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SSL AWS-948: most revolutionary console since the 4000 series
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9th November 2010
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SSL AWS-948: most revolutionary console since the 4000 series

After having spoken with SSL and dived into the manual (250 pages! this thing is no joke) for three solid days, I have to say the new AWS-948 has to be the most enticing and revolutionary console since the 4000 series came to the market.

There have been milestone desks in the recording industry, starting with Neve's 80xx series, after which came the SSL 4000, itself stablished as the gold standard for mixing for decades. Newer landmarks set the Capricorn, Oxford and the ICON on their own. I believe now the AWS-948 is to become the next inflexion point in the biz, for it brings essentially the best of them all (4K/9K tricks, Digital-DAW control, st CHs...) in a compact package and at a price point and TCO (total cost of ownership) never thought possible before.

As I've read the fat manual for you let me share the news. Here are the highlights of the new AWS-948:

-ALL input channels are now STEREO, sporting st EQs and st inserts
-Dual path channel topology throughout the console, freely selectable on a ch per ch basis
-48 automatable moving faders (!)
-Console/Session management from a (OS independent) Java app , simultaneous full control of 2 DAWs (via Ethernet), DAW-based automation (for micro-automation) besides SSL's classic automation, plus Total Recall with a new AutoScan feature
-Compact footprint, plugs to the wall and draws only 600w.


The biggest news here are the Stereo EQs and (finally) a TRUE "small+large fader" functionality that so many engineers have come to love. On the older AWS and Duality, the pot with a ring of LEDs (V-POT) controlled just the DAW. Now on the 948 it is ALSO a second analog path, as with good ol' "small fader" (applause!)
The 4000's console status (REC, MIX, VCA to Monitors, Ready Group, Ready Tape.. ) make a comeback as well, ideal for tracking, overdubbing and mixing, back and forth, instantly. The three console modes are now called "Track", "Mix" and "Stereo":


-TRACK (aka REC)
The Mic pre or main line input goes to the small fader (VPOT), which will drive the outputs to tape/DAW, while the large fader is fed by that ch out to build a monitor mix. This mode will be used for band tracking from scratch. By pressing RETURN the large fader receives tape/DAW return instead, great for overdubs or to build a mix while tracking as in the old days. The channel strip's resources (EQ, inserts, FX sends, bus outs..) can be put in either path at will so you can either track or monitor "wet". Faders can also be flipped at will.
Here there's also an AUTO-MON/CUE function, so that performers can hear themselves with or without tape return automatically, depending on the track's rec/play status, ideal for punch-ins (full zero latency drop-in). There's a similar function for the Control Room.

-MIX
The large fader receives tape/DAW, while the small fader is fed by that large fader (pre or post). This mode is great to do automated FX sends from the small fader, just like on a 9K! By pressing RETURN, the small fader receives a second input instead (like another DAW return or whatever you plug into it), allowing automated 48ch mixing.
The channel strip's resources (EQ, inserts, FX sends, bus outs..) can be put in either path at will, like FX1 send on the small fader, FX2 on the large, etc. Faders can also be flipped at will (which you'll need to do, to write automation on the small faders).
That the digital scribble strip has two lines comes very handy, so you'll never be lost when you have two different tracks/sources on a single ch strip.

-STEREO
The ch strip receives a stereo signal and treats it in stereo, including st inserts and a very cool st EQ (with just one set of controls for both L+R!). The VPOT now acts as a balance and the pan turns into a width control to spread or narrow the signal between the two speakers. Did you say spread BGs? This mode is great to plug those MPCs while tracking, to mix stems, or handling stereo tracks (overheads, toms, pianos, BGs.. etc) while mixing.



Now, the BEST OF ALL is that these console modes can be set globally, or COMBINED as desired on a CH per CH basis. This is a total REVOLUTION! Now you can have some ch strips in stereo for those stereo keys, next to a few strips in dual path for parallel compression or 2nd input, followed by a strip with the LVOX in mono with an automated FX send on the small fader...,etc, whatever you can think of really. Or just simply send 48 mono tracks from the tape/DAW and have 48 analog automated faders in front of you, while you sit at the sweet spot all the time. This is totally INSANE and sets a new landmark in rec consoles!




As for its dual-path, the AWS-948 allows all the cool tricks from the classic SSL 4000 series. Let's do the old one of multing a snare for parallel compression:

We get the snare direct from tape/DAW into the console on the large fader. We might insert a Comp and EQ it to taste (or viceversa, you decide) and then send it back (pre or post fader.....or just mult it clean from the DAW) into the small fader (VPOT), where we'll insert, say, one of the desk's mono Gate/Comps -with a fast attack, high ratio and gated to hell, so we end up only with the attack, the "THWACK".
Now we got the bed snare on the large fader and the "thwack" on the small fader (VPOT) which we'll BOTH automate independently through the song, to have more snare punch on the intro, chorus and bridges.
We'll also add a room reverb and a plate to the large fader with the (post) CUE and FX3 sends, while the small fader gets a gated reverb with the FX2 send. But rather than using the main FX2 bus, lets just use a dedicated send here, so we'll route ONLY this channel's FX2 send to the ch's direct out, or to one of the mono busses.
At the same time we'll send both large and small fader to the Mix AND to the stereo Rec bus, so that we can insert a st comp on that Rec bus (where the entire kit is also routed) to have a parallel drum-compressed submix. Further on when individual rides are written, we can group automation on those two small and large faders, for precise trims or cuts as a whole snare sound.

Voilà. And we've used just a single ch strip! Even on a 9K, you'd need two chs to do ALL that, as the small fader (VCA) didn't physically move (where's my level?) and couldn't be grouped.



The possibilities of this dual path/in-line topology are, just like on a 4K/9K, endless. On a nutshell: on the AWS-948 there's essentially one stereo or two mono signal paths with 2 AUTOMATED faders per strip, where all processing (EQs, inserts, FX sends, busses) can individually be shared among both paths. Therefore you can send two different tracks to any ch strip or use the dual paths to mult signals and treat them independently, automate groups or FX returns.. etc. On the other hand, by using the same signal on both paths, you could as mentioned automate FX sends on selected channels, just like on the 9K. You don't get better than this.


Stereo, mono or dual-path ch strips, 48 automated faders, stereo EQs, dual DAW control, AWSomation plus DAW-based automation, very fast TR, 5.1surround, stems mixing, etc. This goes beyond what you could do on a 4048 E/G+. The 948 looks to me as one of the most powerful, revolutionay and above all, INNOVATIVE consoles in decades, it does stuff that no other console can, old or new, regardless of price. Well done SSL, I'm sure Colin Sanders would be proud.


Check out a bit of its modes and functions here:



YouTube - SSL AWS428 AES 2010 San Francisco Rock oN Report
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#2
9th November 2010
Old 9th November 2010
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droool.
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9th November 2010
Old 9th November 2010
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A bank robbery gonna happen today...
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9th November 2010
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What is the price?
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9th November 2010
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Thanks a lot jindrich!
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9th November 2010
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My dream machine. Does this mean the price tag on the older AWS will come down? Are there 16 channel versions of this available?
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9th November 2010
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Quote:
Originally Posted by crille_mannen View Post
What is the price?
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9th November 2010
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does it sounds like a 4000? id say lets give it a year until we could call it revolutionary.. it does look good on paper, also she looks amazing.
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I am not familiar with the sound of the AWS900 but according to 4000 users on this forum, the AWS serie doesn't sound like the 4k. I'm not sure it's even supposed to. However, beyond its amazing flexibility, this AWS948 should save its user lot on his monthly electric bills. This argument only is a huge factor to consider when buying a console nowadays...I know it would be for me... Imagine your electricity bill $750 cheaper every month vs owning a 4k serie. Over a 4 years period, you saved $36000!!!! That's a shit lot of money!
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10th November 2010
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thanks Jindrich for taking the time, yet again, to thoroughly digest all of that information for us and presenting some choice highlights so well.

i must agree, it is a very powerful console, especially for it's size. yowza.

combined with, oh, maybe 8 E Series Dynamics Modules in an X-Rack... do these modules have Total Recall and does the new TR Autoscan also work with the X-Rack when connected to the console?
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10th November 2010
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Looks like a great console. I just hope several local studios with AWS900s will be looking to upgrade so fast that they'll let their current consoles go for almost nothing. That's just me being selfish, though!
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10th November 2010
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mmm, over 800 views and hardly any discussion. I expected 4K/9K users to step up and compare between them or ask the rethoric "but where are the CH Dynamics?". I guess there are no old school engineers in GS anymore.


Quote:
Originally Posted by dubrichie View Post
combined with, oh, maybe 8 E Series Dynamics Modules in an X-Rack... do these modules have Total Recall and does the new TR Autoscan also work with the X-Rack when connected to the console?
XRACK modules have always had TR and the AWS could always integrate XRACKs into its Total Recall system.


Quote:
Originally Posted by PaulMac View Post
Looks like a great console. I just hope several local studios with AWS900s will be looking to upgrade so fast that they'll let their current consoles go for almost nothing. That's just me being selfish, though!
Indeed. I seem to recall Real World studios' AWS900+, the one in the Production Room, put for sale for around £25k. I guess we might see in the coming months some studios/producers upgrading and therefore a great opportunity for those looking to get a s/h AWS for a good price.
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10th November 2010
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Quote:
Originally Posted by jindrich View Post
XRACK modules have always had TR and the AWS could always integrate XRACKs into its Total Recall system.
thanks, i wasn't sure if ALL of the X-Rack modules had full TR.

Quote:
Originally Posted by jindrich View Post
Indeed. I seem to recall Real World studios' AWS900+, the one in the Production Room, put for sale for around £25k. I guess we might see in the coming months some studios/producers upgrading and therefore a great opportunity for those looking to get a s/h AWS for a good price.
i worked on that console several times. breaks my heart...
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10th November 2010
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HA!

I'm old school, and that is a consideration compared to a cut down 4024 which would run you half the cost. Do the automation in the DAW and then your down to one PSU - there's your electrical savings. Also the 4000 is serviceable in house (kind of a big deal). The nice thing about the 4k is assigning channels as busses, does the AWS facilitate this?

This is not me being negative, I think this 948 sounds like a fantastic board - one that I would consider buying and definitely in the spirit of SSL's history.
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10th November 2010
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Quote:
Originally Posted by jordanvoth View Post
Does this mean the price tag on the older AWS will come down?
Yes, very much. thumbsup
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10th November 2010
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Maybe, but the real question is what does the 924 offer over the old 900 (which is more appropriate comparison) that would cause the 900 to take a dump in resale value. If there's not much difference, the old ones will probably hang on to the 50k mark.
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10th November 2010
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It looks very nice. Just wondering, using a stero EQ on a mono signal is just the same as using a true mono EQ?
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10th November 2010
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Quote:
Originally Posted by jindrich View Post
mmm, over 800 views and hardly any discussion. I expected 4K/9K users to step up and compare between them or ask the rethoric "but where are the CH Dynamics?". I guess there are no old school engineers in GS anymore.
This will make a great console for my B-room. ;-)

Does that help?
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11th November 2010
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Quote:
Originally Posted by kats View Post
I'm old school, and that is a consideration compared to a cut down 4024 which would run you half the cost. Do the automation in the DAW and then your down to one PSU - there's your electrical savings. Also the 4000 is serviceable in house (kind of a big deal). The nice thing about the 4k is assigning channels as busses, does the AWS facilitate this?
I'm enamoured with the 4000 series. It's been THE industry standard for 2 decades and the desk every other one was measured against. Just by sitting in front of a 4K, you get that feeling that 'something's gonna happen'. Tracks sound like a record just by piping them through it.

For the first time though, there's an SSL I'd prefer rather than a 4K. You're right that a cutback 4024 runs on just one PSU. But the 948 is much more than a 24ch 4000. In fact, I'd compare it at least with a 4040 WITH Ultimation (which requires the tower supplies).

When you're spreading tracks on a console, quite a lot of those tracks come in stereo (toms, overheads, drummix, AGuit, Piano, Hammond, BGs...) and therefore you end up using two chs for each on any given desk. On a 948 though you'll use just one, which means if you have 10 st tracks then it's like having 20ch strips from a 4000. As there are 14 more strips on the 948, that's now like having a 34ch console.

Then you start multing or need to automate groups or certain FXs and you've used another 8 odd strips more. On the 948 you can put strips in dual path, WITH AUTOMATION on BOTH small and large fader: that's where you can automate those. We're now at a count of 42, as you can't put those on a small fader on a 4000 because you need automation to cut out those noisy FX. All that's left are VCA groups, but you sort of have them on the 948 by cleverly using the remaining small faders. There it is (to me), a 4040G+ recreation.

Of course the 4000 comes with Dynamics on each strip, but you can have as many or a few as you want on an XRACK or two and integrate them with the 948, TR included. On top of that the 948 turns into a very efficient DAW controller by the hit of a switch, which puts the desk in an entire other level (once you try it you never go back). On the other hand recalling an AWS948 (XRACKs included) is several times faster than on any given 4K.

Don't get me wrong, A 64ch+ 4000 will always be a great console.. in a bigger commercial facility helped by two assistants and a tech on hand. On a smaller scale, with the 948 you can finally have all the classic 4K resources in a compact, affordable, energy efficient, low-maintenance and fast to recall console.
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11th November 2010
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Quote:
Originally Posted by jindrich View Post
Don't get me wrong, A 64ch+ 4000 will always be a great console.. in a bigger commercial facility helped by two assistants and a tech on hand. On a smaller scale, with the 948 you can finally have all the classic 4K resources in a compact, affordable, energy efficient, low-maintenance and fast to recall console.

This quote should be on the sales brochure, it'd make a lot of studio owners think long and hard.

These issues are the issues that come up almost daily around here. I don't think the G+ would ever go, but my god in some ways things could be a lot lot easier.
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11th November 2010
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The biggest difference between the 4000 series and the AWS (super analogue) is the better clarity, 3D, width, and depth on the AWS. Of course, many people would sacrifice that for the overdrive characteristics of the older 4000 series. I remember when all the Neve snobs(including myself) wouldn't touch an SSL 4000 series because of inferior sonics and then many switched to SSL when the sonically more transparent J series came out.

The AWS 948 does look like an amazing new milestone in high end analog console design and affordability. Now let's see the new stereo dynamics modules for Xrack!!!
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11th November 2010
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Quote:
Originally Posted by cosmos View Post
does it sounds like a 4000?
no, and depending on who you speak to that could be a good thing.
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11th November 2010
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^Yeah ok, but SSL AWS is not trying to emulate the sound of a 4K board apple vs oranges?
yall dont be too sensitive

on-topic, IMHO i think new AWS is slighty over-priced. especially in these hard times.
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i reckon the price will come down in about 6 months.

i hope...!
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theother, you had some interesting posts - why delete them? Lately I see people spending the time to write detailed posts about how they feel, only to delete them minutes later... is it frustration and then regret? You write now "can't be bothered" but your definitely bothered when you wrote them.
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12th November 2010
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Quote:
Originally Posted by dubrichie View Post
i reckon the price will come down in about 6 months.

i hope...!
In a few months the dollar will be at an all time low compared to the pound so it will actually be more expensive.

And i hate to say it on the looks and feel side you can't compare a 4000 to this. When clients walk in a room and they stand in front of a 4k,8K,9K they always make a remark like "this is how it used to be done when you made it to the big time".

They start pulling out the cameras and taking pictures of themselves in front of it.

When your in front of an AWS(and i got to work on a rig that had 2 of them strapped together) its just a different response all together.

Lets just say not that many snapshots.
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12th November 2010
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Quote:
Originally Posted by jindrich View Post
mmm, over 800 views and hardly any discussion. I expected 4K/9K users to step up and compare between them or ask the rethoric "but where are the CH Dynamics?". I guess there are no old school engineers in GS anymore..
i agree and often wonder this it, i would love for a console like this to have a channel dynamics section as well and be able to mix all on the console.
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12th November 2010
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And i hate to say it on the looks and feel side you can't compare a 4000 to this. When clients walk in a room and they stand in front of a 4k,8K,9K they always make a remark like "this is how it used to be done when you made it to the big time".

They start pulling out the cameras and taking pictures of themselves in front of it.
Yep.
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When your in front of an AWS(and i got to work on a rig that had 2 of them strapped together) its just a different response all together.

Lets just say not that many snapshots.
i'd take a snapshot of myself in front of a duesenberg but i wouldnt want to drive one to work every day.
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12th November 2010
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Bummer I missed whatever "theother" wrote. What was it Steve? I still love reading your rants, which I understand are actually adressed more to the industry/state of the biz rather than to SSL.
Quote:
Originally Posted by thethrillfactor View Post
And i hate to say it on the looks and feel side you can't compare a 4000 to this. When clients walk in a room and they stand in front of a 4k,8K,9K they always make a remark like "this is how it used to be done when you made it to the big time".

They start pulling out the cameras and taking pictures of themselves in front of it.

When your in front of an AWS(and i got to work on a rig that had 2 of them strapped together) its just a different response all together.

Lets just say not that many snapshots.
Thrill, I mentioned it before, the 4K is my all time favourite desk and just its sheer presence speaks to you and everybody else in the room like, well, "this is it". But let's not forget those consoles were designed several decades ago, at a time when the industry went with VERY fat budgets, when studios had a couple of assistants, a runner and a 24/7 tech on permanent staff. Those were times when recording was made on Tape and people/producers/clients were used to wait for tapes to load and rewind, as well as being used to go to have lunch while a console recall was taking place, as DAWs with their instant everything didn't exist.

Times, demands, client expectations and, specially, budgets change. SSL 4/9K (Neve VRs...) are, whether we like it like it or not, a thing of the past, just like dynamics on a record (sigh! I can't believe I wrote this).
As cool as a 4000 is, the question is, would you get a 20 year old "classic model" from Ferrari/Porsche/Audi/Range Rover to drive on a DAILY BASIS, or rather a brand new car from those manufacturers? (don't forget gasoline current prices). Because that's what you opt to do by getting a 20 year old 4000 these days (which I reckon is still an option for some).


When Colin Sanders introduced the 4K in the late 70s, it was a technology breakthrough, a truly INNOVATIVE console that did what no similar product could, but it also was a piece of recording technology adapted to its time. All same considerations can be applied today to the new AWS948, IMO.

I know a few people that had to replace their aging 4000s with something else. They ended up getting an ICON, most of all because they needed a "console with a big presence". But you know what? They spend their time now mostly parked in the center section with the KB and trackball and use nothing else but the faders. And do they miss the "analog iron sound"? You bet.

The new AWS948, with its new revolutionary features, can replace a lot of 4Ks, but I must recognize its size is a bit of a mixed blessing. It's actually great for the engineer who has everything at hand now, but it might look a bit deceiving to some clients. Time to dress it up with a pair of 12U nine degree angled wings: FX and XRACK Dynamics on the left and 1084s and some Pultec on the right, and don't look back. Problem solved.
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