We were visiting at Solid State Logic headquarters in Oxford. We had a good look at the current lineup and took the time to learn the products more in depth.

UF1 DAW Control Centre

UF1 is the ultimate single fader controller for anyone who wants comprehensive control of their DAW, bringing SSL’s renowned advanced workflow to in-the-box productions. UF1 boasts a premium 100 mm motorized fader, dual high-resolution displays, soft-feel durable rubber keys and a weighted jog wheel, all encased in a robust metal chassis. UF1 offers complete control of a DAW’s pans, sends, plug-in control and more, plus the ability to customise 46 soft keys specifically to your workflow. Clear and insightful visual feedback, intuitive control and deep integration with the SSL Meter Plug-in and SSL 360° software – UF1 offers power and control never seen before from a controller of this size.


  • 100 mm high quality motorised SSL fader.
  • 2 x high resolution displays, including a large 4.3″ TFT LCD display for visual feedback of DAW track names, parameters, time display, the SSL Meter plug-in and 360°-enabled channel strips in the SSL Plug-in Mixer.
  • Dedicated Transport controls and weighted jog/scrub wheel for total session control.
  • Dedicated HUI and MCU DAW Profiles for:
    • Pro Tools, Logic, Cubase, Studio One, Ableton Live, LUNA, Pyramix.
    • UF1 can switch to control the MASTER fader in MCU protocol DAWs.
  • Proprietary control of the SSL 360° Plug-in Mixer
  • Seamless integration with the SSL Meter plug-in (perpetual license included), with the metering plug-in and control from the UF1 surface and SSL 360° Plug-in Mixer.
  • SSL Meter offers essential meter tools including Peak & RMS levels, K-System, stereo balance, phase corelation bar, Lissajous phase scope, 31-band RTA, VU and PPM metering.
  • Extend the functionality of UC1:
    • Control 360°-enabled channel strips such as Channel Strip 2 and 4K B directly from the UF1 surface and view the EQ curve on the UF1 large display.
    • Master mode for the Plug-in Mixer allows UF1 to control a different channel strip to the one that is selected on UC1.
  • Fully featured DAW Controller in a compact footprint. Control DAW Pans, Sends, Plug-ins and Virtual Instruments with ease.
  • 46 customisable user keys ready to assign your favourite DAW commands or keyboard shortcuts.
  • Secondary Transport row of keys can be customised to essential workflow shortcuts such as Loop on/off and click track on/off.
  • Fader Mode allows you to use the 4 V-Pots underneath the large screen to control 4 track volumes at the same time.
  • A large multi-purpose notched encoder allows for track banking, mouse wheel emulation for hands-on control and control over computer system volume.
  • Use UF1 on its own, or partner with UF8 and/or UC1 to enhance the functionality of both products.
  • 2 x assignable foot-switch inputs.
  • Up to 3 different DAWs can be connected simultaneously and switched between using the Layer keys.
  • Powered by the SSL 360° Software application.


  • 1 x 100 mm high quality, touch-sensitive motorised faders.
  • 5 x rotary endless rotary encoders with push.
  • Large 4.3″ IPS LCD TFT high-resolution colour display.
  • Additional 1.77″ LCD TFT high-resolution colour display.
  • Backlit RGB soft-feel rubber buttons.
  • All metal enclosure, finished with a brushed anodised top plate.
  • Included stands allow for 6 different elevation angles.
  • Connects to your computer via hi-speed USB

Width 205 mm / 8.07″, Height 265.9 mm / 10.46″, Depth 62.5 mm / 2.46″

SSL CONNEX enhances sound quality – makes sure you sound great in any scenario

SSL 2/2+ Loopback Firmware Update

SSL 12 is a 12-in/8-out USB bus-powered audio interface that enables you to get studio-quality audio into and out of your computer with minimal fuss and maximum creativity

SSL have revisited the 500 Series module range. The classic Bus Compressor, E-EQ and E-Dynamics processing modules have been given a fresh, sleek new look to match SSL’s latest brushed ‘steel’ look and feel, while an enhanced VHD+ module, a new stereo ULTRAVIOLET Equaliser (UV-EQ) module and SiX Channel (SiX CH) module bring exciting new modules and features to the range.



ULTRAVIOLET is a 4-Band SSL Stereo EQ based on Fusion but takes things a little further by adding two dedicated mid-bands, with a unique Focus control, for ultimate EQ flexibility.

ULTRAVIOLET draws careful selection of frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in a radio-ready sound for your mix.

Focus Mode:

Focus mode allows the user to ‘spot’ the problem frequencies they want to accentuate or attenuate. Pressing the ‘Focus’ switch in, automatically narrows the chosen Q setting further and increases the range of gain available beyond the normal +/-9 dB operation. In true flexible SSL workflow fashion, it transforms this sweet sounding, musical SSL EQ into a more surgical tool.

Key Features:

4-Band SSL Stereo EQ
Minimum-Phase High and Low shelving bands from Fusion.
2 fully parametric SSL Mid-Bands, with ‘Focus’ mode.
5 frequency selectable High-Pass Filter and Dedicated Output Trim.
Tech Specs:
Module signal: Stereo
LF Shelf EQ: +/- 9dB Gain at 30, 50, 70, 90Hz
HF Shelf EQ: +/- 9dB Gain at 8k, 12k, 16k and 20kHz.
HMF Parametric EQ: +/- 9dB Gain 400Hz-6kHz
LMF Parametric EQ: +/- 9dB Gain 100Hz-1.1kHz
Switchable HPF: OFF, 30, 40, 50Hz
Gain Trim: +/- 12dB
Switched Bypass: Yes


SSL SiX CH (SiX Channel strip)

The SSL SiX Channel is a single-width 500 Series mini channel strip including the Mic-pre, low and high frequency EQ, andthe single knob compressor. The SiX Channel is a simple way to add additional Mic/Line inputs to any professional audio device. It is also a flexible way to create a professional modular mixer from a ‘summing’ 500 Series rack unit.

SuperAnalogue Pre-Amp input:

A wide gain range, ultra low noise SuperAnalogue design provides both Line and Mic facilities. The nominal Line Input impedance is 10 kΩ. This can be changed to 1 MΩ using the Hi-Z switch making this input suitable for very high impedance sources such as passive guitar pickups without the need for an external DI box.

Other Features:

· Switched 12 dB/oct, 75 Hz HPF
· Polarity Switch of the rear XLR Mic Amp rack input.
· Five segment LED meter of the output signal level in dBu


The EQ is a gentle, broad stroke two-band design with high and low shelving filters at 3.5 kHz and 60 Hz, adjustable from +15 dB to -15 dB . Each band can be switched between shelving and bell curves. The bell curves change centre frequency to operate at 5 kHz and 200 Hz giving greater versatility from the two controls.


A versatile ‘one knob’ compressor. LED meter indicating the amount of gain reduction being applied. The circuit has automatic make-up gain to maintain signal level for the full range of threshold settings.

Tech Specs:

Module signal: Mono
Pre-Amp Gain: Variable from +6 to +72 dB (Mic), -3 to +63dB (Line)
Mic Pre EIN: Typically 129dB



The culmination of 40 years of mastering studio ergonomics experience, the new Solid State Logic UF8 controller delivers a new level of user focused design; insightful displays, intelligent fader and control access and function, multiple stand angles for user defined placement, and a production workflow enhancing control layout. The high-spec touch sensitive faders, encoders, and high-resolution colour displays, compliment the premium build quality that belie this new price point for an SSL controller.

Expandable to a 32 channel control surface with integration for all major DAW platforms, UF8 is ideally suited to music creation, production and mixing, post production and webcasting. The new SSL 360° control software manages multi-controller configurations, customised user keys, and DAW switching across multiple layers, allowing for seamless switching between numerous sessions.

Andy Jackson, SSL Studio Product Manager, comments “UF8 is an obvious next step in SSL’s development in ergonomically designed studio tools for todays’ mixers, producers and creators. The layout and build quality are all about our fixation with ‘human engineering’; creating products that keep you in the creative zone with high-speed access to every fader or control, without operator fatigue or discomfort.”


  • High-Quality 100 mm Touch Sensitive Faders
  • High-Resolution Colour Displays
  • 8 Endless Rotary Encoders
  • Custom Workflows
    5 banks of 8 user keys + 3 quick keys = 43 assignable keys per UF8
  • Intelligent Multi-Purpose CHANNEL Encoder
  • Mouse Scroll Emulation
    Control of any plug-in parameter you hover the mouse over
  • Integrates With All Major DAWs
    Workflow ready templates
  • Switch Control Between 3 Simultaneously Connected DAWs
  • Powered by the SSL 360° Mac/PC Application
  • Expandable System
    Chain 4 UF8s for a 32-channel SSL control surface
  • Includes SSL Native Vocalstrip 2 & Drumstrip plug-ins

“Heti alusta asti oli selvää että jotain tuollaista olin miksauksiini kaivannutkin”

Jututimme Äänivelho Miitri Aaltosta hänen uusimman työrupeaman tiimoilta.

Kerro hieman itsestäsi ja miten päädyit audio-alalle?

-Olen 45-vuotias muusikko, äänittäjä, miksaaja ja tuottaja. Olen tehnyt hommia musiikin parissa ammatikseni 25 vuotta, mutta siitä lähtien kun sain kitaran lapsena, yhdeksän vuotiaana, olen harrastanut musiikkia intohimoisesti. Vuonna 1996 aloitin studiohommien opettelun Imatran Music- Bros studiolla, oppisopimuksella. Tämän lisäksi sain tehdä sekä valomiehen että saliäänimiehen hommia. Jälkimmäisiä päädyin tekemään vuodesta 2004 lähtien kymmenen vuotta Mokoma-orkesterille. Vuonna 2009 sain kutsun soittamaan kiertuekitaristiksi Kotiteollisuus- orkesteriin. Vuonna 2014 kiertuekitaristin pesti muuttui täysjäsenyyteen, ja sillä tiellä ollaan oltu. Tämä soittamisen ja studiotyön vuorottelu sopii minulle hyvin, sillä molemmat tontit tuntuvat mielekkäiltä ja luontaisilta. Olen ryhmäpelaaja, ja koen olevani parhaimmillani saadessani pallotella ideoita ja ajatuksia erilaisten ihmisten kanssa. Vuorovaikutus ja yhteisöllisyys ovat keskeisiä, tekemisiäni määrittäviä asioita.

Photo: Tero Nordlund

Kerro hieman laitteistostasi ja työskentelytavoistasi?

– Pidän ajatuksesta että studiossa on miksaustiski. Se lienee joku vanhan liiton päähänpinttymä, mutta mikään ei ole hienompaa kuin istua ison konsolin ääressä studiossa. Se on lähes hengellinen kokemus, alttari.
Pidän myös hybridimiksauksen ajatuksesta, jossa pyöritän DAWista summia analogitiskin kautta jälleen DAWiin. DAWina käytän sekä Pro Toolsia että Cubasea. Muuntimina minulla on Avidin I/O:t, joista saan 24 analogi In/Out. Insertointi, mikäli haluan hardwarea käyttää, tapahtuu Midas-tiskini insertteihin, jonka master -insert on oleellinen osa signaalitietäni. SSL Fusion on masterissa ensimmäinen, Aphexin limitteri toinen, Empirical Labsin Fatso kolmas ja Klark Teknikin Eq neljäs. Kuuntelu minulla on Aura Audion F1 pari ja F10 subi, jotka suuntaavuutensa johdosta toimivat minun studiossani täydellisesti.

Photo: Kari Päivärinta

Miten SSL Fusion muutti työskentelyäsi tai mikä siinä oli “se” juttu joka sai sinut innostumaan laitteesta?

– Olin lukenut Fusionista arvosteluja ja tutustunut tuotteeseen aiemmin kunnes, kuin sattumalta, sain mahdollisuuden testata laitetta käytännössä uuden Stam1na-levyn, Novus Ordo Mundi miksauksessa. Heti alusta asti oli selvää, että jotain tuollaista olin miksauksiini kaivannutkin. Saturaatiota, eq:ta, kompressiota (kahdenlaista) ja stereolevitystä. Periaatteessa samoja asioita mitä masteroinnissakin tapahtuu ja tehdään, mutta nyt nämä asiat vain pysyisivät omissa käsissä. Ensipuraisu oli mainio. Ja toinen. Käytin Fusionia master -insertissä ja tämän johdosta tuntui että asioitten equtus ja paikoilleen hakeminen DAWissa helpottui huomattavasti eikä tarvinnut läheskään niin paljon tehdä kanavakohtaisia ”vääntöjä”. Tätä pidän todella hyvänä asiana, sillä mitä vähemmän plugineja, sitä ”terveempi” soundi, näin koen. Erikseen lienee pakko mainita Fusionin stereolevitys -osio. Tuntuu todellakin että miksaus vain ”kasvaa” mitä enemmin sitä levittää, mutta tässäkin täytyy koittaa pitää maltti mukana ettei homma lähde käsistä, se on toki tämän äärellä vaikeaa… Kaiken kaikkiaan Fusion on, paremman ilmaisun puuttuessa, soundin parantaja. Laitat sen päälle, niin asiat alkavat kuulostamaan paremmalta. Kätevää.

Millä tavoin tulet käyttämään Fusionia tulevaisuudessa?

– Tässä nykyisessä konfiguraatiossa, eli master -insertissä tulen käyttämään jatkossakin, ainakin toistaiseksi. Toki kyllähän tuo laite sopisi mihin vaan. Esimerkiksi koskettimille se voisi olla erinomainen juuri tuon stereolevityksensä johdosta. Tai taustalauluihin tai kitaroille, you name it!

Miten ala on muuttunut ja miten näet tulevaisuuden?

– Vuosituhannen taitteessa sain tehdä paljon demoja bändeille, mikä oli äärimmäisen hyvä ja hedelmällinen maaperä testata ja kokeilla kaikkea uutta ja inspiroivaa. Tänä päivänä demottelu studiossa on jäänyt pois käytännössä kokonaan. Jengi tekee demoja kotonaan eikä kenelläkään ole enää mitään intressiä tulla studioon kokeilemaan ja kuluttamaan rahaa. Tämä on toki kaksiteräinen miekka, jos ajatellaan nuoria vasta-alkajia tai muuten vaan kokemattomia. Studiossa jonkun ammattilaisen opastuksessa moni sudenkuoppa saattaisi tulla kierretyksi nopeammin kuin yksin puurtaessa. Toisaalta taas kotona asioita voi hieroa mieleisekseen niin kauan kuin haluaa ja hermot kestää. Budjetit ovat nykyisin pienemmät levymyynnin romahtamisen seurauksena, se on selvä. Toisaalta se on korostanut esituotannon, eli juuri näiden demojen tärkeyttä prosessin olennaisena osana. Vaikka kaikilla on tänä päivänä käytännössä studio kotonaan, niin uskon ja luotan siihen että kyllä tulevaisuudessakin äänen ammattilaisia tarvitaan. Ei käsityötaito ja sen arvostus katoa. Meidän tekijöiden täytyy vaan pysyä ajan hermolla, kuunnella junioreja ja ottaa opiksemme.

Mikä asia on jäänyt erityisesti mieleen?

Periaatteessa olen pyrkinyt unohtamaan kaiken, ja osin onnistunutkin 🙂



Miitri Aaltonen

“From the very beginning, it was clear that something like this was missing from my mixes.”

We talked to Soundwizard Miitri Aaltonen about his latest work.


Tell us a little about yourself and how did you end up in the audio industry?

– I am a 45-year-old musician, recording engineer, mixing engineer and producer. I’ve been doing music professionally for 25 years, but ever since I got the guitar as a child, nine years old, I am passionately interested in music. In 1996, I started studying studio technology at the Music-Bros studios in Imatra, with an apprenticeship. In addition to this, I was working as a lighting operator and a FOH mix engineer. Since 2004, I have been making the latter for ten years for the Mokoma Orchestra. In 2009, I was invited to play as a tour guitarist in a band called Kotiteollisuus. In 2014, the tour guitarist job turned into a full membership, and that’s been the way to go since. This alternation of playing and studio work suits me well, as both plots seem meaningful and natural. I am a team player, and I feel at my best to have the opportunity to bounce ideas and thoughts with other people. Interaction and communication are key things that determine what I do.


Tell us a little about your hardware and your workflow?

– I like the idea of ​​having a mixing desk in the studio. It’s probably some old school obsession, but nothing is nicer than sitting in front of big console in the studio. It is almost a spiritual experience, the altar. I also like the idea of ​​hybrid mixing, where I spin sums from DAW through the analog mixer back to DAW again. As a DAW, I use both Pro Tools and Cubase. As converters, I have Avid I/O’s from which I get 24 analog In/Outs. The inserts, if I want to use the hardware, takes place on the inserts of my Midas desk, where the master insert is an integral part of my signal path. SSL Fusion is first in the master, Aphex limiter second, Empirical Labs Fatso third and Klark Teknik’s Eq fourth. For monitoring I use an Aura Audio F1 pair and an F10 sub, which due to their directivity work perfectly in my studio.


How did SSL Fusion change the way you work or what was the “thing” that made you excited about the device?

– I had read reviews about Fusion and got to know the product until by chance, I had the opportunity to test the device in practice in a mix of a new Stam1na album, Novus Ordo Mundi. From the very beginning, it was clear that something like this was missing from my mixes. Saturation, eq, compression (two types) and stereo widening. Basically the same things that happen and are done in mastering, but now these things would just stay in your own hands. The first bite was great. And another. I used Fusion in a master insert and as a result it felt that EQ’ing and getting things in place became much easier and I didn’t have to do nearly as much channel-specific “twisting”. I think this is a really good thing, because the fewer plugins, the “healthier” the sound, that’s how I experience it. It may be necessary to mention the Fusion M/S section separately. It really feels like the mix just “grows” the more it spreads, but here too you have to try to keep it moderate so that things don’t get out of hand, of course it’s hard to do this… Overall, Fusion is, in the absence of better expression, a sound enhancer. You put it on, and things start to sound better. Convenient.


How will you use Fusion in the future?

– In this current configuration, i.e. in the master insert, I will continue to use it, at least for now. Of course, that device would fit anywhere. For keyboards, for example, it could be great because of that stereo widening. Or for backing vocals or guitars, you name it!


How has the industry changed and how do you see the future?

– At the turn of the millennium, I got to do a lot of demos for the bands, which was an extremely good and fertile ground to test and try everything new and inspiring. Today, demoing in the studio has been left out virtually entirely. Musicians are making demos at home and no one has any interest in coming to the studio anymore to try and spend the money. This is, of course, a double-edged sword, if you think of young beginners or otherwise inexperienced. In the studio, under the guidance of a professional, many pitfalls could become sorted faster than when fiddling alone. On the other hand, at home, things can be tested at will as long as you want and your nerves last. Budgets are lower today as a result of the collapse in record sales, that’s clear. On the other hand, it has emphasized the importance of pre-production, that is, these demos, as an integral part of the process. While everyone practically has a studio at home today, I believe and trust that yes, sound professionals will be needed in the future as well. No craftsmanship and its appreciation will disappear. All we need to do is keep up with the pace, listen to the juniors and learn our lessons.


What has been particularly memorable?

– Basically, I have tried to forget everything, and to some extent succeeded :).


Learn more about SSL Fusion: https://www.solidstatelogic.com/products/fusion

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