SSL 4000 E Channel Strip Manual

Unlock the iconic sound of the SSL 4000 console with the SSL 4000 E Channel Strip, now available as both UAD Native and UAD DSP plug-ins. This authentic British channel strip brings the warmth, punch, and unmistakable analog character that has shaped countless hit records from Nirvana’s “Nevermind” to Bruno Mars’ "24K Magic".* 

With precise EQ, dynamic control, and the classic VCA compressor, the SSL 4000 Channel Strip provides unparalleled versatility and sonic excellence. Whether you're mixing vocals, instruments, or entire sessions, the SSL 4000 E Channel Strip delivers the unmistakable SSL sound.

  • UAD Native plug-in with external side-chaining capabilities — no Apollo required
  • Track and mix through a stunningly accurate emulation of SSL’s vintage analog channel
  • Get the full character of SSL’s Jensen transformer-based preamps with Unison technology, when paired with an Apollo audio interface
  • Sculpt your sources with both Type E “black” and “brown” knob EQ and filters
  • Harness the famous SSL VCA Compressor and Gate for incredible dynamics control
  • Explore creative sounds by swapping Dynamics routing, and placing EQ/Filters in the Dynamics sidechain
  • Mix with artist presets from Just Blaze (Beyoncé, Kendrick Lamar), Ryan Hewitt (Red Hot Chili Peppers, The Avett Brothers), Ian Boxill (Prince, Tupac), and more

Artist Presets

The SSL 4000 E Channel Strip includes artist presets from the prominent SSL users below. Presets are accessed with the preset browser.

Benno de Goeij Hector Delgado Just Blaze
Carlos de la Garza Ian Boxill Richard Chycki
Chris Coady Ivan Barias Ryan Hewitt
Chuck Zwicky Jaycen Joshua Stuart Price
Eric J Dubowsky John Paterno  

 

Operational Overview

This section provides a general overview of SSL E Channel Strip operational concepts. For specific details about individual controls, see SSL 4000 E Channel Strip Controls later in this chapter.

Signal Flow

A simplified version of the signal flow within the plug-in is shown in the diagram below. By default, signal enters at the preamp module, flows to the dynamics module, then to the EQ, the filters, and the output circuitry. Both the EQ and Filters modules have the ability to be routed before the dynamics module as needed, by engaging the PRE-DYN option available in each. Engaging the DYN-SC option in the EQ or Filters module causes that module to act solely on the dynamics sidechain signal, and removes that module from the audio signal path.

Preamp

The preamp module offers a true reproduction of the famed SSL 001 preamp circuit. This section contains the controls associated with console inputs, such as gain, input selection, pad, and polarity, as well as a switchable input transformer for added tonal versatility.

Dynamics

The classic SSL E channel dynamics processing configuration has remained largely consistent from the first SSL consoles to today, with a combination of dedicated VCA compressor and expander/gate circuits. The SSL E Channel Strip is modeled from the 82E10 Rev 12.

The compressor's simple control set allows for a wide range of dynamics response, from transparent to aggressive. A continuous ratio allows for the full range of knee settings, from gentle to fully limited. The fixed two-position attack and continuously adjustable release are the perfect choice for quick channel-level dynamics control; simple, yet powerful.

Tip: At heavy compression settings with quick release times, the SSL design has a similar room-expanding quality as the UREI 1176 on signals such as drum overheads and room mics.

The expander attenuates signals that fall below the expander threshold, adding a greater dynamic range to signals. When the expander is switched to one of its gate modes (G1 or G2), the attenuation action is far more aggressive, lacking the smooth transition between attenuated and unaffected states offered in expander mode.

Dynamics External Sidechain

You can sidechain from a track in your DAW to the dynamics section of the SSL E Channel Strip native plug-in. See Using an External Sidechain with Native UAD Plug-Ins for details. 

EQ

There are two distinct EQ circuit topologies available in the SSL E Channel Strip, known as "Brown" and "Black." The original E series equalizer section was the Brown circuit. This was standard on all early production E Series consoles. The two parametric mid-band sections feature a classic logarithmically symmetric design that ensures that the ±3 dB up/down points retain the same musical interval from the center frequency regardless of frequency and amplitude settings. The two shelving sections are traditional 6 dB/octave designs with an option for a fixed Q parametric response (Bell). The "02" EQ, to give it its correct name (the last two digits of the card's part number), was used on countless recordings and mixes in the early eighties.

In 1983 a new "242" EQ circuit was developed in conjunction with the legendary George Martin for the first SSL console to be installed in AIR studios. The Black EQ, as it became known, featured enhanced cut and boost ranges (±18 dB instead of ±15 dB) together with a different control law and a steeper 18 dB/octave high pass filter for tighter control of low frequencies. It is this design which is retained today as the "E-Series" EQ option of the X-Rack, Duality and AWS consoles.

The PRE DYN option routes EQ before the dynamics section, and the DYN SC option applies EQ to the control key sidechain of the dynamics processor.

Filters

The high-pass and low-pass filters offer quick and easy control over the extremes of the frequency range. The filters can be used to tame booming sub-bass frequencies, darken over-bright signals, or carve out space for more critical signals to shine.

The DYN SC option switches the filters out of the main signal path and applies them to the sidechain, allowing for frequency-dependent dynamics control. The PRE DYN option (not available on the original hardware) routes the filter before the dynamics section.

The filters have a steeper 18 dB per octave slope when the Black EQ type is selected.

Output

The final module in the chain, Output, features level meters, gain settings, and other controls related to final signal output.

In SSL E Channel Strip, the console fader VCA behavior and sound are fully modeled; pushing the fader will affect the sonic characteristics, just as with the original hardware console.

Pan Law

SSL consoles adopt a different pan law than what the host application may be set to by default. Most DAW's allow configuring the panning spread preference to match various consoles. In the event you want to capture SSL-style stereo response when using multiple instantiations of the SSL E Channel Strip, set the pan law preference in the host to a value of -4.5 dB.

Knob Values

Some knob settings, when compared to the graphical user interface silkscreen numbers, may not match the actual parameter values. This behavior is true to the original hardware. Additionally, there may be subtle range differences between Black and Brown EQ modes. When the plug-in is viewed in parameter list mode within a DAW, the actual parameter values are displayed.

Unison™ Integration (Apollo only)

The SSL E Channel Strip features Unison technology for integration with the mic preamp hardware in Universal Audio's Apollo audio interfaces. With Unison, Apollo's ultra-transparent mic preamps inherit all of the unique sonics, input characteristics, and features of the SSL 4000 E hardware preamps.

Note: Unison is active only when SSL E Channel Strip is placed in the dedicated Unison insert within Apollo's UAD Console application or LUNA. For complete details, see the Unison chapter within the UAD Console Manual.

Realistic Tandem Control

Unison facilitates seamless interactive control of SSL E Channel Strip plug-in settings using Apollo's digitally-controlled panel hardware and/or the plug-in interface. All equivalent preamp controls (gain, pad, polarity) are mirrored and bi-directional. The preamp controls respond to adjustments with precisely the same interplay behavior as the SSL 4000 E hardware, including gain levels and clipping points.

Hardware Input Impedance

All Apollo mic preamps feature variable input impedance in the analog hardware that can be physically changed by Unison plug-ins for physical, microphone-to-preamp resistive interaction. This impedance switching enables Apollo's preamps to physically match the emulated hardware's input impedance, which can significantly impact the sound of a microphone. Because the electrical loading occurs on input, prior to A/D conversion, the realism is faithful to the original target hardware preamp.

Tactile Gain Staging

Apollo's front panel preamp knob can independently adjust the gain and level parameters available within the Unison plug-in via Gain Stage Mode. The gain stage being adjusted can be remotely switched via Apollo, so the gain levels and their associated colorations can be tuned from the hardware knob for precise physical tactile control, all without using the Unison plug-in's software interface.

SSL 4000 E Channel Strip Controls

Control Groups

Associated controls are grouped by processor function, as illustrated below. Parameter descriptions in this section are similarly grouped.

​​Control groups within SSL 4000 E Channel Strip

 

Preamp

The SSL E Channel Strip contains complete modeling of the original console's preamplifier module. Refer to the illustration below for control descriptions in this section.

 

Line Gain

Line Gain has a range of ±20.5 dB. To increase line input gain, rotate the knob clockwise.

Tip: Click the "0" text label to return Line Gain to its center (unity) position.

Apollo Unison Interaction
When Apollo is in Unison Gain Stage Mode, Apollo's hardware PREAMP knob can be used to adjust the Line Gain parameter. In this state, an orange dot is overlaid on the parameter indicating it is available for hardware control. For details, see the Unison chapter within the Apollo Software Manual.

Mic Gain

The Mic Gain knob has a range of -20.1 dB to +70 dB. To increase mic input gain, rotate the knob clockwise.

Apollo Unison Interaction
When Apollo is in Unison Gain Stage Mode, Apollo's hardware PREAMP knob can be used to adjust the Mic Gain parameter. In this state, an orange dot is overlaid on the parameter indicating it is available for hardware control. For details, see the Unison chapter within the Apollo Software Manual.

FLIP (Input Select)

Flip determines which knob, either Line or Mic, is used for input gain adjustments. When Line is selected, the green LED indicator next to the Line Gain knob is lit. When Mic is selected, the red LED indicator next to the Mic Gain knob is lit.

Apollo Unison Interactions
When the plug-in is placed in the dedicated Unison insert for a preamp channel within Apollo's UAD Console application, the following behaviors apply:
  • FLIP switches between the MIC and LINE hardware inputs of the associated Apollo preamp channel, and Apollo's hardware input switch can also be used to perform the same function.
  • When Apollo's Hi-Z input is connected, MIC mode is automatically selected and the FLIP switch is disabled.

Transformer (XFMR)

The XFMR button enables the Jensen transformer emulation for the mic preamp. Depending on the signal, this can bring additional richness and warmth. Disable XFMR when more clarity is desired.

Note: This control has no effect in Line input mode, which does not contain the transformer in its signal path.

Polarity (Ø)

The Polarity (Ø) button inverts the polarity of the signal. The signal is inverted when the button is pressed. Leave the button out for normal polarity. 

Apollo Unison Interaction
When the plug-in is used in a Unison insert within Apollo's UAD Console application, software and hardware control of polarity is mirrored. Polarity can be inverted within the plug-in interface, with UAD Console's polarity button, or with Apollo's hardware polarity button.

Pad (-20)

The Pad (-20) button attenuates the input signal by 20 dB. Pad is engaged when the button is darker.

Apollo Unison Interaction
When the plug-in is used in a Unison insert within Apollo's UAD Console application, software and hardware control of the pad is mirrored. Pad can be switched with the -20 button in the plug-in interface, with UAD Console's PAD button, or with Apollo's hardware PAD button.

Preamp Overload LED

The Overload LED indicates when signal clipping is occurring at the modeled preamp input stage. The indicator remains lit for one second after a clip is detected.

Dynamics

Independent soft-knee compressor/limiter and expansion/gate modules are available in the dynamics section. Each module has its own set of color-coded controls. The main compressor/limiter controls have gray knobs, and the main expansion/gate controls have green knobs. 

Note: Dynamics are not processed unless enabled by the Dynamics In (DYN IN) selector.

 

 

Compressor/Limiter

Link

When SSL E Channel Strip is used in a stereo-in/stereo-out configuration, two separate dynamics processors are active (one for each stereo channel). When Link is engaged, the two compressors are constrained so that they both compress by the same amount at any instant.

Link prevents transients which appear only on one channel from shifting the stereo image of the output. Any big transient on either channel will cause both channels to compress.

Link is active when the button LED is lit. When the plug-in is used in a mono-input configuration, Link has no effect. Either EXP IN, CMP IN, or both must be enabled for the Link button LED to illuminate. 

Compress Ratio

Ratio sets the amount of gain reduction to be processed by the compressor. For example, a value of 2 (expressed as a 2:1 ratio) reduces the signal above the threshold by half, with an input signal of 20 dB being attenuated to 10 dB.

The SSL E Channel Strip compressor offers a continuously variable ratio between 1:1 (no compression) and infinity:1 (limiting).

Note: Signals must exceed the Threshold value before they are attenuated by the Ratio amount.

Compress Threshold

Threshold sets the signal level at which the onset of compression occurs. Incoming signals that exceed this level are compressed. Signals below the level are unaffected.

The available range is +10 dB to -20 dB. Rotate the control clockwise for more compression.

This compressor has an automatic make-up gain function. As Threshold is lowered and compression increases (as knob is rotated clockwise), output gain from the module is increased automatically to compensate.

Tip: Click the "0" text label to return the Compress Threshold knob to its center position.

Compress Release

Release sets the amount of time it takes for gain reduction to cease once the input signal drops below the threshold level. Longer release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. However, if the Release time is too long, the gain reduction imposed by loud sections of audio may initially reduce the level of subsequent sections of audio with lower signals.

Release time is continuously variable between 0.1 seconds and 4 seconds.

Compress Fast Attack (F.ATK)

Attack sets the duration between the input signal reaching the threshold and the start of dynamic processing by the compressor. Compression attack time is program dependent and automatically varies between 3 ms – 30 ms when this switch is not engaged (AUTO mode in parameter list view within a DAW). When engaged, the attack time is fixed at 3 milliseconds for 20 dB of gain reduction.

Fast Attack is active when the F.ATK LED is lit. To toggle Fast Attack, click the LED or its label text.

Gate/Expander

The gate/expander module operates in either gate or expansion mode, as determined by the Dynamics Select button. Two attack speeds and a continuously variable release time are available in both modes. The diagram below illustrates a behavioral comparison of gate and expander modes.

Gate/Expand Select

The Select button cycles through the three modes available in the gate/expander module: Expand, Gate 1, and Gate 2.

Expand (EX) –In Expand mode, the module applies downwards expansion at a fixed 1:2 ratio, with the amount of gain reduction determined by the Expand Range control.

Gate 1 (G1) –In Gate 1 mode, signals below the Expand Threshold are attenuated by the Expand Range amount. Gate 1 is authentic to the gate mode on earlier hardware consoles.

Gate 2 (G2) –Gate 2 mode operates the same way as Gate 1, but has a different response characteristic that is derived from later versions of the SSL hardware.

Tip (SSL E Channel Strip only):Shift-click the Dynamics Select button to cycle through the available choices in reverse order.

Expand Threshold

Threshold sets the input level at which expansion or gating occurs. Any signals below this level are processed. Signals above the threshold are unaffected. Threshold is continuously variable from -30 dB to +10 dB.

Tip: In typical use, it's best to set the threshold value to just above the noise floor of the desired signal (so the noise doesn't pass when the desired signal is not present), but below the desired signal level (so the signal passes when present).

Expand Range

Range (depth) controls the difference in gain between the gated/expanded and non-gated/expanded signal. Higher values increase the attenuation of signals below the threshold. When set to zero, no gating or expansion occurs. Range is continuously variable from 0 dB to -40 dB.

Expand Release

Release sets the amount of time it takes for gate/expander processing to engage once the input signal drops below the Threshold value. The available range is 0.1 ms to 4 seconds.

Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks.

Tip: Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.

Expand Fast Attack (F.ATK)

Attack sets the duration between the input signal reaching the threshold and the end of dynamic processing by the expander/gate. Expansion/gate attack time is fixed at 1.5 milliseconds per 40 dB when this switch is not engaged (AUTO mode in parameter list view within a DAW). When engaged, the attack time is fixed at 100 microseconds per 40 dB of gain reduction.

Fast Attack is active when the F.ATK LED is lit. To toggle Fast Attack, click the LED or its label text.

Dynamics Enable

These three buttons determine the operating status of the dynamics processors.

Dynamics In (DYN IN) –This button enables both the compressor/limiter and the expander/gate modules; neither module will function when DYN IN is disabled. Each dynamics module is enabled when the LED below the buttons are lit. DYN IN is useful for quickly comparing the original signal dynamics to the dynamically processed signal when both modules are active. DYN IN must be engaged to enable compressor/limiter and/or expander/gate processing.

Expander In (EXP IN) –This button enables the expander/gate module. The module is enabled when the EXP IN LED is lit. This button has no effect when DYN IN is disabled.

Tip: Processor usage is reduced when the expander is disabled.

Compressor In (CMP IN) –This button enables the compressor/limiter module. The module is enabled when the CMP IN LED is lit. This button has no effect when DYN IN is disabled.

Tip: CPU (native) and DSP (UAD-2) usage is reduced when the compressor is disabled.

Dynamics Meters

The Expansion Meter uses green LED's (left column) to display the amount of downward expansion occurring in the expander/gate module. Higher values indicate more gain reduction.

The Compression Meter uses amber and red LED's (right column) to display the amount of gain attenuation occurring in the compressor/limiter module. Higher values indicate more dynamics compression.

Filters

In addition to the four-band EQ, the SSL E Channel Strip offers individual high and low pass filters. When a Filter control is at minimum value (fully counter-clockwise), that filter is disabled.

Tip: Processor usage is reduced when both filters are disabled.

The control ranges and sonics of these filters can be changed between Black and Brown modes with the EQ Select switch. In SSL E Channel Strip, the color of the filter knobs change to indicate the selected mode, with the knobs being a lighter gray in Black mode and a darker gray in Brown mode.

Tip: Click the "OUT" text label to return either Filter knob to its default disabled position.

High Pass

The left knob determines the cutoff frequency for the high pass filter. Rotate clockwise to reduce low frequencies. The filter is disabled when set to OUT.

In Black mode, the slope of the high pass filter is 18 dB per octave. In Brown mode, the slope of the high pass filter is 6 dB per octave.

Low Pass

The right knob determines the cutoff frequency for the low pass filter. Rotate clockwise to reduce high frequencies. The filter is disabled when set to OUT.

The slope of the low pass filter is 12 dB per octave in both Brown and Black modes.

Filters to Sidechain (DYN SC)

This button enables the Filters to sidechain function. When Filters to sidechain is active, signal output from the Filters module is removed from the audio path and is instead routed to control ("key") the dynamics module sidechain.

Note: PRE DYN is unavailable when DYN SC is engaged.

Sidechaining is typically used for de-essing and similar frequency-conscious techniques. To listen to the sidechain key, simply disengage DYN SC to hear the filtered signal. The sidechain dynamics/EQ implementations are true stereo when used in a stereo-in/stereo-out configuration.

Note: The Filters module must be active (not at minimum values) in conjunction with the Filters DYN SC button for the Filters sidechain to function.

Tip: An additional EQ to Sidechain (DYN SC) is available in the EQ section.

Filters Pre/Post Dynamics (PRE DYN)

When Filters PRE DYN is OFF (the default setting), the filters module is located after the dynamics module (and after the EQ module, if EQ PRE DYN is OFF). When Filters PRE DYN is ON, the filter/dynamics module placements are swapped, so audio output from the filters module is routed into the dynamics module instead.

Filters PRE DYN is active when the LED below the button in the Filters module is lit.

Note: PRE DYN is unavailable when DYN SC is engaged.

EQ

The SSL E Channel Strip EQ module is divided into four frequency bands: High Frequency (HF, red knobs), High Midrange Frequency (HMF, green knobs), Low Midrange Frequency (LMF, blue knobs), and Low Frequency (LF, brown or black knobs, depending on EQ Type setting).

The high and low bands can be switched from shelving mode into bell (peak/dip) mode. The two midrange bands are fully parametric. The EQ module can be disabled altogether or routed for dynamics sidechain keying.

EQ Type Select

Two different types of SSL EQ are available. The EQ Type SELECT button chooses between the two types, either Black or Brown.

The knob color of the LF band controls changes to reflect the current setting. Note that all EQ knobs don't change color when switching EQ Type, but all bands are affected.

The sound of the Black and Brown EQs are different. Black is a bit more surgical, while Brown is more gentle at extreme settings.

Tip: In addition to EQ, sonics of the Filters module are affected by EQ Type.

High Frequency (HF) Band

HF Gain

This control determines the amount by which the frequency value for the band is boosted or attenuated.

Tip: Click the "0" text label to return the HF Gain knob to its center position.

HF Frequency

This control determines the band frequency to be boosted or attenuated by the band Gain setting.

HF Bell

The Bell button switches the HF band from shelf mode to peak/dip mode. In normal (shelf) mode, only frequencies above the frequency value are boosted or attenuated. In Bell (peak/dip) mode, frequencies above and below the frequency value are boosted or attenuated.

High-Mid Frequency (HMF) Band

HMF Gain

This control determines the amount by which the frequency value for the band is boosted or attenuated.

Tip: Click the "0" text label to return the HMF Gain knob to its center position.

HMF Frequency

This control determines the HMF band center frequency to be boosted or attenuated by the band Gain setting.

HMF Q

The Q (bandwidth) control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control. The filter slopes get steeper (narrower bandwidth) as the control is rotated counter-clockwise.

Low-Mid Frequency (LMF) Band

LMF Gain

This control determines the amount by which the frequency value for the band is boosted or attenuated.

Tip: Click the "0" text label to return the LMF Gain knob to its center position.

LMF Frequency

This control determines the LMF band center frequency to be boosted or attenuated by the band Gain setting.

LMF Q

The Q (bandwidth) control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control. The filter slopes get steeper (narrower bandwidth) as the control is rotated counter-clockwise.

Low Frequency (LF) Band

LF Gain

This control determines the amount by which the frequency value for the LF band is boosted or attenuated.

Tip: Click the "0" text label to return the control knob to its center position.

LF Frequency

This control determines the band center frequency to be boosted or attenuated by the band Gain setting.

LF Bell

The Bell button switches the LF band from shelf mode to peak/dip mode. In normal (shelf) mode, only frequencies below the frequency value are boosted or attenuated. In Bell (peak/dip) mode, frequencies below and above the frequency value are boosted or attenuated.

EQ Options

These three buttons determine the status of the EQ module.

EQ In

The EQ IN button enables the EQ module. The module is enabled when the LED below the button is lit.

Tip: CPU (native) and DSP (UAD-2) usage is reduced when EQ is disabled.

EQ to Sidechain (DYN SC)

This control enables the EQ sidechain function. When the EQ sidechain is active, signal output from the EQ module is removed from the audio path and is instead routed to control ("key") the dynamics module. The EQ sidechain is enabled when the LED below the button is lit.

Sidechaining is typically used for de-essing and similar frequency-conscious techniques. To listen to the sidechain key, simply disengage DYN SC to hear the equalized signal. The sidechain dynamics/EQ implementations are true stereo when used in a stereo in/stereo out configuration.

DYN SC Notes

  • PRE DYN is unavailable when DYN SC is engaged.
  • The EQ module must be active in conjunction with the EQ DYN SC button for the EQ sidechain to function.
  • There is another dynamics sidechain available in the Filters section called Filters to Sidechain (DYN SC).

EQ Pre/Post Dynamics (PRE DYN)

When EQ PRE DYN is OFF, audio from the dynamics module is routed into the EQ module. When PRE DYN is ON (the default setting), these modules are swapped, so audio output from the EQ module is routed into the dynamics module instead. EQ PRE DYN is active when the LED below the button in the EQ module is lit.

Note: PRE DYN is unavailable when DYN SC is engaged.

EQ Overload LED

This LED is lit when clipping occurs in the EQ amplifier. Adjust EQ and input gain parameters to avoid clipping (if desired).

Output

Output Meter

This vertical LED-style meter provides a visual indication of signal levels at the output of the plug-in, after the Level fader. The meter is not calibrated but it responds accurately with 1 kHz tones.

Note: When used in a stereo configuration, the meter column represents the sum of the left and right channels (it is not a stereo meter).

Hold

The Hold button enables Peak Hold mode for the output meter, which maintains the illumination of the red Peak LED for 3 seconds after a signal peak. Hold also applies to the preamp and EQ section overload LEDs. Hold aids in observation of peak/overload conditions.

Level Fader

This fader sets overall signal level, in a range from ∞ (silent) to +10.0 dB.

Tip: Click the "0" text label to return the fader to its unity position.

Note: The VCA Group selector to the left of the level fader has been added for visual realism. The selector does not perform any function.

Output

Output adjusts the signal level at the output of the plug-in without affecting the sonic character of the signal. The available range is ±20 dB.

This control, which does not exist on the original hardware, facilitates the ability to maximize color of the overall signal. For example, preamp gain and the fader can be cranked for more distortion, while lowering Output to normalize levels.

Tip: Click the "0" text label to return the control knob to its center position. 

Power

The Power button determines whether the plug-in is active and is useful for comparing the processed sound to the original signal. Click the button to disable the processor.

Tip: CPU (native) and DSP (UAD-2) usage is reduced when Power is disabled.

Input

Input controls the signal level at the input to the plug-in. The default value is 0 dB. The available range is ±20 dB. Increasing the input may result in more compression, depending on the values of the Threshold and Ratio parameters.

Tip: Click the "0" text label to return the control knob to its center position.

I/O Meters

These vertical LED-style meters provide a visual indication of signal levels at the input and output of the plug-in. The meters are not calibrated.

The input meter is the left LED column and the output meter is the right LED column.

Note: When used in a stereo configuration, each meter column represents the sum of the left and right channels (it is not a stereo meter).

Output

Output controls the signal level that is output from the plug-in. The default value is 0 dB. The available range is ±20 dB.

Tip: Click the "0" text label to return the control knob to its center position.

Polarity (Ø)

The Polarity (Ø) button inverts the polarity of the signal. The signal is inverted when the button is pressed. Leave the button out for normal polarity.

IN (Power)

The IN button determines whether the plug-in is active and is useful for comparing the processed sound to that of the original signal. Click the button to disable the processor.

Tip: CPU (native) and DSP (UAD-2) usage is reduced when IN is disabled.

SSL 4000 E Channel Strip FAQ

What lengths did UA go to create the SSL 4000 E Channel Strip plug-in?

The project started with UA's researchers looking into which target processors best represent the era-defining sound of SSL large format consoles. In collaboration with SSL, historical users were asked for their input and insight. SSL provided their confidential target schematics for Universal Audio to begin circuit analysis.

In the meantime, SSL began auditioning sub-modules to create two "golden unit" channels: one "brown-era" and one "black-era." These two channel strips were then fully serviced and brought back to factory specification. SSL shipped the modules (and the test jig center section) to UA for sonic and behavioral study by the listening team. Requirements were drawn up by team leaders and presented to UA's algorithm design team.

The Jensen transformer-coupled mic and line amp, Brown and Black EQ amp emulation and filter refits, compression knee, time constant and amp distortion refits, and output VCA emulation all required attention as systems unto themselves, essentially making the project the equivalent time and effort of four individual plug-ins.

As the product development progressed, the plug-in was internally scrutinized sonically and by signal analysis against the target hardware modules over a 16-week period before the plug-in made its way for SSL's own evaluation and critical authentication.

What does the "XFMR" preamp button do?

The XFMR preamp button allows for a transformer option when using the mic preamp. Transformer coloration and saturation, or a cleaner no-transformer response, can be selected.

What are the differences between the two EQ types?

The SSL E had two favorite EQ variations. The earlier "brown" EQ is known as tone-friendly and musical, while the "black" EQ is exacting and surgical. The preamp in the brown SSL is loved for its musical Jensen transformer-coupled input, and this is the modeled preamp for the plug-in. In addition to EQ, the filters are also different between the two options.

*Use of artist names does not constitute official endorsement of Universal Audio software. 

All visual and aural references to the SSL 4000 E series and all use of SSL trademarks are being made with written permission from Solid State Logic. Special thanks to Jim Motley and Chris Jenkins.

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