Anybody familiar with the new SSL sound?

To me, if you are using any outboard gear, mainly comps, this is the only summing box that makes sense - as you can automate post compressor and you aren't riding the levels going into your outboard gear.

I've worked on a 9000K for about 10 years, and have worked on a J a handful of times. The sound at mix time
Is fantastic imo. Granted, I don't use the pres much as we have extensive outboard pres for tracking.

I've taken 8 channels out of somebody's itb mix and thrown it up on 8 channels of the ssl and the difference in sound is remarkable. Makes me really question the people who say summing boxes don't add anything. It is definitely NOT subtle. That is also going into the insert return on the console in order to bypass the line amps, eq, and comp sections of the board.

I've spent a week tracking with a Duality. After the innitial learning process for what is different than what I'm used to, I find it a pretty amazing desk. The harmonic switch (don't remember what they call it) on the preamps are super useful. Didnt do any mixing on it, but TLA was packing up the day I arrived and he seemed super happy with the desk and didn't have any complaints.

OK When SSL first came out with the 4K nobody really was that in awe of the sonics, the onboard dynamics in every ch, the power of that EQ & filters, the routing and of course the recall and automation.
It wasn't until the 9K came out and those who grew up on the 4K started missing that sound.
SSL has always been more to the clean side of things and like any circuit you push it to hard it's going to distort, With the superanalog stuff SSL cleaned things up and embraced the fact that people were going to push it at the same time.
The Sigma and devices like it are probably the future of the console, I just wish SSL would give us 2 things; software that would let us build a modular console, with busses and auxes; a smaller less expensive building block so the entry Ito such a system would be cheaper .
The one thing that SSL has no control over that would make it perfect is if AVID would grant SSL a EUCON lic, for both the SIGMA and controllers !

It's called "SSLMixer" and it runs on their DSP cards.  I've been using it for more than a decade..

You also still need D/A converters with Sigma, correct? To bring analog into it from your DAW.

Doesn't sound like a 4K .they always sounded kinda weird/broken to me.a big hi pass filter ..anyways..that's another thread.
Sigma is sonically wider more open high fi.
The DAW auto is cool for inserts etc.
It's a nice unit.

I own a Sigma, and as roundbadge says, it is open/clean to my ears. I do not push levels too hard, staying at around -6 on the channels and -4 on output bus A. However, it still sounds good even when those funny little red lights start blinking.

My 2-bus chain lives on insert A.

I use the older browser-based Sigma "Ctrl" interface to control the Sigma via Eucon from Pro Tools 11HD. 16 tracks at the top of every session allow me to write automation directly into PT, or perform fader moves on two Artist Mixes. The Sigma follows it all.

Do you use both the Mix A and Mix B Bus's?

Also, how do you like the monitoring? I currently have a Central Station with the Remote Control on my desk. So, it's really easy to switch monitors.

I currently use just Mix A, and I monitor through a Dangerous Monitor ST, which I already owned when a used Sigma became available. I am sure that the Sigma would be good for monitor control, but I am so comfortable with the ST that I don't see ever changing. To use both mix buses I would want to expand my outboard, and get a second Burl AD. That's an expensive proposition, and I'm not sure how much I'd gain by doing it. Some day, maybe. . .