about the audio surge to my powered speakers when I turn the ssl on. Didn't see this in the manual either.
I really like the simplicity of this unit. I haven't been able to play around with it too much, but I was looking for a unit to replace my x8p and am happy with my purchase... I just wanted to downsize a bit
I am hoping a firmware update will be available soon for Harrison Mixbus, compatability in the daw configuration section, but not a big deal. I just figured with them purchasing Harrison, they would have the DAW on the list...
Harrison integration - esp software development - should follow :)) Great match.
Can you please tell me if the SSL 12 has loopback out? I need to combine the 1-2 and 3-4 outputs in OBS (not ASIO but Windows WaveRT drivers) so that I can make a mix minus for my headphones and speakers.
The natural sound of SSL makes this unit the perfect foundation for plugins. We use plugins to color the sound. You wouldn't want to buy all the hardware, including channel strips, just to try it out, and then, if it's wrong or not perfect, start recording everything again. It's the 21st century, folks! I just upgraded from SSL 2+ to SSL 12 because I need more line-ins.
Thanks for a great review. I have the SSL2+. I agree that 4K should be used carefully and not accumulate into the mix. But guess what? It just suits my singing voice spot on 😊
The 4k button activates an analog circuit to make it sound like the legendary E console.
I actually liked what the 4K button did to your audio clips. This might be just the extra bit of sheen I need for my vocal recordings, which always sound a tad boxy and sparkle-less through my AKG C214 and my old UR44 interface. But only a direct test will show whether the 4K button works well in combination with my voice and mic. In any event, I suspect the SSL 12 will be a step up from my UR44 and M-Track Eight in terms of audio quality and useability. And, boy, that on/off switch! I keep missing that so dearly on the M-Track, which only has a power-saving mode. Thanks for pointing out all those relevant aspects in such a balanced manner, this was really helpful!
The headphone outputs are one of the better I have tried, I have used Apollo, Audien ID44 etc. You can configure the headphone outputs via the SSL 360 software, three settings, Standard, high impedance or high sensitivity. I love the interface!
Hello Harv, first time viewer and subscriber as of today. This was a great video.
I have owned this unit for nearly a year now and it is fantastic for recording woodwind instruments, especially the saxophone. The 4K Legacy really amplifies the high end on the saxophone and is fantastic for contemporary styles of music but highly overboard when recording genres such as jazz. You can hear my saxophone cover of a Whitney tune on my channel with 4K applied.
When you did the comparison between SSL and the other unit, the SSL is so much more unforgiving and picks up every nuance in the sound. Which is great for a good take, but if you're looking to quickly track/overdub a part, it's likely to exacerbate any unwanted background noise or "rushed" gain staging.
Fantastic video, super informative.
Cheers
George
Nice insight, many thanks 🙏🏻
Excellent point. For vocals it's not the right frequency range where you would be able to benefit from the high frequency boosts.
I have the SSL 2+, and aside from 32-bit recording and I/O, much of what you said applies to this model as well. Yes, the headphone amp, as well as the XLR inputs, could use a lot more gain. There's barely enough gain to drive an SM57. I own the same AKG 414 that you have, and with that particular mic I really like the 4K button engaged when recording narration. With brighter mics, such as my U87, I would leave 4K off as the U87 is plenty bright and crispy to begin with. Oh, you left out one Pro -- the master volume knob goes up to 11. ;)
I had both SSL2 and SS12 and the 12 has much more gain on the preamps outputs and headphones.
A U87 is brighter than a 414 ?
@@Ontariosound Yes. I should have specified my 414 is the XLS model, which does not have the high frequency boost that the c414 XLII has.
I totally agree with you that the 4K button is best NOT used. I am using the SSL2+ and am happy with the sound, for now.
Thank you for informative video. I've been using this interface for quite a while and honestly I'm very happy about. Would agree 4K button is a very specific tool you don't get to use often. But I would disagree with you on the design of the unit - I don't really feel like wooden elements are appropriate for use in SSL products, and it might be subjective of course. IMO the product stays coherent with most previous outboard gear SSL have produced. I'd like to praise the clean and neutral sound quality as you have mentioned. It really helped with the mixes lately. I consider this interface great for small project and home studios. It has everything one might need - just enough mic inputs for some sound design jobs or drum kit recording, and DI inputs sound well. The only difficulty I ever experienced with this SSL 12 was the correct usb driver installation. I remember I looked up their website for a specific driver bundle which installed at least 4 different SSL drivers and then interface started working stable without any bugs. Gain control is pretty much enough for a passive ribbon mic (mine were Oktava ML51) if you record louder sources like drums or gtr cabs.
Don't forget, that on the SSL12 you can set the 48+ phantom power separatly per channel, which is a huge plus compared to the UA volt 476P...
Yes indeed, I mention exactly that in my comparison video 👍🏻 ruclips.net/video/vGD2NvObWx4/видео.html
Amazing review, bro! I just bought one.
Agree with many others’ complimentary feedback - excellent video. Thank you!!
haha, I totally agree with you on calling it the SSL4+!
AND I can hear even on this review, what the 4K button is doing. But I already have an SSL2+, so I know what this does. Nice review. I love having more ins and outs so I came here to look at this review. Thanks..
For A LOT of us the ability to add 8 ADAT light pipe inputs is a BIG deal. Drummers and basically anyone that wants to track more than just a guitar and a vocal a once need that feature. I would not even consider the UA VOLT offering for that reason alone. I think the "SSL 12" nomenclature makes sense and that the ADAT light pipe option is a HUGE feature and value. Thanks for this good review!
Many thanks, I get that the ability to expand is appealing but you still have to pay for extra preamps. I’d say something like the Tascam US16x08 represents far better value if you need lots of pres on a budget
Interesting that the 4K button which adds that 2-4K presence boost so loved of the Shure SM57 (helping PA engineers to get vocals to cut through back in the olden days). I totally agree that it should not be used, especially during recording. Maybe as an effect later (not for me).
I love the connectors at the rear and angled panel. Very usable.
The potentiometers are API as used on the original mixers. Personally, I like the feel.
I prefer the neutral sound.
The USB C connection, powering etc, is great for me as I use the SSL2+ as a better DAC than my Surface Pro 7, when testing and certifying audio systems. Am not too fussed about the aesthetics.
Excellent review of the SSL4+. Well done!
Thoughtful, useful review. I compared everything I could find about the SSL 12 to the Motu M6, and for me, the Motu edged out the SSL for simplicity, preamp dynamic range (albeit at 24 bit), and headphone power. Same price in the U.S. Motu has no full-feature software controller (SSL 12’s looks incredibly versatile but fussy), no 4K hard-written in, no ADAT - just right for my home studio where I’ll track acoustic guitar with 3 or 4 mics.
I also think you could compare the SSL 12 to the Focusrite Scarlett 18i8 (same price) or Scarlett + 4Pre (couple hundred $ more). It looks like 4-XLR USB-C interfaces have arrived.
It surprised me about 32 bit recording. I didn't know that. It definitely worth buying if you can record in 32 bit. You never gonna clip 😎
You're confusing 32 bit integer with 32 bit float. What you mean is 32 float (like used in fieldrecorders like the Zoom F3), but that's not in this SSL. The SSL uses 32 bit integer. So you still need to make sure your inputs don't clip, just like with 24 bits and 16 bits. There's only more resolution.
Great review video, just became a subscriber to the channel. Quick question if not asked before in here: does it work with ipad pro out of the box? ( i use logic pro for ipad). Many thanks & keep up the good work! Cheers
Oh wow I totally agree with everything you’re saying here. My SSL 2+ busted due to a usb power issue, and I was offered an SSL2+ or SSL 12 replacement at a discounted price as it was out of warranty and I’m seriously considering the 12 for all the same reasons ur saying here.
It’s really good! 👍🏻
Great review! I couldn’t agree more about inputs on the front. The Neve interface has it too. It’s a shame.
You can raise the headphone output permanently by setting it in the ssl 360 software. You can go to +12dB Max for each.
Good review. The 4k button is similar to the Focusrite Air Mode, both are a kind of harsh sounding presence boost that may end up being an issue by the time you get to mixing. Best to leave these off in most cases. Beginners might be fooled at first that it sounds clearer and better using these magic buttons but experience will show them up for what they really do and that they are mostly marketing gimmicks rather than actual useful recording tools.
Very nice and honest review! 👍
Hmmmm..im.checking out the Britstrip. Thanks .i dug that guitar idea .
You won’t regret it, it’s a proper ‘better-maker’ 😄 also I did a full review of it if you’ve not seen that
Very insightful, Harv … Appreciated. 💯
I note your comments about the aesthetics of the unit, but obviously that is purely a matter of taste and personal preference. Nothing wrong with that. Personally, as I have the full suite of SSL controllers (UF8, UF1, and UC1), the aesthetic fits in just nicely. Wooden ends would be purely a gimmick as far as my studio's overall aesthetic. But for me, it is the sound - which after all is the function of the unit. And I happen to like the sound. Like you, I find it to be neutral and transparent, which is perfect, and anything I do to the sound once it is in my DAW can be undone or modified all the way to being undone to get me back to the raw sound. I don't really want an audio interface to be adding "colour" to my sound before I even have a chance to record it. And for me, the SSL works perfectly in that regard. Your A/B/C comparisons in the video were interesting. Yes, I did hear that phasey thing with the 4K button active, but I also found the Brit strip to be not just "softer" but a bit more "muffled" - the natural sparkle of the guitar strings, the finger tips sliding across the strings, etc, just sounded more natural via the SSL. But who knows what the RUclips algorithms are doing to the sound anyway....! Keep up the good work :)
Happy new Year! This is my first go on your channel. Dig the vid. If the mic inputs, on the Volt were on the back, like the SSL, which one would you choose?
Hmm quite possibly! I’m actually thinking of getting a 476p in to review to I guess we’ll see how they compare 😄 many thanks and HNY
I have the SSL2 with that 4K. I don't like it on vocals but use a different vocal chain and not using the mic pre's on the SSL but like the 4k on analogue synths.
The SSL consoles are legendary for first mixing tracks to have a lot of energy, but also, they are for mixing tracks that were recorded on a far more colourful console and need to be mixed without adding too much more colour to the footprint.
Then what the console lacks in the extra bits of sound needed it would be then sorted by other outboard while the console remained quite natural.
It's not completely neutral of course but clearly fits a type of energy, but it is a second stage console, never popular as a console for all stages.
It some times would be two much to record on a neve then also mix on a neve as it can become a little cloudy with colour... with the harmonic content being added in the same way twice.
Some times going neve to api or the other way around or many other console sounds being mixed as doubling the harmonic content in the same way can be a bit too much.
A SSL for mixing is the safe bet in the big studio world, it will fit with more than less after a song has been recorded with a different console.
These interfaces are about bring the clean sound... the 4K is a silly thing using the misunderstood name to sell rather than them explaining what was good about the consoles rather than people buy for being starry eyed.
I think the SSL consoles are the most widely know consoles, and it seems to be a way of jumping on the popularity band wagon while not really understanding to musical properties.
This being said, for a cheap interface, the best thing you can hope for is a clean sound, and this delivers with that.
Audient I think would be the most comparable as clean sounding interface
Mine sounds like crap ... buzzes bad in the first channel and the second doesn't work at all. Either I got a lemon, or these things are seriously overhyped. The build quality is also questionable... buttons are fuzzy and it feels cheap to me. It may have an SSL logo on it, but I think that's all gimmick. Junk interface and I can't wait to throw it in the garbage.
I Love SSL, you really don't have to do much to get great sound from SSL Equipment.
Great video and 32bit is the reason I went with SSL 12 over SSL 2+ and others.
I am thinking of getting this interface to replace my 1st gen UAD Apollo Twin. I use the 8 ADAT inputs on the UAD, so this is why I prefer it over the Volt 476P.
I Like the idea of having 4 preamps, instead of 2 on the UAD Apollo Twin. This would give me 12 inputs instead of 10.
Should I change ? I like to be able to give reverb to singers when they record, but that's about it... The UAD Processing is so bad on the 1st gen apollo, that after 2 or 3 plugins, it is maxed out.
I would add separate, per channel phantom power switches as a definite pro. It bugs me that almost all interfaces have a universal phantom power switch for all preamps.
Great point!
Love your channel! Great video cheers 🎉
Cool review, thanks for all the details :)
I looked at the Volt series, and while it looks cool and simple, it lacks the modularity SSL360 seems to offer in terms of audio routing. For example the Volt headphones outputs just follow the main output and can't be dissociated from it, which is quite limited. The routing capabilities of the SSL12 make it a good option for live music as well as studio recording. For the price it looks clearly better.
And for the software packages, I'm actually not a great fan of companies offering a ton of "lite" editions of software with hardware. Sure it's nice for the beginner producer, but honestly most of it is useless and I'd prefer a cheaper hardware with no software at all instead of paying for their partnership on software products I won't use.
Cheers !
I came here looking at the ssl but now I want a Britstrip :)
Many people says that the 76 compressor of Vault really don't work as compressor but as limiterm I don't know, but I'm going for Universal Audio
Can't believe you don't like the 4K (which is analogue btw). I'm just opting to record some rock vocals with a SM7+4K over a condenser. Love it.
Excellent review and video! 👍 Great B-Roll, I think the SSL 12 looks great! 😉 Except for the four 4K buttons, those are a waste of space! Edit: Maybe they could enable with a firmware update that you can reassign each button to a custom function, to make the buttons more useful.
The 4k button is probably for 1 purpose: to make a dynamic mic sound like a condenser mic.
I wonder why SSL 12 only has ADAT Input but not ADAT Output. Would be great if it does.
Great review! I have the SSL2+ and totally agree on the 4k button. I leave it off by default and only occasionally will try it if I am looking for some coloration but even then usually opt not to use it. I may have missed it, but do line inputs on this unit bypass the preamp circuit, unlike the 2+? I am experimenting with external preamps and wonder how much of the signal is distorted going through this circuit unlike interfaces with dedicated line inputs.
Another person commented that it sounds a lot better when you enable the 4K button on instruments like Sax, Trumpet, etc. Vocals don't have enough high tones to make use of the 4K button. Also too snare and bass can benefit.
Yeah im listening on my iphone speakers and i would have guessed the 2-4k was boosted with the 4k button. You “ch” and “s” consonants jumped out a bit when you switched to 4k
Been thinking about getting this, but the whole how many ins and outs is quite common, like when you get a 4x4 which is really two, and other products have optical I/O.
Thank You!
🤣 great and honest breakdown 🔥💯🔥
Can you use software to output only the computers audio coming from USB? If not which interface can allow for in/out from PC?
4K legacy button is great.
But you can use it on other things,
bass for example are very pleasant or a kick drum
and ofcorse you can use it if you have a podcast situation
and you have speaking voice.
Or you want to push more some very distorted guitars
I have 2 ssl 2 plus's. was gonna buy a ssl 12 because of the loopback feat but ssl just released a firmware update that can allow loopback! yasssssssss. ssl is the cleanest sound, even better than the apollo
....well... and the Focusrite Scarlett 18i20 has.. you guessed it: 8 mic inputs... and the focurrite liquid saffire56 had... you guessed it... 8 mic inputs... it totally usual to name interfaces (and desks...) like that and it makes total sense to me
But on a small desktop interface? My point was really that there’s no continuity within the range
Another reviewer pointed out that the 12 channel in can only be fully realized through ADAT. The full 8 out can also only be realized digitally.
You'll need the app-based mixer (that you dismissed) to work with these tracks.
Yes indeed, I did explain this in this video at 12:10. Also I didn’t dismiss the SSL360 software, I just pointed out that it’s not a necessity if you only need the stock 4 inputs (I even called the software ‘awesome’ at 8:42). I believe this was clear enough in my review
How long is the included USB cable? Would you recommend the AUDIENT EVO 16 over this one?
Is it just me, or there's someone else who's their SSL12 wont handle the buffer size on his bigger sessions? 🤔 My 2+ was doing just fine. Is it my laptop ??
Kick in the 4k with a voice over with zero turn around time. I think that’s the bit.
Great video.
I also replaced my SPL Crimson with SSL12. Maybe you can help, I'm trying to figure out how to send the audio from my DAW (cubase) to Zoom..
I absolutely love the 4k button. There’s one thing about it you failed to mention and that is that the character it creates is gain dependent. To me it is a single complex option available at the simple press of a little button. That is a valuable feature. It’s valuable on and off. So it certainly isn’t a drawback. Btw, it is not a DSP function. It is fully analog. Re its name, I fully agree that it is shamefully misleading and very UN-SSL. A really serious mistake they cannot undo. They should drop its price $100 and issue a formal apology.
I think you're not considering the advantages of an adat input enough. This means you can upgrade the interface instead of having to replace it when you need additional inputs. Good review!
Yeah, but if you have a rackmount converter, then why would you want to waste space on your desk? I want the SSL2+ primarily for the Vocal Channel Strip and Drums Channel Strip VST plugins because those are some of the best channel strip plugs. I would say that is the primary selling point that no one is talking about. Also, no one goes into detail about how the mixer works.
That 4k might be interesting if you were using a Tube mic.
Hi, cool video - what about the Instrument inputs? Are they parallel to mic 1+2? That would be a bit embarrassing for the price range.
Yes, they use channel 1 and 2. Using the instrument port disables the rear mic/line input.
It will also bring forth. A very interesting, psycho acoustic phenomenon. You might notice. The sound is no longer, seeming to come from the speakers? Where is it coming from? It's coming from about, 1 foot. Out in front of the speaker. In midair. It's out in front. It's not coming directly from the speaker. And that's because. While the sound is now being pushed out toward you. The difference in distance from the speaker cone. To where the sound is being produced in front of the speaker. Is that positive pressure wave. Because your speakers are now no longer sucking! They are not sucking inward anymore. They are protruding out toward you.
And so for those that don't want any out of phase anything in their signal chain. Will have to realize. Inverting the polarity at the speaker. It is not out of phase. In fact it is more in phase.. And everything in your room. Will now combine as it should. And you will suddenly notice. Your Stereo Sweet Spot.. It is no longer just a spot. But it has grown why. The entire width of your room. It's crazy! You will be Surrounded in Sound. From only 2 speakers. It's an amazing sensory experience. When you experience it correctly. It'll change your life. You will understand what you are hearing much better. You will be able to evaluate what you are hearing, much better.
And this is all because. Your brain cannot comprehend sound. In front of you. That is moving away from you.. From in front. Your brain doesn't know what to make of that? Because it shouldn't be hearing it that way. Because your speakers are wired inverted. Yet they now appear to be.
And so audio is not perceived through emotions alone. You still have to listen. And you have to know. What it's supposed to sound like. Coming out of an electronic reproduction system. Where none of that is natural at all. Yet people keep talking about Natural Sound which is a complete and total misnomer. It's not natural. To make it sound good. You can't make it sound natural. Because sounding like natural sounds like muddy mud of nondescript sound. And getting natural sound. Doesn't mean doing nothing. That is amateur hour. I am not an amateur. You are. You don't know the characteristics of your microphones. And you think you need condenser microphones on everything. You don't. They didn't use a condenser microphone to record Michael Jackson's lead vocals. They used a cheap microphone. They could have used the SM-57 on Michael Jackson. You would have never known the difference. That it wasn't an, SM-7B. Because both of these microphones. Use the exact same identical microphone cartridge, capsule. They are identical. There is no difference. The difference is in the body. The difference is in the features. The difference is not in the sound. And I had to no such stuff. In order to write contracts for, studio constructions. And you have to know the equipment extensively.
So in the end, kids. There are actually. Basically. 2 kinds of Audio Engineers.
There are those of us. That not only use the equipment. We have also designed and built the equipment. And we know what makes it work. And we know how to use it effectively. Professionally.
And then there are, all of you, audio engineers. I referred to as, Feder Flippers. You know how to plug-in microphones. You know how to turn up the volume control. You know how to press the record button. And play with your software. You don't know how anything works. You know nothing about the design concepts behind that which you use as your tools. You do not have a full understanding of your tools. Because for the most part. To make your little pop music recordings. You really need No College, Degree. It's a needless waste of money. You learn by doing. You learn by reading. You learn by listening. You learn by watching others. Like a monkey would. And you can get by that way. But you will never get beyond that way.
And so there is your audio lesson for the day. The most valuable audio lesson you have ever gotten in your lives. And now. Aimed with better knowledge. And being able to hear what you're listening to. It will bring forth a great change for you. It will give you much greater confidence in your capabilities. Because now you can hear it! The way you're supposed to. The way your brain needs to. And because some of us also know the Psychology. Behind how human beings perceive, electronically recorded and manipulated, sound. Because there is nothing normal about this process. Not even close.
As your crappy run-of-the-mill, hi-fi. Really can't reproduce a rock band. And we have to get it out over a crappy little, 4 inch speaker, generally. How do you get a huge sounding rock band. Out of eight 4 inch little speaker? You can't. Physics says it's not possible. And so there is no dynamic range, really to speak of. You only need between 1 and 6 DB of dynamic range in pop music. And none for the vocals. We crush the dynamics of the vocals. You don't because you think that's wrong. It's not. It's the thing to do. It's the way it needs to be. Because the human voice. Has a far wider dynamic range. Than, any musical instrument the planet. And we really don't want to hear that dynamic range. Trying to come out of a 4 inch speaker. It just doesn't work.
I mean you can get pleasant recordings. Doing what you do, incorrectly. And it will sound pleasant and placid and boring and muddy and nondescript. But some people like that. I don't know why? I don't think they know why either? Because it doesn't have to be that way. They can just be friends. And let the music roll. Don't worry about the accuracy. Just get through the song. Many mistakes come out good. Because when I do the mix without the mistake. Everybody comes back to me and says. It actually sounded better with the mistake. That's right. It did. This is how it goes.
The other thing people failed to understand. You create a song. You know what you want that to sound like. However. You cannot be that kind of dictatorial. And expect your song to come out good. Because it won't. It'll be forced sounding. Because it is.
And so I usually tell people. We get a couple takes down of your song. All will be good efforts. We can then composite those takes together. For one stellar take. But even that won't always work.
And that's because. When you have a good song. You cannot force it to be what you want it to be. No. The song, itself. Will, begin to take on a life of its own. It will inform us. How it is to be mixed and presented. I am not going to force it into anything. I'm going to let it determine. How it wants to be presented. I am merely the facilitator of the electronics. And this is how you allow a hit. To just happened for its self. And we go along for the ride.
So you also have to have the right mindset for this. You have to be empowered with lots of knowledge. And that takes years to accrue and experience. Nobody knows what they are doing fresh out of college. Most like you have a dearth of information. And can end up. Choosing the wrong microphones. The wrong kind of preamps. The wrong kind of equalizers. The wrong kind of limiters. Any number of horrors can be realized. When you don't know what you need to know.
And so there you go. Give the speaker polarity thing a try and a shot, for yourself. You can change it back again the other way. It only takes 2 minutes to do. And it's free. And you will be hearing things in a whole new way. Anyway everybody has been doing it wrong. Since at least 1968. That I know of. When I was 12 years old. I already knew. I was going to be an, Audio Engineer. The rest of my life and career long. And I heard something very different out of these JBL. Brand-new, 4310 speakers they had just introduced. Which I heard at the music store with my father. And I knew there was something different going on here. I could plainly hear it. Though I wasn't sure what I was hearing, yet?
(More Compound Audio in following post)
So without the control software can you actually directly monitor what you're recording? (with Mic/Line?Guitar inputs)
anyone notice his guitar almost falling over at 0:00 lol
Scarlet 4i4 - you can connect Midi directly but in SSL 2+ not? Is that a big deal?
I want you to give me some advice. I want a professional audio interface that will help me in my singing work. I want to get a warm and beautiful sound recording. Which audio interface do you recommend for me?
Hmm if you want something fatter with more saturation, the SSL12 is a great platform for adding an external preamp. The warm audio 1073 clones are good, but honestly I’d say the mic choice would make a much bigger difference. I’m currently testing the warm audio wa-47 and it’s beautifully warm and rich on male voice. Review coming soon for that
The best feature is the master monitor pot goes up to 11. That's hilarious!
sounds great
i want an audio interface thats current that has 6 inputs 4 is not enough they dont need to be mic inputs something with warm tones. what would you recommend. I agree i hate this fake inputs through adat. so whats a good 6 input unit.
You could look at the Tascam SERIES 8p Dyna, 8 pres (6 of which are XLR) with compression on every channel. I’ve not tried it myself but it’s well reviewed and not crazy money for that much IO 👍🏻
@@HarvVideoAudioStuff thanks I checked it out it's super high end and cists a fortune compared to a couple of other units audient and presonus Evo 16 are way cheaper
HI, great video, 🙂 with 32 bit recording, will this unit work well with my Windows 10 Pro, I ask, as the Sound settings in the W10 Pro, show only up to 24 bit? Also, what affordable ADAT preamp unit would be a good choice for the expansion?
Hmm I’m not sure about using with w10. But something like the Focusrite Scarlett Octopre would be a good value option for expansion 👍🏻
I know this is a little old, but what about the drivers? Mac silicon here. I can't get my Babyface Pro to work after a clean install (long story) so I'm using my "backup" which is the Volt 2. I'm selling the BFP and still want a 2nd unit and I'm intrigued about the SSL, maybe even as my main. I saw another viddy where the drivers are roughly the same latency as the Volt series, but are they stable? Also, are you running USB C to C or C to A?
I’ve just switched (finally) from intel Mac to M2 and it was totally seamless. USB-c to C 👍🏻
@@HarvVideoAudioStuff Awesome. I've ordered the lesser version (I just need one hi-z and headphones)
I am not too sure about the "32-bit" feature of SSL 12. Is it the same as "32-bit float"? I would love to know if the 32-bit AD/DA converter actually means that we can stop worrying about clipping. It's certainly not advertised as their key selling feature! There were other interfaces that features "32-bit" such as Steinberg URC-22C.. and apparently that is "32-bit Int". You'll get the higher resolution.. but it's not the same as "32-bit float" that prevents clipping.
Would love to hear others on this. What does this "32-bit" mean??
I'm wondering the same thing. The only affordable interface I've seen with 32-bit Float is the Zoom UAC-232. It's only 2 channels though.
How did you omit the fact it is DC coupled and can send CV out of headphone outputs
The same reason you’re the first of 11K viewers to mention it 😂
@@HarvVideoAudioStuff 11k + 1 people (at least) don't know about it?
Understand I’ve got to prioritise the really important features in these videos or they end up being way too long, this didn’t make the cut I’m afraid
@@HarvVideoAudioStuff I know it all to well. I Should probably heed your advice. Just, for me, it was an amazing little Revelation. I bought the interface so I should use some room modeling headphones, and be able to switch back to regular headphones without faffing about with interface mixers etc. I only found the cv capability when reading the manual. It's literally not advertised anywhere as far as I know. I have a filter that accepts CV and a quirky little semi modular that could only be pitched using banana jacks. Now I can just plug it into one of my headphones jacks.
Good, balanced video. Good production values, including audio.
I agree with you about the nomenclature. I have a SSL12, as well as other audio interfaces. I prefer a clean, flat sound so I do not use the 4K. I can always add color later in the chain.
The SSL 12 is, however, an excellent interface with very good preamps and converters. The converters are different than the ones used in the 2 and 2+.
Inputs on the rear instead of the front is essential for me. I would never buy an audio interface with the main inputs on the front.
I do wish that instead of the midi ports, it would have insert sends and returns like the Audient iD44 mk II, which is also a very good audio interface.
The 360 software works quite well in managing the SSL12 as well as the UC1, UF8 and UF1. SSL is doing a great job with their non-console equipment.
I also appreciate that they designed the SSL 12 to coordinate aesthetically with the UC1, UF1, UF8 and even the Big Six, Fusion and Bus+. I like having them all together for the mixing/mastering station in my studio. TES Productions. Soundclick.com/ThomasShea
are you saying that because 32bit...i can record a track in DAW and the recorded audio take has way more dynamic range and headroom than any other interface??? (becasue as you said others dont have????)
Theoretically yes, but there are other things to consider of course (noise floor, the physical limitations of other gear in the signal chain). I did a video specifically about 32 bit float recently that you might find interesting 👍🏻ruclips.net/video/IcuzuYlSGLk/видео.html
Appreciate your taking umbrage with the naming scheme. I like the product for the price but… Thank you, I feel seen
While trying to record my guitar/bass through input one high z…I want to hear the relative track louder than the mix of the song…but when I turn down the master fader…it also turns down the track I’m working on.
What is the workaround for this ?
Probably a dumb question, but does being 32 bit make it incompatible with all the 24 bit stuff that comprises the rest of the recording system?
Does MOOG manufacture SSL & Motu interfaces?
Does the SSL 2+ work with SSL360 on Mac？
The 4K button is an analog high pass filter. It’s not DSP.
I'm running SSL 12, Pro Tools 12.8, and with no tracks inputs enabled, I'm still hearing my guitar input, almost like a mix knob that's not set correctly. If I use an amp sim, and enable the track input, I'm hearing the processed and unprocessed sound? What's wrong here?
The guitar moving by itself in the first frame of the video 💀