Solid State Logic Music Mixer 82S6DUA20C User Manual

Solid State Logic

Duality

Operator’s Manual

82S6DUA20C

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Table of Contents

Table Of Contents

1 Introduction to Duality

2 Console Operator’s Guide

Overview

2-1

2-2

DAW I/O Labelling

Routing and Signal Flow

Introduction to Split Mode

Channel Strip

2-2

2-3

Channel Input Section

Dynamics Section

Compressor

2-4

2-5

Gate/Expander

2-5

Central Dynamics Control

Dynamics Section Metering

Equaliser

2-7

Filters

2-7

Channel Output (CHOP)

Insert Point

2-8

Signal Processor Routing

Channel Sends

2-8

2-9

Cue Stereo

2-9

FX Sends

2-9

Channel Pan

2-10

2-11

2-12

2-15

2-16

2-18

2-19

2-20

2-21

2-22

2-23

2-24

2-25

2-27

2-28

Split Mode

Channel Fader

Channel Cut and Solo

D-pot and DAW Control

Channel TFT Screen

Centre Section

Power Supply Indicators

Central Routing Panel

Main Output Functions

Main Bus Compressor

Master Fader

Track Bus Master Controls

Monitoring

External Source Selectors

Monitor Insert

Monitor Metering

Bass Management

Monitor Options

Monitor Level Calibration

SOLO / AFL / PFL

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Table of Contents

2 Console Operator’s Guide (continued)

Cue/FX Send Master Controls

Foldback and Headphone Outputs

Stereo Return Channels

Misc Options

2-29

2-30

2-31

2-32

2-33

2-34

2-35

2-36

2-37

Communications

Oscillator

LFE Channel

Mix Reassign Matrix

Stereo Mix Matrix

Group Control Faders

Section Metering

Meter Options

3 DAW Control Guide

Introduction

3-1

3-2

3-3

3-4

3-5

3-6

3-7

3-8

3-9

3-10

DAW Controller features summary

Communication with the DAW

Overview

D-pots

Console Focus Button

Master Control Panel

Channel Banking Controls

DAW Window Buttons

Digital ‘In-line’ Mode

DAW Utility Buttons

Modifier Buttons

Default Button

Channel Functions

DAW Meters

Channel Fader

Channel Solo and Cut Panel

Channel D-pot

Solo and Cut Buttons

Solo Isolate

Channel Select Button

Scribble Strip Displays

Record Ready Mode

Edit Mode

Select Mode

Working with the Channel D-pots

Pan Mode

Channel Mode

Send Mode

Setting Sends Pre/Post Fader

Muting a Send Output

Flipping Send Levels to the Faders

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Table of Contents

3 DAW Control Guide (continued)

Input, Output and Send Routing

Viewing Routing

3-11

3-12

3-13

3-14

3-15

3-16

3-17

3-18

3-19

3-21

3-24

3-25

3-26

3-27

3-28

3-29

3-32

3-35

3-38

Changing Routing

Motion Control

Basic Transport Controls

Additional Transport Controls

Other useful transport modes

Setting start (In) and end (Out) Times

Setting Pre and Post Roll

Audition

Footswitch Control

Zoom, Navigation and Selection Modes

Shuttle/Scrub Wheel

Numeric Keypad

Plug-In Editor

Plug-In Editor Display

Plug-In Editor Controls

Paging Buttons

Selecting a DAW Channel for Plug-In Control

Timecode/Bars & Beats/Samples Display

Plug-In Display Modes

Viewing Current Inserts (Insert Mode)

Assigning a Plug-In or Hardware I/O Insert

Editing Plug-In Parameters (Parameter Mode)

Soft Keys

Working with DAW Automation

Automation Enable

Automation Modes

TRIM Mode

Automation Status Display

Suspending Automation

Writing Automation

Automating Cuts

Automating Pans and Sends

Automating Plug-Ins

Mackie Control (MCU) Emulation

Mackie Function Control Overview

Logic Template

Nuendo/Cubase Template

Sonar Template

Digital Performer Template

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Table of Contents

4 Total Recall

Overview

4-1

4-2

4-3

4-4

4-5

4-6

Total Recall and Projects

Working with Projects and Titles

Saving a TR Setup

Recalling a TR Setup

Deleting a TR Setup

Renaming TR Setups

Total Recall Displays

Copying and Swapping settings between channels

Resetting soft switches

Copying TR Setups to a DAW Folder

5 Automation

Overview

5-1

Key Features

Automation and Projects

Working with Projects and Titles

Activating the Automation System

Operation

5-2

5-3

5-4

List Mix Menu

5-4

Changing the Selected Mix Pass

Deleting Mix Passes

Creating A New Mix Pass

Mix Running

5-4

5-5

5-6

Mix Review

5-6

Dedicated Automation Buttons

Join and Revise

5-7

5-8

Discard

5-9

Updating a Mix Pass

Protection Modes

Automation Options

Trim

5-9

5-10

5-11

5-12

5-13

5-14

5-15

5-16

5-17

Trim Lock

Motors Off

Snap Mode

AutoTakeover

Cut Automation

Using Match and Play to correct a Cut

Copy and Swap

Fader Links

Creating a New Link

SuspdSel/SuspdAll

Deleting Links

Saving Mix Passes to your DAW Project

Pro Tools Setup Notes

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Table of Contents

6 Logictivity – Duality Remote Browser

Introduction

6-1

6-2

6-3

6-4

6-5

6-6

6-7

6-8

6-9

6-10

Duality Remote

Connecting Duality To Your Computer

Setting a Fixed IP Address

Connecting to Duality

Project Tab

Copying Titles, Total Recall and Mix Data Between Projects

Renaming Projects, Titles, Mixes or Total Recall Setups

Backing up a Project

Restoring a Project

Notes Tab

Channel Tabs

Mixes

Total Recall

Exts Names

Misc Tab

Time and Date

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Table of Contents

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Introduction

Section 1 – Introduction

What is Duality?

Duality is an evolutionary combination of super analogue console and DAW controller from Solid State Logic. It

draws on years of design experience, and incorporates industry standard features from SSL’s range of large

format music consoles.

Design Concepts

Duality combines technology from SSL’s acclaimed music console, the XL 9000 K Series with new design

concepts which faithfully recreate the overload characteristics of valve circuitry. It retains all of the sonic

benefits of SuperAnalogue™ capacitor-free servo coupled circuitry, then adds variable harmonic colouration on

a channel by channel basis, contained within a control surface which will be familiar to any recording engineer

who has previously used SSL consoles.

Key Features Summary

• Combined large format SSL console and DAW controller

• Legendary SuperAnalogue™ mic preamps and signal processing

• New VHD™ (Variable Harmonic Drive) preamp stage

• Comprehensive monitoring up to 5.1 surround with multiple loudspeaker support

• Direct control of DAW recording, editing and mixing functions from the console surface

• Flexible signal routing enhanced by the channel ‘Split’ function

Console Feature Summary

•

Integrated console, signal acquisition, signal processing, studio monitoring, bass management and DAW

control

•

Advanced DAW control through a high resolution integrated TFT screen

Elegant, ergonomic design with a number of add on options

Innovative large fader dual-control of both DAW and console input path with follow fader metering

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Introduction

Exceptional Signal Processing

•

Legendary SSL sound quality

SuperAnalogue™ technology derived from SSL’s acclaimed XL 9000 K Series console

VHD™ Input Preamp

DC Coupled for excellent low frequency response

Balanced signal paths throughout for maximum dynamic range

Audio bandwidth exceeding that of 192kHz recorders

Ultra low-noise dual impedance mic amps

Channel EQ with twin-curve SSL E and G Series 4-band parametric equalisation

Channel dynamics sections with gate, expander and compressor/limiter

5.1 implementation of SSL’s classic mix bus compressor

Highly flexible signal processing order

Creative Versatility

•

Hex mix bus design configurable as a 5.1 bus or three stereo pairs (A, B, C)

5.1, stereo or stereo down-mix main outputs

24 track busses

2 Stereo Cue plus four Aux busses on all channel modules, with EFX re-assign system to feed track busses

and channel output

•

Wide range of solo modes including Solo-In-Front

4 stereo echo returns with full mix/foldback routing

Unrivalled studio monitoring section

Hi-visibility channel TFT screens for metering and optional Total Recall displays

2 main VU meters and phase meter

Comprehensive bus metering in the centre section

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Introduction

DAW Controller

Today’s DAWs provide the power and convenience of recording and editing audio, but a keyboard and mouse

is not the most intuitive way to access these controls. For most users, finding an integrated solution that

answers all of their working needs is strongly desired. Duality achieves this to an extent and quality that has

previously been unavailable.

Controller Features Summary

• Direct access to all major DAW mixing, editing and automation parameters via HUI and MCU protocols

• Direct control of plug-in settings

• Dedicated control processor to maximise console performance

• Integral colour TFT display with dedicated control keys

• High quality motorised faders to write/replay level moves in your DAW

• Simple switching between console layer and DAW control layer

• Full remote control implementation

• Operation independent of platform – works with Pro Tools™, Nuendo™, Logic Audio™, and others

System Options

•

Multi-operator Total Recall for accurate resetting of session parameters

Comprehensive automation package based on SSL’s legendary Ultimation system

Now enjoy.......

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About This Manual

About this manual

This manual is divided into five main sections, and is designed to provide a comprehensive source of

information for Duality console users. The table of contents will help you to familiarise yourself with the basic

content of each section. If you are reading this from an electronic version of the manual, use the ‘bookmark’

feature to rapidly locate to virtually any topic.

If you have not previously used an SSL console, you are advised to read the Duality overview at the start of

Section 2. Those of you who have experience of SSL’s range of analogue consoles will have little difficulty

getting to grips with the operation of this console’s control surface; features that are specific to Duality are fully

described in Section 2.

To set-up and configure the software interface between Duality and your chosen DAW, please study Section 3.

This section also covers the DAW functions that you can usefully control from Duality’s centre section.

Finally, the last section in this manual is provided to hold useful appendices that you may be supplied with from

time to time.

Conventions Used

Some typographical conventions have been used in this manual to help distinguish explanatory text from the

text referring to console items. They are as follows:

• Switch cap engravings on the console are usually in UPPERCASE (eg. SOLO).

• Silk screened text on the console’s control surface can be either UPPERCASE (eg. DYNAMICS), or

lowercase bold (eg. auto), or Titlecase (eg. Talkback Mix).

• Any text on the console’s TFT screen is referred to in a Bold typeface.

• Items of note or cautions are shown in a red italic typeface.

• Whenever this manual mentions the selection or pressing of a button, it is assumed that the button was not

active (ie. not lit), and that this action has made it active (ie. it has become lit).

• Similarly, whenever the manual mentions the deselection of a button (or pressing it again), it is assumed that

it was active before the action, and has become inactive due to this action.

Contacting Solid State Logic

If you cannot find the information you need on the pages of this manual, please refer to the Duality support

pages at http://www.solid-state-logic.com

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Section 2 – Console Operator’s Guide

Overview

Duality is an evolutionary combination of analogue console and DAW controller from Solid State Logic. It draws

on years of design experience, and incorporates industry standard features from SSL’s range of large format

music consoles.

Duality combines technology from SSL’s acclaimed music console, the XL 9000 K Series with new design

concepts which faithfully recreate the overload characteristics of valve circuitry. It retains all of the sonic benefits

of SuperAnalogue™ capacitorless servo coupled circuitry, then adds variable harmonic colouration on a channel

by channel basis, contained within a control surface which will be familiar to any recording engineer who has

previously used SSL consoles.

The ubiquitous DAW (Digital Audio Workstation) has brought many benefits to audio production, including visual

audio editing, integrated digital effects processing and convenient session storage and recall. However, although

eminently flexible, DAW’s present new challenges of integration within the studio environment today.

Duality has been carefully designed with these requirements in mind. It addresses all the needs of current DAW

production techniques in an integrated, high quality and robust design, coupled with all of the sonic benefits

expected from a Solid State Logic console.

SSL’s extensive design experience has been utilised to create the ultimate capture path for up to 96

simultaneous inputs into the DAW, where recorded signals can be edited, processed and mixed via Duality’s

control surface. The signal paths can then be either summed internally within the DAW or returned to the

analogue domain for further processing via Duality’s channel path EQ and dynamics processors, before final

summing via the console’s balanced analogue mix bus architecture. With a comprehensive 5.1 monitoring

section, audio can be auditioned with the highest possible audio integrity.

A high resolution, digitally controlled gain element in each channel allows the motorised faders to be switched to

control any DAW that supports the HUI or Mackie Control protocols, while retaining control of the analogue

signal path. The faders and their associated channel-based rotary encoders (D-pots) provide direct control of

DAW faders, pans, sends, plus input and output routing. The Master Control Panel and Duality’s centre section

screen give paged control of all plug-in parameters.

In summary, Duality is a Complete Studio Solution for modern DAW based production environments.

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Console Operator’s Guide

An Introduction to Split Mode

The Duality channel strip is optimised for working in conjunction with a multichannel DAW as the primary

recording medium. Instead of retaining the ‘in-line’ architecture of previous SSL consoles, a new ‘Split Mode’

mode topology has been introduced which provides the equivalent of in-line operation but without the cost and

complexity of separate channel and monitor paths.

In DAW-based productions, there is no longer the fixed track count limitation of conventional analogue or digital

tape-based recording. This means that most sources are recorded individually to a track with or without

processing as production requirements dictate, but without requiring constant access to a ‘channel’ fader. The

Duality channel supports two input paths normally designated as the Channel Input and the DAW Return, with

a single Channel Output as the DAW Send. The Split Mode architecture allows the input signal to be ‘picked

off’ the channel path at the input stage, or pre fader, and replaced with the DAW return. The input signal

automatically becomes the DAW send and the remaining section of the channel handles the DAW return.

Toggling Split Mode on and off is the equivalent of the classic send/return (Group /Tape) monitoring. The

console sends can select either the channel fader signal or the channel output signal as a source, offering the

choice of zero-latency stereo cue and FX mixes, or post-DAW processed sends.

Routing and Signal Flow

As you read through the following pages, you may find it useful to refer to the signal flow diagrams in the

appendices section at the end of this manual.

In order to understand signal flow through Duality’s various operational modes, first we need to discuss how

your DAW I/O unit is connected to the console. To take advantage of the sonic and control environment

provided by Duality, it is recommended that each DAW output is returned individually to a Duality channel strip.

For details of the physical location of Duality’s inputs and outputs, please refer to the Duality Installation

Manual.

DAW I/O Labelling

When using DAW routing with Duality, it is advisable to take time to sensibly label the inputs, outputs and

busses within your DAW. Details on how to do this will be found in the documentation supplied with the DAW.

Sensible labelling will make the task of performing routing via Duality’s front panel a simple task, rather than

relying on having to decipher long complex names often assigned by default to DAW channels.

For example in a 48 I/O system, simply naming inputs and outputs ‘1’ through ‘48’, and busses ‘b1’ through

‘b48’ will allow a simple differentiation between hardware I/O and internal DAW busses when using the console

control surface. In some DAW systems, I/O paths can be grouped. In this case label stereo paths in pairs such

as ‘1-2’, and sub paths as ‘1’ and ‘2’.

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Channel Strip

Introduction

Duality’s Split Mode enables the channel processing to be easily applied to channel input

INPUT

48V

HI-Z

+15

+75

signals feeding the DAW record path or to the DAW returns. This provides the equivalent of in-

line operation but without the complexity of separate channel and monitor paths.

PAD

DRV

2nd

3rd

DRIVE

FILT

INP

+20

-20

Users who are familiar with SSL’s range of in-line consoles will soon realise that the channel

strip faders can control virtual faders on the workstation as well as the channel signal path , in

many ways paralleling the large/small fader configuration of an in-line channel strip. This

provides an alternative to Split Mode working, with the DAW console handling the functions of

a monitor mixer.

COMPRESSOR

Push for Fst Att

RATIO

LINK

RELEASE

+10

GATE/EXP

THRESHOLD

KEY

EXP

RANGE

POST

The channel supports two input connections, the Monitor Input which is normally sourced

from the output of the DAW, and the Channel input which accepts variable level signals from

a microphone, DI box or other audio source. Three preamps are available for use with either

input: a unity gain line level buffer which is normally assigned to the DAW return, and a pair of

mic preamps sourced from the CHANNEL input XLR connector, one using SSL’s Super

Analogue direct coupled DC servo circuitry, and the other featuring SSL’s proprietary VHD™

(Variable Harmonic Drive) valve emulation gain stage. The channel output can route to 24

Track Busses, any one of three stereo Main Mix Busses (A, B and C) or all the Main Mix

Busses in 5.1 mode.

THRESHOLD

+10

Push for Fst Att

HOLD

S/Ch

LSTN

REL/HOLD

DYN

FILTERS

OUT

100

500

kHZ

300

S/Ch

G-EQ

BELL

HMF

1.5

KHz

In addition to two Cue Stereo sends and four mono FX Sends, a dedicated Direct Output (CH

OP) is provided. Each channel has comprehensive routing for EQ and filter, dynamics, and

insert send/return points.

KHz

INS

LMF

POST

The channel strip can be divided into five distinct functional sections:

2.0

KHz

220

400

Channel input

600

BELL

Dynamics

CH OP

AFL

SRC

SEL

CUE ST

POST

CH OP

ALT

EQ and filter

Cue

EFX

Cue Stereo and FX outputs

Channel output pan

FX1

FX2

FX3

FX4

CH OP

EFX

CH OP

EFX

CH OP

EFX

Beneath the channel strips is a panel containing the ‘D-pot’ for DAW output or channel level

control. This area also houses cut and solo buttons for both fader and D-pot, and an electronic

scribble strip. Finally, below the ‘write-your-own’ scribble strip, each channel has a long-throw

(100mm) moving fader.

CH OP

EFX

SET EFX

/CUEB

SRC

SEL

SPLIT

LFE

Above each bay of six channel strips, the TFT meter display provides a large range of useful

information on a per-channel basis, including audio and dynamics metering, processing order,

bus routing, automation bargraphs (optional) and Total Recall™ (optional).

LCR

Focus

PAN TO TRK

5.1

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Console Operator’s Guide

At your first introduction to the Duality console, you will immediately see that the channel strip controls are

presented in reassuringly familiar manner. The following pages describe each control in detail, with brief

coverage of the routing possibilities. See the start of this section for more on signal routing.

In the following descriptions, the connectors referred to are on the rear of each channel module,

unless stated otherwise.

INPUT

48V

Channel Input Section

HI-Z

+75

+15

This provides two inputs, one dedicated as a line level DAW return (D-connector), the

other (XLR connector), is intended as a mic input but may be used for both mic or line

inputs. Normally the Mic Input feeds the variable gain INPUT amplifier, and the DAW

return feeds a unity gain line amp. However a centrally controlled INPUT FLIP function

reverses the input routing so that the DAW return can be processed by the variable gain

amplifier stage without the necessity for external patching.

PAD

DRV

2nd

3rd

DRIVE

FILT

INP

+20

-20

COMPRESSOR

The variable gain amplifier features two completely independent preamp stages. Both have electronically

balanced inputs with very different but complementary sonic qualities. The default preamp uses SSL's

acclaimed Super Analogue circuitry to provide an extremely low noise, extended bandwidth front end with the

minimum of signal colouration. Pressing the DRVIN button routes the input signal to a completely different

preamp featuring the SSL-developed VHD™ (Variable Harmonic Drive) circuitry. VHD emulates the

characteristics of a classic valve front end but with the option to tailor the harmonic mix when the preamp is

overdriven by adjusting the DRIVE pot. In conjunction with the 20dB PAD and Hi-Z input impedance option,

VHD can provide subtle valve style warmth to a mic signal or aggressive tonal shaping to existing DAW tracks.

However, be aware that, due to differences in the mic amp topology, exact matching of gains is not possible.

Note that many of the signal routing functions on a channel strip are also available

on the central routing panel, and some are only available on the central routing panel

The post input stage CH (channel) control provides final 20dB gain trim (for reducing the level when the input

section is being abused for creative reasons) and polarity inversion (Ø), for the centrally selected channel

source. Available input options are the output of the mic input preamp (MIC), the balanced line level DAW

return (LINE), or the channel’s associated track bus for patch free subgroups (BUS). In the latter case, the

channel input is replaced by the output of one of the 24 Track Mix busses where Bus N feeds the input of

Channel N, N+24, N+48 etc.

FILT to INP locks the high and low pass filters to the channel source. +48V phantom power for mic inputs is

selected on the central routing panel.

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Dynamics Section

-20

COMPRESSOR

Dynamics Section

Push for Fst Att

RATIO

The Dynamics section contains a compressor section identical to that of the 9000K

series and also found in SSL's Logic FX range of outboard processing units. In normal

use, the compressor’s true r.m.s. side chain and over-easy soft ratio function provide a

very transparent compression action even with large amounts of gain reduction. The fast

attack option offers the classic SSL compressor sound normally associated with its use

on drum and percussion sources. Selecting Peak (PK) mode defeats the over-easy soft

ratio, modifies the release curve and attack times, and unleashes a far more aggressive

sounding compressor ideal for more radical sonic shaping.

LINK

RELEASE

+10

THRESHOLD

- 20

GATE/EXP

KEY

EXP

RANGE

POST

Push for Fst Att

- 30

+10

THRESHOLD

HOLD

The Gate/Expander section is a new variant of SSL’s classic 4000 series three-control

design. It features the choice of a steep gate or gentle expander slope, with optional fast

attack. The new ‘Hold’ (HOLD) option flips the variable release (REL) control to function as

a variable hold-off time with a fixed release curve.

S/Ch

LSTN

REL/HOLD

DYN

The complete section is switched in or out of circuit using the DYN IN button (see also Central Routing

Control). When the dynamics section is in circuit, the DYN box on the channel TFT display is highlighted.

Individual controls act as follows:

Compressor

RATIO – When turned to 1:1, the compressor section is inactive. Turning the control clockwise increases the

compression ratio until it reaches a true limit mode at the fully clockwise position. Pressing the RATIO knob

switches the compressor to peak sensing, and replaces the ’over easy’ characteristic with a hard knee,

providing an alternative voicing for some instruments. The PK LED lights to indicate that this option has been

selected.

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, in conjunction with the Ratio setting, provides automatic make-up

gain, so as you lower the threshold and introduce more compression, the output level is increased, maintaining

a consistent output level.

RELEASE – Sets the time constant (speed) with which the compressor returns to normal gain settings once

the signal has fallen below the compressor threshold. This control also incorporates a push-push switch which

selects a very fast attack time as an alternative to the standard time constant.

Gate/Expander

This section can act as a Gate or as a 2:1 Expander when the RANGE pot is pressed. A red LED indicates that

Expand mode has been selected.

RANGE – Determines the depth of gating or expansion. When turned fully anticlockwise (Range = 0), the

section is inactive. When turned fully clockwise, an attenuation range of 40dB can be obtained.

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Console Operator’s Guide

THRESHOLD – Variable hysteresis is incorporated in the Threshold circuitry. For any given ‘open’ setting, the

Expander/Gate will have a lower ‘close’ threshold to prevent ‘hunting’ artifacts. The hysteresis value is

automatically 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.

REL/HOLD – 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. Note that this control interacts

with the Range control. This control also incorporates a switch which, when pushed, provides a fast attack time

(100µs per 40db), instead of the normal linear attack time of 1.5ms per 40dB. 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 – When this button is pressed, the release time is fixed at 150ms but the hold time can be varied

between 0 and 4 seconds by adjusting the REL/HOLD pot.

The LINK button in the compressor section links the sidechain signal of that unit to the sidechain of the next

dynamics section 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.

Don’t try to link two gates using the LINK button when you want the signal on one to open 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 Key input (see below) of the ‘destination’

channel, and selecting the KEY button on this channel.

The KEY button feeds whatever signal is present on a channel’s Key input (D-connector) into the sidechain

input of that channel’s dynamics section. Pressing S/Ch LSTN routes the sidechain signal to the console’s PFL

bus. This simplifies the set up when either an external key input or the filters to side chain option is in use.

POST EQ (not surprisingly) places the dynamics section post the EQ section (see also Central Dynamics

Control below.

Note that when the dynamics section is not in circuit, its sidechain input is also bypassed.

Signal processing order is graphically displayed on the channel TFT screen

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Filters and EQ

Central Dynamics Control

The centre section master routing panel replicates the dynamics POST EQ function for sweet spot control and

multiple channel operation using the SELECT/TO range keys.

Dynamics Section Metering

The TFT screen above each bay of six channel strips is used to display a wide variety of relevant information.

In its default Channel mode, as well as channel output metering (see later) a display of dynamics section gain

processing is shown, in the form of two columns of indicators – yellow and red for the compressor, green for

the gate/expander. See Channel Metering for more information.

FILTERS

OUT

Filters

100

500

kHZ

These comprise a 3rd Order 18dB/Octave high pass filter (HF) and a 2nd Order

12dB/Octave low pass filter (LF). Each filter is out of circuit when the control is fully

anticlockwise. When the filter is in circuit, the FILTER box on the channel TFT display is

highlighted.

300

S/Ch

G-EQ

BELL

HMF

Normally, the filters follow the EQ section in the signal chain but the FILT to INP button

in the input section of the channel strip places the filters directly after the channel input.

This function is also available on the central routing panel. Pressing TO S/ch routes the

filter section to the dynamics sidechain.

1.5

KHz

INS

LMF

Signal processing order is graphically displayed on the channel TFT screen

POST

Equaliser

2.0

KHz

This is a four band parametric equaliser based on SSL’s classic 'Black Knob' EQ, which

was developed for the original SL4000E series console. Selecting the G-EQ button

introduces steeper shelving curves with a controlled amount of undershoot at the

turnover frequency, together with the classic gain/bandwidth interaction for the mid band

sections that was a key characteristic of the original G-Series EQ.

220

400

600

BELL

The individual bands function as follows: HF high frequency shelving equaliser

switchable to fixed Q parametric (BELL); HMF high frequency parametric mid band

equaliser; LMF low frequency parametric mid band equaliser; LF low frequency shelving

equaliser switchable to fixed Q parametric (BELL). The EQ IN button (located next to the

insert buttons) routes the channel signal through the EQ and filter section. When in

circuit, the EQ box on the channel TFT display is highlighted. See also Central Routing

Control.

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Console Operator’s Guide

Insert

KHz

The INS IN button routes the channel signal via balanced insert send and return points,

available on the rear of the console (D-connectors). The insert defaults to the channel

input (post the input trim); POST cycles the insert position through two alternative

locations in the processing path: post EQ or post Dynamics; the centre section master

routing panel provides individual INS POST EQ and INS POST DYN buttons. When the

insert is active, the INSERT box on the channel TFT is highlighted.

INS

LMF

POST

2.0

KHz

220

400

600

Signal processing order is graphically displayed on the channel TFT screen

BELL

CH OP

AFL

SRC

SEL

Channel Output (CHOP)

CUE ST

POST

The Channel Output (D-connector) is normally used to feed the DAW input. The default

signal is a post channel fader feed, but the SRC SEL button can be used to select

alternative sources: pre channel fader (pre the SPLIT point – see below), the channel

input (also pre the SPLIT point), or an active EFX send (see below). Each selection is

graphically displayed on the channel TFT screen (see Channel Metering for more

information). When either the channel input or pre fader source is selected, the SPLIT

button activates the Split Monitoring function and routes the DAW return into the channel

signal path post the split point (see below).

CH OP

ALT

Cue B

EFX

FX1

FX2

FX3

FX4

CH OP

EFX

CH OP

EFX

CH OP

EFX

Use the associated AFL button to monitor the channel output source as you toggle

through the options with the SRC SEL button. The central routing panel has single button

selection of the four channel output sources: INPUT, PRE FADE, POST FADE, EFX.

CH OP

EFX

SRC

SEL

SET EFX

/CUEB

Signal Processor Routing

By now you will have realised that Duality features extremely flexible signal processor routing within each

channel. In addition, the channel output (CHOP) can be sourced from a number of different points in the

channel. Furthermore, the SPLIT function effectively offers two signal paths in one channel strip. A useful

graphic display on the channel bay TFT (see Channel Metering) makes clear, at any time, the current

arrangement for any channel.

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Channel Sends

KHz

Channel Sends

Each channel has two stereo and four mono sends that can be used for a number of

different purposes: headphone feeds, FX sends, etc. The stereo cues can even be used

to provide an additional line input to the mix.

INS

LMF

POST

Cue Stereo

2.0

KHz

Normally, the stereo cue sources a pre channel fader signal, which routes to the console’s

Cue A bus. This in turn can be picked up in the centre section and used as a foldback

source (see Cue/FX Master Controls). Press and hold down the SRC SEL button (at the

base of the Channel Sends section) then press the stereo cue gain pot to toggle the source

through post fader channel feed (POST), channel direct output (CHOP) or the alternative

channel input (ALT), as indicated by the LEDs adjacent to the stereo cue gain pot. The ALT

selection is defined as whichever input is not assigned to the main channel path (when

SPLIT mode is not active), and allows the stereo cue to be used as an additional input.

220

400

600

BELL

CH OP

AFL

SRC

SEL

CUE ST

POST

CH OP

ALT

Cue B

EFX

Likewise, select the stereo cue output to Cue B by holding down the SET EFX/ CUE B

button then pressing the stereo cue gain pot; this toggles the selection through Cue B, EFX

and Cue A (off).

FX1

FX2

FX3

FX4

CH OP

EFX

CH OP

EFX

Master controls for the Cue A and B busses can be found in the centre section.

CH OP

EFX

Pan your mono source across the stereo cue bus outputs with the LR pan control. The

stereo cue send is turned on/off by means of a push-push switch mounted on the send level

control.

CH OP

EFX

SRC

SEL

SET EFX

/CUEB

FXSends

The four mono FX Sends are normally sourced post channel fader. They may, however, be sourced from the

channel output (CHOP) by pressing and holding down the SRC SEL button (at the base of the Channel Sends

section) then pressing the required FX gain pot to toggle the selection on/off.

Each FX level pot is fitted with a push-push on/off switch; ‘on’ is indicated by a LED beside the pot. Master controls

for each FX bus can be found in the centre section.

Selecting an FX output to the EFX system (press and hold the SET EFX/ CUE B button then press the required FX

or Cue Stereo gain pot) allows a single send to be isolated from its associated bus and to be used as source for

either the Track Busses (selected in the centre section), or the channel output — CHOP (selected locally or in the

centre section). This enables additional independent effects send or headphone mixes to be easily generated.

Logic interlocks prevent feedback paths by disallowing the EFX function on a send sourced from the channel output

if EFX to channel output is active.

See Cue/FX Master Controls for more on EFX routing.

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Console Operator’s Guide

Split Mode

SPLIT

When the channel output (DAW input) is sourced from either the channel input or pre the

channel fader, SPLIT offers a new approach to in-line tracking on an analogue console by

returning the DAW output back into the channel path just after the channel output pick off

point. By using INPUT or PRE FADE as the channel output source, clean or processed

signals are routed to the DAW input, with the option to use the remaining channel processing

and routing to monitor the DAW return in the analogue domain.

LFE

LCR

Focus

PAN TO TRK

5.1

The effect of SPLIT is graphically illustrated on the channel TFT (see Channel Metering for more information).

Note that SPLIT is disabled if CHOP is sourced from POST FADE or EFX,

or if the Line Amp is selected as the channel input.

Channel Pan

At the bottom of the channel strip is a fully featured 5.1 panning section for both the Main Mix busses as well

as the 24 Track Busses. With the most complete implementation found on any analogue console, the feature

set includes a dedicated LFE send and a fully variable ‘Focus’ control to alter the phantom/hard centre mix for

signals located in the front channels.

The default arrangement is for stereo panning to three pairs of Main Mix busses – A, B and C. The 24 Track

Busses normally pick up the mono post fader channel output. On the centre section routing panel, selecting

PAN TO TRK routes the LR pan outputs to odd/even pairs of Track Busses. Selecting 5.1 PAN enables the full

6-channel panning options for both the Main Mix busses and the Track Busses, if PAN TO TRK is also

selected. Local LEDs in each panning section indicate whether that channel has been selected to either of

these two modes. When 5.1 panning is not enabled, only the LR (Left/Right) pan control is active.

If the centre section function EFX TO TRK is selected, this replaces the normal feed to the Track Busses and

defeats 5.1 panning to the busses.

The channel panning section features XY style 5.1 panning via LR (Left/Right) and FR (Front/Rear) controls

with additional LFE and Focus functions. The LFE control feeds a variable amount of the channel output to a

dedicated LFE (subwoofer) bus (see more on this in the Centre Section).

The Focus control alters the proportion of input signal fed to the front Left/Right busses and the Centre bus,

enabling channel signals to be focussed from a ‘hard’ centre, all the way through to a true phantom centre. As

the Focus knob is rotated clockwise from the LR position, a centrally panned signal is progressively attenuated

in the left and right busses, while the gain to the centre channel is increased. When fully clockwise, the LR pan

pot becomes a three-channel discrete LCR panner. As the Focus control is returned to the LR position,

variable amounts of divergence are introduced so that, at the 12 o’clock position, signal is present in the three

front channels at equal level. As you continue to turn before 12 o’clock, the centre channel is then

progressively reduced, leaving only the phantom (Left + Right) centre image at the fully anticlockwise position.

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DAW Control and Fader

D-pot and DAWControl

Below the channel strips is a 12-wide panel containing a rotary encoder known as the

D-pot, together with its integral momentary switch mounted on the encoder shaft. This is

used to adjust the currently assigned DAW parameter or the analogue channel level;

D-pot functions are assigned from the centre section, and indicated in the D-pot’s

associated two line display.

CUT

SOLO

The CUT and SOLO buttons above the encoder are used when the encoder is

controlling the DAW or Duality channel gain.

SEL

The electronic scribble strip displays the channel name, the name of a DAW track,

selected DAW send, or I/O data according to the function currently assigned on the

Master Control Panel (see Section 3). When the rotary control and the fader swap roles

for gain control, entries in the scribble strip also flip.

SOLO

CUT

The SEL button operates the DAW ‘Selected Channel’ function. This function can be re-

assigned from the centre section, to track arm a selected DAW channel or assign the

‘plug-in’ editor (Pro Tools only). Tallies in the channel meter display Record Ready and

Edit status regardless of whether the console is in ‘DAW Focus Mode’ (see Section 3 for

more details).

·10

· 5

· 0

fader

rec

Channel Cut and Solo

The CUT and SOLO buttons above the traditional scribble strip are used when a gain

function is assigned to the channel fader. SOLO is not active if a function other than the

channel level (DAW or console) is being controlled.

· 5

play

· 10

match

· 20

Channel Fader

switch

The 100mm moving fader controls the analogue channel, or assigned DAW track, or the

DAW send level when the centre section ‘flip’ function is active (Pro Tools/HUI and MCU

interfaced DAWs), plus Plug-In parameters when using a MCU compatible DAW. The

required function is selected via the Master Control Panel (see Section 3 for details).

· 30

· 40

· 50

· ∞

The fader button, and associated LEDs are used in conjunction with the DAW

automation (HUI interface only) or the optional Duality automation and ‘multi-operator’

Total Recall systems. The play and match buttons are used only with Duality

automation. See Sections 4 and 5 for more details.

group

select

The select button at the foot of the fader is used to select that channel to the central

routing panel, and for fader grouping (see below).

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Console Operator’s Guide

Fader Grouping

The console’s centre section is fitted with eight group control faders that offer VCA-style grouping control

(servo, ie. moving fader, grouping will available in a future software update). To assign channel faders to a

group, simply press the select buttons of the channels you want to include in the group followed by the group

button at the foot of the required group fader. The group display on each fader will reflect your choice (the fader

in the illustration above is being controlled by group fader 2). See Control Group Faders for more information.

The Channel TFT Screen

The TFT screen fitted above each channel bay (see above) is normally used to display a number of channel

related parameters for the six channels in that bay. When Total Recall is in use, the screen flips automatically to

display the control positions for a single, selectable, channel (see Section 4 for more details).

Channel Routing

At the bottom of the channel display a clear indication is provided of each channel’s routing to Main Mix busses

A, B and C and the 24 Track busses. Note that the Mix Busses are colour coded, and this same coding is also

utilised in the centre section.

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Channel TFT Screen

Channel Processing Order

The section above the routing indicators displays the order of channel processing for both signal paths in each

channel (including the channel inputs, the channel fader and the channel output) as well as providing an

indication of which processing element is actually in circuit. Once again, colour coding is used for ease of

recognition.

Channel Metering

A single peak meter indicates either analogue channel signals or DAW levels, according to selection of the

Console/DAW ‘Focus’ button (see Section 3 for more on this). The standard scale is +24dB for 0dBFS (top of

the scale). A peak hold option is available for channel and centre section meters via the centre section

METERS setup menu. A legend below the Dynamics section indicators (see below) confirms the currently

selected meter point for that channel, as set on the central routing.

In addition to the expected channel metering, two columns of five ‘LEDs’ give an indication of channel

gate/expander activity (green ‘LEDs’) and compressor activity (yellow and red ‘LEDs’).

DAWStatus Indicators

To the right of each channel meter are three indicators that provide feedback of the current DAW status of that

channel. SEL confirms that channel is currently the ‘selected channel’. REC indicates the Record Ready status

of the associated DAW track, and EDIT shows if the DAW channel associated with that channel strip is

currently assigned to the plug-in editor (Pro Tools only). See Section 3 for more details. Note that Record

Ready and Edit status will be indicated regardless of whether the console is in ‘DAW Focus Mode’ or not.

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Console Operator’s Guide

MON ST MIX

MIX A SOLO

CLIP

LEFT

RIGHT

LS RS LF

5.1 MIX

ST MIX

FOLLOW MON

SOLO

CUE

FX SEND

CLIP

Solid

State

Logic

PHASE

10 11 12

13 14 15 16 17 18

19 20 21 22 23 24

BUSSES 1-24

MIX REASSIGN

TRACK BUS

MASTERS

TRACK BUS

MASTERS

TRACK BUS

MASTERS

AUX BUS

MASTERS

COMPRESSOR

CUE

+10

∞

+10

∞

ST CUE

CUE

BUS

+15

-15

+12

COMPRESSION

OSCILLATOR

EXT

COMMS

∞

+10

∞

+10

∞

+10

BUS

TRAC

∞

SL978

+10

BUS 11

+10

BUS 19

∞

+10

∞

Listen

CAL

LEVEL

Slate

BUS

ST CUE

TRACKS

440 1K

13-

10K

15K

220

100

∞

-20

+20

+10

BUS

THRESHOLD

PINK ON

OSC ON

19-

LFE

TO S/C

∞

TB to Foldback

+10

Talkback Out

∞

+10

FREQ

MAIN

MIX

BUS

MAKE-UP

LFE CHANNEL

S/C

80H

+10

∞

+10

BUS

ATTACK

SRND

1.2

LFE

FILTER

AUTO

TO S/C

+10

∞

+10

∞

+10

STEREO MIX

BUS

RELEASE

INP

PRE

1.5

∞

+10

∞

RATIO

00:02:12:23 Mix Enabled

BUS

F/BACK

ST RET

F/BACK

New Mix

Mix Pass 1

Mix Pass 2 >> 1

∞

LFE

∞

Mix Pass 3 >> 2

STUDIO

MIX

∞

MON

SURROUND

MON

PAN

FOCU^LS^R

FOCUS

FOCU^LS^R

EXT

MIX

∞

MIX

CENTRE

PAN

CUE

MIX

∞

MONO

WIDTH

FULL

MONO

WIDTH

FULL

MONO

WIDTH

FULL

MONO FULL

WIDTH

MIX

STEREO

MIX

List Mix

Save/Load

Delete

Confirm

SSL

MIX

ST MIX

MONO

MIX

∞

CUE

∞

Proj

Aut

Lnks

Mis

BALANCE

MIX

CUT

INS

Trim

Moff TLock Snap

Match Play

CUT

LEVEL

∞

LEVEL

∞

LEVEL

∞

LEVEL

AFL/SEL

INPUT

FLIP

AFL/

PFL

MONITOR

OPTIONS

SOLO

ISOLATE

EXTA

EXTB

METERS

MISC

+48V

LINE

INPUT

MISC

MIC

BUS

SPLIT

LFE

CHANNEL IN

MONITOR MUTE/SOLO

FILTER

TO INPUT

DYN POST

INS POST

DYN

PROCESSING ORDER

INSERT

DIM

AFL

PFL

SEND

UNDO

SAVE

MUTE

ALT

INPUT

SUM

EXTA

EXTB

SOLO

ALT

5.1

PROCESSING IN/OUT

MONITOR LEVEL

PRE

FADE

POST

FADE

INPUT

EFX

SOLO

CLEAR

STATUS

TRANS

MEM

CHANNEL

PRE/POST

BYPASS

DEFAULT

ESC

SHIFT

CTRL

ENTER

OPTION

ALT

OUTPUT

ASSIGN

CHANNEL OUTPUT

MINI

MON

RETURN

POST

FADE

CHAN

OUT

PAN

RDY

Push to Flip

CHANNEL METERS

STEREO

MIX

STEREO

MONO

MINI

CUT

H/P

EDIT

SEL

PHONES

DIM

CUT

MIX

MIN

MIX

LS SELECT

EFX

TO TRK

RDY

ALL

SUSPEND

AUTO

CHANNEL

EDIT

PAN

TO TRK

MIX

SUM

MIX

SUM

SOLO

ISO

AUD

RTZ

PRE

END

OUT

POST

5.1

CLR

PAN

POST

INSERT

COMP

POST

INSERT

COMP

POST

INSERT

COMP

ZOOM/

SEL

LINE

GROUP

MIX

LOOP

PUNCH

INC

ROUTE

BUS

ROUTING

PAN MODE

TRIM

LOK

AUTO

T/OVER

MOTORS

OFF

SHUTTLE

SNAP

SCRU

TRIM

JOIN

+10dB

–

FADER

FRO

ALL

REPLAY

REVISE

CANCEL

END

DISCARD

SET

AUX

SET

SELECT

AUTOMATION

AFL

CLEAR

ALL

UNDO

CHANNEL SELECT

STOP

PLAY

RECORD

5.1 MIX

RED

LIGHT

TRANSPOR

SLATE

LISTEN

ALL

EXT

T/B

F/B

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

SOLO

OLO

CUT

COMMUNICATIONS

UTT

GGRROOUUPP11

GGRROOUUPP22

GGRROOUUPP33

GGRROOUUPP44

GGRROOUUPP55

GROUP

GGRROOUUPP77

GGRROOUUPP88

MASTER

·10

· 5

· 0

·10

· 5

· 0

·10

· 5

· 0

·10

· 5

· 0

·10

0 ·

5 ·

10 ·

·10

· 5

fader

rec

fader

rec

fader

rec

fader

rec

fader

rec

fader

rec

fader

rec

· 0

rec

· 5

15 ·

· 5

play

· 10

20 ·

· 10

match

· 20

30 ·

· 20

switch

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

· 30

· 40

· 50

40 ·

50 ·

60 ·

· 30

· 40

· 50

· ∞

∞ ·

· ∞

group

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Centre Section

The Centre Section

Introduction

The console’s centre section (see opposite) comprises four main areas:

Centre section meter panel.

Audio master control functions.

TFT screen and panels dedicated to DAW control; automation controls; DAW transport controls.

Group faders and master fader. To the right of this area is a trackball for DAW control.

Once you have spent a few moments sitting at the console, you will find the Duality’s centre section layout just

as intuitive as its channel strip.

The following pages cover all the analogue controls in the centre section. See Section 3 for details of the

console’s DAW control facilities.

Power Supply Indicators

Before we cover the more interesting features of the centre section, take a moment to acquaint yourself with

the console’s power supply indicators. If you suspect a hardware problem, and one of the LEDs described

below is not lit, there may be a power supply fault. The LEDs, which display the current state of power rails

within the console, are in the top left hand corner of the centre section, above the oscillator and talkback level

controls.

The 15 Volt and the +4 Volt supplies are for analogue audio and logic circuitry respectively. The +12 Volt

supply provides power for the faders and some relays. All LEDs should normally be illuminated, if not – try not

to panic!

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Console Operator’s Guide

Central Routing Panel

SOLO

ISOLATE

INPUT

FLIP

+48V

LINE

In addition to the DAW transport controls and the console monitor pot, in

day-to-day operation you will probably find you use this panel more than any

other, so it’s worth taking a few minutes to fully understand its capabilities.

INPUT

MISC

MIC

BUS

SPLIT

CHANNEL IN

FILTER

TO INPUT

DYN POST

INS POST

DYN

This panel provides access to channel routing, signal processing order, and

other facilities, on single or multiple channels. Channels can be selected in

a contiguous range or randomly across the console.

PROCESSING ORDER

INSERT

PROCESSING IN/OUT

PRE

FADE

POST

FADE

INPUT

EFX

CHANNEL OUTPUT

Channels are selected to the panel by pressing the select button at the foot

of each channel fader. The channel TFT meter will be outlined in green to

indicate the selected channel.

MON

RETURN

POST

FADE

CHAN

OUT

CHANNEL METERS

Normally the routing panel is ‘off’ – ie all displays are blank. Pressing any

channel select button, or the + and - buttons (on the panel) together, wakes

the panel up with a single channel selected – this will be either the select

button channel or the first channel of the previous selection.

EFX

TO TRK

PAN

TO TRK

5.1

PAN

Single channels can be selected at any time by pressing the channel select

buttons or using the +/- buttons. The currently selected channel will be

shown in the left hand (‘FROM’) window. The right hand display will be

blank.

MIX A

MIX B

MIX C

INC

ROUTE

BUS

ROUTING

PAN MODE

–

SET

To select a range of channels, press the TO button when a FROM channel

has been selected. Initially, the next consecutive channel will be displayed in

the right hand ‘TO’ window and indicated on the channel meter display. To

increment the range either use the +/- buttons, or press a second channel

select button to select the highest channel in the range; the highest channel

is shown in the ‘TO’ window.

FROM

SET

AUX

SELECT

CLEAR

ALL

UNDO

CHANNEL SELECT

Once a channel has been selected, The SELECT button allows non contiguous arrays of channels to be added

or removed from the current selection. The SELECT button will flash when active and any channel can added

or removed from the current selection via the select button on its fader. If SELECT is active the ALL button

can be used to select all the console channels.

To deactivate the routing panel, press the + and - buttons simultaneously, or re-press the channel select button

on the active channel, (if SELECT or TO are not active).

Once a channel or range of channels has been selected, selections and changes made on the routing panel

are made across all selected channels. If some functions are on and some are off on the selected channels,

the lowest numbered channel in the selection sets the initial state. For example, you select channels 3 to 6. If

channel 3 is assigned to a bus, then the first press on that bus routing button will deroute channels 3 to 6 from

that bus. If channel 3 is not assigned to a bus, then the first press on that bus routing button will route channels

3 to 6 to that bus.

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Central Routing Panel

Having selected a channel, or range of channels, all the functions in the area above can be

selected/deselected. Routing buttons 1-24 and MIX A, MIX B, MIX C, are self explanatory, as should most of

the buttons above. Note that changes made to the ‘PROCESSING ORDER’ are graphically indicated on the

channel TFT displays.

Items that may not be immediately obvious are as follows:

+48V – phantom power may only be selected here, as can INPUT FLIP and the channel input source –

‘CHANNEL IN’.

SOLO ISOLATE – Solo isolated channels will not be cut when other channels are soloed. Useful for FX

returns.

In the ‘PAN MODE’ section, INC ROUTE works in conjunction with the channel SELECT and TO functions, and

provides incremental bus routing for a range of channels. The selected channels will be incrementally routed

(or derouted if currently assigned) to consecutive busses starting from the first bus selected. 5.1 PAN enables

5.1 panning mode. PAN TO TRK routes the output of the selected channel’s pan to the Track busses. Stereo

panning is between odd/even pairs; 5.1 panning divides the track busses into four 6-channel groups. EFX TO

TRK replaces the channel feed to the Track busses with the active EFX send output. Stereo Cue EFX sends

are automatically routed to odd/ even pairs.

When SET AUX is selected, changes made to Cue Stereo and FX source and destination routing and On/Off

state, on any of the selected channels, will be copied to all selected channels, allowing the quick set up of aux

sends. Again, if some functions are on and some are off on the selected channels, the lowest numbered

channel in the selection sets the initial state.

SET and CLEAR provide an alternative way to set up routing. Press either SET or CLEAR, then select the

function(s) you wish to turn on or off. Pressing the select button on any channel will set or clear the selected

function(s).

Pressing ALL when SET or CLEAR are selected will make the SET or CLEAR button flash. A second press on

SET or CLEAR will make the assignment/de-assignment across all channels.

UNDO undoes all changes since the routing panel was last made active. As a safety measure, it requires two

presses to carry out the undo operation. On the first press, the UNDO button will flash, and a second press will

cancel all routing and channel settings that have changed since the routing panel was first selected. To cancel

and undo, deselect the routing panel by pressing the + and - buttons while the UNDO button is flashing.

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Console Operator’s Guide

Main Output Functions

As you are probably aware by now, Duality features a 6-wide main mix bus that can be configured either to

provide a full 5.1 surround mix or three stereo mix busses.

The six main mix busses are represented by three columns of indicators on this

panel which, in turn, represent three independent stereo pairs, MIX A, MIX B

MIX A

SUM

MIX B

SUM

MIX C

SUM

and MIX C. Functions are assigned to these busses using the dedicated row

keys on the right of the matrix, in conjunction with the mix select keys at the

base of the matrix columns.

POST

INSERT

COMP

POST

INSERT

COMP

POST

INSERT

COMP

Each pair of busses has a switchable INSERT point with the option to be

placed pre (default) or POST the main output level control (normally the master

fader).

+10dB

FADER

TO A

AFL

TO A

AFL

So, for example, lets assume all your channels are routed to MIX A, and you

want to insert an external stereo compressor on that bus. Press and hold the

button at the foot of the MIX A column and then press the button to the right of

the INSERT row; the associated INSERT indicator will light. Additional facilities

described below are assigned in a similar manner.

AFL

5.1 MIX

SUM mode allows the insert return to be summed with the main signal path. COMP assigns the master on-

board compressor to the selected bus(ses). This functions as single stereo unit inserted on a chosen stereo

bus or as a 5.1 compressor when in 5.1 mode (see below). The single master FADER is assigned to individual

stereo mix stems or as a 5.1 master fader in 5.1 mode. The fader can control the same level of all three stereo

busses simultaneously but can only set the level for one bus at a time. If not fader-controlled, the main output

level will be set at the last set level. Maximum gain is 0dB or +10dB if the +10dB function is selected. This

again can be set either on individual stereo busses or globally for 5.1 mixes.

The TO A function for MIX B and MIX C enable those busses to be folded down and added to MIX A. The

output of each stereo mix bus can be individually monitored (confidence-checked) by selecting the AFL

function.

All the above assumes you are working in ‘stereo’ mode. If you select the 5.1 MIX button at the foot of the

matrix, the MIX A, B and C assignment buttons function as a group. For example, if you select the

COMPressor, it will be automatically assigned to all six busses (as indicated by the matrix COMP indicators).

Selecting the 5.1 MIX button puts the matrix into 5.1 mode regardless of the state of the 5.1 PAN button on the

Central Routing Panel.

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Master Compressor

Main Bus Compressor

COMPRESSOR

Using the same classic design as found on the original SL4000 series

console, the main bus compressor can be used as a single stereo unit or as

a master 5.1 compressor. The compressor is assigned either to one of the

Mix A, B, C busses or the 5.1 mix bus via the main bus select matrix (see

previous page).

COMPRESSION

SL978

The ‘soft’ knee point of the compressor, ie. the level at which compression

start to take place, is set by the THRESHOLD control ( 20dB). This is

intentionally designed to change depending on the setting of the RATIO

control; decreasing the RATIO setting lowers the effective threshold, hence

maintaining the perceived ‘loudness’ of the compressed signal. The RATIO

switch has six settings, 1.5:1, 2:1, 3:1, 4:1, 5:1 and 10:1. ATTACK time is

switchable in six steps between 0.1 and 30 mS, and the RELEASE time is

selectable between 0.1 and 1.2 seconds in five steps. The AUTO release

selection adjusts the release time according to the signal envelope.

-20

+20

THRESHOLD

LFE

TO S/C

MAKE-UP

S/C

ATTACK - mS

SRND

.3 .6

1.2

AUTO

TO S/C

RELEASE - S

1.5

RATIO

The gain MAKE-UP simply acts as a level control to compensate for the

lowered level that is a consequence of compressing the signal. This control

may be set so as not to change the overall output level when the

compressor is switched in. The meter indicates dBs of gain reduction.

In 5.1 mode, two buttons, SRND TO S/C and LFE TO S/C determine

whether the surround and LFE channels are included in the processing of

∑,

the side chain gain reduction, or not. A further button, S/C

defeats the

normal 'loudest-bus-in-the-mix' side chain operation and substitutes a

summing mode so that the gain reduction is proportional to the soundfield

energy as opposed to the loudest individual signal.

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Console Operator’s Guide

MASTER

Master Fader

The master fader can be selected to control the stereo Mix A, B, C busses or the 5.1 mix

bus via the main bus select matrix (see previous page). The fader can control the level of

all three stereo busses simultaneously but can only set the level for one bus at a time.

The fader uses a 36-bit, Hi-Resolution MDAC.

0 ·

5 ·

·10

· 5

· 0

The fader is provided with two scales. The one on the left is the normal scale; the one on

the right is for use with the +10dB function selected via the main bus select matrix (see

previous page).

10 ·

15 ·

· 5

The automation status button and LEDs fitted on this fader are used with the optional

automation system.

20 ·

· 10

30 ·

· 20

Following the injection of talkback and tone (see later), the main output busses feed

D-connectors on the centre section connector panel.

40 ·

50 ·

60 ·

· 30

· 40

· 50

All the main mix busses are provided with LCD metering above the centre section. In

addition, the stereo Mix A bus can be metered on the centre section VU meters.

∞ ·

· ∞

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Track Bus Masters

Track Bus Master Controls

TRACK BUS

MASTERS

The output level of the console’s 24 mono Track busses is set by a group of rotary

controls in the upper right of the centre section (see left). They all have 10dB of gain

when turned fully clockwise; an indent at the ‘12 o’clock’ position corresponds to 0dB

gain. Following level control, the bus outputs can be injected with tone (oscillator TRACK

button) and talkback (talkback SLATE button) before being fed to a D-connector on the

centre section connector panel.

+10

BUS 1

∞

AFL

∞

+10

BUS

AFL

∞

+10

BUS 3

An AFL function (post tone and talkback inject) is provided for each bus.The AFL signal

is intelligently assigned to left and right AFL busses. Selecting AFL on a single Track bus

output will route signal to both left and right AFL busses. Selecting AFL on odd and even

numbered Track bus outputs will route the odd numbered output to the left AFL bus and

the even numbered output to the right AFL bus.

AFL

∞

+10

BUS

AFL

+10

BUS 5

AFL

+10

BUS

AFL

+10

BUS 7

A set of LCD bargraph meters in the centre section are dedicated to metering the bus

outputs.

AFL

+10

BUS 8

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Console Operator’s Guide

Monitoring

MONITOR

OPTIONS

AFL/

PFL

EXTA

EXTB

METERS

MISC

LFE

MONITOR MUTE/SOLO

MON

SRC

MON

MODE

DIM

AFL

PFL

SUM

EXTA

EXTB

SOLO

ALT

5.1

MONITOR LEVEL

MON

FB A

FB B

CUT

SOLO

CLEAR

MINI

SIF

H/P

STEREO

MIX

STEREO

MINI

PHONES

DIM

CUT

MIX A

MINI

MONO

SELECT

MISC LEVELS

The large knob below the ‘MONITOR LEVEL’ display normally sets the level (up to 11!) of the main control room

monitors. The column of six buttons to the right enables this control to be used for the named alternative functions.

You will be monitoring on whichever set of speakers is selected from the ‘LS SELECT’ group: the Main 5.1

speakers (‘Main A’ – the default with no buttons selected), ALT 5.1 (‘Main B’), MINI A or MINI B.

The loudspeakers are fed from whatever source has been selected in the ‘MON SRC’ group of buttons. The

alternatives include the MIX A bus, the stereo downmix (STEREO MIX), and two external source selectors,

EXT A and EXT B. Sources will be intercancelling unless the SUM button is selected. All sources to the

monitoring are stereo except those brought in via the EXT A monitor source selector (see below).

The console has three monitor modes: 5.1, STEREO and MONO, selected via the ‘MON MODE’ group of buttons.

5.1 mode is the default (STEREO and MONO not selected) and delivers all six main busses to their respective

monitor outputs.

Selecting STEREO folds down the 5.1 inputs to the monitor path via a 5-2 gain-compensated matrix, and feeds the

result to left and right monitor outputs. MONO can be selected with or without STEREO and sums the left and right

monitor busses, feeding the result equally to the left and right monitor outputs.

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Monitoring

The Ø button precedes the MONO button and reverses the phase of the left monitor feed, providing a quick way

of checking for any phase anomalies in a stereo mix. If MONO is active, selecting the Ø button allows the

difference (L - R or the ‘S’ signal) to be monitored instead of the L + R sum.

The SOLO button turns the monitor cut buttons (see below) into monitor solo buttons. The SOLO CLEAR button

lights when any channel SOLO, S/Ch LSTN, AFL, or centre section AFL or MONITOR SOLO button is pressed.

Press SOLO CLEAR to cancel any Solo/AFL/PFL function.

If either MINI A or MINI B ‘LS SELECT’ buttons are selected, the left and right monitor busses are fed to the

corresponding stereo mini loudspeaker output. Mini level relative to the main monitors can be trimmed via the

main monitor pot by selecting MINI in the group of buttons to the right of the monitor pot. When a Mini speaker

output is selected, the 5-2 STEREO mix is automatically switched into the monitor circuit to deal with any 5.1

sources present.

The DIM button dims both main and mini loudspeaker outputs by a preset level. Set this level by selecting the

DIM button to the right of the monitor pot and turning the main monitor pot. The Dim circuit is automatically

activated when any of the following buttons are pressed: LISTEN, TB ALL, F/B A, F/B B, EXT T/B, Oscillator to

TRACK or MIX.

The CUT button cuts the monitor feeds to whichever set of monitors is selected. CUT is activated automatically by

the SLATE talkback function. CUT and DIM can also be activated externally via the GPIO/Talkback connector.

The six main monitor outputs can be muted individually with the L, C, R, SL, SR and LFE (sub) ‘MONITOR

MUTE/SOLO’ buttons. These become monitor solo buttons by selecting the SOLO button in the ‘MON MODE’

group (see above).

All the monitor outputs are available for connection to amplifiers via the centre section connector panel. The two

5.1 outputs (Main and Alt) feed two 25-way D-type connectors – ‘MON A’ and ‘MON B’; the two Mini outputs (Mini

A and Mini B) feed individual XLRs for left and right.

External Source Selectors

Two external monitor source selectors are provided. EXT A has four 5.1 inputs. These may be fed by any

source of six channels or less. The MIX selection provides an important fifth input to EXT A, which is used to

monitor the 5.1 Main Mix bus when mixing in 5.1 mode.

EXT B is a 2-channel selector that may receive up to four stereo sources. In either case, sources may be

summed together; this is particularly useful for generating complex foldback mixes or when stem mixing, as it

allows the recorded stems to be monitored together with the current mix.

To select an external monitor source, first press either the EXT A or EXT B button , choose a source from

those shown in the display, and then press the soft key under that source (or first press the key under SUM to

sum selected sources). Finally, route the external source(s) to the monitors by pressing EXT A or EXT B in the

‘MON SRC’ group of buttons. The LTR selection on EXT B provides monitoring for a surround encoder’s LtRt

output (see next page).

Inputs to the external source selectors are connected via D-connectors (four for External A, one for External B)

on the connector panel.

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Console Operator’s Guide

Monitor Insert

The External A selector output (ie. all 5.1 sources) is automatically routed via a 5.1 insert point to which an

encoder/decoder system may be interfaced; this insert may be switched in/out of circuit using the Monitor

Options INS function (see next page). The insert send and return appear on two 25-way D-type connectors on

the centre section connector panel. The insert point also has connections for the two channel output from the

encoder, and the two channel input to the decoder. These allow monitoring of the encoder output (‘LtRt’)

signals and provide automatic routing of the External B selector outputs to the decoder inputs to enable

encoded recordings to be played back through the decoder. The logic for this is as follows:

•

With no sources selected on External B, the encoder outputs are linked to the decoder inputs.

Selecting any source on External B will route the External B outputs to the decoder inputs.

Selecting EXT A and INS will monitor the insert return; if no source is selected on External B you will hear

the External A signals through the encoder and decoder. If a source is selected then you will hear the

decoded output of External B.

•

Selecting EXT B and INS and selecting a source on External B will monitor External B.

Selecting EXT B and INS with no source selected on External B will monitor the LtRt encoder outputs. The

LTR soft button lights to show this. Note that LTR is selected by turning off all other External B sources.

Monitor Metering

A dedicated set of six LCD bargraphs above the centre section provide a constant indication of ‘FOLLOW

MONITOR’ levels (ie. what you are currently listening to), plus a stereo meter for the SOLO/AFL bus and mono

PFL levels. See later for more on meter options. The ‘FOLLOW MONITOR’ meter feeds are available via a 25-

way D-type connector on the centre section connector panel, for use with external metering.

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Monitor Options

A wide range of monitor options are available via the soft keys and associated display on the monitor panel.

Pressing the MONITOR OPTIONS button above the display produces the following choices; press the button

below an entry to select that option.

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

INS – Switches the encoder/decoder insert into the monitor path for use with 5.1 monitor sources selected via

the EXT B monitor selector.

PFM – Routes the PFL signal to the Mini A or B loudspeakers. In this mode, PFL level is controlled by the PFL

level control only – the Main and Mini monitor level controls have no effect.

SRA – Both sets of Main speaker outputs are capable of handling six channels. If you are mixing in 5.1 and the

client turns up with an alternative set of ‘front’ (LCR) speakers only, the surround feeds may be locked to the

Main 5.1 (Main A) outputs by selecting the SRA (‘Surround on A’) function. This allows you to switch to the

alternative LCR speakers, connected to the ALT 5.1 (Main B) output, and still maintain full surround monitoring.

A further option (A2B – see next page) enables the subwoofer output to be included in this arrangement.

LRA – Similar to the SRA function except that the LCR monitor feeds are locked to the Main A outputs but an

alternative set of surround speakers may be selected by switching to the Main B output. This can be useful in

rooms that work on both music, using full bandwidth separate surround speakers, and film using multiple lower

powered surround speakers.

Bass Management

BASS – Selecting this option produces a further layer of bass management options (see next page for options

held under CAL):

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

80H – Inserts a 7th order, 80Hz, low pass filter into the LFE monitor bus, to deal with listening to 5.1 material

that has a full range, unfiltered, LFE channel.

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Console Operator’s Guide

BMN – Turns on the Bass Management system. This is designed to extend the low frequency response of the

monitoring system, and to simulate the 5.1 monitoring systems in TV and domestic environments. It inserts

12dB per octave, 80Hz high pass filters in the L, C, R, LS, RS monitor outputs, and feeds a pre high pass filter

mono sum of these five outputs to an 80Hz, 24dB per octave, low pass filter, which is summed with the LFE

monitor bus. Post this summing point, the combined signals feed via a 10Hz subsonic high pass filter before

reaching the subwoofer monitor output. These are the default filter slopes. Internal links (see Appendix for

details) allow the links to be set to 12dB or 24dB per octave, and to select whether or not the surround

channels are included.

Note that this option is stored separately for each set of speaker outputs (like the loudspeaker level calibration),

so it is possible to have Bass Management enabled on one set of speakers and not on others.

LF0 – Normally, the LFE bus level is increased by 10dB post the main monitor level control, as this is a

requirement for DVD playback. If you are mixing for SACD, or any other format that requires unity gain on the

LFE channel, select LF0 to restore the LFE bus level to unity gain.

NEXT – Produces a second layer of options:

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

A2B – Retains use of the main 5.1 subwoofer, even when you switch to the ALT 5.1 loudspeaker selection.

BMA – Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI A is

selected and BMN is on.

BMB – Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI B is

selected and BMN is on.

RTRN – Returns you to the top layer of the MONITOR OPTIONS selection.

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Monitor Calibration

Monitor Level Calibration

The monitor calibration system enables the level of any loudspeaker connected to Duality to be trimmed by

10db. Note that, with the monitor gain at maximum, a trim level of +10dB corresponds to unity gain through

the monitor section.

Do not attempt to carry out loudspeaker calibration

unless you have access to accurately calibrated test equipment

Selecting CAL in the first layer of MONITOR OPTIONS produces the following options:

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

Turn on the console oscillator (OSC ON) and select the PINK ON button; the default level for the console’s pink

noise output is +4dBu RMS. Adjust using the Pink trim pot in the oscillator section if necessary.

Set the monitor level control to the position you wish to correspond to the calibrated level. A level setting of 8.5

will provide 10dB of additional gain in hand.

Now select the required monitor system – Main 5.1, ALT 5.1, MINI A or MINI B.

Select the CAL menu. Pressing either AL or AR or AC will send pink noise to the Left or Right or Centre

loudspeakers respectively Adjust the level for the required SPL (eg. 85dBa C weighting, slow response, on a

suitably calibrated dB meter), by turning the main monitor pot left or right from its initial position.

Now work through the rest of the speakers (see below), checking before you calibrate the LFE output whether

the LFO option (see previous page) is off or on.

NEXT – selecting this in the first layer produces a second layer of calibration options:

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

Selecting ALS or ARS or ALF allows you to trim the Left Surround, Right Surround or LFE channels

respectively by 10db, using the method described above.

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Console Operator’s Guide

LFG – This stands for Low Frequency Gain and allows the gain of the contribution from the full bandwidth

channels to the subwoofer output to be adjusted. Like all the speaker calibration settings it must be set for each

set of speaker outputs (assuming Bass Management is in use).

Having lined up the six main speakers, select LFG. In LFG mode all speakers are initially muted, and the six

monitor cut buttons will light; uncut the left output, and with the bass management turned on (note that the

BMN selection in the BASS menu is duplicated in the CAL menu), adjust the LFG gain for a flat low end

response. Cut the left output, uncut the right output, and check this has a flat low end response. Repeat for all

channels. Depending on how well matched the monitors are, you may have to adjust the LFG gain slightly.

Note that when LFG is on, the LFE monitor output is always cut. This does not mute the actual subwoofer

output, only the LFE signals feeding it. This ensures that you are only measuring the contribution from the Bass

Management system.

SOLO / AFL / PFL

The console’s default solo mode is a destructive solo-in-place – soloing a channel cuts all other channels. The

alternative solo modes – AFL, PFL and Solo-in-front are selected via the soft key display on the monitor control

panel. Press the AFL/PFL button above the display to produce the following options:

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

AFL – Pressing a channel SOLO button routes the post channel pan signal, via the stereo AFL bus and the

AFL level control, to the currently selected monitor speakers.

PFL – Pressing a channel SOLO button routes a mono pre-fade signal, via the PFL bus and the PFL level

control, to the left and right Main monitor speakers. Optionally, PFL signals may be fed to the Mini

loudspeakers – see PFM in Monitor Options.

SIF – (Solo-In-Front) Pressing a channel SOLO button routes a mix of the AFL signal and the selected left and

right monitor sources to the monitor outputs. The SIF level control (select the SIF button to the right of the main

monitor pot and use the pot to set the level)) adjusts the balance between AFL signal and desk output.

ALT – Makes channel SOLO buttons intercancel with each other, so that soloing one channel will clear any

other solo selections.

MOM – This option makes all the channel SOLO buttons momentary.

Note that ALT and MOM do not affect the operation of centre section AFL and SOLO functions

Solo, AFL and PFL signals are all metered on the centre section SOLO meter. See Centre Section Metering

for more information.

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Cue/FX Send Masters

Cue/FX Send Master Controls

AUX BUS

MASTERS

Each channel is fitted with two Cue Stereo and four mono FX sends for use as foldback,

feeds to effects devices, etc. The Cue Stereo outputs from each channel may be routed

to one of two busses – Stereo Cue A or Stereo Cue B. FX 1-4 feed their respective

busses.

AFL

+10

ST CUE A

∞

The master output level controls for these busses (in the top right of the centre section –

see left) all have 10dB of gain when turned fully clockwise, and an indent at the ‘12

o’clock’ position, which corresponds to 0dB gain.

∞

+10

ST CUE B

An AFL button is provided for each output. The AFL signal is intelligently assigned to left

and right AFL busses. Selecting AFL on a single FX output will route signal to both left

and right AFL busses. Selecting AFL on odd and even numbered FX outputs will route

the odd numbered output to the left AFL bus and the even numbered output to the right

AFL bus.

∞

+10

FX 1

AFL

∞

+10

FX 2

The two Cue Stereo and four mono FX outputs are available to external devices via a

D-connector on the centre section connector panel. The Cue outputs are also available

as sources to the Foldback outputs (see below).

AFL

+10

FX 3

AFL

∞

+10

FX 4

A dedicated set of LCD bargraphs just above the master controls provides metering of

the Stereo Cue A, Stereo Cue B and FX busses (see Centre Section Metering).

F/B B

Foldback and Headphone Outputs

The console provides three stereo outputs – Foldback A and B, intended for use in the

studio for headphones or LS playback, plus a stereo headphone feed for control room

use; a socket for this is provided beneath the buffer rail in the centre section. The

foldback outputs feed 6.35mm jacks on the centre section connector panel, from where

they may be connected to amplifier inputs.

ST MON

EXT B

MIX A

CUE A

∞

MIX 1

The master controls for Foldback A and B are provided by two identical sections fitted

just below the main output compressor (see left – only Foldback B shown).

ST MIX

CUE B

MIX 2

Each output has a dedicated LEVEL control, CUT, AFL, and six source selector buttons

CUT

with associated level controls:

∞

LEVEL

The MIX 1 pot controls the contribution of Main stereo mix bus A (MIX A) and/or the

AFL

output of Cue Stereo A (CUE A), to the foldback mix.

The MIX 2 pot controls the contribution of the stereo downmix signal (ST MIX) and/or the

output of Cue Stereo B (CUE B), to the foldback mix.

In addition, the stereo Main monitor output (ST MON) and the output of External Source Selector B (EXT B)

may be selected as sources.

Dedicated F/B A and F/B B talkback buttons are used to add talkback to the foldback outputs.

HF and LF shelving equalisers are provided on the outputs.

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Console Operator’s Guide

A small area of the monitor control panel (see right) provides source selection (control room

monitor and foldbacks) and a CUT function for the console’s stereo headphone output. Note

that the F/B A and F/B B signals are taken from before the foldback master level and EQ

controls.

MON

FB A

FB B

CUT

The level of the headphone output is set using the H/P button to the right of the Main

PHONES

monitor pot, in conjunction with the pot itself.

Stereo Return Channels

The console’s four stereo return channels may be driven by the outputs of devices that have been fed from the

corresponding mono FX busses. Alternatively, the returns may be used for any additional stereo input required

for the mix. Inputs to the returns are interfaced to the console via a D-connector on the centre section

connector panel.

Four identical sets of controls are provided; the controls for Stereo Return 1 are shown

STEREO RETURN 1

FB A

on the right. Each return can be routed to the console’s Main mix busses, with full control

FB B

∞

of level and panning. Default routing is post the CUT L and CUT R input cut switches to

STUDIO

Mix A, B or C via the master LEVEL control.

ST EREO

MIX A

FOCUS

MIX

To route a Stereo Return to the required mix bus, enable the Central Routing Panel by

pressing the + and - buttons simultaneously, then press and hold down the AFL/SEL

button at the bottom of the Stereo Return. The Routing Panel display will change to read

St 01, (02, 03) and the MIX A, MIX B and MIX C buttons above can be used to assign

the selected Stereo Return to the required bus(ses).

FB PAN

MONO

WIDTH

FULL

MONO

BALANCE

CUT L

CUT R

The BALANCE pot provides a differential Left/Right gain trim for the stereo input signal.

This is followed by a variable stereo WIDTH control, which can reduce the stereo image

to a mono centre phantom point source. The MONO button sums the inputs and

simultaneously alters the action of the BALANCE control to that of a conventional two

channel pan pot. This is very useful when you are using a mono FX device, as it saves

having to parallel the return inputs.

∞

LEVEL

AFL/SEL

For 5.1 work, selecting the FB PAN button causes the WIDTH control to act as a

Front/Back pan pot. The FOCUS control progressively subtracts the front L R signals and

re-routes the sum to the C (Centre) bus (Bus 3).

Selecting the STEREO button defeats the surround panning options and provides switched routing via the

central routing panel. Press and hold the AFL/SEL button on the return to activate the panel, and use the

panel’s routing buttons to select MIX A, B or C (or combination thereof).

Return signal may also be fed independently, post the CUT L and CUT R input cut switches, to Foldback

outputs A and B by selecting the FB A and/or FB B buttons and adjusting the STUDIO control.

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Misc Options

A couple of useful options can be accessed via the MISC menu. Press the MISC button above the display to

produce the following options:

AFL/

PFL

MONITOR

OPTIONS

EXTA

EXTB

METERS

MISC

0dB – Sets all faders to 0dB.

IND – When selected, pressing any fader’s fader button will set that fader to 0dB.

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Console Operator’s Guide

Communications

A group of communications buttons (talkback etc.) are fitted below the central routing

panel (see below). A built-in talkback microphone and pots to set the level of TB to

Foldback, Talkback Out (an external talkback feed), Slate level (talkback to Main

Mix, Track bus and channel outputs) and an incoming Listen mic, are provided in the

‘Comms” section above the DAW control TFT screen (see right).

∞

Listen

Slate

∞

Note that a gain control for the talkback mic preamp is provided on the connector

panel adjacent to the external talkback output jack. If required, an external talkback

mic may be connected to the console’s talkback distribution circuitry via an XLR on

the connector panel. When using this facility, turn the console mic preamp gain fully

anticlockwise (off) if you no longer wish the inboard mic to contribute to the talkback

system.

Talkback Out

TB to Foldback

Note also that, apart from SLATE, which cuts the monitors, all the following functions dim the monitors. All the

buttons, apart from LISTEN and RED LIGHT, are momentary.

SLATE – Interrupts the Main Mix and Track bus outputs with talkback.

RED

LIGHT

LISTEN

SLATE

F/B A and F/B B – Adds talkback to the associated foldback outputs after

ALL

EXT

T/B

F/B A

F/B B

the level and cut controls.

COMMUNICATIONS

EXT T/B – Sends talkback to an external feed, available via a 6.35mm jack

on the connector panel. Level is adjusted using the Talkback Out pot (see

above).

TB ALL feeds talkback to the foldback sends and the external talkback output.

LISTEN – Injects an external mic signal (connected via an XLR on the centre section connector panel) onto

whichever Mini loudspeaker set is currently active, and dims the main loudspeakers. This button is latching; the

level is adjusted using the Listen pot (see above). The mic is usually placed in the recording area. The circuitry

features SSL’s legendary listen mic compressor, the sound of which is much loved by many experienced SSL

users, so the connector panel provides a post compressor output jack – ‘Listen Mic Out’.

RED LIGHT – this provides an all-important isolated contact closure for hooking up to a studio red light via an

external relay box.

The talkback button functions are all duplicated on a Talkback/GPIO connector on the rear of the console,

as are the monitor CUT and DIM switches. See the Duality Installation Manual for more information.

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Oscillator

CHANNEL

OUT

The word oscillator is a slight misnomer in this case, as the console actually

Cal

TRACK

MIX

provides a comprehensive tone and pink noise generator!

LEVEL

Tone

The ‘Oscillator’ section (see right), located just above the DAW control TFT screen,

contains controls for frequency, level and routing of tone or pink noise to the Main

Mix and Track bus outputs and to the monitor outputs for use in monitor

calibration.

Pink

400 1K

10K

15K

100

PINK ON

OSC ON

FREQ

OSC ON – Activates the oscillator output (surprise, surprise!). It’s good practice to turn the oscillator off when

recording, to prevent any accidental routing to desk outputs.

PINK ON – Switches the output from tone to pink noise. Note that the pink noise level can only be adjusted

using the Pink ‘Cal’ preset.

The LEVEL control adjusts the level of the tone generator from -25dBu to +20dBu. When fully anticlockwise, a

preset ‘Cal’ level is selected that can be calibrated using the multiturn preset located below the level control; a

red LED lights to show when the level control is in the calibrated position. When OSC ON is selected, the

rotary FREQ switch provides six preset frequencies.

The oscillator may be routed to the Main MIX busses, the TRACK busses and the CHANNEL OUT(puts)

(individually or simultaneously).

The oscillator output is also available on an XLR on the centre section connector panel.

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Console Operator’s Guide

Mix Reassign Matrix

MIX REASSIGN

This useful matrix, to the left of the main output compressor (see right), adds the

selected mix(es), post output level control, to the six Main Mix busses. Three stereo

mixes – stereo CUE A and CUE B, plus the output of the EXT B stereo monitor selector,

can be reassigned to Main Mix busses 1 and 2 (Mix A). The 24 Track busses are split

into four groups of 6, and are re-assigned in those groups to all of the Main Mix busses

(busses 1 and 2 to Mix A, 3 and 4 to Mix B, 5 and 6 to Mix C, etc.). This provides up to

four 5.1 stems or four triple stereo bus sets.

CUE A

CUE B

EXT B

1-6

7-12

TRACKS

13-18

19-24

LFE Channel

MAIN MIX

LFE CHANNEL

80HZ

This section (see right) enables a low pass filter to be switched (LFE FILTER) into the

LFE mix bus (Bus B Right) when working in surround. Two filter frequencies are provided

– the default 120Hz filter or, when the 80Hz button is pressed, a 80Hz option. The filter

slope is 12dB/Octave.

LFE

FILTER

STEREO MIX

INP

PRE

Stereo Mix Matrix

This matrix (see right) is used to sum the console’s Main Mix busses, with two exclusive

∞

LFE

modes of operation.

MIX 2

∞

SURROUND

Firstly, the three rotary controls and their associated ON buttons act as a 5.1 to Stereo

Downmix matrix to control the centre, surround and LFE contributions added to the

original 5.1 front L and R channels. By default, the downmix is sourced from the Main

Mix bus outputs, post processing and level control. INP PRE feeds the matrix directly

from the busses’ mix amps, thereby bypassing all processing.

MIX 2

∞

CENTRE

MIX

STEREO

MIX

INS

The MIX A, B and C buttons are used to select a second mode of operation, which

provides a simple bus sum of the six Main Mix busses, when they are being used as

three stereo pairs or stems. The summing is post processing and level control. The

resultant stereo mix has a master LEVEL trim and a separate pre level control insert

point (INS). The insert return supports the ‘Sum’ option, as found on the Bus Select

Matrix for Main Mix bus insert points. This mode is selected in the SSL/Misc/Setup

menu, selected via the centre section TFT screen (see Setup Menu).

∞

LEVEL

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Group Control Faders

GGRROOUUPP11

The console centre section features eight control group master

faders. Each group master fader may control a number of slave

channel faders. Additionally, group master faders may control other

group master faders. Currently only VCA grouping is supported; servo

(moving fader) grouping will be added in a future software upgrade.

Group assignments may be stored as part of a Total Recall (option)

setup.

·10

· 5

· 0

·10

· 5

· 0

fader

rec

fader

rec

Selecting channel faders to a group is simple – press the select

buttons of the channels you want to include in the group then, in the

centre section, press the group button at the foot of the required

group fader (see right). The group display on each fader will reflect

your choice.

· 5

play

· 10

match

· 20

switch

To assign a group master to be controlled by another group master,

press the group button on the group master to be controlled (ie. the

slave), and while keeping this button pressed, press the group button

on the group master that will control the slave. Use the same

procedure to deselect an assigned master from the slave group.

· 30

· 40

· 50

· 30

· 40

· 50

· ∞

group

Pressing the SOLO or CUT button on a group master fader will have

the same effect as pressing the SOLO or CUT buttons on all the

slave faders. The underlying state these functions on slave faders can

be changed while a group master CUT/SOLO is active, but the group

master CUT/SOLO state can not be overidden by the local function.

select

group

Group fader CUT (but not SOLO) buttons may be automated if the optional automation system is active. See

Section 5 for more details.

VCA mode grouping emulates a traditional non-moving fader grouping system – moving the group master

changes the gain of the slaves but doesn’t physically change the position of the slave faders. The gain equals

the gain of the slave plus the gain of the master (in dB). Assigning a fader to a group immediately changes the

gain by the amount the master is displaced from 0dB.

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Console Operator’s Guide

Centre Section Metering

The panel above the main centre section features LCD and analogue metering for the console’s main and

auxiliary outputs:

MON

ST MIX MIX A SOLO

CLIP

LEFT

RIGHT

LS RS LF

5.1 MIX

ST MIX

FOLLOW MON

SOLO

CUE A

CUE B

FX SEND

CLIP

Solid

State

Logic

PHASE

10 11 12

13 14 15 16 17 18

19 20 21 22 23 24

BUSSES 1-24

On the left of the centre section meter bridge are six sets of LCD bargraphs. These are dedicated to the

metering of (from left to right) the following busses:

• AL, AR, BL, BR, CL, CR MAIN MIX flipping to L, R, C, LF, LS, RS depending on whether the master

fader is in 5.1 mode or assigned individually to the A B C stereo mix busses.

• L, R ST MIX (downmix)

• L, R, C, LF, LS, RS FOLLOW MONitor

• L, R SOLO, AFL, PFL bus

• L, R CUE A and CUE B

• 1-4 FX SENDs

• 1-24 Track BUSSES

The standard scale is +24dB for 0dBFS (top of the scale). Options for different 0dBFS levels are available via

the SSL/Misc/Setup menu (see next page).

To the right of the bargraphs are two VU meters and a phasemeter. These meter the Left and Right outputs of

three mix busses, as selected via the METERS menu (see below).

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Meter Options

Meter options are provided by soft key selections on the monitor panel; select the METERS button to produce

the following selections for the VU meters :

MON – Feeds the current Left and Right monitor outputs to the meters.

DMIX – Feeds the stereo downmix output level to the meters.

MIX A – Feeds the Main Mix A bus to the meters.

Note that any AFL or SOLO selection will automatically cause the VU meters to meter the console’s solo bus.

The METERS menu also holds additional modes for the TFT channel and centre section bargraphs:

PK – Switches the meters to peak reading mode; peak readings are held for 3 seconds.

HLD – Select this to hold the peak readings indefinitely.

CLR – Press to clear the currently held peak readings.

Setup Menu

The centre section TFT screen provides access to a setup menu that holds a number of useful console-related

items. Select SSL followed by Misc and then Setup (see Section 3 if you are not familiar with the use of the

TFT and its associated soft keys).

To change a setting, use the left hand D-Pot to select the item, then press the D-Pot to enter adjustment mode.

Turn the D-Pot to the desired setting and press it a second time to save the setting to non-volatile memory.

Input Cut Enable – If set ON, the channel strip CUT button will cut prefade sends, ie. Aux and CHOP sends.

Stereo Mix Insert Mode – This enables the stereo mix matrix ‘SUM’ option to be selected, where the insert

return sums with the main signal path. Select REPLACE to disable this function.

Analogue Meter Scaling – Select from four options for 0dbfs =: 18, 20, 22, 24dbu.

TFT Backlight Brightness – Use this to adjust the backlight level to your preferred value between 4 and 32.

Scribble Strip Brightness – As above but for the channel scribble strip (range 4-32).

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Console Operator’s Guide

The next four items in the Setup menu are concerned with DAW interconnection, but are included here for

completeness; see Section 3 for more details. Note that changes to any of these DAW settings will require a

console reboot before they take effect.

First Physical DAW Channel – Select the console channel number that is controlling the first DAW track

number.

DAW Channel Count – Select the total number of channels dedicated to DAW control (8-48 in steps of 8).

DAW Centre Section – Select the MIDI port that connects the console’s centre section master controls to the

DAW; normally MIDI 1.

DAW Interface – Select from HUI, Logic Audio, Nuendo, Digital Performer, Sonar.

Console Channel Count – Should be set to the size of your console 48, 72 or 96. This setting determines the

range of channels selected by the Central Routing Panel’s ALL button.

Turn Off Display After – Shuts off the TFT display after a predetermined time: 30 mins to 5 hours in 30 minute

increments.

DAWControl

Most of the left hand side of the centre section is taken up with a TFT screen and control panel dedicated to

use with your workstation. See Section 3 of this manual for full details.

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Section 3 – DAW Control Guide

Introduction

When connected to a Digital Audio Workstation that supports the HUI or Mackie Control Universal (MCU) control

protocols, the Duality console becomes a powerful digital work surface controller, giving direct access to the

most important controls within the DAW. The console faders can be used to control the workstation faders and

sends, the channel D-pots can be used to control pans, sends and I/O functions, and the Master Control Panel

and plug-in controller provide easy access to a range of other parameters.

For an up to date list of compatible DAW applications please visit: http://www.solid-state-logic.com. This section

of the manual is largely based on use with Digidesign’s Pro Tools package, with supplementary pages for other

packages, whose functionality will depend on their implementation of the HUI or MCU control protocols.

DAW Controller Features Summary

•

Direct access to all major DAW mixing, editing and automation parameters

Direct control of plug-in settings

Integral colour TFT display with dedicated control buttons

High resolution rotary encoder (D-pot) on every channel provides control of DAW pans, sends and I/O

routing, and for MCU compatible applications, Plug-ins and Instruments

High quality motorised faders to write/replay level moves in your DAW

Simple switching between console layer and DAW control layer

Full remote control implementation

•

Operation independent of platform or application

Communication with the DAW

The Duality console connects to a DAW via sixteen (eight in, eight out) MIDI ports on the rear panel of the

console. Duality emulates multiple HUI or MCU controllers depending on the control surface support required by

the connected DAW. Note that normally Duality’s MIDI port 1 connects the first set of eight channel assigned to

DAW control and the centre section Master controls; MIDI ports 2 to 6 connect further console channels in

blocks of eight up to a maximum of 6. This can be changed in the SSL/Misc/Setup menu (see below), as can

the number of Duality channels dedicated to DAW control (from 8 to 48) and the position of the first of these

channels. MIDI port 8 IN is used exclusively for MTC and MMC messages required by the console automation

system; port 7 is currently unused.

Setup Menu

Four items in the SSL/Misc/Setup menu, accessible via the centre section TFT, are concerned with DAW

interconnection. Note that changes to any of these settings will require a console reboot before they take effect.

To change a setting, use the left hand D-Pot to select the item, then press the D-Pot to enter adjustment mode.

Turn the D-Pot to the desired setting and press it a second time to save the setting to non-volatile memory.

First Physical DAW Channel – Select the console channel number that is controlling the first DAW track

number.

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DAW Control GuidE

DAW Channel Count – Select the total number of channels dedicated to DAW control (8-48 in steps of 8). If

you change this figure you will need to change the number of controllers assigned in the DAW.

DAW Centre Section – Select the MIDI port that connects the console’s centre section master controls to the

DAW; normally MIDI 1. If you are using one of the MCU Logic protocols, and you change this item, you will need

to change the control surface layout in the DAW application.

DAW Interface – Select from HUI, Logic Audio, Nuendo, Digital Performer, Sonar.

For further details on DAW hardware installation, please read the Duality Installation Manual.

Refer to your DAW manual for information on how to configure its software. Once configured and connected,

communication with the DAW will be initialised, and the level of Duality’s channel faders, rotary controls and

master functions will be set to match the DAW controls (provided you are ‘DAW Focus’ mode).

If the Duality console is not found, your DAW will inform you that a controller is not present. If MIDI

communications fails on any bay, recheck the DAW configuration, MIDI connections and MIDI interface for

correct operation.

When using your DAW without the Duality console, you should remove Duality from the MIDI controllers section

of your DAW (please see information specific to your DAW for this).

Overview

Channel Meters

Plug-in Editor

Master Control Panel

Channel Faders

Solo and Cuts Panels

Motion Controls

Duality’s faders, and its Solos and Cuts panels, can be switched between controlling the analogue audio signal

path and the DAW by pressing the Console Focus button – see below. The Motion Controls, Master Control

Panel and Plug-in Editor always control the DAW. The illustration above indicates those console elements that

relate directly to a DAW in ‘DAW Focus Mode’.

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Master Control Panel

D-pots

Each channel has a continuous rotary control or ‘D-pot’ The Plug-in Editor (HUI Mode only) has four D-pots for

control of plug-in parameters.

Console Focus

The console can be selected to one of two important modes using the Console Focus button (8), located on the

Master Control Panel. This switches the channel meters, faders, solo and cut buttons between control of the

analogue signal path and the DAW. When the Console Focus button is illuminated, Duality is in ‘Analogue Focus

Mode’. When the Console Focus button is not illuminated, Duality is in ‘DAW Focus Mode’. This section

describes operation of the console in DAW Focus Mode.

Analogue Focus Mode

The channel faders control the channel audio output level for that fader. The channel meters indicate analogue

input/output levels for that channel. The channel D-pots are available to control DAW parameters.

DAW Focus Mode

The channel faders control DAW fader levels. The meters indicate DAW track levels. The channel D-pots are

available to control other DAW functions such as pan or send level.

Digital ‘In-line’ Mode

When the console is in DAW Focus Mode, analogue level control can be assigned to the D-pots by pressing the

CHANNEL button (1) on the Master Control Panel.

The Master Control Panel (HUI Mode)

The Master Control Panel contains a mixture of master functions and modifier buttons for DAW control:

MUTE

SEND

INPUT

UNDO

SAVE

ALT

STATUS

OUTPUT

ASSIGN

SEL

ENTER

OPTION

ESC

CHANNEL

PAN

PRE/POST

BYPASS

TRANS

MEM

SHIFT

Push to Flip

RDY

EDIT

CTRL

ALT

DEFAULT

MIX

RDY

ALL

SUSPEND

AUTO

CHANNEL

EDIT

Channel Banking Controls (6)

Duality can have up to 96 touch sensitive moving faders. However, you can only have a maximum of 48 faders

assigned to DAW control in HUI mode, and Pro Tools only supports 4 HUI controllers, giving a maximum of 32

faders. If the DAW session has more tracks than this, Duality can ‘bank flip’ its faders to control any number of

virtual faders within the DAW.

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DAW Control GuidE

To flip the console’s faders to the next set of DAW faders, press the right bank button. To flip back to the

previous set, press the left bank button. Any number of virtual faders can be controlled from Duality using the

banking buttons.

To scroll the faders one at a time, press the CHANNEL button (located between the two banking arrow buttons)

followed by the left or right banking buttons; the CHANNEL button will light to indicate it is in ‘Channel’ mode.

Press the CHANNEL button once more to switch back to ‘Bank’ mode.

MUTE

SEND

INPUT

UNDO

SAVE

ALT

STATUS

OUTPUT

ASSIGN

SEL

ENTER

OPTION

ESC

CHANNEL

PAN

PRE/POST

BYPASS

TRANS

MEM

SHIFT

Push to Flip

RDY

EDIT

CTRL

ALT

DEFAULT

MIX

RDY

ALL

SUSPEND

AUTO

CHANNEL

EDIT

DAW Window Buttons (13)

This group of buttons provides instant access to the various windows within the DAW. Press them once to

display or hide the relevant menu:

ALT Opens or closes the floating window for the currently selected plug-in

STATUS Opens or closes the Session Setup window

TRANS Opens or closes the Transport window

MEM Opens or closes the Memory Locations window

MIX and EDIT Brings that window to the foreground. The button lights to show the currently active window

DAWUtility Buttons (9)

This group of four buttons provide shortcuts to useful functions on the DAW.

SAVE will light when unsaved data is present. Pressing it once will cause the SAVE button to flash. A second

press will save the Pro Tools session. Press ESC to cancel a pending save.

The UNDO button will light if undo is available, and flash if redo is available. Press the UNDO button to undo the

last function and press ALT + SHIFT + UNDO to redo the last function.

ENTER duplicates the function of the ENTER key on the computer keyboard.

ESC(ape) duplicates the function of the ESC key on the computer keyboard.

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Master Control Panel

Modifier Buttons (10)

These buttons modify the function of other buttons, and their practical use is detailed under the relevant topics in

this section. For your information:

OPTION typically changes the function of a single button to affect all similar buttons. Thus holding down

OPTION and pressing a channel CUT button will cut all DAW channels. It is the direct equivalent of the Mac™

Command (Apple) key.

SHIFT allows selection of multiple objects or controls. It is a direct equivalent of the computer keyboard shift key.

ALT increases the resolution of rotary controls and inverts switch selections when held down. It is a direct

equivalent of the Mac keyboard Option key.

CTRL disengages grouping when held down. It is a direct equivalent of the Mac keyboard Ctrl key.

The Default Button (7)

Faders, pans and sends can be reset to their default values using the DEFAULT button:

Resetting Pans

Select the PAN button on the Master Control Panel, and all Duality’s D-pots become pan controls. Hold

the DEFAULT button while pressing the D-pot on the channel you wish to reset. Hold down OPTION and

press DEFAULT to perform a reset across all pans.

Resetting Faders

Hold the DEFAULT button while pressing the SEL (Select) button on the channel you wish to reset. Hold

down OPTION and press DEFAULT to perform a reset across all faders.

Resetting Sends

Select the SEND button on the Master Control Panel. Turn the Master D-pot to scroll through the list of

available sends. Hold the DEFAULT button while pressing the channel D-pot on the channel you want to

reset. Hold down OPTION and press DEFAULT to perform a reset across all sends.

Resetting Plug-ins

Hold the DEFAULT button and press the Plug-In Editor COMPARE function. The plug-in default value is

either the factory setting or user setting determined within the DAW.

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DAW Control GuidE

Channel Functions

In DAW focus mode, the channel meters, faders and part or all of the Solo and Cuts panels control the DAW

and display its status.

DAW Meters

In DAW focus mode, Duality’s channel meters flip to a stereo mode to indicate the level of

the DAW signal path. Mono tracks are displayed on the left meter only. When a signal

reaches 0dBFs, the corresponding OVL tally will light to indicate that the DAW signal level

has clipped.

The meters duplicate the function of meters within the DAW, and show the same

information. They also follow DAW pre or post fader meter settings, as set within the

DAW.

OVL tallies can be reset using the F1 function in the Fkys soft key menu

Status Indicators

The meter shows the status of the corresponding DAW track.

REC flashes when the track is in record ready and lights when the track is in record.

EDIT indicates that the track is selected for editing with the plug-in controller.

Multi-channel Metering (TDM Systems Only)

Multi-channel metering can be displayed by pressing OPTION + SOLO on a selected multi-channel track. The

next two stereo meters are used to show the additional information. Normal metering functionality resumes after

deselecting the SOLO function.

Channel Fader

The channel fader can control any virtual DAW fader including Channel, Master, Auxiliary,

·10

MIDI tracks or Instrument tracks. The calibration of the fader will depend upon the DAW

(please refer to your DAW manual for more details). Pressing ALT will display the gain of

· 5

the DAW fader on the fader scribble strip when you move the fader.

fader

· 0

rec

Fader Grouping

· 5

Channel faders will follow any grouping enabled within the DAW. Faders can be

disengaged from a fader group simply by holding down the CTRL button or by touching

one fader in a group while adjusting another fader’s level. Relative fader levels are

maintained upon release of the fader.

play

· 10

match

· 20

switch

· 30

· 40

· 50

· ∞

group

select

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Channel Functions

Channel Solo and Cut Panels

Channel D-pot

Each channel has a continuous rotary control or D-pot. This can be used to control send

levels and panning, and to assign input, output and send routing. See the following pages

for more details.

CUT

SOLO

The D-pot includes a push switch that is used (depending on the centre section mode) to

select sends to be pre or post fade, to mute sends and to confirm I/O selections. Again,

see the following pages for more details.

Solo and Cut Buttons

SEL

Two sets of SOLO and CUT buttons are provided on each channel. The upper set is

associated with the signal path controlled by the channel D-pot, and the lower set with the

signal path under fader control. Thus in Analogue Focus mode, and with CHANNEL mode

selected, the lower set of buttons control the analogue path and the upper set control the

DAW channels. Changing to DAW Focus reverses this.

SOLO

CUT

One easy way to tell if you are soloing a Duality or DAW channel is that channels cut by a Duality solo have a solid

lit CUT button, and channels cut by a DAW solo have flashing CUT buttons (hence the term ‘Rude Solo’? – Ed.).

Holding down OPTION and pressing a channel SOLO/CUT button will select/deselect that function across all

channels. If channels are already solo’d, then this action will turn off all solo buttons, providing a quick way to

clear solos.

Solo Isolate

Holding down ALT and pressing a channel SOLO will put a channel into ‘Solo Isolate’ mode. This prevents that

channel from being cut when a SOLO is activated on another channel. This is particularly useful for FX return

tracks.

Channel Select Button

The channel SEL button can function as a channel select button, a track record enable or a plug-in edit enable

button, depending on the mode selected on the Master Control Panel. See over the page for more details.

Scribble Strip Displays

When a Duality channel fader is controlling a DAW fader level, the channel scribble strip will indicate a four

character version of the DAW channel name. When controlling the analogue channel it displays the number of

the fader, eg ‘Fad 24’.

The scribble strip can also display other information such as: automation status, grouping information, monitor

information, input/output routing, send routing, send pre/post information, fader level display, and pan position

(see the following pages for details). An indication of the selected function is provided in these other modes –

Pan, ASGN etc.

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DAW Control GuidE

MUTE

SEND

INPUT

UNDO

SAVE

ALT

STATUS

OUTPUT

ASSIGN

SEL

ENTER

OPTION

ESC

CHANNEL

PAN

PRE/POST

BYPASS

TRANS

MEM

SHIFT

Push to Flip

RDY

EDIT

CTRL

ALT

DEFAULT

MIX

RDY

ALL

SUSPEND

AUTO

CHANNEL

EDIT

Channel SEL Button – Record Ready/Edit/Select

The function of the channel SEL button depends on the mode selected by the centre section RDY, EDIT and

SEL buttons (5) on the Master Control Panel.

Record Ready Mode

When RDY is selected, all the channel SEL buttons become Record Ready buttons. Pressing a channel SEL

button puts that DAW track into Record Ready (provided that the DAW track has an input routed). The REC tally

in the channel meter display flashes to show that the track is in ready.

Ready All

Track arming can be set or cleared across all channels by using the master RDY ALL button (12). This button

flashes if any DAW tracks are in Record Ready. Pressing this button while it is flashing will clear all track arming.

Record Safe

To put a DAW track into Record Safe (so it cannot be selected to Record Ready) hold down ALT and press the

channel SEL button. Hold down ALT + OPTION then press any SEL button to select all tracks to Record Safe.

Edit Mode

With the EDIT button selected, a channel SEL button can have a number of different functions:

As long as the Master Control Panel BYPASS button is not selected, pressing a channel SEL button assigns the

Plug-in Editor to that channel. The EDIT flag on that channel’s meter display will light to confirm that this is the

EDIT channel (see Plug-in Editor for more details). A double press on the SEL button will select the first plug-in

on that channel for editing. Successive double presses will select the next plug-in on that channel.

Selecting the BYPASS button (4) on the Master Control Panel changes the channel SEL buttons to BYPASS

buttons. Pressing a channel SEL button will bypass all plug-ins on that channel. The channel meter display’s

EDIT flag will light to show that all plug-ins are bypassed.

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Channel Functions

Select Mode

With the SEL button (5) on the Master Control Panel selected, all the console’s channel SEL buttons become

track select buttons. They perform the same function as clicking on a channel in the DAW screen display.

A double click on a SEL button will open the channel naming pop-up for that channel. Multiple channels can be

selected by holding down the SHIFT button while selecting further SEL buttons or by holding down the first SEL

button you pressed while you select more channels. Note that this latter method only works within blocks of

channels corresponding to a single HUI interface.

Hold down OPTION and press any SEL button to select all channels. Hold down ALT and press any SEL button

to invert the state of all select buttons.

Working with the Channel D-pots

The channel D-pots can control the DAW’s channel pan, send (aux) levels and pan, routing assignment and

analogue audio levels. Each D-pot also has a switch which is activated by pushing down on the D-pot.

The channel D-pot function is selected on the Master Control Panel by the Master Send D-pot (2) and six

associated buttons (1) and (3). The scribble strip above the channel D-pots shows which function is currently

selected. A further two buttons (PRE/POST and MUTE) change the function of the D-pot push switches.

Pan Mode

Select the PAN button on the Master Control Panel, and the channel D-pots become pan controls for the DAW.

The D-pot scribble strip displays Pan.

Pressing the PAN button a second time (it flashes in this mode) allows you to access a second pan control for

stereo channels, according to the DAW configuration. The D-pot scribble strip displays Pan R in this mode.

Press the PAN button again to return to normal pan mode. Holding down ALT displays a pan’s numeric value on

the channel scribble strip as you adjust the control.

Channel Mode

Select the CHANNEL button on the Master Control Panel, and the channel D-pots control the analogue gain of

the channel strip. The D-pot scribble strip will display the analogue fader number (eg Fad 12).

Switching to Analogue Focus mode will swap the analogue gain and the DAW gain between D-pot and channel

fader. Individual channels can be swapped by pressing the channel D-pot.

Send Mode

Select the SEND button on the Master Control Panel, and the D-pots become level controls for any sends or aux

send levels within the DAW.

The Master D-pot (2) selects which of the available sends (A-E or 1-5) is being controlled by the channel D-pots.

The selected send is shown in the display window above the Master D-pot (and on the channel D-pot scribble

strip). The channel scribble strips show the name of the currently selected send. Turning a channel D-pot will

alter the level of the selected send from that channel. Holding down the ALT button allows you to make fine

adjustments to the gain. See over the page on how to use faders to set send levels.

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DAW Control GuidE

MUTE

SEND

INPUT

UNDO

SAVE

ALT

STATUS

OUTPUT

ASSIGN

SEL

ENTER

OPTION

ESC

CHANNEL

PAN

PRE/POST

BYPASS

TRANS

MEM

SHIFT

Push to Flip

RDY

EDIT

CTRL

ALT

DEFAULT

MIX

RDY

ALL

SUSPEND

AUTO

CHANNEL

EDIT

Setting Sends Pre/Post Fader

When working with sends it is useful to be able to flip a send between pre and post fader. If necessary, first

select the PRE/POST button (4) on the Master Control Panel. Pushing a channel D-pot will now switch the

selected send on that channel between pre and post. The green LED below the D-pot lights to show PRE is

selected.

To change mode on all channels, press and hold the Master Control Panel OPTION button then press any

channel D-pot. All channels will switch to pre or post.

Muting a Send Output

To mute a send output, select the MUTE button (4) on the Master Control Panel and push the channel D-pot.

The green LED below the channel D-pot will light to show the channel is muted. To mute or un-mute all

channels, press and hold the OPTION button then press any channel D-pot.

Flipping Send Levels to the Faders

To flip send levels from the D-pots to the channel faders, press the Master D-pot (2) – hence Push to Flip! The

channel faders now control send levels and the fader CUT button will mute a send. The channel D-pot controls

panning on stereo sends.

In this ‘flipped’ mode, PRE/POST mode is automatically selected for the D-pot switches, so pushing a D-pot will

toggle the send pre/post on that channel. The green LED below the D-pot lights to show PRE is selected.

Note that the fader SOLO button will still solo the channel, not the send.

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Input, Output and Send Routing

The channel D-pots can also be used to assign signals to inputs, outputs and the aux sends of a DAW:

Viewing Input, Output and Send Routing

The input, output or send routing for all DAW channels can be displayed on the channel scribble strip by holding

down the INPUT, OUTPUT or SEND button (3) on the Master Control Panel and using the Master D-pot to

select which of the available sends you wish to display.

Setting input, Output and Send Routing

To make or change an input, output or send assignment:

1. Select ASSIGN + INPUT or OUTPUT or SEND (3) on the Master Control Panel.

When using SEND, use the Master D-pot to select the send you wish to change

2. The D-pot scribble strip will now read ASGN and the fader scribble strip will indicate the current routing for

the DAW channel.

3. Turn a channel D-pot to scroll through a list of available DAW inputs or outputs (names are derived from the

DAW I/O settings, not Duality). The list will appear in the channel scribble strip. The green LED below the D-

pot will flash.

4. Push the D-pot knob to select the current assignment; the green LED will become solid and a ‘>’ symbol will

appear in front of the assigned signal (for example, ‘>Out3-4’).

5. Press the ASSIGN button once more to exit assign mode. This will also commit any changes you have made,

that have not been confirmed by pressing the D-pot.

6. Pressing ESC at any time will abort the assignment process.

Assigning Signals to Multiple Channels

Holding down OPTION then pressing any channel D-pot will assign that channel’s input to all channels. Holding

down SHIFT + OPTION will assign that channel’s input to all selected channels. Select SEL mode on the Master

Control Panel then press the SEL buttons on the channels you wish to route to.

Holding down OPTION + ALT then pressing a channel D-pot will incrementally route that channel’s input to all

channels. For example, selecting input 1 as the input to channel 9, then holding down OPTION and ALT, before

pressing the channel 9 D-pot, will route input 1 to channel 9, input 2 to channel 10, input 3 to channel 11 and so

on across the entire DAW.

Holding down SHIFT + OPTION + ALT will incrementally route that channel’s input to all selected channels.

Select SEL mode on the Master Control Panel then press the SEL buttons on the channels to which you wish to

route.

Assigning a Channel to Multiple Outputs

Hold the CTRL button and select another output. The currently assigned output will have a ‘>’ symbol in front of

it (for example, ‘>Out3-4’), and other added outputs will have a ‘+’ (for example ‘+Out5-6’) until you assign it.

In the scribble strip, an ‘@’ symbol indicates that an item is inactive (ie. routed but muted). The ‘$’ symbol

indicates that more than one output is assigned, and at least one of those is inactive.

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DAW Control GuidE

Motion Control

AUD

RTZ

PRE

END

OUT

POST

CLR

ZOOM/

SEL

LINE

LOOP

PUNCH

MOTORS

OFF

TRIM

LOK

AUTO

T/OVER

TRIM

JOIN

SCRUB

SHUTTLE

SNAP

ALL

REPLAY

REVISE

CANCEL

DISCARD

END

AUTOMATION

STOP

PLAY

RECORD

TRANSPOR

Basic Transport Controls (14)

Dedicated transport controls are provided for direct control of the DAW:

REWIND

Press ‘n’ hold to rewind the DAW (increment depends upon DAW Display mode)

FAST FORWARD Press ‘n’ hold to fast forward the DAW (increment depends upon DAW Display mode)

STOP

PLAY

Stops playback or recording

Commences playback from the current cursor position or the last locate point, depending on

DAW settings

RECORD

Engages DAW recording for currently armed tracks

Additional Transport Controls (15)

PRE

Toggles the DAW pre-roll function. See next page for setting pre-roll time

POST

Toggles the DAW post-roll function. See next page for setting post-roll time

Captures the current DAW position as the Start edit time

Captures the current DAW position as the End edit time

Returns the playback cursor to the Session start time

Moves the playback cursor to the Session end time

OUT

RTZ (Return-To-Zero)

END (Go-To-End)

LOOP

Toggles Loop mode on/off (hold down CTRL for Loop Record mode)

Toggles the DAW Quickpunch recording status on/off

Puts the DAW on line for synchronisation

Q PUNCH

ONLINE

See next page for details of the AUD button.

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Motion Control

Other useful transport modes

Half-speed Playback

SHIFT + PLAY

Abort Current Record Pass

SHIFT + STOP

Cycle through Record Modes (Normal, Quickpunch, TrackPunch, Loop)

CTRL + RECORD

Cycle through Machine Control Masters (accessible via the transport window) CTRL + ONLINE

Link or Unlink the Edit and Timelines

SHIFT + Back slash(/)

Setting Pre and Post Roll (15)

Hold down ALT and press the PRE or POST button to highlight the left hand numeric field of the pre-roll or

post-roll time window; the time is displayed on Duality’s TFT screen in place of the DAW’s timecode position.

The selected numeric field will flash; use the navigation left/right arrow buttons (16) to select a different numeric

field if required, then enter a value on the numeric keypad (18) or use the up/down arrow buttons (16) to

increase or decrease the selected field.

Press ENTER on the numeric keypad (18) to confirm the time. The numeric keypad’s CLR button can be used to

clear the selected time.

Setting start (In) and end (Out) Times (15)

Hold down ALT and press the IN or OUT button to highlight the left hand numeric field of the start or end time

window. The time is displayed on Duality’s TFT screen in place of the DAW timecode position. The selected

numeric field will flash; use the navigation left/right arrow buttons (16) to select a different numeric field if

required, then enter a value on the numeric keypad (18) or use the up/down arrow buttons (16) to increase or

decrease the selected field.

Press ENTER on the numeric keypad (18) to confirm the time. The numeric keypad’s CLR button can be used to

clear the selected time.

Audition (15)

This function allows the IN, OUT, PRE and POST points to be checked. Press the AUD button, then press either

the PRE, IN, OUT, or POST button. Press the AUD button again to cancel the function.

When Audition mode is selected, the transport section of Duality’s TFT screen displays audition in place of the

Pre and Post indicators.

PRE Plays from the pre-roll point to the selection start point

IN Plays from the selection start point for the post-roll time

OUT Plays from the end point less the pre-roll time to the end point

POST Plays from the selection end point for the post-roll time

ALT + OPTION + PRE or IN Plays from the selection start point less the pre-roll time to the selection start

time plus the post-roll time

ALT + OPTION + POST or OUT Plays from the selection end point to the selection end point plus post-roll

time.

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DAW Control GuidE

Footswitch Control

Duality has two 6.35mm jack footswitch connectors on the rear of the console. These are intended for hands-

free access to essential transport functions:

Footswitch Control 1 either plays or stops the DAW. Holding down SHIFT will abort a recording if in record, or

initiate half-speed playback if stopped.

Footswitch Control 2 s used to activate or deactivate record mode. Holding CTRL while pressing the footswitch

will cycle through record modes.

AUD

RTZ

PRE

END

OUT

POST

CLR

ZOOM/

SEL

LINE

LOOP

PUNCH

MOTORS

OFF

TRIM

LOK

AUTO

T/OVER

TRIM

JOIN

SCRUB

SHUTTLE

SNAP

ALL

REPLAY

REVISE

CANCEL

DISCARD

END

AUTOMATION

STOP

PLAY

RECORD

TRANSPOR

Zoom, Navigation and Selection Modes (16)

The Motion Control area has a section with four cursor buttons and a ZOOM/SEL function that toggles the

selection of three available modes: Navigation Edit, Zoom and Select.

Navigation Mode (Zoom/Sel button not lit)

In this mode the cursor buttons can be used to select a region or regions on the DAW screen.

The left and right buttons will snap to region/clip boundaries. The up/down buttons move the cursor to the track

above or below respectively. Holding down the SHIFT modifier button will allow a selection to be extended in any

direction. Holding the OPTION button allows the current selection point to be centred on the screen.

Holding CTRL+ Up/Down/Left/Right cursor button allows you to change and extend the region/clip selection.

Add SHIFT to the above combination to include either the previous or next region.

Zoom Mode (Zoom/Sel button lit)

The cursor buttons now become horizontal and vertical zoom controls for the edit/arrange window on the DAW.

Fixed edit/arrange zoom settings can be saved or recalled from Duality’s numeric keypad:

To save a zoom setting – press SHIFT + numeric keypad number

To recall a zoom setting – press OPTION + numeric keypad number

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Motion Control

Selection Mode(Zoom/Sel button flashing)

In this mode the cursor buttons provide a way to create and edit selections within the DAW program.

To create a selection, press and hold either the left or right cursor button and move the inner shuttle wheel to

adjust the start or end point for the selection. The up and down cursor buttons will move the selection to the next

track. Holding SHIFT and using the up/down buttons will allow the selection to be extended across multiple

tracks.

Holding the left and right cursor buttons simultaneously, while scrubbing, retains the selection duration while

moving the selection start point.

Pressing OPTION + Up/Down cursor button removes the upper or lowermost track from the selection.

Please note that HUI Selection Mode is no longer supported in Pro Tools HD software version 7.2 and above

Scrolling Within a Window

To page scroll one page in either direction within a currently selected window (ie. Mix/Mixer or Edit/Arrange),

press the ALT + Left/Right/Up/Down cursor button.

Holding down OPTION and ALT scrolls to the window boundary.

Shuttle/Scrub Wheel (17)

A dual-concentric Shuttle/Scrub wheel is provided. It has a spring-loaded outer ring and a continuously variable

inner wheel for DAW scrub and shuttle functions. The wheel can also be used to make and adjust selections on

the DAW.

Shuttle Mode

With the DAW stopped, turn the wheel to activate shuttle mode. The outer rim will step through seven fixed

shuttle speeds, while the inner controller is continuously variable.

To use the inner wheel as a shuttle control, press the SHUTTLE button above the wheel. The inner wheel now

becomes a continuously variable shuttle control.

Scrub Mode

Select a region to scrub within the DAW. Press the SCRUB button above the wheel. The inner wheel now

becomes an analogue tape machine style scrub wheel.

Using the Numeric Keypad to shuttle

Depending upon the configuration of your DAW system, the numeric keypad can be used to control shuttle

speed and direction. Hold down the CTRL button followed by a number on the numeric keypad that represents

the shuttle speed. The +/- buttons control the direction of shuttle.

To exit from shuttle mode press either the STOP or ESC button.

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DAW Control GuidE

Notes on Scrub and Shuttle Modes

The position at which the scrub/shuttle starts is derived from the current DAW selection or timeline position.

Scrub/Shuttle mode can commence from the selection end point by holding down the OPTION button before you

grab the shuttle wheel.

Holding down the ALT button will increase the resolution of the scrub/shuttle wheel.

When scrub or shuttle is active, many functions are suspended until you exit from scrub/shuttle mode. The

following functions are available:

Fader control, solo and cut buttons

Scrub/Shuttle wheel functions

Transport controls

Enter button (to create marker/cue events)

Scrub/Shuttle will also control serial machines if the DAW is 9-pin enabled.

Numeric Keypad (18)

The console’s numeric keypad replicates the numeric keypad on a DAW keyboard. The primary use for this

keypad is for saving and recalling Memory Locates and entering data values (please refer to your DAW manual

for more details on keypad uses).

Working with Markers/Memory Locations

To Enter a Marker/Cue point, press ENTER. To Recall a Marker/Cue point, press a number followed by the

decimal point button (Numeric Keypad in Classic mode) or a decimal point followed by a number followed a

decimal point (Numeric Keypad in Transport mode).

The ENTER button on the keypad also works as a enter button for pop-up windows,

duplicating the ENTER button on the Master Control Panel

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Plug-In Editor

Duality comes with a powerful Plug-in Editor located in the

console centre section. From here, plug-ins and hardware

inserts can be assigned, and plug-in parameters can be

edited.

PHASE

EQ IN

SHELF

M F400Hz

INS/PAR

LF80Hz

BYPASS

M F-5.9dB

ASSIGN

LF+2.3dB

COM PARE

T/C QUICK PUNCH

AUTO ON ON-LINE

Plug-In Editor Display

AUTO

EDIT

M ODES TOOLS M ODES GROUP

READ

EDIT STATUS

The Plug-In Editor uses a high resolution TFT display, four D-

pots and four soft buttons to control the parameters of any

plug-in. The display is also used to show the position and

status of the DAW, and to provide access to a range of paged

menus.

F-KEYS EDIT

OFF

ENABLE

W RITE TOUCH LATCH TRIM

The currently selected EDIT channel name is displayed at the

top of the screen. Below are the plug-in control displays

followed by transport status displays and a timecode display.

At the foot of the screen are two rows of soft key menu

selections

Plug-In Editor Controls

Controls for the display are located just below the screen

area. The four D-pots and associated in-line soft keys are

mapped to the corresponding controls on the display. The D-

pots also have push-push select switches that perform

various functions.

The display also shows information from the DAW at the top

of the editor display.

Paging Buttons

The left/right paging buttons either page through available

insert slots in INSERT mode, or plug-in parameters in

PARAMETER mode (see below).

The far left and far right buttons directly below the D-pots provide a Page Down and Page Up facility

respectively.

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DAW Control Guide

Selecting a DAW Channel for Plug-In Control

Select EDIT mode on the Master Control Panel then use the channel SEL buttons to choose the channel you

wish to edit. The EDIT flag in the channel meter will light. The DAW will highlight the selected channel and the

currently selected plug-in. Press ALT to display the plug-in window.

Alternatively, select a channel by double clicking on one of the insert points in the Mix window. Note that on

some versions of Pro Tools this is the only way to change between blocks of channels (1-8, 9-16, 17-24).

Note: Bank switching channels leaves the Plug-In Editor with the channel assigned to it.

The channel EDIT tally will show this.

Timecode/Bars & Beats/Samples Display

The on-screen timecode readout can be assigned to display either timecode (SMPTE/EBU), Feet/Frames,

Bars/Beats or samples. This display will follow the setting selection made within your DAW. Please refer to your

DAW manual for further details.

Plug-In Display Modes

There are three display modes, Insert, Parameter and Assign, all of which are selected using the soft button

ASSIGN and INSERT/PARAM buttons below the D-pots.

Viewing Current Inserts (Insert Mode)

Press the INSERT/PARAM button till the INSERT/PARAM box reads INSERT; the Plug-in Editor is now in

Insert mode. In this mode, the four D-pots represent four insert points on the selected channel. The currently

assigned plug-ins are displayed above each D-pot. The name of the currently active plug-in will flash. Additional

insert points can be displayed using the paging buttons.

The four D-pot push switches can be used to select an insert slot for editing or for plug-in assignment – see

below.

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Assigning a Plug-in

Assigning a Plug-In or Hardware I/O Insert (Assign Mode)

Some DAW applications will not allow assignments to be made during playback or recording.

To Assign a Plug-in to a Channel Insert Point:

1. Press the ASSIGN soft button to enter assign mode; the on-screen box flashes to confirm this.

2. Press the D-pot corresponding to the insert slot that you want to route to a plug-in (use the paging buttons as

necessary) then use the D-pot to scroll through the list of plug-ins and I/O slots; the displayed names are

derived from the DAW.

3. To confirm the assignment either:

a. Press the ASSIGN button a second time. This will exit INSERT mode and switch the Plug-In Editor to

PARAMETER mode to edit the last selected insert, or

b. Press the D-pot used to make the assignment. This will confirm the assignment and leave you in Assign

mode for further assignments.

Assigning the Same Plug-in to All Channels

Follow steps 1 and 2 above to select a plug-in, then hold down the OPTION button before pressing the D-pot

switch to assign that plug-in to all channels.

Assigning The Same Plug-in to Selected Channels

To assign a plug-in to selected channels, select SEL mode on the Master Control Panel then choose the

channels you wish to assign to by holding down SHIFT and pressing the channel SEL buttons.

Follow steps 1 and 2 above to select a plug-in, then hold down OPTION + SHIFT before pressing the D-pot

switch to assign the plug-in to the selected channels.

Editing Plug-In Parameters (Parameter Mode)

Selecting a Plug-In to Edit

In Insert or Assign mode, press the plug-in D-pot for the insert you wish to edit or in Insert mode, select

Parameter mode by pressing the INSERT/PARAM soft button. To exit from Parameter mode, press the PARAM

soft key (if you want to edit a different plug-in) or the ASSIGN soft key (if you want to change assignment).

Changing Plug-in Parameters

Once you have selected a channel and a plug-in for editing, the four D-pots and their switches control the

on-screen parameters derived from the DAW plug-in. The names of the currently selected controls and their

values are shown above the on-screen D-pots. The PAGE UP and PAGE DOWN buttons can be used to access

all the plug-in controls.

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DAW Control GuidE

Hi-Resolution Parameter Display Mode

Holding down the OPTION button while editing a plug-in parameter will show a 9-character version of the

parameter value at the top of the Plug-In Editor display.

The ALT button can be used to open or close the plug-in/pop-up window at any time

Comparing Your Changes

Pressing the COMPARE button allows you to compare any changes made to plug-in parameters with the values

stored before editing. As soon as you change any parameter the COMPARE box will turn yellow. Pressing the

COMPARE button toggles between the settings when you starting editing parameters and the current settings.

Note that the plug-in window must be opened before this function becomes available

Bypassing Plug-ins

The BYPASS button allows a plug-In to be toggled in/out of the signal path in PARAM mode. In INSERT mode,

individual plug-ins can be bypassed by holding down the BYPASS button and pushing the D-pot that

corresponds to the insert you want to bypass. The channel SEL button can be used to bypass all the plug-ins on

a channel.

D-pot Sensitivity

The Plug-in Editor’s D-pots can be set to one of two modes: Fixed or Velocity-sensitive. In Fixed mode,

turning a knob will range through the complete list of available parameters; this allows you to search through

long lists very quickly. Holding down the ALT button enables a finer resolution scroll function. In Velocity-

sensitive mode, the speed of scrolling is dependent upon how quickly you turn the D-pot. To toggle between the

two modes press the F5 button in the Fkys menu.

Note that the channel D-pots only operate in Fixed mode

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Soft Keys

The Plug-In Editor panel includes an 8x8 matrix of soft keys that map to the 16 menu boxes at the bottom of the

plug-in display:

The top row (buttons 1-8) allows selection of the labelled functions. Once pressed, a submenu will appear below.

These items are selected using the second row of soft key buttons (9-16). The menus are ordered as follows:

Automation Enables

The Automation Enables (AuEn) globally engage or disengage automation for the following items: Faders, Pans,

Plug-Ins, Mutes (cuts), Sends and Send Muting. See Working with Automation for more details.

Automation Modes

Automation Modes (AuMo) set the update mode for each channel or group of channels. See Working with

Automation for more details.

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DAW Control GuidE

Edit Tools Menu

Edit Tools (EdTs) displays a list of available tools used by your DAW system. For example, with Pro Tools you

can select the Zoom, Trim, Select, Grabber, Scrub Pencil and Smart Tool tools.

Edit Modes Menu

Edit Modes (EdMo) displays a list of available edit modes used by your DAW system. Within Pro Tools you can

select Shuffle, Slip, Spot and Grid modes.

Status/Group Menu

The Status/Group (StGr) menu contains several useful functions including:

Auto – Displays, on the channel fader scribble strips, the automation status of all focused channel faders.

Monitor – Displays, on the fader scribble strip, the monitor status of all focused channels. Designations are as

follows:

Auto input mode

Input mode only

Auxiliary input channel

MIDI channel

Master Fader

Not implemented

Group – Displays the grouping status of all focused channels on the console. A lowercase letter indicates that a

fader belongs to that group. An uppercase letter indicates that the fader belongs to multiple groups, with the

foremost group ID being displayed, eg. for groups b, c and e.

Create – To create a fader group for your DAW, select SEL mode on the Master Control Panel then hold down

the SHIFT button and press the SEL buttons on any channels you wish to group. Finally, press the CREATE

button and a new group will be created.

Suspend – Fader/Mix groups can be suspended at any time by selecting SUSPEND; they are now disengaged

from their respective grouping arrangements. Pressing SUSPEND a second time re-enables the groups.

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Soft Keys

Function Keys

The F-Keys (Fkys) menu gives access to the DAW function keys; these will vary between DAW applications. A

standard configuration for Pro Tools is:

F1 Peak Hold Clear for the Duality channel meters

F5 Cycles Fixed or Velocity-sensitive modes for the D-pots

F8 Escape

EDIT Menu

The Edit (Edit) menu provides quick access to frequently used editing functions including Capture, Separate,

Cut, Copy, Paste and Delete.

SSL Menu

This menu is used to access additional optional features such as the Duality Automation System and Total

Recall. Information regarding these features will be found in the appropriate section of this manual.

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DAW Control GuidE

Working with DAW Automation

Duality’s touch sensitive moving faders can be used to write automation for the DAW faders. Most automation

functions are enabled from the soft key matrix below the Plug-in Editor display screen. Menus are provided for

Automation Enables, Automation Modes, Grouping and Editing functions.

Note that automation data can usually only be written when the DAW is in Play, Half-Speed Play or Record

Automation Enables

The Automation Enables (AuEn) menu is used to globally engage or disengage automation for the following

items: Faders, Pans, Plug-Ins, Mutes (cuts), Sends and Send Muting. Holding down the OPTION button and

then pressing any of the submenu buttons will toggle automation on or off for all controls. The Pan automation

enable includes both Channel and Send Pan.

Automation Modes

Several Automation Modes (AuMo) are available: Write (Wrt), Touch (Tch), Latch (Ltch), Trim (Trim), Read

(Read) and Off (Off). Entries in parenthesis ( ) indicate the mode as shown on the channel scribble strip. To

change automation mode on a channel, select an automation mode from the soft key menu and then press the

auto button on a channel fader. Holding down OPTION and then selecting an automation mode will change the

automation mode on all channels.

Refer to your DAW manual for more information on its specific automation features

TRIM Mode

If your DAW supports Trim automation mode, this can be selected by pressing the Trim soft key in the AuMo

(Auto Modes) menu, and then pressing a channel auto button. This changes the current automation mode into a

‘Trim’ equivalent. Holding down OPTION and then pressing Trim in the soft key menu will set Trim mode on all

channels.

You can confirm that a fader is in Trim by pressing and holding the fader’s auto button – its scribble strip will

display a in front of the normal automation mode indication. Alternatively, select the Auto soft key in the StGr

(Status/Groups) menu; this will display, in the scribble strip, the automation modes of all channels.

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Working with DAW Automation

Automation Status Display

Pressing and holding the auto button on a channel fader will display the current automation mode for that

channel in the channel’s scribble strip. To display the automation mode for all focused channels, select the

Status Group (StGr) soft menu, and press Auto.

The automation LED indications are as follows:

No LED Automation off

Green LED Read automation mode

Red Flashing LED DAW is ready to write automation in write, touch or latch modes

Red solid LED Writing automation data

Red and Green LEDs Trim automation mode

Suspending Automation

To suspend all automation writing and playback for the entire project/session, deselect the SUSPEND AUTO

button. The button will flash red to indicate that the suspend function is active.

Writing Automation (Write to Start, End or All)

In some DAW applications, you can write automation data to the start, end or whole part of a track/selection in

any automation mode. To perform these functions from Duality use the following:

CTRL + RTZ – Will write automation data from the current position to the start of the track/selection

CTRL + END – Will write automation data from the current position to the end of the track/selection

CTRL + SHIFT + (END or RTZ) – Will write automation data from the start to the end of the track/selection.

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DAW Control GuidE

Automating Cuts

As the console’s CUT buttons have no touch sense, automation will start being written when the button is first

pressed. In Touch mode it will return to the underlying mix pass as soon as the DAW timeline reaches the next

switch change. Thus pressing and holding a CUT button will write data for as long as the button is held,

overwriting any underlying automation. To continue to write data until you stop, select Write or Latch mode. This

also applies to plug-in buttons.

Automating Pans and Sends

As the channel D-pots have no touch sense, automation data starts being written as soon as the control is

moved. In Touch mode the system will stop writing automation data and return to the previous level when you

stop moving the control.

Your DAW may have a Touch-Timeout period which provides a time limit that allows for a certain time to

continue writing automation data, after which the value of the parameter returns to the value of the underlying

automation pass. Alternatively to continue to write data until you stop select Write or Latch mode.

Automating Plug-Ins

Plug-in parameters can be automated just like other D-pots and buttons. The only difference is that some DAW

applications require the controls to be armed using the on-screen menus within your DAW. Choose the

automation button in the plug-in window and enable the plug-in controls to be automated.

When automating a plug-in parameter, there is no touch sense information for the D-pot or push-push switch so

in Touch mode data will be written for as long as the control is being moved or pressed. Using Write or Latch

mode for automating plug-ins will continue writing automation data until the DAW stops.

Automation Indication for Plug-In Parameters

If a plug-in parameter is enabled for automation, the red ‘LED’ below the on-screen D-pot will flash. When writing

automation data, the ‘LED’ will light continuously.

Refer to your DAW manual for more information on all aspects of its automation system

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Mackie Control Emulation

Mackie Control (MCU) Emulation

Duality can emulate Mackie’s Control MIDI protocol as an alternative to HUI protocol emulation. The software

includes dedicated front panel function mapping for Logic, Nuendo, Sonar and Digital Performer.

Mackie Control Protocol originates from the Mackie Control Universal MIDI controller and its companion eight

fader extender unit. The main control unit is functionally very similar to a HUI unit supporting 8 channel faders

and associated controls, a master fader, transport controls and jog wheel, cursor buttons together with dedicated

function key groups for workstation control. Fader resolution is 10bit (1024 steps), identical to the HUI

implementation. The Mackie Control Unit is supplied with overlay templates for different DAW packages, which

label the various function key groups specifically for each supported DAW. In addition, the default Logic grouping

is supported by a number of workstations that do not have dedicated overlays. These include Live, Sequoia,

Final Cut Studio and Soundtrack Pro.

Mackie Control Emulation Advantages

• Supported by a large number of workstation manufacturers including Apple, Sony, and Steinberg.

• Plug-Ins and virtual Instruments are controlled from the channel D-pots and can be flipped onto the

faders, a feature previously reserved for Pro Tools and Digidesign proprietary control surface solutions.

• Channel meters use far less MIDI bandwidth.

• 6-character labels for Track/Channel Names and parameter information.

• Master Fader control.

• Not limited to 32 physical faders – up to 48 channel faders can be assigned to DAW control

Implementation

In Mackie Control mode, Duality emulates a Mackie Control Master Console plus multiple Mackie Extender

sections. For all supported workstations, Duality should be configured, in the relevant Control Surface set up

menu, as a main Mackie Control unit together with as many 8-channel extender units as required, within the

limits set by Duality’s fader configuration and the number of available MIDI ports (6) that support controller

interfacing. For the majority of DAWs, the set up layout should follow the actual console surface layout, with the

Mackie Master Console unit preferably assigned to channels near the centre of the console. This ensures that

any DAW master menus or messages that are shown on the channel displays are located as close as possible

to your usual operating position. Plug-ins and instruments will have their parameters assigned ‘left justified’ onto

Duality’s channel D-pots.

The console’s centre section DAW control buttons map to the workstation functions according to the active

control template. This is selected from the SSL options menu:

Misc

SSL

Auto

Lnks

DAW

P Tools

Nuendo Sonar

Logic

Four dedicated DAW templates are provided – Logic, Nuendo (also used for Cubase), Sonar and Digital

Performer. The Logic template can also be used as a generic interface for Live, Final Cut Pro and other software

that supports the standard Mackie Control surface function key grouping. SSL can provide additional button caps

to support the four function templates.

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DAW Control GuidE

The majority of DAW functions are controlled via dedicated Duality front panel switches, with less reliance than

the HUI protocol on the 8x8 soft key matrix located beneath the TFT screen. All plug-in editing is via the channel

D-pots. The four encoders, together with the six switches below the centre section monitor screen, are not used

with the Mackie Control protocol.

On the channel fader strips, the auto button and associated status LEDs are also not implemented by the

protocol. All other controls, the D-pot and associated push switch, DAW channel Solo and Cut, plus the Select

and Ready functions, are all fully supported. Only mono metering information is returned from the workstation.

On stereo channels, the maximum value of the left or right channel is displayed. The master fader is also

included in the DAW layer when a Mackie Control template is active.

The AUTO, PRE, IN, OUT etc. group of centre section buttons provide different related motion control functions

according to the active template. When required, tallies for these buttons will be displayed on the TFT display in

the area next to the DAW timeline counter.

The jog wheel, together with the SCRUB button, plus the cursor buttons and cursor mode switch, are active in

all templates. The outer jog wheel ring is not supported, neither is the numeric keypad. However the 1-8 keys

replicate F1 - F8 function keys in certain templates.

Mackie Function Control Overview

As far as possible, all the function templates use button groupings and layouts that follow the original Mackie

Control surface groupings, in order to simplify moving from one DAW platform to another:

CHANNEL

Push to Flip

SEL

RDY

CHANNEL

Channel D-pot functions and display options (1)

The rotary encoder switch flips D-pot parameters onto the channel faders. The encoder itself is not used in any

of the Mackie Control templates. The CHANNEL button has the same functions as in HUI Mode, and assigns

either the console or DAW channel level control to the D-pot, according to the state of the Console Focus button.

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Logic Template

RDY and SEL (2)

As with the HUI protocol, the RDY and SEL buttons determine the function of the channel strip’s SEL button.

The default is the SEL(ECT) function; RDY accesses DAW track arming via the channel SEL button. The centre

(blank) button is used as a discrete function in some of the templates, and corresponds to the EDIT/GLOBAL

button located next to the FLIP button on a Mackie Control unit.

Channel and control surface banking (3)

These are used in exactly the same way as in HUI Mode.

Project/Menu buttons (4)

These offer similar functions to those in HUI mode but are template specific.

Modifier buttons (5)

Again, these are Layout and Name template specific.

Dedicated Functions (6), (7), (8)

These are all template specific.

The Logic Template

Duality emulates a Mackie Control unit plus multiple Mackie XT fader expanders. Logic will accept the full 48

fader control offered by Duality. The control surface set up should be configured as shown below in the Logic

Preferences menu:

This layout ensures that when the channel D-pots are used to select master functions, they will be located next

to Duality’s physical centre section, not at the far end of the console.

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DAW Control GuidE

Duality Logic Control Button Layout

GLOBAL

TRACK

SEND

PLUG-IN

INST

SAVE

ESC

UNDO

ENTER

OPTION

ALT

READ

WRITE

TRIM

PAN

CHANNEL

NAME

VALUE

SHIFT

CTRL

Push to Flip

TOUCH

LATCH

GROUP

SMPTE

BEATS

EDIT

SEL

RDY

NUDGE

CHANNEL

MARKER

When compared to the HUI protocol layout, the major changes to buttons in this section are that automation

modes replace the screen display select buttons, and the inclusion of the MARKER and NUDGE functions.

GLOBAL uses the 8x8 menu matrix buttons to select different view options. CHANNEL is unchanged and

assigns Duality’s channel gain element to the D-pot. The rotary encoder switch is used to ‘flip’ parameters onto

the faders, but the encoder itself has no function. The dot-matrix display indicates the D-pot mode with a two-

character label. Plug-ins are controlled from the channel D-pots, so there is no longer an ‘EDIT’ select mode for

the channel SEL button.

Transport Control Buttons

CYCLE

DROP

REPLACE

CLICK

SOLO

Only five of the ten transport control buttons are assigned. These have on-screen tallies in the TFT display’s

status area. Full operational documentation on using Logic with Mackie Control and Extender units can be found

in the Logic Pro 7.2 Dedicated Control Surface Support (Manual).

This can be downloaded from http://www.apple.com/support/manuals/logicpro/

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Duality’s Logic Control Screen

VIEW

MIDI

SSL

Fkys

ATrk

Inst

AUX

BUS

OUTUSER

VIEW is selected automatically by pressing the GLOBAL button; this accesses the eight global view select

buttons; VIEW may also be selected manually if required. There are no tallies for the selected View. VIEW is a

Duality function and not part of the MCU protocol.

Selecting Fkys provides access to the eight functions keys as used with the HUI interface. These are also

permanently mapped to the numeric keypad, which is not supported in the Mackie Control protocol.

A ‘Rude Solo’ tally is displayed in the on-screen status area. This corresponds to the front panel LED on a MCU.

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DAW Control GuidE

Nuendo/Cubase Template

As with other templates, Duality emulates a Mackie Control Main unit plus multiple Mackie Control Extenders.

MIDI control surface assignment is set up in the Remote Device list. Nuendo does not have separate profiles for

the Mackie Extender, so for a 48 fader controller, six Mackie Control units are entered into the device list with the

top most unit corresponding to the highest numbered eight channels on the Duality control surface, and the

other units mapped to the remaining channels in descending order.

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Duality Nuendo Control

Duality Nuendo Control Button Layout

INST

ESC

SOLO

MASTER

PLUG-IN

SEND

EFFECTS

CHANNEL

ENTER

SAVE

MOTORS

PAN

UNDO

SHIFT

NAME

VALUE

Push to Flip

SMPTE

BEATS

EDIT

SEL

RDY

PROJ

MIX

CHANNEL

WRITE

READ

The majority of Nuendo or Cubase functions are controlled via dedicated buttons, with virtually no reliance on

the 8x8 menu buttons located beneath the TFT screen. Full details are available in the Mackie Control manual,

which is available from the Nuendo download site: http://www.steinberg.de/439_0.html

When compared to the HUI protocol front panel, the major differences here are the new control set for assigning

processing parameters to the D-pots. Up and down page buttons for D-pot parameters are located within the

Shift button block. The rotary encoder will also output page up/down commands when turned left or right.

RDY and SEL control the function of the channel SEL buttons as with the HUI interface. The EDIT button is

used to open editing windows in Nuendo or Cubase for the current selection. Pressing EDIT together with SHIFT

will close an active window.

CHANNEL is unchanged and assigns Duality’s channel gain element or DAW channel to the D-pot according to

the state of the Console Focus button. The encoder switch is used to ‘flip’ parameters onto the faders as before

but includes all processing parameters, not just send levels.

The Transport Control buttons are assigned to related transport functions as with the HUI interface:

LEFT

ADD

RIGHT

CYCLE

PUNCH

Note that tallies for the CYCLE and PUNCH functions are displayed in the status area of the TFT display.

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DAW Control GuidE

Duality’s Nuendo Control Screen

Grp

SSL

Fkys

Fkeys provides access to the eight functions buttons. These are also mapped to the numeric keypad, which is

not supported in Logic Control.

Grp

SSL

Fkys

Grp calls up the eight Fader Group buttons.

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Duality Sonar Control

The Sonar Template

Duality emulates a Mackie Control (MCU), plus additional Logic XT fader expanders as required. The Control

Surface setup menu is located in the Sonar Options menu:

To set up the correct mapping of Duality faders to DAW channels, select Mackie Control from the Tools menu to

access the Properties page and the Configure Layout option. Full online operational documentation for the

Mackie Control and Expander (XT) functions can be accessed via the PC keyboard F1 key when the Control

Surface Properties dialogue is open.

Duality’s Sonar Control Button Layout

TRACKS

CHANNEL

BUS

TRACK

SEND

PLUG-IN

DYN

UNDO

ENTER

REDO

CANCEL

PAN

Push to Flip

EDIT

SEL

RDY

MAIN

NAME

VALUE

AUTO

READ

OFF

SAVE

CHANNEL

SMPTE

BEATS

The majority of functions are controlled via dedicated buttons, with less reliance than the HUI version on the 8x8

menu button matrix located beneath the screen. The main differences when compared to the HUI front panel are

as follows:

Different function grouping to assign parameters to the Channel D-pots. CHANNEL is unchanged and assigns

Duality’s channel gain element or DAW channel to the D-pot according to the state of the Console Focus button.

The encoder switch is used to ‘flip’ parameters onto the faders as before, but includes all processing

parameters, not just send levels. Two ‘Flip’ modes are available, Duplicate or Exchange, selected via a single or

double press on the encoder switch.

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DAW Control GuidE

For the Sonar template, as with the buttons that control the function of the channel SEL button with the HUI

protocol, SEL and RDY control whether the channel SEL button sends the SEL and REC/RDY MIDI codes.

EDIT is a dedicated function equivalent to the MCU EDIT/GLOBAL function located in the FADER BANKS

section. The display above the encoder shows the two-character plus decimal point Assignment window from the

MCU.

CHANNEL is unchanged and assigns Duality’s channel gain element or DAW channel to the D-pot according to

the state of the Console Focus button. The encoder switch is used to ‘flip’ parameters onto the faders as before,

but includes all processing parameters not just send levels.

The transport control buttons are designated as shown below:

MARKER

LOOP

SELECT

HOME

PUNCH

KEYPAD

JOG

PARAM

LOOP

ON/OFF

Tallies are shown in the status area of the TFT screen for Loop ON/OFF, Jog Parameter, together with tallies for

Marker, Loop, Select and Punch. As the latter functions intercancel, they share the same on-screen area.

Keypad is not a direct MCU function but it will enable the numeric keypad 0….9 keys plus the ‘.’, ‘-‘, ENTER and

CLR keys for data entry. When operated, it send the codes that correspond to M1 ON, EDIT ON, EDIT OFF, M1

OFF and then enables the numeric keypad keys to send the MIDI codes that correspond to the 1 to 8 keys on

the Sonar overlay and the 4 TRACKS keys. ENTER mimics the main ENTER key, and CLR the CANCEL key. A

second operation of the KEYPAD button inhibits the numeric keypad from outputting MIDI codes, and should

send an EDIT ON, EDIT OFF command to cancel the mode.

Duality’s Sonar Control screen

The 8x8 menu button matrix is used to access three Sonar MCU function groups:

Fkys

Trks

SSL

AUTO

Fkys provides access to the eight functions keys. These are defined in Sonar and also output Edit commands in

conjunction with a Modifier key.

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Duality Sonar Control

Fkys

Snap

Trks

Ofst

SSL

AUTO

Darm

AUTO calls up three automation functions, Snapshot, Disarm and Offset. The main automation Read/Off key is

mapped to a dedicated front panel button.

Fkys

Trks

FitA

SSL

AUTO

NMid

FitP

NAud

Trks provides the four TRACKS functions on the bottom row of soft buttons.

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DAW Control GuidE

Digital Performer Template

Duality emulates a Mackie Control Unit plus additional Mackie Control Expanders. The Control Surface setup

menu is located in the Digital Performer Setup menu:

Assign Duality’s MIDI ports so that the console faders map correctly to the DAW tracks with the Mackie Control

Unit as the eight channels to the left of the centre section.

Duality’s Digital Performer Control Button Layout

GROUP

UNGRP

TRACK

PAN

SEND

PLUG-IN

PRESET

SAVE

AMODE

REDO

CTRL

METERS

CHANNEL

UNDO

SHIFT

SUSPND

EDIT

Push to Flip

SMPTE

BEATS

CMND

EDIT

SEL

OPTION

RDY

TRACKS

MIX

CHANNEL

ENTER

ESCAPE

The majority of functions are controlled via dedicated buttons with less reliance than the HUI interface on the

8x8 menu button matrix located beneath the TFT screen. When compared to the HUI front panel, the main

changes are as follows:

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Duality Digital Performer Control

A different function grouping is used to assign parameters the channel D-pots. CHANNEL assigns Duality’s

channel gain element or DAW channel to the D-pot according to the state of the Console Focus button. The

encoder switch is used to ‘flip’ parameters onto the faders as before, but includes all processing parameters not

just send levels. The EDIT button is the standard MCU Edit (or Global View) command key, it does not affect

operation of the channel SEL buttons, which can be flipped between the Ready (RDY) and Select (SEL)

functions as with the HUI mapping.

The Transport Control buttons are assigned to related transport functions, as with the HUI interface:

EDIT

GRID

EXT

SYNC

MEM

LINK

PRE/

POST

SOLO

RTZ

MARKER

CYCLE

PUNCH

SELECT

On-screen tallies are provided for the Marker function, together with a second tally for the MCU ‘Rude Solo’

indicator.

Duality’s Digital Performer Control screen

Two sets of menu buttons can be accessed via the 8x8 soft menu button matrix:

REC

READ TOUCH

SSL

AUTO

TRIMT OWRT LATCH TRIML

AUTO produces the six Automation mode options.

REC

SSL

AUTO

ODUB THRU CLEAR

CLICK COUNT

REC provides the Record setup functions.

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DAW Control GuidE

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Total Recall

Section 4 – Total Recall

Overview

The Multi-user Total Recall (TR) package is a chargeable option for the Duality console. If not supplied with

your console, please contact your nearest SSL representative for details.

The system uses the channel meter display screens in each bay to give a graphical display of current and

stored control settings for all rotary controls, faders and switches on Duality’s channel strips and centre section

modules. Controls that are in different positions from the stored values are highlighted in yellow, and may be

reset manually to the stored settings. Electronically latched switches such as EQ, Insert, Dynamics and Cut

buttons can be reset to match the stored setup by pressing the fader status button twice. Pressing the SET

ALL soft key twice will reset all the soft button functions. Pressing the SET SEL key twice will reset the soft

buttons on all channels currently selected on the Central Routing Panel.

Each bay screen is used to display the settings for one channel (or the centre section), thus allowing multiple

channels to be reset at the same time.

Stored TR setups can be copied or swapped between channels by holding down the fader status button on the

source channel then pressing the fader status button on the destination channel. If the soft COPY button (see

later) is selected, the source channel settings are copied to the destination channel; if not, the source and

destination channel settings are swapped.

TR setups are saved within Duality’s Projects system and stored locally in Duality’ flash memory. Setups may

then be copied to an appropriate folder on your DAW. See Copying TR Setups to a DAW Folder.

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Total Recall

Total Recall and Projects

Duality uses a logical and intuitive Project-based system within which TR Setups and Mixes (automation data)

can be stored and managed. Each Project contains a number of Titles (think of these as songs, tracks, tunes

etc.), and each Title contains its own set of TR Setups (and mixes).

The Projects system is accessed using the soft keys on the Master Control Panel in conjunction with displays

on TFT screen above:

Shows currently selected

Project 1 :: Title 1

Project and Title

selected indicates which

TR Setup is currently

being displayed

TR 1 - selected

TR 2

TR 3

TR 4

TR 5

TR 6

These functions can be

selected using the encoder

switches or the four soft

keys directly below

Select

Proj TR

GrpM StRt

Store

Auto Lnks

BusM Comp Copy

Set All

Set Sel

SSL

Con

Daw Misc

These functions can be

selected using the sixteen

lower soft keys

Del

Use this control to scroll

through lists

If you are not familiar with these functions (as used by the Plug-in Editor and other DAW-related functions)

please refer to Soft Key Display in Section 3 of this manual.

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Total Recall

Working with Projects and Titles

At least one Project and Title must be present before you can store a TR Setup. Select SSL followed by Proj.

Now select New Proj and the system will automatically create a new Project and Title; logically these will be

named Project 1 and Title 1 (if no previous projects exist).

Project 1 :: Title 1

Project 1 : : Title 1 - selected

Project 2 : : Title 2

Select

Back

NewTitle

CopyTitle

Proj

Auto

Lnks

Daw

Misc

SSL

Con

Del

If Projects have been previously created, when you press the Proj key, the screen will display a list of existing

Projects. Use the lefthand encoder to scroll through the list and when you find the Project you require, press

the encoder switch (or soft key below the encoder) that represents the Select function. This makes that Project

current (as indicated by the entry being highlighted in yellow, with the word selected after its name) and

reveals the Titles in that Project. To create a new Title in a Project, select New Title. Titles and Projects are

automatically numbered in sequence of creation. Select Copy Title to copy the selected Title.

Note that the top line of the display always indicates the current Project and current Title. Use the Select rotary

control to scroll through lists of Projects, Titles, etc., and the encoder switch to select them. To return at any

time to the Project list, press the encoder switch for Back.

Saving a TRSetup

Once a new Title has been created, or a previous Title is selected, press TR followed by Store and the current

console settings will be saved in the next available TR Setup. New Setups are automatically named TR - n

starting at ‘1’. If a Setup is deleted (see below) then its number will not be re-used. The only exception to this is

if all Setups are deleted; the numbering will then restart from ‘1’. Setups are initially saved to Duality’s flash

memory but may be later transferred to your DAW project folder (see Copying TR Setups to a DAW Folder).

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Total Recall

Recalling a TRSetup

Project 1 :: Title 1

TR 1 - selected

TR 2

TR 3

TR 4

TR 5

TR 6

Select

Store

Set All

Set Sel

Proj

Auto

BusM

Lnks

Daw

Copy

Misc

SSL

Con

GrpM

StRt

Comp

Del

With TR selected, choose the required Project and Title, and scroll to the required TR Setup (see above). Press

Select and the stored console settings will be displayed on the centre section and bay screens (see next

page).

Deleting a TRSetup

With TR selected. scroll and Select the setup to be deleted. Hold down the Del soft key and press the Con key

to confirm.

Renaming TR Setups

Autonumbered TR Setups may be named via the Duality Remote application. Please refer to the Duality

support pages at http://www.solid-state-logic.com for more details.

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Total Recall

Total Recall Displays

As mentioned before, individual channels are displayed on the TFT screen in that same bay. To switch from

one channel to another within a bay, press the fader status button.

In order to provide maximum clarity, the centre section display is split into four sections, all selected by soft key

function is the lower row:

GrpM – Group Control faders

StRt – Four Stereo Return channels

BusM – Track Bus Masters and Aux Bus Masters

Comp – Master Compressor, Mix Reassign Matrix, Stereo Downmix, Foldback Masters, Master Fader(s)

In all cases, controls that are in different positions from their stored values are highlighted in yellow:

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Total Recall

Resetting soft switches

A double press on a fader status button, or Set Sel or Set All, will reset all the non-latching functions on that

channel strip, selected channel strips, or all channel strips respectively. The non-latching functions are:

• Input section buttons

• Dynamics assignment and routing buttons

• EQ and Insert buttons

• Aux on/off and EFX reassign buttons

• Main and Track bus routing

• Fader position

All latching switches must be reset manually.

Copying and Swapping settings between channels

Stored TR Setups can be copied or swapped between channels by holding down the fader status button on the

source channel then pressing the fader status button on the destination channel. If the COPY soft key is

selected, source channel settings are copied to the destination channel; if not, the source and destination

channel settings are swapped.

Copying TR Setups to a DAW Folder

TR setups stored in Duality’s flash memory may be copied to or from a folder on your Mac or PC using the

Duality Remote application. Please refer to the Duality support pages at http://www.solid-state-logic.com for

more details.

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Automation

Section 5 – Automation

Overview

Duality’s automation system is a fully featured package, developed from SSL's renowned G and K Series

Ultimation systems, but with a feature set designed specifically for Duality. The classic SSL look and feel,

familiar to thousands of engineers worldwide, is utilised to add dynamic fader and cut automation to the

console. MTC (MIDI Time Code) serves as the mix timeline reference, together with support for MMC (MIDI

Machine Control) locate commands to follow non-play speed positional changes from the DAW. Mix data is

saved to internal flash memory as part of Duality’s Project system, but may be transferred to your DAW via the

Duality Browser, to retain the integrity of the DAW project data.

Key features

• Frame accurate fader and cut automation data

• Moving and non moving fader modes

• Trim updates

• Fader links

• Mix Pass history

• AutoTakeover

• Variable glide times

• Fader safe mode

• Match and Play Cut automation updates

The system uses the channel bay TFT screens to give a graphical display of fader levels. The centre section

TFT is used to display the levels of group faders and A, B, C bus master fader levels.

The automation system is a chargeable option for the Duality console. If your console has not been supplied

with the full automation system, please contact your local SSL representative.

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Automation

Automation and Projects

Duality uses a logical and intuitive Project-based system within which Mixes and TR Setups (option) can be

stored and managed. Each Project contains a number of Titles (think of these as songs, tracks, tunes etc.), and

each Title contains its own set of mixes and TR Setups.

The Projects system is accessed using the soft keys on the Master Control Panel in conjunction with displays

on TFT screen above:

Project 16 :: Title 1

Mix Enabled

Currnet Project/Title

New Mix

Mix Pass 1

Mix Pass 2 >> 1

Mix Pass 3 >> 2

>> indicates that Mix Pass

# on the left is based on Mix

Pass # on the right

Yellow band indicates the

currently selected Mix Pass

Indicates functions of the

top four soft keys

Left hand encoder scrolls

through Mix Pass list. To

create a New Mix, select

encoder switch. To create a

mix based on a previous

mix, select that mix and

press the encoder.

Select

Delete

Confirm

MPrisocj

Trim

Misc

SSL

Auto

Lnks

Snap

Moff

TLock

Indicates functions on the

lower sixteen soft keys

Hold down Delete and press

Confirm to delete the

selected mix

If you are not familiar with these functions (as used by the Plug-in Editor and other DAW-related functions)

please refer to Soft Key Display in Section 3 of this manual.

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Working with Projects and Titles

At least one Project and Title must be present before you can store an automated mix. Select SSL followed by

Proj. Now select New Proj and the system will automatically create a new Project and Title; logically these will

be named Project 1 and Title 1 (if no previous projects exist).

Project 1 :: Title 1

Project 1 Title 1 — selected

Project 2 Title 2

Select

Back

New Title

Copy Title