Inside the outboard: Solid State Logic's XLogic modules

Sure, we would all like to have an SSL 9000 K in our studio, cranking out those platinum hits. But since most of us don’t have that luxury, SSL has wisely released a few pieces of gear that will let us achieve some of that magic - one channel at a time.

XLogic SuperAnalogue Channel

It's Super First up is the new XLogic Super Analogue Channel. This 1U single channel is basically a modified, rack-mountable ‘slice’ of their popular 9000 K console. It offers XLR and Instrument input, Compressor/Limiting, Expansion/Gate, Equalizer and Hi/Low Pass Filtering. Let’s take a quick look at the units’ layout. SSL has sensibly included a front panel XLR combi-jack that features both instrument and XLR Mic input. Users can select the rear mounted XLR input simply by releasing the front INP B and INST switches. There is also the expected PAD switch (-18dB), 48V phantom, Phase switch and of course Input Gain, stepped from +6dB to +72dB. In addition, there is a HI-Z switch, which increases the impedance of the microphone input from 1.2Kohms to 8.45Kohms. This allows for either the connection of line level signals, or as I often prefer, the ability to run certain mics at very high impedances. This small but subtle touch to the channel strip can truly ‘open up the top’ of some microphones and must be heard to be believed. Next is the Dynamics Section, with a DYN IN switch allowing you to put the Dynamics into the path before the EQ. PRE-EQ switches the path pre the EQ section, but post Filter Section if Filter Input is pressed. KEY switches the Dynamics Sidechain to the KEY rear input, and LINK offers sidechain control of multiple units if you connect the DYN LINK jacks on the back. It may sound confusing, but it’s not - SSL engineers wisely offered maximum flexibility with this unit. The Compressor section offers the standard RATIO, THRESHOLD, RELEASE and FAST ATT (3ms for 20dBs’ of gain reduction), and a bevy of red and yellow LED’s quickly let you know what’s in and out. The GATE section features RANGE, THRESHOLD, HOLD and RANGE knobs, with a FAST ATT button (fast attack) and EXP button that activates a 2:1 Expander when switched in. The FILTERS section feature four routing buttons to switch in the LPF and HPF filters and their associated frequency selection knobs, and DYN SC to switch the Filters into the sidechain of the Dynamics section (hey, nobody said this would be easy!). The Equaliser Section offers three buttons - EQ IN, DYN SC and E (which turns the EQ from a ‘G’ console EQ to an ‘E’). There are also LMF and HFM sections with variable Q, Gain and Frequency knobs, as well as LF and HF shelving equalizers. The Output section features a MTR INPUT switch to meter the signal immediately after the input section, a +/- 20dB output Gain Control and LED’s for Power and ADC LOCK for an upcoming optional A-D card. The rear panel offers the aforementioned XLR Output, KEY IN, DYN LINK and XLR INPUT A, as well as the slot for the A-D card and a rather large heat sink. Studio Test Setting up at the Clubhouse Studios in Rhinebeck, NY, owner/engineer Paul Antonell and I ran the XLogic Channel through its paces. It immediately became apparent that this is a serious piece of gear. The DI on bass was punchy as hell, and with the EQ section in, I could easily sweep the frequencies to cut it through a mix, especially with the ‘E" button in. The compression and expansion were both extremely smooth and highly flexible. The Mic preamp is clean and clear with lots of headroom, although I wish I had more time with the unit to try out several mics. I thought the small knobs would bother me at first, but they are surprisingly easy to navigate. Overall, we both commented that this is simply the kind of channel strip you want to make records with. I’m not the type of engineer that records with EQ and Compression inline, but I honestly would with this unit. That alone says a lot to me about the quality of the XLogic Channel.

XLogic Multichannel Compressor

Compress it...and it...and it...and it... The next unit we checked out was the XLogic Multichannel Compressor. This one is 2U high, offering six-channels of classic SSL compression derived from the Centre Section of their SuperAnalogue console line. The layout is quite simple; a single VU meter with an LFE/STB switch (to view gain reduction for the LFE comp) sits aside dual THRESHOLD, ATTACK, RATIO, RELEASE and MAKE UP knobs with their associated IN button. There is a SIDECHAIN SUM and DUAL STEREO buttons followed by the brains of the operation, a Side Chain Adjust section. This allows users to easily operate the compressor as either dual stereo or full 5.1 or even 6.1 operation, and features a cool surround MAX display with 6 bi-colored LED’s. Next to that sits an interesting Fader Section, offering MASTER fader and an IN control which offers fader control over the entire mix. There is also an AUTO FADE button and RATE knob, which provides an overall fade time from 1 to 60 seconds. Ok, back to the brains. There are four S-CHAIN trim controls - Left/Right, Centre, LFE and SURROUND- that allow users to set different thresholds for each input. The ISO switches isolate the respective channels from the compressor, but the Master and Auto Fade will still control them. The LFE LINK switch links the LFE channel to the compressor, but if you turn down the LFE S-CHAIN TRIM, it will stop the signal from compressing within your overall mix. You can also compress 6 channels of full bandwidth by releasing the LO PASS FILTER and pressing the LFE 0DB switch. The LFE LO PASS filter puts a 120Hz low pass filter into the LFE side chain and the 0DB switch sets the LFE to the same level as the other channels. Those who mix surround know how useful those two are! What all these options do is provide users flexibility in their compression. It allows you to compress the rear channels less the front, or visa-versa depending on the material. When the DUAL STEREO switch is engaged, the lower set of compression controls work on the surround channels and the upper set controls the L, C, R and LFE channels. If you work in stereo only, the DUAL STEREO lets you use the units as two sets of compressors; one stereo and one four channel. Again, maximum flexibility. As with the XLogic Channel, the sound is clean, punchy and powerful. On drums the unit simply kicks ass. Antonell ran it as a sub bus on his console and again we both agreed this is the almost ‘indescribable’ sound you hear on hit records. There’s a good reason why the SSL 9000 consoles are so popular, and as for both of these pieces of gear, I’m hooked. Pricey, yes, but worth every dime if you want that serious ‘sound’.