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XLR inputs on front and back (switchable from the front), and a hi-z setting for a 1/4" instrument input on the front as well. The Expander/gate sounded clear it didn't screw with the transients too much. So in the end, I'd say I get more use out of this compression chain than with the G-Series compressor. But it does however have the fast-attack button, with which you do get a more "this But it didn't scream at me, "Wow, I want to put this on a snare drum!" I was pleasantly surprised on one end, but disappointed on the other. It felt much smoother-great for vocals and things like that. And they're great for rolling off a little of the bottom end while recording vocals.Ĭompression? It didn't have as much "thwack" as an SSL G-Series channel compressor. The filters are really important for getting a track to sit right in a mix. The low and high-pass filters sound really great and work really well. And the Neve V-Series is more musical and tunable on the lows. For low end, I prefer the EQ from Prism Sound. When adding low end, I found it a bit muddy. However, I do wish it gave me more control of the bottom end. I wasn't afraid to commit it to tape, but be careful with the Bell switch because it can add some harshness, which you may or may not want. Great for a whole range of voices-from Angela singing jazz to Taxi Taxi's Terence Bernardo and his indie sound. With the SSL, you can add highs, and it still sounds just wonderful.
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Even for bright vocals that would otherwise get sibilant. So what you do get is natural across the whole spectrum.
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SSL really have an understanding of how to put air on a sound, all the way up to the frequencies that you can't even hear. The EQ? Admittedly, I didn't go into the E-series setting much-I thought it was okay-but the G-series setting I loved. I used it just this weekend on an Angela McCluskey track and also on a Burt Bacharach cover for Hersheys with George Harrison-style acoustic guitar and male vocals. It has a transparent mic preamp that's beautiful to record with, especially on vocals. The XLogic SuperAnalogue Channel is absolutely amazing.
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A software update (along with a new plug-in called Drumstrip) will be available in March. But it does seem that the staff at SSL is working hard to address the stability issues. As Neil explains, he had some stability issues with Duende that couldn't be solved by tech support, and some users on SSL's online forum attest to experiencing similar problems, while other users are having no problems at all. A digital emulation of the acclaimed SSL stereo bus compressor is also included. The Duende is a rackmount DSP-powered processor capable of running 32 channels (at 44.1/48 kHz, 16 channels at 88.2/96 kHz) of SSL's EQ and dynamics as AU and VST plug-ins. As well, there's an optional A/D converter card for it. The XLogic Channel is a direct descendant of SSL's flagship XL9000K console, and it combines the mic preamp, compressor, gate, filters, and EQ from the console into a 1RU-height rackmount unit. After two months of use, his comments are below. Neil's spent many a fortnight (isn't that British for "a couple weeks"?) driving the faders of various SSL desks ("consoles") around the world. So when I unpacked the box that SSL recently sent me, I handed the XLogic SuperAnalogue recording channel and the Duende FireWire processor to producer Neil Mclellan (The Prodigy, Carl Cox, Oasis, Nine Inch Nails, Erasure, etc), who's written some great reviews for Tape Op in the past. The last time I used an SSL console was years ago, when my friend Jim Sorensen and I recorded a Cat Power single. SSL has quite a range of outboard processors, including mic preamps, numerous recording channels, a summing module, a well-appointed DAW, and even a plug-in processor. However, many engineers fail to realize that SSL is also a manufacturer of outboard gear, not just large-format consoles. I don't think there's a single working engineer that hasn't heard of SSL.