The History Of The Studio Console, Part 2

In Part 1 of this series, we covered the evolution of studio recording consoles from their conception in the mid-1950s through a golden era of analog consoles and the introduction of automation and early digital systems. We left off in 1979, just as another golden age was about to begin. 

A New Era In Console Design

By the 1980s, digital technology was beginning to mature, presenting new possibilities for console designers to take advantage of. From automation to recall and even onboard signal processing, computerized consoles had begun to eliminate the most tedious aspects of music production. But analog wasn’t about to go anywhere—in fact, some of the most celebrated analog consoles arrived in this decade, as well.

1983 

Trident introduces the Series 80B console

Prized for its robust preamps and musical-sounding parametric EQ circuits, the Trident Series 80B would soon cement its place as one of the most popular consoles for rock music. With expertly engineered analog signal paths, warmly lit VU meters, and plenty of woodgrain, the Series 80B kept the essence of golden-age analog consoles alive in the nascent digital age.

1985

Harrison introduces the first fully automatable console

A decade after designing the world’s first in-line console, Dave Harrison would push the envelope even further with the Harrison SeriesTen. This console featured an analog signal path controlled by digital encoders instead of analog potentiometers, making it possible to save and recall mixes with perfect accuracy. By eliminating analog knobs from the signal path, this design also significantly cut down on maintenance needs.

API introduces the Lunchbox 500 Series outboard rack

The portable API Lunchbox made it possible for engineers to bring their favorite 500 Series outboard processors on the go and easily patch them into any studio they visited. The Lunchbox concept proved extremely popular, launching a wave of self-contained 500 Series racks (from API and other companies) that continues to this day.

Rupert and Evelyn Neve create Focusrite Ltd. 

After selling his company in 1975 and waiting out a 10-year non-compete agreement, Rupert Neve was finally able to start his next venture, Focusrite Ltd., with his wife Evelyn. The company initially focused on outboard processors but later began accepting orders for digitally-controlled analog consoles. The digital aspects, outside of Rupert’s expertise, ran into delays and ultimately caused the company to liquidate several years later.

SSL begins digital audio R&D

Already a major player in the analog console market, Solid State Logic spent the mid-eighties exploring the possibilities of incorporating digital systems into their consoles.

1987 

SSL introduces the SL 4000 G console

At the 1987 AES Convention in New York, SSL debuted what would become one of their most well-known consoles. This console featured the new and improved G Series Master Bus Compressor (also known as the “glue” compressor), a VCA-type compressor capable of providing smooth, transparent leveling or delivering maximum punch for rock mixes.

1989

Phil Dudderidge acquires Focusrite assets and creates Focusrite Audio Engineering

When Focusrite Ltd. was forced to liquidate, the company’s assets were bought by Soundcraft co-founder Phil Dudderidge, who reinvented the company under a new name. Although the new company acquired Neve’s designs from 1985-1988, Rupert was never involved in designing any further Focusrite products.

Rupert Neve begins consulting for Amek

Neve’s next career move involved working with Amek to design the next great console. This collaboration would eventually lead to the celebrated Amek 9098i and System 9098 rackmount modules.

The Heyday Of Large-Format Consoles

Perhaps the last decade of true console dominance, the 1990s saw a melding of the best aspects of analog and digital designs. While home recording technology was moving forward, it was still very much in the “prosumer” stage, so console-equipped studios continued to reign supreme. And with the music industry booming, studios could afford to shell out the cash for top-of-the-line consoles with all the bells and whistles. 

1991

API introduces Legacy consoles and first touchscreen console

After a quiet decade, API burst back onto the large-format console scene with their new Legacy console line. With their overbuilt wood frame and padded armrests, these desks oozed with vintage charm (not to mention sound). But API wasn’t stuck in the past—the same year, they manufactured their first console to feature “touch-screen computer assignment for complete switch reset”. 

1994

SSL introduces SL 9000 J console with SuperAnalogue technology

Riding high on the success of their G and E Series consoles, SSL made another huge leap forward in console development with the introduction of their proprietary SuperAnalogue technology in the SL 9000 J. Thanks to its DC-coupled circuit design, the 9000 J completely eliminated capacitors from the signal path, vastly increasing signal bandwidth and lowering distortion. The extra-clean sound of SuperAnalogue consoles paired well with the increasingly crisp and polished aesthetic of ‘90s pop and rock. In fact, Billboard Magazine reported in 1996 that 83% of that year’s number one singles had been produced using SSL consoles.

Trident introduces Ventura consoles

In a radical departure from their classic designs, Trident’s Ventura range featured dull gray knobs, segmented LED meters, and a very ‘90s Jazz-like logo. Needless to say, it didn’t catch on like the Series 80B.

1997

David Dearden and Gareth Davies found Audient

Engineers David Dearden and Gareth Davies met while working for Soundcraft in the ‘70s, founded DDA together in 1980, and subsequently had a hand in designing Midas sound reinforcement consoles. In 1997, the pair founded Audient to bring their expertise into the studio realm. The following year, they introduced the first Audient console, the ASP8024.

1999 

Bill Putnam’s sons revive Universal Audio

Just before the turn of the millennium, James Putnam and Bill Putnam Jr. founded the new iteration of Universal Audio with the twin goals of faithfully reproducing their father’s analog designs and creating new digital tools “with the sound and spirit of vintage technology.” By embracing analog and digital technologies in equal measure, Universal Audio set themselves up for major success over the next few decades.

ATI Group acquires API

In yet another industry shakeup, Larry Droppa of Audio Toys, Inc.—who previously specialized in live sound consoles—acquired API at an auction. Recognizing the value of the API brand, Droppa decided to stay true to Saul Walker’s original designs.

Amek introduces 9098i console

The pinnacle of Amek’s collaboration with Rupert Neve, the 9098i, was a massive 48-bus inline console with Neve-designed signal paths, digitally controlled Virtual Dynamics processing, and 5.1 mixing capability. The spaceship-like center section was equipped with an onboard DoS computer system, built-in keyboard, trackball, and multiple displays.

Consoles of The New Millenium

As digital audio continued to evolve, the landscape of the music industry as a whole began to change. While major labels and artists took a massive revenue hit from digital music piracy, home recording tools and digital distribution made it possible for independent artists to create and self-release professional-sounding tracks. As a result, many audio brands pivoted to focus on small-format mixers and interfaces for home recording. However, established console makers continued to innovate with forward-thinking hybrid desks that integrated analog channels with advanced DAW control.

2001

Toft Audio Designs is established

PMI Audio Group hired Malcolm Toft as a consultant and began creating new Toft-designed products under the Toft Audio Designs brand. 

2003 

API introduces Vision surround sound consoles

Always dedicated to analog excellence but looking toward the future, API introduced the first analog console “designed from the ground up for surround work.” API Vision desks featured a dedicated 5.1 mix bus, simultaneous surround and stereo mixing, bass management functionality, and Vision Automation with motorized faders.

2004

SSL introduces hybrid AWS console/control surface

The Analog Workstation System (AWS) combined some of SSL’s greatest hits—including SuperAnalogue circuitry, E/G series EQs, and a G Series master bus compressor—with the most advanced DAW control features of the time. This forward-thinking console laid the groundwork for the next generation of hybrid desks.

2005

Rupert Neve Designs is founded

Rupert and Evelyn Neve, along with General Manager Joshua Thomas, founded Rupert Neve Designs (RND) to “preserve the revered elements of [Rupert’s] most prized vintage designs, while thoughtfully advancing and refining their feature sets to meet the needs of the modern recording engineer.” RND’s first offerings were the Portico series of 500 modules.

Harrison introduces Trion digital console

Expanding on the reconfigurable nature of its predecessor the SeriesTwelve, the Harrison Trion was a highly flexible digital console that could be configured for studio recording and mixing, live and broadcast applications, film post-production, and more.

2006 

SSL introduces Duality console

Continuing to advance the hybrid concept introduced by the AWS, SSL again combined top-notch analog design with integrated DAW control—this time, on a much bigger scale. Every parameter of the SSL Duality’s feature-packed channel strips could be saved by the onboard computer and Total Recall automation system, making it possible to recall not just a mix but an entire session setup. A row of color LCD screens acted as a futuristic meter bridge and multifunction display.

API establishes VPR Alliance standards for 500 Series modules

The VPR Alliance standardized physical and electrical specifications for third-party 500 Series modules, opening the door for a wave of audio companies to produce their own modules compatible with API consoles, Lunchboxes, and other 500 Series systems.

2008

Rupert Neve Designs introduces 5088 console

Doubling down on the appeal of analog in an increasingly digital era, the RND 5088 incorporated and improved upon many of the legendary circuits from the original Neve 80 series consoles. Discrete, high-voltage amplification and bespoke transformers on each input and output gave the 5088 massive headroom, even as the loudness war reached its peak.

API introduces 1608 console

API blended the best of the old and the new by revamping their legendary 1604 console with modern updates like a 5.1-capable center section, P-Mix automation System, motorized faders, and DAW control via the Mackie HUI protocol.

PMI introduces Toft ATB consoles and acquires Trident brand

Designed by the architect of the famous Trident Series 80B, the Toft ATB line aimed to bring some of that iconic British sound to a smaller format accessible to home and project studios (fun fact: even the name is a reference to the 80B—say “ATB” fast enough and you’ll hear it). Later that year, PMI Audio Group formally acquired Trident Audio Development’s assets, and Malcolm Toft set about designing the first new Trident consoles in 15 years.

2009

Harrison introduces Mixbus console-style DAW

By 2009, DAWs like Pro Tools, Logic, Nuendo, Cubase, and Reaper were already several versions into development, but none of them attempted to replicate the sound and workflow of a console. Enter Harrison Mixbus, based on the open-source Ardour DAW but enhanced with analog-emulating channel strips, digital VU meters, and limited mix busses.

Consoles in the Modern Age

With the music industry beginning to climb out of its historic slump, many studios and home recordists began to see the value in consoles once again. The past few decades proved that digital recording was here to stay, but the popularity of real analog circuitry never waned. The 2010s saw many fantastic analog and hybrid consoles introduced by established brands as well as new players in the space.

2012

Malcolm Toft founds Ocean Audio

After 12 years of consulting for PMI, Malcolm Toft finally founded his very own company with Bruno Wynants. Over the next three years, Ocean Audio released a line of outboard processors as well as The Ark, a fully modular console with two 500 Series slots per channel and eight more for the Group section.

Universal Audio introduces Apollo audio interfaces

Although the company has drifted from Bill Putnam’s pioneering console designs, they’ve been a major innovator in analog emulation technology. UA’s Apollo interfaces were the first to feature onboard DSP powerful and fast enough to host real-time hardware emulation plugins on the front end. This allowed engineers to track through classic analog preamps, EQs, and processors (rather than mixing with plugins), bringing a bit of the console workflow to the digital world.

2013

API introduces compact THE BOX console

Geared toward boutique home and project studios with limited tracking needs, THE BOX provides just four input channels: two with integrated 550A EQs and two with empty modular 500 Series slots for flexibility. A 16-channel summing mixer, stereo bus compressor, monitor control, and talkback functionality make THE BOX a surprisingly flexible console for its size.

2015

Malcolm Toft retires and Ocean Audio becomes Interphase Audio

Just three years into Ocean Audio’s existence, Malcolm Toft decided to (semi) retire, so his partner Bruno Wynants reinvented the company as Interphase Audio. Today, interphase sells redesigned Ark consoles and a line of boutique EQ modules.

Trident introduces Trident 88 console

The Trident 88 stays true to the company’s classic analog designs but adds a multitude of configurable options to fit the needs of any modern studio. The Trident 88 is available in eight- to 48-channel chassis sizes with or without Lundahl transformers, classic VU meters or segmented LEDs, and an optional TriMix automation system.

SSL introduces δelta-Control console automation system

Continuing to push the boundaries of the hybrid console concept, SSL devised δelta-Control, a plugin-based interface that directly controls SSL AWS and Duality consoles directly from a DAW session.

Neve introduces BCM10/2 small-format console

The original Neve BCM10 became a staple of broadcast studios because of its small footprint, top-notch preamps, and streamlined layout. Many recording studios used it as a “sidecar” console as well, but it wasn’t quite flexible enough to be the main console in even a small studio. The revamped BCM10/2 Mk2 solves this problem with additional cue sends, 5.1 monitoring, and classic Neve Class-A sound with reliable modern components.

2016 

API introduces Legacy AXS console

Going in the opposite direction of THE BOX, API updated their beloved Legacy line with the Legacy AXS, a traditional large-format console with an integrated patch bay and modern features like 5.1 surround mixing and motorized faders.

2017

Solid State Logic is acquired by Audiotonix Group

In yet another audio industry merger, SSL joined Allen & Heath, Sound Devices, Slate Digital, Calrec, and others (including Harrison as of 2023) under the umbrella of Audiotonix Group.

Trident introduces 78 console

Catering to the growing market of home and project studios, the Trident 78 offers the analog excellence of the 88 with reduced channel count, streamlined channel strips, and LED meters.

2018 

API introduces the 1608-II and 2448 Consoles

In the same year, API released two top-notch mid-sized consoles. The 1608-II updates the popular 1608 with a revamped center section, more aux returns, and optional Final Touch automation. The API 2448 bridges the gap between the 1608-II and the larger AXS consoles, providing the perfect option for medium-sized studios.

2019

SSL introduces ORIGIN 32 console

Inspired by the beloved 4000 Series consoles (but on a much smaller scale), SSL’s Origin 32 caters to small and mid-sized studios who want a decent amount of analog channels and an in-line layout that integrates seamlessly with DAWs. For added flexibility, SSL included 4u of rack space for integrating additional processors and control surfaces.

API introduces THE BOX 2 console

Returning to the home and project studio market, API launched an upgraded version of their popular small-format BOX console. THE BOX 2 provides eight input channels—each with a modular 500 Series slot—plus a few extra conveniences like front-mounted instrument inputs.

The State of Studio Consoles Today

While large-format consoles are no longer a must-have for studios, many facilities still maintain decades-old vintage desks in working order. Meanwhile, newer console designs seem to have found a sweet spot in the 16- to 48-channel range favored by modern studios who want a desk that can handle all of their needs without breaking the bank.

Analog is alive and well, but digital and hybrid consoles are now more advanced than ever, featuring digitally controlled analog circuits, extensive DAW integration, and network connectivity. Analog emulation has advanced as well, exemplified by Universal Audio’s Luna DAW, which models console-style summing, tape saturation, and more.

If you’re in the market for a console, contact Vintage King or stop into one of our world-class showrooms to find the perfect match for your studio, from the latest models to used and vintage specimens. Not in Los Angeles or Nashville? No problem—you can virtually demo our massive selection of consoles from anywhere in the world. Vintage King also specializes in console restoration to restore your beloved desk to tip-top shape, and even brokers sales for those looking to give their console a new home. To stay up on the latest console releases, stay tuned to the Vintage King blog.

Want to upgrade your studio with some of the gear mentioned in this blog? Contact a Vintage King Audio Consultant via email or by phone at 866.644.0160.