Solid State Logic Car Speaker 82S6MC060A User Manual

DUENDE  
User Guide  
82S6MC060A  
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1. Introduction  
Congratulations on your purchase of Duende – the SSL processing solution for your audio workstation. As you’re sat here  
reading this, the chances are that you have a pretty good understanding of who we are and our outstanding reputation in audio  
recording technology. How did we get here? Well, there were no great plans to make SSL into a major manufacturer of mixing  
consoles when it all started back in the seventies - the company began with nothing more than an enthusiasm for music and  
the concept of recording. Along the way that spirit, coupled with a passion for excellence in music recording tools, helped build  
a multi-million dollar international business. The SSL HQ may be a little bigger now than it was in the seventies, but passion  
and innovation still lies at its heart.  
In 2005, we decided to embark on a technology project to figure out how we could take the processing power of a console and  
squeeze it into a 1U rack, so we could serve up the SSL sound to home and project studio owners who don’t have the budget  
(or the floor space!) required to install a large-format console.  
Drawing on our unique understanding of audio processing and years of DSP know-how, our team of engineers set about  
creating the SSL processing solution for your DAW environment. We knew we needed serious DSP horsepower to  
accommodate our powerful algorithms, and we knew it had to come in a package that could integrate seamlessly with the  
most popular workstations … and so Duende was born.  
Based on the digital technology behind SSL’s C-Series consoles, Duende delivers the complete SSL mix experience – powerful  
channel and dynamics processing and the legendary Bus Compressor.  
Duende offers complete integration into the most popular workstation environments with one simple FireWire cable connection.  
The different processing blocks appear as VST/AU/RTAS plug-ins – and include an authentic SSL channel strip with filters,  
E and G series EQ and dynamics processing, as well as the legendary SSL Bus Compressor. We hope you will enjoy mixing  
your music with Duende.  
www.mixbuss.com community, the on-line resource for sharing knowledge on better music production!  
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2. System Requirements  
Windows/PC  
Apple Macintosh  
Minimum of Intel Pentium IV 1 GHz or equivalent  
512 MB RAM (1Gb recommended)  
Mac PowerPC G4/G5 or Intel 1 GHz or higher  
512Mb RAM (1Gb recommended)  
Mac OS X (Version 10.4.8 or higher)  
60Mb Hard Disk space  
Windows XP Service Pack 1 or higher  
80Mb of free Hard Disk space  
Approved VST or RTAS* compatible host application  
Audio Units, VST or RTAS* compatible host  
application  
One available Firewire port (1394A / 400Mbit )  
for details on compatible cards.  
One available Firewire port (1394A / 400 Mbit)  
for details on compatible cards.  
17" or larger colour monitor with screen resolution of  
1024 x 768 or higher recommended  
17" or larger colour monitor with screen resolution of  
1024 x 768 or higher recommended  
Internet Connection (for product registration and to  
download software updates)  
Internet Connection (for product registration and to  
download software updates)  
Plug-in formats  
VST and RTAS* versions are provided for use under Windows XP on the PC platform  
VST, AU and RTAS* formats are provided in a universal binary format for Intel based and PowerPC Macs.  
As with other Duende plug-ins, X-EQ will take one ‘slot’ at 44.1/48kHz in mono. Please see the Duende manual for more  
information on DSP resource management.  
* RTAS support is provided by the included FXpansion VST-RTAS wrapper: www.fxpansion.com  
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3. Installation  
Software & Hardware Installation (PC)  
Software & Hardware Installation (Mac)  
powered down  
2) Connect IEEE1394/Firewire  
3) Connect Power to Duende (if required)  
4) Switch Computer On  
5) Switch Duende On  
6) Insert the Duende installation CD in to your CD drive  
7) Click the Duende icon to view the CD content  
1) Insert the Duende installation CD in to your CD drive  
1) Ensure that both Duende and your computer are  
2) Navigate to your CD drive  
3) Launch the Duende installer by double clicking the  
Duende installer icon  
4) Follow the installation instructions on the screen  
5) Connect IEEE 1394 Firewire Cable  
6) Connect Power to Duende (if required)  
7) Switch Duende On  
After the Duende installer has installed all of the required 8) Launch the Duende installer by double clicking the  
software on your computer, click ‘Finishto quit the installer.  
Duende Installer icon  
9) Follow the installation instructions on screen  
After the Duende installer has installed all of the required  
software on your computer, click ‘Finish Up’ to quit the  
installer.  
Please note that this document is intended to be read alongside the ‘Installation Guideprovided with Duende,  
alternatively you can download a copy from http://solid-state-logic.com/music/Duende.  
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4. Operational Overview  
Once your Duende hardware and software has been properly installed, Duende plug-ins are accessed and used just like any  
host-based plug-in. You can run Duende plug-ins simultaneously with your other host based plug-ins in any combination.  
All Duende plug-ins support up to 40bit 96kHz operation. Please note that Duende plug-ins use twice as much DSP resources  
at 96kHz.  
Duende parameters are changed by dragging, rotating or clicking knobs and buttons, whose behavior varies slightly depending  
on which software is being used to host the plug-ins. Generally the further away the mouse pointer is from the knob, the more  
resolution is available for parameter adjustment.  
When the mouse cursor is hovered over a knob it’s value is displayed in the appropriate units. At any point you can see exactly  
what value a knob has without touching it. If you have a mouse with scroll wheel, it can be used to change the knob position.  
Windows XP:  
To reset a knob to its default value hold 'Ctrl + click' on that knob.  
For very fine adjustment, hold 'SHIFT' whilst dragging.  
OS X:  
To reset a knob to its default value hold 'Command + click' on that knob.  
For very fine adjustment, hold 'SHIFT' whilst dragging.  
Every Duende plug-in parameter can be automated so long as parameter automation is supported by the host application. The  
method for recording and editing automation varies from host to host. For specific instructions on using automation with the  
host consult the host application documentation.  
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4.1 Duende Preferences/Control Panel  
Windows XP  
OS X  
The Duende Preferences/Control Panel shows information about your Duende(s) such as serial number (Authentication ID),  
firmware version and driver version. It also displays DSP resource information and allows you to easily see how much DSP  
you have available at any time.  
Windows XP:  
The panel can be found in ‘Start Menu>Programs>Solid State Logic>Duende’ or in the Windows control panel.  
OS X:  
The panel can be found by navigating to 'Apple Menu>System Preferences>SSL Duende'.  
Each mono plug-in loaded into Duende will take up one slot, a '1' representing a used slot and a ‘Øor '–' representing an unused  
slot. At 44.1 and 48kHz there are 32 slots available and at 88.2 and 96kHz there are 16 slots available. A stereo version of a  
plug in will take up 2 slots.  
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4.2 Launching a Duende plug-in  
Each host application has its own particular methods for  
instantiating (launching) a plug-in. Consult the host  
application documentation for specific instructions on loading  
and using plug-ins within the application.  
Launching a Duende channel strip in Cubase SX  
Launching a Duende channel strip in Logic 7  
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4.3 DSP Resource Management  
Due to the Duende having 4 DSP chips, a minimal amount of  
resource management should be done when running Duende  
at high load.  
The way to handle this is as follows:  
1. Save your project/song  
2. Close your project/song  
3. Re-open project/song  
When this has been done Duende will be forced to reload all  
the plug-ins but will do so in the most economical way  
possible. The 2 free slots will now reside on the same DSP  
chip allowing the loading of a stereo plug-in.  
If there are, for example 2 slots free and you wish to load a  
stereo plug-in, Duende will under certain conditions notify  
you that you are out of DSP resources. This will only happen  
if the two slots are on different DSP chips as Duende is not  
able to load a stereo plug-in across 2 chips. This may well  
occur because you have filled up all the resources and  
subsequently unloaded 2 mono plug-ins. This situation can be  
seen in the diagram below.  
As you can see above, the two remaining slots reside on  
different DSP chips and in this case when you attempt to load  
a stereo plug-in you will encounter the above mentioned  
situation.  
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4.4 Guidelines for Plug-in Delay Compensation  
When Duende plug-ins are used, the audio data to be The location of the settings for the PDC option within some  
processed by Duende is sent to the Duende DSP engine by the common host applications is as follows:  
host application. The audio is then processed by the DSPs and  
Cubase SX + Nuendo 2/3:  
sent back to the host application.  
Always on unless the ‘Constrain Delay Compensationfeature  
is used to disable delay compensation on individual plug-ins:  
Devices Menu>Plug-in Information>Use Delay Compensation’  
This transfer of audio data produces latency (delay) in the  
audio signal being processed. Latency time is dependant on  
the sample rate, type of plug-in(s) loaded and the audio  
interface buffer setting.  
If this latency is not compensated, the processed audio will  
arrive late in relation to the unprocessed audio. The more  
processing that takes place on a particular signal, the later it  
will arrive back in the host.  
Most host applications automatically compensate for this  
latency by simply turning on the Plug-in Delay Compensation  
(PDC) or similar, usually found in the applications  
preferences. Some hosts even provide full plug-in delay  
compensation throughout the entire signal path, including  
sends, groups, and buses.  
Logic Pro:  
Preferences>Audio>General’  
Digital Performer 4/5:  
Setup menu>Configure Audio System>Configure Studio  
Settings...’  
Ableton Live:  
Options>Delay Compensation’  
Important: Delay compensation is fully automatic and requires  
no user intervention when Duende plug-ins are used in hosts  
that support full Plug-in Delay Compensation.  
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Compensating for latency in Pro Tools LE and M-Powered  
Because Pro Tools LE and M-Powered do not feature PDC it  
must be done manually when Duende plug-ins are used. Due  
to the use of firewire and the nature of how signals are sent to  
and from Duende, a latency is introduced which will delay  
any audio track, aux input, master fader or instrument track  
by a specific amount.  
Tracks that use no Duende plug-ins or fewer than the track  
with the most Duende plug-ins will need to be delayed so that  
all tracks are in time. Because this latency is reported by Pro  
Tools it is easily compensated for.  
PDC  
No PDC  
Final Cut Pro  
Steinberg Cubase 4  
Soundtracks Pro  
Steinberg Cubase SX 2 & 3  
Steinberg Nuendo 2 & 3  
Logic Pro 7.1 or higher  
Digital Performer 4.5 & higher  
Pro Tools HD 7 or higher  
Ableton Live 5  
Garageband  
Pro Tools LE and M-Powered  
Here’s how:  
The track with the most Duende plug-ins will introduce the  
most latency, those with 1 or 2 plug-ins will introduce less and  
those with no Duende plug-ins will introduce no latency  
(providing other plug-ins that introduce latency are not used).  
Cakewalk Sonar 5 & 6  
Depending on the host application implementation, the delay  
compensation feature may not provide automatic  
compensation when Duende plug-ins are inserted on sends,  
groups, or buses. In this situation, the solution is to manually  
compensate for the plug-ins.  
To find out the latency introduced on a particular track by  
Duende plug-ins, go to the channel in the mixer and  
Command/Ctrl+Clicktwice in the green text below the fader  
(normally showing vol). The value shown (dly) is the latency  
introduced on that track in samples.  
These explanations of delay compensation apply primarily to  
Now load the ‘Digidesign Time Adjuster Longplug-in on, for  
example, a track with no Duende plug-ins. Double click on  
the delay box and type in the latency value of the track that has  
the most Duende plug-ins. The track with the most Duende  
plug-ins and the track with none will now be perfectly in sync  
on playback.  
playback only.  
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To turn on ADC, go to ‘Setup>Playback Engine’ whilst Pro  
Tools is stopped and you will see a box labeled ‘Delay  
Compensation Engine’. Change the setting here to ‘Long  
(4095 Samples per channel)’.  
Pro Tools will then tell you that it will close and re-open your  
session after clicking the OK button in the dialogue box;  
therefore make sure you have saved your session prior to  
doing this. Also put the CPU usage limit to 85%.  
Pro Tools will now automatically compensate for any  
introduced latency of 4095 samples or less.  
Any tracks that have a smaller latency than the maximum  
must also be delayed but by a smaller amount (i.e. tracks  
with 1 Duende plug-in where the maximum has 3). The  
delay value for these will be maximum latency minus the  
latency reported by that track.  
Using Automatic Delay Compensation in Pro Tools HD  
Pro Tools HD users have the luxury of being able to use  
Automatic Delay Compensation, as opposed to the manual  
method required in Pro Tools LE and M-Powered. However,  
there are still some considerations to be taken into account to  
make sure all Duende plug-ins are compensated for and  
everything stays perfectly in sync.  
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This means that you can generally use up to 2 Duende  
plug-ins per channel without considering latency issues, but  
this will depend on the buffer size set in Pro Tools, the sample  
rate and which Duende plug-ins are loaded. Note that if an  
audio track with 1 Duende plug-in is routed to an aux channel  
with 2 Duende plug-ins the total latency for that audio getting  
As you can see in the  
picture shown left the  
kc mergedchannel has 1  
Duende channel strip  
oaded onto it, therefore  
Pro Tools is automatically  
to the mix bus will equal 3 plug-ins; this will however be delaying the other channels by that amount (1028 samples) to  
clearly shown by Pro Tools.  
ensure all audio is kept in sync.  
If the total latency on a channel exceeds this maximum value  
the text will be red indicating that Pro Tools cannot  
compensate for this much latency. In this scenario the  
additional latency which Pro Tools cannot compensate for will  
have to be dealt with manually.  
To view the latency introduced by  
plug-ins go to the bottom left hand  
corner of the Mix view, click on the  
mall black/grey box and select ‘Delay  
Compensation’.  
The value of this will be  
he maximum latency  
minus maximum latency  
Pro Tools can compensate  
or, ie 4095 samples.  
Here you will find 2 values; ‘dlyis the  
amount of latency introduced by the  
plug-ins on that channel and ‘cmp’ is  
he number of samples Pro Tools is  
delaying the other channels by. If the  
dly’ value is less than the 4095 set in  
he Delay Compensation box then you  
don’t need to worry and everything  
will be compensated for.  
In this case it is:  
4108 (shown in red) – 4095 (Pro Tools maximum) = 13  
samples  
Please refer to the ‘Compensating for latency in Pro Tools LE  
and M-Poweredfound in this manual for information on how  
to do this manually.  
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5. Duende EQ and Dynamics Channel Strip  
5.1 Introduction  
The Duende EQ and Dynamics Channel Strip plug-in is based on the EQ and compressor sections of the XL 9000 K Series  
console. SSL were the first manufacturer to feature dynamics and EQ on every channel on an in-line console with the SL 4000  
B Series in 1977. The plug-in includes separate high and low pass filters, a four band parametric equalizer, an independent  
compressor/limiter and gate/expander as well as input and output gain adjustment knobs and a phase invert button. Let’s have  
a closer look at each section in detail.  
5.2 Input Section  
Gain: Controls the level of the incoming audio signal.  
Ø (Phase Reverse): Reverses the phase of the incoming input signal.  
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5.3 Filter Section  
Using Filters  
The Filter Section includes a 12dB/Octave low pass filter and DYN SC: The Filters are switched into the sidechain of the  
an 18dB/Octave high pass filter. The low pass filter operates Dynamics section. The Equaliser can be switched into the  
from 3kHz to 22kHz and the high pass filter operates from sidechain independently. Note that DYN SC overrides the  
20Hz to 500Hz. In addition, each filter has an OUT position INPUT function (see below).  
which bypasses the filter.  
INPUT: Moves the Filters to put them in circuit immediately  
There are three positions where the Filter Section can be after the Channel Input section. This allows the Filters to be  
placed: after the equalizer, before the equalizer or in the used to clean up signals before compressing them. Selecting  
sidechain of the dynamics section.  
Dynamics ‘PRE EQ’ will allow the compressed signal to be  
EQ’  
When no buttons in the Filter section are pressed, the filters  
come after the Equalizer section.  
HPF  
LPF  
With the INPUT button pressed, the filters come before the  
Equalizer section.  
When the DYN SC button is pressed, the filters are switched  
into the sidechain of the Dynamics section. The term/process  
sidechain’ will be discussed in greater detail in the overview  
of the Dynamics section.  
INPUT  
OUTPUT  
t  
t  
Freq Hz  
Freq kHz  
acw  
acw  
18bB/Oct  
12dB/Oct  
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5.4 Equaliser Section  
Operation  
dB  
Freq Hz  
Q
Freq kHz  
Q
Freq kHz  
Freq kHz  
dB  
dB  
dB  
E
BELL  
BELL  
LF  
LMF  
HMF  
HF  
INPUT  
OUTPUT  
The equalizer included with the Duende EQ and Dynamics Channel Strip plug-in is a four band parametric EQ with filters.  
Based on the XL 9000 K Series EQ circuit, this plug-in includes two distinct EQ curves, one based on the SSL G Series EQ  
and another based on the latest version of SSL’s classic E Series EQ.  
The G series EQ bandwidth varies with applied gain and so increases the selectivity of the EQ. This EQ type generally works  
best at moderate settings, particularly on instruments or vocals as a gentle, corrective EQ. The E series EQ is the “Black Knob”  
circuit, which has a constant-bandwidth at all gains. This means that it can be particularly useful for “surgery EQ tasks” as it  
offers relatively narrow Q at relatively low gains. Note – at full boost or cut both curves are identical.  
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The plug-in includes high and low frequency shelving equalizers (which can be switched to peaking curves via the BELL  
button) and two overlapping equalizers with adjustable Q.  
The LF section operates over a frequency range of 40Hz to 600Hz and is capable of up to 16.5dB of cut or boost.  
Selecting BELL in this mode switches the equaliser to a peaking curve.  
The LMF section operates over a frequency range of 200Hz to 2 kHz and is capable of 20dB of gain with a continuously  
variable Q from 0.5 to 2.5.  
The HMF section operates over a frequency range of 600Hz to 7kHz and is capable of 20dB of gain with a continuously  
variable Q from 0.5 to 2.5.  
The HF section operates over a frequency range of 1.5kHz to 22kHz and is capable of up to 20dB of cut or boost.  
Selecting BELL in this mode switches the equaliser to a peaking curve.  
As default, the Duende EQ is set to the G Series EQ curve. The G Series shelving curves have a degree of overshoot/undershoot  
(depending on whether you are boosting or cutting) below the selected HF frequency or above the selected LF frequency. At  
any Q setting, the bandwidth of the HMF and LMF sections varies with gain, whereby an increase in boost or cut increases  
the selectivity of the EQ. This type of EQ can sound effective when used at moderate settings; the gentle Q curve lends itself  
to the application of overall EQ on combined sources and subtle corrective adjustments to instruments and vocals.  
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Channel Equaliser Curves  
Amplitude (dBr)  
v
Frequency (Hz)  
Channel Equaliser Curves  
Amplitude (dBr)  
v
Frequency (Hz)  
25.0  
20.0  
15.0  
25.0  
20.0  
15.0  
10.0  
5.0  
'E type'  
'G type"  
'E type'  
'G type'  
Both  
10.0  
5.0  
0.0  
0.0  
-5.0  
-5.0  
-10.0  
-15.0  
-10.0  
-15.0  
-20.0  
-25.0  
-20.0  
-25.0  
20  
100  
1k  
10k  
100k  
10  
100  
1k  
10k  
20k  
When the EQ is switched to ‘E’ operation (by pressing the There are three buttons associated with this section of the  
“E” button in the GUI), the bandwidth of the HMF and LMF plug-in.  
sections remains constant at all gains, so at lower gains the  
EQ IN: Switches the EQ section into circuit.  
EQ curves are comparatively narrower for a given Q setting.  
This is particularly useful for drums, since relatively high Q  
is available at low gain settings. However, it is not so suitable  
for overall EQ or subtle corrections, as you need to adjust the  
Q to maintain the same effect when the gain is changed. The  
“E” Series curve could be described as more “aggressive”.  
E: Switches the EQ from ‘G’ operation to ‘E’ operation – see  
above.  
DYN SC: Switches the EQ section into the sidechain of the  
Dynamics section. The Filter Section can be switched  
independently of the EQ section. If both Filter and EQ  
sections are assigned to the dynamic sidechain the EQ section  
precedes the Filter.  
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5.5 Dynamics Section  
The Dynamics Section comprises a  
compressor/limiter and an expander/gate.  
Both sections work independently, but  
can be operational at the same time,  
providing sophisticated control of signal  
levels. The Filter and/or the equaliser  
section can be assigned to the dynamics  
sidechain allowing for advanced  
processes like de-essing etc.  
GAIN CONTROL  
dB  
INPUT  
OUTPUT  
GAIN  
REDUCTION  
RELEASE  
THRESHOLD  
RATIO  
FAST  
ATT  
PK  
AMG  
SIDE  
CHAIN  
INPUT  
EXP  
RMS  
DETECT  
ATTACK  
The Dynamics Section has a few routing  
buttons ssociated with it.  
LINEAR  
PK  
SLOW  
ATTACK  
OVER EASY  
DEFEAT  
DYN IN: Switches the Dynamics section  
COMPRESSOR  
into the signal path, post EQ.  
GAIN  
THRESHOLD  
HOLD  
RELEASE  
RANGE REDUCTION  
PRE EQ: Switches the Dynamics section  
pre the EQ section (but post the Filter  
section if the Filter INPUT switch is  
pressed).  
FAST  
ATT  
EXP  
EXP  
t  
ATTACK  
dB  
GATE/EXPANDER  
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Compressor/Limiter – Introduction  
The Channel Compressor/Limiter Section has a number of RELEASE: Sets the time constant (speed) with which the  
key features including a variable compression ratio from 1:1 compressor returns to normal gain settings once the signal has  
to :1, a variable threshold from –20dB to +10dB, auto passed its maximum.  
sensing attack time (or selectable 1ms attack time), and a  
FAST ATT: Provides a fast attack time (3mS for 20dB gain  
variable release from 0.1 to 4 seconds.  
reduction). When off the attack time is program dependent  
The Compressor/Limiter has two modes of signal detection, (3mS – 30mS).  
Peak and RMS. As their names suggest these modes of  
The yellow and red LEDs, on the bottom of the LED display  
detection either act on peaks of the incoming signals or on  
their RMS or average levels. This gives two very different  
modes of compression and limiting with Peak Mode giving  
far more dramatic compression characteristics.  
area, indicate the amount of gain reduction (compression).  
Expander/Gate – Introduction  
The gate/expander section contains a number of useful  
features including a variable range from 0 to 40dB, a variable  
threshold from -30dB to +10dB, a fixed attack time  
(switchable to Fast Attack of 100µs), a variable hold time from  
0 to four seconds and a variable release time from 0.1 to 4  
seconds.  
Detailed Parameter Description  
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. Selecting PK changes this to peak sensing, and  
replaces the ‘over–easy’ characteristic with a hard knee,  
providing an alternative for some instruments.  
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.  
The sidechain signal is sourced from the signal feeding the  
dynamics section and the filters and/or equaliser can be  
inserted in this sidechain. The green LEDs indicate the amount  
of gain reduction on the expander/gate.  
By default, the Gate/Expander section functions as an :1  
gate. When the EXP button is pressed, the section becomes a  
2:1 expander.  
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Detailed Parameter Description  
RANGE: Determines the depth of gating or expansion. When Note that when the Dynamics Section is not in circuit, its  
turned fully anticlockwise (Range = 0), this section is inactive. sidechain input is also bypassed.  
When turned fully clockwise, a range of 40dB can be  
obtained.  
Output Section  
THRESHOLD: A 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.  
RELEASE: This determines the time constant (speed),  
variable from 0.1 to 4 seconds, at which the Gate/Expander  
reduces the signal level once it has passed below the threshold.  
Note that this control interacts with the Range control.  
The Output Section consists of a 20dB output gain control,  
and a 6-segment LED meter.  
S/C LISTEN: Pressing the SC LISTEN switch routes the  
sidechain directly to the output, so you can monitor the  
sidechain signal  
BYPASS ALL: Engaging this button will bypass all channel  
processing whilst still routing the signal through Duende. This  
avoids the time shift which occurs when a ‘hard’ bypass is  
done using the default DAW control, allowing for easier A/B  
comparison between processed and unprocessed signals.  
FAST ATT: Provides a fast attack time (100μs per 40db).  
When off, 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 level is above the  
threshold. When gating signals with a steep rising edge, such  
as drums, a slow attack may effectively mask the initial  
‘Thwack’, so you should be aware of this when selecting the  
appropriate attack time.  
HOLD: Determines the time after the signal has decayed  
below the threshold before the gate closes. Variable from 0 to  
4 seconds.  
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5.6 Advanced Signal Routing Options  
Channel Processing Order  
There are two switches that control the order of the signal processing elements. These are the ‘Filters to INPUT’ switch in the  
Filter Section and ‘PRE EQ’ in the Dynamics Section.  
The table below shows the effect of these:  
Switch 1  
Switch 2  
Processing Order  
Equaliser  
Filters  
Dynamics  
Dynamics  
Filters  
Filters to INPUT  
Dynamics PRE EQ  
Filters to INPUT  
Filters  
Equaliser  
Equaliser  
Dynamics  
Dynamics  
Filters  
Dynamics PRE EQ  
Equaliser  
Side Chain Processing Order  
The EQ and filter sections can be assigned to the Dynamics sidechain using the DYN S/CH switches in the respective sections.  
The table below shows the sidechain source and processing for the various combinations of these:  
Switch 1  
Switch 2  
SC Source  
Sidechain Processing order  
Dynamics Input  
Dynamics Input  
Dynamics Input  
Dynamics Input  
EQ to Dyn S/C  
Filters to Dyn S/C  
EQ to Dyn S/C  
Equaliser  
Filters  
Equaliser  
Filters to Dyn S/C  
Filters  
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6. Duende Stereo Bus Compressor  
Introduction  
The Stereo Bus Compressor plug-in is a stereo version of the legendary centre section stereo  
bus compressor found on the XL 9000 K Series console. It provides high quality stereo  
compression, giving you critical control over the dynamic range of audio signals.  
Uses may include inserting the bus compressor over a stereo mix which has the effect of  
'gluing' the mix together whilst still maintaining a big sound. The dynamics of drum  
overheads or whole drum kits can be controlled very effectively with the bus compressor .  
As it is available as either a stereo or mono plug-in the bus compressor can be used for  
practically any application that requires superior compression.  
Parameter Description  
Compression Meter: Shows Gain Reduction  
THRESHOLD: Continuously variable –20dB to +20dB.  
ATTACK: Six switchable ranges 0.1, 0.3, 1, 3 , 10 and 30ms.  
RATIO: Three switchable ranges ranges 2:1, 4:1 and 20:1.  
MAKE-UP: Level compensation to compensate for compressor action, continuously  
variable from –5dB to +15dB.  
RELEASE: Five switchable ranges 0.1, 0.3, 0.6, 1.2 seconds and ‘Auto’. (With Auto  
selected, the release time is dependant upon the duration of the signal peak).  
COMP IN: Switches the compressor IN/OUT of the signal path.  
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7. Duende Support  
Support FAQs  
To access the latest support information on Duende, please visit our online support site. The information there is kept up to  
date by our support staff to make sure all information is accurate. All information is available to you 24/7.  
If you can’t find your answer or a solution to your issue, you can submit a question via the site to our support staff for resolution.  
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Steinberg VSTGUI License  
Duendeplug-insweredevelopedpartyor totallyusingSteinbergVSTGUItechnologywhichiscoveredbythefollowingLicenseAgreement  
Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following  
conditions are met:  
Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.  
Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following  
disclaimer in the documentation and/or other materials provided with the distribution.  
Neither the name of the Steinberg Media Technologies nor the names of its contributors may be used to endorse or  
promote products derived from this software without specific prior written permission.  
THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY  
EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF  
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL  
THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL,  
SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT  
OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)  
HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR  
TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS  
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.  
23  
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Solid State Logic  
| |  
S O U N D  
V I S I O N  
© Solid State Logic  
All Rights reserved under International and Pan-American Copyright Conventions  
Drumstrip, Duende, SL 4000 B/E/G Series, XL 9000 K Series, Solid State Logic, SSL and X-EQ are trademarks of Solid State Logic  
All other product names and trademarks are the property of their respective owners and are hereby acknowledged  
No part of this publication may be reproduced in any form or by any means, whether mechanical or  
electronic, without the written permission of Solid State Logic, Oxford, OX5 1RU, England  
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.  
Solid State Logic cannot be held responsible for any loss or damage arising directly or indirectly  
from any error or omission in this manual.  
E&OE  
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