BRIT-nominated Coldplay album recorded using SSL Matrix console

In the process of the rebuild Simpson first tried out the SSL Matrix. He had since decided to keep it. It was little surprise to Simpson that the SSL console would appeal to him as he first started using SSL consoles at the age of 15.

“Over the years I’ve learned different consoles but I do find myself coming back to SSL equipment which is why we have the Matrix in the studio now,” explained Simpson. “Matrix has changed the process in the studio by making things more fluid and quick. The band are fast workers and there isn’t a great deal of time to set stuff up, so any time I can save through having something as easy to use as the Matrix is a great thing.”

The 16-channel, 40 input mixing console fitted the bill perfectly for Simpson especially as the currently console was falling short of his expectations.

“We had another console which wasn’t doing what I wanted it to do so I was looking for a small footprint console that I could sum through and have control over all my balances internally in Pro Tools,” added Simpson. “I didn’t really need any mic amps because we have a whole load of boutique and valve mic amps that we’ve accumulated."

The more Simpson discovered about the SSL Matrix console the more attractive it became to him and his work with Coldplay.

“I found out about the Matrix and also found about the ability to use the faders as a DAW controller,” he explained, “which means if I’m mixing I can do, for example, all my vocal levels with the faders and it writes the automation into Pro Tools, which is great. So you get a clear transient signal path that isn’t coloured much but is just punchy and full, with the added bonus of being able to do all your fader moves and rides and automation actually on a work surface as opposed to just using a mouse. It’s a very well thought out desk and there are options that you don’t really have on any other desk. I got it in to try out and it stayed here.”

Since it has been installed the Matrix has become “the hub” of the recording system. Indeed, it has become the centrepiece of the studio with it sitting in the middle of the Beehive’s large hall which has no control room.

“The Matrix fits into the Coldplay set-up as a kind of hub for everything to come into before it hits the speakers,” Simpson continued. “On a typical Coldplay session I sit here kind of at the helm. I see my role as the conduit for all the noise that is coming my way, so I’m the interface between the tape recorder and the band and I try to make that as effortless as possible for the band so they don’t really realize I’m there. Then they can just do their thing and make a noise…”

Simpson first started working with Coldplay—who were founded in 1996 and have produced such hits as “Yellow”, “Viva la Vida” and “Paradise”—on their second album, Rush of Blood to the Head, which was recorded at Mayfair Studios in 2002. Simpson then went on tour with the band. During this tour he helped out with extra keyboards and backing tracks of strings and percussion.

Outside of his work producing Coldplay, Simpson has worked with a number of other artists including Jay-Z, Jamelia, Kasabian, Natalie Imbruglia, Portishead,Black Rebel Motorcycle Club and PJ Harvey.

You can view the interview with Rik Simpson via the SSL website.