Patriotism doesn’t always come naturally to Britons, but if anything can provoke a swell of national pride, it’s our track record in mixing console design. Germany and Austria may have led the way in microphone development, while the USA and Japan dominated the synth world, but this island has always punched above its weight when it comes to anything with faders.
Neve and SSL remain two of the biggest names in the field. The golden age of the ’70s and ’80s also gave us Helios, Pye, Sound Techniques, Soundcraft, Calrec, Cadac, Tweed, Soundtracs, DDA, Chilton, Raindirk, Midas, Amek, Focusrite and Trident, among many others. Today, British manufacturers lead the way in modern digital live sound — as this issue’s exclusive review of the new Allen & Heath CQ‑series highlights — while the likes of Audient offer cutting‑edge analogue designs at extremely competitive prices.
What all of these companies have in common is ambition. Whether the goal was to offer the best possible sound and technical specs, to push the envelope in terms of features, to exploit new technological developments or simply to offer unprecedented value for money, the list of breakthroughs and innovations is endless. What’s more, quite a few of these breakthroughs were achieved on a scarily hand‑to‑mouth basis, without millions in venture capital or much business expertise to call on. What might be possible if the ambition and inventiveness that are the hallmarks of British audio design could be backed by proper investment and sound management?
Our cooking’s still pretty ropey, our weather is rubbish and our heavy industry has gone the way of the dodo, but at least there’s still one great British tradition worth celebrating.
We may be about to find out, courtesy of this month’s cover product. Karno’s SEPIA project is hugely ambitious. It’s technologically ground‑breaking and beautifully engineered. It meets real‑world needs. And, unlike some of those historic products, it’s the outcome of a lengthy, well‑funded R&D process, which has seen its designers forge partnerships across the industry. None of this is a guarantee of success, but in a world where innovation has often foundered on the harsh realities of business, you’d hope it has a decent chance.
SEPIA itself is not a mixing console, but it draws on practically every aspect of this grand tradition of British design. Indeed, although Karno haven’t officially announced the names of the manufacturers who are working on SEPIA Modules, it’s safe to say that well‑known console makers from both sides of the Atlantic will be involved. And I don’t think it will be long before SEPIA systems start to pop up wherever high‑end audio processing is needed.
Our cooking’s still pretty ropey, our weather is rubbish and our heavy industry has gone the way of the dodo, but at least there’s still one great British tradition worth celebrating.
Sam Inglis Editor In Chief