User manual

resolution July/August 2014
30
GEAR MODULAR PROCESSING SUPPLEMENT
Solid State Logic
The X-Rack Stereo EQ Module is a stereo version of
the XL 9000 K Channel Equaliser as used on Duality
and AWS consoles. It is a 4-band parametric EQ with
high- and low-bands switchable between shelving
or fixed Q bell curves and two mid-bands with
variable Q controls. The stereo version
introduces a ‘Selective Mode’ switch
that enables independent switching
of high and low bands and mid bands
between SSL’s E and G series console EQ
characteristics. Rear panel connections
are on balanced TRS jacks and Total
Recall status LEDs are included. The
X-Rack Stereo Dynamics Module
delivers the same sonic signature as the
channel strip processing of SSL’s large
format Duality console and the mono
X-Rack SuperAnalogue Dynamics Module in a stereo
conguration. The module is intended for stereo
tracking or stem mixing. The Compressor section
can switch between a gentle Soft Knee (Over Easy)
RMS compression to a more aggressive
Peak Sensing or Hard Knee mode, making for a wide
range of levelling control. The secondary circuit
can function as a Noise Gate or an Expander. The
feature set is complemented by an External Key
Input (mono), for triggering the unit
from an external sound source, and
the ability for multiple adjacent units
to be linked.
SSL also has 500-S format modules
of its E series Dynamics and EQ. The
611DYN reproduces the SL 4000 E
console channel strip with a compressor/limiter and
an expander/gate. An RMS convertor is used in the
sidechain while the gain element is a discrete design
identical to the Class-A VCA chip used in the original
unit. The compressor contains
additional switching options to defeat the
over-easy curve and to use a linear release
instead of the more usual logarithmic curve.
The 611EQ E series EQ Module has the two
dierent EQs found on editions of the console
produced between 1981 and 1989. The type
of EQ tted in a console was distinguished by
the colours of the LF knob caps and became
known as Brown and Black. The module
allows users to switch between the two. It is 4-band with a bell
curve option on the HF and LF and parametric LMF and HMF
with Q. SSL’s Stereo Bus Compressor, the centre section from the
80s-vintage G series console, is also available in 500-Series format
as the G COMP module featuring six ratio settings and ve release
settings plus an Auto Release function.
www.solid-state-logic.com
Sonic Farm
Silkworm is a solid state microphone and
instrument preamp. It uses a discrete servo-
controlled gain stage and a transformer on input
and output. The output can be switched to a
solid state balanced line driver, bypassing the
transformer, for a more open sound. A 3-position
‘vibe’ switch enhances the tonal palette and helps
tailor the sound to suit an application.
www.sonicfarm.com
Products
Recent module introductions.
R
oll Music Systems in Minneapolis originated
as a recording studio in 1998 but founder
Justin Ulysses Morse turned to gear design
and manufacture, with products available
since 2003. Best known are the RMS-216 Folcrom
passive summing mixer, and
the RMS-755 Super Stereo
Compressor (Resolution
V6.5) looked at previously.
A few years back they
turned to the 500 Series
format with the RMS-5A7
Tubule microphone preamp.
Similarly styled, using the
same amplifier circuit, and
officially called the RMS-MC5,
the Valvop (UK£700 + VAT)
is an optical valve compressor.
Built like the proverbial brick
outhouse, with ten screws and
four Allen bolts holding the
case together (Doesn’t sound
much like an outhouse to me.
Ed), it boasts a super-thick
stainless steel front panel, big
metal knobs, and old skool
latching ‘winkie’ pushbuttons.
This thing manages to look
big and proper, unlike most
fiddly 500 Series modules,
and feels incredibly well
screwed together. Internally,
a perpendicular circuit board
‘ledge’ is bolted onto the
main board for the mounting
socket for a JJ brand ECC832
valve, keeping it upright
when the module is conventionally orientated in,
say, a Lunchbox. I tested the Valvop in an API 8C
and a Radial Six-Pack Workhorse, and amazingly
the module’s circuitry manages to convert the input
power to the necessary high voltage (220V) to
properly drive the valve while staying well within
500 Series spec. Discrete components are mounted
on the main board, including some sizeable custom
transformers, and there are a further couple of small
‘ledges’, at least one of which includes surface
mounted chips.
The big black knurled Threshold knob is calibrated
with 11 dots; turning anticlockwise lowers the
threshold and increases compression. The similar
style knob at the bottom is switched Gain make-up
and this clicks between 12 positions (corresponding
dots on the panel) in 2dB steps from -2dB to +20dB.
The clicks are quite chunky and there is no danger of
accidental movement here.
Between the knobs are two buttons and a light.
PDR is Programme Dependent Release and switches
the compressor to a dual release mode where
compression of short transients recovers quickly while
long passages of loud material are given a slower
compressor release. The large amber light is actually
a big LED that glows to indicate gain reduction and
that’s all you get for metering. However, the light’s
intensity varies rapidly with the signal, and gives a
good indication of how the compressor will behave
— this is an optical compressor after all. Below this is
a second pushbutton which bypasses the compressor
(but seems to add about 2dB of gain).
Roll Music suggests vocals and electric bass as
suitable applications. On a smooth alto female vocal,
which had been recorded with a touch of 1176,
the transformer-coupled Valvop immediately lent
a gorgeous warmth to the sound. Smooth and
rich compression is achieved but the sound
remains coherent wherever the
Threshold knob is, thanks
to a fairly fast attack.
Level reduction is easily
compensated for using
the Gain knob. The vocal
sat beautifully in the track
with moderately high
compression and little or
no level riding required.
Certainly, there are
similarities here to LA-2A
type units, especially in
PDR mode. This makes
the compression a little
less audible and pumping,
and the sound perhaps
even more smooth and
delicious. A punky, shouty
and slightly thin-sounding
high male vocal with
huge dynamic range was
satisfyingly thickened with
a hefty dose of PDR. Bass
guitar is indeed a great candidate
for some Valvop, sounding big, warm and
juicy but perhaps my favourite use was for acoustic
guitar. When compressing heavily, PDR mode reduces
some of the percussion of strummed chords for a
really smooth texture. If you want a bit more punch
from the guitar, then unlatching the PDR button
is the way to go. But either mode is gorgeous,
however hard you drive the compression — this unit
seems to invite you to go further and further, and
sometimes the maximum setting still isn’t too much.
A conventional meter would probably be worrisome
here, so it’s probably best that there isn’t one! The
amount of make-up gain to roughly match levels
was often at +12 or 14dB. The release is rather slow
for crazy drum ambience, but it successfully warmed
up a room mic, bringing a lovely low-mid glue to the
kick and snare.
Always a fan of rock music, I’m now also a fan of
Roll Music, and especially the Valvop, which is the
best and biggest-sounding 500 Series compressor
I’ve heard. n
Roll Music Valvop
Simple and superbly characterful compression is what this unit is all about.
GEORGE SHILLING enthuses.
Contact
ROLL MUSIC, US
UK: KMR Audio: [phone]
CONS
PROS
Luscious valve optical compression;
PDR setting provides superb alternative
character; robust build; no ddly toggle
switches; huge sound from a little module.
One of these might not be enough.