Solid State Logic Duende

Jul 28, 2008 5:36 PM, By Nick Peck

MIXING IN THE BOX NEVER SOUNDED SO GOOD

SSL's consoles have been the stalwart centerpiece of many an A-list recording studio for decades, and for good reason. The sound of the EQ and compression circuitry is like no other, and to many it is synonymous with major-league recording. Until recently, the legendary SSL sound was primarily reserved for those with serious budgets. But SSL has changed all that, bringing its sound within reach of every desktop computer musician. The Duende line of accelerator hardware and plug-ins brings the SSL sound to VST, RTAS, and Audio Units–format plug-ins for Windows XP and Mac OS X.

The Duende product line comes in three flavors: Classic ($1,875 MSRP), Mini ($995), and PCIe ($1,495). Classic and Mini are external FireWire boxes, while PCIe is the internal card version. Each unit contains four SHARC processors for handling the serious computational requirements of SSL’s algorithms. The Duende Classic and PCIe can handle 32 mono instances of plug-ins at 44.1 or 48 kHz (or 16 instances at 88.2/96 kHz), while the Mini is initially configured to run half that amount. A paid upgrade ($399) unlocks the same amount of processing power in the Mini as its big brothers.

The algorithms used inside Duende have been taken (and improved upon) from its C-series digital consoles, which, in turn, were based on the sound of its famous 9000- and 4000-series analog consoles. Duende Classic and PCIe both come with the EQ and Dynamics Channel Strip and Bus Compressor plug-ins, while the Mini includes just the Channel Strip. The Bus Compressor can be purchased for the Mini as an add-on ($399). SSL has created three additional plug-ins to expand the Duende’s capabilities: Drum Strip ($399), X-Comp ($499), and X-EQ ($599, which I will discuss in a moment).

THE EQ AND DYNAMICS CHANNEL STRIP

Duende’s EQ and Dynamics Channel Strip plug-in is a replica of the EQ and dynamics portions of an SSL 9000 channel (see Fig. 1). It features enough tone-shaping capability to polish and improve any conceivable type of sound. The filter section has high- and low-pass filters, which are routable to either the compressor sidechain or the audio output. The EQ section features high- and low-shelving bands and two variable Q parametric bands. The EQ can be configured to either type E or type G (see below), and can be routed to the dynamics sidechain or output, as well. The dynamics section offers both a compressor with automatic make-up gain and an expander/gate with a Hold control. Dynamics can be set before or after EQ in the signal chain. The input control section includes a phase-reverse button, and the output has a sidechain listen mode so you can hear which frequencies are driving the dynamics section.

Duende models both of SSL’s EQ curves: type E and type G. The plug-in defaults to the G setting, but you can switch to E by pressing the “E” button in the equalizer section. The G algorithm varies the bandwidth, or Q setting, depending on the amount of boost or cut you have applied. The E algorithm uses a fixed amount of Q, regardless of the gain amount. At maximum boost or cut, the EQ curves are the same but they follow a different curve to get there.

One could generally say that the G curve is more gentle and “musical,” while the E curve is more surgical and aggressive. You can create a sharper band of EQ at lower gain levels with type E, which makes it more suitable for corrective applications. The changing Q setting of type G gives it a relatively broader, gentler curve at low settings, which is often better for subtle timbral shaping of voice and instruments. I personally find myself using G-type EQ more often than E for my musical mixing tasks, but it is great to be able to A/B the two options while sculpting my sound. For postproduction or sound-design tasks, I think that the E curve is frequently the more appropriate choice.

I have always preferred the feel of a real knob to operating mouse-driven knobs within software. But SSL has included a nifty feature to make operating the virtual knobs more tactile: If you mouse over a knob onscreen, then it will respond to the mouse wheel just as if you were turning it. No clicking the knob and dragging required; moving the wheel up turns the knob to the right, and moving it down turns it left. It takes about two full moves of the scroll wheel to move the knob its entire throw, which seems like a good compromise between fine control and too much finger movement. Mix Glue: The SSL Bus Compressor Track compression is a critical tool in evening out the dynamic inconsistencies of individual instruments. Similarly, bus compression can be used across an entire mix (or a complex series of sounds working together, such as drums) to tame peaks and bring up the overall level of the song. The Bus Compressor, first introduced in the master section of the SSL 4000-series consoles, is legendary for adding punch while smoothing out the peaks to allow for higher gain. SSL has replicated the design of its 4000-series bus compressor in the XLogic G Series analog compressor and in Duende’s Bus Compressor plug-in.

The Bus Compressor plug-in (see Fig. 2) has a few significant differences from the compressor in Channel Strip. To start with, there is a dedicated make-up gain control, as opposed to Channel Strip’s automatic make-up gain. This is to allow for fine-tuning of levels at the final mix stage. It has five choices of attack time to fit with different styles of music, as opposed to the auto- or fast settings of the Channel Strip. There are four fixed release times, as well as an Auto setting that is dependent on peak signal duration. Finally, it has a nice, big analog-style VU meter to give an accurate reading of the amount of gain reduction.

THE BIG ALBUM SOUND: SSL EQ AND COMPRESSION

Since I’ve begun working with this system, I’ve consistently found that Duende’s channel strip and bus compression plug-ins have brought “the sound of rock” to my Pro Tools–based tracks. Using Channel Strip, I’ve frequently found myself adding shocking amounts of EQ to a track, often without even realizing it. Gain boosts that would make most other plug-ins sound shrill or harsh sound big and full with Channel Strip. The interface is quite simple, and once you really learn it the mix process just zips along.

I recently remixed a cover version of AC/DC’s “Back in Black” using all Duende plug-ins. I made the slashing rhythm guitars sound like a tornado by applying generous helpings of compression and mid-range EQ. I re-sculpted the kick drum’s shape by using the Channel Strip compressor, sharpening the attack while adding enough low-end beef via EQ to shake the room. Adding some high-end air and a moderate amount of compression to the lead vocal made it as clear as a bell within the mix, occupying a solid center in the eye of the storm without having to use loads of gain. Finally, strapping the Bus Compressor across the master bus gave the whole song a smooth cohesion while increasing the perceived loudness significantly.

I’ve really noticed the same effect with other rock tracks I’ve mixed since getting Duende—everything seems to sound bigger, beefier, and more like the classic rock albums I’ve grown up listening to. For further reading on the topics of usage of EQ and compression to improve your mix, go to solid-state-logic.com and check out the Duende tutorial section, or go to www.mixbuss.com for lots of information on the art of recording and mixing.