Visually and physically, the Super 9000 is unmistakably SSL. The deep blue faceplate is a deliberate nod to the 9000-K console heritage, and while some may debate the bold colour choices, in practice the layout is clear, logical, and easy to read during long sessions. Despite the density of features, SSL have avoided clutter, and the decision to keep all audio connections on the rear panel keeps the front clean and focused on operation.
Preamplifier Section
The preamp section is where the Super 9000 immediately separates itself from many channel strips. At its core is the SuperAnalogue mic pre, which in use is exceptionally quiet, fast, and open. Tracking vocals and acoustic instruments at Ordio Productions with the SuperAnalogue path engaged delivered a sense of effortlessness, capturing detail without exaggeration or edge. It is a preamp that gets out of the way, and for clean sources or high-quality microphones, that is a real strength.
Engaging the Variable Harmonic Drive circuit opens up a very different personality. Rather than offering a simple saturation amount control, VHD allows you to shape the harmonic structure itself, shifting between predominantly even-order and odd-order harmonics. In practice this makes the Solid State Logic Super 9000 unusually flexible. Gentle drive adds density and focus, while pushing the input harder and trimming back the output can yield thick, confident tones that remain controlled rather than unruly. During sessions at Ordio Productions, this proved especially effective on vocals, drums, and synths, where subtle harmonic shaping helped sounds sit in a mix without obvious processing.
The Hi-Z button, while not providing a true instrument DI, alters the microphone input impedance and can subtly change the interaction with certain microphones. It is not a headline feature, but in specific cases it offers another small tonal lever to pull.
Dynamics Section
Following the preamp, the dynamics section shows why SSL’s VCA designs remain so respected. The compressor is capable of being invisible or assertive, depending on how it is driven, and the peak detect option allows it to clamp down decisively when required. The Solid State Logic Super 9000 handled everything from gentle vocal levelling to aggressive drum control with ease. The expander and gate are highlights here, particularly thanks to the dedicated Hold control. This transforms the gate from a simple utility into a genuinely creative tool, allowing everything from subtle ambience shaping to classic gated effects that feel musical rather than abrupt.
The filter and EQ sections are where the Solid State Logic Super 9000 really earns its keep. The high- and low-pass filters offer wide, useful ranges and can be routed flexibly, including into the dynamics side-chain. The four-band EQ provides two distinct SSL personalities. The default Pink Knob 292 mode, with its proportional-Q behaviour and characteristic overshoot on the shelving bands, is refined and elegant, ideal for sculpting without stripping weight or presence.
Switching to the Black Knob 242 mode brings a more assertive, muscular character that excels at adding midrange bite and attitude. The ability to move between these EQs, re-order processing, and route sections into the side-chain makes the Solid State Logic Super 9000 a deeply exploratory tool. During evaluation, it was common to think a sound was finished, only to discover an entirely new and better direction by flipping a single routing switch or changing EQ modes.
Routing flexibility
Routing flexibility is a recurring theme. Input Flip allows the mic pre and VHD circuit to be used on line-level sources without repatching, making the Super 9000 just as valuable at mixdown as it is on the way in. Insert points can be repositioned, side-chains can be linked or externally keyed, and metering can be reassigned as needed. All of this contributes to a unit that feels designed by people who actually work in studios.
Listening Tests
Sonically, the Solid State Logic Super 9000 consistently impressed across a wide range of material. Drums emerged punchy and controlled, vocals found their place quickly, and even problematic sources could be shaped into something mix-ready. What stands out is how far the unit can be pushed while remaining musically convincing. Heavy compression, bold EQ moves, or aggressive VHD settings rarely tipped into harshness. Instead, the Super 9000 tends to reward experimentation, often producing results that feel finished and confident in a way that is still difficult to replicate with plug-ins.
The Solid State Logic Super 9000 does not attempt to replace vintage character pieces, nor does it try to be a neutral utility strip alone. It succeeds because it can be both. It offers pristine capture when needed, deep tonal shaping when desired, and a level of architectural flexibility that encourages creative decision-making. The Solid State Logic Super 9000 proved to be a channel strip that adapts to the engineer rather than dictating a single workflow.
(My thanks go once again to Ben at Ordio Productions for allowing me to spend hours in those exceptional showrooms and for the opportunity to experience Super 9000 in such a superb listening environment.)