SL 9000 INDEX
CONSOLE:
1 CONSOLE OVERVIEW
2 BASIC ROUTING & SIGNAL FLOW
3 INPUT/OUTPUT MODULE
4 SIGNAL PROCESSOR ROUTING
5 CONSOLE CENTRE SECTION
6 THE PATCH
COMPUTER:
1 INTRODUCTION
2 PROJECTS
3 MACHINE CONTROL
4 CUE AND TRACK LISTS
5 THE MIX SYSTEM
6 TOTAL RECALL
7 MACHINES MENU
8 MACROS
9 MISCELLANEOUS SETUP OPTIONS
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SL 9000
J.SERIES
SL 9000
J.SERIES
82S6MGKC
SL 9000 J Console Operator’s Manual
2
22.12.94
Solid State Logic
Begbroke, Oxford, England OX5 1RU • +44 (0)1865 842300
1 rue Michael Faraday, 78180 Montigny le Bretonneux, France • +33 1 34 60 46 66
Via Pirandello 17, 20099 Sesto San Giovanni, Milan, Italy • +39 2 262 24956
320 West 46th Street, New York, NY 10036, USA • + 1 212 315 1111
6255 Sunset Boulevard, Los Angeles, California 90028, USA • +1 213 463 4444
702 Brimorton Drive, Scarborough, Ontario, Canada • +1 416 431 9131
3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151, Japan • +81 (0)3 5474 1144
447A Macpherson Road, Singapore 368157 • +65 285 9300
A Carlton Company
© 1994 by Solid State Logic Limited
All Rights reserved under International and Pan-American Copyright Conventions
SSL, OmniMix, Scenaria, VisionTrack, ScreenSound and SoundNet are Registered Trademarks
of Solid State Logic Limited
Dolby Surround is a Registered Trademark of Dolby Laboratories Licencing Corp
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 Ltd., Oxford, England.
December 1994
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.
Contents
i
22.12.94
SL 9000 J Series
Console Operator’s Manual
CONTENTS
1 Introduction
System Overview
2 Basic Routing and Signal Flow
3 The SL911 Input/Output Module
4 Signal Processor Routing
5 The Console Centre Section
6 The Patch
On the following pages you will find a full alphabetical Index. We have tried to make
this Index as comprehensive as possible because we believe that, once you have
become accustomed to the basic features of the SL 9000 J Series Console, you will only
need to use this manual as a reference volume.
Entries shown in Bold denote front panel switches and controls.
+48V 3-2
2 CH, 4 CH Monitor Mode – SL952J Master Facilities Module 3-12, 3-17, 5-9
4-Channel Pan mode – SL911J I/O Module 3-11
A B C D Oscillator routing – SL952/953J Master Facilities Module 5-23
A, B, C and D buttons – SL911J I/O Module 3-22
A/PFL TO MINIS – SL952/953J Master Facilities Module 5-11
AFL – SL952/953J Master Facilities Module 3-12, 3-17
AFL – SL952/953J Master Facilities Module 5-11
ALT Solo mode – SL952/953J Master Facilities Module 5-12
Audio Subgrouping 2-21
AUTO CUE – SL952/953J Master Facilities Module 5-22
Aux Reassign System 2-25
Auxiliary Sends – SL911J I/O Module 3-9
Basic Routing and Signal Flow Section 2
BELL switch – SL911J I/O Module EQ Section 3-7
Blank Panel in Centre Section 5-25
BUS trim control – SL911J I/O Module 3-23
Bus Mix Amp and Trim Control – SL911J I/O Module 3-23
BUSSES 1-48 Oscillator routing – SL952/953J Master Facilities Module 5-23
CAL METERS – SL952/953J Master Facilities Module 5-17
Centre Section Meters 5-15
Centre Section Section 5
Centre Section – an overview 1-7
CH IN – SL911J Dynamics Section 3-3, Section 4
CH OUT – SL911J Dynamics Section 3-3, Section 4
CHANNEL IN TO METERS option switch 5-25
Channel Input Section – SL911J I/O Module 3-2
Channel Meter Controls 5-16
Channel Outputs – SL911J I/O Module 3-20
CLEAR PEAK Meter select – SL952/953J Master Facilities Module 5-16
Communications Section – SL952/953J Master Facilities Module 5-21
Compressor, Main Output – SL952/953J Master Facilities Module 5-6
Compressor/Limiter – SL911J I/O Module 3-3
Console Centre Section 5-1
Console Overview Section 1
Control Group Faders 5-19
Control Room Monitoring System – SL952/953J Master Facilities Module 5-9
C/SECT SELECT Meter select – SL952/953J Master Facilities Module 5-17
CUE LIGHT switch – SL952/953J Master Facilities Module 5-21
Cue-FX Sends – SL952/953J Master Facilities Module 5-12
CUT – Large Fader SL911J I/O Module 3-18
CUT – Small Fader SL911J I/O Module 3-12
CUT, Monitor – SL952/953J Master Facilities Module 5-9
SL 9000 J Console Operator’s Manual
ii
8.3.95
DESK OUTPUT Meter select – SL952/953J Master Facilities Module 5-15
DIM, Monitor – SL952/953J Master Facilities Module 5-9
DISPLAY PEAK Meter select – SL952/953J Master Facilities Module 5-16
DYN SC – SL911J I/O Module Filters Section 3-6, Section 4
Dynamics Section Routing Buttons 3-3, Section 4
Dynamics Section – SL911J I/O Module 3-3
E switch – SL911J I/O Module EQ Section 3-7
Echo Returns – SL952/953J Master Facilities Module 5-14
EFX EV(EN) – SL911J I/O Module Group Output Section 3-23
EFX EV(EN) – SL911J I/O Module Multitrack Routing Section 3-21
EFX EV(EN) – SL911J I/O Module Stereo Subgroup Routing Section 3-22
EFX Even – SL911J I/O Module 3-9
EFX ODD – SL911J I/O Group Output Section 3-23
EFX ODD – SL911J I/O Module Multitrack Routing Section 3-21
EFX ODD – SL911J I/O Module Stereo Subgroup Routing Section 3-22
EFX Odd – SL911J I/O Module 3-9
EFX – SL911J I/O Module Auxiliary Sends Section 3-9
EQ IN – SL911J I/O Module 3-6, Section 4
Equaliser and Filter Routing Buttons 3-6, Section 4
Equaliser and Filters Section – SL911J I/O Module 3-6
Expander/Gate – SL911J I/O Module 3-4
EXT 1, EXT 2 Meter select – SL952/953J Master Facilities Module 5-15
EXT 1, EXT 2 Monitor Mode – SL952/953J Master Facilities Module 5-11
EXT T/B – SL952/953J Master Facilities Module 5-21
External Source Selectors – SL952/953J Master Facilities Module 5-11
FADER – SL911J I/O Module Group Output Section 2-23, 3-22
Fader Subgrouping 3-19
F/B A, F/B B and F/B C – SL952/953J Master Facilities Module 5-22
Filters – SL911J I/O Module 3-8
FLEET Solo mode – SL952/953J Master Facilities Module 5-12
FLIP – SL911J I/O Module Input Section 3-2
Foldback Sends – SL952/953J Master Facilities Module 5-13
FOLLOW MONITOR Meter select – SL952/953J Master Facilities Module 5-15
FX Reassign System 2-25
FX Sends – SL952/953J Master Facilities Module 5-12
GROUP – SL911J I/O Module Monitor Section 3-10
Group Faders 5-19
Group Output Section – SL911J I/O Module 3-22
Group/Tape Selections and the Supercue System – SL911J Module 3-13
HARD GROUP SETUP – SL955J Motion Control Panel 3-19, 5-19
HIGH-Z – SL911J I/O Module Input Section 3-2
HOLD control – SL911J Dynamics Section 3-4-3-5
Index
iii
22.12.94
IN – SL911J Insert Point 3-8, Section 4
Input/Output Module Section 3
Input/Output Module – an overview 1-3
Insert Point – SL911J I/O Module 3-8
ISO – SL911J I/O Module Small Fader Section 3-18
KEY – SL911J I/O Module Insert Point 3-3, 3-8, Section 4
Jackfield, The Section 6
Large Fader Pan Control – SL911J I/O Module 3-17
Large Fader Subgrouping 3-19
Large Fader – SL911J I/O Module 3-17
LCR Pan Option – SL911J I/O Module 3-12, 3-17, 5-9
LF MIX Meter select – SL952/953J Master Facilities Module 5-17
LF – SL911J I/O Module Multitrack Routing Section 3-21
LF – SL911J I/O Module Stereo Subgroup Routing Section 3-22
LINE – SL911J I/O Module Input Section 3-2
LINK External Source Selector – SL952/953J Master Facilities Module 5-11
LINK – SL911J Dynamics Section 3-5
LISTEN – SL952/953J Master Facilities Module 5-22
Listen 1 and 2 Level controls – SL952/953J Master Facilities Module 5-21
Main Outputs 2-27, 5-5
MASTER CHANNEL INPUT FLIP option switch 5-25
MASTER INPUT FLIP – SL952/953J Master Facilities Module 2-13, 3-2, 5-3
MASTER READY GROUP – SL952/953J Master Facilities Module 5-3
Master Audio Facilities – an overview 1-9
Master Facilities Module 5-1
Master Fader – SL952/953J Master Facilities Module 5-5
Master Status Switching – an overview 1-2
METER INPUT Meter select – SL952/953J Master Facilities Module 5-17
Metering 5-15
Metering – an overview 1-2
Meters – Centre Section 5-15
Meters – Channel Meter Controls 5-16
Meters – PPM 5-16
Meters – VU 5-16
MIC – SL911J I/O Module Input Section 3-2
MINI A and MINI B – SL952/953J Master Facilities Module 5-9
MIX Meter select – SL952/953J Master Facilities Module 5-23
MIX Status 2-15, 5-3
MON – SL911J I/O Module Dynamics Section 3-6, Section 4
MON – SL911J I/O Module EQ Section 3-3, Section 4
Monitor CUT – SL952/953J Master Facilities Module 5-9
Monitor Cut and Solo – SL911J I/O Module 3-16
Monitor DIM – SL952/953J Master Facilities Module 5-9
Monitor External Source Selectors – SL952/953J Master Facilities Module 5-11
Monitor Input and Small Fader Section – SL911J I/O Module 3-10
Monitor Selection and Control 5-9
SL 9000 J Console Operator’s Manual
iv
8.3.95
Monitoring System – SL952/953J Master Facilities Module 5-9
Monitoring – an overview 2-29
MONO Monitor Mode – SL952/953J Master Facilities Module 5-9
Motion Control Panel 5-25
Ø (Phase) – SL911J I/O Module Input Section 3-2
OFFSET control – SL952/953J Master Facilities Module 5-5
Option Switches – SL952/953J Master Facilities Module 5-25
Oscillator – SL952/953J Master Facilities Module 5-23
Output Compressor – SL952/953J Master Facilities Module 5-6
Output Routing with LCR Pan Option 2-29
Output Routing – Standard Systems 2-27
Outputs – Main 5-5
Overload Indicator – SL911J I/O Module 3-8
Patch, The Section 6
P(O)ST LF – SL911J I/O Module Small Fader Section 3-10, 3-16, 3-20
Pan Control – SL911J I/O Module Large Fader 3-17
Pan Control – SL911J I/O Module Small Fader 3-12
Parametric Equaliser – SL911J I/O Module 3-7
PFL function – SL911J I/O Module 3-12, 3-17
PFL – SL952/953J Master Facilities Module 5-11
PK LED – SL911J I/O Module Dynamics Section 3-3
Power Supply Indicators – SL952/953J Master Facilities Module 5-1
PPM Meters 5-16
PRE LF – SL911J I/O Module Small Fader Section 3-10, 3-16, 3-20
PRE– SL911J I/O Module Insert Point 3-8-3-9, Section 4
RANGE control – SL911J I/O Module Dynamics Section 3-4
RATIO control – SL911J I/O Module Dynamics Section 3-3
RECORD + MIX Status 2-22, 5-3
RECORD + SMALL FADER TO MON(ITOR) Status 2-12, 5-3
RECORD Status 2-5, 5-3
Record button – SL911J I/O Module 3-10
RED LIGHT – SL952/953J Master Facilities Module 5-21
RELEASE control – SL911J I/O Module Dynamics Section 3-4, 3-5
REPLAY Status 2-13, 5-3
Routing and Signal Flow Section 2
Routing Bank Select Switches – SL911J I/O Module 3-21
Routing Matrix – SL911J I/O Module 3-20
Routing Source Select Switches 3-21
SF MIX Meter select – SL952/953J Master Facilities Module 5-17
SF MIX – SL911J I/O Module Small Fader Section 3-13
SF – SL911J I/O Module Auxiliary Sends Section 3-9
SF – SL911J I/O Module Multitrack Routing Section 3-21
SF – SL911J I/O Module Stereo Subgroup Routing Section 3-22
SL 952/953J Master Facilities Module 5-1
SL 955J Motion Control Panel 5-25
SL911J Input/Output Module Section 3
Index
v
22.12.94
SLATE – SL952/953J Master Facilities Module 5-21
Slate Level control – SL952/953J Master Facilities Module 5-21
SLS – SL952/953J Master Facilities Module 5-22
SMALL FADER TO MON(ITOR) option switch 5-25
SMALL FADER TO MON(ITOR) Status button 2-12, 5-3
Small Fader Cut and Solo – SL911J I/O Module 3-12
Small Fader Pan Control – SL911J I/O Module 3-12
Small Fader Source and Destination 3-13
Small Fader – SL911J I/O Module 3-11
Small Faders as Additional Auxiliary Sends 2-19
Small Faders as Additional Inputs to the Mix 2-17
Small Faders as Extra Auxiliary Sends – SL911J I/O Module 3-16
SOLO/AFL/PFL 5-11
SOLO CLEAR – SL952/953J Master Facilities Module 5-12
SOLO IN FRONT – SL952/953J Master Facilities Module 3-17
SOLO ISOLATE option switch – SL952/953J Master Facilities Module 5-25
SOLO – SL911J I/O Module Large Fader 3-17
SOLO – SL911J I/O Module Small Fader 3-12
Solo Isolate – SL911J I/O Module 3-18
SOLO-IN-FRONT – SL952/953J Master Facilities Module 5-11
SPLT – SL911J I/O Module EQ and Filter Section 3-6, Section 4
STATUS LOCK – SL952/953J Master Facilities Module 5-5
STATUS – SL911J I/O Module Large Fader 3-18
Status Buttons – SL952/953J Master Facilities Module 5-3
Stereo Echo Returns – SL952/953J Master Facilities Module 5-14
Stereo Subgroups 2-27
Stereo Subgroup Master Controls – SL952/953J Master Facilities Module 5-7
STORE PEAK Meter select – SL952/953J Master Facilities Module 5-16
Studio Loudspeakers and Foldback Sends 5-13
SUB GP – SL911J I/O Module Input Section 3-2, 3-20, 3-23-3-23
Subgrouping 2-21
Subgrouping Large Faders 3-19
SUM External Source Selectors – SL952/953J Master Facilities Module 5-11
TAPE – SL911J I/O Module Monitor Section 3-10
TB to Foldback level control – SL952/953J Master Facilities Module 5-21
TB to SLS level control – SL952/953J Master Facilities Module 5-21
THRESHOLD control – SL911J I/O Module Dynamics Section 3-4
Track Bouncing 2-11
VU Meters 5-16
SL 9000 J Console Operator’s Manual
vi
22.12.94
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SECTION 1
Console Overview
1-i
8.9.94
SL 9000
J.SERIES
SL 9000
J.SERIES
SL 9000 J Console Operator’s Manual
1-ii
19.4.96
AUTO
MODES
FADER
PROT
HARD
GROUP
SETUP
SOFT
GROUP
SETUP
PROJECT
SETTINGS
REM
MTR
EFFECT
REC1REC2REC3REC
4
SER
REC
ENABLE
D/TRK
REC
ENABLE
ENABLE1ENABLE2ENABLE3ENABLE
4
SERIAL
M/C
ARM
NETWORK
M/C
ARM
SWITCH
PROT
SWITCH
GRP
SETUP
JOG
VARI
SPEED
FEED
BACK
SAVE
PROJECT
SAVE
TR
7 8 9
4 5 6
1 2 3
0 00
MARK
NAME
MARK
TC 1 TC 2 TC 3 TC 4 TC 5
< >
JOIN FSM
CYCLE
START
CYCLE
CYCLE
END
OVERVIEW
EVENTS
FADERS
GOTO
CLEAR
SNAPSHOTS
AUTOFADE
AUTO
CLEAR
AUTO
MOTORS
ON/OFF
MERGE
TRIM
DISPLAY
PROJECT
GROUPS/PROTECTION
AUTOMATION
MACHINE CONTROL
VIDEO
1
CHANNEL
NAMES
+
-
=
DISCARD
IMMED
PICKUP
TRIM
RENULL
AUTO
T/OVER
LEVEL
MATCH
PREVIEW SNAP
AUTO
GLIDE
USE
ABS
USE
TRIM
MIX
DESK
RECALL
MACHINES
MISC
FILE
/
SETUP
MASTER
MENUS
USER DEFINED FUNCTION S
MOTION
STOP RECORDPLAY
TRANSPORT
<< >>
OKQUIT
!
O/VIEW
O/VIEW
"
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
0
0
STEREO RETURN 1
STEREO BUSES
LEVEL
A
CUE / FX SENDS
STEREO CUE
FX1 FX2
LEVEL
BALANCE
LEVEL LEVEL
FX4FX3 FX5 FX6
LEVEL LEVEL LEVEL LEVEL
STEREO RETURN 2
LEVEL
B
STEREO RETURN 3
LEVEL
C
STEREO RETURN 4
LEVEL
D
STEREO ECHO RETURNS
LR
C
+
-20 +20
CAL
0
0
RATIO
ATTACK - mS
THRESHOLD MAKE-UP
RELEASE - S
Listen 2
0
0
Listen 1
pull to cut
0
0
Slate Level
0
0
TB to SLS
0
0
TB to Foldback
48V +22V +18V +5V -18V -22V
.1
.31310
30
.1
.3.61.2
AUTO
2420
OSCILLATOR
LEVEL
FREQ
48
100
220
440 1K
3K
10K
15K
0
STUDIO LOUDSPEAKERS
F/B A F/B B F/B C
STUDIO HEADPHONES
0
0
0
LEVEL
ST MIX
EXT 1
EXT 2
CUT
AFL
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
KEY
IN
ONMIX
A B C D
BUSES
1-48
0
4
8
12
16
20
dB
COMPRESSION
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
+10
0
0
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
COMPRESSOR
SOLO
IN
FRONT
A/PFL
TO
MINIS
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUTSOLO CUT
MASTER
READY
GROUP
STATUS
FX BUS
MONITOR
MODE
12
MONITOR LEVEL MONITOR MODE
SOLO MODE
MAIN METERS CHANNEL METERS
MONITOR CUTS
MINI LS
DIM
LEVEL
MIX AFL
SOLO IN FRONT
AFL / PFL
LEVEL
0
0
60
40
30
50
20
15
10
5
0
0
0
60
40
30
50
20
15
10
5
0
abs
trim
OFFSET
MIX
COMMUNICATIONS
EXTERNAL MONITOR
0
2
1
3
456
7
8
9
10
0
1
2
3
456
7
8
9
10
REC
ST
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
MIX
ST
CUE
ST D
ST C
ST B
ST A
EXT 1
EXT 2
EXT 3
EXT 4
EXT 9
EXT 5
EXT 6
EXT 7
EXT 8
MIX
LINK
SUM
DESK
OUTPUT
FOLLOW
MONITOR
EXT 1 EXT 2
STORE
PEAK
DISPLAY
PEAK
CLEAR
PEAK
CAL
METERS
VU PPM
LF
MIXSFMIX
METER
INPUT
PFL AFL
ALT FLEET
SOLO
CLEAR
SOLO
LINK
CENTRE
LEFT RIGHT
SURR
4 CH 2 CH
EXT1EXT
2
MINIAMINI
B
MON
INS
MONO
DIM CUT
MP
RED
LIGHT
CUE
LIGHT
SLATE
EXT
T/B
SLS F/B A
AUTO
CUE
F/B B
LISTEN F/B C
4 TRK
1
4 TRK
2
4 TRK
3
FX FX
ST
CUE
SOLO
IN
FRONT
A/PFL
TO
MINIS
C/SECT
SELECT
0
0
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
24
FLIP
Ø
25/481/24
SOLO
CUT
TAPE
BELL
BELL
IN
MON
M P
ST
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LFSF
FX FX
ODD EV
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
123 4
25 26 27 28
+20dB
PST
LF
PRE
LF
SF
MIX
On
LINK
A B C D
SUB GP
IN
EFX
SF
EFX
ODD
LF
ISO
SOLO CUT
GROUP
0
0
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXS
CUE ST
FX1
FX2
On
0
0
On
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
1 4
0 40
30 +10
0
1 4
0 4
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
DIRECT
FADER
INSERT
KEY
PRE
0
SF
LF
FX FX
ODD EV
FX FX
ODD EV
48V
EQ
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
0
0
group
24
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
25
FLIP
Ø
25/481/24
SOLO
CUT
TAPE
BELL
BELL
IN
MON
M P
ST
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LFSF
FX FX
ODD EV
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
1234
25 26 27 28
+20dB
PST
LF
PRE
LF
SF
MIX
On
LINK
A B C D
SUB GP
IN
EFX
SF
EFX
ODD
LF
ISO
SOLO CUT
GROUP
0
0
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXS
CUE ST
FX1
FX2
On
0
0
On
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
1 4
0 40
30 +10
0
1 4
0 4
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
DIRECT
FADER
INSERT
KEY
PRE
0
SF
LF
FX FX
ODD EV
FX FX
ODD EV
48V
EQ
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
0
0
group
25
LEFT RIGHT
CENTRE SURR
Ø
M
MONITOR DIM
MONITOR SOLO
LISTEN MIC
STUDIO LS
Console Overview
The SL 9000 J is the latest analogue mixing console from Solid State Logic. It draws on
and develops many of the features of SSL’s other music consoles, while retaining a
control surface that will be familiar to any recording engineer familiar with SL4000,
6000 or 8000 Series systems.
The desk has an in-line signal path, with master status switching to quickly reconfigure the console for particular tasks, but the signal routing can be overridden
locally, providing even more flexibility than other SSL consoles.
The desk has 48 Multitrack busses, 4 Stereo busses, a Main Stereo (optionally LCR) bus
and 8 Auxiliary busses, which are divided into 6 Mono FX sends and a Stereo Cue bus.
The four Stereo busses can be used as subgroups, additional record feeds, to generate
Surround or Centre signals, or as additional FX sends.
An ingenious reassign system allows Auxiliary send controls on individual channels
to be disconnected from their own bus and routed to any of the Stereo or Multitrack
busses, allowing up to 64 discrete FX send mixes to be generated.
As well as the Large Fader level and Cut, the following console channel functions are
automated:
• Small Fader level
• Small Fader Cut
• EQ In/Out
• Insert In/Out
• Individual Aux On/Off switches
These functions are controlled from an entirely new automation computer, providing
additional processing power, colour graphics, pop up menus etc. The J Series
Computer also provides complete integration with SSL’s digital product range,
allowing random access multitrack recorders, digital work stations, random access
video recorders and routing switchers to be controlled from the console. Further
information on the automation system is contained in the J Series Computer
Operator’s Manual.
The following descriptions are intended for those engineers who are already familiar
with SSL’s SL4000/6000/8000 range of consoles. Those requiring a more detailed
description of of the console’s features and functions should refer to the relevant
sections of this manual.
Console Overview
1-1
22.12.94
Master Status Switching
The console retains the familiar RECORD, REPLAY and MIX statuses. Note, however,
that in RECORD or REPLAY Status, the Large Fader is in the Monitor path and the
Small Fader is in the Channel path. This represents a logical change from
SL4000/6000/8000 Series consoles where the additional selection of VCA TO
MONITORS or FADER REVERSE is required to achieve the same signal flow.
To reverse faders in RECORD or REPLAY status, select SMALL FADER TO MON.
Note that there is a great deal of flexibility in sourcing signals to feed to the various
busses – either fader can be switched locally to feed any of the busses in any status.
Metering
Depending on the specification of the console you are working on, it
may be fitted with standard VU metering or SSL’s back lit LCD
bargraphs. These can be switched between VU and digital Peak
scales from the console’s centre section. The 0dB points of the VU
scale can be adjusted to read between 0 and +6dBu. Factory default
is +4dBu. The 0dB point of the Peak scale can be adjusted from a
terminal to read between +16dBu and +24dBu. Factory default is
+18dBu (-6dBFS on a Sony multitrack).
SL 9000 J Console Operator’s Manual
1-2
8.9.94
MASTER
READY
GROUP
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
Input/Output Module
The input/output module bears a strong resemblance to the
SL4000G module, but with a number of enhancements.
The differences are briefly as follows:
The channel input stage is similar to G Series. The MIC gain is a
continuously variable control (from +15dB to +75dB) with a 20dB
pad switch. The Mic input can also be switched to high impedance
using the HIGH-Z switch, allowing the Mic input to be used for line
level signals.
The Multitrack BUS trim control, which on SL4000/6000/8000 Series
consoles is adjacent to the Group/Tape switches near the bottom of
the module, is also located in this area.
The SL 9000 J Series Dynamics section is based on the classic G Series
circuits, with the addition of a Peak detect option on the Compressor
(selected by pulling the RATIO switch up) and a HOLD control for
the Gate. The Expander/Gate section defaults to Gate, with Expand
selected by pulling the HOLD control. As with G Series, the
Dynamics section can be keyed from the Monitor path by selecting
MON and either CH IN or CH OUT. It can also be keyed from the
Insert Return by selecting KEY and IN for the channel insert point.
The Equaliser is a four band parametric, with variable Q on the mid
bands and shelving/bell high and low bands. The normal curves of
the equaliser are based on the G Series equaliser. The mid bands are
constant Q, so the bandwidth increases as the gain is decreased. LF
and HF BELL switches are provided as opposed to the LMF and
HMF range shift switches found on G Series EQ.
The E switch selects an alternative set of EQ characteristics, based on
the classic ‘242’ E Series card. The mid bands have a constant
bandwidth, so Q increases as gain is increased; the HF band has a
shallower slope than in ‘normal’ mode. The bell curves are identical
to the normal ones, ie. without E selected.
The Equaliser can be switched to the Monitor path using the MON
switch. SPLT places the filters at the channel input, just as in G
Series.
The EQ IN switch is automated.
Console Overview
1-3
22.12.94
FLIP
Ø
BELL
BELL
IN
MON
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
- 20dB
LINK
SUB GP
IN
EFX
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXES
CUE ST
+
+
0
1 5 16
6 7
+
2 2 5
0
+
0
30 450
RATIO
LINE
dB
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
14
0 40
30 +10
0
14
04
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
GROUP
FADER
INSERT
KEY
PRE
0
EFX EFX
ODD EV
48V
EQ
The Auxiliary send section includes one stereo and 6 mono aux send
controls. The Aux On/Off function for each send is automated, with
push/push switches on each control toggling between on and off. A
yellow LED indicates that the send is On. Auxes can be sourced from
either fader. The SF switch next to each send switches the source to
the small fader. The PRE switches at the bottom of the section switch
the aux source to pre-fader. There is a PRE switch for the Stereo Cue
send and one PRE switch for each pair of mono sends.
A major advance on the SL4000 system is the FX send reassign
system – EFX for short. This allows any two mono FX sends, or the
stereo cue send, to be disconnected from their respective busses and
used as sources for the channel’s Group Output, the channel’s Stereo
bus routing and/or the channel’s Multitrack routing.
Aux sends are assigned to the EFX system using the EFX switches by
each one. FX1, 3 and 5 can be assigned to EFX ODD. FX 2, 4 and 6
can be assigned to EFX EVEN. Selecting EFX on the Stereo Cue send
feeds Stereo Cue L to EFX ODD and Stereo Cue R to EFX EVEN.
Note that only one odd and one even numbered FX send or Stereo
Cue can be assigned. Red (EFX ODD) or green (EFX EVEN) LEDs
indicate that a send is assigned to the EFX system.
GROUP, TAPE and the Record Enable switches function identically
to the SL4000 system.
The Small Fader section is similar to that on an SL4000. Both the
fader and CUT switch are automated. The Small Fader pan is
located here and, unlike the SL4000, is always associated with the
Small Fader. The pan is permanently in circuit. The Small Fader can
be assigned to the Main Stereo mix bus using the SF MIX switch.
In MIX or RECORD/REPLAY + SMALL FADER TO MON(itor)
status, the Small Fader is normally sourced from the Monitor input.
In RECORD or REPLAY status the Small Fader is normally sourced
from the channel input. This selection can be overridden by the PRE
LF/PST LF fader switches. The PRE LF switch will pick up the
channel signal immediately post input selection, or the channel
signal post signal processing. Which signal is chosen is set by an
internal link option. PST LF selects the post Large Fader signal.
The Small Fader has it’s own automation status switch and LEDs.
SL 9000 J Console Operator’s Manual
1-4
22.12.94
24
SOLO
CUT
TAPE
M P
ST
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
PST
LF
PRE
LF
SF
MIX
On
EFX
SF
EFX
ODD
ISO
SOLO CUT
GROUP
0
0
LR
OVERLOAD
AUXES
CUE ST
FX1
FX2
On
0
0
On
C
RL
C
L R
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
Below the Small Fader is the Large Fader pan control. This is always
associated with the Large Fader and is always in circuit.
The Large Fader CUT switch is automated. This and all the other
automated switch objects in the channel make use of the Match and
Play switches fitted above the Large Fader CUT and SOLO. See the J
Series Computer Operator’s Manual for more details.
As with the Small Fader Solo switch, the Large Fader SOLO switch
can act as a destructive solo, a post pan listen (AFL), a pre-fade listen
(PFL) or as a Solo In Front function. This last mode provides a mix of
the AFL signal and dimmed Main Mix to the monitors. The different
solo functions are selected with the solo mode switches in the
console’s centre section. These switches also include a SOLO
CLEAR switch, ALT which makes all solo switches intercancelling,
FLEET which makes them momentary, and SOLO LINK which links
Large and Small Fader Solo cut busses.
The Large Fader is motorised and, like all SSL Ultimation systems,
can switch the audio via a VCA to allow Trim updates etc. See the J
Series Computer Operator’s Manual for more details.
The Large Fader can be assigned to one of the 8 master control
faders in the centre section, by using the group select switch at the
bottom of the fader. Selecting HARD GROUP SETUP on the Motion
Control panel enables the select switches. A short press of the
individual select switches increments the group number in that
fader’s 7-segment display; a slightly longer press decrements.
Console Overview
1-5
8.9.94
SOLO
CUT
M P
ST
PST
LF
PRE
LF
SF
MIX
ISO
SOLO CUT
C
RL
C
L R
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
group
24
#
There are four possible outputs from the channel strip:
• The Main Mix stereo bus
• The four Stereo Subgroup busses (A, B, C and D)
• The 48 Multitrack busses
• The channel’s Group Output
Either or both faders can feed the Main Mix bus via the LF MIX and
SF MIX switches at the foot of the channel strip; the other three
outputs each have a source selector.
The Multitrack and Stereo Subgroup busses can be fed by Large or
Small Fader (post pan control) signals, or by one or both of the EFX
ODD/EVEN signals. If one EFX switch is selected, then the
corresponding routing output will be fed in mono by the selected
source. Selecting both switches together will feed EFX ODD to left
(odd) and EFX EVEN to right (even) bus. This enables any two Aux
Send controls to be re-routed to the Multitrack or Stereo busses,
allowing large numbers of separate mixes to be generated without
using the Small Fader.
The 48-track routing is accessed via 1-24/25-48 bank select switches
and signals are normally sourced from the Small Fader unless
RECORD/REPLAY + SMALL FADER TO MON(itor) are selected.
The Stereo Subgroup bus routing has no source until one is selected.
The Group Output is normally fed by the multitrack bus Mix Amp, but this can be
replaced with a post-fader channel signal by pressing FADER, or by the EFX ODD or
EFX EVEN signals.
SL 9000 J Console Operator’s Manual
1-6
8.9.94
FLIP
Ø
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SUB GP
LINE
dB
SL911
BUS
-30 0
0
STEREO SUB Gp
GROUP
FADER
SF
LF
EFX EFX
ODD EV
EFX EFX
ODD EV
Centre Section
The SL 9000J centre section is logically divided into two main areas (see the picture on
Page 1-ii). On the left, two panels provide master controls for the console’s audio
functions – console status switching, main outputs and monitoring, subgroup and
auxiliary masters, meter switching, talkback, FX and cue send masters, echo returns,
oscillator etc. Below these panels, eight master control faders are provided.
The right hand side of the centre section is taken up by a large colour video monitor
and a panel housing controls associated with the J Series Computer. A jog wheel, a
standard set of transport controls, five instant locate buttons and a large timecode
display are provided for machine control. A pen and tablet interface for the computer
is provided in the fader area. See the J Series Computer Operator’s Manual for more
details.
See over the page for a basic description of the centre section audio controls.
Console Overview
1-7
8.9.94
SL 9000 J Console Operator’s Manual
1-8
8.9.94
TO L/R
TO L/R
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO
0
0
STU
D
WID
T
BALA
N
0
0
L
C
STEREO RETURN 1 STEREO RETURN 2 STEREO RETURN 3 STEREO R
STEREO ECHO RETURNS
CAL
48V +22V +18V +5V -18V -22V
OSCILLATOR
LEVEL
100
220
440 1K
3K
10K
ONMIX
A B C D
BUSES
1-48
4
8
12
16
2
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
TO L/R
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
FLIP
Ø
25/481/24
BELL
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LFSF
FX FX
ODD EV
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
12 3 4
25 26 27 28
+20dB
LINK
A B C D
SUB GP
KHz
dB
HMF
dB
+
+
0
1 5 16
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
1 4
0 40
30 +10
0
1 4
0 4
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
DIRECT
FADER
0
SF
LF
FX FX
ODD EV
FX FX
ODD EV
48V
LEFT RIGHT
CENTRE SURR
MONITOR DIM
MONITOR SOLO
LISTEN MIC
STUDIO LS
Master Audio Facilities
The SL 9000 J master audio facilities are built to a completely new design, offering high
performance, low noise, high bandwidth and low distortion. The controls provide all
of the functionality of a G Series centre section, plus master facilities for the additional
Auxiliary and Stereo Subgroup busses. The foldback and external source selection
systems are substantially refined and extended. Additional switching for the new Solo
modes is provided.
The main console output is 4-channel with a 4-channel fader and compressor. The
output is provided with a pre-fade insert point. The compressor is identical to the
design used in the G Series range. Selecting KEY bypasses the pre-fade insert point
and allows the insert return to be used as a key input. The Master Fader has it’s own
status button and LEDs. The OFFSET control allows the Master Fader level to be
adjusted while still leaving the Master Fader at the top of its travel.
The Left and Right Main outputs are fed from console-wide busses. If the LCR Film
Pan option is fitted, then the Centre bus can also be fed directly from the channels. The
four Stereo Subgroup busses can also be re-routed back to the Left/Right, Centre and
Surround outputs, allowing four-channel mixes to be built up even if the console does
not have the LCR panning option fitted. The Centre and Surround outputs are fed by a
mono sum of the selected Stereo Subgroup bus.
The main monitor output is 4-channel with a switchable insert point, pre the monitor
level control, for Dolby Surround encoders/decoders. Two pairs of near-field monitor
outputs are also available, and can be selected using the MINI A and MINI B buttons.
The monitors are normally fed by the desk main output, but this can be replaced by
either one of two External Source selector banks by selecting EXT 1 or EXT 2. The
External Source selectors have independent sources, unlike the SL4000. The buttons
are normally intercancelling, but selecting SUM allows several sources to be
monitored together. LINK connects both source selectors together, for comprehensive
multiple-source selection.
The Auxiliary bus outputs are provided with level control only.
The Studio monitor system has been substantially extended. Three stereo Foldback
and one stereo Studio Loudspeaker outputs are provided. Each is provided with level
control and can be fed by any one or a mix of External Source Selector 1, External
Source Selector 2, or an external signal fed via the patchbay. For the Foldback outputs
this is normally the Stereo Cue output, but this may vary from desk to desk. For the
Studio Loudspeakers, the third source is always the stereo main Mix output.
The four stereo Echo Returns are similar to those fitted on the SL4000, with the
addition of discrete routing switches to the main outputs. Note that the STUDIO level
control feeds signal back to the Foldback outputs - not the Auxiliary busses.
Oscillator and Talkback level controls are similar to those found on the SL4000.
Console Overview
1-9
8.9.94
SL 9000 J Console Operator’s Manual
1-10
8.9.94
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SECTION 2
Basic Routing and Signal Flow
2-i
5.9.96
SL 9000
J.SERIES
SL 9000
J.SERIES
SL 9000 J Console Operator’s Manual
2-ii
5.9.96
Basic Routing and Signal Flow
In order to understand signal flow through the console, it is probably best to start with
the status buttons located on the SL952J Master Panel. These buttons determine basic
signal paths in the SL911J I/O module, so they are very important. Exact details of
each local control can be found in Sections 3 and 5.
When first setting up the console, you should always check these buttons and select
them correctly for the particular mode you wish to work in.
There are four basic desk statuses: RECORD, REPLAY, MIX and RECORD + MIX
(overdub). The SMALL FADER TO MON(ITOR) and MASTER INPUT FLIP buttons
also affect I/O module signal flow.
Each I/O module has two completely independent audio signal paths, the ‘Channel’
path and the ‘Monitor’ path (typical of an In-Line console). This gives the system
flexibility, but may cause some confusion if you don’t understand which areas of each
module are dealing with each of these signals.
Basic Routing and Signal Flow
2-1
5.9.96
MASTER
READY
GROUP
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
The Six Key Points in the SL911J
There are six key points in each I/O module which define the two separate audio
paths: two inputs to the module, two faders and two outputs from the module. The
status buttons determine how these elements are connected together to provide
default configurations required for tackling various tasks from track laying through to
final mixdown.
The six key elements in the signal paths are:
The Channel Input
The Channel Input section can be found towards the top of the
module and has three inputs: MIC, LINE and SUBGROUP. We will
deal with the SUBGROUP input later. The FLIP button allows you to
flip between MIC and LINE inputs. All inputs can be flipped by using
the MASTER INPUT FLIP button located in the SL952J master status
button group. The other controls on the input section are fairly
obvious but are detailed in Section 3.
The Small Fader and Pan
The Small Fader is linked to the computer automation system. Its
associated pan control is mounted above and to the right of the fader.
This will normally pan between Left/Right or Odd/Even busses
unless the optional LCR panning system is fitted, in which case a
separate Centre bus is also available.
SL 9000 J Console Operator’s Manual
2-2
5.9.96
FLIP
Ø
HIGH-Z
- 20dB
SUB GP
LINE
dB
BUS
dB
dB
MIC
-30 0
20 +20
+15 +75
0
48V
SOLO
CUT
PST
LF
PRE
LF
SF
MIX
ISO
C
RL
C
LR
PAN
trim
abs
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
ST
The Routing Matrix
The Routing Matrix provides access to 48 Multitrack busses and four
Stereo Subgroup busses. Bus selection is simple in operation, with
two buttons determining the Multitrack bus selection for tracks 1-24
or 25-48.
Sources for the Multitrack and Stereo Subgroup busses are
determined by the buttons beneath each section. Default selection of
Large or Small Fader sources for the Multitrack busses is made by the
master Status buttons on the SL952J but this can be overridden locally
as required (see later).
Source selections for the Stereo Subgroup busses are independent of
the master console status and may be chosen according to the job in
hand. See Page 2- 25 for a description of the EFX re-assign system.
The Monitor Input Section
The Monitor Input buttons enable two sources to be selected for the
monitor path. GROUP selects that module’s Group Output, which
also feeds the multitrack. TAPE selects the track output of the
multitrack machine. It is possible to select both of these buttons
together to get a mix of the two signals. You will find a more detailed
account of this in Section 3.
Basic Routing and Signal Flow
2-3
5.9.96
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SL911
STEREO SUB Gp
LF SF
EFX EFX
ODD EV
24
TAPEGROUP
The Large Fader and Pan
The Large Fader is linked to the computer automation system. Large
Faders may be assigned for control by one of the eight group faders
in the centre of the console.
An associated pan control is provided directly above the fader at the
foot of the I/O module. This will normally pan between Left/Right
or Odd/Even busses unless the optional LCR panning system is
fitted, in which case a separate Centre bus is also available.
The Output to Mix Bus Controls
Two butto ns, LF MIX (above the large Fader pan) and SF MIX
(below the Small Fader pan) determine which fader will feed the
console’s main Mix bus.
Normally these are selected to a default condition by the master
status buttons on the SL952J but may be overridden locally when the
situation dictates.
Also in this area are the PRE and POST LF buttons. These are mainly
used in mixdown (as we shall see later) to source pre- and post-Large
Fader channel signals when the Monitor path and Routing Matrix
provide a method of setting up additional Aux/FX sends.
In order to explain the console routing system, we will go through
the master statuses in the most logical progression, from basic track
laying to final mixing. The status buttons are designed to
differentiate between the various phases of the recording process.
SL 9000 J Console Operator’s Manual
2-4
6.3.95
SOLO
CUT
M P
ST
PST
LF
PRE
LF
SF
MIX
ISO
SOLO CUT
C
RL
C
L R
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
trim
abs
alt
status
SL978
10
5
0
5
10
20
30
40
50
group
24
#
Record Status
Recording basic tracks onto a blank multitrack tape is the starting point! In the record
mode, with the RECORD status button selected, the various elements in the module
signal paths are connected as shown below.
This will be the preferred recording mode for most engineers. If you have previously
been using an SL4000 system, note that RECORD status on the SL9000 is equivalent to
RECORD + VCA to MONITORS (FADER REVERSE on Ultimation and G+ consoles)
status.
The Large Faders are much more useful if used as monitor faders during recording, as
they can, if required, be automated for end-of-the-day monitor mixes.
The upper section of the diagram shows the ‘Channel’ signal path whilst the lower
part shows the ‘Monitor’ signal path. The Channel signal path is that path which
originates from the Channel Input section of the I/O module. The Monitor signal is
derived from the Monitor Input section.
Basic Routing and Signal Flow
2-5
5.9.96
1-48
Routing
C
H
A
N
N
E
L
M
O
N
I
T
O
R
INPUT SELECTION PROCESSING FADER OUTPUT ASSIGNMENT
RL
C
Small
Fader
Small
Fader
Pan
C
ODD EVEN
To
Bus Trims
and
Tracks
EQ
Filters
Dynamics
LINE
MIC
EQ
Filters
Dynamics
Large
Fader
10
5
0
5
10
20
30
40
50
Large
Fader
Pan
C
LR
Stereo
Subgroups
ABCD
To
Main Mix
Busses
MASTER
READY
GROUP
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
TAPE
GROUP
FLIP
SUB GP
SL 9000 J Console Operator’s Manual
2-6
5.9.96
1-48
Routing
RL
C
Small
Fader
Small
Fader
Pan
C
ODD EVEN
LINE
Large
Fader
10
505
1020304050
Large
Fader
Pan
C
LR
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
Multitrack
SL911
Stereo
Subgroups
ABCD
Record Status
SF
MIX
LF
MIX
LF
SF
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
EQ
Filters
Dynamics
EQ
Filters
Dynamics
FADER
The drawing opposite shows RECORD status routing in more detail and will give you
a good idea of where the various controls appear in the signal path.
Before we go any further, it would be worth explaining some of the elements in the
drawings opposite and on the following pages. This will enable you to more easily
understand the default signal paths and the variations available.
Note that most of the drawings are ‘single-line’ diagrams. This means that even stereo
signal paths have been shown, for simplicity, as single lines. Just remember that the
outputs of a pan control are always stereo, as are the Subgroup busses, main Mix bus
and the Monitoring system.
Record Signal Flow Diagram
This diagram is fundamental to understanding the console signal flow, so it is worth
while spending some time to look at it in detail. In this status, a Mic input is the
standard selection and this signal will be fed, via the Mic gain control, to Channel path
input. The FLIP button allows the Line input to be selected if you are sourcing from
line level feeds rather than from microphones. The SUB GP (Subgroup) button
overrides Mic and Line selections.
Normally the Subgroup button will be up and the Mic signal will pass to the phase
reverse circuit (not shown). If SUB GP is pressed, the Channel signal path will derive
its input from that module’s multitrack bus (Group) mix amp. This allows signals
from other modules to be subgrouped through the channel, which is a very powerful
feature while mixing. In the tracking mode this could be used to provide overall
Dynamics or EQ to a group of signals prior to sending them to the multitrack. For
more on this function, see Page 2- 21 and Section 3.
Basic Routing and Signal Flow
2-7
5.9.96
Default/Main Signal Path in I/O Module
Alternative/AdditionalSignal Paths
LF
SF
Selected Function (shaded)
Deselected Function (unshaded)
Changeover switch (electronic)
Half-normalled jack sockets
SL 9000 J Console Operator’s Manual
2-8
5.9.96
1-48
Routing
RL
C
Small
Fader
Small
Fader
Pan
C
ODD EVEN
LINE
Large
Fader
10
505
1020304050
Large
Fader
Pan
C
LR
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
Multitrack
SL911
Stereo
Subgroups
ABCD
Record Status
SF
MIX
LF
MIX
LF
SF
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
EQ
Filters
Dynamics
EQ
Filters
Dynamics
FADER
Following the input stage, the signal passes via the EQ and Dynamics sections (if
selected) to the Small Fader. The Channel signal can also be fed via the insert points to
an external device (not shown on the diagram) which can be switched pre or post the
EQ.
After passing through the Small Fader and associated pan, the signal is sent to the
Multitrack Routing Matrix, via the default selection of the associated SF (Small Fader)
routing source button. When recording to a stereo pair of tracks, the Small Fader pan
can be used to pan source signals between odd and even multitrack busses.
From the Routing Matrix the Channel signal passes on to the multitrack busses, to be
picked up by the bus mix amp associated with that multitrack bus/Group. The Bus
Trim may be on another module if the channel has been routed to a bus other than its
own (which is usually the case). The signal then passes (via the FADER switch) on to
the Group Output patch point on Row G, where it is normalled to the Multitrack Send
and Group Monitor Input on Row H. The Multitrack Return appears on Row J and is
normalled to the Tape Monitor Input (Row K).
Both these Tape and Group Monitor signals feed a switching matrix which is
controlled by the GROUP and TAPE buttons (see Section 3 for more details). Note that
selection of MASTER READY GROUP on the SL952J selects all Monitor path inputs
to GROUP automatically. This can be a useful starting point if you are recording to a
large number of tracks simultaneously.
If required, the monitor signal can now be processed with the EQ and Dynamics
sections (which can be switched into the Monitor or Channel signal paths, see Section
4). The signal passes on via the Large Fader and out of the module onto the Mix bus.
The Mix bus is fed into summing amps in the centre section and then passes via the
Main Fader out to the monitor amps and ATRs.
Remember that, in RECORD status, the Large Faders relate to the monitoring of
multitrack sends and returns, and the Small Faders relate to whatever source is being
fed into that channel. Quite often these two signals may be completely different. For
example, Track 7 may be fed from a mic plugged into Channel 1. The Small Fader on
Channel 1 will control the level of that mic to the multitrack machine, the Large Fader
on Channel 7 will control the level of Track 7 sends and returns as heard on the
monitors.
Provision has been made for an analogue multitrack tape machine output to
automatically switch to Sync whenever the RECORD status button is selected. This
may, or may not, be wired in your studio.
Basic Routing and Signal Flow
2-9
5.9.96
SL 9000 J Console Operator’s Manual
2-10
5.9.96
1-48
Routing
RL
C
Small
Fader
Small
Fader
Pan
C
ODD EVEN
LINE
Large
Fader
10
505
1020304050
Large
Fader
Pan
C
LR
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
Multitrack
SL911
Stereo
Subgroups
ABCD
Record Status
SF
MIX
LF
MIX
LF
SF
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
EQ
Filters
Dynamics
EQ
Filters
Dynamics
FADER
From the diagram opposite you will see that, if required, the Large or Small Fader Pan
outputs can be assigned to any one or more of the Stereo Subgroups. If you need to
create audio subgroups of source signals, in order to apply overall signal processing,
this can be very easily set up by using the Stereo Subgroups and outboard signal
processors, or spare I/O modules (see Page 2- 25). For convenient level control,
Monitor (Large in RECORD status) Faders can be assigned to the eight group control
faders in the centre of the desk.
Track Bouncing
If you have previously been using an SL4000 desk, you will probably be familiar with
the FLOAT function. Amongst other uses, this provided a simple method of setting up
for track bouncing. The same effect can be just as easily obtained on the SL9000 but
requires the selection/deselection of two switches.
As an example, say that we want to bounce Tracks 1, 2, 3 and 4 down to a stereo pair
on Tracks 7 and 8, and we are still in RECORD status. First assign the Large Faders on
Channels 1, 2, 3 and 4 to the Routing Matrix by selecting the associated LF button.
Note that this toggles with the SF button. While in this area, select routing buttons 7
and 8 on each of these modules, having first ensured that the 1-24 routing bank switch
is also selected.
Now move to the foot of the module and deselect the LF MIX button to prevent
‘double monitoring’ during the bounce. Select GROUP on Channels 7&8 and set the
Large Fader pans on these channels to left and right. Set the Large Faders on 7 and 8 to
unity gain.
Run the tape and balance the mix of tracks 1-4 on the Large (Monitor) Faders of those
channels. If not already set, the Large Fader pans can be used to create the required
stereo image.
For more experienced SSL users, this may at first seem over-complicated. However,
unlike the SL4000 Series, the Small Fader remains available while track bouncing, and
panning across the multitrack busses follows the Large Fader pan control. Think,
moreover, of the potential available when you can freely assign Small or Large Fader
outputs to the Routing or main Mix busses in any console status.
Basic Routing and Signal Flow
2-11
5.9.96
Record + Small Fader To Monitor
RECORD + SMALL FADER TO MON(ITOR) status provides an alternative record
mode to basic RECORD status. Selection of SMALL FADER TO MON simply swaps
the faders in the Channel and Monitor paths, and can be used in conjunction with both
RECORD and REPLAY status.
In this status, the Mic input is fed via the Large Fader and Pan to the Multitrack
Routing Matrix (the ‘Channel’ signal path) and then to the multitrack itself via the
module’s Group mix amp and Trim control associated with that track of the machine
(i.e. Track 7 is fed from Module 7’s Group Output).
The Small Faders monitor the multitrack sends (GROUP) and returns (TAPE) and feed
these signals to the main Mix outputs and monitoring of the desk, via the module’s
Small Fader pan (the ‘Monitor’ signal path), the Mix busses and the SL952J. Again,
Track 7 will be monitored on Module 7’s Small Fader.
This way of working is particularly suited where you need to handle a large number
of sources simultaneously and want to have fader control of these as close to you as
possible.
Some consoles may have local SMALL FADER TO MON buttons, allowing, for
example, Channels 25-48 only to be switched to this mode. The Large Faders on these
channels can then be used as input faders while the Large Faders on Channels 1-24 act
as monitor faders. Note that SMALL FADER TO MON has no effect in MIX status.
SL 9000 J Console Operator’s Manual
2-12
5.9.96
1-48
Routing
C
H
A
N
N
E
L
M
O
N
I
T
O
R
INPUT SELECTION PROCESSING FADER OUTPUT ASSIGNMENT
To
Bus Trims
and
Tracks
EQ
Filters
Dynamics
LINE
MIC
EQ
Filters
Dynamics
Large
Fader
10
5
0
5
10
20
30
40
50
Large
Fader
Pan
C
LR
Stereo
Subgroups
ABCD
To
Main Mix
Busses
MASTER
READY
GROUP
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
TAPE
GROUP
FLIP
SUB GP
RL
C
Small
Fader
Small
Fader
Pan
C
ODD EVEN
Master Input Flip
This button works in any desk status and simply flips all channel inputs between Mic
and Line inputs. Each channel can be flipped on an individual basis but it is simpler to
hit MASTER INPUT FLIP to select the majority type of input. You would use this
button if, for example, you are working in the RECORD status and wish to use Line
inputs for synthesisers or samplers, rather than the Mic inputs.
Replay Status
This mode is used when working in RECORD, or RECORD + SMALL FADER TO
MON status. The current console status is put on ‘standby’ and the tape returns are
automatically routed to the Monitor faders. This allows a quick replay of the tape
without disrupting the console setup. If the Sync/Replay option is wired, then an
analogue multitrack machine will be switched to normal Replay.
This status is useful during track laying. For example, when operating in RECORD
status, the time will come when a quick monitor mix is required. This can be
accomplished in RECORD status by deselecting any GROUP buttons, switching the
multitrack machine to Replay manually, and mixing down the monitor inputs via the
main output busses onto a stereo ATR. REPLAY status does all this with one button.
Any GROUP selections are temporarily disabled and the monitor inputs pick up
multitrack returns from the Replay head.
Reselecting RECORD status will reinstate all the previous GROUP and TAPE button
selections, and an analogue multitrack will switch back to Sync, ready for more
recording.
REPLAY status is also useful for playback over the Studio Loudspeakers, as RECORD
status prevents the SLS outputs from receiving signal.
Basic Routing and Signal Flow
2-13
5.9.96
SL 9000 J Console Operator’s Manual
2-14
5.9.96
RL
C
Small
Fader
EQ
Filters
Dynamics
LINE
EQ
Filters
Dynamics
Large
Fader
10
505
1020304050
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
FADER
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
SL911
Stereo
Subgroups
ABCD
Mix Status
SF
MIX
LF
MIX
LF
SF
1-48
Routing
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
Large
Fader
Pan
C
LR
Small
Fader
Pan
C
ODD EVEN
PST
LF
PRE
LF
Multitrack
Mix Status
Line inputs are selected on the channels, sent via the Large Faders and Large Fader
Pans to the main Mix bus and then, via the Master Fader on the SL 952, out to the
mastering machine. The multitrack machine is usually normalled to the Line inputs, so
this single status button will instantly set you up for a mixdown.
As described on the following pages, the Small Faders can be used for a variety of
different purposes in MIX status. You will see from the drawings above and opposite
that the default Monitor path in MIX status feeds the Tape Monitor Inputs via the
Small Fader and Pan to the Multitrack Routing Matrix.
Basic Routing and Signal Flow
2-15
5.9.96
C
H
A
N
N
E
L
M
O
N
I
T
O
R
INPUT SELECTION PROCESSING FADER OUTPUT ASSIGNMENT
EQ
Filters
Dynamics
LINE
MIC
EQ
Filters
Dynamics
Large
Fader
10
5
0
5
10
20
30
40
50
MASTER
READY
GROUP
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
1-48 Routing
Small
Fader
Pan
C
ODD EVEN
To
Bus Trims
and
Tracks
Large
Fader
Pan
C
LR
Stereo
Subgroups
ABCD
To
Main Mix
Busses
TAPE
GROUP
FLIP
SUB GP
RL
C
Small
Fader
SL 9000 J Console Operator’s Manual
2-16
5.9.96
RL
C
Small
Fader
EQ
Filters
Dynamics
LINE
EQ
Filters
Dynamics
Large
Fader
10
505
1020304050
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
FADER
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
SL911
Stereo
Subgroups
ABCD
Small Faders as Inputs to the Mix
SF
MIX
LF
MIX
LF
SF
1-48
Routing
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
Large
Fader
Pan
C
LR
Small
Fader
Pan
C
ODD EVEN
PST
LF
PRE
LF
Large Hall
Patch Cord
FX Device
The Small Faders
Learning how to use the Small Faders in various console statuses is the key to getting
the most out of the SL9000 system.
Small Faders as Additional Inputs to the Mix
By patching a line source into a Tape Monitor input jack on the patch, and with both
GROUP and TAPE buttons deselected (ie. the Tape input default), this external signal
will feed the Small Fader (see opposite). More information on GROUP and TAPE
switching can be found in Section 3.
By selecting the SF MIX button (found on the upper right of the Small Fader), the
Small Fader pan output will be added to the main mix. This instantly gives you
double the number of inputs to the mix. For example, a 64 channel console can
provide 128 inputs to the main outputs. As shown opposite, these Small Fader inputs
provide an ideal way of returning multiple FX device outputs to the mix.
The Small Faders are automated on the SL9000, so level changes and cuts can be
written to the mix data. Remember, however, that there is only one Dynamics and one
EQ section per channel, so it is not possible to fully signal process every input.
However, this facility allows smaller consoles to deal with the mega-mixdown
situations which are becoming more and more frequent.
Note that the selection of SF MIX does not automatically deselect the Small Fader to
Multitrack Routing Matrix switch (SF in the multitrack routing select buttons). This
will not normally be a problem unless any routing buttons in the matrix are selected to
undesired destinations.
Basic Routing and Signal Flow
2-17
5.9.96
SL 9000 J Console Operator’s Manual
2-18
5.9.96
RL
C
Small
Fader
EQ
Filters
Dynamics
LINE
EQ
Filters
Dynamics
Large
Fader
10
505
1020304050
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
FADER
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
SL911
Stereo
Subgroups
ABCD
Small Faders as Additional Aux Sends
SF
MIX
LF
MIX
LF
SF
1-48
Routing
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
Large
Fader
Pan
C
LR
Small
Fader
Pan
C
ODD EVEN
PST
LF
PRE
LF
SL911
7 selected on
Routing Matrix
Channel 7
GROUP
OUTPUT
Bus
Trim
Large Hall
Patch Cord
FX Device
Outputs patched
back into Console
Line Inputs or to
Small Faders via
Monitor Path
Multitrack
Small Faders as Additional Auxiliary Sends
In spite of being provided with six mono and one stereo Auxiliary/FX sends, there
may be occasions, particularly in complex mixdown situations, where you need to be
able to access large numbers of different FX devices. The SL9000 has an innovative
auxiliary send reassign system which can provide up to 56 extra aux send busses. See
Page 2- 25 for more details.
In addition, as those who have previously used an SL4000 will know, Small Faders
and the Multitrack Routing Matrix can also be used to derive additional effects sends
from each channel.
The channel signal can be picked up and fed to the Small Fader by selection of either
the PRE LF or P(O)ST LF buttons (see opposite) which are located to the right of the
Small Fader. In MIX status, the Small Fader pan feeds the Routing Matrix by default.
Select an appropriate multitrack bus on the Routing Matrix which in turn will take the
feed to the associated Group Output. Patching from there to the effects device input
completes the chain. The level of this send can, of course, be automated.
Note that selection of PRE LF normally feeds a post-processing, pre-fader signal to the
Small Fader; an internal link may be optionally set to derive this signal pre-processing.
When setting up for a mix, it’s useful to patch from Group Outputs into the inputs of
all the studio effects devices (apart from the primary reverbs and delays, which are
usually fed from the dedicated sends). For example, you might patch delay lines to
Groups 1, 2, 3, 4, extra reverbs to 5, 6, 7 etc.
Any channel can then access the input of the reverb connected to Group 7 via either
the FX Reassign System (see Page 2-25) or by selecting the PST LF button (for a postfader feed) and selecting 7 on the Routing Matrix. The send level will be controlled by
the (automated) Small Fader. Where several channels are being fed to the same reverb,
the overall send level can be controlled by the Bus Trim control on Module 7.
Basic Routing and Signal Flow
2-19
30.4.96
SL 9000 J Console Operator’s Manual
2-20
5.9.96
RL
C
Small
Fader
EQ
Filters
Dynamics
LINE
EQ
Filters
Dynamics
Large
Fader
10
505
1020304050
TAPE
GROUP
FLIP
SUB GP
MIC
MIC
LINE
MIC
AMP
INPUT
MTK
RETURN
LINE
AMP
INPUT
Bus
Trim
FADER
MTK
RETURN
TAPE
MONITOR
INPUT
GROUP
OUTPUT
MTK SEND &
GROUP
MONITOR
INPUT
SL911
Stereo
Subgroups
ABCD
Large Faders Subgrouped to Large Faders
SF
MIX
LF
MIX
LF
SF
1-48
Routing
SF
LF
Bus
Master
Level (x4)
TO L/R
Main
Fader
0
5
1020304050
156
0
PRE
FADE
INSERT
Stereo Recorder,
R-DAT etc
Main
Monitor Level
MONITOR
OUTPUTS
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERT
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
MIX BUS
Large
Fader
Pan
C
LR
Small
Fader
Pan
C
ODD EVEN
PST
LF
PRE
LF
Bus
Trim
EQ
Filters
Dynamics
LINE
Large
Fader
10
505
1020304050
FLIP
MIC
MIC
LINE
MIC
AMP
INPUT
LINE
AMP
INPUT
SL911
LF
MIX
SUB GP
Large
Fader
Pan
C
LR
25 & 26 selected
on Routing Matrix
Channels 25 and 26 (only one shown)
MTK
RETURN
Subgrouping
When dealing with several channels of similar sources in a mix, eg. background
vocals, it may be desirable to apply overall compression or other signal processing to a
group of channels rather than to each individual source.
For level control alone, Large Faders can be subgrouped to one of the eight group
control faders in the centre of the console. However, in order to apply overall signal
processing to a group of sources, an audio subgroup must be set up. This can be
achieved by routing signals to one of the Stereo Subgroups and inserting outboard
processing at the Stereo Bus Output patch point (see opposite), before returning the
subgroup back into the main mix (see also Page 2-27).
Alternatively spare I/O modules can be used to setup audio subgroups. This can be
easily achieved without the use of patch cords, and in either stereo or mono. Say, for
example, we have six backing vocal tracks returning on channels 43 to 48. Channels 25
and 26 are currently spare. By selecting the Large Fader to Multitrack Routing button
(LF), the channel signal may be assigned to the Routing Matrix (see opposite). Select
routing buttons 25 and 26 to feed a mix of these channels to Group Outputs 25 and 26.
If the SUB GP buttons on Channels 25 and 26 are now selected, the pre Group Output,
post Bus Trim signals will be fed to the inputs of Channels 25 and 26. Pan the Large
Faders on 25 and 26 left and right. The position of the source tracks in the stereo group
can be set on the Large Fader pans of Channels 43 to 48. Overall processing can now
be applied using the EQ and Dynamics sections of Channels 25 and 26.
If, instead of hitting the SUB GP buttons on channels 25 and 26, we select the GROUP
buttons, the Small Faders will receive the grouped backing mix, as GROUP simply
switches that module’s Group Output to its Monitor fader. These two Small Faders can
now contribute to the mix by pressing SF MIX.
By using Small Faders to act as audio subgroup masters, the Large Faders can still be
used as normal, fed from the Channel path. Remember that, as with the use of Small
Faders providing extra inputs to the mix described on Page 2-19, there will be a limit
to the distribution of signal processing between the Small and Large Fader signal
paths.
In fact it is possible to set up other variations on the above theme, i.e Small Fader to
Large Fader and Small Fader to Small Fader subgroups. By the way, although we are
describing all this in the MIX mode, the basic principles are exactly the same in the
other desk statuses.
You can onl y rou te to the firs t 48 Gro up s via the Rout ing Matr ix, but any cha nne l
above Channel 48 can be a subgroup master by patching from any of Group Outputs
1-48 into the Line Inputs (or Tape Monitor Inputs) of channels from 48 onwards.
Basic Routing and Signal Flow
2-21
5.9.96
Record + Mix Status (Overdub Mode)
This mode was designed for use in overdubbing but many engineers will use this
status when laying basic tracks. Select this combined status by pressing the RECORD
and MIX status buttons simultaneously.
The desk is basically in MIX status but an individual module may be put into the
RECORD status, in order to record onto that track, if either the TAPE or the GROUP
button is selected. The advantage of this mode is that the majority of modules will be
in MIX status and you can mix with the Large Faders as if you were doing a final mix.
In other words, the modules are not split into source signal paths and monitor signal
paths unless you are recording from that module. You can work towards the final mix
as you are tracking, using the mix capabilities to their full extent but with the ability to
record onto the necessary tracks.
It is quite usual for the desk to be split for this way of working. The first 24 or 48
modules are dedicated to the multitrack, and modules upwards from 25 or 49 act as
source channels, although this is not essential.
By way of an example, suppose you were overdubbing a vocal to several tracks at the
very end of the recording process. You have four tracks free, 35 to 38. Select RECORD
+ MIX status and mix the rest of the tracks normally, as you would in basic MIX mode.
Plug the vocal mic into Channel 49, FLIP the input to Mic, and select LF to the Routing
Matrix. Now deselect LF MIX on 49 to avoid feeding the mic direct to the Mix bus. By
selecting routing button 35, the Large Fader on Channel 49 will feed the mic to Track
35.
Now select GROUP (and/or) TAPE on Module 35 to monitor the multitrack signal.
This will put Module 35 into RECORD mode with the Large Fader monitoring the
signal to the Mix bus. (the converse will be true with SMALL FADER TO MON also
selected.)
Proceed with the overdub as if you were in basic RECORD status.
When you have completed the overdub, just deselect GROUP (and/or TAPE) on 35
and select GROUP (and/or TAPE) on 36 to continue recording onto Track 36. You will
also need to select 36 on Module 49’s Routing Matrix, unless all the overdub tracks
have been preselected.
Just to add to the possibilities, you could carry out the same recording process in a
slightly different way. Simply plug the mic to Channel 35 hit GROUP (and/or TAPE)
to put 35 into RECORD mode. The Small Fader will feed the mic signal to the Routing
Matrix, so select 35 and monitor the multitrack signal on the Large Fader using the
GROUP and TAPE buttons.
SL 9000 J Console Operator’s Manual
2-22
20.10.94
The Fader Button
This leads us neatly into use of the FADER button. In the last example on the previous
page, the Routing Matrix can be bypassed altogether by simply hitting FADER. This
will send Channel 35’s source mic, post-Small Fader, direct to Group 35 without going
via the Routing Matrix. The benefit of this is that there will be fewer stages in the
signal path. The disadvantage with this method of overdubbing is that you have to replug the mic each time you wish to move to another track.
Note that the FADER button on channels above Channel 48 can be used to feed post
channel fader signals to the same numbered Group Outputs. These Group Outputs
cannot, of course, be accessed via the Routing Matrix in the normal way. For more on
the FADER button, see Section 3.
By the way, for analogue machines, the multitrack may be switched to the Replay head
in MIX mode, if this facility has been wired; whenever the RECORD status button is
selected, as in MIX + RECORD, the multitrack will be switched to the Sync head.
All this shows that there are many ways to carry out a particular task. If you are new
to the system it may cause some confusion, but the whole philosophy behind the
console is to provide alternatives and to allow an engineer, who knows the system
well, some choice. A fixed routing path would be simpler to learn but would soon
limit the engineer’s ability to work quickly and get the best out of the equipment and
the performer.
As you spend more and more time on the console, the many possibilities will start to
become obvious and will allow you to work faster and with more options than any
other system available.
Basic Routing and Signal Flow
2-23
5.9.96
SL 9000 J Console Operator’s Manual
2-24
5.9.96
FX ODD and FX EVEN Routing
DIRECT
Pre/Post Large Fader
Pre/Post Small Fader
Stereo Cue
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
EFX
ODD
EFX
ODD
EFX
ODD
EFX
EV
EFX
EV
EFX
EV
EFX
CUE STEREO and FX 1-6 BUSSES
Note that only one
ODD and one EVEN
numbered FX Send
or
Stereo Cue can be
assigned
simultaneously
1-48
Routing
Stereo
Subgroups
ABCD
LF SF
EFX
ODD
EFX
EV
LF SF
EFX
ODD
EFX
EV
EFX
ODD
EFX
EV
Auxiliary Sends
Section
MULTITRACK BUSSES 1-48
STEREO SUBGROUP BUSSES
GROUP
OUTPUT
MTK SEND
& GROUP
MONITOR
INPUT
Post Large Fader Pan (Stereo)
Post Small Fader Pan (Stereo)
Multitrack Bus Mix Amp O/P
Post Channel Fader
FX Reassign System
An innovative feature of the SL9000 is its FX Send reassign system – EFX for short,
which provides an extended auxiliary send capability of up to 56 extra busses without
using the Small Fader as a level control.
The Auxiliary Sends section of each I/O module includes one stereo and 6 mono aux
send controls. Auxes can be sourced from pre or post the Large or Small Fader. For
more details on this, see Section 3.
The reassign system allows any two mono FX sends, or the stereo cue send, to be
disconnected from their respective busses and used as sources for the channel’s
Multitrack Routing Matrix, Stereo Subgroup bus routing and/or the channel’s Group
Output.
Aux sends are assigned to the EFX system using the EFX switches by each one. FX1, 3
and 5 can be assigned to EFX ODD. FX 2, 4 and 6 can be assigned to EFX EVEN.
Selecting EFX on the Stereo Cue send feeds Stereo Cue L to EFX ODD and Stereo Cue
R to EFX EVEN. Note that only one odd and one even numbered FX send or Stereo
Cue can be assigned simultaneously. Lower numbered sends take priority over higher
numbered ones, and Cue Stereo takes the highest priority. Red (EFX ODD) or green
(EFX EVEN) LEDs indicate that a send is assigned to the EFX system.
The Multitrack Routing and Stereo Subgroup busses can be fed by Large or Small
Fader (post pan control) signals, or by one or both of the EFX ODD/EVEN signals. If
one EFX switch is selected, then the corresponding routing output will be fed in mono
by the selected source. Selecting both switches together will feed EFX ODD to left
(odd) and EFX EVEN to right (even) bus. This enables any two Aux Send controls to
be re-routed to the Multitrack or Stereo busses, allowing large numbers of
independent headphone or effects send mixes to be generated.
Connect FX device inputs to the appropriate Group Output jacks if sends are
reassigned to the Multitrack Routing. In the case of Stereo Subgroups, connect devices
to the appropriate Stereo Bus Output jacks.
The Group Output is normally fed by the multitrack bus Mix Amp, but this can be
replaced with a post-fader channel signal by pressing FADER, or by the EFX ODD or
EFX EVEN signals. Note that although Group Outputs above Channel 48 cannot be
accessed via the Multitrack Routing Matrix, they can be be accessed from the same
numbered channel by selection of EFX ODD and EFX EVEN (or for a post channel
fader signal, by FADER).
Basic Routing and Signal Flow
2-25
5.9.96
SL 9000 J Console Operator’s Manual
2-26
5.9.96
SL911
Output Routing – Standard
Systems
Bus Master
Level
Main
Fader
Main
Monitor Level
MONITOR
OUTPUTS
To Main
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERTS
Small Fader
Pan
C
LR
Large Fader
Pan
C
LR
LF SF
EFX
ODD
EFX
EV
SF
MIX
LF
MIX
Subgroup Source
Select
STEREO SUB Gp
ABCD
Subgroup Bus
Assign
L
R
L
R
LRL
R
L
R
L
R
Stereo
Subgroup
Busses
LCR
Mix
Busses
TO L/R
TO CEN
TO SUR
To External
Monitor
Selector 1
Bus Master Controls – 1 of 4 shown
PRE-FADE
INSERTS
0
5
1020304050
156
0
L
C
R
S
Surround
Bus
L
C
R
S
L
C
R
S
To 2/4 Track
Machines
AL
AR
AL
AR
L
R
Mono sum
Mono sum
AFL (3-Channel) and PFL
From External Monitor Selectors (4-Channel)
$
MONO
MON
INS
CUT
AFL (2 Channel)
and PFL to MINIS
Mini Level
Listen Mic
MINI
A
MINI
B
To Mini A LSTo Mini B
LS
L
R
L
R
Mix to Meters
4 CH 2 CH
2/4 Channel Control
To Connector
Panel
AL
AR
Cuts Centre and Surround Outputs
L
R
Output Routing – Standard Systems
So far in this section we have only talked about the console’s main outputs and
monitoring in general terms. Now we should look at this in a little more detail. For full
information on all the console’s centre section controls, see Section 5. If your console is
fitted with the LCR pan option, please read this page and the additional information
over the page.
Stereo post-Large and Small Fader signals can be freely assigned to the Multitrack
busses, the Stereo Subgroup busses and the main Mix busses. As standard, the console
is fitted with LCR Mix busses (see opposite), but the Centre bus cannot be accessed
directly from channels unless the LCR pan option is fitted (see over the page).
Stereo Subgroups
Signals assigned to the Subgroup busses, if being used for stereo stem mixes, can
simply exit the console either via the connector panel or by patching out of the Stereo
Bus output sockets on the patch. Your installation may have a multitrack layback
machine normalled to these outputs.
In addition, Subgroup signals can be reassigned back, post insert point, onto the main
Mix busses by selection of the TO L/R, TO CEN(TRE) or TO SUR(ROUND). Note that
the latter two functions feed a mono sum of Left and Right Subgroup bus signals to
the respective main Mix busses, and that the Surround mix bus is internal to the centre
section.
Using the functions described above, with two of the Subgroup busses dedicated to
Centre and Surround mix paths, LCRS film or video mixes can be simply generated
even if the console is not fitted with the LCR pan option.
The Stereo Subgroup bus outputs can be monitored on External Source Selector 1. See
Section 5 for more details.
Main Outputs
Signals on the main LCRS busses pass via a pre-fader insert point before reaching the
console’s master (4-channel), VCA automated, fader. At this point the centre section’s
4-channel Compressor (not shown in the diagram) can be switched in to control main
output levels. This compressor is the classic SSL ‘Quad’ compressor, which will be
well known to experienced SL4000 users.
The desk’s main outputs are normalled to a series of Distribution jacks which, in turn,
may be normalled to three 4-track and nine stereo machines.
Basic Routing and Signal Flow
2-27
5.9.96
SL 9000 J Console Operator’s Manual
2-28
5.9.96
SL911
Output Routing – LCR Pan
Option
Bus Master
Level
Main
Fader
Main
Monitor Level
MONITOR
OUTPUTS
To Main
Monitor LS
SL951
MAIN OUTPUT
DISTRIBUTION
STEREO BUS
OUTPUTS
MONITOR
INSERTS
Small Fader
Pan
C
Large Fader
Pan
C
LR
LF SF
EFX
ODD
EFX
EV
SF
MIX
LF
MIX
Subgroup Source
Select
STEREO SUB Gp
ABCD
Subgroup Bus
Assign
L
C
R
L
C
R
LRL
R
L
C
R
L
C
R
Stereo
Subgroup
Busses
LCR
Mix
Busses
TO L/R
TO CEN
TO SUR
To External
Monitor
Selector 1
Bus Master Controls – 1 of 4 shown
PRE-FADE
INSERTS
0
5
1020304050
156
0
L
C
R
S
Surround
Bus
L
C
R
S
L
C
R
S
To 2/4 Track
Machines
AL
AR
AL
AR
L
C
R
Mono sum
Mono sum
AFL (3-Channel) and PFL
From External Monitor Selectors (4-Channel)
$
MONO
MON
INS
CUT
AFL (2 Channel)
and PFL to MINIS
Mini Level
Listen Mic
MINI
A
MINI
B
To Mini A LSTo Mini B
LS
L
R
L
R
Mix to Meters
4 CH 2 CH
2/4 Channel Control
To Connector
Panel
AL
AR
Cuts Centre and Surround Outputs
L
C
R
LR
Monitoring
Feeds to the desk’s monitoring facilities are picked up post the Main Fader and
Compressor. This point also feeds the main output meters when selected to DESK
OUTPUT.
Following the injection of AFL, PFL and Solo-In-Front signals, the monitor feeds can
also be interrupted by source selections from the two External Source Selectors (more
on this in Section 5). MONO sums all four monitor busses and feeds the result equally
to Left and Right monitor outputs or to the Centre output, subject to the selection of
the 2 CH or 4 CH switches. Selecting 2 CH also mutes the Centre and Surround
monitor outputs.
A switchable Monitor Insert point is provided for the connection of Dolby Surround
Encoders/Decoders.
Level controls are provided for both the Main and two pairs of Mini (near-field)
loudspeakers. Inputs from two ‘Listen Mic’ circuits are fed to the Mini ‘A’ LS outputs.
AFL, PFL and Solo-In-Front are also fed to the Mini ‘A’ LS outputs if A/PFL TO
MINIS is selected. Note that this selection leaves the desk output on the Main
monitors and the AFL/PFL level control is inactive.
Output Routing with LCR Pan Option
When the LCR pan option is fitted, the Centre Mix bus can be fed directly from the
channels (see opposite). Selection of 2 CH or 4 CH in the centre section determines
whether both Small and Large Fader pans will pan between Left and Right with a
‘phantom’ centre or from Left, through Centre, to Right. When selected to 4-Channel
mode, the pans will still pan between odd/left and even/right Multitrack or Stereo
Subgroup busses.
Apart from this simple but extremely useful and convenient function, the desk’s main
output and monitoring signal paths and facilities are as described above for standard
systems.
Basic Routing and Signal Flow
2-29
5.9.96
SL 9000 J Console Operator’s Manual
2-30
5.9.96
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SECTION 3
The SL911 Input/Output Module
3-i
8.9.94
SL 9000
J.SERIES
SL 9000
J.SERIES
SL 9000 J Console Operator’s Manual
3-ii
8.9.94
24
FLIP
Ø
25/481/24
SOLO
CUT
TAPE
BELL
BELL
IN
MON
M P
ST
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
123 4
25 26 27 28
- 20dB
PST
LF
PRE
LF
SF
MIX
On
LINK
A B C D
SUB GP
IN
EFX
SF
EFX
ODD
ISO
SOLO CUT
GROUP
0
0
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXES
CUE ST
FX1
FX2
On
0
0
On
+
+
0
1 5 16
6 7
+
2 2 5
0
+
0
30 450
C
RL
C
L R
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
14
0 40
30 +10
0
14
04
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
GROUP
FADER
INSERT
KEY
PRE
0
SF
LF
EFX EFX
ODD EV
EFX EFX
ODD EV
48V
EQ
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
group
24
#
The SL911 Input/Output Module
The I/O module has two independent signal paths. Each path has its own input and
fader. The module automatically powers up in a standard output routing
configuration determined by the master desk status. The output routing, however, can
be over-ridden locally at any time, to provide extra flexibility of operation.
The two inputs are the CHANNEL INPUT and the MONITOR input.
The two faders are the LARGE FADER and the SMALL FADER (LF and SF for short).
Each fader has an associated pan control.
The path fed by the Channel Mic/Line Input stage is designated the ‘CHANNEL’
path. The path fed by the Tape/Group Monitor Input is designated the ‘MONITOR‘
path.
The module’s outputs are the main Stereo/LCR bus, the 48-track Routing Matrix at the
top of the module, the four Stereo Subgroup busses A, B, C and D (immediately below
the Multitrack Routing Matrix) and the channel Group Output.
Either or both faders can feed the main Stereo bus (‘Mix’).
Either fader can feed the Multitrack Routing Matrix and Stereo Subgroup busses or the
Group Output.
On channels 1-48, the Group Output can also be fed by the multitrack mix bus
corresponding to that channel.
The Multitrack and Stereo Subgroup busses can also be fed by any of the Auxiliary
send controls, allowing additional effects sends or cue mixes to be generated.
EQ, Filters, Dynamics and Aux send controls can be switched into either signal path.
Obviously there are many possible permutations of signal routing, allowing an
enormous number of creative possibilities. This section looks at each control on the
SL911 module individually, with a brief summary of the routing possibilities. Section 2
describes these in more detail.
The SL911 Input/Output Module
3-1
8.9.94
Channel Input Section
The channel input can receive any one of three inputs:
LINE – Selects a Line level input from patch row D via the
LINE trim pot (+20dB to -20dB). The pot is indented at unity
gain. A green LED indicates Line Input selection.
MIC – selects a Microphone input from Patch row B via the
MIC trim control.. This is continuously variable from +15db to
+75dB of gain, with a 20dB pad switch shifting the gain range
to -5dB to +55dB. A red LED indicates Mic Input selection.
SUB GP – When this button is pressed, the above selections are
overridden and the input of the channel is taken from that
module’s multitrack bus mix amp. This allows modules 1-48 to
be used to as audio subgroups.
FLIP – This reverses the mic/line selection on individual channels.
ø (Phase) – This reverses the phase of the selected channel input.
48V – When selected provides phantom power to the associated microphone.
HIGH-Z – Increase the input impedance of the microphone input from 1.2K! to 8K!.
This allows the connection of line level outputs to the mic input if required, and
provides an alternative input impedance for some dynamic microphones.
MIC or LINE inputs are automatically selected by the STATUS switches on the SL952
Master Facilities Module. In RECORD or REPLAY status, all inputs switch to MIC. In
MIX, all inputs switch to LINE. The FLIP button reverses the input selection on
individual channels. The MASTER INPUT FLIP button on the SL952 panel reverses
the input selection on all channels.
SL 9000 J Console Operator’s Manual
3-2
22.12.94
FLIP
Ø
HIGH-Z
- 20dB
SUB GP
LINE
dB
BUS
dB
dB
MIC
-30 0
20 +20
+15 +75
0
GROUP
FADER
EFX EFX
ODD EV
48V
Dynamics Section
The Dynamics section comprises a compressor/limiter and an
expander/gate, which use the same gain change element. Both
sections work independently, but can be operational at the
same time, providing sophisticated control of either the
Channel or Monitor signal.
The Dynamics section has three routing buttons associated
with it. Section 4 deals with Dynamics routing in more detail,
but briefly these button function as follows:
MON – switches the Dynamics section into the Monitor path
(Post EQ if the EQ has also been selected to the Monitor path).
CH IN – Switches the Dynamics section into the Channel
audio path PRE EQ.
CH OUT – switches the Dynamics section into the Channel
audio path POST EQ.
If both the CH IN (or CH OUT) and the MON buttons are
selected, then the Dynamics section is switched to the Channel
path but the Dynamics’ side chain is fed from the Monitor
path, post TAPE/GROUP selection. See Section 4 for more
details. This allows the Dynamics to be keyed via either a
multitrack bus or the patch bay.
The Channel Insert Return can also be used as a key input via the Insert KEY switch.
See more on this under Insert Point on Page 3-8.
Compressor/Limiter
RATIO – When turned to 1:1 the Compressor/Limiter section is inactive. Turning the
control clockwise increases the compression ratio to give a true limiter at the fully
clockwise position. The compressor normally has an ‘over-easy’ characteristic. Pulling
the RATIO switch up changes this to peak sensing, and replaces the ’over easy’
characteristic with a hard knee, providing an alternative for some instruments. The PK
LED lights to indicate that this option has been selected.
The SL911 Input/Output Module
3-3
8.9.94
CH
IN
CH
OUT
MON
DYN SC
LINK
RATIO
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
1
0
0
0
+10 20
1 4
0 40
30 +10
0
14
0 4
KHz
FILTERS
Hz
OUT
350
3
OUT
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 also provides automatic make-
up gain, so as you lower the threshold and introduce more
compression, the output level is increased, maintaining a
steady output level regardless of the amount of compression.
RELEASE – Sets the time constant (speed) with which the
compressor returns to normal gain settings once the signal has
passed its maximum. The control also incorporates a pull
switch which, when selected, provides a fast attack time (3mS
for 20dB gain reduction). When down the attack time is
program dependent (3mS - 30mS).
The yellow and red LEDs, on the right of the LED display area,
indicate the amount of gain reduction (compression).
Expander/Gate
This section can act as a ":1 Gate or as a 2:1 Expander when the HOLD pot is pulled
upwards. A red LED indicates that Expand mode has been selected.
RANGE – Determines the depth of Gating or Expansion. When turned fully anticlockwise (Range = 0), this section is inactive. When turned fully clockwise, a Range of
50dB can be obtained.
THRESHOLD – Variable hysteresis is incorporated in the Threshold circuitry. For any
given ‘open’ setting, the Expander/Gate will have a lower ‘close’ threshold. The
hysteresis value is 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.
SL 9000 J Console Operator’s Manual
3-4
8.9.94
CH
IN
CH
OUT
MON
LINK
RATIO
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
1
0
0
0
+10 20
1 4
0 40
30 +10
0
14
0 4
FILTER
RELEASE – 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.
This control also incorporates a switch which, when pulled up,
provides a fast attack time (100µs per 40db). When down, a
controlled linear attack time of 1.5ms per 40dB is selected. The
attack time is the time taken for the Expander/Gate to
‘recover’ once the signal 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 – Determines the time after the signal has decayed
below the threshold before the gate closes. Variable from 0 to 4
seconds. A pull switch on this control switches the section
from gate to expand operation.
The green LEDs indicate Expander/Gate activity (the amount
of gain reduction).
The LINK button at the top of the section links the side chain signal of that unit to the
side chain of the next Dynamics section along 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.
Note that it is not possible to link two gates so that the signal on one opens 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 Insert Return of the ‘destination’ channel, and selecting KEY (see
Page 3-8) on this channel.
Note that when the Dynamics section is not in circuit, its side chain input is also
bypassed.
The SL911 Input/Output Module
3-5
22.12.94
CH
IN
CH
OUT
MON
LINK
RATIO
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
1
0
0
0
+10 20
1 4
0 40
30 +10
0
14
0 4
FILTER
Filters and Parametric Equaliser Section
This section comprises a four band parametric Equaliser plus
High and Low pass Filters. The EQ and Filters can be routed
separately to different audio paths within the module.
Routing Buttons
There are four routing buttons associated with this section of
the module. Section 4 describes the routing combinations in
more detail but, briefly, these buttons function as described
below.
EQ IN – Switches the section into circuit. If no other switches
are pressed, the Equaliser is in the Channel path and the Filters
are post the Equaliser. This switch is automated – see the J
Series Computer Operator’s Manual for more details.
DYN SC – The Filters are switched into the side chain of the
Dynamics section. The Equaliser can be switched into the
Channel or Monitor path independently. Note that DYN SC
overrides the SPLT function (see below).
MON – The section is switched into the Monitor audio path.
The Filters are post the Equaliser. Note that EQ IN must also be
selected for the section to be active. The section is pre the
Dynamics section if this has also been selected to the Monitor
audio path.
SPLT – Can be operated in combination with the above
selections and splits off the Filters to put them in circuit
immediately after the Channel Input section.
This allows the Filters to be used in channels feeding the
multitrack while in RECORD status, with the Equaliser being
used on the monitors only. This is also useful in the MIX mode,
when additional inputs are being brought into the mix via the
Small Faders. The Filters can be used on the signal passing
through the channel via the Large Fader, and the Equaliser
used on the signal being fed via the Monitor Input and the
Small Fader.
As with the Dynamics section, the Equaliser is completely bypassed when none of its
routing buttons are pressed.
SL 9000 J Console Operator’s Manual
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15.9.94
BELL
BELL
IN
MON E
IN
CH
OUT
DYN SC
SPLT
IN
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
Pull for EXP
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
INSERT
KEY
PRE
0
EQ
OVERLOAD
Parametric Equaliser
The equaliser can be switched between two different sets of
curves, one based on the G Series equaliser and one based on
the latest version of the classic E Series EQ.
HF Section:
Comprises a shelving filter with variable cutoff frequency and
a boost/cut control. This is switchable to a shallower curve by
selecting the ‘E’ switch. Selecting BELL in either mode
switches the filter to a peaking curve.
HMF Section:
Continuously variable Q (filter width), gain (±20dB) and centre
frequency controls (600Hz-7kHz).
LMF Section:
Continuously variable Q (filter width), gain (±20dB) and centre
frequency (200Hz to 2.5kHz) controls.
In normal operation, the HMF and LMF bands of the equaliser
have continuously variable bandwidth (Q). This is calculated
as the ratio of gain/bandwidth so that as the gain is decreased
the bandwidth increases. When the equaliser is switched to ‘E’
operation, the bandwidth remains constant at all gains, so at
lower gains the EQ curves are narrower for a given Q setting.
LF Section:
Comprises a shelving filter with variable cutoff frequency and
boost/cut control. This is switchable to a shallower curve by
selecting the ‘E’ switch. Selecting BELL in either mode
switches the filter to a peaking curve.
The SL911 Input/Output Module
3-7
8.9.94
BELL
BELL
IN
MON E
IN
CH
OUT
DYN SC
SPLT
IN
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
Pull for EXP
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
INSERT
KEY
PRE
0
EQ
OVERLOAD
Filters
The Filters can be completely bypassed when the controls are
turned fully anti-clockwise to the detented OUT position.
The High pass filter has a slope of 18dB per Octave and the
Low pass filter has a slope of 12dB per octave.
Overload Indicator
The overload circuit monitors the signal in the Channel path at
three different points. The level at which it lights can be
adjusted from the centre section between +18dBu and +24dBu
in 1dB steps. (See the SL9000J Service Manual for more details.)
The monitor points are: post-channel fader, post-insert point
and channel input pre any signal processing.
Insert Point
The insert point is switchable PRE or (normally) post the EQ
and before the fader. The Insert Send jack (Row E) always
carries the channel signal and is normalled down to the Insert
Return jack (Row F). The IN button switches the return back
into the signal path, hence switching in any device patched to
the insert jacks.
The insert IN button is automated. See the J Series Computer
Operator’s manual for more details.
The Insert Return can also be used as a key input to the
dynamics. Selecting KEY re-routes the insert return to feed the
dynamics side chain. See also Dynamics Section, Page 3-3.
SL 9000 J Console Operator’s Manual
3-8
22.12.94
BELL
BELL
IN
MON E
IN
CH
OUT
DYN SC
SPLT
IN
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
Pull for EXP
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
INSERT
KEY
PRE
0
EQ
OVERLOAD
Auxiliary Sends
This section comprises one stereo and six mono sends. Either
audio path, controlled by the Large or Small Fader within each
module, may be routed to any of the send busses, in any pre or
post-fader permutation.
Each send has a level control with a built-in push-on/push-off
switch so that levels may be preset and easily switched in and
out. These switches are automated and the On/Off switching
is electronically latched. A yellow LED indicates that the send
is ON. The stereo send also has a pan control.
The source select buttons for each send are:
SF (SMALL FADER) – When pushed down the send is derived
from the Small Fader signal path and when up, the send is
from the Large Fader signal path.
PRE – At the bottom of this section, four switches allow the
aux sends to be switched in pairs to be pre-fader. When pushed
down, the sends are derived pre-fader and when up, postfader.
EFX – Each aux send control can be disconnected from its own
bus and re-routed to any one of the four A, B, C, D stereo
busses, the multitrack busses or the channel direct output via
one of two ‘EFX’ busses which are internal to the module.
Pressing the EFX button on even numbered aux sends (2, 4 and
6) routes that send onto the EFX EVEN bus. A green LED lights
to show that the switch is active. Pressing the EFX button on odd numbered aux sends
(1, 3 and 5) routes that send onto the EFX ODD bus. A red LED lights to show that the
switch is active. Pressing EFX on the stereo send routes Stereo Cue left to EFX ODD
and Stereo Cue right to EFX EVEN. Only one aux send control can be assigned to an
EFX bus at any one time, ie. a maximum of one odd and one even numbered aux, or
the stereo aux. Lower numbered sends take priority over higher numbered ones. Cue
Stereo takes priority over all mono auxes.
This feature allows a large number of independent headphone or effects send mixes to
be generated, without using the Small Fader.
All the Aux send bus outputs appear on the jack field, and can be used as feeds to
effects units. See Section 5 for details of the Foldback and Studio Loudspeaker
systems.
The SL911 Input/Output Module
3-9
8.9.94
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
On
EFX
SF
EFX
ODD
L R
OVERLOAD
AUXES
CUE ST
FX1
FX2
On
On
#
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
#
#
#
#
#
#
Monitor Input and Small Fader Section
Monitor Input Section
The source selected by the MONITOR INPUT SECTION is
governed by the state of the GROUP and TAPE buttons, and
the PRE LF (Large Fader) and P(O)ST buttons.
Note that the PRE LF and P(O)ST buttons override TAPE and
GROUP, but for the time being we will assume that they have
not been selected.
The GROUP and TAPE buttons serve two functions:
1. To select which input will be presented to the Monitor fader
– the GROUP signal feeding the multitrack and/or the TAPE
return from the multitrack machine.
2. To al low the l arge re d RECORD button to function as a
Track Ready button.
Each RECORD button is connected to the corresponding
multitrack Track Ready remote, and is only ready (allowed) to
prime a track for record if either GROUP or TAPE is selected.
This acts as a safety feature to prevent accidental record
arming.
The RECORD button is engraved with the module and track
number to clearly indicate which tracks are being primed for
record. If the module RECORD button is on, then that track on
the multitrack will drop into record if the transport RECORD
button, in the centre section of the console or on the machine
itself, is pressed. Some machines allow the module RECORD
button to drop the machine directly into record whilst the
machine is running with its transport Record active. Other
machines need a fresh transport record command before a
primed track will go into record. You should check the logic of this before dropping in
for real!
SL 9000 J Console Operator’s Manual
3-10
8.9.94
24
SOLO
CUT
TAPE
M P
PST
LF
PRE
LF
SF
MIX
ISO
SOLO CUT
GROUP
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
ST
Machines that accept Sony 9-pin serial track ready commands
can be controlled directly from the channel RECORD buttons
via the J Series Computer. The computer can also light the
RECORD button lamps to provide a direct tally from the
machine’s serial port. See the J Series Computer Operator’s
Manual for details of how to map channel record buttons to
the appropriate serial machine control port. Links in the
module need to be set to enable this option.
The RECORD button can also be used to ready tracks for
record on SSL’s DiskTrack hard disk multitrack recorder (if
fitted). See the J Series Computer Operator’s Manual for more
details.
Small Fader
The 65mm ‘Small Fader’ can be in either the Channel or the
Monitor path, depending on the master desk status. In either
case it can be automated if required, in which case audio is
switched to a VCA. It has its own automation Status (ST)
switch and LEDs.
The Small Fader can also be used to provide an automated pan
control between Large and Small Fader signal paths. This
mode is selected from the J Series Computer by selecting ‘4
Channel Pan’ in the Desk Setup menu. This allows any or all
channels to be switched to this mode. In 4-Channel Pan mode
the Large Fader controls the overall level of both signal paths
while the Small Fader controls their relative levels.
4-Channel Pan mode can be used:
1. To generate mono or stereo surround mixes by routing the
Small Fader to one of the Stereo Subgroup busses. The Small
Fader will then provide panning from front to surround
outputs while the Small Fader pan will pan across the stereo
surround outputs.
2. To give automated left/right panning across the main Mix bus. If both faders are
routed to the main stereo Mix bus and one is panned left and the other right, then the
Small Fader will pan from left to right.
Note that, in 4-Channel Pan mode, the Small Fader cut switch is inactive and the Large
Fader cut switch or a Large Fader solo will cut both faders.
The SL911 Input/Output Module
3-11
22.12.94
24
SOLO
CUT
TAPE
M P
PST
LF
PRE
LF
SF
MIX
ISO
SOLO CUT
GROUP
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
ST
Small Fader Pan Control
The Small Fader pan control is always in circuit. When the
Small Fader is routed to the Multitrack or Stereo Subgroup
busses it pans between odd and even (or left and right) busses.
When routed to the main Mix bus it pans between left and
right unless the LCR pan option is fitted, in which case it will
follow the 2 CH/4 CH selection on the SL952 panel in the
centre section, switching between left/right and LCR panning.
In LCR mode the Small Fader will still pan between odd/left
and even/right Multitrack or Stereo Subgroup busses.
Small Fader Cut and Solo
These SOLO and CUT buttons are always associated with the
Small Fader, regardless of whether the Small Fader is a
Channel fader or a Monitor fader (as in RECORD + SMALL
FADER TO MON[ITOR] status).
Normally the SOLO buttons activate an ‘in place’ (destructive)
Solo function. This is useful when using the Small Faders as
Monitor faders in RECORD + SMALL FADER TO MON status.
However, if the Small Faders are being used as Channel faders
in RECORD status, the SOLO buttons can be switched to an
AFL (After Fader Listen) function by selecting AFL (or
STATUS LOCK) on the SL952 (See Section 5). The AFL signal
follows left/right and LCR channel pan selection (see above),
providing a true AFL-in-place function. The SOLO buttons can
also be used to provide a PFL (Pre Fade Listen) function by
selecting PFL on the SL952 panel in the centre section.
If SOLO IN FRONT is selected on the SL952, a mix of the AFL
signal and the main Mix signal will be heard on the main
monitors. A rotary control adjusts the balance between AFL
and MIX.
The CUT button always cuts (mutes) the Small Fader. However, depending on the
console Status and DIL switch and link settings in the module, it may or may not cut
the Pre-Fader Cue/Aux sends. This is explained in more detail on Page 3-16.
SL 9000 J Console Operator’s Manual
3-12
22.12.94
24
SOLO
CUT
TAPE
M P
PST
LF
PRE
LF
SF
MIX
ISO
SOLO CUT
GROUP
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
LF
MIX
ST
Small Fader Source and Destination
The console STATUS buttons determine if the Small Fader is placed in the Monitor or
Channel signal path. (See Section 2 for more details.)
The Small Fader can be routed direct to the main stereo Mix bus by selecting the SF
MIX button.
For your reference, the sources and destinations of the Small Fader signal are shown
below. The destinations shown are the default selections; these can be over-ridden
locally at any time:
Group/Tape Selections and the Supercue System
The GROUP and TAPE buttons are used to select monitor sources for the Monitor
fader and to determine the Pre-Fader Cue feeds. As already described, these buttons
also enable the module track RECORD facility. The table below lists the different
combinations of buttons and the resultant signals that are fed to the Monitor fader and
the Aux sends:
The SL911 Input/Output Module
3-13
15.9.94
Status Buttons Selected Small Fader Input Small Fader Output
MIX Monitor Input Routing Matrix
RECORD Channel Input Routing Matrix
RECORD + Monitor Input Stereo Mix Bus
SMALL FADER TO MON
Ready Button Monitor Fader Pre-Fader Record Switch
Selected Source Aux Feeds Enabled?
None TAPE TAPE NO
TAPE TAPE TAPE YES
GROUP GROUP GROUP YES
GROUP+TAPE GROUP+TAPE GROUP+TAPE YES
As can be seen above, both Group Output and Tape Return can be monitored together,
when both GROUP and TAPE buttons are selected. This is presented as a 1:1 mix. Note
also that when the TAPE button is selected on its own, the Cue sends still receive a
combination of Group and Tape, allowing the engineer to hear the drop-in while the
artiste can hear both himself (or herself) as well as a feed from the Sync head of the
ATR.
The table above applies while the multitrack is not running in Record. When the
machine is in Record, the console senses the machine record line and then adjusts the
monitor sources accordingly (see below). This facility of automatic source selection is
called the SSL Supercue System.
Let’s first look at the Monitor fader source before and during the drop-in. The
following table shows the sources that will be selected:
and for the Pre-Fader Cue feeds:
* The asterisk indicates that the Supercue System has switched from GROUP+TAPE to
the GROUP signal only.
† Indicates that this condition will give TAPE if LK2 on the module’s EQ/Dynamics
card is set to ON (which forces Monitor Tape when TAPE is selected). This may have
some ramifications in the following text.
SL 9000 J Console Operator’s Manual
3-14
8.9.94
Ready Button Selected Monitor Fader Source Monitor Fader Source
Pre-Drop-in During Drop-in
TAPE TAPE GROUP †
GROUP GROUP GROUP
GROUP+TAPE GROUP+TAPE GROUP *
Ready Button Selected Pre-Fader Cue Source Pre-Fader Cue Source
Pre-Drop-in During Drop-in
TAPE GROUP+TAPE † GROUP * †
GROUP GROUP GROUP
GROUP+TAPE GROUP+TAPE GROUP *
In the Control Room
When laying fresh tracks it is possible to monitor either the GROUP or TAPE signal.
GROUP allows you to meter signals going to the multitrack.
Remember that when TAPE only is selected, you will only hear a signal if the
multitrack is playing, or if the multitrack automatically switches to Input when
stopped. When the machine is in Record the monitoring automatically switches to
GROUP. The metering however will continue to meter TAPE, which may in turn be
effectively GROUP if the machine switches to Input when in record. TAPE will allow
you to hear a “clean edit” when dropping in (i.e. the Sync output of the multitrack
prior to the drop-in point and then the Group Output after the drop in point, switched
when the track drops into record).
When over dubbing, selecting TAPE and GROUP together will allow you to hear the
artiste playing along with the previously recorded track prior to the drop-in, and then
the Group signal on its own during the drop-in.
It may seem like things are getting a little too complicated here. Don’t you think it
would be better if we all agreed to record direct to 2 Track?
In the Headphones
Let’s assume that both TAPE and GROUP are selected. This means that the mic is
always present in the headphones and allows the artiste to play or sing along with the
previous take, and in many cases pick up any complex nuances that were in the
original performance. The artiste will hear himself (or herself) as well as the machine
Sync output up to the drop-in point.
After the drop-in point, the TAPE signal is switched off.
The SL911 Input/Output Module
3-15
22.12.94
Monitor Cut and Solo
When laying tracks it is often preferable to be able to CUT and SOLO the Monitor
feeds without cutting the Pre-Fader Cue sends to the studio headphones. There is a
link option (LK3) on the upper module card which determines if the Monitor PreFader Cue sends are cut by the Monitor Cut or not.
In RECORD or REPLAY status, Large fader Cuts do not cut the Pre-Fader Aux sends if
this option has been selected.
In any other status, Pre-Small Fader Aux sends will not be cut by the Small Fader Cut
button if this option has been selected.
Small Faders as Extra Auxiliary Sends
The PRE LF and P(O)ST LF buttons, next to the SMALL
FADER, provide a me ans of feeding the C hann el signal into
the Monitor path in place of the GROUP and TAPE selections.
Note that these two buttons override any GROUP or TAPE
selection.
This is very useful in MIX status for deriving automated
auxiliary sends or clean feeds (see Section 2). These can then
be fed to the Routing Matrix and out to effects devices or cue
lines e.g. Groups 25-48 can be used as clean feeds of a live mix,
the Small Faders being used to send the Channel signal to as
many of these clean feeds as required.
Note that when 4-Channel Pan mode is selected from the computer screen, POST LF is
selected automatically, although the LED does not light.
SL 9000 J Console Operator’s Manual
3-16
22.12.94
24
TAPE
PST
LF
PRE
LF
SF
MIX
GROUP
C
LR
PAN
trim
abs
10
5
0
5
Buttons Selected Source of Small Fader Input
PRE LF Pre-Large Fader
POST LF Post-Large Fader
Large Fader
The LARGE FADER will usually be fed from the CHANNEL INPUT SECTION.
However there are exceptions as this table shows:
Large Fader Pan Control
The Large Fader pan control is always in circuit. When the
Large Fader is routed to the Multitrack or Stereo Subgroup
busses it pans between odd and even (or left and right) busses.
When routed to the main Mix bus it pans between left and
right unless the LCR pan option is fitted, in which case it will
follow the 2 CH/4 CH selection on the SL952, switching
between left/right and LCR panning. In LCR mode the Large
Fader will still pan between odd/left and even/right
Multitrack or Stereo Subgroup busses.
For information on the ST(atus), M(atch) and P(lay) buttons,
please see the J Series Computer Operator’s Manual.
The large illuminated SOLO and CUT buttons are always associated with the Large
Fader.
SOLO – Normally the SOLO buttons activate an ‘in place’ (destructive) Solo function.
This is useful when using the Large Faders as Monitor faders in RECORD status.
However, if the Large Faders are being used as Channel faders in RECORD + SMALL
FADER TO MON status, the SOLO buttons can be switched to an AFL (After Fader
Listen) function by selecting AFL (or STATUS LOCK) on the SL952 (See Section 5).
The AFL signal follows left/right and LCR channel pan position (see above),
providing a true AFL-in-place function. The SOLO buttons can also be used to
provide a PFL (Pre Fade Listen) function by selecting PFL on the SL952 panel in the
centre section.
The SL911 Input/Output Module
3-17
22.12.94
Status Buttons Selected Large Fader Input Large Fader Output
MIX Channel Input Stereo Mix
RECORD Monitor Input Stereo Mix
RECORD + Channel Input Routing Matrix
SMALL FADER TO MON
M P
ISO
SOLO CUT
RL
C
REC
30
40
60
0
0
LF
MIX
ST
If SOLO IN FRONT is selected on the SL952, the SOLO
buttons provide a mix of the AFL signal and the main Mix
signal on the main monitors. A rotary control adjusts the
balance between AFL and MIX.
Solo Isolate
If the module’s ISO switch is selected, then the Large fader
signal path will not be cut by another channel being Soloed.
The ISO switch can also solo isolate the Small Fader. To do this
hold down the Small Fader SOLO switch while selecting ISO.
The solo isolate function will now always apply to the Small
Fader. This link can be cleared by holding down the Large
Fader SOLO switch and selecting ISO (or by turning the
console off and on again).
CUT – When the Large Fader is used in the Channel signal path the CUT button
normally cuts the channel in two places – at the input and immediately post the fader.
This means that Pre-fade aux sends will be muted by the Cut switch or by a
Destructive Solo
STATUS – This switch beside the Large Fader (see opposite) is related to the
automation system, as are the trim, abs and alt LEDs. See the J Series Computer
Operator’s Manual for more details.
SL 9000 J Console Operator’s Manual
3-18
22.12.94
SOLO
CUT
M P
ISO
SOLO CUT
RL
C
REC
10
20
30
40
60
0
0
LF
MIX
ST
Large Fader Subgrouping
The Large Fader can be assigned to one of the eight GROUP
FADERS located in the console centre section. The number of
the Group fader to which a channel is assigned is displayed in
a 7-segment LED display next to the fader (see opposite).
Group Faders can also be assigned to other Group Faders, so
many combinations of subgrouping can be achieved.
To a ss ig n a Larg e Fade r to a hard war e gro up , sele ct HARD
GROUP SETUP on the SL955 Motion Control panel in the
centre section. Now by quickly pressing the switch at the
bottom of the fader, the 7-segment display will increment by
one. If the switch is held down for a short period it will
decrement the display by one.
If 0 is selected on the display, then the fader will be cut by
Group Fader solos. If the display is blank then the fader is
unaffected by group solos.
Both the Large Faders and the Group Faders are connected to
the J Series Computer for automated mixing.
The SL911 Input/Output Module
3-19
8.9.94
SOLO CUT
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
group
24
#
Channel Outputs
Routing Matrix
The console has as many Group Outputs as there are I/O
modules. The Routing Matrix allows any module to route to
any or all of the first 48 of these Group Outputs.
The matrix may be fed from either fader path depending on
the console’s master STATUS selection and the module’s
Routing Matrix source select switches.
There are four main uses for this matrix:
1. In RECORD or REPLAY status, the Channel signal can be
fed to any multitrack group for track laying, usually from the
SMALL FADER or, if SMALL FADER TO MON(ITOR) is
selected, from the LARGE FADER. The PAN control of the
source fader will pan between Odd and Even groups (the odd
Group is the left of the pair and the even Group is the right).
2. In MIX status either the SMALL FADER signals (or the
LARGE FADER if the default source selection is overridden
locally) can be fed to the Routing Matrix for audio
subgrouping on any of the first 48 channels. Having been
routed to the selected bus(ses), these signals can be picked up
on the corresponding LARGE FADER by pressing the SUB GP
button, or on the SMALL FADER via the Group Monitor input
by selecting the GROUP button.
3. In MIX mode the SMALL FADER can be used as an
additional, automated, send via a Multitrack bus. Using the
PRE LF and P(O)ST LF buttons next to the SMALL FADER,
the Channel signal, pre- or post-Large Fader, can be routed to
a Multitrack bus and then patched, from Row G, to an effects
unit input.
Note that these buttons are also active in RECORD and REPLAY status.
SL 9000 J Console Operator’s Manual
3-20
8.9.94
FLIP
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SUB GP
dB
SL911
BUS
-30 0
STEREO SUB Gp
GROUP
FADER
LF SF
EFX EFX
ODD EV
EFX EFX
ODD EV
Buttons Selected Source of Small Fader Input
PRE LF Pre-Large Fader
POST LF Post-Large Fader
4. Any of the auxiliary send controls can be used as an
additional send, via the ‘EFX’ system. See Auxiliary Sends on
Page 3-9 for further details.
Routing Bank Select Switches
These two switches determine whether the 24 routing
switches feed to busses 1-24 or 25-48, or both. If neither is
pressed the Routing Matrix switches above are inactive.
The Routing Source Select Switches
The source for the multitrack Routing Matrix is determined by
the four Source Select switches below the 48 bus routing
switches. These are LF, SF, EFX ODD and EFX EV(EN). LF
and SF are inter-cancelling, electronically latched, switches.
Pressing either one will toggle the source selection between
Small and Large Fader.
Selecting EFX ODD will feed any aux signal routed to EFX
ODD to both odd and even numbered busses. Selecting EFX
EV will feed any aux signal routed to EFX EV to both odd and
even numbered busses. Selecting both together will feed the
EFX ODD signal to odd numbered busses and the EFX EV
signal to even numbered busses. The EFX selections override
the LF and SF switches.
The table below shows default source selection for the Routing
Matrix according to console status. These selections can be
overridden locally at any time.
The SL911 Input/Output Module
3-21
8.9.94
FLIP
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SUB GP
dB
SL911
BUS
-30 0
STEREO SUB Gp
GROUP
FADER
LF SF
EFX EFX
ODD EV
EFX EFX
ODD EV
Status Routing Matrix fed from
RECORD/REPLAY Channel Input via SMALL FADER
RECORD/REPLAY Channel Input via LARGE FADER
+ SMALL FADER TO MON
MIX Monitor Input via SMALL FADER
Stereo Subgroup Bus Routing
Four switches, A, B, C and D, route the module to any one or
all of the four Stereo Subgroup busses. Sources for these Stereo
Subgroup busses are determined by the four Source Select
switches below the bus routing switches. These are LF, SF,
EFX ODD and EFX EV(EN). Selecting LF or SF will feed the
post-pan control signal from the Large or Small Fader to the
Stereo Subgroup bus routing. Selecting EFX ODD will feed
any aux signal routed to EFX ODD to both left and right
busses. Selecting EFX EV will feed any aux signal routed to
EFX EV to both left and right busses. Selecting both together
will feed the EFX ODD signal to left busses and the EFX EV
signal to right busses. The EFX selections over ride the LF and
SF switches.
Group Output Section
This section of the module, below the Routing Matrix,
comprises a bus mixing amplifier with gain control and the
source select buttons for the Group Output.
The Group Output can be sourced from four sources:
1. The corresponding Multitrack bus (all switches up).
2. FADER – This button provides a means of routing the post-
channel fader signal on that module directly to the
corresponding Multitrack Group Output. This bypasses the
Routing Matrix, the track mix bus, the bus mix amp and the
Bus Trim control. This routing selection improves noise figures
but disables all other channels routed to that Group Output, as
the Group mix amp is disconnected from the Group Output
(see Section 2). The bus mix amp will, however, still feed the
SUB GP button on the Channel Input Section. Either the green
or yellow LED below the FADER switch will light to indicate
which fader is the source; yellow indicates Small Fader, green
indicates Large Fader.
SL 9000 J Console Operator’s Manual
3-22
8.9.94
FLIP
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SUB GP
dB
SL911
BUS
-30 0
STEREO SUB Gp
GROUP
FADER
LF SF
EFX EFX
ODD EV
EFX EFX
ODD EV
3 & 4. EFX ODD and EFX EV(EN) feed the corresponding EFX
bus to the Group Output, allowing this output to be fed via an
aux send control.
Bus Mix Amp and Trim Control
The mix amp takes its input from the associated Multitrack
mix bus (e.g. all signals routed to Multitrack Bus 7 will be
controlled by the bus mix amp on Module 7). The channel
Group Output appears on patch row G where the signal is
normalled down to the Multitrack Send (i.e. to the record
inputs of the multitrack) and to the Group Monitor Input via
the GROUP button, located at the top of the Small Fader
section.
The BUS trim control attenuates the combined level of signals
routed to that bus, and normally these controls are left fully up
(clockwise). Their main use is for attenuating a Group Output
when, for example, several channels have been assigned to a
bus and a relative balance has been set on the faders. If the
overall signal level is too high, then the BUS trim control can
be adjusted to send an optimum level to the output and
therefore to the multitrack.
When a track bus is not being used as a multitrack send, it may
be routed to the corresponding CHANNEL INPUT SECTION,
by pressing SUB GP on that module (see also Page 3-2). The
channel will now act as an audio subgroup, and the BUS trim
as the channel input gain control.
The SL911 Input/Output Module
3-23
8.9.94
FLIP
25/481/24
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LF SF
EFX EFX
ODD EV
12 3 4
25 26 27 28
A B C D
SUB GP
dB
SL911
BUS
-30 0
STEREO SUB Gp
GROUP
FADER
LF SF
EFX EFX
ODD EV
EFX EFX
ODD EV
SL 9000 J Console Operator’s Manual
3-24
8.9.94
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SECTION 4
Signal Processor Routing
4-i
13.9.94
SL 9000
J.SERIES
SL 9000
J.SERIES
SL 9000 J Console Operator’s Manual
4-ii
13.9.94
Signal Processor Routing
Each SL911J Input/Output module contains three separate
signal processing devices:
• The 4-band Parametric Equaliser
• The High and Low Pass Filters
• The Dynamics Section
comprising a compressor/limiter
and expander/gate.
These processors can be used in either the Channel or the
Monitor signal paths. Seven buttons are used to determine
where each processor will be placed in the signal chain.
Diagrams on the following pages show the various possible
combinations.
Signal Processor Routing
4-1
22.12.94
BELL
BELL
IN
MON E
CH
IN
CH
OUT
MON
DYN SC
SPLT
LINK
IN
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
RATIO
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
1
0
0
0
+10 20
1 4
0 40
30 +10
0
14
0 4
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
INSERT
KEY
PRE
0
EQ
Processor Routing Buttons
The first two examples show that the Equaliser and Filters are normally treated as a
single unit, which may be switched into either the Channel or Monitor path. All these
diagrams show input and fader selections for the RECORD status. Note that the
Channel Input Section always feeds the Channel signal path and the Monitor Input
Section always feeds the Monitor signal path.
Note that the Filters normally follow the Equaliser, but see opposite page. The E
button is used to select alternative parameters for the EQ, and has no effect on the
position of the EQ in either signal path.
As well as the MON button, the EQ IN button must also be pressed to switch the EQ
into circuit in the Monitor path. This represents a change from the SL4000, caused by
the fact that the EQ IN button is automated and the EQ may be switched in or out of
both the Channel and Monitor paths under computer control.
SL 9000 J Console Operator’s Manual
4-2
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
4 BAND
EQUALISER
Hi & Lo
FILTERS
The SPLT Button always splits the Filters away from the Equaliser and places them
directly after the input section. This allows the Equaliser to be placed in the Monitor
path and the Filters in the Channel path:
Signal Processor Routing
4-3
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
Hi & Lo
FILTERS
4 BAND
EQUALISER
The Dynamics section can also be switched to either the Channel or Monitor path:
SL 9000 J Console Operator’s Manual
4-4
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
GATE
EXPAND
COMPRESSOR
LIMITER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
GATE
EXPAND
COMPRESSOR
LIMITER
The Equaliser may be placed in the Channel path and the Dynamics in the Monitor
path:
The Dynamics section may be placed pre or post the Equaliser in the Channel using
the CH IN or CH OUT buttons:
Signal Processor Routing
4-5
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
Using the SPLT button, the Filters may be placed pre-Dynamics and the Equaliser
positioned post-Dynamics in the Channel.
It is also possible, using the SPLT button, to place the Filters in the Channel path while
the Equaliser and Dynamics sections are in the Monitor path, although this is not
shown. Note that the Dynamics section always follows the Equaliser when they are
both placed in the Monitor path.
Access is also provided to the level sensing sidechain of the Dynamics section. The
Filters may be placed in the sidechain, by the selection of the Filters’ DYN SC button,
with the Dynamics section in either the Channel or Monitor path. Frequency
dependent effects such as stressing or de-essing are thus easily achieved. This is also
useful for filtering out unwanted signals when gating. For example,when gating
drums, the cymbal frequencies can be filtered out of the sidechain signal to prevent the
gates on the drums from opening when the cymbals are played.
SL 9000 J Console Operator’s Manual
4-6
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
DYNAMICS SIDECHAIN
COMPRESSOR
LIMITER
The Equaliser may be placed in the Channel, the Dynamics in the Monitor and the
Filters switched to the sidechain input:
The Dynamics section can be ‘keyed’ from an external signal connected to the I/O
module’s Insert Return jack (Row F). Selecting the Insert Point’s IN and KEY buttons
re-routes the insert return to feed the Dynamics’ sidechain input. This provides an
easy method of setting up gated reverbs etc.
Signal Processor Routing
4-7
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
DYNAMICS SIDECHAIN
COMPRESSOR
LIMITER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
DYNAMICS SIDECHAIN
COMPRESSOR
LIMITER
INSERT RETURN JACK
In addition to the ‘keying’ facility described above, the Dynamics section may also be
keyed from an external signal by selecting either CH IN and MON or CH OUT and
MON. The key signal is taken from the Monitor Input pre-fader, so patching into the
Group Monitor Input or Tape Monitor Input will access the sidechain. As the Monitor
Input can pick up the module’s Group Output (ie. Module 21 can monitor Group
Output 21) signals can be routed to the module’s Group via the Routing Matrix and be
selected to the sidechain input with the GROUP button. This application, especially
useful when mixing, where a module’s Dynamics section is keyed from another
module, is covered in more detail in the applications guide.
In addition to each module’s internal signal processing, external processing devices
may be connected into the Channel signal path via the Insert Send and Return points
on the patchbay (Rows E and F). Note that the Insert IN switch is automated.
The Insert normally follows the Equaliser (and Filters if not split):
SL 9000 J Console Operator’s Manual
4-8
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
Hi & Lo
FILTERS
GATE
EXPAND
DYNAMICS SIDECHAIN
COMPRESSOR
LIMITER
4 BAND
EQUALISER
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
INSERT
By selecting PRE and IN, the Insert may be placed before the Equaliser. Note that, in
the following example SPLT has placed the Filters directly after the Channel Input:
And finally, how about this:
Signal Processor Routing
4-9
13.9.94
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
GATE
EXPAND
COMPRESSOR
LIMITER
INSERT
C
H
A
N
N
E
L
M
O
N
I
T
O
R
Small
Fader
Large
Fader
10
5
0
5
10
20
30
40
50
IN
MON ESPLT
EQ
CH
IN
CH
OUT
MON
DYN SC
DYNAMICS
IN
KEY
PRE
INSERT
EQUALISER
FILTER
LINE
MIC
FLIP
SUB GP
TAPE
GROUP
INPUT SIGNAL PROCESSOR PLACEMENT FADERPROCESSOR SWITCHING
4 BAND
EQUALISER
Hi & Lo
FILTERS
INSERT
GATE
EXPAND
COMPRESSOR
LIMITER
SL 9000 J Console Operator’s Manual
4-10
13.9.94
Solid State Logic
SL 9000 J Series
Total Studio System
Console Operator’s Manual
SECTION 5
The Console Centre Section
5-i
21.12.94
SL 9000
J.SERIES
SL 9000
J.SERIES
SL 9000 J Console Operator’s Manual
5-ii
21.12.94
AUTO
MODES
FADER
PROT
HARD
GROUP
SETUP
SOFT
GROUP
SETUP
PROJECT
SETTINGS
REM
MTR
EFFECT
REC1REC2REC3REC
4
SER
REC
ENABLE
D/TRK
REC
ENABLE
ENABLE1ENABLE2ENABLE3ENABLE
4
SERIAL
M/C
ARM
NETWORK
M/C
ARM
SWITCH
PROT
SWITCH
GRP
SETUP
JOG
VARI
SPEED
FEED
BACK
SAVE
PROJECT
SAVE
TR
7 8 9
4 5 6
1 2 3
0 00
MARK
NAME
MARK
TC 1 TC 2 TC 3 TC 4 TC 5
< >
JOIN FSM
CYCLE
START
CYCLE
CYCLE
END
OVERVIEW
EVENTS
FADERS
GOTO
CLEAR
SNAPSHOTS
AUTOFADE
AUTO
CLEAR
AUTO
MOTORS
ON/OFF
MERGE
TRIM
DISPLAY
PROJECT
GROUPS/PROTECTION
AUTOMATION
MACHINE CONTROL
VIDEO
1
CHANNEL
NAMES
+
-
=
DISCARD
IMMED
PICKUP
TRIM
RENULL
AUTO
T/OVER
LEVEL
MATCH
PREVIEW SNAP
AUTO
GLIDE
USE
ABS
USE
TRIM
MIX
DESK
RECALL
MACHINES
MISC
FILE
/
SETUP
MASTER
MENUS
USER DEFINED FUNCTION S
MOTION
STOP RECORDPLAY
TRANSPORT
<< >>
OKQUIT
!
O/VIEW
O/VIEW
"
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
trim
abs
alt
status
SSL
10
5
0
5
10
20
30
40
50
group
#
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
0
0
STEREO RETURN 1
STEREO BUSES
LEVEL
A
CUE / FX SENDS
STEREO CUE
FX1 FX2
LEVEL
BALANCE
LEVEL LEVEL
FX4FX3 FX5 FX6
LEVEL LEVEL LEVEL LEVEL
STEREO RETURN 2
LEVEL
B
STEREO RETURN 3
LEVEL
C
STEREO RETURN 4
LEVEL
D
STEREO ECHO RETURNS
LR
C
+
-20 +20
CAL
0
0
RATIO
ATTACK - mS
THRESHOLD MAKE-UP
RELEASE - S
Listen 2
0
0
Listen 1
pull to cut
0
0
Slate Level
0
0
TB to SLS
0
0
TB to Foldback
48V +22V +18V +5V -18V -22V
.1
.31310
30
.1
.3.61.2
AUTO
2420
OSCILLATOR
LEVEL
FREQ
48
100
220
440 1K
3K
10K
15K
0
STUDIO LOUDSPEAKERS
F/B A F/B B F/B C
STUDIO HEADPHONES
0
0
0
LEVEL
ST MIX
EXT 1
EXT 2
CUT
AFL
0
0
LEVEL
ST CUE
EXT 1
EXT 2
CUT
AFL
KEY
IN
ONMIX
A B C D
BUSES
1-48
0
4
8
12
16
20
dB
COMPRESSION
MONO FULL
0
0
STUDIO
WIDTH
BALANCE
0
0
+6
LCR
L/R
C
S
CUT
AFL
FB A
FB B
FB C
MONO
+10
0
0
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
COMPRESSOR
SOLO
IN
FRONT
A/PFL
TO
MINIS
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUTSOLO CUT
MASTER
READY
GROUP
STATUS
FX BUS
MONITOR
MODE
12
MONITOR LEVEL MONITOR MODE
SOLO MODE
MAIN METERS CHANNEL METERS
MONITOR CUTS
MINI LS
DIM
LEVEL
MIX AFL
SOLO IN FRONT
AFL / PFL
LEVEL
0
0
60
40
30
50
20
15
10
5
0
0
0
60
40
30
50
20
15
10
5
0
abs
trim
OFFSET
MIX
COMMUNICATIONS
EXTERNAL MONITOR
0
2
1
3
456
7
8
9
10
0
1
2
3
456
7
8
9
10
REC
ST
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
MIX
ST
CUE
ST D
ST C
ST B
ST A
EXT 1
EXT 2
EXT 3
EXT 4
EXT 9
EXT 5
EXT 6
EXT 7
EXT 8
MIX
LINK
SUM
DESK
OUTPUT
FOLLOW
MONITOR
EXT 1 EXT 2
STORE
PEAK
DISPLAY
PEAK
CLEAR
PEAK
CAL
METERS
VU PPM
LF
MIXSFMIX
METER
INPUT
PFL AFL
ALT FLEET
SOLO
CLEAR
SOLO
LINK
CENTRE
LEFT RIGHT
SURR
4 CH 2 CH
EXT1EXT
2
MINIAMINI
B
MON
INS
MONO
DIM CUT
MP
RED
LIGHT
CUE
LIGHT
SLATE
EXT
T/B
SLS F/B A
AUTO
CUE
F/B B
LISTEN F/B C
4 TRK
1
4 TRK
2
4 TRK
3
FX FX
ST
CUE
SOLO
IN
FRONT
A/PFL
TO
MINIS
C/SECT
SELECT
0
0
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
24
FLIP
Ø
25/481/24
SOLO
CUT
TAPE
BELL
BELL
IN
MON
M P
ST
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LFSF
FX FX
ODD EV
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
123 4
25 26 27 28
+20dB
PST
LF
PRE
LF
SF
MIX
On
LINK
A B C D
SUB GP
IN
EFX
SF
EFX
ODD
LF
ISO
SOLO CUT
GROUP
0
0
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXS
CUE ST
FX1
FX2
On
0
0
On
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
1 4
0 40
30 +10
0
1 4
0 4
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
DIRECT
FADER
INSERT
KEY
PRE
0
SF
LF
FX FX
ODD EV
FX FX
ODD EV
48V
EQ
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
0
0
group
24
RECORD
OVERLOAD
52
44
36
28
24
20
18
16
14
12
10
8
6
4
2
0
20
10
7
5
3
2
1
0
1
2
3
25
FLIP
Ø
25/481/24
SOLO
CUT
TAPE
BELL
BELL
IN
MON
M P
ST
5678
29 30 31 32
9 10 11 12
33 34 35 36
17 18 19 20
41 42 43 44
21 22 23 24
45 46 47 48
1613 14 15
37 38 39 40
LFSF
FX FX
ODD EV
E
HIGH-Z
CH
IN
CH
OUT
MON
DYN SC
SPLT
1/2
PRE
3/4
PRE
5/6
PRE
CUE
PRE
EFX
EV
SF
SF
1234
25 26 27 28
+20dB
PST
LF
PRE
LF
SF
MIX
On
LINK
A B C D
SUB GP
IN
EFX
SF
EFX
ODD
LF
ISO
SOLO CUT
GROUP
0
0
LR
KHz
dB
HMF
dB
Q
KHz
LMF
dB
Q
KHz
LF
dB
Hz
OVERLOAD
AUXS
CUE ST
FX1
FX2
On
0
0
On
+
+
0
1 5 16
67
+
2 2 5
0
+
0
30 450
C
RL
C
LR
PAN
trim
abs
REC
10
5
0
5
10
20
30
40
60
0
0
RATIO
LINE
dB
SL911
BUS
dB
dB
MIC
20
14
10
6
3
DYNAMICS
PK
Pull
THRESHOLD
RELEASE
THRESHOLD
RANGE
RELEASE
HOLD
Pull for fast attack
Pull for fast attack
Pull for EXP
-30 0
20 +20
+15 +75
1
0
0
0
+10 20
1 4
0 40
30 +10
0
1 4
0 4
0
KHz
FILTERS
Hz
HF
OUT
350
3
OUT
STEREO SUB Gp
DIRECT
FADER
INSERT
KEY
PRE
0
SF
LF
FX FX
ODD EV
FX FX
ODD EV
48V
EQ
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX3
FX4
On
0
0
0
0
EFX
EV
SF
SF
On
EFX
ODD
FX5
FX6
On
0
0
0
0
LF
MIX
trim
abs
alt
status
SL978
SSL
10
5
0
5
10
20
30
40
50
0
0
group
25
LEFT RIGHT
CENTRE SURR
Ø
M
MONITOR DIM
MONITOR SOLO
LISTEN MIC
STUDIO LS
The Console Centre Section
The centre section of a J Series console is fitted, as standard, with two centre bays, one
eight modules wide and one ten modules wide (see opposite).
Located to the left of the centre section, the SL 952/953J Master Facilities Module
houses the master logic controls, monitoring and metering controls, auxiliary send and
echo return masters, communications facilities, power supply rail indicators and a test
oscillator.
Eight master control group faders are located below the SL952J.
The control panel and colour monitor for the J Series Studio Computer are mounted to
the right of the centre section. A tablet and pen, for access to the computer’s on-screen
menus and functions, are fitted in the fader tray below the control panel. A QWERTY
keyboard is provided in a pull-out drawer below the tablet. For more details please
read the J Series Computer Operator’s Manual.
The SL 952/953J Master Facilities Module
While reading this section you may like to refer to the fold-out drawing of the console
layout, located at the front of this manual.
Power Supply Indicators
Working down from the top of the panels, one of the first sections you will meet has
six LEDs which display the current state of power rails within the console.
The 48 volt supply provides phantom power to the mic lines; the bipolar 18 and 22
volt, and the 5 volt supplies are for audio and logic circuitry respectively.
±14 volt supplies provide power for the fader motors and the meter back lights. There
are no LEDs to indicate the state of these rails, but the absence of meter illumination
will provide a clue if they are missing!
All LEDs should normally be illuminated, if not – PANIC!
The Centre Section
5-1
3.1.95
SL 9000 J Console Operator’s Manual
5-2
21.12.94
SOLO
IN
FRONT
A/PFL
TO
MINIS
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUTSOLO CUT
MASTER
READY
GROUP
STATUS
FX BUS
MONITOR
MODE
12
MONITOR LEVEL MONITOR MODE
SOLO MODE
MAIN METERS CHANNEL METERS
MONITOR CUTS
MINI LS
DIM
LEVEL
MIX AFL
SOLO IN FRONT
AFL / PFL
LEVEL
0
0
60
40
30
50
20
15
10
5
0
0
0
60
40
30
50
20
15
10
5
0
abs
trim
OFFSET
MIX
COMMUNICATIONS
EXTERNAL MONITOR
0
2
1
3
456
7
8
9
10
0
1
2
3
456
7
8
9
10
REC
ST
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
MIX
ST
CUE
ST D
ST C
ST B
ST A
EXT 1
EXT 2
EXT 3
EXT 4
EXT 9
EXT 5
EXT 6
EXT 7
EXT 8
MIX
LINK
SUM
DESK
OUTPUT
FOLLOW
MONITOR
EXT 1 EXT 2
STORE
PEAK
DISPLAY
PEAK
CLEAR
PEAK
CAL
METERS
VU PPM
LF
MIXSFMIX
METER
INPUT
PFL AFL
ALT FLEET
SOLO
CLEAR
SOLO
LINK
CENTRE
LEFT RIGHT
SURR
4 CH 2 CH
EXT1EXT
2
MINIAMINI
B
MON
INS
MONO
DIM CUT
MP
RED
LIGHT
CUE
LIGHT
SLATE
EXT
T/B
SLS F/B A
AUTO
CUE
F/B B
LISTEN F/B C
4 TRK
1
4 TRK
2
4 TRK
3
FX FX
ST
CUE
SOLO
IN
FRONT
A/PFL
TO
MINIS
C/SECT
SELECT
0
0
Status Buttons
This group of buttons, located in the upper left of the SL952 panel (see opposite), is
extremely important as they control signal routing paths within the I/O modules.
Four different status configurations are available. These are described in detail in
Section 2 but briefly function as follows:
RECORD – This status is designed for recording sources to a multitrack machine. It
switches all channel inputs to Mic and the multitrack machine (optionally) to Sync
Replay. The channel inputs are fed via the Small faders to the multitrack Routing
Matrix, and thus to the multitrack. The Large Faders take the multitrack returns
and/or the group sends (depending on the selection of GROUP and TAPE buttons)
and feed these to the main output busses for control room and studio monitoring.
REPLAY – The same routing configuration as RECORD status but (optionally)
switches the multitrack to normal Replay. All Large Fader inputs switch to TAPE,
overriding any GROUP selections. This allows for quick monitor mixes of the
recorded tracks, via the main outputs.
MIX – This status switches the multitrack (optionally) to Replay. All channel inputs
are switched to Line to pick up the multitrack returns and feed them to the Large
Faders and then on to the main output busses for remixing. The Small Faders take
their input from the GROUP/TAPE selections but now feed the multitrack Routing
Matrix, and can be used for additional inputs to the mix. The Routing Matrix allows
these faders to feed the multitrack busses or the stereo busses; the SF MIX button, on
individual channels, allows Small Fader signals to directly feed the Main mix busses.
The Small Faders can also be used as additional stereo or mono auxiliary sends from
each channel.
RECORD + MIX – When the RECORD and MIX buttons are pressed together, the
multitrack (optionally) switches to Sync replay. All channels behave as if they were in
MIX status unless an I/O module’s TAPE or GROUP button is pressed, which then
makes that particular channel behave as if it were in RECORD status. This is a useful
mode for overdubbing tracks.
The additional buttons within this section function as follows:
MASTER INPUT FLIP – Flips all channel inputs between Mic and Line.
SMALL FADER TO MON(ITOR)– In RECORD or REPLAY status, this flips the
Small and Large Faders so that the Large Faders feed sources to the Routing Matrix
and the Small Faders are used for the monitor mix.
MASTER READY GROUP – Selects all modules to GROUP. This allows you to
quickly set up the desk so that the monitor faders and meters are fed from the
modules’ Group Outputs. It also provides a quick way to check the desk outputs when
aligning the multitrack.
The Centre Section
5-3
22.12.94
SL 9000 J Console Operator’s Manual
5-4
21.12.94
SOLO
IN
FRONT
A/PFL
TO
MINIS
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUTSOLO CUT
MASTER
READY
GROUP
STATUS
FX BUS
MONITOR
MODE
12
MONITOR LEVEL MONITOR MODE
SOLO MODE
MAIN METERS CHANNEL METERS
MONITOR CUTS
MINI LS
DIM
LEVEL
MIX AFL
SOLO IN FRONT
AFL / PFL
LEVEL
0
0
60
40
30
50
20
15
10
5
0
0
0
60
40
30
50
20
15
10
5
0
abs
trim
OFFSET
MIX
COMMUNICATIONS
EXTERNAL MONITOR
0
2
1
3
456
7
8
9
10
0
1
2
3
456
7
8
9
10
REC
ST
MASTER
INPUT
FLIP
SMALL
FADER
TO MON
RECORD REPLAY MIX
STATUS
LOCK
FX 1
FX 2
FX 3
FX 4
FX 5
FX 6
MIX
ST
CUE
ST D
ST C
ST B
ST A
EXT 1
EXT 2
EXT 3
EXT 4
EXT 9
EXT 5
EXT 6
EXT 7
EXT 8
MIX
LINK
SUM
DESK
OUTPUT
FOLLOW
MONITOR
EXT 1 EXT 2
STORE
PEAK
DISPLAY
PEAK
CLEAR
PEAK
CAL
METERS
VU PPM
LF
MIXSFMIX
METER
INPUT
PFL AFL
ALT FLEET
SOLO
CLEAR
SOLO
LINK
CENTRE
LEFT RIGHT
SURR
4 CH 2 CH
EXT1EXT
2
MINIAMINI
B
MON
INS
MONO
DIM CUT
MP
RED
LIGHT
CUE
LIGHT
SLATE
EXT
T/B
SLS F/B A
AUTO
CUE
F/B B
LISTEN F/B C
4 TRK
1
4 TRK
2
4 TRK
3
FX FX
ST
CUE
SOLO
IN
FRONT
A/PFL
TO
MINIS
C/SECT
SELECT
0
0
STATUS LOCK - For use in broadcast or live applications when changing statuses
would cause havoc! It disables the following functions:
• STATUS BUTTON CHANGES:
– RECORD
– MIX
– REPLAY
– SMALL FADER TO MONITOR
• MASTER INPUT FLIP
• OSCILLATOR ON
• SLATE TALKBACK
• LISTEN MIC TO TAPE
• AUTOCUE
• SOLO IN PLACE
• SLS OUTPUT
• AFL is selected and the RED LIGHT is switched on.
Main Outputs
The rest of the facilities on the SL952/953 modules will be discussed in a logical
‘audio’ order, starting with the console’s main output controls.
Master Fader
The master fader is a four-channel fader controlling the level of the console’s Left,
Centre, Right and Surround outputs. When the fader is at the top of its travel, the
main output VCAs are bypassed by relays, as indicated by a blue LED above the fader.
Switching in the Output Compressor, moving the master fader down, or adjusting the
associated Offset control (see below), switches the VCAs seamlessly back into circuit.
An automation status switch and LEDs are fitted next to the fader.
Offset control
This raises or lowers, by ± 20dB, the level of the main output VCAs, allowing the
master fader to be left at maximum while adjusting the gain of the main outputs.
The Centre Section
5-5
21.12.94
Output Compressor
The main output compressor uses the same VCAs as the main fader. Switching the
compressor IN introduces no additional audio circuitry to the main outputs.
This is a high quality 4-channel
compressor with straightforward
controls. The gain MAKE-UP simply acts
as a level control to compensate for the
lowered level which is a consequence of
compressing the signal. This control may
be set so as not to change the overall
programme level when the compressor is
switched in. The meter indicates dBs of
gain reduction.
Insert points (patchrows L&M 1-4) are
provided pre the VCAs. The compressor
side chain is fed from the insert return.
Selecting KEY bypasses the insert,
allowing the insert return to be used as a
key input. All four insert returns are
summed to generate one sidechain
control voltage, allowing the key input to
be triggered by single or multiple signals.
SL 9000 J Console Operator’s Manual
5-6
22.12.94
+
-20 +20
RATIO
ATTACK - mS
THRESHOLD MAKE-UP
RELEASE - S
.1
.3
13
10
30
.1
.3.61.2
AUTO
2420
0
KEY
IN
0
4
8
12
16
20
dB
COMPRESSION
COMPRESSOR
Stereo Bus Master Controls
The level of the console’s four stereo busses is set by four rotary controls to the right of
the SL953 (see above). The bus outputs are fed to the patch (N 1-8), then normalled to
the connector panel and to an insert return to the console (P 1-8). The insert return can
be monitored via External Source Selector 1 (see Page 5-11) and may also be routed to
the main mix busses using the reassign switches next to the level controls. Routing to
Left and Right outputs is in stereo. Routing to Centre or Surround is in mono.
This allows the stereo busses to be used as audio subgroups, to generate centre or
surround mixes, or to be normalled to an 8-track recorder, outboard effects equipment
or foldback feeds.
The insert point enables audio groups to be processed before being mixed back onto
the main outputs.
The Centre Section
5-7
22.12.94
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
+10
0
0
TO L/R
TO CEN
TO SUR
0
STEREO BUSES
LEVEL
A
LEVEL
B
LEVEL
C
LEVEL
D
+10
0
0
TO L/R
TO CEN
TO SUR
0
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