They unarguably changed both the sound of modern music and the art of mixing in. The SSL large format consoles are, quite simple, the quintessential mixing desks and can be found in the studios of almost all top-tier mix engineers. Recommended uses: Bass tracks, Drums, Kick tracks, Synths, Vocals.
Two pairs of XLRs on the rear panel supply balanced stereo line I/O, and a further female XLR offers an external key input. The unit is housed in a 1U rackmount case which extends 325mm behind the rack ears. The SSL G -Equalizer includes a slight dip before a boost as well as a slight rise before a cut, which contribute to its incomparable sound, and its broader Q allows for more extreme. Construction & ControlsThe SSL GEqualizer is modeled right after the SSL G Series EQ292 and it givesgreater achieve adjust and a broader Q that makes it achievable for far more.SSL G-Equalizer This four-band equalizer, modeled on the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. I reviewed their XLogic Superanalogue Channel back in SOS February 2005, and its sibling is now under review here: a high-quality stereo mix compressor derived from that first seen in the centre section of the G-series consoles, but improved using their latest Superanalogue circuitry.
The final rotary control adjusts the fade time from 1s to 60s. The continuously variable Make-up knob spans -5dB to +15dB, and large illuminated buttons activate the compressor circuitry, the external side-chain key input, and the separate Autofade facility. The next three are rotary switches, providing attack times of 0.1, 0.3, 1, 3, 10, or 30ms ratios of 2:1, 4:1, or 10:1 and release times of 0.1, 0.3, 0.6, or 1.2s, or an automatic release mode. The first of the six rotary controls adjusts the threshold continuously from -15dBu to +15dBu. This four- band equalizer, modeled on the ssl g series eq292.The classic functional styling of the front panel makes it easy and quick to use, with simple controls providing all the essential parameters, and a traditional moving-coil gain-reduction meter indicating up to 20dB of attenuation. Construction is to exceptionally high standards, with very neat and safe wiring.the g- series channel eq differs from that of the e- series eq in that the q.
Ssl G Series Eq292 Manual Supplied With
The G-series Compressor is no exception, and it is well worth heeding the handbook's warnings about leaving 1U of rack space above the unit, and about not placing it above anything else hot.While on the subject of handbooks, The Owner's Manual supplied with the G-series Compressor is a classic for 'tech heads'. Analogue Warmth?The XLogic series all get quite warm in use, largely because of the current demands of the Superanalogue circuitry. The Autofade feature can be controlled remotely through the rear-panel nine-pin D-Sub connector, and you can also connect up an external gain-reduction meter to mirror the display of the unit's internal meter. However, internal circuit jumpers allow a 'hard bypass' to be selected instead, in which case four sealed changeover relays connect the inputs directly to the outputs — the disadvantage being that you can't then use the Autofade function if the compressor is bypassed.Photo: Mike CameronAnother nice touch is that the Autofade circuit generates a control voltage that, rather than being linear, replicates the audio taper of a real fader, so that the slope gets steeper towards the bottom of the fade, and sounds more natural, especially with longer fade times. The first thing to mention is that the Compressor In button normally provides a 'soft bypass' which just forces the gain-reduction circuitry to provide unity gain.
Although you only get three ratios, you won't want any more: the 2:1 setting introduces relatively subtle and transparent control, the 4:1 mode is a little harder and more obvious (but in a good way!), and the 10:1 mode is essentially peak limiting, which can be used either to keep a wary eye on any unruly transient peaks, or to squash the sound to death in those circumstances where that might appeal!The Autofade facility is something I've never personally felt the need for — I like to pull the main fader up or down by hand. The automatic release mode was rarely caught out (so I tended to leave it set in that mode), while the ability to fine-tune the Attack time to suit the material was sometimes very useful indeed. Achieving a suitable setting is as intuitive as selecting the required ratio, dialling up the Threshold to achieve the amount of 'squash' needed, and then fine-tuning the Attack and Release controls to optimise the sound character.Like the mix compressor from which it is derived, this XLogic unit does a great job of making any mix sound louder, but without becoming aggressive or obvious about it. The unit has a maximum output level of a healthy +24dBu, so there shouldn't be a problem feeding digital mastering recorders directly from the output if required.
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