Solid State Logic SSL Live
This year the company entered the live market with the SSL Live, and that’s intriguing in and of itself given Solid State Logic’s pedigree in the recording market.
I’d classify the SSL Live as a “mid-sized” console, and it offers the ability to handle up to 976 physical inputs and outputs.
Further, 144 fully processed mix channels are available along with an additional 48 “dry” mix channels. Up to 96 effects processors can be used at one time.
A 32 x 36 output matrix can handle to most complex routing assignments.
With 14 inputs and 12 outputs onboard, the SSL Live could be used as a stand-alone mixer, and a variety of scalable remote stage boxes foster increased input counts and remote placement of them.
Recording is accomplished via the MADI SSL Live-Recorder option, a rack device that can record 64 tracks at 96 kHz continuously from the console’s input stage, with playback through the channels in Soundcheck mode.
CADAC CDC Four
Included are 56 mix channels, 8 VCAs and 15 buses in a rack-mountable frame that measures just 19 x 24.5 inches. While optimized to work with the CDC 3216 and CDC 1608 remote stage boxes, there are 16 onboard mic preamps so the unit can operate as a stand-alone mixer on smaller shows.
In addition to using the onboard controls, the CDC Four can be controlled via the Cadac Remote Audio Android and iPad apps, and multiple tablets can be connected simultaneously to allow different operators to control different functions at the same time. A port accommodates either a FireWire expansion card enabling the streaming of input channels to a computer for recording and playback or a MADI interface card that can connect the console to a recording unit or to the CDC stage box.
Mackie DL1608
The company created quite a stir a couple of years ago with this mixer, and at only 3.9 x 11.5 x 15.5 inches, it’s barely larger than the docked iPad that it uses for the control surface.
Mackie has managed to squeeze a lot of features into the package, including 16 mixing channels, 6 aux sends and 2 effects engines. Up to 10 iPads can be used as remote wireless controllers.
Performers can access their own monitor mix wirelessly via an iPhone or iPod Touch. There is a 17th channel that can play back audio from a docked iPad, and the user can record directly to the docked iPad from the main outputs. I also really like the look and operation of the software and how easy it is to get around on.
Craig Leerman is senior contributing editor for Live Sound International and is the owner of Tech Works, a production company based in Las Vegas.