Case Study
🔌 Solving Complex Patch Bay Routing for an SSL Fusion and Hybrid Studio
The Client’s Challenge
I recently had an on-site session with a client, a dance music producer based on the other side of London. He has a fantastic collection of hardware synthesisers and outboard gear and needed help integrating a new piece of equipment: the SSL Fusion mix bus processor.
The main goal was to get this new processor running correctly in his system using his patch bay. Beyond that, his studio had a common problem: wires were trailing on the floor. He wanted to get more of his hardware connected and ready to use within his Ableton Live workflow.
Session Setup
This was a hands-on, on-site visit. However, good preparation is key to making these sessions efficient.
Before the visit, the client and I had a remote call to discuss his patch bay setup. He took some pictures, and we talked through the correct cables he would need. I helped him put together an Amazon shopping basket to make sure everything was ready to go when I arrived.
Cabling and Racking: Getting Started
When I arrived, our first task wasn’t technical, but physical. We installed some wire rack trays underneath his desk. This immediately allowed us to get the wires off the floor and create a tidy, professional workspace.
As part of this process, we pulled out all the old wires and did a full audit. We found quite a few USB and jack cables that were plugged in but not actually leading anywhere. Clearing these out simplified the setup massively.Next, we got the rack units set up. We installed his patch bay, a Samson unit that I particularly like because it has switches on the front. These switches let you easily change the connections between the top and bottom rows (normalled, half-normalled, or disconnected), which is incredibly handy for a dynamic studio setup.
The Fix: Integrating the SSL Fusion
With the patch bay in place, we moved on to the primary goal. We used XLR to Jack leads to connect the outputs of the SSL Fusion to the patch bay.
The routing itself required a combination of software and physical connections:
- Software: We used the Apollo Console software and Ableton Live.
- Ableton Setup: Inside Ableton, we created audio tracks and configured them to send audio to specific external outputs on his interface.
- Signal Flow: The audio left Ableton, travelled through the patch bay to the SSL Fusion for processing, and then returned via the patch bay into a new input, ready to be recorded back into Ableton.
The client was delighted. He was hearing his expensive new compressor working in his studio for the first time. We spent some time messing around with the settings and applied a quick master to one of his tracks. He was thrilled by the boost it gave the sound. It added a fantastic punch and energy to the music.
Additional Support: Expanding the Studio
Once the Fusion was working, we moved on to his next goal: getting more inputs into his system to connect his other gear.
To achieve this, we incorporated two more interfaces: a Scarlet 18i20 and a Scarlet Octopre. Using the Audio MIDI Setup on his Mac, we combined these with his main Apollo interface to create an Aggregate Device. This setup gave him an additional 16 inputs to work with.
I did warn him that running aggregate devices with multiple interfaces can sometimes lead to clocking problems. We experienced one minor glitch at the start, but after that, the system was stable.With the new inputs available via the patch bay, we connected more of his hardware, including an Aki-Fusion filter and his 500 series rack which contained a Neve preamp and a compressor. We tested them all; they were working perfectly.
Reflection and Empowerment
A big part of my job is not just to fix a problem, but to ensure the client understands how it was fixed. I gave him a short lesson on the new routing system. I showed him how to route his synths into his hardware effects and then into the new inputs, all using the patch bay. This means he can now confidently connect the rest of his gear himself.
We did hit one small, frustrating snag. His Midas 500 series chassis wouldn’t fit into the rack because it had little feet on it. To remove them, we needed to undo some very unusual hexagonal screws. It’s annoying when pro studio gear uses non-standard parts, but it was a minor issue in an otherwise very successful session.
Closing Thoughts
Overall, the client was very satisfied. By the time I left, he had a tidy studio, a working patch bay, his new SSL Fusion fully integrated, and—most importantly—a clear understanding of how his system worked and what he needed to do next.
I help musicians and producers solve complex hardware integration and software problems like this every day. If you’re struggling with patch bay routing, aggregate devices, or getting your hybrid studio to work, I can help you find a clear path forward.
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