At ProLight+Sound 2017, SSL is presenting the L200, a new mid-scale console
Germany - Solid State Logic has announced another major expansion to its Live console range with the release of the SSL Live L200. In a few short years, SSL Live consoles have met widespread praise from many of the world’s leading live engineers and earnt their place on arena tours, at festivals, and in prestigious installations and Houses Of worship around the world.
At ProLight+Sound 2017, SSL is presenting the L200, a new mid-scale console that makes the outstanding sonic performance, accelerated workflow and advanced feature set of SSL Live available to a much wider audience, says the company.
The L200’s inverted T chassis design is driven by ergonomic considerations. It keeps all essential console controls within easy reach and brings sprung arm mounted external screens/devices closer to the centre of the console. Arms can be mounted on either or both sides of the console. Arms can be specified as screen mounts or laptop/utility trays. External screens can be used to display the Console Overview screen, Automation screen, or other system devices.
L200 features a row of three 12-channel Fader Tiles, providing a total of 38 faders including the Master and Focus Faders in the Master Tile. A centrally-located 17” multi-gesture touchscreen gives access to all of the consoles’ functions, and combines with Quick Controls in the central Fader tile to provide intuitive, immediate hands on hardware control. The Master Tile, located alongside the screen also provides Mute Group, Solo/Talkback, Assignable keys, and Automation controls.
L200’s vital statistics are: 144 processing paths all of which have full processing. These paths can be configured as up to 96 input channels, up to 48 aux sends, up to 24 stem groups and 6 masters. A 4 x 32 input, 24 output Matrix is provided in addition to this. Like all SSL Live consoles L200 has a flexible architecture that allows console configuration and surface layout to be easily configured to suit the demands of each production.
(Jim Evans)

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