Most studio engineers look upon the SSL console mix-buss compressor as an essential tool of the trade, and having access to one in a stand-alone box, with the added sonic benefits of the SSL's Superanalogue topology, is a masterstroke. 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. Furthermore, the SSL's Auto Fade feature came in handy on this session. The unit needs a lot of room, not only because of the very deep rack case, but also because it gets quite warm in use and requires extra space for ventilation. The threshold and the make-up gain are both continuously variable. Mastering Essentials Part 3 - How loud should I master? SSL's G-series stereo mix-buss compressor has been supercharged with the company's Superanalogue circuitry and fitted into a 1U rackmount box. 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. 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. Because the compressor is permanently linked as a stereo unit, I found it difficult to discern which side of the overheads was picking up more kick drum and skewing the triggering of the compressor. I put the compressor to test during some recent mixing sessions, trying it out as both a buss compressor and a stereo mix compressor. The band wanted me to fade out all the busses, leaving only the toy piano to carry on to the end of the song. 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 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. What is a "hybrid" audio interface anyway? The inputs, outputs, and key input are all balanced XLR. The XLogic series all get quite warm in use, largely because of the current demands of the Superanalogue circuitry. You may login with either your assigned username or your e-mail address. ($3355 MSRP; www.solid-state-logic.com). The views expressed are those of the contributors and not necessarily those of the publishers. 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. The celebrated mix-buss compressor design from the G-series consoles has been brought up to date using SSL's latest Superanalogue circuitry. Although the controls are very simple, there are a number of clever things going on 'under the bonnet' here. Two pairs of XLRs on the rear panel supply balanced stereo line I/O, and a further female XLR offers an external key input. But where you want consistency of fades across several versions of a mix it can be used to advantage — assuming that you hit the button at the same point in the track each time, of course! This particular mix was tricky due to an inconsistent kick drum. Using the make-up gain, I was able to push the drum track up quite nicely without any noticeable artifacts. Even though I had compressed the kick already with a dbx 160, I was still hoping that the stereo compressor could help handle the intermittent and uncontrollable drum transients that were sneaking through. 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 DM-24 features 32 channels and 8 busses, 24-bit resolution, 44.1/48/88.2/96 kHz sample rates, EQ/compression/... At first I had a hard time getting a feel for this unit because I had expectations for it that ended up being false. The celebrated mix-buss compressor design from the G-series consoles has been brought up to date using SSL's latest Superanalogue circuitry. This may not be the ideal compressor for sources with a widely swinging dynamic range, and I wish there were more ratio options, especially between 4:1 and 10:1. This 1RU stereo compressor is modeled after its patriarch, the compressor in the SL4000 G Series console. Their mic preamps, summing amps, and control room... Womanizer tube distortion pedal, Demonizer tube distortion pedal, Jim Williams: Behind the Gear with Audio Upgrades, Restoring the "Holy Grail of Compressors": Behind the Scenes at the Vintage King Tech Shop, From WWII Planes to Stax Consoles: Behind the Gear with Bill Cheney & the History of Spectra Sonics, Rich Williams: Behind the Gear with Burl Audio. Web site designed & maintained by PB Associates & SOS. There are three switchable ratios (2:1, 4:1, and 10:1), six switchable attack settings (0.1, 0.3, 1.3, 10, and 30 ms), and five switchable release times (0.1, 0.3, 0.6, 1.2 ms, and Auto). On a recent project with a local jam band, we were looking for "clean," so I strapped the SSL across the drum submix. An Auto Fade button, in conjunction with a Rate knob, provides smooth fade-ins and fade-outs. Read Sweetwater customer reviews for Solid State Logic XLogic G Series Compressor Reviews. 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. This feature is also available on the optional remote. Sometimes you want "character," sometimes you want "clean.". The first of the six rotary controls adjusts the threshold continuously from -15dBu to +15dBu. In fact, when I first started using the SSL, I had a hard time discerning whether it was actually compressing the signal or not. 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. Rated 5.0 / 5 by 9 customers! All rights reserved. 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