SSL vs. Harrison
- Thread starter tommy mas
- Start date
TuoKaerf
New member
I've tracked and mixed on an SSL 4040G+ numerous times, and I've never touched a Harrison before, so I'll tell you what I like and don't like about an SSL-
-General stuff that I like (based off of a G series)-
1. Options-You can do the same thing about 50 ways on an SSL using the modes and other controls. You can also move the dynamics, EQ, and inserts around in the signal chain to suit your needs. The modes are very cool to work with. You can move your Large or Small Fader into whatever signal flow path that you want, and you can control the output of those faders to either the routing matrix or quad buss.
2. Dynamics and EQ-The SSL's come with a compressor/limitor, expander/gate, and EQ/Filters on each channel plus side chain control. The filters are a 12dB/octave high and low pass, and the EQ is a 3 band with variable gain and frequency controls. The HF and LF can be switched to a bell curve from a shelving. The EQ's sound great, but the compressors can be very harsh. The compressors are amazing for rock drums and bass, and you can get good sounds out of it on guitar. The other nice thing about the dynamics/EQ sections, is that they are totally bypassed if you do not activate them. Also, the inserts have to be activated, so your signal isn't sent to the patchbay and back if you don't want it to be.
3. Quad Compressor-Fuck yes.
4. Automation Computer- Very simple to use, and very effective. A G+ series console allows you to automate the VCA faders, master fader, and cuts (mutes). Even if you do most of your automation in software, the SSL has machine control (using SMPTE, you have to have a special box to distribute the timecode so the SSL and the DAW understand eachother) so you can use your DAW as a tape machine and control playback functions (play, stop, rewind, fastforward) from the console without having to turn over to the computer. The Total Recall feature is fairly sweet also, which saves a "snapshot" of the console so you don't have to write down each channel's settings (you still have to for the master section). You just recall your setup, and the computer tells you if you have it dialed in right.
-What I don't like-
1. The Preamps-Sure they are 100x better than anything I have at my house, but when you have a Great River and a few API's in the room, avoid the SSL pre's. They can be very harsh sounding, and can add a lot of the bad, unwanted analog sound if you hit them too hard.
2. Depending on what kind of faders you have (Motorized, or VCA) will change the way your mix sounds drastically. The SSL that I work on has VCA faders, which use an amp to attenuate or raise your signal instead of an analog fader. These can make your mix sound kind of thin on the top. If you are used to them, you learn how to get around it, but if I don't have to use any automation I'll mix on the small analog faders. Also, VCA faders do not move. When doing any automation, your only reference for where the fader actually is if you moved something is shown by the computer screen. If you have Ultimation (moving faders), then they will move (and they sound a hell of a lot better).
-General stuff that I like (based off of a G series)-
1. Options-You can do the same thing about 50 ways on an SSL using the modes and other controls. You can also move the dynamics, EQ, and inserts around in the signal chain to suit your needs. The modes are very cool to work with. You can move your Large or Small Fader into whatever signal flow path that you want, and you can control the output of those faders to either the routing matrix or quad buss.
2. Dynamics and EQ-The SSL's come with a compressor/limitor, expander/gate, and EQ/Filters on each channel plus side chain control. The filters are a 12dB/octave high and low pass, and the EQ is a 3 band with variable gain and frequency controls. The HF and LF can be switched to a bell curve from a shelving. The EQ's sound great, but the compressors can be very harsh. The compressors are amazing for rock drums and bass, and you can get good sounds out of it on guitar. The other nice thing about the dynamics/EQ sections, is that they are totally bypassed if you do not activate them. Also, the inserts have to be activated, so your signal isn't sent to the patchbay and back if you don't want it to be.
3. Quad Compressor-Fuck yes.
4. Automation Computer- Very simple to use, and very effective. A G+ series console allows you to automate the VCA faders, master fader, and cuts (mutes). Even if you do most of your automation in software, the SSL has machine control (using SMPTE, you have to have a special box to distribute the timecode so the SSL and the DAW understand eachother) so you can use your DAW as a tape machine and control playback functions (play, stop, rewind, fastforward) from the console without having to turn over to the computer. The Total Recall feature is fairly sweet also, which saves a "snapshot" of the console so you don't have to write down each channel's settings (you still have to for the master section). You just recall your setup, and the computer tells you if you have it dialed in right.
-What I don't like-
1. The Preamps-Sure they are 100x better than anything I have at my house, but when you have a Great River and a few API's in the room, avoid the SSL pre's. They can be very harsh sounding, and can add a lot of the bad, unwanted analog sound if you hit them too hard.
2. Depending on what kind of faders you have (Motorized, or VCA) will change the way your mix sounds drastically. The SSL that I work on has VCA faders, which use an amp to attenuate or raise your signal instead of an analog fader. These can make your mix sound kind of thin on the top. If you are used to them, you learn how to get around it, but if I don't have to use any automation I'll mix on the small analog faders. Also, VCA faders do not move. When doing any automation, your only reference for where the fader actually is if you moved something is shown by the computer screen. If you have Ultimation (moving faders), then they will move (and they sound a hell of a lot better).
TuoKaerf
New member
Your post got me thinking (which can be a bad thing, you could smell the burning in the next apartment), so I think its time for my little rant-
I think it is awesome to be able to track a full band, mix, and master that recording in your house for under $2,000 and make it sound very good. I do this on my own projects, and have a total blast.
However, I really am seeing the decline of the large format analog console (along with large studios). There is just something about working on an SSL 4000 E or G, Trident 80B, Neotek Elite, Amek Big, Neve 8000 that is much more satisfying and intuitive than sitting infront of a computer screen mixing with a mouse. Maybe it is just my fixation with being able to fiddle with knobs and outboard gear, or that I get turned on by flying faders, but it still isn't quite the same. You really don't have to make as many choices on what outboard gear to use when mixing in a software program. Hell, if you want to use 100 compressors, you can (until your processor blows up). In the analog world, you are kind of limited. You really have to think about what needs it the most, and is it going to be benificial to your mix. For me, those kinds of limitations make me better at mixing. I started out on a Pro Tools rig on a very fast computer, as I think back, I'd have rather started with a 4 track recorder and an SM57.
I have no idea why I typed all that out and posted it in here, and in no way is this supposted to start an argument on analog vs. digital. I love both, but in very different ways.
I think it is awesome to be able to track a full band, mix, and master that recording in your house for under $2,000 and make it sound very good. I do this on my own projects, and have a total blast.
However, I really am seeing the decline of the large format analog console (along with large studios). There is just something about working on an SSL 4000 E or G, Trident 80B, Neotek Elite, Amek Big, Neve 8000 that is much more satisfying and intuitive than sitting infront of a computer screen mixing with a mouse. Maybe it is just my fixation with being able to fiddle with knobs and outboard gear, or that I get turned on by flying faders, but it still isn't quite the same. You really don't have to make as many choices on what outboard gear to use when mixing in a software program. Hell, if you want to use 100 compressors, you can (until your processor blows up). In the analog world, you are kind of limited. You really have to think about what needs it the most, and is it going to be benificial to your mix. For me, those kinds of limitations make me better at mixing. I started out on a Pro Tools rig on a very fast computer, as I think back, I'd have rather started with a 4 track recorder and an SM57.
I have no idea why I typed all that out and posted it in here, and in no way is this supposted to start an argument on analog vs. digital. I love both, but in very different ways.
FALKEN
*************************
I think SSL is for pop and Harrison is more for indie-types. Not that I've used either, but I've been researching large-frames online for like 6 months now so that's just what I've heard. I do rock and I was recommended Harrison Amek or MCI. I just bought an Amek. The seller told me it weighs about 500 pounds but I talked to the shipping company today and they said they weiged it and it came in at 980 lbs. that is f-ing massive and now I'm not sure if I can safely get it into my house and if its even worth it. Then once its here I've gotta soldier like 120 cables. then it might or might not work when I plug it in. and if it works it might not completely work. and it might not even be as simple as plugging it in. I might have to call a tech just to help me with installation. And that is what is missing today; I'll admit it. I don't have an EE degree. I've been home reccing since high school but nobody ever suggested it as an avenue until AFTER I had already graduated from college. so I basically can't do shit. I can wire guitars and cables and that's about it. but there are a couple people in my small town who can do this stuff so its not dying completely. there just aren't that many people buying new ones...so they're not really being made so much I guess. I live in a town of 120,000 people and there is a neve console and a couple other large console based studios here. its just not very feasible for the home studio. especially when it takes 10 years to figure out you might want one.
TuoKaerf
New member
I know this is old, but I figured I'd add/expand on some more user info about an SSL in case any of you have/or are about to use one.
-Noise Floor-
An SSL E/G series has one of the lowest noise floors out of the majority of other consoles. If you are working on an SSL and hear a lot of noise, either something is wrong, or you have a faulty piece of gear in your chain. This is great for most applications.
On the other hand, if you like A LOT of analog warmth, an SSL might not be the best choice. Obviously it induces some coloration, but it isnt as noticeable as it has been when I've been mixing on a Trident or Neve.
-Preamps-
SSL has taken some flack for their pres in the E and G series in the past. They really are good pre's, but still can't stand up against API's or Great River's stuff. Although, for tracking metal guitars, the SSL pre's sound absolutley amazing.
-Noise Floor-
An SSL E/G series has one of the lowest noise floors out of the majority of other consoles. If you are working on an SSL and hear a lot of noise, either something is wrong, or you have a faulty piece of gear in your chain. This is great for most applications.
On the other hand, if you like A LOT of analog warmth, an SSL might not be the best choice. Obviously it induces some coloration, but it isnt as noticeable as it has been when I've been mixing on a Trident or Neve.
-Preamps-
SSL has taken some flack for their pres in the E and G series in the past. They really are good pre's, but still can't stand up against API's or Great River's stuff. Although, for tracking metal guitars, the SSL pre's sound absolutley amazing.
First of all, what's your budget? You can probably buy 2-3 Harrisons for what you pay for an SSL. I have worked on both (Harrison MR-3 (I'm sure of this) and SSL 4040E (if memory serves me correct)) but it has been a looooooooooooooooonnnnnnnnnnnggggggg time ago and I wasn't working on them concurrently. The cool factor definitely goes to the SSL but, Harrison has some great routing options that boards like MCI never even thought about. To me, I liked the Harrison preamps better but again that was an old SSL (it was new at that time) but they've improved them immensely since then. One thing is that Harrisons seem to be very rare. You'll find one here or there for sale but SSLs are everywhere!
Keep in mind too that up until recently Bruce Swedein used a Harrison. I think I read somewhere that he's recently replaced it with an Oxford. Of course Bruce's Harrison was heavily modified and he could afford to keep it in pristine shape. Old boards like that are expensive to maintain, whether it be an SSL, Neve, Harrison, MCI, ad-infinitum. That has GOT to be considered if you are seriously considering a purchase.
I think I would rather work on a Harrison though if I had to pick one over the other simply because SSL's are so common. Cool? Yes, but common...
Keep in mind too that up until recently Bruce Swedein used a Harrison. I think I read somewhere that he's recently replaced it with an Oxford. Of course Bruce's Harrison was heavily modified and he could afford to keep it in pristine shape. Old boards like that are expensive to maintain, whether it be an SSL, Neve, Harrison, MCI, ad-infinitum. That has GOT to be considered if you are seriously considering a purchase.
I think I would rather work on a Harrison though if I had to pick one over the other simply because SSL's are so common. Cool? Yes, but common...