As broadcast production continues to scatter its practitioners across venues, vehicles, and virtual spaces, Solid State Logic has responded with a quiet but consequential update to its System T platform. Version 4.3, unveiled at IBC 2026, loosens the historical dependency on proprietary hardware by embracing Open Sound Control as a universal bridge between the console and the wider world of IP-connected devices. The update reflects a broader truth about modern production: control is no longer a place you go, but a capability you carry.
SSL System T V4.3 Expands OSC Integration for Flexible Broadcast Workflows
Remote operators need just a limited amount of control to manage specific elements.
Mark
Why does it matter that third-party devices can now control System T without SSL hardware?
Mimi
Because it removes a barrier to deployment. If you're setting up a temporary broadcast or a remote mix position, you don't have to buy or rent SSL-specific gear. You use what you have.
Mark
But couldn't operators already control System T remotely?
Mimi
They could, but only through SSL's own control surfaces or their Tempest Control App. This opens it up to any OSC-compliant device—a compact mixer, a custom controller, whatever fits the job.
Mark
What's the practical difference for someone running a live show?
Mimi
Speed and flexibility. A remote monitor engineer at a venue can grab a small hardware controller, map it to the console in minutes, and manage their mix without waiting for specialized equipment to arrive.
Mark
The update also mentions scene capacity jumping to 500. Why would a show need that many?
Mimi
Complex theatre productions or broadcast entertainment shows with dozens of musical numbers or scene changes. Each one might need a different mix snapshot. Five hundred gives you room to work without having to delete old scenes or get creative with naming.
Mark
What's SolidPitch doing in a broadcast console?
Mimi
It's a vocal tuning and effects tool. Gentle pitch correction for live singers, or creative processing if you want something more dramatic. It's built in now, so you don't need external plugins or separate gear.
Mark
Does this feel like SSL responding to how production has actually changed?
Mimi
Exactly. They're acknowledging that remote work and distributed crews are the norm now, not the exception. The update is about making that workflow less expensive and less complicated.
The Pulse
- Broadcast and live production workflows have fragmented beyond the single control room, leaving engineers needing access from wherever they happen to be stationed.
- SSL's OSC integration cuts the cord on proprietary hardware requirements, letting any compliant device map to System T's core functions over standard IP networking.
- Expanded bussing, 500-scene capacity, and permanent path linking for up to 48 groups address the growing complexity of large-scale productions relying on snapshot-driven workflows.
- SolidPitch vocal tuning arrives across the entire System T ecosystem, including virtual engines, bringing creative and corrective vocal processing to remote and distributed setups.
- The platform is landing as a more modular, network-native tool — one that meets operators where they are rather than demanding they come to it.
As broadcast production continues to scatter its practitioners across venues, vehicles, and virtual spaces, Solid State Logic has responded with a quiet but consequential update to its System T platform. Version 4.3, unveiled at IBC 2026, loosens the historical dependency on proprietary hardware by embracing Open Sound Control as a universal bridge between the console and the wider world of IP-connected devices. The update reflects a broader truth about modern production: control is no longer a place you go, but a capability you carry.
Solid State Logic's System T broadcast console platform is receiving a meaningful update at IBC 2026, one built around a central premise: modern production no longer happens in a single room, and the tools that serve it shouldn't pretend otherwise.
The headline addition is expanded Open Sound Control integration. Any OSC-compliant device can now communicate directly with System T's core parameters — faders, mutes, PFL and AFL channels, scene recalls, automation snapshots, and even Net I/O preamp gain — all over standard IP networking, with no dedicated SSL hardware required at the remote end. A monitor engineer at a venue can use whatever compact controller is already on hand, map it to the console, and manage their portion of the show without importing specialized equipment.
The update also deepens the console's internal architecture. The meter bridge on S500 and S500m models gains a "follow active fader bank" mode that dynamically tracks whichever faders the operator is touching, and SSL's Bus Compressor Effect Meter is now embedded directly in the bridge surface. Track buses have been expanded to support independent per-channel send levels, bringing them in line with the flexibility already available on stem and aux buses.
Several features migrate over from SSL's Live console line. Permanent Path Linking allows up to 48 link groups that keep related channels in sync while preserving individual filtering control. Scene capacity has grown to 500, a substantial increase for productions built around complex snapshot workflows. The SolidPitch vocal processing tool — capable of everything from transparent pitch correction to deliberate vocal manipulation — is now available across the full System T ecosystem, including the Virtual Tempest Engine.
Rounding out the release is remote power-off scheduling, reducing the manual overhead of shutting down equipment after a broadcast. Product manager Berny Carpenter describes the update as a direct response to how distributed production has evolved — giving remote operators selective, lightweight access to exactly the parts of the audio chain they need, from wherever they happen to be working.
Solid State Logic is rolling out a significant update to its System T broadcast console platform, arriving at IBC 2026 with a suite of upgrades designed to loosen the grip of proprietary hardware on modern production workflows. The centerpiece is expanded Open Sound Control integration—a move that lets any OSC-compliant device talk directly to System T's core functions without requiring dedicated SSL equipment on the other end of the connection.
The practical upshot is straightforward: a remote operator at a venue no longer needs to haul in specialized hardware just to adjust a handful of faders or monitor a mix. They can use whatever compact controller they have on hand, map it to the console via standard IP networking, and get to work. This matters because broadcast and theatre production has fragmented. The days of everyone gathering in one control room are over. Now you have operators scattered across multiple locations, each needing just enough access to manage their piece of the show—a monitor engineer here, a remote mixer there. System T V4.3 acknowledges this reality and makes it cheaper and faster to deploy.
The OSC layer runs deep. It can control faders, mutes, PFL and AFL channels, path labels, and anything else exposed through SSL's Event Manager system. That same integration means OSC messages can fire scene recalls by number, trigger automation snapshots, and even control the gain on SSL's entire Net I/O preamp ecosystem. For broadcasters running complex shows with dozens of scene changes, this is a genuine convenience—no more hunting through menus to recall a saved state.
Beyond remote access, SSL has sharpened the console's metering and mixing architecture. The meter bridge now includes a "follow active fader bank" option on the S500 and S500m models, meaning the display dynamically tracks whatever faders the operator is currently touching. SSL has also embedded its Bus Compressor Effect Meter directly into the meter bridge, so engineers can watch their overall dynamic range without looking away from the main surface. For large productions—theatre runs, broadcast entertainment shows—the bussing structure has expanded. Track buses now support independent per-channel send levels, matching the flexibility already available on stem and aux buses, which means more independently controllable sends across a single show.
The update also borrows several features from SSL's Live console line. Permanent Path Linking lets operators create up to 48 link groups that bind multiple paths together while allowing independent filtering on each one—useful for keeping related channels in sync without losing individual control. Scene capacity has jumped to 500, a significant bump for complex productions that rely on snapshot-style recalls. And a new vocal processing tool called SolidPitch—a tuning and creative effect that handles everything from subtle pitch correction to aggressive vocal manipulation—is now available across the entire System T ecosystem, including the Virtual Tempest Engine for remote or virtual setups.
Small details round out the release. Remote power-off functionality lets production teams schedule the console to shut down safely at the end of a broadcast or event, reducing the manual work of powering down equipment. Berny Carpenter, SSL's product manager, frames the update as a response to how broadcast work has actually changed. "As distributed workflows become more commonplace, remote operators often need just a limited amount of control to manage specific elements of the audio chain," he says. The V4.3 release is SSL's answer: keep the power and depth of the System T platform, but make it possible to access just the pieces you need from anywhere on the network, using whatever hardware you already have.
Notable Quotes
As distributed workflows become more commonplace, remote operators often need just a limited amount of control to manage specific elements of the audio chain.— Berny Carpenter, SSL Product Manager
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