SSL Live. L300Smaller but still mighty.
The finest studio sound on stage.
SSL has always set the audio performance benchmark for others to reach and sound quality is the primary design consideration of SSL Live consoles. Nothing is sacrificed so that the ultimate sonic performance can be delivered. The Live local I/O and Stageboxes use SSL’s patented mic amp technology to deliver SSL SuperAnalogue™ performance with better than industry standard studio grade mic pre’s combined with 24bit/96kHz DAC’s to deliver a frequency response that is within 0.05 dB from 20 Hz to 20 kHz (within 1.3dB down to 10Hz) and a THD of 0.005%. The circuitry is DC coupled (no electrolytic capacitors in the signal path) and high input impedance. Mic amp gain is controlled with extreme precision in more than 16,000 steps ensuring totally smooth control, very good common mode rejection and extremely low distortion. 64-bit internal processing is used throughout guaranteeing maximum precision to support the highest standards of audio performance within all our processors. It all adds up to an exceptionally detailed sound we are sure you will love.
Audio quality is a key factor in the usability of SSL Live consoles. Users report that they are able to achieve great mixes quickly and easily without the need to employ additional effects and processing to to compensate for inferior mic pre's, audio converters, internal audio path and mix bus. SSL Live consoles provide the audio processing toolkit that generations of SSL mix engineers have used to create countless hit recordings along with a suite of freshly developed processors. The full processing paths include a four band parametric EQ that can be switched between a precise constant Q mode and ‘SSL Legacy EQ’ with our well known unique tonal character, hi- and lo-pass filters with selectable slopes, SSL dynamics presented as separate compressor, analogue style tube emulator, expander/gate as well as a delay line and cleverly configured all pass filter. Our Live consoles also feature precision analysis tools such as the fixed point per octave spectrum analyser and the acclaimed Dialogue Automix system from SSL’s broadcast consoles.
SSL Live consoles feature an internal effects rack that can be accessed via the insert points of Channels, Stems, Auxes and Masters as well as from the router. Designed to emulate a studio setup, the effects rack allows engineers to feel immediately comfortable creating complex effect routings with every parameter stored as part of the console automation. There are seven categories of studio quality, mono, stereo and multi-channel, ultra low latency effects designed specifically for live use. Reverbs, Delays, Modulation effects, EQ and even the famous SSL Stereo Bus Compressor are all included in a suite of more than 45 effects and tools. The effects rack has its own dedicated processing core with adaptive processing that intelligently reduces the overall processor overhead as you increase the effects load. Depending on the effect type up to 96 effects can be used in an L500 Plus and up to 48 in an L300.
In addition to the options included in the Live full processing channels the effects rack offers additional EQ options: The G-Flex EQ (which comes in 8, 16, 24 & 32 filter versions) offers incredibly flexible Graphic EQ filters, a 10 or 6 band Parametric with a menu of selectable filter characteristics per EQ band and the smooth Contour program shaping EQ based on node selection operated with a familiar graphic EQ user interface. Allowing the creation of asymetric EQ curves.
Our Reverb tool kit brings studio hardware grade depth and precision to on board console effects. There is a complete collection including Gated, Early Reflection, Ambient, Cathedral, Stadium, Recording Room, Tight ER and Plate reverbs, a superb vocal processor and the creative effect ‘D Gen’ processor.
From simple delays to complex multi tap echoes, the Delay effects are ultra-versatile and processor friendly making complex delays easy to achieve. Delay types include: ‘Classic’ & Multi-Tap, Tape Echo, Ping Pong and feature modulation and filters. Delays can be set via numeric time, tempo tap or BPM (with note value scaler).
Taking inspiration from both studio and live standards, we have created a diverse and fully featured range of Modulation effects that have a classic warm sonic signature with lots of depth and character. The selection includes: Band Split Flanger, Classic Flanger, Envelope Flanger, Classic Phaser, Chorus and Guitar Chorus.
Warmth & Noise
The VHD Saturator is a digital emulation of the highly regarded SSL Variable Harmonic Drive (VHD) circuit that introduces variable amounts of 2nd or 3rd order harmonic distortion to give controllable blends of transistor grit or tube style warmth. There are ‘Guitar Cabinet’ and ‘Bass Cabinet’ emulations. Our Denoiser is the ideal processor for controlling noise polluted source material. Our Enhancer provides non EQ based frequency control tools and our Pitch Shifter is smooth and pure.
When it comes to setting up, there is a fully featured tone/noise generator, a precision SPL Meter, a Phase Scope and the FPPO-lyer; the only built in FFT Analyser that provides true Fixed Point Per Octave analysis and thus truly accurate frequency analysis throughout the frequency spectrum. The FPPOlyser offers stereo analysis and two ‘cross hairs’; one tracks the maximum level and frequency and the other can be set monitor the level of a specific frequency.
Taken directly from our broadcast consoles our Dialogue Automix system is a powerful aid to the professional mix engineer. One of the most challenging tasks a mix engineer can face is riding the faders to maintain a smooth, balanced mix in something like an awards show with multiple presenters. Dialogue Automix allows the operator to set the relative mix of up to 12 microphones (per effect instance) and then automatically makes fast, transparent crossfades between them in response to incoming signal levels. It has two distinct benefits: it helps eliminate ‘noises off’ and uses a smart algorithm that maintains unity gain across the entire mic group, thus keeping the overall background noise level smoothly balanced. It frees the mix engineer to focus on balance and sound quality rather than be chained to the faders.