Solid State Logic Duality User manual

Duality
Operator’s Manual
Solid State Logic
82S6DUA20C
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Solid State Logic
S O U N D | | VISION
Begbroke, Oxford, England, OX5 1R • [phone]
320 West 46th Street, 2nd Floor, New York, NY 10036, SA • [phone]
Suite 401, 5757 Wilshire Blvd, Los Angeles, CA 90036, SA • [phone]
3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051, Japan • [phone]
7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93150, France • [phone]
Via Timavo 34, 20124 Milano, Italy • [phone]
Visit SSL at URL: http://www.solidstatelogic.com
Visit SSL at URL: http://www.solid-state-logic.com
© Solid State Logic
All rights reserved under International and an-American Copyright Conventions
Duality, SuperAnalogue, VHD, Total Recall, Solid State Logic and SSL are trademarks of Solid State Logic
All other product names and trademarks are the property of their respective owners
No part of this publication may be reproduced in any form or
by any means whether mechanical or electronic without the
written permission of Solid State Logic, Oxford, England
As research and development is a continual process, Solid State Logic reserves the right
to change the features and specifications described herein without notice or obligation
E&OE
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11IInnttrroodduuccttiioonn ttoo DDuuaaiittyy
22CCoonnssooee OOppeerraattoorr’’ss GGuuiiddee
Overview 2-1
DAW I/O Labelling 2-2
Routing and Signal Flow 2-2
Introduction to Split Mode 2-2
Channel Strip 2-3
Channel Input Section 2-4
Dynamics Section 2-5
Compressor 2-5
Gate/Expander 2-5
Central Dynamics Control 2-7
Dynamics Section Metering 2-7
Equaliser 2-7
Filters 2-7
Channel Output (CHO ) 2-8
Insert oint 2-8
Signal rocessor Routing 2-8
Channel Sends 2-9
Cue Stereo 2-9
FX Sends 2-9
Channel an 2-10
Split Mode 2-10
Channel Fader 2-11
Channel Cut and Solo 2-11
D-pot and DAW Control 2-11
Channel TFT Screen 2-12
Centre Section 2-15
ower Supply Indicators 2-15
Central Routing anel 2-16
Main Output Functions 2-18
Main Bus Compressor 2-19
Master Fader 2-20
Track Bus Master Controls 2-21
Monitoring 2-22
External Source Selectors 2-23
Monitor Insert 2-24
Monitor Metering 2-24
Bass Management 2-25
Monitor Options 2-25
Monitor Level Calibration 2-27
SOLO / AFL / FL 2-28
Dua ity Operator’s Manua TTOOCC--11
Tab e of Contents
TTaabbllee OOff CCoonntteennttss
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22CCoonnssooee OOppeerraattoorr’’ss GGuuiiddee ((ccoonnttiinnuueedd))
Cue/FX Send Master Controls 2-29
Foldback and Headphone Outputs 2-29
Stereo Return Channels 2-30
Misc Options 2-31
Communications 2-32
Oscillator 2-33
LFE Channel 2-34
Mix Reassign Matrix 2-34
Stereo Mix Matrix 2-34
Group Control Faders 2-35
Section Metering 2-36
Meter Options 2-37
33DDAAWW CCoonnttrroo GGuuiiddee
Introduction 3-1
DAW Controller features summary 3-1
Communication with the DAW 3-1
Overview 3-2
D-pots 3-2
Console Focus Button 3-2
Master Control anel 3-3
Channel Banking Controls 3-3
DAW Window Buttons 3-3
Digital ‘In-line’ Mode 3-3
DAW Utility Buttons 3-4
Modifier Buttons 3-4
Default Button 3-5
Channel Functions 3-6
DAW Meters 3-6
Channel Fader 3-6
Channel Solo and Cut anel 3-7
Channel D-pot 3-7
Solo and Cut Buttons 3-7
Solo Isolate 3-7
Channel Select Button 3-7
Scribble Strip Displays 3-7
Record Ready Mode 3-8
Edit Mode 3-8
Select Mode 3-9
Working with the Channel D-pots 3-9
an Mode 3-9
Channel Mode 3-9
Send Mode 3-9
Setting Sends re/ ost Fader 3-10
Muting a Send Output 3-10
Flipping Send Levels to the Faders 3-10
Tab e of Contents
TTOOCC--22Dua ity Operator’s Manua
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33DDAAWW CCoonnttrroo GGuuiiddee ((ccoonnttiinnuueedd))
Input, Output and Send Routing 3-11
Viewing Routing 3-11
Changing Routing 3-11
Motion Control 3-12
Basic Transport Controls 3-12
Additional Transport Controls 3-12
Other useful transport modes 3-13
Setting start (In) and end (Out) Times 3-13
Setting re and ost Roll 3-13
Audition 3-13
Footswitch Control 3-14
Zoom, Navigation and Selection Modes 3-14
Shuttle/Scrub Wheel 3-15
Numeric Keypad 3-16
lug-In Editor 3-17
lug-In Editor Display 3-17
lug-In Editor Controls 3-17
aging Buttons 3-17
Selecting a DAW Channel for lug-In Control 3-18
Timecode/Bars & Beats/Samples Display 3-18
lug-In Display Modes 3-18
Viewing Current Inserts (Insert Mode) 3-18
Assigning a lug-In or Hardware I/O Insert 3-19
Editing lug-In arameters ( arameter Mode) 3-19
Soft Keys 3-21
Working with DAW Automation 3-24
Automation Enable 3-24
Automation Modes 3-24
TRIM Mode 3-24
Automation Status Display 3-25
Suspending Automation 3-25
Writing Automation 3-25
Automating Cuts 3-26
Automating ans and Sends 3-26
Automating lug-Ins 3-26
Mackie Control (MCU) Emulation 3-27
Mackie Function Control Overview 3-28
Logic Template 3-29
Nuendo/Cubase Template 3-32
Sonar Template 3-35
Digital erformer Template 3-38
Dua ity Operator’s Manua TTOOCC--33
Tab e of Contents
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44TToottaa RReeccaa
Overview 4-1
Total Recall and rojects 4-2
Working with rojects and Titles 4-3
Saving a TR Setup 4-3
Recalling a TR Setup 4-4
Deleting a TR Setup 4-4
Renaming TR Setups 4-4
Total Recall Displays 4-5
Copying and Swapping settings between channels 4-6
Resetting soft switches 4-6
Copying TR Setups to a DAW Folder 4-6
55AAuuttoommaattiioonn
Overview 5-1
Key Features 5-1
Automation and rojects 5-2
Working with rojects and Titles 5-3
Activating the Automation System 5-3
Operation 5-4
List Mix Menu 5-4
Changing the Selected Mix ass 5-4
Deleting Mix asses 5-4
Creating A New Mix ass 5-5
Mix Running 5-6
Mix Review 5-6
Dedicated Automation Buttons 5-7
Join and Revise 5-8
Discard 5-9
Updating a Mix ass 5-9
rotection Modes 5-9
Automation Options 5-10
Trim 5-10
Trim Lock 5-11
Motors Off 5-12
Snap Mode 5-12
AutoTakeover 5-12
Cut Automation 5-13
Using Match and lay to correct a Cut 5-13
Copy and Swap 5-14
Fader Links 5-15
Creating a New Link 5-15
SuspdSel/SuspdAll 5-15
Deleting Links 5-15
Saving Mix asses to your DAW roject 5-16
ro Tools Setup Notes 5-17
Tab e of Contents
TTOOCC--44Dua ity Operator’s Manua
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66 LLooggiiccttiivviittyy ––DDuuaaiittyy RReemmoottee BBrroowwsseerr
Introduction 6-1
Duality Remote 6-1
Connecting Duality To Your Computer 6-2
Setting a Fixed I Address 6-2
Connecting to Duality 6-3
roject Tab 6-4
Copying Titles, Total Recall and Mix Data Between rojects 6-4
Renaming rojects, Titles, Mixes or Total Recall Setups 6-5
Backing up a roject 6-5
Restoring a roject 6-5
Notes Tab 6-5
Channel Tabs 6-6
Mixes 6-7
Total Recall 6-8
Exts Names 6-9
Misc Tab 6-10
Time and Date 6-10
Dua ity Operator’s Manua TTOOCC--55
Tab e of Contents
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Tab e of Contents
TTOOCC--66Dua ity Operator’s Manua
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What is Duality?
Duality is an evolutionary combination of super analogue console and DAW controller from Solid State Logic. It
draws on years of design experience, and incorporates industry standard features from SSL’s range of large
format music consoles.
Design Concepts
Duality combines tec nology from SSL’s acclaimed music console, t e XL 9000 K Series wit new design
concepts w ic fait fully recreate t e overload c aracteristics of valve circuitry. It retains all of t e sonic
benefits of SuperAnalogue™ capacitor-free servo coupled circuitry, t en adds variable armonic colouration on
a c annel by c annel basis, contained wit in a control surface w ic will be familiar to any recording engineer
w o as previously used SSL consoles.
Key Features Summary
• Combined large format SSL console and DAW controller
• Legendary SuperAnalogue™ mic preamps and signal processing
• New VHD™ (Variable Harmonic Drive) preamp stage
• Compre ensive monitoring up to 5.1 surround wit multiple loudspeaker support
• Direct control of DAW recording, editing and mixing functions from t e console surface
• Flexible signal routing en anced by t e c annel ‘Split’ function
Console Feature Summary
• Integrated console, signal acquisition, signal processing, studio monitoring, bass management and DAW
control
• Advanced DAW control t roug a ig resolution integrated TFT screen
• Elegant, ergonomic design wit a number of add on options
• Innovative large fader dual-control of bot DAW and console input pat wit follow fader metering
Duality Operator’s Manual 1-1
Introduction
Section 1 – Introduction
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Exceptional Signal Processing
• Legendary SSL sound quality
• SuperAnalogue™ tec nology derived from SSL’s acclaimed XL 9000 K Series console
• VHD™ Input Preamp
• DC Coupled for excellent low frequency response
• Balanced signal pat s t roug out for maximum dynamic range
• Audio bandwidt exceeding t at of 192kHz recorders
• Ultra low-noise dual impedance mic amps
• C annel EQ wit twin-curve SSL E and G Series 4-band parametric equalisation
• C annel dynamics sections wit gate, expander and compressor/limiter
• 5.1 implementation of SSL’s classic mix bus compressor
• Hig ly flexible signal processing order
Creative Versatility
• Hex mix bus design configurable as a 5.1 bus or t ree stereo pairs (A, B, C)
• 5.1, stereo or stereo down-mix main outputs
• 24 track busses
• 2 Stereo Cue plus four Aux busses on all c annel modules, wit EFX re-assign system to feed track busses
and c annel output
• Wide range of solo modes including Solo-In-Front
• 4 stereo ec o returns wit full mix/foldback routing
• Unrivalled studio monitoring section
• Hi-visibility c annel TFT screens for metering and optional Total Recall displays
• 2 main VU meters and p ase meter
• Compre ensive bus metering in t e centre section
Introduction
1-2 Duality Operator’s Manual
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DAW Controller
Today’s DAWs provide t e power and convenience of recording and editing audio, but a keyboard and mouse
is not t e most intuitive way to access t ese controls. For most users, finding an integrated solution t at
answers all of t eir working needs is strongly desired. Duality ac ieves t is to an extent and quality t at as
previously been unavailable.
Controller Features Summary
• Direct access to all major DAW mixing, editing and automation parameters via HUI and MCU protocols
• Direct control of plug-in settings
• Dedicated control processor to maximise console performance
• Integral colour TFT display wit dedicated control keys
• Hig quality motorised faders to write/replay level moves in your DAW
• Simple switc ing between console layer and DAW control layer
• Full remote control implementation
• Operation independent of platform – works wit Pro Tools™, Nuendo™, Logic Audio™, and ot ers
System Options
• Multi-operator Total Recall for accurate resetting of session parameters
• Compre ensive automation package based on SSL’s legendary Ultimation system
Now enjoy.......
Duality Operator’s Manual 1-3
Introduction
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About this manual
T is manual is divided into five main sections, and is designed to provide a compre ensive source of
information for Duality console users. T e table of contents will elp you to familiarise yourself wit t e basic
content of eac section. If you are reading t is from an electronic version of t e manual, use t e ‘bookmark’
feature to rapidly locate to virtually any topic.
If you ave not previously used an SSL console, you are advised to read t e Duality overview at t e start of
Section 2. T ose of you w o ave experience of SSL’s range of analogue consoles will ave little difficulty
getting to grips wit t e operation of t is console’s control surface; features t at are specific to Duality are fully
described in Section 2.
To set-up and configure t e software interface between Duality and your c osen DAW, please study Section 3.
T is section also covers t e DAW functions t at you can usefully control from Duality’s centre section.
Finally, t e last section in t is manual is provided to old useful appendices t at you may be supplied wit from
time to time.
Conventions Used
Some typograp ical conventions ave been used in t is manual to elp distinguis explanatory text from t e
text referring to console items. T ey are as follows:
• Switc cap engravings on t e console are usually in UPPERCASE (eg. SOLO).
• Silk screened text on t e console’s control surface can be eit er UPPERCASE (eg. DYNAMICS), or
lowercase bold (eg. auto), or Titlecase (eg. Talkback Mix).
• Any text on t e console’s TFT screen is referred to in a Bold typeface.
•Items of note or cautions are shown in a red italic typeface.
• W enever t is manual mentions t e selection or pressing of a button, it is assumed t at t e button was not
active (ie. not lit), and t at t is action as made it active (ie. it as become lit).
• Similarly, w enever t e manual mentions t e deselection of a button (or pressing it again), it is assumed t at
it was active before t e action, and as become inactive due to t is action.
Contacting Solid State Logic
If you cannot find t e information you need on t e pages of t is manual, please refer to t e Duality support
pages at ttp://www.solid-state-logic.com
About This Manual
1-4 Duality Operator’s Manual
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Duality Operator’s Manual
Overview
Duality is an evolutionary combination of analogue console and DAW controller from Solid State Logic. It draws
on years of design experience, and incorporates industry standard features from SSL’s range of large format
music consoles.
Duality combines tec nology from SSL’s acclaimed music console, t e XL 9000 K Series wit new design
concepts w ic fait fully recreate t e overload c aracteristics of valve circuitry. It retains all of t e sonic benefits
of SuperAnalogue™ capacitorless servo coupled circuitry, t en adds variable armonic colouration on a c annel
by c annel basis, contained wit in a control surface w ic will be familiar to any recording engineer w o as
previously used SSL consoles.
T e ubiquitous DAW (Digital Audio Workstation) as broug t many benefits to audio production, including visual
audio editing, integrated digital effects processing and convenient session storage and recall. However, alt oug
eminently flexible, DAW’s present new c allenges of integration wit in t e studio environment today.
Duality as been carefully designed wit t ese requirements in mind. It addresses all t e needs of current DAW
production tec niques in an integrated, ig quality and robust design, coupled wit all of t e sonic benefits
expected from a Solid State Logic console.
SSL’s extensive design experience as been utilised to create t e ultimate capture pat for up to 96
simultaneous inputs into t e DAW, w ere recorded signals can be edited, processed and mixed via Duality’s
control surface. T e signal pat s can t en be eit er summed internally wit in t e DAW or returned to t e
analogue domain for furt er processing via Duality’s c annel pat EQ and dynamics processors, before final
summing via t e console’s balanced analogue mix bus arc itecture. Wit a compre ensive 5.1 monitoring
section, audio can be auditioned wit t e ig est possible audio integrity.
A ig resolution, digitally controlled gain element in eac c annel allows t e motorised faders to be switc ed to
control any DAW t at supports t e HUI or Mackie Control protocols, w ile retaining control of t e analogue
signal pat . T e faders and t eir associated c annel-based rotary encoders (D-pots) provide direct control of
DAW faders, pans, sends, plus input and output routing. T e Master Control Panel and Duality’s centre section
screen give paged control of all plug-in parameters.
In summary, Duality is a Complete Studio Solution for modern DAW based production environments.
2-1
Section 2 – Console Operator’s Guide
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An Introduction to Split Mode
T e Duality c annel strip is optimised for working in conjunction wit a multic annel DAW as t e primary
recording medium. Instead of retaining t e ‘in-line’ arc itecture of previous SSL consoles, a new ‘Split Mode’
mode topology as been introduced w ic provides t e equivalent of in-line operation but wit out t e cost and
complexity of separate c annel and monitor pat s.
In DAW-based productions, t ere is no longer t e fixed track count limitation of conventional analogue or digital
tape-based recording. T is means t at most sources are recorded individually to a track wit or wit out
processing as production requirements dictate, but wit out requiring constant access to a ‘c annel’ fader. T e
Duality c annel supports two input pat s normally designated as t e C annel Input and t e DAW Return, wit
a single C annel Output as t e DAW Send. T e Split Mode arc itecture allows t e input signal to be ‘picked
off’ t e c annel pat at t e input stage, or pre fader, and replaced wit t e DAW return. T e input signal
automatically becomes t e DAW send and t e remaining section of t e c annel andles t e DAW return.
Toggling Split Mode on and off is t e equivalent of t e classic send/return (Group /Tape) monitoring. T e
console sends can select eit er t e c annel fader signal or t e c annel output signal as a source, offering t e
c oice of zero-latency stereo cue and FX mixes, or post-DAW processed sends.
Routing and Signal Flow
As you read through the following pages, you may find it useful to refer to the signal flow diagrams in the
appendices section at the end of this manual.
In order to understand signal flow t roug Duality’s various operational modes, first we need to discuss ow
your DAW I/O unit is connected to t e console. To take advantage of t e sonic and control environment
provided by Duality, it is recommended t at eac DAW output is returned individually to a Duality c annel strip.
For details of t e p ysical location of Duality’s inputs and outputs, please refer to t e Duality Installation
Manual.
DAW I/O Labelling
W en using DAW routing wit Duality, it is advisable to take time to sensibly label t e inputs, outputs and
busses wit in your DAW. Details on ow to do t is will be found in t e documentation supplied wit t e DAW.
Sensible labelling will make t e task of performing routing via Duality’s front panel a simple task, rat er t an
relying on aving to decip er long complex names often assigned by default to DAW c annels.
For example in a 48 I/O system, simply naming inputs and outputs ‘1’ t roug ‘48’, and busses ‘b1’ t roug
‘b48’ will allow a simple differentiation between ardware I/O and internal DAW busses w en using t e console
control surface. In some DAW systems, I/O pat s can be grouped. In t is case label stereo pat s in pairs suc
as ‘1-2’, and sub pat s as ‘1’ and ‘2’.
Console Operator’s Guide
2-2 Duality Operator’s Manual
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Channel Strip
Introduction
Duality’s Split Mode enables t e c annel processing to be easily applied to c annel input
signals feeding t e DAW record pat or to t e DAW returns. T is provides t e equivalent of in-
line operation but wit out t e complexity of separate c annel and monitor pat s.
Users w o are familiar wit SSL’s range of in-line consoles will soon realise t at t e c annel
strip faders can control virtual faders on t e workstation as well as t e c annel signal pat , in
many ways paralleling t e large/small fader configuration of an in-line c annel strip. T is
provides an alternative to Split Mode working, wit t e DAW console andling t e functions of
a monitor mixer.
T e c annel supports two input connections, t e Monitor Input w ic is normally sourced
from t e output of t e DAW, and t e Channel input w ic accepts variable level signals from
a microp one, DI box or ot er audio source. T ree preamps are available for use wit eit er
input: a unity gain line level buffer w ic is normally assigned to t e DAW return, and a pair of
mic preamps sourced from t e CHANNEL input XLR connector, one using SSL’s Super
Analogue direct coupled DC servo circuitry, and t e ot er featuring SSL’s proprietary VHD™
(Variable Harmonic Drive) valve emulation gain stage. T e c annel output can route to 24
Track Busses, any one of t ree stereo Main Mix Busses (A, B and C) or all t e Main Mix
Busses in 5.1 mode.
In addition to two Cue Stereo sends and four mono FX Sends, a dedicated Direct Output (CH
OP) is provided. Eac c annel as compre ensive routing for EQ and filter, dynamics, and
insert send/return points.
T e c annel strip can be divided into five distinct functional sections:
C annel input
Dynamics
EQ and filter
Cue Stereo and FX outputs
C annel output pan
Beneat t e c annel strips is a panel containing t e ‘D-pot’ for DAW output or c annel level
control. T is area also ouses cut and solo buttons for bot fader and D-pot, and an electronic
scribble strip. Finally, below t e ‘write-your-own’ scribble strip, eac c annel as a long-t row
(100mm) moving fader.
Above eac bay of six c annel strips, t e TFT meter display provides a large range of useful
information on a per-c annel basis, including audio and dynamics metering, processing order,
bus routing, automation bargrap s (optional) and Total Recall™ (optional).
5
4
3
2
1
FR
LR LCR
LR
LFE
Focus
5.1
SPLIT
PAN TO TRK
LMF
dB
Q
KHz
Hz
Q
+
.2 2.0
40 600
KHz
HMF
dB +
0
KHz
.6 7
LF
THRESHOLD
+10
0
BELL
BELL
dB
0
LF
+
0
HF
dB +
0
Hz 500
20
CUE ST
LR
FX1
FX2
EQ
IN
POST
INS
IN
CH OP
FX4
HF
OUT 3
KEY
G-EQ
RATIO
120
SRC
SEL
AFL
EFX
ON
ALT
CH OP
POST
SET EFX
/CUEB
SRC
SEL
CH OP
CH OP
FX3
TO
S/Ch
RELEASE
14 14
THRESHOLD
RANGE
040
GATE/EXP
.1 4
+10
- 30
0
DYN
IN
REL/HOLD
PK
Cue B
EFX
ON
EFX
ON
CH OP
CH OP
EFX
ON
EFX
ON
EXP
POST
EQ
COMPRESSOR
INPUT
CH
dB
-20 +20
48V
dB
+15 +75
PAD
2nd 3rd
FILT
to
INP
Ø
HI-Z
60
15
0
220
400
.3
.
6
1.
0
DRV
IN
kHZ
-
-
-
1
23
5
30
96
4
30
60 100
300
S/Ch
LSTN
FILTERS
HOLD
Push for Fst Att
LINK
0
Push for Fst Att
DRIVE
- 20
1.5 22
15
10
5
2
1
2
3
4
5
Channel Strip
2-3
Duality Operator’s Manual
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At your first introduction to t e Duality console, you will immediately see t at t e c annel strip controls are
presented in reassuringly familiar manner. T e following pages describe eac control in detail, wit brief
coverage of t e routing possibilities. See t e start of t is section for more on signal routing.
In the following descriptions, the connectors referred to are on the rear of each channel module,
unless stated otherwise.
Channel Input Section
T is provides two inputs, one dedicated as a line level DAW return (D-connector), t e
ot er (XLR connector), is intended as a mic input but may be used for bot mic or line
inputs. Normally t e Mic Input feeds t e variable gain INPUT amplifier, and t e DAW
return feeds a unity gain line amp. However a centrally controlled INPUT FLIP function
reverses t e input routing so t at t e DAW return can be processed by t e variable gain
amplifier stage wit out t e necessity for external patc ing.
T e variable gain amplifier features two completely independent preamp stages. Bot ave electronically
balanced inputs wit very different but complementary sonic qualities. T e default preamp uses SSL's
acclaimed Super Analogue circuitry to provide an extremely low noise, extended bandwidt front end wit t e
minimum of signal colouration. Pressing t e DR IN button routes t e input signal to a completely different
preamp featuring t e SSL-developed VHD™ (Variable Harmonic Drive) circuitry. VHD emulates t e
c aracteristics of a classic valve front end but wit t e option to tailor t e armonic mix w en t e preamp is
overdriven by adjusting t e DRI E pot. In conjunction wit t e 20dB PAD and Hi-Z input impedance option,
VHD can provide subtle valve style warmt to a mic signal or aggressive tonal s aping to existing DAW tracks.
However, be aware t at, due to differences in t e mic amp topology, exact matc ing of gains is not possible.
Note that many of the signal routing functions on a channel strip are also available
on the central routing panel, and some are only available on the central routing panel
T e post input stage CH (c annel) control provides final ±20dB gain trim (for reducing t e level w en t e input
section is being abused for creative reasons) and polarity inversion (Ø), for t e centrally selected c annel
source. Available input options are t e output of t e mic input preamp (MIC), t e balanced line level DAW
return (LINE), or t e c annel’s associated track bus for patc free subgroups (BUS). In t e latter case, t e
c annel input is replaced by t e output of one of t e 24 Track Mix busses w ere Bus N feeds t e input of
C annel N, N+24, N+48 etc.
FILT to INP locks t e ig and low pass filters to t e c annel source. +48 p antom power for mic inputs is
selected on t e central routing panel.
COMPRESSOR
INPUT
CH
dB
-20 +20
48V
dB
+15 +75
PAD
2nd 3rd
FILT
to
INP
Ø
HI-Z
DRV
IN
0
DRIVE
Console Operator’s Guide
2-4 Duality Operator’s Manual
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Dynamics Section
T e Dynamics section contains a compressor section identical to t at of t e 9000K
series and also found in SSL's Logic FX range of outboard processing units. In normal
use, t e compressor’s true r.m.s. side c ain and over-easy soft ratio function provide a
very transparent compression action even wit large amounts of gain reduction. T e fast
attack option offers t e classic SSL compressor sound normally associated wit its use
on drum and percussion sources. Selecting Peak (PK) mode defeats t e over-easy soft
ratio, modifies t e release curve and attack times, and unleas es a far more aggressive
sounding compressor ideal for more radical sonic s aping.
T e Gate/Expander section is a new variant of SSL’s classic 4000 series t ree-control
design. It features t e c oice of a steep gate or gentle expander slope, wit optional fast
attack. T e new ‘Hold’ (HOLD) option flips t e variable release (REL) control to function as
a variable old-off time wit a fixed release curve.
T e complete section is switc ed in or out of circuit using t e DYN IN button (see also Central Routing
Control). W en t e dynamics section is in circuit, t e DYN box on t e c annel TFT display is ig lig ted.
Individual controls act as follows:
Compressor
RATIO – W en turned to 1:1, t e compressor section is inactive. Turning t e control clockwise increases t e
compression ratio until it reac es a true limit mode at t e fully clockwise position. Pressing t e RATIO knob
switc es t e compressor to peak sensing, and replaces t e ’over easy’ c aracteristic wit a ard knee,
providing an alternative voicing for some instruments. T e PK LED lig ts to indicate t at t is option as been
selected.
THRESHOLD – W enever a signal exceeds t e level set by t is control, t e compressor will start to act at t e
ratio set by t e RATIO control. T is control, in conjunction wit t e Ratio setting, provides automatic make-up
gain, so as you lower t e t res old and introduce more compression, t e output level is increased, maintaining
a consistent output level.
RELEASE – Sets t e time constant (speed) wit w ic t e compressor returns to normal gain settings once
t e signal as fallen below t e compressor t res old. T is control also incorporates a pus -pus switc w ic
selects a very fast attack time as an alternative to t e standard time constant.
Gate/Expander
T is section can act as a Gate or as a 2:1 Expander w en t e RANGE pot is pressed. A red LED indicates t at
Expand mode as been selected.
RANGE – Determines t e dept of gating or expansion. W en turned fully anticlockwise (Range = 0), t e
section is inactive. W en turned fully clockwise, an attenuation range of 40dB can be obtained.
THRESHOLD
+10
0
HF
KEY
RATIO
120
RELEASE
14 14
THRESHOLD
RANGE
040
GATE/EXP
.1 4
+10
- 30
0
DYN
IN
REL/HOLD
PK
EXP
POST
EQ
COMPRESSOR
dB
-
20 +20
96
S/Ch
LSTN
HOLD
Push for Fst Att
LINK
Push for Fst Att
- 20
Dynamics Section
2-5
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THRESHOLD – Variable ysteresis is incorporated in t e T res old circuitry. For any given ‘open’ setting, t e
Expander/Gate will ave a lower ‘close’ t res old to prevent ‘ unting’ artifacts. T e ysteresis value is
automatically increased as t e T res old is lowered. T is is very useful in music recording as it allows
instruments to decay below t e open t res old before gating or expansion takes place.
REL/HOLD – T is determines t e time constant (speed), variable from 0.1- 4 seconds, at w ic t e
Gate/Expander reduces t e signal level once it as passed below t e t res old. Note t at t is control interacts
wit t e Range control. T is control also incorporates a switc w ic , w en pus ed, provides a fast attack time
(100µs per 40db), instead of t e normal linear attack time of 1.5ms per 40dB. T e attack time is t e time taken
for t e Expander/Gate to ‘recover’ once t e signal level is above t e t res old. W en gating signals wit a
steep rising edge, suc as drums, a slow attack may effectively mask t e initial THWACK, so you s ould be
aware of t is w en selecting t e appropriate attack time.
HOLD – W en t is button is pressed, t e release time is fixed at 150ms but t e old time can be varied
between 0 and 4 seconds by adjusting t e REL/HOLD pot.
T e LINK button in t e compressor section links t e sidec ain signal of t at unit to t e sidec ain of t e next
dynamics section to t e rig t. W en two dynamics sections are linked, t e control voltages of eac section sum
toget er, so t at w ic ever section as t e most gain reduction will control t e ot er section.
Don’t try to link two gates using t e LINK button w en you want t e signal on one to open t e ot er. If you
need to ac ieve t is effect, take a keying signal from one section to trigger t e ot er. T e easiest way to do t is
is by patc ing from t e insert send of t e ‘source’ c annel into t e Key input (see below) of t e ‘destination’
c annel, and selecting t e KEY button on t is c annel.
T e KEY button feeds w atever signal is present on a c annel’s Key input (D-connector) into t e sidec ain
input of t at c annel’s dynamics section. Pressing S/Ch LSTN routes t e sidec ain signal to t e console’s PFL
bus. T is simplifies t e set up w en eit er an external key input or t e filters to side c ain option is in use.
POST EQ (not surprisingly) places t e dynamics section post t e EQ section (see also Central Dynamics
Control below.
Note t at w en t e dynamics section is not in circuit, its sidec ain input is also bypassed.
Signal processing order is graphically displayed on the channel TFT screen
Console Operator’s Guide
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Central Dynamics Control
T e centre section master routing panel replicates t e dynamics POST EQ function for sweet spot control and
multiple c annel operation using t e SELECT/TO range keys.
Dynamics Section Metering
T e TFT screen above eac bay of six c annel strips is used to display a wide variety of relevant information.
In its default C annel mode, as well as c annel output metering (see later) a display of dynamics section gain
processing is s own, in t e form of two columns of indicators – yellow and red for t e compressor, green for
t e gate/expander. See Channel Metering for more information.
Filters
T ese comprise a 3rd Order 18dB/Octave ig pass filter (HF) and a 2nd Order
12dB/Octave low pass filter (LF). Eac filter is out of circuit w en t e control is fully
anticlockwise. W en t e filter is in circuit, t e FILTER box on t e c annel TFT display is
ig lig ted.
Normally, t e filters follow t e EQ section in t e signal c ain but t e FILT to INP button
in t e input section of t e c annel strip places t e filters directly after t e c annel input.
T is function is also available on t e central routing panel. Pressing TO S/ch routes t e
filter section to t e dynamics sidec ain.
Signal processing order is graphically displayed on the channel TFT screen
Equaliser
T is is a four band parametric equaliser based on SSL’s classic 'Black Knob' EQ, w ic
was developed for t e original SL4000E series console. Selecting t e G-EQ button
introduces steeper s elving curves wit a controlled amount of unders oot at t e
turnover frequency, toget er wit t e classic gain/bandwidt interaction for t e mid band
sections t at was a key c aracteristic of t e original G-Series EQ.
T e individual bands function as follows: HF ig frequency s elving equaliser
switc able to fixed Q parametric (BELL); HMF ig frequency parametric mid band
equaliser; LMF low frequency parametric mid band equaliser; LF low frequency s elving
equaliser switc able to fixed Q parametric (BELL). T e EQ IN button (located next to t e
insert buttons) routes t e c annel signal t roug t e EQ and filter section. W en in
circuit, t e EQ box on t e c annel TFT display is ig lig ted. See also Central Routing
Control.
LMF
dB
Q
KHz
Hz
Q
+
.2 2.0
40 600
KHz
HMF
dB +
0
KHz
.6 7
LF
BELL
BEL
L
dB
0
LF
+
0
HF
dB +
0
Hz 500
20
EQ
IN
POS
T
INS
IN
HF
OUT 3
G-E
Q
TO
S/Ch
IN
60
15
0
220
400
.3
.
6
1.
0
kHZ
-
-
-
1
23
5
30
96
4
30
60 100
300
FILTERS
1.5 22
15
10
5
2
Filters and EQ
2-7
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Insert
T e INS IN button routes t e c annel signal via balanced insert send and return points,
available on t e rear of t e console (D-connectors). T e insert defaults to t e c annel
input (post t e input trim); POST cycles t e insert position t roug two alternative
locations in t e processing pat : post EQ or post Dynamics; t e centre section master
routing panel provides individual INS POST EQ and INS POST DYN buttons. W en t e
insert is active, t e INSERT box on t e c annel TFT is ig lig ted.
Signal processing order is graphically displayed on the channel TFT screen
Channel Output (CHOP)
T e C annel Output (D-connector) is normally used to feed t e DAW input. T e default
signal is a post c annel fader feed, but t e SRC SEL button can be used to select
alternative sources: pre c annel fader (pre t e SPLIT point – see below), t e c annel
input (also pre t e SPLIT point), or an active EFX send (see below). Eac selection is
grap ically displayed on t e c annel TFT screen (see Channel Metering for more
information). W en eit er t e c annel input or pre fader source is selected, t e SPLIT
button activates t e Split Monitoring function and routes t e DAW return into t e c annel
signal pat post t e split point (see below).
Use t e associated AFL button to monitor t e c annel output source as you toggle
t roug t e options wit t e SRC SEL button. T e central routing panel as single button
selection of t e four c annel output sources: INPUT, PRE FADE, POST FADE, EFX.
Signal Processor Routing
By now you will ave realised t at Duality features extremely flexible signal processor routing wit in eac
c annel. In addition, t e c annel output (CHOP) can be sourced from a number of different points in t e
c annel. Furt ermore, t e SPLIT function effectively offers two signal pat s in one c annel strip. A useful
grap ic display on t e c annel bay TFT (see Channel Metering) makes clear, at any time, t e current
arrangement for any c annel.
LMF
dB
Q
KHz
Hz
Q
+
.2 2.0
40 600
KHz
.
67
BELL
dB
0
LF
+
0
CUE ST
LR
FX1
FX2
EQ
IN
POST
INS
IN
CH OP
FX4
SRC
SEL
AFL
EFX
ON
ALT
CH OP
POST
SET EFX
/CUEB
SRC
SEL
CH OP
CH OP
FX3
Cue B
EFX
ON
EFX
ON
CH OP
CH OP
EFX
ON
EFX
ON
60
15
0
220
400
.3
.
6
1.
0
-
-
Console Operator’s Guide
2-8 Duality Operator’s Manual
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