East Stroudsburg, PA (October 3, 2025)—SSL recently launched the Revival 4000 Signature Channel Strip, and to celebrate, it teamed up with pop-punk power trio Bowling For Soup and multi-Grammy-nominated mix engineer Dan Malsch to track and mix through eight channels. The result, “Holding on to That Hate,” is now streaming and the stems are available for anyone to experience the sound of the new all-analogue channel strip and to mix their own version of the song.
Across a two-day intensive tracking and mixing session, every vocal and instrument track on “Holding on to That Hate,” the first original single from the band since their acclaimed 2022 album Pop Drunk Snot Bread, was recorded and mixed through the Revival 4000 modules’ Jensen transformer-balanced pre-amps and processed by Malsch using each strip’s onboard B Series de-esser, E/G Series EQ, HP/LF filters and E Series dynamics section.
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The single was recorded at Dan Malsch’s Soundmine Recording in Pennsylvania’s Pocono Mountains. Malsch, who has also worked with Ghost, Gojira and Avenged Sevenfold among others, is a longtime SSL user, as Soundmine’s Studio A sports a vintage SSL 4000 E/G+ console, and that allowed him to compare the sound and performance of the new channel strip with the originals in the console.
“Everything that was recorded with Bowling For Soup was all through the Revival 4000, so it was my normal kind of flow, with a lot of EQ and a lot of compression,” Malsch reports. He typically likes to create an aggressive mix while keeping everything super clean. “SSL EQ into compression is what does it for me. You can hear every instrument and have everything sound massive and larger than life.”
SSL intended the new Revival 4000 to deliver the early-1980s signature SSL “4K” sound and includes selectable Black or Brown Knob EQ circuits, a discrete class A VCA compressor, classic gate/expander section and a one-knob de-esser derived from SSL’s B Series console.
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“The drums sounded amazing,” Malsch adds. “I tend to be fairly heavy handed with my EQ and compression, and I brutalized the new channel strips on drums with lots of everything—lots of bottom end, lots of top, lots of mid; more and more of everything.”
