Solid State Logic Duality SE Operator's Manual

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Duality SE

PPEERRAATTOORR’’SS

AANNUUAALL

Part Number: 82S6DUA20D

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

Solid State Logic

S O U N D

| |

V I S I O N

egbroke, Oxford, England, OX5 1RU • +44 (0)1865 842300

320 West 46th Street, 2nd Floor, New York, NY 10036, USA • +1 (1) 212 315 1111

Suite 401, 5757 Wilshire Blvd, Los Angeles, CA 90036, USA • +1 (1) 323 549 9090

3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051, Japan • +81 (0)3 5474 1144

7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93150, France • +33 (0)1 48 67 84 85

Via Timavo 34, 20124 Milano, Italy • +39 (0)39 2328 094

Visit SSL at URL: http://www.solidstatelogic.com

Duality, 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

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Section Contents 1-i

What is Duality SE? 1-1

Design Concepts 1-1 Key Features Summary 1-1 Console Feature Summary 1-1 Exceptional Signal Processing 1-2 Creative Versatility 1-2 DAW Controller 1-2 Controller Features Summary 1-3 System Options 1-3

About this manual 1-5

Conventions Used 1-5 Contacting Solid State Logic 1-5

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Section Contents 2-i

Section Index 2-iii

Overview 2-1

An Introduction to Split Mode 2-2 Routing and Signal Flow 2-2 DAW I/O Labelling 2-2

Channel Strip 2-3

Introduction 2-3 Channel Input Section 2-4 Dynamics Section 2-5 Filters 2-7 Equaliser 2-7 Insert 2-7 Channel Output (CHOP) 2-8 Signal Processor Routing 2-8 Channel Sends 2-9 Channel Pan 2-10 D-pot and DAW Control 2-11 Channel Cut and Solo 2-11 Channel Fader 2-11 Fader Grouping 2-12 Fader Links 2-12 The Channel TFT Screen 2-14

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The Centre Section 2-17

Introduction 2-17 Power Supply Indicators 2-17 Central Routing Panel 2-18 Main Output Functions 2-20 Main Bus Compressor 2-21 Master Fader 2-22 Track Bus Master Controls 2-23 Monitoring 2-24 Cue/FX Send Master Controls 2-33 Foldback and Headphone Outputs 2-33 Stereo Return Channels 2-34 Misc Options 2-35 Communications 2-36 Oscillator 2-38 Mix Reassign Matrix 2-39 Group Control Faders 2-40 Centre Section Metering 2-41 Setup Menu 2-43

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Section Contents 3-i

Section Index 3-iii

Introduction 3-1

DAW Controller Features Summary 3-1 Console Focus 3-2 DAW Layers 3-3

Connecting Duality to DAWs 3-5

Connecting via physical MIDI ports 3-6 Connecting via ipMIDI 3-7

DAW Control Operations 3-13

D-pots 3-13

The Master Control Panel (HUI Mode) 3-15

Channel Banking Controls 3-15 DAW Window Buttons 3-15 DAW Utility Buttons 3-16 Modifier Buttons) 3-16 The Default Button 3-17

Channel Functions 3-19

DAW Meters 3-19 Channel Fader 3-19 Channel Solo and Cut Panels 3-20 Channel SEL Button — Record Ready/Edit/Select 3-21 Edit Mode 3-21 Select Mode 3-22 Working with the Channel D-pots 3-22

Input, Output and Send Routing 3-25

Viewing Input, Output and Send Routing 3-25 Setting input, Output and Send Routing 3-25

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Motion Control 3-27

Basic Transport Controls 3-27 Additional Transport Controls 3-27 Other useful transport modes 3-28 Setting Pre and Post Roll 3-28 Setting start (In) and end (Out) Times 3-28 Audition 3-28 Footswitch Control 3-29 Zoom, Navigation and Selection Modes 3-29 Scrolling Within a Window 3-30 Shuttle/Scrub Wheel 3-30 Numeric Keypad 3-31

Plug-In Editor 3-33

Plug-In Editor Display 3-33 Plug-In Editor Controls 3-33 Paging Buttons 3-33 Selecting a DAW Channel for Plug-In Control 3-34 Timecode/Bars & Beats/Samples Display 3-34 Plug-In Display Modes 3-34 Viewing Current Inserts (Insert Mode) 3-34 Assigning a Plug-In or Hardware I/O Insert (Assign Mode) 3-35 Editing Plug-In Parameters (Parameter Mode) 3-35

Soft Keys 3-37

Automation Enables 3-37 Automation Modes 3-37 Edit Tools Menu 3-38 Edit Modes Menu 3-38 Status/Group Menu 3-38 Function Keys 3-39 EDIT Menu 3-39 SSL Menu 3-39

Working with DAW Automation 3-41

Automation Enables 3-41 Automation Modes 3-41 TRIM Mode 3-41 Automation Status Display 3-42 Suspending Automation 3-42 Writing Automation (Write to Start, End or All) 3-42 Automating Cuts 3-43 Automating Pans and Sends 3-43 Automating Plug-Ins 3-43

Mackie Control (MCU) Emulation 3-45

Mackie Control Emulation Advantages 3-45 Implementation 3-45 Mackie Function Control Overview 3-47 The Logic Template 3-48 Nuendo/Cubase Template 3-50 The Sonar Template 3-53 Digital Performer Template 3-55

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Section Contents 4-i

Section Index 4-iii

Overview 4-1

Total Recall and Projects 4-2

Working with Projects and Titles 4-3 Saving a TR Setup 4-4 Recalling a TR Setup 4-4 Deleting a TR Setup 4-5 Renaming TR Setups 4-5

Total Recall Displays 4-6

Resetting Controls 4-8

Automatically Reset Controls 4-9 Manually Reset Controls and Auto-Scan 4-9

Copying and Swapping Settings 4-9

Copying TR Setups to a DAW Folder 4-10

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Seciton Contents 5-i

Section Index 5-iii

Overview 5-1

Key features 5-1

Automation and Projects 5-3

Working with Projects and Titles 5-4

Automation in the Duality SE Remote 5-5

Operation 5-7

Activating the Automation System 5-7 List Mix Menu 5-7 Creating A New Mix Pass 5-8 Mix Running 5-10 Dedicated Automation Buttons 5-11 Join and Revise 5-12 Discard 5-13 Updating a Mix Pass 5-13 Protection Modes 5-14 Switch Automation 5-16

Automation Options 5-17

Trim 5-17 Trim Lock 5-18 Motors Off 5-18 Snap Mode 5-19 AutoTakeover 5-19 Offline Trim 5-19 Copy and Swap 5-20 Fader Links 5-20 Saving Mix Passes to your DAW Project 5-21 Automation Setup Options 5-22

Pro Tools Setup Notes 5-23

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Section Contents 6-i

Section Index 6-iii

Introduction 6-1

Configuring the Logictivity Remote 6-1

Installing the Browser 6-1 A note on Java 6-1 Connecting Duality to the Computer 6-1

Projects Tab 6-3

Copying Titles, Total Recall and Mix data between Projects 6-3 Renaming Projects, Titles, Mixes or Total Recall Setups 6-3 Backing up a Project 6-4 Restoring a Project 6-4

Mixes Tab 6-5

Total Recall Tab 6-6

Channel Tabs 6-7

Externals Tab 6-8

About Tab 6-9

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Annotated Channel Layout

Duality Channel Strip block diagram

Annotated Centre Section Layout

Duality Master Section Block Diagram

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Duality SE

PPEERRAATTOORR’’SS

AANNUUAALL

SSEECCTTIIOONN 11

NNTTRROODDUUCCTTIIOONN

Part Number: 82S6DUA20D

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Design Concepts 1-1

Key Features Summary 1-1

Console Feature Summary 1-1

Exceptional Signal Processing 1-2

Creative Versatility 1-2

DAW Controller 1-2

Controller Features Summary 1-3

System Options 1-3

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Conventions Used 1-5

Contacting Solid State Logic 1-5

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SSEECCTTIIOONN 11:: IINNTTRROODDUUCCTTIIOONN

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Duality SE is an innovative 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.

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Duality SE combines technology from SSL’s acclaimed music console, the XL 9000 K Series, along with new design concepts which faithfully recreate the overload characteristics of valve circuitry through the use of the new VHD preamp. 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 should be familiar to any recording engineer who has previously used SSL consoles.

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• 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

• Logictivity Remote browser for session management

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• 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

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• 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 ensuring 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

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• 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 with comprehensive user options

• 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

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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 SE achieves this to an extent and quality that has previously been unavailable.

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• 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

• MIDI over Ethernet for enhanced control of two DAW systems

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

• Comprehensive automation based on SSL’s legendary Ultimation, including switch automation

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BBOOUUTT TTHHIISS MMAANNUUAALL

This manual is divided into five main sections, and is designed to provide a comprehensive source of information for Duality SE 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 SE 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 SE are fully described in Section

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

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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 italic with lines above and underneath.

• 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.

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

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Duality SE

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OOvveerrvviieeww 22--11

An Introduction to Split Mode 2-2 Routing and Signal Flow 2-2 DAW I/O Labelling 2-2

CChhaannnneell SSttrriipp 22--33

TThhee CCeennttrree SSeeccttiioonn 22--1177

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AFL 2-32

Bass Management 2-27

Central Routing Panel 2-18 Centre Section 2-17 CH (channel) control 2-4 Channel Input 2-4 Channel Output 2-8 Channel Routing 2-14, 2-18 Channel Sends 2-9 Channel Strip 2-3 Channel TFT Screen 2-14 Communications 2-36 Compressor (Channel) 2-5 Compressor (Main bus) 2-21 Control groups 2-40 Cue Stereo 2-9, 2-33 CUT button 2-11

D-pot 2-3, 2-11 DAW Control 2-1, 2-3, 2-11 DAW Status Indicators 2-15 DRIVE pot 2-4 DRV IN button 2-4 DYN box 2-5 DYN IN button 2-5 Dynamics 2-5

EDIT indicator 2-15 EFX System 2-9 EFX TO TRK 2-10, 2-19 Equaliser 2-7 Expander 2-5 External Source Selectors 2-25

Fader 2-11, 2-22 Fader Grouping 2-12, 2-40 FILT to INP button 2-4, 2-7 Filters 2-7 Foldback 2-33, 2-36 FX Sends 2-9

Gate 2-5

H/P button 2-34 Headphone outputs 2-34 Hi-Z button 2-4

INPUT FLIP function 2-4, 2-19 Insert 2-7

KEY button 2-6

Labelling (DAW I/O) 2-2 LFE 2-39 LINK button (dynamics) 2-6

Main Output Functions 2-20 Metering 2-14, 2-26, 2-41 Misc Options 2-35 Mix Reassign Matrix 2-39 Monitor Calibration 2-29 Monitor Insert 2-26 Monitor Options 2-27 Monitoring 2-24

Oscillator 2-38

PAD button 2-4 Pan 2-10 PFL 2-32 PK LED 2-5 Power Supply Indicators 2-17

REC indicator 2-15 RED LIGHT 2-36

S/Ch LSTN button 2-6 SEL button 2-11 SEL indicator 2-15 SELECT button (Centre Section) 2-18

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select button (fader) 2-18 Setup Menu 2-43 Signal Processing Order 2-14 Signal Processor Routing 2-8 SOLO button 2-11, 2-24, 2-32 SOLO CLEAR 2-24 SOLO ISOLATE 2-19, 2-32 Solo-In-Front 2-32 SPLIT button 2-8 Split Mode 2-2, 2-8 SRC SEL button 2-8 Stereo Mix Matrix 2-39 Stereo Returns 2-34

Talkback 2-36 TO S/ch button 2-7 Track Bus Master Controls 2-23

Variable Harmonic Drive 2-4

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Duality SE 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 SE 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 SE 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 SE’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 SE’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 SE’s centre section screen give paged control of all plug-in parameters.

In summary, Duality SE is a Complete Studio Solution for modern DAW based production environments.

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The Duality SE 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 SE channel supports two input paths normally designated as the Channel Input and the DAW Monitor 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 postDAW processed sends.

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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 SE’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 SE, it is recommended that each DAW output is returned individually to a Duality SE channel strip.

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

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When using DAW routing with Duality SE, 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 SE’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’.

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Duality SE’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 in-line 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 (See left):

1. Channel input

2. Dynamics

3. EQ and filter

4. Cue Stereo and FX outputs

5. Channel output pan

Note that a number of channel parameters are adjusted via the Central Routing Panel in the Centre Section, described later in this section. This panel is assigned to a channel by pressing the Select button at the base of the channel’s fader.

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 electronic scribble strip, each channel has a long-throw (100mm) moving fader.



LCR

LFE

Focus

5.1

SPLIT

PAN TO TRK

LMF

KHz

2.0

600

KHz

HMF

KHz

THRESHOLD

+10

BELL

500

CUE ST

FX1

FX2

POST

INS

CH OP

FX4

OUT

KEY

G-EQ

RATIO

SRC

SEL

AFL

EFX

ALT

CH OP

POST

SET EFX

/CUEB

SRC

SEL

CH OP

FX3

S/Ch

RELEASE

141

THRESHOLD

RANGE

GATE/EXP

+10

- 30

DYN

REL/HOLD

Cue B

EFX

CH OP

EFX

EXP

POST

COMPRESS OR

INPUT

-20

+20

48V

+15

+75

PAD

2nd

3rd

FILT

INP

HI-Z

220

400

1. 0

DRV

kHZ

100

300

S/Ch LSTN

FILTERS

HOLD

Push for Fst Att

LINK

Push for Fst Att

DRIVE

- 20

1.5



Channel

Input

Dynamics

EQ and

Filter

Cue + FX

Outpus

Channel

Output

Pan

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

At your first introduction to the Duality SE 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.

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This provides two external inputs, the first is 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 24dB PAD 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.

Note that selecting INPUT FLIP will automatically switch off phantom power in order to prevent damage to the output stage of connected equipment.

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The Dynamics section contains a compressor section identical to that of the 9000K series and also found in SSL's X-Logic 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. The EXP 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.

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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

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.

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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

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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.

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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

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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 and EFX.

Split Mode

When the channel output (DAW input) is sourced from either the channel input or pre the channel fader, the SPLIT button (at the top of the panning area for the channel strip) 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.

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By now you will have realised that Duality SE 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.

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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 also 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 unused 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.

When a channel has BUS assigned as its input source, the ALT input is the main CHANNEL input. This makes it possible to configure channel strips as bus masters, with full processing, and to use the CUE ST level pot as a ‘short fader’ that controls the level of the ALT source (the MIC preamp), being sent to the track busses via the EFX system. Provided the Channel Output is fed pre fader to the DAW record input, the SPLIT monitor mode allows the Bus send to be monitored directly via the Channel fader feeding the main mix busses, or when SPLIT is active, to monitor the DAW return.

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.

EFX System

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 (select EFX TO TRK on the centre section routing panel), or the channel output — CHOP (selected locally or on the centre section routing panel). This enables up to 24 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.

Note that selecting EFX TO TRK changes the channel bus routing display from white to green.

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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.

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Below the channel strips is a 8-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 SE 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.

Note that on consoles manufactured before October 2009, the electronic scribble strip and the controls immediately above it are slightly different in appearance.

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).

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The CUT and SOLO buttons above the traditional scribble strip function in the normal way, providing muting and solo auditioning of channels.

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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 SE automation and ‘multi-operator’ Total Recall systems. The play and match buttons are used only with Duality SE 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).

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The console’s centre section is fitted with eight group control faders. 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).

Two modes of fader grouping are available –VCA and Servo: In Servo mode, moving the master fader will cause the slave faders to move. VCA mode grouping emulates a traditional non-moving fader grouping system — moving the group master changes the gain of the slaves but doesn’t physically change the position of the slave faders. The gain equals the gain of the slave plus the gain of the master (in dB). Assigning a fader to a VCA group immediately changes the gain by the amount the master is displaced from 0dB: assigning a fader to a Servo group leaves the channel gain un changed.

This mode is defined in the SSL / Misc / Setup menu – see Group Control Faders for more details.

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Fader Links are a useful method of ganging channels without the complexity of a Master/Slave style grouping system. With a Fader Link, any fader or non-latching switch operation can be applied to all the channels in the link.

Faders retain any existing level offsets, provided no fader in the link reaches the upper or lower extremes of the fader scale. If any member of a link reaches the end of its physical travel, no member of the link can move beyond this point. To access Fader Links, press the Lnks soft key next to the Auto key.

Creating a New Link

To set up a new link, scroll to New Link and press the D-pot push switch. This will create a new entry in the list suffixed with a number. This entry will be automatically highlighted, and faders can be added to (or removed from) the link by pressing their fader status buttons (shown on the following page). Link numbers are shown in the fader scribble strip and the red fader status LEDS will indicate those faders in the currently selected link.

While the Fader and CUT and SOLO switches are always included in Fader Linking, it is possible to exclude the remaining automated channel switches (Cue and FX on, Insert In, EQ In) from the Link: with a fader link highlighted in the Lnks page, press the ChSws softkey. When switches are included in the Link, switches linked is displayed after the fader link name on the screen (as shown for Link 2 above).

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To adjust balance of a link, hold one fader whilst moving another. This automatically isolates the second fader from the link whilst the remaining faders continue to track the first fader touched.

When the Links page is not active, pressing the SHOW LINKS button to the left of the Eyeconix button causes the Links to be displayed in the Scribble Strip.

The SHOW LINKS button is automatically selected when the Links page is active.

As far as the automation system is concerned (see Section5), switch and fader operations performed in one channel will cause that function in every channel in the link to go into Write. Links can be dissolved at any time, but all the automation data will still play out correctly.

To edit any existing links, scroll to and select the link. Channels can be added or removed as described above.

SuspdSel/SuspdAll

Links can be globally or individually suspended at anytime. A link that is suspended will allow you to move all the faders in the link independently. If a link is highlighted, then the SuspdSel key will deactivate the selected link and ‘suspended’ will be shown next to the link number. SuspdAll suspends all links in the list. The ‘Motors Off’ function automatically activates the SuspdAll function.

Inverting Switch Links

To invert the state of any switch in a link suspend the link, press the switch to toggle it to the opposite state, then re-enable the link.

Deleting Links

To delete a link, select and highlight it, then use the Delete and Confirm keys.

Fader

Status

Button

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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.

Signal 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). Other reference levels (+18dBu, +20dBu, +22dBu) can be selected in the SSL/MISC/SETUP menu. 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.

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

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

1. Centre section meter panel.

2. Audio master control functions.

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

4. 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 SE’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.

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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!

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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 Central Routing Panel’s 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.

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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’.

Note that selecting INPUT FLIP will automatically switch off phantom power.

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

Solo-isolated channels can be set to automatically solo in AFL mode via the Isolated channels AFL on solo: option in the SSL / Misc / Setup menu.

Note that the ISO button in the AFL/PFL menu allows a number of Solo Isolates to be set more easily, as described below.

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.

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As you are probably aware by now, Duality SE 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 COMP (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.

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Using the same classic design as found on the original SL4000 series console, the main bus compressor can be used as a single stereo unit or as a master 5.1 compressor. The compressor is assigned either to one of the Mix A, B, C busses or the 5.1 mix bus via the main bus select matrix (see previous page).

The ‘soft’ knee point of the compressor, ie. the level at which compression start to take place, is set by the THRESHOLD control (± 20dB). This is intentionally designed to change depending on the setting of the RATIO control; decreasing the RATIO setting lowers the effective threshold, hence maintaining the perceived ‘loudness’ of the compressed signal. The RATIO switch has six settings, 1.5:1, 2:1, 3:1, 4:1, 5:1 and 10:1. ATTACK time is switchable in six steps between 0.1 and 30 ms, and the RELEASE time is selectable between 0.1 and 1.2 seconds in five steps. The AUTO release selection adjusts the release time according to the signal envelope.

The gain MAKE-UP simply acts as a level control to compensate for the lowered level that is a consequence of compressing the signal. This control may be set so as not to change the overall output level when the compressor is switched in. The meter indicates dBs of gain reduction.

In 5.1 mode, two buttons, SRND TO S/C and LFE TO S/C determine whether the surround and LFE channels contribute to the side chain, or not. A further button, S/C ∑, defeats the normal 'loudest-bus-in-the-mix' side chain operation and substitutes a summing mode so that the gain reduction is proportional to the soundfield energy as opposed to the loudest individual signal.

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The master fader can be selected to control the stereo Mix A, B, C busses or the 5.1 mix bus via the main bus select matrix (see previous page). The fader can control the level of all three stereo busses simultaneously but can only set the level for one bus at a time. The fader uses a 36-bit, Hi-Resolution MDAC.

The fader is provided with two scales. The one on the left is the normal scale; the one on the right is for use with the +10dB function selected via the main bus select matrix (see previous page).

The automation status button and LEDs fitted on this fader are used with the optional automation system.

Following the injection of talkback and tone (see later), the main output busses feed D-connectors on the centre section connector panel.

All the main mix busses are provided with LCD metering above the centre section. In addition, the stereo Mix A bus can be metered on the centre section VU meters.

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The output level of the console’s 24 mono Track busses is set by a group of rotary controls in the upper right of the centre section (see left). They all have 10dB of gain when turned fully clockwise; an indent at the ‘12 o’clock’ position corresponds to 0dB gain. Following level control, the bus outputs can be injected with tone (oscillator TRACK button) and talkback (talkback SLATE button) before being fed to a D-connector on the centre section connector panel.

An AFL function (post tone and talkback inject) is provided for each bus. The AFL signal is intelligently assigned to left and right AFL busses. Selecting AFL on a single Track bus output will route signal to both left and right AFL busses. Selecting AFL on odd and even numbered Track bus outputs will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

A set of LCD bargraph meters in the centre section are dedicated to metering the bus outputs.

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The large knob below the ‘MONITOR LEVEL’ display normally sets the level of the main control room monitors, according to the monitoring standard selected in the SSL / Misc / Setup menu – See Monitor Level Display and Calibrated listening level. The column of six buttons to the right enables this control to be used for the named alternative functions.

You will be monitoring on whichever set of speakers is selected from the ‘LS SELECT’ group: the Main 5.1 speakers (‘Main A’ — the default with no buttons selected), ALT 5.1 (‘Main B’), MINI A or MINI B.

The loudspeakers are fed from whatever source has been selected in the ‘MON SRC’ group of buttons. The alternatives include the MIX A bus, the stereo downmix (STEREO MIX), and two external source selectors, EXT A and EXT B. Sources will be intercancelling unless the SUM button is selected. All sources to the monitoring are stereo except those brought in via the EXT A monitor source selector (see below).

The STEREO button folds down the 5.1 inputs to the monitor path via a 5-2 gain-compensated matrix (which also provides the Mon feed to the foldback outputs), and feeds the result to left and right monitor outputs. MONO can be selected with or without STEREO and sums the left and right monitor busses, feeding the result equally to the left and right monitor outputs.

The Ø button precedes the MONO button and reverses the phase of the left monitor feed, providing a quick way of checking for any phase anomalies in a stereo mix. If MONO is active, selecting the Ø button allows the difference (L - R or the ‘S’ signal) to be monitored instead of the L + R sum.

The SOLO button turns the monitor cut buttons (see below) into monitor solo buttons. The SOLO CLEAR button lights when any channel SOLO, S/Ch LSTN, AFL, or centre section AFL or MONITOR SOLO button is pressed. Press SOLO CLEAR to cancel any Solo/AFL/PFL function.

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If either MINI A or MINI B ‘LS SELECT’ buttons are selected, the left and right monitor busses are fed to the corresponding stereo mini loudspeaker output. Mini level relative to the main monitors can be trimmed via the main monitor pot by selecting MINI in the group of buttons to the right of the monitor pot. When a Mini speaker output is selected, the 5-2 STEREO mix is automatically switched into the monitor circuit to deal with any 5.1 sources present.

The DIM button dims both main and mini loudspeaker outputs by a preset level. Set this level by selecting the DIM button to the right of the monitor pot and turning the main monitor pot. The Dim circuit is automatically activated when any of the following buttons are pressed: LISTEN, TB ALL, F/B A, F/B B, EXT T/B, Oscillator to TRACK or MIX.

The CUT button cuts the monitor feeds to whichever set of monitors is selected. CUT is activated automatically by the SLATE talkback function. CUT and DIM can also be activated externally via the GPIO/Talkback connector.

The six main monitor outputs can be muted individually with the L, C, R, LS, RS and LFE (sub) ‘MONITOR MUTE/SOLO’ buttons. These become monitor solo buttons by selecting the SOLO button in the ‘MON MODE’ group (see above).

All the monitor outputs are available for connection to amplifiers via the centre section connector panel. The two

5.1 outputs (Main and Alt) and the two Mini outputs feed two 25-way D-type connectors — ‘MON A’ and ‘MON B’; the two Mini outputs (Mini A and Mini B) also feed individual XLRs for left and right.

External Source Selectors

Two external monitor source selectors are provided. EXT A has four 5.1 inputs. These may be fed by any source of six channels or less. The MIX selection provides an important fifth input to EXT A, which is used to monitor the 5.1 Main Mix bus when mixing in 5.1 mode.

EXT B is a 2-channel selector that may receive up to four stereo sources. In either case, sources may be summed together; this is particularly useful for generating complex foldback mixes or when stem mixing, as it allows the recorded stems to be monitored together with the current mix.

To select an external monitor source, first press either the EXT A or EXT B button , choose a source from those shown in the display, and then press the soft key under that source (or first press the key under SUM to sum selected sources). Finally, route the external source(s) to the monitors by pressing EXT A or EXT B in the ‘MON SRC’ group of buttons. The LTR selection on EXT B provides monitoring for a surround encoder’s LtRt output (see next page).

Inputs to the external source selectors are connected via D-connectors (four for External A, one for External B) on the connector panel.

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Monitor Insert

The External A selector output (ie. all 5.1 sources) is automatically routed via a 5.1 insert point to which an encoder/decoder system may be interfaced; this insert may be switched in/out of circuit using the Monitor Options INS function (see next page). The insert send and return appear on two 25-way D-type connectors on the centre section connector panel. The insert point also has connections for the two channel output from the encoder, and the two channel input to the decoder. These allow monitoring of the encoder output (‘LtRt’) signals and provide automatic routing of the External B selector outputs to the decoder inputs to enable encoded recordings to be played back through the decoder. The logic for this is as follows:

• With no sources selected on External B, the encoder outputs are linked to the decoder inputs.

• Selecting any source on External B will route the External B outputs to the decoder inputs.

• Selecting EXT A and INS will monitor the insert return; if no source is selected on External B you will hear the External A signals through the encoder and decoder. If a source is selected then you will hear the decoded output of External B.

• Selecting EXT B and INS and selecting a source on External B will monitor External B.

• Selecting EXT B and INS with no source selected on External B will monitor the LtRt encoder outputs. The LTR soft button lights to show this. Note that LTR is selected by turning off all other External B sources.

Monitor Metering

A dedicated set of six LCD bargraphs above the centre section provide a constant indication of ‘FOLLOW MONITOR’ levels (ie. what you are currently listening to), plus a stereo meter for the SOLO/AFL bus and mono PFL levels. See later for more on meter options. The ‘FOLLOW MONITOR’ meter feeds are available via a 25-way D-type connector on the centre section connector panel, for use with external metering.

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Monitor Options

A wide range of monitor options are available via the soft keys and associated display on the monitor panel. Pressing the MONITOR OPTIONS button above the display produces the following choices; press the button below an entry to select that option.

INS — Switches the encoder/decoder insert into the monitor path for use with 5.1 monitor sources selected via the EXT B monitor selector.

PFM — Routes the PFL signal to the Mini A or B loudspeakers. In this mode, PFL level is controlled by the PFL level control only — the Main and Mini monitor level controls have no effect.

SRA — Both sets of Main speaker outputs are capable of handling six channels. If you are mixing in 5.1 and the client turns up with an alternative set of ‘front’ (LCR) speakers only, the surround feeds may be locked to the Main 5.1 (Main A) outputs by selecting the SRA (‘Surround on A’) function. This allows you to switch to the alternative LCR speakers, connected to the ALT 5.1 (Main B) output, and still maintain full surround monitoring. A further option (A2B — see next page) enables the subwoofer output to be included in this arrangement.

LRA — Similar to the SRA function except that the LCR monitor feeds are locked to the Main A outputs but an alternative set of surround speakers may be selected by switching to the Main B output. This can be useful in rooms that work on both music, using full bandwidth separate surround speakers, and film using multiple lower powered surround speakers.

Bass Management

BASS — Selecting this option produces a further layer of bass management options (see following pages for options held under CAL):

80H — Inserts a 7th order, 80Hz, low pass filter into the LFE monitor bus, to deal with listening to 5.1 material that has a full range, unfiltered, LFE channel.

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BMN — Turns on the Bass Management system. This is designed to extend the low frequency response of the monitoring system, and to simulate the 5.1 monitoring systems in TV and domestic environments. It inserts 12dB per octave, 80Hz high pass filters in the L, C, R, LS, RS monitor outputs, and feeds a pre high pass filter mono sum of these five outputs to an 80Hz, 24dB per octave, low pass filter, which is summed with the LFE monitor bus. Post this summing point, the combined signals feed via a 10Hz subsonic high pass filter before reaching the subwoofer monitor output. These are the default filter slopes. Internal circuit-board links (see Installation Guide for details) allow the links to be set to 12dB or 24dB per octave, and to select whether or not the surround channels are included.

Note that this option is stored separately for each set of speaker outputs (like the loudspeaker level calibration), so it is possible to have Bass Management enabled on one set of speakers and not on others.

LF0 — Normally, the LFE bus level is increased by 10dB post the main monitor level control, as this is a requirement for DVD playback. If you are mixing for SACD, or any other format that requires unity gain on the LFE channel, select

LF0 to restore the LFE bus level to unity gain.

NEXT — Produces a second layer of options:

A2B — Retains use of the main 5.1 subwoofer, even when you switch to the ALT 5.1 loudspeaker selection.

BMA — Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI A is selected and BMN is on.

BMB — Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI B is selected and BMN is on.

RTRN — Returns you to the top layer of the MONITOR OPTIONS selection.

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Monitor Speaker Calibration

The monitor calibration system enables the level of any loudspeaker connected to Duality SE to be trimmed by ±10db. Note that, with the monitor gain at maximum, a trim level of +10dB corresponds to unity gain through the monitor section.

Do not attempt to carry out loudspeaker calibration unless you have access to accurately calibrated test equipment.

Selecting CAL in the first layer of MONITOR OPTIONS produces the following options:

Turn on the console oscillator (OSC ON) and select the PINK ON button; the default level for the console’s pink noise output is +4dBu RMS. Adjust using the Pink trim pot in the oscillator section if necessary.

Set the monitor level control to the position you wish to correspond to the calibrated level. A level setting of 8.5 will provide 10dB of additional gain in hand.

Now select the required monitor system — Main 5.1, ALT 5.1, MINI A or MINI B.

Select the CAL menu. Pressing either AL or AR or AC will send pink noise to the Left or Right or Centre loudspeakers respectively Adjust the level for the required SPL (eg. 85dBa C weighting, slow response, on a suitably calibrated dB meter), by turning the main monitor pot left or right from its initial position.

Now work through the rest of the speakers (see below), checking before you calibrate the LFE output whether the LFO option (see previous page) is off or on.

See Monitor Level Display and Calibrated listening level for information regarding the 85dB button.

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NEXT — selecting this in the first layer produces a second layer of calibration options:

Selecting ALS or ARS or ALF allows you to trim the Left Surround, Right Surround or LFE channels respectively by ±10db, using the method described above.

LFG — This stands for Low Frequency Gain and allows the gain of the contribution from the full bandwidth channels to the subwoofer output to be adjusted. Like all the speaker calibration settings it must be set for each set of speaker outputs (assuming Bass Management is in use).

Having lined up the six main speakers, select LFG. In LFG mode all speakers are initially muted, and the six monitor cut buttons will light; uncut the left output, and with the bass management turned on (note that the BMN selection in the BASS menu is duplicated in the CAL menu), adjust the LFG gain for a flat low end response. Cut the left output, uncut the right output, and check this has a flat low end response. Repeat for all channels. Depending on how well matched the monitors are, you may have to adjust the LFG gain slightly.

Note that when LFG is on, the LFE monitor output is always cut. This does not mute the actual subwoofer output, only the LFE signals feeding it. This ensures that you are only measuring the contribution from the Bass Management system.

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Monitor Level Display and Calibrated listening level

The SSL / Misc / Setup menu provides two additional options:

Monitor Gain Display: Music (Off to 11)

Film (Off to 95dB)

Gain (Off to 0dB)

Monitor Set CAL level is: 70 - 90

Furthermore it is possible to change the Monitor Level pots resolution between ‘Fine’ and ‘Large’ in ‘Music’ or ‘Gain’ modes by pushing down on the pot. The display above it will show which mode it is in. ‘Fine’ mode makes adjustments in 0.1dB steps while ‘Large’ mode adjusts the value in 0.5dB steps.

When working in ‘Film’ mode pushing down on the Level pot will adjust the monitor volume to the user defined calibrated level selected in the SSL / Misc / Setup menu. Normal selection here would be the international recognized 85dB but it is possible to set a range from 70dB to 90dB. It is recommended that you use a SPL meter to calibrate your studios monitoring level to match that displayed on your Monitor Level display.

Note that the monitor gain corresponding to +85dB SPL can be set in the Monitor options / CAL page 1 by adjusting the main monitor level control to give an SPL of 85dB, then pressing the 85dB switch.

Note that if you make a change to this value in the Setup menu while running in Calibrated mode this change will not be reflected until you come out of Calibrated mode and re-enter it. You can tell which mode you have switched into as it will display either ‘Cal’ for calibrated or ‘UCal’ for uncalibrated. Bear in mind that switching to a calibrated level of 85dB may cause a significant increase in listening volume so take care not to damage your hearing and of course your loudspeaker monitoring system.

The third option setting ‘Gain’ allows a range of volume level settings where the maximum value is 0dB. All other values are reductions of this level through to ‘OFF’.

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SOLO / AFL / PFL

The console’s default solo mode is a destructive solo-in-place — soloing a channel cuts all other channels. The alternative solo modes — AFL, PFL and Solo-in-front are selected via the soft key display on the monitor control panel. Press the AFL/PFL button above the display to produce the following options:

AFL Pressing a channel SOLO button routes the post channel pan signal, via the stereo AFL bus and the

AFL level control, to the currently selected monitor speakers.

PFL Pressing a channel SOLO button routes a mono pre -fade signal, via the PFL bus and the PFL level

control, to the left and right Main monitor speakers. Optionally, PFL signals may be fed to the Mini loudspeakers — see PFM in Monitor Options.

SIF (Solo-In-Front) Pressing a channel SOLO button routes a mix of the AFL signal and the selected left

and right monitor sources to the monitor outputs. The SIF level control (select the SIF button to the right of the main monitor pot and use the pot to set the level)) adjusts the balance between AFL signal and desk output.

ISO To solo isolate a number of channels, select ISO, press the SOLO buttons on all channels to be

isolated, then deselect ISO. The SOLO switches on isolated channels will flash.

Solo-isolated channels can be set to automatically solo in AFL mode via the Isolated channels AFL on solo: option in the SSL / Misc / Setup menu.

ALT Makes channel SOLO buttons intercancel with each other, so that soloing one channel will clear any

other solo selections.

MOM This option makes all the channel SOLO buttons momentary.

Note that ALT and MOM do not affect the operation of centre section AFL and SOLO functions

Solo, AFL and PFL signals are all metered on the centre section SOLO meter. See Centre Section Metering for more information.

When auditioning signals which are low in the mix, it is possible to boost the solo bus signal level by up to 10dB via the Solo Gain boost: option in the SSL / Misc / Setup menu.

Note that this boost is applied at the final output stage of the signal and is not reflected in the Solo meters. If insufficient headroom is available, less gain will be applied.

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Each channel is fitted with two Cue Stereo and four mono FX sends for use as foldback, feeds to effects devices, etc. The Cue Stereo outputs from each channel may be routed to one of two busses — Stereo Cue A or Stereo Cue B. FX 1-4 feed their respective busses.

The master output level controls for these busses (in the top right of the centre section — see left) all have 10dB of gain when turned fully clockwise, and an indent at the ‘12 o’clock’ position, which corresponds to 0dB gain.

An AFL button is provided for each output. The AFL signal is intelligently assigned to left and right AFL busses. Selecting AFL on a single FX output will route signal to both left and right AFL busses. Selecting AFL on odd and even numbered FX outputs will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

The two Cue Stereo and four mono FX outputs are available to external devices via a D-connector on the centre section connector panel. The Cue outputs are also available as sources to the Foldback outputs (see below).

A dedicated set of LCD bargraphs just above the master controls provides metering of the Stereo Cue A, Stereo Cue B and FX busses (see Centre Section Metering).

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The console provides three stereo outputs — Foldback A and B, intended for use in the studio for headphones or LS playback, plus a stereo headphone feed for control room use; a socket for this is provided beneath the buffer rail in the centre section. The foldback outputs feed 1/4” jacks on the centre section connector panel, from where they may be connected to amplifier inputs.

The master controls for Foldback A and B are provided by two identical sections fitted just below the main output compressor (see left — only Foldback B shown).

Each output has a dedicated LEVEL control, CUT, AFL, and six source selector buttons with associated level controls:

The MIX 1 pot controls the contribution of Main stereo mix bus A (MIX A) and/or the output of Cue Stereo A (CUE A), to the foldback mix.

The MIX 2 pot controls the contribution of the stereo downmix signal (ST MIX) and/or the output of Cue Stereo B (CUE B), to the foldback mix.

In addition, the stereo Main monitor output (ST MON) and the output of External Source Selector B (EXT B) may be selected as sources.

Dedicated F/B A and F/B B talkback buttons are used to add talkback to the foldback outputs.

HF and LF shelving equalisers are provided on the outputs.

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A small area of the monitor control panel (see right) provides source selection (control room monitor and foldbacks) and a CUT function for the console’s stereo headphone output. Note that the F/B A and F/B B signals are taken from before the foldback master level and EQ controls.

The level of the headphone output is set using the H/P button to the right of the Main monitor pot, in conjunction with the pot itself.

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The console’s four stereo return channels may be driven by the outputs of devices that have been fed from the corresponding mono FX busses. Alternatively, the returns may be used for any additional stereo input required for the mix. Inputs to the returns are interfaced to the console via a D-connector on the centre section connector panel.

Four identical sets of controls are provided; the controls for Stereo Return 1 are shown on the right. Each return can be routed to the console’s Main mix busses, with full control of level and panning. Default routing is post the CUT L and CUT R input cut switches to Mix A, B or C via the master LEVEL control.

To route a Stereo Return to the required mix bus, enable the Central Routing Panel by pressing the + and - buttons simultaneously, then press and hold down the AFL/SEL button at the bottom of the Stereo Return. The Routing Panel display will change to read St 01, (02, 03) and the MIX A, MIX B and MIX C buttons above can be used to assign the selected Stereo Return to the required bus(ses).

The BALANCE pot provides a differential Left/Right gain trim for the stereo input signal. This is followed by a variable stereo WIDTH control, which can reduce the stereo image to a mono centre phantom point source. The MONO button sums the inputs and simultaneously alters the action of the BALANCE control to that of a conventional two channel pan pot. This is very useful when you are using a mono FX device, as it saves having to parallel the return inputs.

For 5.1 work, selecting the FB PAN button causes the WIDTH control to act as a Front/Back pan pot. The FOCUS control progressively subtracts the front L R signals and re-routes the sum to the C (Centre) bus (Bus 3).

Selecting the STEREO button defeats the surround panning options and provides switched routing via the central routing panel. Press and hold the AFL/SEL button on the return to activate the panel, and use the panel’s routing buttons to select MIX A, B or C (or combination thereof).

Return signal may also be fed independently, post the CUT L and CUT R input cut switches, to Foldback outputs A and B by selecting the FB A and/or FB B buttons and adjusting the STUDIO control.

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A number of useful options can be accessed via the MISC menu. Press the MISC button above the display to produce the following options:

C0dB Sets all channel faders to 0dB.

M0dB Sets all group master faders to 0dB.

IND When selected, pressing any fader’s fader button will set that fader to 0dB. The IND button flashes

to indicate that it is active.

OFF Moves all faders to -∞.

UNDO Reverses the last action.

Note that there is one level of undo. The button lights to indicate that an ‘undo’ is available.

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A group of communications buttons (talkback etc.) are fitted below the central routing panel. A built-in talkback microphone and pots to set the level of TB to Foldback, Talkback Out (an external talkback feed), Slate level (talkback to Main Mix, Track bus and channel outputs) and an incoming Listen mic, are provided in the ‘Comms” section above the DAW control TFT screen (see right).

Note that a gain control for the talkback mic preamp is provided on the connector panel adjacent to the external talkback output jack. If required, an external talkback mic may be connected to the console’s talkback distribution circuitry via an XLR on the connector panel. When using this facility, turn the console mic preamp gain fully anticlockwise (off) if you no longer wish the inboard mic to contribute to the talkback system.

Note also that, apart from SLATE, which cuts the monitors, all the following functions dim the monitors. All the buttons, apart from LISTEN and RED LIGHT, can be selected to be latching, momentary or to be inhibited in Play or Record - see opposite for details.

SLATE — Interrupts the Main Mix and Track bus outputs with talkback.

F/B A and F/B B — Adds (or optionally replaces) talkback to the associated foldback outputs after the level and cut controls.

EXT T/B — Sends talkback to an external feed, available via a 1/4” jack on the connector panel. Level is adjusted using the Talkback Out pot (see above).

TB ALL feeds talkback to the foldback sends and the external talkback output.

LISTEN — Injects an external mic signal (connected via an XLR on the centre section connector panel) onto the

Mini A loudspeaker set and dims the main loudspeakers. This button is latching (optionally inhibited in Play or Record); the level is adjusted using the Listen pot (see above). The mic is usually placed in the recording area. The circuitry features SSL’s legendary listen mic compressor, the sound of which is much loved by many experienced SSL users, so the connector panel provides a post compressor output XLR — ‘Listen Mic Out’.

RED LIGHT — this provides an isolated contact closure for hooking up to a studio red light via an external relay box.

The talkback button functions are all duplicated on a Talkback/GPIO connector on the rear of the console, as are the monitor CUT and DIM switches. See the Duality SE Installation Manual for more information.

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The following options for the console’s communications are located in the SSL / Misc / Setup menu:

Talkback switches: This selects the operation of the talkback buttons: Momentary / Latching

/ Auto (Play) / Auto (Record).

Listen switch: This selects the operation of the Listen buttons: Latching / Auto (Play) /

Auto (Record).

Red light switch: This selects the operation of the red light switch: Manual / Auto (Play) /

Auto (Record).

Note that for the Talkback switches and Listen switch options, ‘Auto’ inhibits the switch when the transport is in the status indicated. In the case of the red light, ‘Auto’ forces the red light on when the transport is in play + record.

TB switches disable Listen: This allows the Listen function to be switched off when talkback is

activated, thus avoiding feedback problems.

TB to FB: (Sums / Replaces) When assigning talkback to foldbacks, this option

defines whether talkback sums or replaces the normal foldback signal.

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The word oscillator is a slight misnomer in this case, as the console actually provides a comprehensive tone and pink noise generator!

The ‘Oscillator’ section (see right), located just above the DAW control TFT screen, contains controls for frequency, level and routing of tone or pink noise to the Main Mix and Track bus outputs and to the monitor outputs for use in monitor calibration.

OSC ON — Activates the oscillator output (surprise, surprise!). It’s good practice to turn the oscillator off when recording, to prevent any accidental routing to desk outputs.

PINK ON — Switches the output from tone to pink noise. Note that the pink noise level can only be adjusted using the Pink ‘Cal’ preset.

The LEVEL control adjusts the level of the tone generator from -25dBu to +20dBu. When fully anticlockwise, a preset ‘Cal’ level is selected that can be calibrated using the multiturn preset located below the level control; a red LED lights to show when the level control is in the calibrated position. When OSC ON is selected, the rotary FREQ switch provides six preset frequencies.

The oscillator may be routed to the Main MIX busses, the TRACK busses and the CHANNEL OUT (individually or simultaneously).

The oscillator output is also available on an XLR on the centre section connector panel.

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This useful matrix, to the left of the main output compressor (see right), adds the selected mix(es), post output level control, to the six Main Mix busses. Three stereo mixes — stereo CUE A and CUE B, plus the output of the EXT B stereo monitor selector, can be reassigned to Main Mix busses 1 and 2 (Mix A). The 24 Track busses are split into four groups of 6, and are re-assigned in those groups to all of the Main Mix busses (busses 1 and 2 to Mix A, 3 and 4 to Mix B, 5 and 6 to Mix C, etc.). This provides up to four 5.1 stems or four triple stereo bus sets.

LFE Channel

This section (see right) enables a low pass filter to be switched (LFE FILTER) into the LFE mix bus (Bus B Right) when working in surround. Two filter frequencies are provided — the default 120Hz filter or, when the 80Hz button is pressed, a 80Hz option. The filter slope is 12dB/Octave.

Stereo Mix Matrix

This matrix (see right) is used to sum the console’s Main Mix busses, with two exclusive modes of operation.

Firstly, the three rotary controls and their associated ON buttons act as a 5.1 to Stereo Downmix matrix to control the centre, surround and LFE contributions added to the original 5.1 front L and R channels. By default, the downmix is sourced from the Main Mix bus outputs, post processing and level control. INP PRE feeds the matrix directly from the busses’ mix amps, thereby bypassing all processing.

The MIX A, B and C buttons are used to select a second mode of operation, which provides a simple bus sum of the six Main Mix busses, when they are being used as three stereo pairs or stems. The summing is post processing and level control. In both cases, the resultant stereo mix has a master LEVEL trim and a separate pre level control insert point (INS). The insert return supports the ‘Sum’ option, as found on the Bus Select Matrix for Main Mix bus insert points. This mode is selected in the SSL/Misc/Setup menu, selected via the centre section TFT screen (see Setup Menu).

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The console centre section features eight control group master faders. Each group master fader may control a number of slave channel faders. Additionally, group master faders may control other group master faders.

Two modes of fader grouping are available: VCA and Servo: In Servo mode, moving the master fader will cause the slave faders to move. VCA mode grouping emulates a traditional non-moving fader grouping system — moving the group master changes the gain of the slaves but doesn’t physically change the position of the slave faders. The gain equals the gain of the slave plus the gain of the master (in dB). Assigning a fader to a group immediately changes the gain by the amount the master is displaced from 0dB. The mode is defined by the Fader Grouping Mode: entry in the SSL / Misc / Setup menu.

If you load a mix created in one grouping mode while the other grouping mode is active, the mix levels for playback will be automatically corrected for the current mode.

When in Servo mode the Group Lockout level: entry in the SSL / Misc / Setup menu allows you to set a group master level below which slave faders will not have their balance altered. The lockout level range is -35dB to -70dB or OFF.

Unlike previous SSL analogue consoles, the servo grouping mode allows faders to be added to and removed from groups without changing levels.

Note that you cannot switch modes during a mix!

Group assignments may be stored as part of a Total Recall (option) setup.

Selecting channel faders to a group is simple — press the select buttons of the channels you want to include in the group then, in the centre section, press the group button at the foot of the required group fader (see right). The group display on each fader will reflect your choice.

To assign a group master to be controlled by another group master, press the group button on the group master to be controlled (ie. the slave), and while keeping this button pressed, press the group button on the group master that will control the slave. Use the same procedure to deselect an assigned master from the slave group.

Pressing the CUT button on a group master fader will have the same effect as pressing the CUT buttons on all the slave faders. The underlying state of these functions on slave faders can be changed while a group master CUT is active, but the group master CUT state can not be overridden by the local function. Group fader CUT buttons may be automated if the optional automation system is active. See Section 5 for more details.

Similarly, when in SIF, AFL or PFL solo modes, pressing the SOLO button on a group master fader will have the same effect as pressing the SOLO buttons on all the slave faders. However, in default (solo-in-place) solo mode, group solos work slightly differently: pressing the SOLO button on a group master fader will result in all channels not in that group being cut. This means that pressing the SOLO button on a fader within that group will cause the other faders within the group to be muted, overriding the group SOLO button.

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The panel above the main centre section features LCD and analogue metering for the console’s main and auxiliary outputs:

On the left of the centre section meter bridge are six sets of LCD bargraphs. These are dedicated to the metering of (from left to right) the following busses:

• AL, AR, BL, BR, CL, CR MAIN MIX (L, R, C, LF, LS, RS when working in 5.1 mode)

• L, R ST MIX (downmix)

• L, R, C, LF, LS, RS FOLLOW MON (monitor)

• L, R SOLO, AFL, PFL bus

• L, R CUE A and CUE B

• 1-4 FX SENDs

• 1-24 Track BUSSES

The standard scale is +24dB for 0dBFS (top of the scale). Options for different 0dBFS levels are available via the SSL / Misc / Setup menu (see next page).

To the right of the bargraphs are two VU meters and a phasemeter. These meter the Left and Right outputs of three mix busses, as selected via the METERS menu (see next page).

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Meter Options

Meter options are provided by soft key selections on the monitor panel; select the METERS button to produce the following selections:

DAW Locks the channel meters to the DAW layers.

Anl Locks the channel meters to the analogue channels.

VU Toggles the feed to the VU meters between the following, as indicated above the VU meters:

MON: The current Left and Right monitor outputs

DMIX: The stereo downmix output level

MIX A: The Main Mix A bus.

Note that any AFL or SOLO selection will automatically cause the VU meters to meter the console’s solo bus.

PK Switches the meters to peak reading mode; peak readings are held for 3 seconds.

HLD Select this to hold the peak readings indefinitely.

CLR Press to clear the currently held peak readings.

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The centre section TFT screen provides access to a setup menu that holds a number of useful console-related items. Select SSL followed by Misc and then Setup (see Section 3 if you are not familiar with the use of the TFT and its associated soft keys).

To change a setting, use the left hand D-Pot to select the item, then press the D-Pot to enter adjustment mode. Turn the D-Pot to the desired setting and press it a second time to save the setting to non-volatile memory.

The Setup options are as follows:

Automation

Glide frames: Sets the ramp time in frames for the automation SNAP mode. (range

0 - 255)

Rollback threshold frames: Sets the number of consecutive frames that the system needs to see

to determine if a Rollback has taken place. The range is 2 - 10; the default is 2 frames. Increase as required if a Rollback occurs when you stop the timecode master.

In Mix show: When using the automation, you have a choice of what is displayed

on the consoles channel scribble strips (and below the Group and Master fader levels in the Centre Section TFT screen). The choices are:

Automation Mode: displays the status of the faders – Auto, Safe or Manual;

Channel names in Mix running: displays the channel names once Execute is pressed in automation,

Channel names: displays the channels names regardless.

Mix Update Mode: Sets the default automation mode at the start of an update mix

(Replay / Absolute / Trim).

Automated switches turn off on**: Select whether the off function of automatable switches is sent on

the down-press or release of the button (Press / Release).

Grouping

Fader Grouping Mode: Selects the fader grouping mode (Servo / VCA). (See Group

Control Faders for more details).

Group Lockout level: Set the group master level below which slave faders cannot have their

balance altered (available in Servo grouping mode only). The lockout level range is -35dB to -70dB or OFF.

** Only displayed if the DualitySE software features have been enabled

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Talkback

Talkback switches: Select the operation of the talkback buttons: Momentary / Latching

/ Auto (Play) / Auto (Record).

Listen switch: Select the operation of the Listen buttons: Latching / Auto (Play) /

Auto (Record).

Red light switch: Select the operation of the Red Light switch: Manual / Auto (Play) /

Auto (Record).

TB switches disable Listen: This allows the Listen function to be switched off when talkback is

activated, thus avoiding feedback problems.

TB to FB: (Sums / Replaces) When assigning talkback to foldbacks, this option

defines whether talkback sums with or replaces the normal foldback signal.

See Communications for more details of these options

Monitor section

Monitor Gain Display: The calibration of the main monitor Gain pot and display can be set

to one of three industry-standard monitoring modes: Music (Off to

11) / Film (Off to 95dB) / Gain (Off to 0dB)

Monitor Set CAL level: When in Film monitoring mode, the calibrated listening level can be

adjusted: 70 - 90 (dB).

See Monitor Level Display and Calibrated listening level for more details of these options

Solo Gain boost: When auditioning signals which are low in the mix, it is possible to

boost the solo bus signal level (Range: 0-10dB).

Isolated channels AFL on solo: Set solo-isolated channels to automatically solo in AFL (ON/OFF).

Desk Setup

Stereo Mix Insert Mode This enables the stereo mix matrix ‘SUM’ option to be selected,

where the insert return sums with the main signal path. Select REPLACE to disable this function.

Input Cut Enable If set ON, the channel strip CUT button will cut prefade sends, ie.

Aux and CHOP sends (ON / OFF).

Analogue Meter Scaling Set the analogue level corresponding to 0dBfs on the console meters.

(Range 18, 20, 22, 24 dBu).

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DAW setup

The next few items in the Setup menu are concerned with DAW interconnection, but are included here for completeness; see Section 3 for more details. Note that changes to any of these DAW settings will require a console reboot before they take effect: hold down the Restart softkey and press the Confirm softkey which appears to its right.

Transport lock layer*: Select the master DAW layer for transport control between DAW

1, DAW 2 or Off.

DAW 1 Jog wheel sends: Define the control data sent by the jog wheel for HUI DAWs.

Options are Jog / Nudge (40 / 20 / 13 / 10 / 8 / 6 / 5 per revolution). When DAW 2 is HUI, there is a DAW 2 Jog wheel sends*: menu entry.

MIDI connects via: ** Select the ports used for MIDI connections: MIDI Ports (the physical

MIDI ports on the console) or Network (MIDI over Ethernet).

DAW 1: Select from Protools HUI / Logic / Logic Handshake / Nuendo /

Digital Performer / Sonar

DAW 2* Select from Protools HUI / Logic / Logic Handshake / Nuendo /

Digital Performer / Sonar / None

First physical channel DAW 1: Select the console channel number that is controlling the first track

number on DAW 1. When DAW 2 is assigned, there is a First

physical channel DAW 2*: menu entry.

Channel Count DAW 1: Select the total number of channels dedicated to DAW control (8-

48 in steps of 8). When DAW 2 is assigned, there is a Channel Count DAW 2*: menu entry.

Single Layer*: Assign both DAWs to a single layer (ON/OFF).

* Not displayed if MIDI connects via: MIDI Ports is selected. ** Only displayed if the DualitySE software features have been enabled

Desk settings

Scribble Strip Brightness Use this to adjust the channel scribble strip brightness (range: 1-6)

TFT Backlight Brightness Use this to adjust the backlight level (range: 1-8)

Turn Off Display After Shuts off the TFT display after a predetermined time: 30 mins to 5

hours in 30 minute increments.

Console Channel Count Should be set to the size of your console: 24, 48, 72 or 96. This setting

determines the range of channels selected by the Central Routing Panel’s ALL button.

Note that TFT and scribble strip displays can each be turned off by turning the control pot clockwise (beyond 8 or 6) to ‘Off ’.

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Duality SE

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DAW Controller Features Summary 3-1 Console Focus 3-2 DAW Layers 3-3

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Connecting via physical MIDI ports 3-6 Connecting via ipMIDI 3-7

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D-pots 3-13

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Channel Banking Controls 3-15 DAW Window Buttons 3-15 DAW Utility Buttons 3-16 Modifier Buttons) 3-16 The Default Button 3-17

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DAW Meters 3-19 Channel Fader 3-19 Channel Solo and Cut Panels 3-20 Channel SEL Button — Record Ready/Edit/Select 3-21 Edit Mode 3-21 Select Mode 3-22 Working with the Channel D-pots 3-22

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Viewing Input, Output and Send Routing 3-25 Setting input, Output and Send Routing 3-25

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Automation Enables 3-37 Automation Modes 3-37 Edit Tools Menu 3-38 Edit Modes Menu 3-38 Status/Group Menu 3-38 Function Keys 3-39 EDIT Menu 3-39 SSL Menu 3-39

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Audition 3-28

Channel Banking 3-15 Channel Count 3-5 Channel Mode 3-22 Channel Select Button 3-20 Connecting DAWs 3-5 Console Focus 3-2 CUT button 3-20

D-pots 3-13, 3-22, 3-36 DAW Automation 3-37, 3-41 DAW Channel Functions 3-19 DAW Layers 3-3 DAW Meters 3-19 DAW Routing 3-25 DAW Utility Buttons 3-16 DAW Window Buttons 3-15 Default Button 3-17 Digital Perfomer 3-7, 3-55

Edit Mode 3-21 Edit Tools 3-38 Ethernet 3-7

Fader Grouping 3-19 Footswitch Control 3-29 Function Keys 3-39

In-line Mode 3-2 ipMIDI 3-7

Jog wheel 3-5

Logic 3-7, 3-10, 3-48 Logic Handshake 3-7, 3-10

Mackie Control 3-45 Markers 3-31 Master Control Panel 3-15 MCU 3-45 Memory Locations 3-31 MIDI over Ethernet 3-7 MIDI ports 3-6 Modifier Buttons 3-16 Motion Control 3-27

Navigation mode 3-29 Nuendo 3-7, 3-50 Numeric Keypad 3-31

Plug-In Editor 3-33 Post-roll 3-28 Pre-roll 3-28 Pro Tools 3-7, 3-9

Record Ready Mode 3-21 Record Safe 3-21 Record Status Indicators 3-19

Scribble Strip 3-20 Scrolling a Window 3-30 Scrub Mode 3-31 Select Mode 3-22 Selection mode 3-29 Send Mode 3-23 Shuttle/Scrub Wheel 3-30 Soft Keys 3-37 SOLO 3-20 Solo Isolate 3-20 Sonar 3-7, 3-53 SSL Menu 3-39

Transport control 3-27 Transport lock 3-7 TRIM Mode 3-41

Zoom 3-29

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When connected to a Digital Audio Workstation that supports the HUI or Mackie Control Universal (MCU) control protocols, the Duality SE console becomes a powerful digital workstation control surface, giving direct access to the most important controls within the DAW. The console faders can be used to control the workstation faders and sends, the channel D-pots can be used to control pans, sends and I/O functions, and the Master Control Panel and plug-in controller provide easy access to a range of other parameters.

Duality SE can connect to two DAWs simultaneously, enabling more complex multi-workstation sessions to be run without leaving the listening position.

For an up to date list of compatible DAW applications please visit: http://www.solidstatelogic.com. This section of the manual is largely based on use with Digidesign’s Pro Tools package, with supplementary pages for other packages, whose functionality will depend on their implementation of the HUI or MCU control protocols.

Duality SE communicates with connected DAWs using MIDI ports – either MIDI over Ethernet (ipMIDI) or the physical MIDI ports located on the rear of the console.

The console Installation Guide (see Section 8) details wiring and software installation for connecting via MIDI over Ethernet or conventional MIDI ports.

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• Direct access to all major DAW mixing, editing and automation parameters

• MIDI connections over Ethernet

• Direct control of plug-in settings

• Integral colour TFT display with dedicated control buttons

• High resolution rotary encoder (D-pot) on every channel provides control of DAW pans, sends and I/O routing, and for MCU compatible applications, Plug-ins and Instruments

• 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 or application

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The console can be selected to one of two important modes using the Console Focus button (8), located on the Master Control Panel. This switches the channel meters, faders, solo and cut buttons between control of the analogue signal path and the DAW. When the Console Focus button is illuminated, Duality SE is in ‘Analogue Focus Mode’. When the Console Focus button is not illuminated, Duality SE is in ‘DAW Focus Mode’. This section describes operation of the console in DAW Focus Mode.

Note that channel meters can be locked to either the analogue or DAW metering via the METERS soft keys on the monitor panel: DAW locks the channel meters to the DAW layers, and Anl locks the channel meters to the analogue channels.

Analogue Focus Mode

The channel faders control the channel audio output level for that fader. The channel meters indicate analogue input/output levels for that channel. The channel D-pots are available to control DAW parameters.

DAW Focus Mode

The channel faders control DAW fader levels. The meters indicate DAW track levels. The channel D-pots are available to control other DAW functions such as pan or send level.

Digital ‘In-line’ Mode

When the console is in DAW Focus Mode, analogue level control can be assigned to the D-pots by pressing the CHANNEL button (1) on the Master Control Panel.

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Duality SE can connect to two DAWs when connected using ipMIDI, and these are controlled from the two virtual ‘layers’. Control operations performed on the Duality SE control surface will then affect whichever DAW is assigned to the currently selected layer.

To switch between the two DAW layers, press the DAW 2 button, located beneath the Eyeconix button in the Monitor Controls area of the Centre Section (see below). Alternatively, go to SSL / DAW and choose either DAW1 or DAW2 to make it the currently selected layer.

When the desk is in DAW Focus then the console controls will only effect the selected DAW.

DAW 2

button

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Duality SE communicates with connected DAWs using MIDI ports – either MIDI over Ethernet (ipMIDI) or the physical MIDI ports located on the rear of the console. This is selected in SSL/Misc/Setup/MIDI connects via.

A number of items in the SSL / Misc / Setup menu, accessed via the centre section TFT, are concerned with DAW interconnection.

DAW 1 Jog wheel sends: Define the control data sent by the jog wheel for HUI DAWs. Options

are Jog / Nudge (40 / 20 / 13 / 10 / 8 / 6 / 5 per revolution).

First physical channel DAW 1: Select the console channel number that is controlling the first DAW track

number for DAW 1.

Channel Count DAW 1: Select the total number of channels dedicated to DAW 1 control (8-48

in steps of 8). If you change these figures, you will need to change the number of controllers assigned in the DAW.

Note that these entries also exists for DAW 2 where applicable.

Single Layer: Allows both DAWs to appear on different channel ranges within DAW

layer 1. Ensure that the channel range for DAW 2 starts after the range for DAW 1.

Note that changes to any of these settings will require a console reboot before they take effect: hold down the Restart softkey and press the Confirm softkey which appears to its right.

Refer to your DAW manual for information on how to configure its software. Once configured and connected, communication with the DAW will be initialised, and the level of Duality SE’s channel faders, rotary controls and master functions will be set to match the DAW controls (provided you are ‘DAW Focus’ mode).

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The Duality SE console has sixteen (eight in, eight out) MIDI ports on the rear panel of the console. Duality SE emulates multiple HUI or MCU controllers depending on the control surface support required by the layer’s DAW.

In the SSL / Misc / Setup menu, toggle the MIDI connects via: setting to MIDI Ports. Note that changing this setting will require a console reboot before they take effect: hold down the Restart softkey and press the Confirm softkey which appears to its right.

Note that MIDI port 8 IN is used exclusively for MTC and MMC messages required by the console automation system; port 7 is currently unused.

When MIDI connects via Network is selected the console’s physical MIDI ports 1 and 2 are mapped to ipMIDI ports 15 and 16, in order to allow keyboards and other MIDI input devices with conventional MIDI connections to be connected via the network.

Note also that when using these MIDI ports, only one DAW layer can be used.

If the Duality SE console is not found, your DAW will inform you that a controller is not present. If MIDI communications fails on any bay, recheck the DAW configuration, MIDI connections and MIDI interface for correct operation.

When using your DAW without the Duality SE console, you should remove Duality SE from the MIDI controllers section of your DAW (please see information specific to your DAW for this).

For more information, please see the Duality SE Installation Manual.

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For information regarding the configuration of network connections, please see the Duality SE Installation Manual.

In the SSL / Misc / Setup menu, accessible via the centre section TFT, the following options should be selected.

Toggle the MIDI connects via: setting to Network. Your console will now communicate with your workstation via Ethernet.

Ensure that the DAW1 option (workstation layer 1) and DAW2 (workstation layer 2) are set to match your workstation or workstations if you are using the second layer:

DAW 1: Select from Pro Tools HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar

DAW 2: Select from Pro Tools HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar / None

The MCU protocol supports automatic detection of connected control surfaces. To enable this select

Logic Handshake for the appropriate layer. Logic will then automatically detect Duality SE. If you select Logic Handshake on both layers then Logic will detect 12 control surfaces, which may not be what you want! The other

protocols do not transmit handshaking messages.

The DAW 2 switch toggles the front panel controls between the two DAWs.

It is possible for both DAWs to appear on different channel ranges within DAW layer 1. To do this, ensure that the channel range for DAW 2 starts after the range for DAW 1 and toggle the Single Layer option to On. The DAW 2 button in the centre section will now switch centre section control between the two DAWs

When using multiple DAWs, one DAW needs to be made the transport master, allowing the other DAW’s transport controls to be locked to it via ReWire or MIDI timecode. To simplify operation in this mode the desk transport controls can be locked to one DAW regardless of which one is currently selected. This is done in the SSL / Misc / Setup menu by toggling the Transport lock layer: option between OFF (the DAW on the currently selected layer will be controlled), DAW 1 (desk transport controls DAW 1) or DAW 2 (desk transport controls DAW

2).

Note that changes to any of these settings will require a console reboot before they take effect: hold down the Restart softkey and press the Confirm softkey which appears to its right.

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Setting your workstation(s) to communicate via ipMIDI

The Duality SE software uses 16 virtual MIDI ports which are pre-assigned as follows:

In addition to ipMiDI port 14, physical MIDI port 8 can be used for MTC input, allowing MTC to be connected from systems (such as RADAR) that do not support the ipMIDI driver. MTC should only be routed to one port at a time.

The console’s physical MIDI ports 1 and 2 are mapped to ipMIDI ports 15 and 16, in order to allow keyboards and other MIDI input devices with conventional MIDI connections to be connected via the network.

To enable control of your workstation via HUI or MCU your workstation(s) must be configured to match the layer assigned within the console. This is done using the MIDI Controller configuration page of your workstation. The following pages show examples using Pro Tools 7 and Logic Pro 8. For other DAWs, please refer to the program’s manual for details about configuring MIDI controllers.

Port Layer Assignment Port Layer Assignment

1 1 Faders 1–8 9 2 Faders 17–24

2 1 Faders 9–16 10 2 Faders 25-32

3 1 Faders 17–24 11 2 Faders 33-40

4 1 Faders 25-32 12 2 Faders 41-48

5 1 Faders 33-40 13 – Not Used

6 1 Faders 41-48 14 – MTC/MMC input

7 2 Faders 1–8 15 – Duality MIDI port 1

8 2 Faders 9–16 16 – Duality MIDI port 2

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Pro Tools 7

In the Setup menu, click on Peripherals and select the MIDI Controllers tab. Using MIDI controllers 1, 2, 3 and 4, select HUI as the MIDI controller Type and assign the MIDI ports for this layer’s DAW to the four MIDI controllers, as listed in the table above. If Pro Tools has been assigned to Layer 1, the MIDI Controllers window should look like this:

To enable DAW Automation, set the MTC generator port in the Synchronization tab to ipMIDI port 14 (or Duality SE MIDI port 8 if you are using the console MIDI ports):

Also, set the MMC midi port in the Machine Control tab to ipMIDI port 14 (or Duality SE MIDI port 8 if you are using the console MIDI ports):

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Logic Pro 8

When Logic is assigned to one of the two layers a Mackie Control together with a Mackie Control Extender must be added to the Logic Pro Preferences/Control Surfaces Setup menu as shown below:

Duality SE Faders 1-8 are mapped to the Mackie Control ports along with the Master Fader and workstation Control function switches. Duality SE Faders 9 - 48 are mapped to the Mackie Control Extender ports. The actual ipMIDI ports used will depend on which layer (or layers) Logic is assigned to. See the list of Duality SE MIDI port assignments for details. It is essential that the layout shown is followed. If the physical arrangement is reversed, then the Duality SE faders will not map correctly to the on-screen faders in Logic. A mximum of 48 faders (6 Mackie Controls ) can be configured on each layer.

If the protocol is set to Logic Handshake, Logic should automatically detect the six virtual controllers which will be shown in the Logic Setup menu (as shown above), with the appropriate Duality SE ipMIDI ports assigned. If Logic fails to detect the control surfaces, then the controllers can be added manually via the New/Install menu and the appropriate MIDI Out port and Input assigned. As described above, normally only one layer should be set to Logic Handshake.

Note that Logic may detect a MTC/MMC connections as a fourth virtual controller.

Full details can be found in the online Logic Pro 8 Control Surfaces Support guide in the Logic Help Menu.

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Note: Logic’s Click and ports environment layer selects the SUM of all of the ipMIDI input ports as its default MCU control data source. This may lead to difficulties when using multiple DAW layers. To avoid Logic responding to MIDI messages intended for the other DAW layer, the Click and Port MIDI port mapping should be changed from SUM to individual direct MIDI port assignment. The example below shows Logic on DAW layer 1:

Preferences/Control Surfaces Setup menu:

To enable DAW Automation, set the MMC midi port in File/Project Settings/Synchronisation/MIDI to ipMIDI port 14 (or Duality SE MIDI port 8 if you are using the console MIDI ports):

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Duality SE’s faders, and its Solos and Cuts panels, can be switched between controlling the analogue audio signal path and the DAW by pressing the Console Focus button — see below. The Motion Controls, Master Control Panel and Plug-in Editor always control the DAW. The illustration above indicates those console elements that relate directly to a DAW in ‘DAW Focus Mode’.

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Each channel has a continuous rotary control or ‘D-pot’ The Plug-in Editor (HUI Mode only) has four D-pots for control of plug-in parameters.

Channel

Faders

Solo/Cut

Panels

Motion

Controls

Channel

Meters

Plug-in

Editor

Master

Control Panel

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The Master Control Panel contains a mixture of master functions and modifier buttons for DAW control:

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Duality SE can have up to 96 touch sensitive moving faders. However, you can only have a maximum of 48 faders assigned to DAW control in HUI mode, and Pro Tools only supports 4 HUI controllers, giving a maximum of 32 faders. If the DAW session has more tracks than this, Duality SE can ‘bank flip’ its faders to control any number of virtual faders within the DAW.

To flip the console’s faders to the next set of DAW faders, press the right bank button. To flip back to the previous set, press the left bank button. Any number of virtual faders can be controlled from Duality SE using the banking buttons.

To scroll the faders one at a time, press the CHANNEL button (located between the two banking arrow buttons) followed by the left or right banking buttons; the CHANNEL button will light to indicate it is in ‘Channel’ mode. Press the CHANNEL button once more to switch back to ‘Bank’ mode.

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This group of buttons provides instant access to the various windows within the DAW. Press them once to display or hide the relevant menu:

ALT Opens or closes the floating window for the currently selected plug-in

STATUS Opens or closes the Session Setup window

TRANS Opens or closes the Transport window

MEM Opens or closes the Memory Locations window

MIX and EDIT Bring that window to the foreground. The button lights to show the currently active

window

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This group of four buttons provide shortcuts to useful functions on the DAW.

SAVE will light when unsaved data is present. Pressing it once will cause the SAVE button to flash. A second press will save the Pro Tools session. Press ESC to cancel a pending save.

The UNDO button will light if undo is available, and flash if redo is available. Press the UNDO button to undo the last function and press ALT + SHIFT + UNDO to redo the last function.

ENTER duplicates the function of the ENTER key on the computer keyboard.

ESC(ape) duplicates the function of the ESC key on the computer keyboard.

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These buttons modify the function of other buttons, and their practical use is detailed under the relevant topics in this section. For your information:

OPTION typically changes the function of a single button to affect all similar buttons. Thus holding down OPTION and pressing a channel CUT button will cut all DAW channels. It is the direct equivalent of the Mac™ Command (Apple) key.

SHIFT allows selection of multiple objects or controls. It is a direct equivalent of the computer keyboard shift key.

ALT increases the resolution of rotary controls and inverts switch selections when held down. It is a direct

equivalent of the Mac keyboard Option key.

CTRL disengages grouping when held down. It is a direct equivalent of the Mac keyboard Ctrl key.

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Faders, pans and sends can be reset to their default values using the DEFAULT button:

Resetting Pans

Select the PAN button on the Master Control Panel, and all Duality SE’s D-pots become pan controls. Hold the DEFAULT button while pressing the D-pot on the channel you wish to reset. Hold down OPTION and press DEFAULT to perform a reset across all pans.

Resetting Faders

Hold the DEFAULT button while pressing the SEL (Select) button on the channel you wish to reset. Hold down OPTION and press DEFAULT to perform a reset across all faders.

Resetting Sends

Select the SEND button on the Master Control Panel. Turn the Master D-pot to scroll through the list of available sends. Hold the DEFAULT button while pressing the channel D-pot on the channel you want to reset. Hold down OPTION and press DEFAULT to perform a reset across all sends.

Resetting Plug-ins

Hold the DEFAULT button and press the Plug-In Editor COMPARE function. The plug-in default value is either the factory setting or user setting determined within the DAW.

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In DAW focus mode, the channel meters, faders and part or all of the Solo and Cuts panels control the DAW and display its status.

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In DAW focus mode, Duality SE’s channel meters flip to a stereo mode to indicate the level of the DAW signal path. Mono tracks are displayed on the left meter only. When a signal reaches 0dBFs, the corresponding OVL tally will light to indicate that the DAW signal level has clipped.

The meters duplicate the function of meters within the DAW, and show the same information. They also follow DAW pre or post fader meter settings, as set within the DAW.

OVL tallies can be reset using the F1 function in the Fkys soft key menu

Status Indicators

The meter shows the status of the corresponding DAW track.

REC flashes when the track is in record ready and lights when the track is in record.

EDIT indicates that the track is selected for editing with the plug-in controller.

Multi-channel Metering (TDM Systems Only)

Multi-channel metering can be displayed by pressing OPTION + SOLO on a selected multi-channel track. The next two stereo meters are used to show the additional information. Normal metering functionality resumes after deselecting the SOLO function.

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The channel fader can control any virtual DAW fader including Channel, Master, Auxiliary, MIDI tracks or Instrument tracks. The calibration of the fader will depend upon the DAW (please refer to your DAW manual for more details). Pressing ALT will display the gain of the DAW fader on the fader scribble strip when you move the fader.

Fader Grouping

Channel faders will follow any grouping enabled within the DAW. Faders can be disengaged from a fader group simply by holding down the CTRL button or by touching one fader in a group while adjusting another fader’s level. Relative fader levels are maintained upon release of the fader.

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Channel D-pot

Each channel has a continuous rotary control or D-pot. This can be used to control send levels and panning, and to assign input, output and send routing. See the following pages for more details.

The D-pot includes a push switch that is used (depending on the centre section mode) to select sends to be pre or post fade, to mute sends and to confirm I/O selections. Again, see the following pages for more details.

Solo and Cut Buttons

Two sets of SOLO and CUT buttons are provided on each channel. The upper set is associated with the signal path controlled by the channel D-pot, and the lower set with the signal path under fader control. Thus in Analogue Focus mode, and with CHANNEL mode selected, the lower set of buttons control the analogue path and the upper set control the DAW channels. Changing to DAW Focus reverses this.

One easy way to tell if you are soloing a Duality SE or DAW channel is that channels cut by a Duality SE solo have a solid lit CUT button, and channels cut by a DAW solo have flashing CUT buttons.

Holding down OPTION and pressing a channel SOLO/CUT button will select/deselect that function across all channels. If channels are already soloed, then this action will turn off all solo buttons, providing a quick way to clear solos.

Solo Isolate

Holding down ALT and pressing a channel SOLO will put a channel into ‘Solo Isolate’ mode. This prevents that channel from being cut when a SOLO is activated on another channel. This is particularly useful for FX return tracks.

Channel Select Button

The channel SEL button can function as a channel select button, a track record enable or a plug-in edit enable button, depending on the mode selected on the Master Control Panel. See over the page for more details.

Scribble Strip Displays

When a Duality SE channel fader is controlling a DAW fader level, the channel scribble strip will indicate a four character version of the DAW channel name. When controlling the analogue channel it displays the number of the fader, eg ‘Fadr24’ or the six character name entered from the Duality remote application.

The scribble strip can also display other information such as: automation status, grouping information, monitor information, input/output routing, send routing, send pre/post information, fader level display, and pan position (see the following pages for details). An indication of the selected function is provided in these other modes — Pan, ASGN etc.

Note that on consoles manufactured before October 2009, the electronic scribble strip and the controls immediately above it are slightly different in appearance.

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The function of the channel SEL button depends on the mode selected by the centre section RDY, EDIT and SEL buttons (5) on the Master Control Panel.

Record Ready Mode

When RDY is selected, all the channel SEL buttons become Record Ready buttons. Pressing a channel SEL button puts that DAW track into Record Ready (provided that the DAW track has an input routed). The REC tally in the channel meter display flashes to show that the track is in ready.

Ready All

Track arming can be set or cleared across all channels by using the master RDY ALL button (12). This button flashes if any DAW tracks are in Record Ready. Pressing this button while it is flashing will clear all track arming.

Record Safe

To put a DAW track into Record Safe (so it cannot be selected to Record Ready) hold down ALT and press the channel SEL button. Hold down ALT + OPTION then press any SEL button to select all tracks to Record Safe.

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With the EDIT button selected, a channel SEL button can have a number of different functions:

As long as the Master Control Panel BYPASS button is not selected, pressing a channel SEL button assigns the Plug-in Editor to that channel. The EDIT flag on that channel’s meter display will light to confirm that this is the EDIT channel (see Plug-in Editor for more details). A double press on the SEL button will select the first plug- in on that channel for editing. Successive double presses will select the next plug-in on that channel.

Selecting the BYPASS button (4) on the Master Control Panel changes the channel SEL buttons to BYPASS buttons. Pressing a channel SEL button will bypass all plug-ins on that channel. The channel meter display’s EDIT flag will light to show that all plug-ins are bypassed.

Note that due to changes in Pro Tools software this function is only available from the first 8 channels – to select plugins on other channels, use the mouse (or page the channel to faders 1-8).

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With the SEL button (5) on the Master Control Panel selected, all the console’s channel SEL buttons become track select buttons. They perform the same function as clicking on a channel in the DAW screen display.

A double click on a SEL button will open the channel naming pop-up for that channel. Multiple channels can be selected by holding down the SHIFT button while selecting further SEL buttons or by holding down the first SEL button you pressed while you select more channels. Note that this latter method only works within blocks of channels corresponding to a single HUI interface.

Hold down OPTION and press any SEL button to select all channels. Hold down ALT and press any SEL button to invert the state of all select buttons.

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The channel D-pots can control the DAW’s channel pan, send (aux) levels and pan, routing assignment and analogue audio levels. Each D-pot also has a switch which is activated by pushing down on the D-pot.

The channel D-pot function is selected on the Master Control Panel by the Master Send D-pot (2) and six associated buttons (1) and (3). The scribble strip above the channel D-pots shows which function is currently selected. A further two buttons (PRE/POST and MUTE) change the function of the D-pot push switches.

Pan Mode

Select the PAN button on the Master Control Panel, and the channel D-pots become pan controls for the DAW. The D-pot scribble strip displays Pan.

Pressing the PAN button a second time (it flashes in this mode) allows you to access a second pan control for stereo channels, according to the DAW configuration. The D-pot scribble strip displays Pan R in this mode. Press the PAN button again to return to normal pan mode. Holding down ALT displays a pan’s numeric value on the channel scribble strip as you adjust the control.

Channel Mode

Select the CHANNEL button on the Master Control Panel, and the channel D-pots control the analogue gain of the channel strip. The D-pot scribble strip will display the analogue fader number (eg Fadr12).

Switching to Analogue Focus mode will swap the analogue gain and the DAW gain between D-pot and channel fader. Individual channels can be swapped by pressing the channel D-pot.

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Send Mode

Select the SEND button on the Master Control Panel, and the D-pots become level controls for any sends or aux send levels within the DAW.

The Master D-pot (2) selects which of the available sends (A-E or 1-5) is being controlled by the channel D-pots. The selected send is shown in the display window above the Master D-pot (and on the channel D-pot scribble strip). The channel scribble strips show the name of the currently selected send. Turning a channel D-pot will alter the level of the selected send from that channel. Holding down the ALT button allows you to make fine adjustments to the gain. See over the page on how to use faders to set send levels.

Setting Sends Pre/Post Fader

When working with sends it is useful to be able to flip a send between pre and post fader. If necessary, first select the PRE/POST button (4) on the Master Control Panel. Pushing a channel D-pot will now switch the selected send on that channel between pre and post. The green LED below the D-pot lights to show PRE is selected.

To change mode on all channels, press and hold the Master Control Panel OPTION button then press any channel D-pot. All channels will switch to pre or post.

Muting a Send Output

To mute a send output, select the MUTE button (4) on the Master Control Panel and push the channel D-pot. The LED below the channel D-pot will light to show the channel is muted. To mute or un-mute all channels, press and hold the OPTION button then press any channel D-pot.

Flipping Send Levels to the Faders

To flip send levels from the D-pots to the channel faders, press the Master D-pot (2) — hence Push to Flip! The channel faders now control send levels and the fader CUT button will mute a send. The channel D-pot controls panning on stereo sends.

In this ‘flipped’ mode, PRE/POST mode is automatically selected for the D-pot switches, so pushing a D-pot will toggle the send pre/post on that channel. The LED below the D-pot lights to show PRE is selected.

Note that the fader SOLO button will still solo the channel, not the send.

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Solid State Logic Duality SE Operator's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual