“Sets an entirely new benchmark for portable, affordable audio interfaces”: SSL just released its cheapest audio interface yet
The SSL 1 is a 2-in/2-out device that comes at a very tempting price
Solid State Logic made its first moves in the budget audio interface market in 2020, with the SSL 2 and SSL 2+. Now it’s back with an even cheaper model, the SSL 1, which promises “powerful performance and authentic studio sound quality at an unprecedented price point.”
The SSL 1 is aimed at both first-time audio interface buyers and more experienced creators who want something portable to take on the road with them. It’s a 2-in/2-out, 32-bit/192kHz device that operates over USB-C, and comes with a single SSL-designed mic preamp with +48v phantom power.
The other input can be used for instrument or line-level signals, and there are both headphone and balanced monitor outputs.
As you’d expect, the SSL 1 can be bus powered, but when that’s not an option, power can be provided by a 5V source such as a phone charger or power bank. The interface is compatible with Mac and Windows computers, and also mobile devices that support the USB Audio Class 2.0 standard.
As with some of SSL’s other audio interfaces, the SSL 1 has a built-in, 4K analogue enhancement feature that promises to add a vintage flavour, and there’s a high-pass filter, too. We’re promised near zero-latency monitoring, and the three stereo loopback channels should make it easy to capture device audio.
The SSL 1 ships with the SSL Production Pack – a curated bundle of software that includes virtual instruments, samples and other software tools.
SSL claims that its new interface “sets an entirely new benchmark for portable, affordable audio interfaces,” and it’s shipping now at a price of around $160/£140. Find out more on the Solid Stage Logic website.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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