Phil stopped playing and the sound suddenly went to nothing. When I pushed the button for the compressor on the console, there was a noise gate already in the chain. That's what I did, but we hadn't discovered the noise gate side of it yet. “We had the compressors and noise gates in each channel so I said OK, let's put up some room mics, listen to the drums through those and compress them. SSL's Listen Mic talkback circuit is still present in its hardware, such as the SiX mixer, today. Impressed by the sound, Padgham immediately went about replicating the huge, compressed room sound through the SSL’s channel inputs to make use of the onboard compressors. However, as the Listen Mic circuit was designed solely for communication between the control and live rooms, it wasn’t routable to the desk’s main busses. "Phil was playing the drums one day, I opened this microphone to speak to him while he was still playing the drums and out came the most unbelievable sound.
So we go 'OK, that was the compression on the '.” Everyone went, 'Oh my god, that sounds incredible'.
"When Phil was playing the drums one day, I opened this microphone to speak to him to hear what he was saying while he was still playing the drums and out came the most unbelievable sound. “They designed it with a huge great compressor on it as well, so that if somebody was talking quietly in the corner you'd still hear them as well as if somebody was shouting at you in the middle of the studio. Solid State Logic decided to have a dedicated microphone hanging up in the that, if you pressed the button on the console it immediately let you listen to them speaking, so in other words you didn't have to plug in a separate microphone. If you needed to listen to somebody talking in the studio in the old days you had to either listen through the microphone that they were playing into or put up a separate microphone that they would talk into and that's how you would communicate with the artist. “On the Solid State Logic console there was what's called a Listen Mic, which was also a new feature on that console. Unlike previous talkback setups, which could take up a valuable channel on the desk, the SSL’s was separate from the channel inputs, and incorporated an aggressive compressor. That is the whole essence of why the sound was so interesting because it is going from all to nothing in milliseconds.” Listen upĪs well as the state-of-the-art channel strips, the SSL had a number of additional features that allowed for greater flexibility in the studio, one of which was the inclusion of a built-in talkback circuit which worked with a dedicated mic placed in the room. Therefore, when you go from something sounding big to nothing, you get this feeling of massive contrast. The drums were in a very live room when you compress a sound in a live room it brings up all the background noise and the echo in a room. "The whole essence of the sound is the compression of it which makes it sound really fat and then the second that there is a lull in the sound the gate just shuts it off.
All you had to do was press a button and it was on.
No sound studio one Patch#
you had external compressors or external noise gates but you had to patch them in, whereas with the SSL it was in every single channel. The Solid State Logic console was quite new then and it had a compressor/noise gate on every single channel which before that had never happened. “Phil was a guest player on the album and he was mucking around with a drum sound. “The whole sound really was discovered when Phil was in playing drums on a song called Intruder,” Producer Hugh Padgham explains.
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