Electronic musician Richard Devine has added several SSL 500 series units to the SSL SiX desktop mixer that recently arrived in his set-up. These include the new Ultraviolet Stereo Equaliser (UVEQ), G Series Bus Compressor, VHD+ Pre and E-Series 611EQ parametric equaliser.

‘There is just no comparison to having the real analogue circuitry,’ he says. ‘To my ears, it has a more organic sound quality and is more pleasant to listen for longer periods of time.’

The latest addition in his 500 series rack is the UVEQ processor, a two-band parametric EQ derived from the revered SSL Fusion processor. ‘I have two of the VHD+ Pres – these go right into the UVEQ, and then finally into my G Series Bus Compressor,’ he explains. This is my “all SSL” analogue chain, and I love this combination. With its two bands and the linear phase shelving EQ, the UVEQ is silky and buttery. I love that you can select among five frequencies for each band, and it also has a high-pass filter and true bypass for A/B-ing sounds.’

Devine says he often runs a TR-808 drum machine through his EQs to help discern sonic parameters and overall capabilities. ‘I got my 808 in the early ’90s, so I know it really well,’ he says. ‘For gear testing, it hits all the marks and can go from very low frequencies to very high frequencies, from the kick, up to the high-hat and the clap.’ His first test of the UVEQ was to program a beat with the TR-808 to understand its sweet spots. ‘Having the multi-band ranges helped me get a beefy low end. Also, it didn’t destroy the original sound character – it just added a polish and that SSL professional finished type of sound.’

Devine also uses two SSL 611EQ 500 series four-band EQs as his ‘workhorse’ EQs during the recording phase. ‘I tend to use these for tracking percussion, guitars, synthetic bass and my modular synths,’ he says, having originally purchased one, but then added a second so he could apply EQ in stereo pairs going into the DAW in addition to his mono sources. ‘The 611EQ can handle any task that I throw at it. I use the high-frequency shelving band, which you can switch into a bell curve response for maximum versatility.’

He also appreciates the ‘brown knob’ and ‘black knob’ EQs, which he is already familiar with, having worked on SSL E Series consoles for years with several other clients. ‘The black knob is pretty cool because it is really aggressive – great for more modern/EDM music, film trailer stuff and sound effects, or video game stuff that I work on when I am tracking.’

The black knob EQ – which SSL developed in the mid-1980s – helps him take control of the low end for more punch when it is warranted. ‘It gives you a much tighter reign over lower frequencies, so you can really gun it if you want.’

The G Series Bus Compressor, which has graced the centre section of so many classic SSL consoles over the years, is now available in a recently updated 500 series rack format. ‘That compressor is my favourite stereo bus compressor of all time – it is just a sound I am so familiar with,’ Devine says. ‘So many of my favourite records were mixed on SSL consoles with that compressor and it has such a distinctive sonic signature to it.’

Each of the 500 series units – the UVEQ, 611EQ, VHD+ and G Series Bus Compressor – all play a role in Devine’s facility and workflow: ‘These are all pieces of equipment that I use every day for tracking, mastering, recording and mixing,’ he concludes. ‘The results are immediate. When you are working with clients, you need to attain high quality results quickly – and SSL helps you get a polished result faster.’

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