Solid State Logic 82S6DUA20C User Manual

Solid State Logic

Duality

Operator’s Manual

82S6DUA20C

Solid State Logic

S O U N D

| |

V I S I O N

Begbroke, Oxford, England, OX5 1RU • [phone]

320 West 46th Street, 2nd Floor, New York, NY 10036, USA • [phone]

Suite 401, 5757 Wilshire Blvd, Los Angeles, CA 90036, USA • [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 Pan-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

TTaabbllee OOff CCoonntteennttss

11 II nn ttrr oo dd uu cc tt ii oo nn tt oo DDuu aa ll ii tt yy

22 CC oo nn ss oo ll ee OO pp eerraa tt oo rr’’ ss GG uu ii dd ee

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 (CHOP) 2-8
Insert Point 2-8
Signal Processor Routing 2-8
Channel Sends 2-9
Cue Stereo 2-9
FX Sends 2-9
Channel Pan 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

Power Supply Indicators 2-15
Central Routing Panel 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 / PFL 2-28

Table of Contents

Duality Operator’s Manual

TTOOCC--11

Table of Contents

22 CC oo nn ss oo ll ee OO pp eerraa tt oo rr ’’ ss GG uu ii dd ee (( cc oo nn tt iinn uu eedd ))

33 DD AA WW CC oo nn tt rroo ll GG uu iidd ee

ue/FX Send Master Controls 2-29

C
Foldback and Headphone Outputs 2-29
Stereo Return Channels 2-30
Misc Options 2-31
Communications 2-32

scillator 2-33

O
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

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 Panel 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 Panel 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

Pan Mode 3-9
Channel Mode 3-9
Send Mode 3-9

Setting Sends Pre/Post Fader 3-10
Muting a Send Output 3-10
Flipping Send Levels to the Faders 3-10

TTOOCC--22

Duality Operator’s Manual

33 DDAA WW CC oo nn ttrroo ll GG uu ii dd ee (( ccoo nn tt iinn uu eedd ))

nput, Output and Send Routing 3-11

I

Viewing Routing 3-11
Changing Routing 3-11

Motion Control 3-12

Basic Transport Controls 3-12

dditional Transport Controls 3-12

A
Other useful transport modes 3-13

Setting start (In) and end (Out) Times 3-13
Setting Pre and Post 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

Plug-In Editor 3-17

Plug-In Editor Display 3-17
Plug-In Editor Controls 3-17
Paging Buttons 3-17
Selecting a DAW Channel for Plug-In Control 3-18
Timecode/Bars & Beats/Samples Display 3-18
Plug-In Display Modes 3-18
Viewing Current Inserts (Insert Mode) 3-18
Assigning a Plug-In or Hardware I/O Insert 3-19

Editing Plug-In Parameters (Parameter 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 Pans and Sends 3-26
Automating Plug-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 Performer Template 3-38

Table of Contents

Duality Operator’s Manual

TTOOCC--33

Table of Contents

44 TToo tt aa ll RR ee ccaa ll ll

55 AA uu tt oo mm aa tt iioo nn

verview 4-1

O
Total Recall and Projects 4-2

Working with Projects and Titles 4-3
Saving a TR Setup 4-3
Recalling a TR Setup 4-4

eleting a TR Setup 4-4

D
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

Overview 5-1
Key Features 5-1
Automation and Projects 5-2
Working with Projects and Titles 5-3
Activating the Automation System 5-3
Operation 5-4

List Mix Menu 5-4

Changing the Selected Mix Pass 5-4

Deleting Mix Passes 5-4
Creating A New Mix Pass 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 Pass 5-9

Protection 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 Play 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 Passes to your DAW Project 5-16
Pro Tools Setup Notes 5-17

TTOOCC--44

Duality Operator’s Manual

66 LL oo gg ii cc tt iivv iitt yy –– DD uu aa ll ii tt yy RR ee mm oo tt ee BB rr oo ww ss ee rr

ntroduction 6-1

I

Duality Remote 6-1

Connecting Duality To Your Computer 6-2

Setting a Fixed IP Address 6-2

Connecting to Duality 6-3

roject Tab 6-4

P
Copying Titles, Total Recall and Mix Data Between Projects 6-4

Renaming Projects, Titles, Mixes or Total Recall Setups 6-5
Backing up a Project 6-5
Restoring a Project 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

Table of Contents

Duality Operator’s Manual

TTOOCC--55

Table of Contents

TTOOCC--66

Duality Operator’s Manual

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 technology from SSL’s acclaimed music console, the XL 9000 K Series with new design
concepts which faithfully recreate the overload characteristics of valve circuitry. It retains all of the sonic
benefits of SuperAnalogue™ capacitor-free servo coupled circuitry, then adds variable harmonic colouration on
a channel by channel basis, contained within a control surface which will be familiar to any recording engineer
who has 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

• Comprehensive monitoring up to 5.1 surround with multiple loudspeaker support

• Direct control of DAW recording, editing and mixing functions from the console surface

• Flexible signal routing enhanced by the channel ‘Split’ function

Console Feature Summary

• Integrated console, signal acquisition, signal processing, studio monitoring, bass management and DAW
control

• Advanced DAW control through a high resolution integrated TFT screen

• Elegant, ergonomic design with a number of add on options

• Innovative large fader dual-control of both DAW and console input path with follow fader metering

Duality Operator’s Manual

1-1

Introduction

Section 1 – Introduction

Exceptional Signal Processing

• Legendary SSL sound quality

• SuperAnalogue™ technology derived from SSL’s acclaimed XL 9000 K Series console

• VHD™ Input Preamp

• DC Coupled for excellent low frequency response

• Balanced signal paths throughout for maximum dynamic range

• Audio bandwidth exceeding that of 192kHz recorders

• Ultra low-noise dual impedance mic amps

• Channel EQ with twin-curve SSL E and G Series 4-band parametric equalisation

• Channel dynamics sections with gate, expander and compressor/limiter

• 5.1 implementation of SSL’s classic mix bus compressor

• Highly flexible signal processing order

Creative Versatility

• Hex mix bus design configurable as a 5.1 bus or three 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 channel modules, with EFX re-assign system to feed track busses
and channel output

• Wide range of solo modes including Solo-In-Front

• 4 stereo echo returns with full mix/foldback routing

• Unrivalled studio monitoring section

• Hi-visibility channel TFT screens for metering and optional Total Recall displays

• 2 main VU meters and phase meter

• Comprehensive bus metering in the centre section

Introduction

1-2

Duality Operator’s Manual

DAW Controller

Today’s DAWs provide the power and convenience of recording and editing audio, but a keyboard and mouse
is not the most intuitive way to access these controls. For most users, finding an integrated solution that
answers all of their working needs is strongly desired. Duality achieves this to an extent and quality that has
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 with dedicated control keys

• High quality motorised faders to write/replay level moves in your DAW

• Simple switching between console layer and DAW control layer

• Full remote control implementation

• Operation independent of platform – works with Pro Tools™, Nuendo™, Logic Audio™, and others

System Options

• Multi-operator Total Recall for accurate resetting of session parameters

• Comprehensive automation package based on SSL’s legendary Ultimation system

Now enjoy.......

Duality Operator’s Manual

1-3

Introduction

About this manual

This manual is divided into five main sections, and is designed to provide a comprehensive source of
information for Duality console users. The table of contents will help you to familiarise yourself with the basic
content of each section. If you are reading this from an electronic version of the manual, use the ‘bookmark’
feature to rapidly locate to virtually any topic.

If you have not previously used an SSL console, you are advised to read the Duality overview at the start of
Section 2. Those of you who have experience of SSL’s range of analogue consoles will have little difficulty
getting to grips with the operation of this console’s control surface; features that are specific to Duality are fully
described in Section 2.

To set-up and configure the software interface between Duality and your chosen DAW, please study Section 3.
This section also covers the DAW functions that you can usefully control from Duality’s centre section.

Finally, the last section in this manual is provided to hold useful appendices that you may be supplied with from
time to time.

Conventions Used

Some typographical conventions have been used in this manual to help distinguish explanatory text from the
text referring to console items. They are as follows:

• Switch cap engravings on the console are usually in UPPERCASE (eg. SOLO).

• Silk screened text on the console’s control surface can be either UPPERCASE (eg. DYNAMICS), or

lowercase bold (eg. auto), or Titlecase (eg. Talkback Mix).

• Any text on the console’s TFT screen is referred to in a Bold typeface.

• Items of note or cautions are shown in a red italic typeface.

• Whenever this manual mentions the selection or pressing of a button, it is assumed that the button was not

active (ie. not lit), and that this action has made it active (ie. it has become lit).

• Similarly, whenever the manual mentions the deselection of a button (or pressing it again), it is assumed that

it was active before the action, and has become inactive due to this action.

Contacting Solid State Logic

If you cannot find the information you need on the pages of this manual, please refer to the Duality support
pages at http://www.solid-state-logic.com

About This Manual

1-4

Duality Operator’s Manual

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 technology from SSL’s acclaimed music console, the XL 9000 K Series with new design
concepts which faithfully recreate the overload characteristics of valve circuitry. It retains all of the sonic benefits
of SuperAnalogue™ capacitorless servo coupled circuitry, then adds variable harmonic colouration on a channel
by channel basis, contained within a control surface which will be familiar to any recording engineer who has
previously used SSL consoles.

The ubiquitous DAW (Digital Audio Workstation) has brought many benefits to audio production, including visual
audio editing, integrated digital effects processing and convenient session storage and recall. However, although
eminently flexible, DAW’s present new challenges of integration within the studio environment today.

Duality has been carefully designed with these requirements in mind. It addresses all the needs of current DAW
production techniques in an integrated, high quality and robust design, coupled with all of the sonic benefits
expected from a Solid State Logic console.

SSL’s extensive design experience has been utilised to create the ultimate capture path for up to 96
simultaneous inputs into the DAW, where recorded signals can be edited, processed and mixed via Duality’s
control surface. The signal paths can then be either summed internally within the DAW or returned to the
analogue domain for further processing via Duality’s channel path EQ and dynamics processors, before final
summing via the console’s balanced analogue mix bus architecture. With a comprehensive 5.1 monitoring
section, audio can be auditioned with the highest possible audio integrity.

A high resolution, digitally controlled gain element in each channel allows the motorised faders to be switched to
control any DAW that supports the HUI or Mackie Control protocols, while retaining control of the analogue
signal path. The faders and their associated channel-based rotary encoders (D-pots) provide direct control of
DAW faders, pans, sends, plus input and output routing. The 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

An Introduction to Split Mode

The Duality channel strip is optimised for working in conjunction with a multichannel DAW as the primary
recording medium. Instead of retaining the ‘in-line’ architecture of previous SSL consoles, a new ‘Split Mode’
mode topology has been introduced which provides the equivalent of in-line operation but without the cost and
complexity of separate channel and monitor paths.

In DAW-based productions, there is no longer the fixed track count limitation of conventional analogue or digital
tape-based recording. This means that most sources are recorded individually to a track with or without
processing as production requirements dictate, but without requiring constant access to a ‘channel’ fader. The
Duality channel supports two input paths normally designated as the Channel Input and the DAW Return, with
a single Channel Output as the DAW Send. The Split Mode architecture allows the input signal to be ‘picked
off’ the channel path at the input stage, or pre fader, and replaced with the DAW return. The input signal
automatically becomes the DAW send and the remaining section of the channel handles the DAW return.
Toggling Split Mode on and off is the equivalent of the classic send/return (Group /Tape) monitoring. The
console sends can select either the channel fader signal or the channel output signal as a source, offering the
choice 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 through Duality’s various operational modes, first we need to discuss how
your DAW I/O unit is connected to the console. To take advantage of the sonic and control environment
provided by Duality, it is recommended that each DAW output is returned individually to a Duality channel strip.

For details of the physical location of Duality’s inputs and outputs, please refer to the Duality Installation
Manual.

DAW I/O Labelling

When using DAW routing with Duality, it is advisable to take time to sensibly label the inputs, outputs and
busses within your DAW. Details on how to do this will be found in the documentation supplied with the DAW.
Sensible labelling will make the task of performing routing via Duality’s front panel a simple task, rather than
relying on having to decipher long complex names often assigned by default to DAW channels.

For example in a 48 I/O system, simply naming inputs and outputs ‘1’ through ‘48’, and busses ‘b1’ through
‘b48’ will allow a simple differentiation between hardware I/O and internal DAW busses when using the console
control surface. In some DAW systems, I/O paths can be grouped. In this case label stereo paths in pairs such
as ‘1-2’, and sub paths as ‘1’ and ‘2’.

Console Operator’s Guide

2-2

Duality Operator’s Manual

Channel Strip

Introduction

Duality’s Split Mode enables the channel processing to be easily applied to channel input
signals feeding the DAW record path or to the DAW returns. This provides the equivalent of in­line operation but without the complexity of separate channel and monitor paths.

Users who are familiar with SSL’s range of in-line consoles will soon realise that the channel
strip faders can control virtual faders on the workstation as well as the channel signal path , in
many ways paralleling the large/small fader configuration of an in-line channel strip. This
provides an alternative to Split Mode working, with the DAW console handling the functions of
a monitor mixer.

The channel supports two input connections, the Monitor Input which is normally sourced
from the output of the DAW, and the Channel input which accepts variable level signals from
a microphone, DI box or other audio source. Three preamps are available for use with either
input: a unity gain line level buffer which is normally assigned to the DAW return, and a pair of
mic preamps sourced from the CHANNEL input XLR connector, one using SSL’s Super
Analogue direct coupled DC servo circuitry, and the other featuring SSL’s proprietary VHD™
(Variable Harmonic Drive) valve emulation gain stage. The channel output can route to 24
Track Busses, any one of three stereo Main Mix Busses (A, B and C) or all the 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. Each channel has comprehensive routing for EQ and filter, dynamics, and
insert send/return points.

The channel strip can be divided into five distinct functional sections:

Channel input

Dynamics

EQ and filter

Cue Stereo and FX outputs

Channel output pan

Beneath the channel strips is a panel containing the ‘D-pot’ for DAW output or channel level
control. This area also houses cut and solo buttons for both fader and D-pot, and an electronic
scribble strip. Finally, below the ‘write-your-own’ scribble strip, each channel has a long-throw
(100mm) moving fader.

Above each bay of six channel strips, the TFT meter display provides a large range of useful
information on a per-channel basis, including audio and dynamics metering, processing order,
bus routing, automation bargraphs (optional) and Total Recall™ (optional).

5

4

3

2

1

1

2

3

4

5

Channel Strip

2-3

Duality Operator’s Manual

INPUT

+15

dB

PAD

DRV

IN

CH

-20
dB

COMPRESSOR

Push for Fst Att

141

RELEASE

GATE/EXP

0

RANGE

POST

EQ

Push for Fst Att

.1

REL/HOLD

DYN

IN

FILTERS

LF

60

30

20

Hz

HF

HMF

-

LMF

­dB

LF

-

CH OP

AFL

CUE ST

FX1

FX2

FX3

FX4

SET EFX

/CUEB

LFE

LR

Focus

PAN TO TRK

48V

HI-Z

+75

2nd

0

0

dB

0

dB

Q

0

Q

0

dB

POST

CH OP

CH OP

CH OP

LCR

5.1

Ø

FILT

to

INP

+20

PK

20

1

RATIO

LINK

4

0

+10

- 20

THRESHOLD

KEY

EXP

40

0

+10

- 30
THRESHOLD

HOLD

4

S/Ch
LSTN

6

HF

9

4

30

100

3

OUT

kHZ

300

TO

S/Ch

500

G-EQ

BELL

+

5

10

2

15

1.5

22

KHz

+

2

3

5

1

7

.6

KHz

EQ

IN

INS

IN

POST

+

.

1.

6

0

.3

2.0

.2

KHz

220

15

0

400

60

40

600

Hz

BELL

+

SRC

SEL

ALT

LR

Cue B

EFX

ON

EFX

ON

CH OP

EFX

ON

EFX

ON

CH OP

EFX

ON

SPLIT

F

LR

SRC

SEL

R

3rd

DRIVE

At your first introduction to the Duality console, you will immediately see that the channel strip controls are
presented in reassuringly familiar manner. The following pages describe each control in detail, with brief
coverage of the routing possibilities. See the start of this 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

This provides two inputs, one dedicated as a line level DAW return (D-connector), the
other (XLR connector), is intended as a mic input but may be used for both mic or line
inputs. Normally the Mic Input feeds the variable gain INPUT amplifier, and the DAW
return feeds a unity gain line amp. However a centrally controlled INPUT FLIP function
reverses the input routing so that the DAW return can be processed by the variable gain
amplifier stage without the necessity for external patching.

The variable gain amplifier features two completely independent preamp stages. Both have electronically
balanced inputs with very different but complementary sonic qualities. The default preamp uses SSL's
acclaimed Super Analogue circuitry to provide an extremely low noise, extended bandwidth front end with the
minimum of signal colouration. Pressing the DRV IN button routes the input signal to a completely different
preamp featuring the SSL-developed VHD™ (Variable Harmonic Drive) circuitry. VHD emulates the
characteristics of a classic valve front end but with the option to tailor the harmonic mix when the preamp is
overdriven by adjusting the DRIVE pot. In conjunction with the 20dB PA D and Hi-Z input impedance option,
VHD can provide subtle valve style warmth to a mic signal or aggressive tonal shaping to existing DAW tracks.
However, be aware that, due to differences in the mic amp topology, exact matching 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

The post input stage CH (channel) control provides final ±20dB gain trim (for reducing the level when the input
section is being abused for creative reasons) and polarity inversion (Ø), for the centrally selected channel
source. Available input options are the output of the mic input preamp (MIC), the balanced line level DAW
return (LINE), or the channel’s associated track bus for patch free subgroups (BUS). In the latter case, the
channel input is replaced by the output of one of the 24 Track Mix busses where Bus N feeds the input of
Channel N, N+24, N+48 etc.

FILT to INP locks the high and low pass filters to the channel source. +48V phantom power for mic inputs is
selected on the central routing panel.

Console Operator’s Guide

2-4

Duality Operator’s Manual

INPUT

+15

dB

PAD

DRV

IN

CH

0

-20
dB

COMPRESSOR

+75

+20

48V

HI-Z

2nd

DRIVE

3rd

Ø

FILT

to

INP

Dynamics Section

The Dynamics section contains a compressor section identical to that of the 9000K
series and also found in SSL's Logic FX range of outboard processing units. In normal
use, the compressor’s true r.m.s. side chain and over-easy soft ratio function provide a
very transparent compression action even with large amounts of gain reduction. The fast
attack option offers the classic SSL compressor sound normally associated with its use
on drum and percussion sources. Selecting Peak (PK) mode defeats the over-easy soft
ratio, modifies the release curve and attack times, and unleashes a far more aggressive
sounding compressor ideal for more radical sonic shaping.

The Gate/Expander section is a new variant of SSL’s classic 4000 series three-control
design. It features the choice of a steep gate or gentle expander slope, with optional fast
attack. The new ‘Hold’ (HOLD) option flips the variable release (REL) control to function as
a variable hold-off time with a fixed release curve.

The complete section is switched in or out of circuit using the DYN IN button (see also Central Routing
Control). When the dynamics section is in circuit, the DYN box on the channel TFT display is highlighted.

Individual controls act as follows:

Compressor

RATIO – When turned to 1:1, the compressor section is inactive. Turning the control clockwise increases the
compression ratio until it reaches a true limit mode at the fully clockwise position. Pressing the RATIO knob
switches the compressor to peak sensing, and replaces the ’over easy’ characteristic with a hard knee,
providing an alternative voicing for some instruments. The PK LED lights to indicate that this option has been
selected.

THRESHOLD – Whenever a signal exceeds the level set by this control, the compressor will start to act at the
ratio set by the RATIO control. This control, in conjunction with the Ratio setting, provides automatic make-up
gain, so as you lower the threshold and introduce more compression, the output level is increased, maintaining
a consistent output level.

RELEASE – Sets the time constant (speed) with which the compressor returns to normal gain settings once
the signal has fallen below the compressor threshold. This control also incorporates a push-push switch which
selects a very fast attack time as an alternative to the standard time constant.

Gate/Expander

This section can act as a Gate or as a 2:1 Expander when the RANGE pot is pressed. A red LED indicates that
Expand mode has been selected.

RANGE – Determines the depth of gating or expansion. When turned fully anticlockwise (Range = 0), the
section is inactive. When turned fully clockwise, an attenuation range of 40dB can be obtained.

20

+20

Dynamics Section

2-5

Duality Operator’s Manual

­dB

COMPRESSOR

Push for Fst Att

PK

4

141

RELEASE

GATE/EXP

+10

POST

EQ

IN

0

RANGE

.1

REL/HOLD

EXP

40

4

Push for Fst Att

DYN

1

RATIO

0

THRESHOLD

- 30
THRESHOLD

9

20

LINK

- 20

0

+10

HOLD

LSTN

6

KEY

S/Ch

HF

THRESHOLD – Variable hysteresis is incorporated in the Threshold circuitry. For any given ‘open’ setting, the
Expander/Gate will have a lower ‘close’ threshold to prevent ‘hunting’ artifacts. The hysteresis value is
automatically increased as the Threshold is lowered. This is very useful in music recording as it allows
instruments to decay below the open threshold before gating or expansion takes place.

REL/HOLD – This determines the time constant (speed), variable from 0.1- 4 seconds, at which the
Gate/Expander reduces the signal level once it has passed below the threshold. Note that this control interacts
with the Range control. This control also incorporates a switch which, when pushed, provides a fast attack time
(100µs per 40db), instead of the normal linear attack time of 1.5ms per 40dB. The attack time is the time taken
for the Expander/Gate to ‘recover’ once the signal level is above the threshold. When gating signals with a
steep rising edge, such as drums, a slow attack may effectively mask the initial THWACK, so you should be
aware of this when selecting the appropriate attack time.

HOLD – When this button is pressed, the release time is fixed at 150ms but the hold time can be varied
between 0 and 4 seconds by adjusting the REL/HOLD pot.

The LINK button in the compressor section links the sidechain signal of that unit to the sidechain of the next
dynamics section to the right. When two dynamics sections are linked, the control voltages of each section sum
together, so that whichever section has the most gain reduction will control the other section.

Don’t try to link two gates using the LINK button when you want the signal on one to open the other. If you
need to achieve this effect, take a keying signal from one section to trigger the other. The easiest way to do this
is by patching from the insert send of the ‘source’ channel into the Key input (see below) of the ‘destination’
channel, and selecting the KEY button on this channel.

The KEY button feeds whatever signal is present on a channel’s Key input (D-connector) into the sidechain
input of that channel’s dynamics section. Pressing S/Ch LSTN routes the sidechain signal to the console’s PFL
bus. This simplifies the set up when either an external key input or the filters to side chain option is in use.

POST EQ (not surprisingly) places the dynamics section post the EQ section (see also Central Dynamics
Control below.

Note that when the dynamics section is not in circuit, its sidechain input is also bypassed.

Signal processing order is graphically displayed on the channel TFT screen

Console Operator’s Guide

2-6

Duality Operator’s Manual

Central Dynamics Control

The centre section master routing panel replicates the dynamics POST EQ function for sweet spot control and
multiple channel operation using the SELECT/TO range keys.

Dynamics Section Metering

The TFT screen above each bay of six channel strips is used to display a wide variety of relevant information.
In its default Channel mode, as well as channel output metering (see later) a display of dynamics section gain
processing is shown, in the form of two columns of indicators – yellow and red for the compressor, green for
the gate/expander. See Channel Metering for more information.

Filters

These comprise a 3rd Order 18dB/Octave high pass filter (HF) and a 2nd Order
12dB/Octave low pass filter (LF). Each filter is out of circuit when the control is fully
anticlockwise. When the filter is in circuit, the FILTER box on the channel TFT display is
highlighted.

Normally, the filters follow the EQ section in the signal chain but the FILT to INP button
in the input section of the channel strip places the filters directly after the channel input.
This function is also available on the central routing panel. Pressing TO S/ch routes the
filter section to the dynamics sidechain.

Signal processing order is graphically displayed on the channel TFT screen

Equaliser

This is a four band parametric equaliser based on SSL’s classic 'Black Knob' EQ, which
was developed for the original SL4000E series console. Selecting the G-EQ button
introduces steeper shelving curves with a controlled amount of undershoot at the
turnover frequency, together with the classic gain/bandwidth interaction for the mid band
sections that was a key characteristic of the original G-Series EQ.

The individual bands function as follows: HF high frequency shelving equaliser
switchable to fixed Q parametric (BELL); HMF high frequency parametric mid band
equaliser; LMF low frequency parametric mid band equaliser; LF low frequency shelving
equaliser switchable to fixed Q parametric (BELL). The EQ IN button (located next to the
insert buttons) routes the channel signal through the EQ and filter section. When in
circuit, the EQ box on the channel TFT display is highlighted. See also Central Routing
Control.

L

T

Q

Filters and EQ

2-7

Duality Operator’s Manual

IN

FILTERS

LF

30

HF

HMF

LMF

LF

6

HF

9

4

60

20

30

100

300

500

Hz

0

+

dB

0

+

­dB

Q

0

+

­dB

Q

0

-

+

dB

3

OUT

kHZ

TO

S/Ch

G-E

BEL

5

10

2

15

1.5

22

KHz

2

3

5

1

7

.6

KHz

EQ
IN

INS

IN

POS

.

1.

6

0

.3

2.0

.2

KHz

220

15

0

60

400

40

600

Hz

BELL

Insert

The INS IN button routes the channel signal via balanced insert send and return points,
available on the rear of the console (D-connectors). The insert defaults to the channel
input (post the input trim); POST cycles the insert position through two alternative
locations in the processing path: post EQ or post Dynamics; the centre section master
routing panel provides individual INS POST EQ and INS POST DYN buttons. When the
insert is active, the INSERT box on the channel TFT is highlighted.

Signal processing order is graphically displayed on the channel TFT screen

Channel Output (CHOP)

The Channel Output (D-connector) is normally used to feed the DAW input. The default
signal is a post channel fader feed, but the SRC SEL button can be used to select
alternative sources: pre channel fader (pre the SPLIT point – see below), the channel
input (also pre the SPLIT point), or an active EFX send (see below). Each selection is
graphically displayed on the channel TFT screen (see Channel Metering for more
information). When either the channel input or pre fader source is selected, the SPLIT
button activates the Split Monitoring function and routes the DAW return into the channel
signal path post the split point (see below).

Use the associated AFL button to monitor the channel output source as you toggle
through the options with the SRC SEL button. The central routing panel has single button
selection of the four channel output sources: INPUT, PRE FADE, POST FADE, EFX.

Signal Processor Routing

By now you will have realised that Duality features extremely flexible signal processor routing within each
channel. In addition, the channel output (CHOP) can be sourced from a number of different points in the
channel. Furthermore, the SPLIT function effectively offers two signal paths in one channel strip. A useful
graphic display on the channel bay TFT (see Channel Metering) makes clear, at any time, the current
arrangement for any channel.

6

7

Console Operator’s Guide

2-8

Duality Operator’s Manual

LMF

LF

CH OP

AFL

CUE ST

FX1

FX2

FX3

FX4

SET EFX

/CUEB

.

KHz

Q

0

+

-

-

.

dB

6

.3

.2

KHz

15

Q

0

60

0

40

Hz

+

dB

POST

CH OP

ALT

LR

Cue B

EFX

ON

CH OP

EFX

ON

CH OP

EFX

ON

CH OP

EFX

ON

CH OP

EFX

ON

POST

1.
0

2.0

220

600

BELL

EQ

IN

INS

IN

400

SRC

SEL

SRC

SEL

Channel Sends

Each channel has two stereo and four mono sends that can be used for a number of
different purposes: headphone feeds, FX sends, etc. The stereo cues can even be used
to provide an additional line input to the mix.

Cue Stereo

Normally, the stereo cue sources a pre channel fader signal, which routes to the console’s
Cue A bus. This in turn can be picked up in the centre section and used as a foldback
source (see Cue/FX Master Controls). Press and hold down the SRC SEL button (at the
base of the Channel Sends section) then press the stereo cue gain pot to toggle the source
through post fader channel feed (POST), channel direct output (CHOP) or the alternative
channel input (ALT), as indicated by the LEDs adjacent to the stereo cue gain pot. The ALT
selection is defined as whichever input is not assigned to the main channel path (when
SPLIT mode is not active), and allows the stereo cue to be used as an additional input.

Likewise, select the stereo cue output to Cue B by holding down the SET EFX/ CUE B
button then pressing the stereo cue gain pot; this toggles the selection through Cue B, EFX
and Cue A (off).

Master controls for the Cue A and B busses can be found in the centre section.

Pan your mono source across the stereo cue bus outputs with the LR pan control. The
stereo cue send is turned on/off by means of a push-push switch mounted on the send level
control.

FX Sends

The four mono FX Sends are normally sourced post channel fader. They may, however, be sourced from the
channel output (CHOP) by pressing and holding down the SRC SEL button (at the base of the Channel Sends
section) then pressing the required FX gain pot to toggle the selection on/off.

Each FX level pot is fitted with a push-push on/off switch; ‘on’ is indicated by a LED beside the pot. Master controls
for each FX bus can be found in the centre section.

Selecting an FX output to the EFX system (press and hold the SET EFX/ CUE B button then press the required FX
or Cue Stereo gain pot) allows a single send to be isolated from its associated bus and to be used as source for
either the Track Busses (selected in the centre section), or the channel output — CHOP (selected locally or in the
centre section). This enables additional independent effects send or headphone mixes to be easily generated.
Logic interlocks prevent feedback paths by disallowing the EFX function on a send sourced from the channel output
if EFX to channel output is active.

See Cue/FX Master Controls for more on EFX routing.

6

7

T

0

Channel Sends

2-9

Duality Operator’s Manual

.

KHz

EQ

LMF

LF

CH OP

AFL

CUE ST

FX1

FX2

FX3

FX4

SET EFX

/CUEB

Q

0

+

­dB

Q

0

-

+

dB

POST

CH OP

ALT

CH OP

EFX

ON

CH OP

EFX

ON

.3

.2

15

0

60

40

Cue B

EFX

ON

CH OP

EFX

ON

CH OP

EFX

ON

.

6

KHz

Hz

LR

POS

1.
0

2.0

220

600

BELL

INS

SRC
SEL

SRC
SEL

IN

IN

40

Split Mode

When the channel output (DAW input) is sourced from either the channel input or pre the
channel fader, SPLIT offers a new approach to in-line tracking on an analogue console by
returning the DAW output back into the channel path just after the channel output pick off
point. By using INPUT or PRE FADE as the channel output source, clean or processed
signals are routed to the DAW input, with the option to use the remaining channel processing
and routing to monitor the DAW return in the analogue domain.

The effect of SPLIT is graphically illustrated on the channel TFT (see Channel Metering for more information).

Note that SPLIT is disabled if CHOP is sourced from POST FADE or EFX,

or if the Line Amp is selected as the channel input.

Channel Pan

At the bottom of the channel strip is a fully featured 5.1 panning section for both the Main Mix busses as well
as the 24 Track Busses. With the most complete implementation found on any analogue console, the feature
set includes a dedicated LFE send and a fully variable ‘Focus’ control to alter the phantom/hard centre mix for
signals located in the front channels.

The default arrangement is for stereo panning to three pairs of Main Mix busses – A, B and C. The 24 Track
Busses normally pick up the mono post fader channel output. On the centre section routing panel, selecting
PAN TO TRK routes the LR pan outputs to odd/even pairs of Track Busses. Selecting 5.1 PAN enables the full
6-channel panning options for both the Main Mix busses and the Track Busses, if PAN TO TRK is also
selected. Local LEDs in each panning section indicate whether that channel has been selected to either of
these two modes. When 5.1 panning is not enabled, only the LR (Left/Right) pan control is active.

If the centre section function EFX TO TRK is selected, this replaces the normal feed to the Track Busses and
defeats 5.1 panning to the busses.

The channel panning section features XY style 5.1 panning via LR (Left/Right) and FR (Front/Rear) controls
with additional LFE and Focus functions. The LFE control feeds a variable amount of the channel output to a
dedicated LFE (subwoofer) bus (see more on this in the Centre Section).

The Focus control alters the proportion of input signal fed to the front Left/Right busses and the Centre bus,
enabling channel signals to be focussed from a ‘hard’ centre, all the way through to a true phantom centre. As
the Focus knob is rotated clockwise from the LR position, a centrally panned signal is progressively attenuated
in the left and right busses, while the gain to the centre channel is increased. When fully clockwise, the LR pan
pot becomes a three-channel discrete LCR panner. As the Focus control is returned to the LR position,
variable amounts of divergence are introduced so that, at the 12 o’clock position, signal is present in the three
front channels at equal level. As you continue to turn before 12 o’clock, the centre channel is then
progressively reduced, leaving only the phantom (Left + Right) centre image at the fully anticlockwise position.

Console Operator’s Guide

2-10

Duality Operator’s Manual

SPLIT

LFE

LR

Focus

PAN TO TRK

F

LCR

5.1
LR

R

D-pot and DAW Control

Below the channel strips is a 12-wide panel containing a rotary encoder known as the
D-pot, together with its integral momentary switch mounted on the encoder shaft. This is
used to adjust the currently assigned DAW parameter or the analogue channel level;
D-pot functions are assigned from the centre section, and indicated in the D-pot’s
associated two line display.

The CUT and SOLO buttons above the encoder are used when the encoder is
controlling the DAW or Duality channel gain.

The electronic scribble strip displays the channel name, the name of a DAW track,
selected DAW send, or I/O data according to the function currently assigned on the
Master Control Panel (see Section 3). When the rotary control and the fader swap roles
for gain control, entries in the scribble strip also flip.

The SEL button operates the DAW ‘Selected Channel’ function. This function can be re­assigned from the centre section, to track arm a selected DAW channel or assign the
‘plug-in’ editor (Pro Tools only). Tallies in the channel meter display Record Ready and
Edit status regardless of whether the console is in ‘DAW Focus Mode’ (see Section 3 for
more details).

Channel Cut and Solo

The CUT and SOLO buttons above the traditional scribble strip are used when a gain
function is assigned to the channel fader. SOLO is not active if a function other than the
channel level (DAW or console) is being controlled.

Channel Fader

The 100mm moving fader controls the analogue channel, or assigned DAW track, or the
DAW send level when the centre section ‘flip’ function is active (Pro Tools/HUI and MCU
interfaced DAWs), plus Plug-In parameters when using a MCU compatible DAW. The
required function is selected via the Master Control Panel (see Section 3 for details).

The fader button, and associated LEDs are used in conjunction with the DAW
automation (HUI interface only) or the optional Duality automation and ‘multi-operator’
Total Recall systems. The play and match buttons are used only with Duality
automation. See Sections 4 and 5 for more details.

The select button at the foot of the fader is used to select that channel to the central
routing panel, and for fader grouping (see below).

DAW Control and Fader

2-11

Duality Operator’s Manual

SOLO

CUT

Fad 24
Ohd L

SOLO

19

fader

rec

play

match

switch

1

2

3

4

5

6

7

8

group

select

SEL

CUT

·10

· 5

· 0

· 5

· 10

· 20

· 30

· 40

· 50

· ∞

Fader Grouping

The console’s centre section is fitted with eight group control faders that offer VCA-style grouping control
(servo, ie. moving fader, grouping will available in a future software update). To assign channel faders to a
group, simply press the select buttons of the channels you want to include in the group followed by the group
button at the foot of the required group fader. The group display on each fader will reflect your choice (the fader
in the illustration above is being controlled by group fader 2). See Control Group Faders for more information.

The Channel TFT Screen

The TFT screen fitted above each channel bay (see above) is normally used to display a number of channel
related parameters for the six channels in that bay. When Total Recall is in use, the screen flips automatically to
display the control positions for a single, selectable, channel (see Section 4 for more details).

Channel Routing

At the bottom of the channel display a clear indication is provided of each channel’s routing to Main Mix busses
A, B and C and the 24 Track busses. Note that the Mix Busses are colour coded, and this same coding is also
utilised in the centre section.

Console Operator’s Guide

2-12

Duality Operator’s Manual

Channel Processing Order

The section above the routing indicators displays the order of channel processing for both signal paths in each
channel (including the channel inputs, the channel fader and the channel output) as well as providing an
indication of which processing element is actually in circuit. Once again, colour coding is used for ease of
recognition.

Channel Metering

A single peak meter indicates either analogue channel signals or DAW levels, according to selection of the
Console/DAW ‘Focus’ button (see Section 3 for more on this). The standard scale is +24dB for 0dBFS (top of
the scale). A peak hold option is available for channel and centre section meters via the centre section
METERS setup menu. A legend below the Dynamics section indicators (see below) confirms the currently
selected meter point for that channel, as set on the central routing.

In addition to the expected channel metering, two columns of five ‘LEDs’ give an indication of channel
gate/expander activity (green ‘LEDs’) and compressor activity (yellow and red ‘LEDs’).

DAW Status Indicators

To the right of each channel meter are three indicators that provide feedback of the current DAW status of that
channel. SEL confirms that channel is currently the ‘selected channel’. REC indicates the Record Ready status
of the associated DAW track, and EDIT shows if the DAW channel associated with that channel strip is
currently assigned to the plug-in editor (Pro Tools only). See Section 3 for more details. Note that Record
Ready and Edit status will be indicated regardless of whether the console is in ‘DAW Focus Mode’ or not.

Channel TFT Screen

2-13

Duality Operator’s Manual

Console Operator’s Guide

2-14

Duality Operator’s Manual

1

2

4

3

CLIP

CLIP

CLIP

0

2

4

6

8

10

14

20

30

40

50

60

L C R LS RS LF L R

5.1 MIX ST MIX

CLIP

0

2

4

6

8

10

14

20

30

40

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

0

2

4

6

8

10

14

20

30

40

50

60

CLIP

0

2

4

6

8

10

14

20

30

40

CLIP

0

0

2

2

4

4

6

6

8

8

10

10

14

14

20

20

30

30

40

40

50

50

60

60

L C R LS RS LF L R

BUSSES 1-24

FOLLOW MON SOLO

CLIP

0

2

4

6

8

10

14

20

30

40

MON

ST MIX

MIX A

CLIP

CLIP

CLIP

CLIP

CLIP

0

0

0

2

2

4

4

6

6

8

8

10

10

14

14

20

20

30

30

40

40

50

50

60

60

CLIP

0

2

4

6

8

10

14

20

30

40

0

2

2

4

4

6

6

8

8

10

10

14

14

20

20

30

30

40

40

50

50

60

60

L R

CUE A

CLIP

0

2

4

6

8

10

14

20

30

40

Logic

0

2

4

6

8

10

14

20

30

40

50

60

L R

1 2 3 4

CUE B

FX SEND

Solid
State

CLIP

0

2

4

6

8

10

14

20

30

40

50

60

LEFT RIGHT

SOLO

PHASE

MIX REASSIGN

CUE
A

TRACKS

LFE CHANNEL

LFE

FILTER

STEREO MIX

∞

∞

SURROUND

∞

CENTRE

STEREO

∞

LEVEL

CUE
B

EXT B

1­6

7­12

13­18

19­24

MAIN

MIX

80H

Z

LFE

MIX 2

MIX 2

TO

MIX

+6

SLLLFE SR

MONITOR MUTE/SOLO

MONITOR LEVEL

DIM

SCRU

B

INP
PRE

ON

ON

ON

MIX

A

MIX

B

MIX

C

INS

00.0

ZOOM/

0

-20 +20

THRESHOLD

LFE

TO S/C

13

.3

.1

ATTACK - mS

SRND
TO S/C

3

2

1.5

RATIO

F/BACK A

HF

LF

+0+

d
B

∞

MIX 1

MIX 2

∞

MIX 2

+6

∞

LEVEL

R

C

CUT

SEL

SHUTTLE

+15 -15 +4 +12

OSCILLATOR

TRAC

CAL

LEVEL

440 1K

3K

220

10K

100

PINK ON

15K

48

OSC ON

FREQ

00:02:12:23 Mix Enabled

New Mix
Mix Pass 1
Mix Pass 2 >> 1
Mix Pass 3 >> 2

COMMS

K

RE
C

MI
X

∞

Listen

∞

Talkback Out

∞

Slate

∞

TB to Foldback

List Mix Save/Load Delete Confirm

Proj

T

Aut

Lnks DawMis

R

o

Moff

TLockTrim Snap AT Match

CHANNEL

SEND

AUX2

PAN

Push to Flip

RDY

EDIT

CHANNEL

INPUT

OUTPUT

ASSIGN

MUTE

PRE/POST

BYPASS

DEFAULT

SEL

SUSPEND

AUD IN OUTPRE POST

RTZ END

TRIM

JOIN

MOTORS

REVISE

OFF

Q

LOOP

PUNCH

TRIM

END

AUTO

SNAP

T/OVER

LOK

DISCARD

REPLAY

AUTOMATION

SSL

c

Play

CS

UNDO

SAVE

ALT

ESC

SHIFT

CTRL

AUTO

ON

LINE

STATUS

ENTER

TRANS

OPTION

MEM

ALT

MIX

RDY
ALL

EDIT

SOLO

ISO

GROUP

ALL

CANCEL

STOP RECORDPLAY

TRANSPOR

T

SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT

OLO OLO OLO OLO

GROUP 1 GROUP 2 GROUP 3 GROUP 4 GROUP 5 GROUP 6 GROUP 7 GROUP 8

GROUP 1 GROUP 2 GROUP 3 GROUP 4 GROUP 5 GROUP 6 GROUP 7 GROUP 8

UT

UTUT

UT

UTUT

OLO

UT

UTUT

OLO

COMPRESSOR

12

8

16

4

20

dB

COMPRESSION

SL978

0

+

MAKE-UP

10

30

S/C

.3.61.2

.1

AUTO

4

RELEASE - S

5

10

IN

F/BACK B

HF

LF

ST

MON

+0+

EXT B

d
B

MIX B

CUE

∞

A

MIX 1

MIX 2

CUE

∞

B

MIX 2

CU

T

+6

∞

LEVEL

EXTA EXTB METERS

0

+

d
B

ST
MON

EXT B

MIX B

CUE

A

ST MIX

CUE

B

CU

T

AF
L

0

+

d
B

ST MIX

AF

L

DVD SACD CD MD SNET SUM

DIM

ALT

5.1

AFL

PFL

MINI

A

SI
F

MINI

H/P

B

MIN

I

LS SELECT

/

=

CLR

7

89

45

6

1

23

.

0

UT

UTUT

OLO

OLO

TRACK BUS
MASTERS

+10

∞

BUS

1

AF

∞

L

+10

∞

BUS 3

AF

L

+10

∞

BUS

5

AF

L

+10

∞

BUS

7

AF

L

ST RET 1

FB A

FB B

LRC

FOCUS

FULL

MONO

WIDTH

LR

BALANCE

+6

∞

LEVEL

MONITOR

AFL/

OPTIONS

PFL

MO

N

FB A

FB B

CUT

PHONES

*

-

+

E
N
T
E
R

UT

UTUT

MASTER

AF
L

+10

BUS

2

AF
L

∞

+10

BUS

4

AF
L

∞

+10

BUS

6

AF
L

∞

+10

BUS

8

∞

STUDIO

ST

PAN

MIX A

MIX B

MIX C

FB

PAN

MONO

CUT

L

CUT

R

AFL/SEL

EXTA

EXTB

STEREO

MIX A MIX B MIX C

SUM SUM SUM

POST POST POST

+10dB

FADER

TRACK BUS
MASTERS

+10

∞

BUS

9

AF
L

+10

∞

BUS 11

AF

L

+10

∞

BUS

13

AF

L

+10

∞

BUS
15

AF

L

ST RET 2

FB A

FB B

LRC

FOCUS

FULL

MONO

WIDTH

LR

BALANCE

+6

∞

LEVEL

MISC

SUM

SOLO

SOLO

CLEAR

Ø

STEREO

MIX

MIX A

MONO

INSERTINSERTINSERT

COMPCOMPCOMP

+10dB

+10dB

FADER

FADER

TO ATO A

AFLAFLAFL

5.1 MIX

AF
L

+10

∞

BUS

10

AF
L

∞

+10

BUS

12

AF
L

∞

+10

BUS

14

AF
L

∞

+10

BUS

16

∞

STUDIO

MIX A

MIX B

MIX C

AFL/SEL

TRACK BUS
MASTERS

+10

∞

BUS
17

AF
L

+10

∞

BUS 19

AF

L

+10

∞

BUS

21

AF

L

+10

∞

BUS
23

AF

L

ST RET 3

FB A

FB B

ST
PAN

LRC

FOCUS

FB
PAN

FULL

MONO

WIDTH

MONO

LR

BALANCE

CUT

L

CUT

R

+6

∞

LEVEL

INPUT

FLIP

MIC

DYN POSTEQINS POST EQINS POST

INSERT INEQ

INPUT

INPUT

123456

78910111

1
3141516

19202122232

MIX A

–

SET SELECT

CLEAR

SLATE

TB

ALL

∞

∞

∞

∞

∞

STUDIO

MIX A

MIX B

MIX C

INPUT

AF
L

+10

BUS

18

AF
L

+10

BUS

20

AF
L

+10

BUS

22

AF
L

+10

BUS

24

ST

PAN

FB

PAN

MONO

CUT

L

CUT

R

AFL/SEL

+48V

CHANNEL IN

PROCESSING ORDER

IN

PROCESSING IN/OUT

PRE

FADE

CHANNEL OUTPUT

MON

RETURN

CHANNEL METERS

MIX B MIX C

ROUTING

FRO
M

ALL

CHANNEL SELECT

LISTEN

F/B A

COMMUNICATIONS

AUX BUS

MASTERS

AF

+10

∞

L

ST CUE

A

AF

+10

∞

L

ST CUE

B

AF

+10

∞

L

FX
1

AF

+10

∞

L

FX

2

AF

+10

∞

L

FX
3

AF

+10

∞

L

FX

4

ST RET 4

FB A

FB B

∞

STUDIO

ST
PAN

LRC

MIX A

FOCUS

MIX B

MIX C

FB
PAN

FULL

MONO

WIDTH

MONO

LR

BALANCE

CUT

L

CUT

R

+6

∞

LEVEL

AFL/SEL

SOLO

ISOLATE

MISC

SPLIT

BUSLINE

FILTER

TO INPUT

DYN

POST

EFX

FADE

POST

CHAN

FADE

OUT

2

EFX

TO TRK

171

8

PAN

TO TRK

4

5.1

PAN

INC

ROUTE

PAN MODEBUS

+

T

O

SET

TO

AUX

UNDO

RED

LIGHT

EXT

F/B B

T/B

·10

· 5

fader

· 0

rec

· 5

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

· 5

fader

· 0

rec

· 5

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

· 5

fader

· 0

rec

· 5

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

· 5

fader

· 0

rec

· 5

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

·10

fader

rec

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

· 5

· 0

· 5

· 5

fader

· 0

rec

· 5

play

· 10

match

· 20

switch

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

·10

· 5

fader

fader

· 0

rec

rec

· 5

play

play

· 10

match

match

· 20

switch

switch

1

2

3

4

5

6

7

8

group

1

· 30

2

3

· 40

4

5

· 50

6

7

· ∞

8

group

0 ·

· 5

· 0

· 5

· 10

· 20

· 30

· 40

· 50

· ∞

·10

· 5

5 ·

· 0

10 ·

15 ·

· 5

20 ·

· 10

30 ·

· 20

· 30

40 ·

· 40

50 ·

· 50

60 ·

· ∞

∞ ·

The Centre Section

Introduction

The console’s centre section (see opposite) comprises four main areas:

Centre section meter panel.

Audio master control functions.

TFT screen and panels dedicated to DAW control; automation controls; DAW transport controls.

Group faders and master fader. To the right of this area is a trackball for DAW control.

Once you have spent a few moments sitting at the console, you will find the Duality’s centre section layout just
as intuitive as its channel strip.

The following pages cover all the analogue controls in the centre section. See Section 3 for details of the
console’s DAW control facilities.

Power Supply Indicators

Before we cover the more interesting features of the centre section, take a moment to acquaint yourself with
the console’s power supply indicators. If you suspect a hardware problem, and one of the LEDs described
below is not lit, there may be a power supply fault. The LEDs, which display the current state of power rails
within the console, are in the top left hand corner of the centre section, above the oscillator and talkback level
controls.

The ±15 Volt and the +4 Volt supplies are for analogue audio and logic circuitry respectively. The +12 Volt
supply provides power for the faders and some relays. All LEDs should normally be illuminated, if not – try not
to panic!

4

3

2

1

Centre Section

2-15

Duality Operator’s Manual

Central Routing Panel

In addition to the DAW transport controls and the console monitor pot, in
day-to-day operation you will probably find you use this panel more than any
other, so it’s worth taking a few minutes to fully understand its capabilities.

This panel provides access to channel routing, signal processing order, and
other facilities, on single or multiple channels. Channels can be selected in
a contiguous range or randomly across the console.

Channels are selected to the panel by pressing the select button at the foot
of each channel fader. The channel TFT meter will be outlined in green to
indicate the selected channel.

Normally the routing panel is ‘off’ – ie all displays are blank. Pressing any
channel select button, or the + and - buttons (on the panel) together, wakes
the panel up with a single channel selected – this will be either the select
button channel or the first channel of the previous selection.

Single channels can be selected at any time by pressing the channel select
buttons or using the +/- buttons. The currently selected channel will be
shown in the left hand (‘FROM’) window. The right hand display will be
blank.

To select a range of channels, press the TO button when a FROM channel
has been selected. Initially, the next consecutive channel will be displayed in
the right hand ‘TO’ window and indicated on the channel meter display. To
increment the range either use the +/- buttons, or press a second channel
select button to select the highest channel in the range; the highest channel
is shown in the ‘TO’ window.

Once a channel has been selected, The SELECT button allows non contiguous arrays of channels to be added
or removed from the current selection. The SELECT button will flash when active and any channel can added
or removed from the current selection via the select button on its fader. If SELECT is active the ALL button
can be used to select all the console channels.

To deactivate the routing panel, press the + and - buttons simultaneously, or re-press the channel select button
on the active channel, (if SELECT or TO are not active).

Once a channel or range of channels has been selected, selections and changes made on the routing panel
are made across all selected channels. If some functions are on and some are off on the selected channels,
the lowest numbered channel in the selection sets the initial state. For example, you select channels 3 to 6. If
channel 3 is assigned to a bus, then the first press on that bus routing button will deroute channels 3 to 6 from
that bus. If channel 3 is not assigned to a bus, then the first press on that bus routing button will route channels
3 to 6 to that bus.

Console Operator’s Guide

2-16

Duality Operator’s Manual

INPUT

FLIP

MIC

DYN POST

INSERT

INPUT

INPUT

123456

78

13 14 15 16 17 18

19 20 21 22 23 24

MIX A MIX B MIX C

+48V

INPUT MISC

LINE

CHANNEL IN

INS POST

EQ

IN

EQ

PROCESSING ORDER

EQ

IN

PROCESSING IN/OUT

PRE

FADE

CHANNEL OUTPUT

MON

RETURN

CHANNEL METERS

9101112

BUS

ROUTING

BUS

INS POST

DYN

POST
FADE

POST
FADE

SOLO

ISOLATE

SPLIT

FILTER

TO INPUT

EFX

CHAN

OUT

EFX

TO TRK

PAN

TO TRK

5.1

PAN

INC

ROUTE

PAN MODE

–

FROM

SET SELECT

TO

TO

SET
AUX

+

CLEAR

ALL

CHANNEL SELECT

UNDO

Having selected a channel, or range of channels, all the functions in the area above can be
selected/deselected. Routing buttons 1-24 and MIX A, MIX B, MIX C, are self explanatory, as should most of
the buttons above. Note that changes made to the ‘PROCESSING ORDER’ are graphically indicated on the
channel TFT displays.

Items that may not be immediately obvious are as follows:

+48V – phantom power may only be selected here, as can INPUT FLIP and the channel input source –
‘CHANNEL IN’.

SOLO ISOLATE – Solo isolated channels will not be cut when other channels are soloed. Useful for FX
returns.

In the ‘PAN MODE’ section, INC ROUTE works in conjunction with the channel SELECT and TO functions, and
provides incremental bus routing for a range of channels. The selected channels will be incrementally routed
(or derouted if currently assigned) to consecutive busses starting from the first bus selected. 5.1 PAN enables

5.1 panning mode. PAN TO TRK routes the output of the selected channel’s pan to the Track busses. Stereo

panning is between odd/even pairs; 5.1 panning divides the track busses into four 6-channel groups. EFX TO
TRK replaces the channel feed to the Track busses with the active EFX send output. Stereo Cue EFX sends
are automatically routed to odd/ even pairs.

When SET AUX is selected, changes made to Cue Stereo and FX source and destination routing and On/Off
state, on any of the selected channels, will be copied to all selected channels, allowing the quick set up of aux
sends. Again, if some functions are on and some are off on the selected channels, the lowest numbered
channel in the selection sets the initial state.

SET and CLEAR provide an alternative way to set up routing. Press either SET or CLEAR, then select the
function(s) you wish to turn on or off. Pressing the select button on any channel will set or clear the selected
function(s).

Pressing ALL when SET or CLEAR are selected will make the SET or CLEAR button flash. A second press on

SET or CLEAR will make the assignment/de-assignment across all channels.

UNDO undoes all changes since the routing panel was last made active. As a safety measure, it requires two

presses to carry out the undo operation. On the first press, the UNDO button will flash, and a second press will
cancel all routing and channel settings that have changed since the routing panel was first selected. To cancel
and undo, deselect the routing panel by pressing the + and - buttons while the UNDO button is flashing.

Central Routing Panel

2-17

Duality Operator’s Manual

Main Output Functions

As you are probably aware by now, Duality features a 6-wide main mix bus that can be configured either to
provide a full 5.1 surround mix or three stereo mix busses.

The six main mix busses are represented by three columns of indicators on this
panel which, in turn, represent three independent stereo pairs, MIX A, MIX B
and MIX C. Functions are assigned to these busses using the dedicated row
keys on the right of the matrix, in conjunction with the mix select keys at the
base of the matrix columns.

Each pair of busses has a switchable INSERT point with the option to be
placed pre (default) or POST the main output level control (normally the master
fader).

So, for example, lets assume all your channels are routed to MIX A, and you
want to insert an external stereo compressor on that bus. Press and hold the
button at the foot of the MIX A column and then press the button to the right of
the INSERT row; the associated INSERT indicator will light. Additional facilities
described below are assigned in a similar manner.

SUM mode allows the insert return to be summed with the main signal path. COMP assigns the master on-
board compressor to the selected bus(ses). This functions as single stereo unit inserted on a chosen stereo
bus or as a 5.1 compressor when in 5.1 mode (see below). The single master FADER is assigned to individual
stereo mix stems or as a 5.1 master fader in 5.1 mode. The fader can control the same level of all three stereo
busses simultaneously but can only set the level for one bus at a time. If not fader-controlled, the main output
level will be set at the last set level. Maximum gain is 0dB or +10dB if the +10dB function is selected. This
again can be set either on individual stereo busses or globally for 5.1 mixes.

The TO A function for MIX B and MIX C enable those busses to be folded down and added to MIX A. The
output of each stereo mix bus can be individually monitored (confidence-checked) by selecting the AFL
function.

All the above assumes you are working in ‘stereo’ mode. If you select the 5.1 MIX button at the foot of the
matrix, the MIX A, B and C assignment buttons function as a group. For example, if you select the
COMPressor, it will be automatically assigned to all six busses (as indicated by the matrix COMP indicators).
Selecting the 5.1 MIX button puts the matrix into 5.1 mode regardless of the state of the 5.1 PAN button on the
Central Routing Panel.

Console Operator’s Guide

2-18

Duality Operator’s Manual

MIX A MIX B MIX C

SUM SUM SUM

POST POST POST

INSERTINSERTINSERT

COMPCOMPCOMP

+10dB

+10dB

+10dB

FADER

FADER

FADER

TO ATO A

AFLAFLAFL

5.1 MIX