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Sasha redefines his studio environment with SSL equipment

Interesting article on Sasha and his "team" of producers. They recently started using a bunch of SSL gear to bring in all their old analogue gear to Logic and Ableton Live.

http://www.solid-state-logic.com/users/all/sasha.asp

Of course when you look at the pictures, I can see at least $15,000 worth of stuff, not including the synths themselves.

is it just soundcards or what is it?

Nah, they are using the Alpha Link for AD, then running things out individually or in busses to a X-Rack with a bunch of input modules, and a master buss compressor. It looks to me like they are running AD into the Alpha Link then ADAT out into an RME Fireface. In the pics you can also see a couple of distressors, a UAD 6176, and a TLA Valve compressor, and they are clocking with an Apogee Big Ben. It seems like they are capturing the initial sounds through the Alpha Link and then running the audio back out through the X-Rack where they can route it into any of the outboard compressors or EQ's, then back into the Alpha Link. Pretty slick stuff.

lol i hope this will be included in his live setup

Nope, this is studio only. This type of equipment would be overkill for a live setup.

quote:

Originally posted by Eric J Nah, they are using the Alpha Link for AD, then running things out individually or in busses to a X-Rack with a bunch of input modules, and a master buss compressor. It looks to me like they are running AD into the Alpha Link then ADAT out into an RME Fireface. In the pics you can also see a couple of distressors, a UAD 6176, and a TLA Valve compressor, and they are clocking with an Apogee Big Ben. It seems like they are capturing the initial sounds through the Alpha Link and then running the audio back out through the X-Rack where they can route it into any of the outboard compressors or EQ's, then back into the Alpha Link. Pretty slick stuff.

i totally understood that

im not sure i get what it realy do.

From what I can tell, this is how they have it set up:

The Alpha Link is an Analog to Digital and Digital to Analog converter. So basically, the run all their hardware sound sources (read: synths) into the inputs on the Alpha Link and then run the outputs of the Alpha Link into an RME Fireface via ADAT. They connect the ADAT outputs of the Alpha Link to the ADAT inputs of the RME Fireface. The signal chain looks like this:

Hardware Synth -----> Alpha Link ------> RME Fireface ------> Computer

So they write a part on the hardware synth and then record it into the computer as an audio file using the above signal chain.

Then, they have the option of sending that recorded audio file back out to other outboard hardware processors for additional processing. Here is how it appears they have that set up:

They have some of the outputs from the RME Fireface or the Alpha Link going into the X-Rack. The signal chain looks like this:

Computer -----> RME Fireface ------> Alpha Link -----> X-Rack

Now, you have to understand how the dope the SSL X-Rack really is. Basically is a configurable hardware rack unit. You have 8 rack "spaces" that you can insert any type of module you want into. SO you can configure your X-Rack with channel strips, compressors, EQ units, whatever fits your needs. All this comes with total recall, so you can always go back and work on older projects, unlike with a standard mixer where you'd have to reset all the knobs and sliders. Pretty cool!

Here is the URL to the SSL site where they have the exact configuration described that Sasha's guys are using: SSL X-Rack Configured for Summing

Anyway, the X-Rack as they have it configured is setup to function in the same way an outboard hardware mixer would function. According to the article, they have 4 Four input modules and a single 8 input module, for a total of 24 inputs.

SO all they have to do is chain the outputs from either the Alpha Link or the Fireface into the X-Rack inputs and they can then route the signal to any of their outboard hardware compressors or EQ's via the X-Rack OUTPUTS and then back INTO the computer to record the final output.

The signal chain looks something like this:

X-Rack (output) ----> Compressor -----> X-Rack (input) -----> X-Rack (output) -----> Computer

This allows them to run any signal coming into the X-Rack through one or more of their outboard units and record the results back into the computer. its a very flexible setup, especially when you throw in the total recall with the X-Rack.

Now, there are probably some subtle differences in the setup that I could not account for just from the article, but based on what they were talking about, this is probably very close to how they have it set up.

Hope that makes more sense to you.

Well shit, it doesn't take all that to make white noise effects!

quote:

Originally posted by david.michael Well shit, it doesn't take all that to make white noise effects!

White noise effects sound better with lots of analog.

Those SSL racks sound fucking amazing. HOWEVER, for the average producer, who Sasha definitely is not, the Waves SSL plugins will do you just fine and costs less than even a single SSL unit.

For example, the compressor seen on his SSL rack costs $2,600 : http://www.mercenary.com/xrackmasbuscomp.html

Whereas the entire Waves SSL collection is only $750 : http://www.sweetwater.com/store/detail/SSLNat/

quote:

Originally posted by StanVoid i totally understood that

quote:

Originally posted by alanzo Those SSL racks sound fucking amazing. HOWEVER, for the average producer, who Sasha definitely is not, the Waves SSL plugins will do you just fine and costs less than even a single SSL unit. For example, the compressor seen on his SSL rack costs $2,600 : http://www.mercenary.com/xrackmasbuscomp.html Whereas the entire Waves SSL collection is only $750 : http://www.sweetwater.com/store/detail/SSLNat/

Oh yeah, I completely agree here. The need for things like this is diminished for the average producer, especially if you are not making much money off of your work. The Summing config they have for the X-Rack clocks in at just under $10,000. So unless you have money to burn, getting into a set up like they have is going to run you a pretty penny.

For fun (im bored at work), I added up the cost new for all the stuff I could see in the pictures:

• SSL X-Rack with 4 Four line inputs, 1 8 input + St. Buss Comp - $9,600
  
• SSL Alpha Link I/O - $2,700
  
• RME Fireface 800 - $1,699
  
• Apogee Big Ben - $1,300
  
• Empirical Labs Distressor EL8 x 2 - $1,350 x 2 = $2,700
  
• Eventide DSP4000 Ultra Harmonizer - $1,400 (used)
  
• TL Audio C1 Valve Compressor (used) - $1,000
  
• UA 6176 Channel Strip - $2,399
  

quote:

Originally posted by Eric J Going the hardware route can get very expensive, very fast.

part the reason im selling it before i get addicted to it.

I wonder how much different Sasha's tracks would sound if they were mixed with a less expensive setup.

i cant come to mind any of his tracks really. well belfunk was awesome but its older than most of us.

quote:

Originally posted by MrJiveBoJingles I wonder how much different Sasha's tracks would sound if they were mixed with a less expensive setup.

Well, in the article, they complained about trying to use Abletons' internal plugins and how things would "stick out" in the mix or weren't just sitting right.

Honestly, when I read the article, it seems to me like these are a bunch of guys who are used to going the hardware route. When they tried to do everything ITB and when they did not feel comfortable, they decided to go back to "the way they used to do it". A lot of it is just a matter of this particular set of producers feels more comfortable in the hardware realm, than someone who learned everything through software, as many up and coming producers are doing now.

While I do agree that running any type of source sound through something like an SSL unit or a good valve compressor is going to give it a pleasing "character", I am still of the belief that you do not NEED to have this amount of stuff if you know what you are doing in the software world. There is no question that running a hardware OR software synth through a nice compressor or console unit is going to make it sound better, that's just what those type of units are good at. Still, I and many others seem to have no problems getting great sounds out of software emulations as well, it just may take a bit more work.

quote:

Originally posted by palm i cant come to mind any of his tracks really. well belfunk was awesome but its older than most of us.

Damn, dude, you must be really young.

it was figurearly speaking or how you say it. im old enough to have quarterlifecrisis.

btw if u would reccomend only one external unit for mastering (compressor/maximizer etc) what would it be?

quote:

Originally posted by palm it was figurearly speaking or how you say it. im old enough to have quarterlifecrisis.

Haha, I hear you.

quote:

Originally posted by palm btw if u would reccomend only one external unit for mastering (compressor/maximizer etc) what would it be?

Honestly, I'm a big fan of the UA 1176 compressors. I wouldn't use one for mastering, but they are outstanding hardware compressors.

The thing is, if you are going to pick up gear in that range, you'd better have pretty good AD/DA conversion, or it's not going to matter how good the compressor sounds.

quote:

Originally posted by Eric J Haha, I hear you. Honestly, I'm a big fan of the UA 1176 compressors. I wouldn't use one for mastering, but they are outstanding hardware compressors. The thing is, if you are going to pick up gear in that range, you'd better have pretty good AD/DA conversion, or it's not going to matter how good the compressor sounds.

i used to have the echo audiofire 12 but sold it as i didnt need it anymore for now, im just looking for what i could buy someday. u consider that a good AD/DA? it seemed great imo. ist mastering tools im after tho maybe there exists something with included AD/DA?

quote:

Originally posted by palm i used to have the echo audiofire 12 but sold it as i didnt need it anymore for now, im just looking for what i could buy someday. u consider that a good AD/DA? it seemed great imo. ist mastering tools im after tho maybe there exists something with included AD/DA?

Echo is not going to cut it at that level. At minimum you'll need something along the lines of a MOTU HD192, and better would be RME, Lynx or Apogee, which are all in the $2,000 or greater range. In addition, you'll need to spring for decent cables as well, Mogami are the ones I use, but they can get quite expensive.

Honestly, why are you looking for a mastering processor before anything else?

beacuse im going to make my music on computer only (atleast for a while), tho i might get good enough results by using software tools for mastering too, just need to learn it. i just thought it would be nice to just close my eyes and turn some knobs on the final touch.

IMO all you need is an EQ, a multiband compressor and a Limiter, all of which should be included with any decent DAW software package. I have an all software studio and I do all of my mastering in software, and it sounds just fine. I wouldn't spend a bunch of money on outboard mastering hardware if I were you. Remember, if the premastered mixdown doesn't sound good, mastering isn't going to fix it.

I read in CM Sasha has 2 fully kitted out studios and a team of about 5 people between the 2 studios

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