G Series Shortform

Solid State Logic
G Series Systems
Operator’s Shortform Guide
82S6MGS010A
G Series Shortform Guide
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This document is designed as a (nearly!) pocket-sized guide for users who are new to G Series Systems. It
will also be useful for those who have had some experience of G or E Series consoles, but need to remind
themselves of certain functions. Further copies may be downloaded from our web site.
This guide is split into two sections — Section 1 covers the console, Section 2 is on the computer. Please note
that an annotated front panel drawing and console block schematic are provided at the end of this document.
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Index
SECTION 1
SL 4000 G+ Console
AFL 1-12 Patchbay 1-14
Aux sends — channel 1-6
Aux sends master controls 1-12 Quad compressor — centre section 1-10
Centre section 1-10 RECORD + MIX status 1-3

Channel input section 1-4 RECORD status 1-2
Console overview 1-1 REPLAY status 1-3
Cue sends — channel 1-6 Routing Matrix — channel 1-9
Cue sends master controls 1-12
Signal flow — channel 1-2
DIRECT button — channel 1-9 Signal processor routing 1-16
Dynamics and EQ routing 1-16 Small faders 1-7
Dynamics section 1-4 Solo/AFL 1-12
Status Lock 1-13
Echo return master controls 1-12 Stereo I/O modules 1-9
EQ and Dynamics routing 1-16 Studio loudspeakers 1-11
Equaliser section 1-5 SuperCue 1-6
FLOAT button — channel 1-9 Talkback 1-13
Group Output section — channel 1-6 VCA control groups 1-8

Grouping faders 1-8
Input/Output module 1-4

Input/Output module specifications 1-18
The index for Section 2 — G Series Computer
Large faders 1-7 is on the next page
Main outputs — centre section 1-10

Main output compressor — centre section 1-10
Master fader — centre section 1-10
Metering — centre section 1-10
MIX status 1-3
Monitor Input section — channel 1-6
Monitoring — centre section 1-11
Options 1-15
Oscillator — centre section 1-13
Overload indicator — channel 1-5
i
SECTION 2
G Series Computer
Autolocator functions 2-6 Notes pages 2-7
Automated mixing 2-9
Automation — Autotakeover (AT) 2-12 Project Management 2-5
Automation — Immediate Pickup (IP) 2-13
Automation — Insert mixing 2-14 Timecode 2-2
Automation — Join/Revise concept 2-14 Total Recall (TR) 2-17
Automation — Level Match 2-13 Track lists 2-7
Automation — Mix options 2-12
Automation — Mix options 2-15 Ultimation™ 2-13
Automation — New mixes 2-10
Automation — Off-line mix join 2-16
Automation — Off-line mix trim 2-16
Automation — Play Cuts Only (UA + RC) 2-12
Automation — Preview (PV) 2-12
Automation — Revise Cuts (RC) 2-12
Automation — Safe Set 2-15
Automation — Saving mixes 2-11
Automation — Software control groups 2-16
Automation — Status Help 2-15
Automation — Status retention 2-15
Automation — Timed Joins/Revisions 2-15
Automation — Track Copy/Swap Mode 2-15
Automation — Trim concept 2-14
Automation — Update Absolute (UA) 2-12
Automation — Update mixes 2-12
Computer control 2-4

Computer overview 2-1
Copying information 2-9
Cues 2-6
Data storage 2-3

Drop-ins, Programmed 2-8
Fader status LED reference table 2-18
Locating with the computer 2-6
ii
G+ Console
SL 4000 G+ Console
Introduction
The SL 4000 G+ is the latest version of Solid State Logic’s original analogue mixing console, the SL 4000 E.
Much copied since its inception, the world famous SL 4000 range remains the industry standard.
The SL 4000 G+ is a totally integrated single operator studio system, employing an advanced in-line format
with extensive signal processing and routing facilities. Operational refinements include remote track arming,
and a computer built on proprietary technology, providing tape transport control, together with
comprehensive session management and sophisticated mix automation.
A G+ system consists of two independent units: the SL4000 G+ console, and a 19” ‘rack’ containing the G Series
Computer and dual floppy disk drive unit, together with the console and computer power supplies. This
section of the guide covers the console. Section 2 covers computer operation.
The G+ Console — an Overview

At first sight, the G+ console may appear to be overwhelmingly complicated, due in part to the exceptionally
flexible nature of its audio architecture. However, the opposite will soon found to be true as, in fact, the console
is a highly intuitive, ergonomic and versatile tool.
The G+ console has four main mix output busses, most commonly designated Left Front, Right Front, Left
Back, and Right Back. This bus structure may be modified to provide Left, Centre, Right and Surround outputs
(referred to as the ‘Film Panning’ option) for surround mixing applications. In non-surround mixing
applications, the four output busses may be configured to deliver two entirely different mixes.
Monitor feeds are provided for one set of Main control room loudspeakers and two pairs of Mini ‘speakers, directly
supplied from the main bus output distribution. A dedicated Studio Loudspeaker feed is also provided.
The console I/O modules are fitted as standard with moving-coil VU meters which may be selected to display
the tape return, corresponding group/bus output, channel input signals, or fader/VCA levels. Main output
metering can be selected from Desk Output, or External Source (or to simply Follow Monitor). The centre
section is normally fitted with VU meters for the four main output busses, summed mono and phase, plus
mechanical peak metering for left and right outputs. Furthermore, an audio phase-scope is also provided,
connected in parallel with the left and right meters. VU metering is also supplied for each Cue/Auxiliary bus.
To determine the location of front panel functions described on the following pages, please refer to the foldout
drawing at the back of this guide.
1-1
Signal Flow
Being an in-line console, two distinctly independent signal paths exist within each G+ Input/Output module
— the Channel path and the tape Monitor path. Each path has a separate input source, and an output with
dedicated pan-pot, fed via the small or large fader.
The Channel path source is either a Mic or Line (or Sub Group) input, which normally feeds the multitrack Routing
Matrix at the top of the channel strip. The Monitor path source can be the Group (bus feed to the multitrack) or Tape
(the multitrack tape return) signal, fed to the main mix busses via the front and surround pan-pots.
MASTER FADER QUAD AUTO

CH INPUT REVERSE TO CUE
FLIP CUES
RECORD REPLAY MIX STATUS

LOCK
STATUS
The G+ console uses master status switching to enable basic console signal paths to be instantly configured for the
task in hand. There are four primary master statuses: RECORD, REPLAY, MIX, and RECORD + MIX (Overdub).
These can be combined with two secondary modes FADER REVERSE and MASTER CH(ANNEL) INPUT FLIP.
RECORD
Sets the channel inputs to Mic (red LEDs). The large fader is in the Channel path and the small fader in the
Monitor path. However, in order to provide a ‘clean’ VCA-free path to tape, it is usual for the small faders to
be in the Channel path whilst recording. This also means that the large faders are in the Monitor path, and the
operator can therefore take advantage of the VCA groups while creating a monitor mix. The faders are
swapped between paths by selecting FADER REVERSE.
The basic signal routing diagram for RECORD plus FADER REVERSE is shown below:
MASTER QUAD AUTO

FADER
CH INPUT TO CUE
REVERSE
FLIP CUES
STATUS
RECORD REPLAY MIX
LOCK
INPUT SELECTION PROCESSING FADER OUTPUT ASSIGNMENT

C MIC
H C To
FLIP EQ
Group
A LINE Filters
Trims
N Dynamics ODD EVEN
Small Routing and
N Fader Pan Tracks
E SUB GP
1-32
L Routing
M
O READY C
GROUP EQ
N
1 0
To
I Filters 1 0
2 0
3 0
Main Mix
Dynamics 4 0
Busses
T
5 0
READY L R
O TAPE Large Quad

R Fader Pan
1-2
G+ Console
REPLAY
Switching to REPLAY provides rapid playback of a track. The signal path is the same as RECORD, except that any
channel READY GROUP selections are defeated, so that the Monitor mix is coming from tape. Also, if connected,
a remote relay can switch an analogue multitrack machine from the sync head to the repro head. The studio
loudspeakers will be enabled (they are disabled in RECORD), to allow the mix to be played to the studio floor.
MIX
Sets the Channel inputs to Line (green LEDs) which feed the large faders. The line inputs are connected in parallel
to the tape returns (if you look at the patch, the Tape Monitor inputs and the Line inputs are usually both coloured
green). The small faders are in the Monitor path, which, if READY GROUP is not pressed, is also fed from the tape
returns. This means that the multitrack routing can now be used for additional effects sends.
The basic signal routing diagram for MIX status is shown below:
M ASTER QUAD
FAD ER AUTO
CH IN PUT TO
REVERSE CUE
FL IP CUES
STATUS
RECORD REPLAY MIX
LOCK
INPUT SELECT ION PROCESSING FADER OUT PUT ASSIGNMENT

C MIC
C
H FLIP EQ
1 0
To
A LINE Filters 1 0
2 0 Main Mix
N Dynamics
3 0
4 0
5 0
L R
Bus s es
N Large Quad
E SUB GP
Fader Pan
L
M
READY
O GROUP C To
EQ
N Group
Filters
I Dynamics ODD EVEN
Trims
T READY Small Ro uting and
TAPE Pan Tracks
O Fader
R 1-32
Routing
RECORD + MIX (press both buttons simultaneously)

This is identical to MIX status, until either the READY TAPE or READY GROUP button is pressed on a
channel, then that channel will automatically switch to RECORD status. This allows fast overdubs with
minimal disturbance to any other routing.
For a detailed view of signal flow though the entire console, a SL 4000 G+ Console Block Schematic is provided
at the end of this document.
1-3
Input/Output Module
Channel Input Section

This section provides a transformerless microphone amplifier, featuring low noise LINE
0 FLIP
and high CMRR, with stepped, variable range of 70dB down to line level, a gain
control, and 48V phantom power supply switch. SUBGP
-20 +20
MIC
An electronically balanced line amplifier with trim pot, providing high input 34 40 Ø
28
overload margin and balanced input impedances to both differential and common- 22
16
52
58
10 64 48v
mode inputs. The Phase Reverse switch (Ø) operates on both inputs. +4 +70
Channel input is globally defined by the selected Master Status, however, FLIP toggles input selection locally between
Mic and Line, with MASTER CHANNEL INPUT FLIP in the centre section reversing channel input selections across
the desk. Selection of SUBGP replaces the current channel input with that module’s group mix amp output, enabling
the creation of audio subgroups, with the Group Trim acting as a master level control.
The CHANNEL IN TO METERS button, in the centre section, facilitates viewing of the Channel Input levels,
overriding the bus/tape default.
See Appendix B for the Channel Input Amplifier specification.
Dynamics Section
This comprises a soft-knee Compressor/Limiter and Expander/Gate, which are DYNAMICS pull RELEASE
for fast attack
5
selectable to the Channel or Monitor signal path. For the Channel path, the 3 8
LINK
Dynamics can be switched pre (CH IN) or post (CH OUT) Equaliser. MON applies 2 20
-5
0 -10
the dynamics section to the Monitor path (post EQ if also selected). 1
RATIO
COMPRESS +5 -15
Although the same gain change element is utilised for both Compressor/Limiter and .2
.4
1
+10 -20
THRESHOLD
Expander/Gate, two dedicated LED displays are provided to indicate the activity in .15 2
-12
each device. Automatic gain make-up, evaluated from the Ratio and Threshold settings, .1 4
F RELEASE
-20 +4
is applied by the compressor to maintain a steady output level. The default compressor -25 +5
20
-30 +10
attack time is programme sensitive, responding to the audio material’s wavefront. 10 30
THRESHOLD
5 35
GATE
The Gate default setting is actually that of an Expander, behaving in this 0 40
RANGE
application as a gentle gate. Variable hysteresis is incorporated into the Threshold EXPAND
20
.4 14
circuitry, allowing the signal to decay below the opening level. .2 1 10
.15 2 6
The dynamics Key Input/Sidechain can be sourced from the modules’ Monitor .1 4
3
F RELEASE
path (select CH IN or CH OUT and MON simultaneously), or post filter signals. DYNAMICS to
Dynamics sections may be ganged using the LINK keys; whilst each channel CH CH MON
IN OUT
indicates its individual input activity, whichever channel whose processing is
working hardest will the dominant signal, driving all linked circuits.
See Appendix B for Dynamics specifications.
1-4
G+ Console
Equaliser Section 5
FILTERS 8 4
High Pass (18dB per octave) and Low Pass (12dB per octave) Filters are provided at the 12 3.5
120
top of this section. The Filters may be switched into the Dynamics section side chain to 70 200 OUT 3
kHz
afford simple de-essing etc., by the selection of FLT DYN SC (at the foot of the section). 20 300
SPLIT
OUT 350
Hz
The equaliser is a four band device, switchable to either signal path with the CH HF 0
and MON buttons respectively. Normally the Filters are switched into the same HMF x3
path with these buttons, pre equaliser unless SPLIT is selected. SPLIT switches the – +
8
5 10
Filters to the Channel path pre input select and phase reverse switch. 2 14
0
1.5 16
kHz
Two different EQ cards are available. The standard G-Series parametric EQ

3
– +
comprises variable bandwidth mid-range curves with adjustable Q (the bandwidth 1.5 4.5
decreases as the gain is increased), and shelving high and low bands, with LMF and HMF .8 6
1.5
.6 7
HMF range shift switches. See Appendix B for detailed EQ parameters. 2 1 kHz
3 .5
IN
The IN and PRE buttons control the Channel path Insert point. The insert is switchable INSERT
0
pre or pre equaliser with the PRE button. Selection of IN switches the Insert Return back PRE
into the Channel signal path. Note that the Insert Send always carries the Channel signal
– + 1
and may be used as an additional pre fader output if required. .8 1.5
LMF .3 2
1.5
.2 2.5
Many signal processing routing arrangements are possible, using the Dynamics, 2 1 kHz
EQ, Filters, Insert and Dynamics Sidechain shared between the Channel and 3 .5
200
100 300
Monitor paths. See diagrams in Appendix A for details.
50
LF 0
30 450
Hz
Overload Indicator LMF ÷ 3
The overload detection circuit monitors the Channel signal path at three different – +
EQUALISER to
points: Channel input, pre channel fader and pre channel fader. The overload LED FLT
CH DYN MON
(fitted between the EQ and Cues sections) will indicate when the signal at any of S/C
these points is within 4dB of clipping.
1-5
Cue and Aux Sends

One stereo and four mono auxiliary sends are provided. These may be individually
sourced pre or post the small or large fader, according to selection of the CUES OVERLOAD
appropriate buttons. C
The controls fulfil a dual purpose, firstly as Cue sends (Stereo, plus 1 and 2), capable of L R
PRE
receiving talkback injection, stereo echo return signals, and any external source added STEREO
from the centre section, for Headphone (Cans) and Studio Loudspeaker (SLS) feeds. SMALL
FADER
Alternatively, sends 1 to 4 may be used as echo sends or clean feeds to FX devices.
Each auxiliary bus has a master level control in the centre section, with a push-push 1 PRE
On/Off switch, and dedicated high and low pass filters. The bus outputs can be SMALL
FADER
viewed on dedicated meters, usually found above the patchbay.
2 PRE
Selecting MIX TO CUES (to the left of the Master Fader) replaces any existing cue
SMALL
feeds with the consoles main output, providing a quick and simple way of FADER
supplying the mix to headphones.

3 PRE
SMALL
SuperCue FADER
In Record Ready mode (see Monitor Input section below), hitting PRE on any
4 PRE
cue/auxiliary send assigned to the Monitor path (usually the large fader by
SMALL
default) actuates the SuperCue system. This feeds the headphones an alternative FADER
arrangement of inputs to those being monitored in the control room. See the G
Series Console Operator’s Manual for details.
Group Output Section

This comprises the Group mix amp, with its attenuating TRIM pot, plus the crucial
FLOAT and DIRECT buttons (see Routing Matrix section, Page 1-9). The behaviour
of this section is highly dependent on the console’s Master Status. The Group Trim
pot has an integral pull-push Solo Isolate switch.
GROUP pull for Solo Isolate
FLOAT
Monitor Input Section

DIRECT
This section provides selection of inputs to the module’s Monitor path, together -30 0dB
TRIM
with small fader input selection.
READY READY
READY GROUP derives its input from the corresponding Group amp output, GROUP TAPE
allowing the signal being sent to tape (Multitrack Send) to be monitored (and
metered), whilst permitting the big red record switch to be enabled. READY TAPE,
monitors the multitrack returns until the machine is in record. Selecting READY 24
GROUP and READY TAPE together enables simultaneous monitoring of tape

send and return signals, allowing a previously recorded take and the new from CHANNEL
performance to be monitored prior to a drop-in.

INPUT
10
OUTPUT
5
1-6
G+ Console
Small Fader
Depending on the console’s Master Status, the small fader can control signals in the
Monitor path (Record Status) or the Channel path (Record and Fader Reverse).
During mixdown, the small fader may serve as an additional line input for any READY READY
GROUP TAPE
signal patched into the Tape Monitor Input.
The ‘from CHANNEL’ INPUT and OUTPUT buttons change the small fader
24
source to channel signals as follows:
from CHANNEL
INPUT Pre signal processing but after Filters if SPLIT
OUTPUT Post large fader INPUT
INPUT + OUTPUT Pre signal processing, pre large fader 10

OUTPUT
5
In Mix Status, signals picked up in this way may be used as extra Echo (FX) Sends 0 SOLO
via the Routing Matrix. 5

CUT
10
The small fader SOLO button normally provides a destructive solo or AFL (After-
20
Fader Listen) function. The choice is made on a console-wide basis in the centre F
30 C
section. The function of the CUT button should be self explanatory. Pre Monitor B
40
fader auxiliary sends will not be cut by this function unless optionally set to do so
IN
by an internal switch. 60
The green ‘to ROUTING’ LED below the fader confirms which fader is feeding the ∞
multitrack routing busses. When lit, the small fader feeds these busses; when not
lit, the large fader is feeding the busses.
to ROUTING L R
The Large Fader

The fader below each I/O module normally controls the module’s VCA. If the SOLO CUT
console is fitted with SSL’s Ultimation™ automation system (see Section 2), this
fader will be motorised.
The large fader SOLO is switchable to provide a destructive solo or AFL function as
described previously for the small fader. Backstop PFL may be provided as an option.
The Status button and LEDs are associated with the G Series Computer and its
automated mix system (see Section 2).
1-7
to ROUTING L R
VCA Control Groups
In addition to the console’s comprehensive patch-free audio subgroup facilities (see SOLO CUT
the G Series Console Operator’s Manual for details) eight VCA control group faders
are provided in the centre section. Assignment of large faders to these control
24
groups is achieved by means of the thumbwheel switch beside each fader. The
control groups themselves are also fitted with thumbwheel selectors, to enable
(sensible) group to group assignments.
As well as groups 1-8, each thumbwheel has 0 (zero) and I (Independent) positions.
On non-Ultimation consoles, when selected to 0, fader levels may be varied by
±15dB using the VCA TRIM control in the centre section, enabling the overall level
of a mix to be quickly adjusted. Set to I, faders become independent of this control
10
and any other group selection, preventing faders being cut by the control group
SOLO buttons. trim
5
abs
SOLO buttons on the control group faders work in a similar way to those on the alt
status 0
channels, by muting all other non-soloed control groups, and therefore the
channels assigned to them. Note that control group SOLO buttons cannot provide
an AFL function, except on G+ Special Edition consoles that feature the ‘True Group 5
Solo’ modification.
10
20
30
group
40
0 50
SSL
1-8
G+ Console
Routing Matrix
The Routing Matrix provides access to 32 multitrack busses and group outputs. In
broadcast applications these busses may be used as mix-minus (clean feed) sends.
Otherwise the matrix may be used to structure any combination of up to 32 audio 1 2 3 4
subgroups, effects or cue sends, entirely patchfree.
5 6 7 8
Either one of the signal paths (Channel or Monitor) can contribute to the matrix at
any time, via the associated small pan control located at its base. The path not
9 10 11 12
feeding the matrix can generally be assumed to be routed to the main mix busses
(again, always via the large pan control); the green ‘to ROUTING’ LED below the
small fader confirms the current situation. 13 14 15 16
FLOAT (next to the Group Trim pot) removes the current fader output from the mix 17 18 19 20
bus, and re-routes it to feed the Routing Matrix. This facilitates track bouncing or
the setting up of audio subgroups. 21 22 23 24
DIRECT (just below the FLOAT button) provides a means of routing the post
25 26 27 28
Channel fader signal on that module directly to the corresponding multitrack
group output, thereby bypassing the Routing Matrix, the group mix bus and mix
29 30 31 32
amp. This button also allows channels above 32 to access their own group outputs,
enabling these to be used as inputs to a second multitrack, for example. See also
LF LB RF RB
Extended Multitrack routing on Page 1-15. C
PAN
Any signal assigned to the Routing Matrix may also access the main mix busses via ODD EVEN
four buttons at the foot of the matrix.
Stereo I/O Modules

Consoles may be fitted with optional Stereo I/O modules, for use with stereo FX returns or other stereo source
material. Such modules have a single, stereo signal path from line input to output via the routing matrix; the
layout of the matrix is similar to that of the mono modules. Left channel signals will normally feed left/odd
busses; right channel signals feed right/even busses. Comprehensive stereo image control is provided for the
channel output. In addition to Solo and AFL, PFL and a dedicated Solo Isolate function are provided. See the
G Series Console Operator’s Manual for further information.
1-9
The Centre Section

The SL 4000 G+ centre section contains many master facilities, including the console’s master status selection,
main bus output, monitoring and metering controls, cue/aux send and echo return masters, talkback facilities,
a test oscillator and power rail indicators ( for the layout of centre section controls, see the foldout drawing at
AAAAAAA
the end of this guide).
Main Outputs 8 12
4 16
Channels assigned to the console’s main mix busses (LF, RF. LB, RB)
20
0
dB
feed mix amps in the centre section. Main output control is via the COMPRESSION
Master Fader (with accompanying AutoFade function) in conjunction

with the Quad Compressor (see right). This famous soft-knee
compressor has achieved unparalleled popularity in the world’s top
AA AA
recording studios. With a little overpatching, the compressor may be
AA AA
0 7.
made available for use during tracking — access is via the Pre and 5
Post VCA Insert Sends and Returns provided on the patchbay.

-15 +15 0 +15
THRESHOLD MAKE-UP
AA AA
The compressor is also available from SSL in a 1U rack-mounting
1 3 .3 .6 1.2
Logic FX package.
AA AA
.3 10
.1 Auto
.1 30
The main bus outputs, plus derived stereo and mono outputs, are
normalled via the patchbay and distributed to machine inputs via the ATTACK-mS RELEASE-S
AA
4
console’s connector panel. 2 10
AA
IN
RATIO
QUAD COMPRESSOR
Metering
Metering facilities will vary according to specification. As standard, the console is equipped with moving-coil
VU meters for each I/O module, and eight mechanical VU meters (alternatively PPMs, with a choice of scales)
above the centre section, dedicated to LF, RF, LB, RB, Left, Right, Mono and Phase for the main busses. A stereo
audio phasescope, metering the main Left and Right outputs, is also provided as standard. Meters for the
Auxiliary Sends and Studio Loudspeaker outputs are fitted above the patchbay.
According to selections made on the ‘QUAD METERS’ buttons, the meters can be selected to meter the DESK
OUTPUT, the EXTERNAL SOURCE matrix or whichever is being monitored — FOLLOW MONITOR.
Optionally, mechanical PPM or 250-segment Plasma Bargraph meters may have been provided for the channels
and/or main outputs. Bargraph meters are switchable between VU and PPM scale characteristics and also
provide a 3rd octave, 15 band, stereo, spectrum analysis display. A group of nine buttons controls these
functions from the centre section.
1-10
G+ Console
Monitoring
Comprehensive monitoring facilities are provide to the lower right of the
DISC DISC
centre section. For stereo applications, the control room loudspeakers
normally monitor the LF and RF output busses in STEREO mode.
Alternatively all four busses may be monitored on a pair of loudspeakers
4 TRK 4 TRK
by selecting STEREO and QUAD simultaneously. On consoles 1 1
configured for surround mixing, the QUAD button is redesignated LCRS.

In either configuration, MONO provides a mixed feed of all four busses. QUAD 4 TRK
BUS 2
If EXTERNAL TO MONITORS is selected, any source in the matrix
above (CUE STEREO to 4 TRK 2) may be monitored. The patchbay
provides inputs for up to five stereo and three 4-channel sources.
EXTERNAL EXTERNAL
TO TO
The monitor output may be dimmed, when the DIM button is pressed, STUDIO MONITORS
by a level set on the associated DIM level control. Final monitor output
level is set on the large rotary MONITOR switch, unless MINI 1 or MINI
AAA
5
4 6
3 7 5 6
2 have been selected, in which case level is set on the rotary MINI LS 2 8
4 7
AAA
1 9 3 8
control. Monitor outputs may be cut with the appropriate ‘MONITOR 0 10
MINI LS 2 9
CUTS’ button above the Quad Compressor.
1 10
0 1
MONITOR
1
Studio Loudspeakers DIM

level
The vertical row of buttons to the left of the EXTERNAL TO MONITOR MONO
source selector presents a number of sources (notably including QUAD
BUS), that may be fed to a pair of studio loudspeakers on selection of
EXTERNAL TO STUDIO. Level to the speakers is controlled by the SLS 0 0 STEREO
pot to the left. This output may have talkback injected (see above). SLS
5 5
output meters are provided above the patchbay.
QUAD
10 10
Note that, to prevent howlround, selection of EXTERNAL TO
15 15 MONITOR
STUDIO is prohibited in Record Status and Status Lock (see Page MATRIX
1-13), though this can be overriden by an internal link.
20 20
25 25 MINI
1
30 30
MINI
35 35 2
40 40
DIM
60 60
∞ ∞ CUT
MONITORS
1-11
Solo/AFL
The SOLO buttons on each channel normally provide a destructive solo-in-place function. Selecting the AFL
button in the centre section forces the SOLO buttons to provide an After Fader Listen function. AFL signals
replace the default feed to the monitors at a level set by the pot above the AFL button. AFL is automatically
selected when Status Lock is enabled (see Page 1-13).
Large and small fader solo cut busses can be linked to act simultaneously by selecting SOLO LINK (fitted to
the upper right of the computer keyboard panel). This is useful when sources to the mix are feeding the inputs
to both Channel and Monitor signal paths.
Cue/Auxiliary Sends and Echo Returns

The G+ auxiliary sends system provides one stereo and four mono busses fed from controls on the I/O
modules. Master level controls for these busses (each with a push/push On/Off switch) plus LF and HF
equalisation, are provided near the top the centre section.
The sends may be used as clean feeds, FX device feeds, or as headphone outputs. Clean feeds and feeds to FX
devices should be patched from the ‘ECHO SEND’ or ‘LOCAL AUX SEND’ (see below) outputs on the
patchbay, or connected via the console connector panel. Six meters are fitted above the patchbay to display the
output levels.
The system provides three stereo outputs (Cue Sends) for use as headphone feeds. Cue Sends L and R are fed
from the stereo auxiliary bus. Cue Sends 1L and 1R, and 2L and 2R are derived from the mono auxiliary busses
1 and 2. Insert points are provided on the patchbay. Any source selected on the External to Studio selectors may
be fed in stereo to the headphones, simply by turning up the CUES pot next to the SLS pot. If QUAD TO CUES
(to the left of the Master Fader) is selected, any existing cue feeds are replaced with the console’s main output.
This provides a quick and simple way of feeding the main mix to headphones.
Two sets of master send controls are provided; normally all sends pass via a single set of controls at the top of
the main centre section module. SPLIT buttons on the LOCAL AUX SENDS (fitted to the left of that panel)
enable sends from modules to the left of the centre section to be isolated from those to the right; these feed a
set of dedicated outputs on the patchbay.
Four Stereo Echo Returns, fitted below the auxiliary send master controls, may be used to return FX device
outputs or any other stereo or mono source to the main mix busses via dedicated pan and level controls. Each
return is fitted with AFL and CUT buttons, and routing switches to enable the return source to be fed back onto
the Cue/Aux busses.
1-12
G+ Console
Talkback
A group of nine ‘COMMUNICATIONS’ buttons are provided at the foot of the module. Along with the
microphone fitted between the CUES and SLS pots, and the level controls at the top of the centre section, these
provide talkback to the three Cue outputs, individually or simultaneously. OMNI talks to all Cues, the studio
loudspeakers, and supplies a slate talkback (with 30Hz tone) to the multitrack groups and main desk outputs.
An externally connected listen mic (return talkback) may be fed to the Mini loudspeakers and/or the
multitrack groups and main desk outputs. The two Listen Mic inputs are fitted with a single built-in
compressor; a post-compressor output, that can provide an interesting effect when recording guitars, for
example, is supplied on the patchbay.
If the AUTOCUE function is selected, the normally momentary CUES talkback button will latch on. The button
remains latched until any machine interfaced to the master tape remote buttons in the centre section goes into
Play (optionally, Record). The button then relatches as soon as the machine enters Stop, Fast Forward or
Rewind, thus enabling immediate communication with the headphones. If used without due caution, this may
lead to severe embarrassment!
A RED LIGHT button provides a isolated contact closure for interface to an external relay; the circuit can be
optionally driven from tape machine play or record tallies.
Status Lock
STATUS LOCK is an extremely useful facility situated in the group of Master Status buttons. On selection, it
inhibits the following functions, which could be dangerous if activated during recording, or in a broadcast
on-air situation:
Status buttons - Record, Replay, Mix, Fader Reverse, and Master Channel Input Flip
Oscillator On
Omni Talkback
Listen Mic to Tape
AutoCue
Solo in Place (AFL automatically selected)
Studio Loudspeaker Outputs
Optionally, the Red Light may be switched on in Status Lock.
Oscillator
The GROUPS button feeds tone, via the slate bus, to the 32 multitrack Group Outputs. QUAD BUS feeds tone
to the main mix bus outputs. The cal. position on the level control may be preset to local requirements. House
tone, or an external signal generator, may be injected onto the slate bus via the patchbay. The oscillator feed to
bus outputs is inhibited in Status Lock (see above).
Power rail indicators are fitted above the oscillator. If any of these is not lit, seek technical help!
1-13
Patchbay
MIC LINES
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
A A
CHANNEL MIC INPUTS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
B B
MULTITRACK RETURNS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
C C
CHANNEL LINE INPUTS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
D D
CHANNEL INSERT SENDS

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
E E
CHANNEL INSERT RETURNS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
F F
GROUP OUTPUTS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
G G
MULTITRACK SENDS & GROUP MONITOR INPUTS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
H H
MULTITRACK RETURNS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
J J
TAPE MONITOR INPUTS
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
K K
PRE VCA INS POST VCA INS MAIN OUTPUTS + DIST OSC LB LF RF RB LB LF RF RB LF RF LF RF LF RF LF RF LF RF LB LF RF RB L R ECHO RETURNS
L L
LB LF RF RB LB LF RF RB LB LF RF RB L R M QUAD 1 REC QUAD 2 REC ST1 REC ST2 REC ST3 REC ST4 REC ST5 REC MONITOR LS MINI LS 1L 1R 2L 2R 3L 3R 4L 4R
M M
ECHO SENDS CUE INSERTS CUE SENDS QUAD 1 REP QUAD 2 REP ST1 REP ST2 REP ST3 REP ST4 REP ST5 REP QUAD DISC SLS PATCHABLE VCAs
N N
1 2 3 4 L R 1 2 L R 1L 1R 2L 2R Ø Ø LB LF RF RB LB LF RF RB L R L R L R L R L R LB LF RF RB L R 1L 1R 2L 2R 3L 3R 4L 4R
P P
LISTEN SMPTE FROM SSL SMPTE SMPTE TO

LOCAL AUX SENDS
7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 MICS MD MACHINES SMPTE GEN MACHINES
R R
READ INS
1 2 3 4 L R 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 A B C A B C
S S
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
T T
USER OPTION
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
U U
A typical patchbay layout is shown above. Each pair of rows usually provides output jacks in the upper row,
normalled to inputs in the lower row. The rows that contain Mic Lines and Channel Mic Inputs are fully-
normalled; all other rows will be half-normalled, unless specified otherwise. Note that the row designations,
A, B, C, etc. shown on the drawing are for reference only, and do not appear on the patchbay itself.
1-14
G+ Console
Options
Custom Switch Functions

According to customer requirements, a number of standard SSL options may be implemented on the centre
section master module, or to the right of the keyboard panel, as indicated by suitably engraved button caps.
Common options include Solo Isolate and/or Fader Reverse Inhibit on specific bays, or even the right hand
side of the console, enabling split-console style operation.
Patchable Stereo VCAs

Four automated faders to control stereo VCAs may be installed under the centre section master module.
Accessed via the patchbay, these can be used to control and automate echo returns, auxiliary sends or even a
pair of main bus outputs. Each fader has a CUT and AFL function.
Extended Multitrack Routing

Consoles fitted with 48 or more I/O modules are supplied as standard with ‘Group Cross Normalling’. This
enables Groups 1-24 to feed Group Outputs 1-24 and 25-48 simultaneously, and thus provides full access to a
48-track machine from the Routing Matrix.
For additional flexibility, consoles may be fitted with Group Cross Linking; this also provides access to 48 tracks
but in a different manner: multitrack busses 1-24 feed the group mix amps (and trims) in modules 1 and 25, (49,
65,...) 2 and 26 (50, 66, ...) etc, thereby providing most of the benefits of conventional 48 track routing.
User-selectable Options (via internal switches and links), include:

Record tally — selectable to operate on track record or track readied.
Track record — selectable to operate in record status only.
Group and Tape monitor inputs — in ‘SuperCue’ mode can be set to give unity gain or a 3dB drop (default) on
each input whilst summed.
Channel Insert — can be set to follow EQ.
Channel VCA solo isolate — may not be enabled when SUBGP is selected.
1-15
Appendix A — Signal Processor Routing

Here are just a few of the many routing possibilities that are available for signal processing on the G+
Input/Output module:
PROCESSOR SWITCHING
DYNAMICS to C
A AA SIGNAL PROCESSOR PATH
DYN
A A A
H M IC
F L IP CH
S-C
10
CH CH
MON A LIN E
5
10
IN OUT IN 20
A A
N
30
PRE 40
50
N SUB GP
Large
AAAAAAAAA
E
INSERT FILTERS INSERT Fader
L
AAAAAAAAAAA
SPLIT IN PRE
M
O
AAAAAAAAA
EQUALISER to N GROUP
IN
PRE
I
AA AAAAAAAAA
FLT TAPE
CH DYN MON T
S-C Small
O Fader
A A
R
AA
DYNAMICS to DYN
H M IC
F L IP CH
S-C 10
A A
CH
5
CH
MON LIN E 10
OUT
20
IN
N
30
40
50
N SUB GP
AAAAAAAAA
Large
E
L
AAAAAAAAAAA
SPLIT IN PRE
M
AAAAAAAAA
O
IN
A AAAAAAAAA
IN
PRE
I PRE
FLT TAPE
CH DYN MON T Small
AAAAAAAAAAA
S-C
O Fader
R
A AA
DYNAMICS to C DYN
H M IC S-C
AA
10
F L IP CH 0
CH CH MON A LIN E
IN
5
10
IN OUT 20
N
30
INSER PRE 40
AAAAAAAAA
50
N
SUB GP
T
E Large
AAAAAAAAAA
L
SPLIT IN PRE
M
AAAAAAAAAA
O
A A AAAAAAAAA A
IN
PRE
I
FLT TAPE
T
AA AAAAAAAAA
CH DYN MON
S-C Small
O Fader
R
DYNAMICS to
A A
CH CH MON
C
H
A
M IC
F L IP
LIN E A AA CH
DYN
S-C 10
10
A A
IN
IN OUT 20
N
30
PRE
40
50
N SUB GP
Large
AAAAAAAAA
E
L
AAAAAAAAA A
SPLIT IN PRE
M
O
AAAAAAAAA
AAAAAAAAAA
IN
A
PRE
FLT TAPE
CH DYN MON T
S-C Small
O Fader
R
1-16
G+ Console
PROCESSOR SWITCHING
DYNAMICS to C
A A
A
SIGNAL PROCESSOR PATH
A A
H M IC
F L IP
10
CH CH MON A LIN E
5
10
IN OUT 20
N
30
40
MON 50
DYN
N SUB GP
S-C
Large
AAAAAAAAA
CH
E
L
AAAAAAAAAAA
SPLIT IN PRE
M
O
AAAAAAAAA
IN
I
IN PRE
PRE
A AAAAAAAAA
FLT TAPE
CH DYN MON T
S-C Small
O Fader
A A
R
AA
DYNAMICS to DYN
H M IC
F L IP CH
S-C 10
AA
CH
5
CH
MON LIN E IN
10
IN OUT 20
N
PRE 30
40
50
N SUB GP
AAAAAAAAA
Large
E
L
AAAAAAAAAAA
SPLIT IN PRE
M
AAAAAAAAA
O
A AAAAAAAAA
IN
PRE
I
FLT TAPE
CH DYN MON T Small
AAAAAAAAAAA
S-C
O Fader
R
A AA
DYNAMICS to C DYN
H M IC S-C 10
A
F L IP CH 5
CH CH
MON A LIN E
5
10
IN OUT IN
20
N INSER
30
PRE 40
AAAAAAAAA
50
N
SUB GP
T
E Large
AAAAAAAAAA
L
SPLIT IN PRE
M
AAAAAAAAAA
O
A AAAAAAAAA A
IN
PRE
I
FLT TAPE
T
A AAAAAAAAA
CH DYN MON
S-C
Small
O Fader
R
DYNAMICS to
CH
A
CH MON
C
H
A
M IC
F L IP
LIN E
A AA 10
10
A
IN
IN OUT 20
N
30
MON
INSER PRE 40
50
N
SUB GP
DYN T
S-C
AAAAAAAAA
E CH
Large
L
AAAAAAAAA A
SPLIT IN PRE
M
O
AAAAAAAAA
AAAAAAAAAA
IN
A
PRE
FLT TAPE
CH DYN MON T
S-C Small
O Fader
R
1-17
Appendix B — 611G I/O Module Specifications
Microphone Amplifier (82E291)

Gain: Variable from +4dB to +70dB in 6dB steps
Input Impedance: 1.54kΩ
Headroom: > +24dBu @ +4dB gain, at onset of clipping
> +27dB @ all other gain settings
Frequency Response: +0.0dB/-0.4dB from20Hz to 20kHz
Equivalent Input Noise: < -95dBu @ minimum gain
< -127dBu @ maximum gain
Line Amplifier (82E291)

Gain: -20dB to +20dB continuously variable with detent at unity gain
Input Impedance: > 30kΩ Balanced
> 20kΩ Unbalanced
Headroom: > +26.5dB at onset of clipping
Frequency Response: +0.0dB/-0.3dB from 20 Hz to 20 kHz
Equivalent Input Noise: < -95dBu
Dynamics Section
Compressor/Limiter
Ratio/Slope: Variable from 1 to infinity (limit)
Threshold: Variable from +10dB to -20dB
Attack Time: Normally auto-sensing, switchable to 1ms
Release: Variable from 0.1 to 4 seconds
Expander/Gate
Range: Variable from 0 to 40dB
Threshold: Variable from -30dB to +10dB
Attack time: Normally auto-sensing, switchable to 1ms
Release: Variable from 0.1 to 4 seconds
1-18
G+ Console
G-Series Four Band Equaliser (82E292)

Two bands shelving with slope enhancement to increase selectivity; two bands wide ranging parametric with
action over a frequency band that varies with gain (variable ‘Q’ with gain). High and low pass filters also
provided with filter out switching.
Mid Bands
Freq Ranges HMF: 610Hz to 6.2kHz
or 1.8kHz to 18kHz switchable with HMF x3 button
LMF: 200Hz to 2.1kHz
or 50Hz to 500Hz switchable with LMF x3 button
Gain range > ±20dB
‘Q’ 0.5 to 3 (may also vary with gain)
Shelving Bands
Freq Range HF: 2kHz to 16kHz
LF: 30Hz to 450Hz
Gain Range ±17dB
Headroom > +26.0 dBu at onset of clipping

Noise < -86dBu
‘Classic’ E-Series Four Band Equaliser (82E242)
Two bands switchable bell/shelving; two bands parametric with action over a constant frequency band at all
gains (constant ‘Q’ with gain). High and low pass filtering with ‘filter out’ switch.
Mid Bands
Freq Ranges HMF: 600Hz to 7kHz
LMF: 200Hz to 2.5kHz
Gain Range Q @ 3: ±18dB
Q @ 0.5: ±15dB
‘Q’ 0.5 to 3
High and Low Bands

Freq Range HF: 1.5kHz to 16kHz
LF: 30Hz to 450Hz
Gain Range Bell: ±18dB
Shelving: ±16.5dB
Headroom > +26.0 dBu at onset of clipping

Noise < -82dBu
1-19
Filters (82E292 and 82E242)
Freq Ranges High Pass: 15Hz to 350Hz (-3dB point)

Low Pass: 3kHz to 20kHz (-3dB point)
Slopes High Pass: 18dB/Octave
Low Pass: 12dB/Octave
More detailed information may be found in the G+ Console Performance Specification.

Contact your local SSL representative to obtain a copy.
1-20
G Series Computer
G Series Computer
Introduction
The G Series computer is a logical and relatively simple command-based processor that allows the operator to
work with minimum distraction. It is internationally popular, and as such, a grasp of the fundamental
processes should open many studio doors for the competent operator.
In this guide, the dedicated command keys such as LIST, GOTO, PLAY etc. are shown in bold uppercase
letters (on-screen messages and console buttons are similarly indicated). QWERTY keyboard entered
commands such as LABEL, BEGIN etc. are in plain uppercase. User entries like timecodes, Cue names, Mix
names etc. are shown in parenthesis (name). Spaces are indicated by an underscore _. the EXECUTE key is
indicated as [EX]. For example:
GOTO CUE (name) [EX]
The four basic functions of a G Series Computer system are:
• Project data management (‘housekeeping’): Information relating to each session, such as Track Lists, Cues,
Total Recall Setups, Mixes, Notes, etc., can be created, displayed and stored.
• External machine transport control: Employing data from the session lists: locating, cueing, cycling, and the
rehearsal and execution of programmed drop-ins (minimising destructive errors).
• Total Recall (TR) — if fitted: The position of every knob and switch on each I/O module is stored, together
with fader positions and VCA group assignments. These settings can later be recalled to reset any
TR-equipped G/E Series console, anywhere in the world.
• Automated mixing: Extensive dynamic fader and mute automation facilitates the production, editing and
manipulation of large and complex mixes, on and off-line. Mixes can be joined, and data copied between
channels, from point to point in time, if required.
Ultimation
G Series automation can be supplemented by the Ultimation moving fader system which, by incorporating a
dual signal path circuit, combines the positional feedback of moving faders with the trim control of VCAs, all
within the familiar framework of G Series software. The fader motors may be turned on or off according to
taste; with motors on, the audio path is through the faders themselves, bypassing the VCAs.
G Series Command Reference

A list of all the most commonly used computer commands is provided at the end of this section. The list is
based on the G Series Computer Reference Card, a handy pocket-sized guide that may also be downloaded
from our web site.
2-1
Timecode
To synchronise automation data with the audio source, timecode (LTC) must be fed to the computer’s timecode
reader from the master audio machine. Two timecode formats, SMPTE (30fps or 29.97 drop frame) and EBU (25
fps), can be read from a striped track on traditional multitrack tape machines, or taken from the built-in
timecode track/output on digital devices; the reader may also handle 24fps (FILM) timecode. The reader input
is designated READ on the SSL patchbay.
Using the ‘Setup’ menu, the computer must be set to receive the required standard. Type:
SETUP [EX]
Y [EX]
S [EX] (this opens the ‘Session’ menu page)
Set Timecode frames per second to 24, 25 or 30. Use 30 for 29.97 non drop frame; if the timecode is 29.97 drop
frame select 30 and set Using drop frame? to YES.
Press END repeatedly to exit the menus.
The computer reads timecode whenever the transport is in forward motion at play speed, and displays the
value on a location counter; when shuttling at high speed, the computer automatically interrogates the
machine's tach pulses. On returning to standard forward motion, the computer checks the timecode and
updates it's clock to compensate for any slippage, if necessary.
Times are entered in the following format: Hours:Minutes:Seconds.Frames (eg. 12:34:56.12).
Abbreviated entries, made by omitting leading zeros and colons, are recognised by the system. For example:
.18 for 18 frames only

34. for 0 minutes 34 seconds 0 frames
4: for 4 minutes 0 seconds 0 frames
4:: for 4 hours 0 minutes 0 seconds 0 frames
An example of a short locate command would be GOTO 4:34 [EX]
When valid timecode is being received by the system, its position will be shown in the top right of the screen.
Beneath it should be a solid indication showing EBU, SMPTE, DF TC or FILM.. Any errors are shown by the
following indications:
Flashing SMPTE, EBU, DF TC or FILM: System is incorrectly set for this type of timecode
Flashing smpte, ebu, df tc or film: System must be reset to this type of timecode in the Setup menu
SMPTE?, EBU?, DF TC? or FILM?: Incorrect speed/Tach rate. Wrong master machine in Setup menu
SMPTE*, EBU*, DF TC* or FILM* No tach
2-2
G Series Computer
Striping a Tape
The G Series Computer has an integral timecode generator. However, where audio material on one machine is
to be synchronised with another, a video machine for example, all elements of the system must be locked to the
same sync source, and any recorded timecode must be provided by a LTC generator locked to the same sync
source.
In isolated circumstances, eg. where a multitrack tape is to stay within the facility, the SSL generator can be
activated by typing STRIPE [EX] and following the on-screen prompts. The timecode generated is dependent
upon the frame rate set in the ‘Session’ menu (see opposite).The generator output is available on the patchbay
under SMPTE GEN.
Data Storage
DATA CARTRIDGE
etc
REEL REEL REEL DISC
TITLE TITLE TITLE TITLE TITLE TITLE TITLE
etc
CUES TRACKS NOTES TR SETUPS MIXES EVENTS
The G Series Computer uses a dual 3.5" floppy disk drive unit, located in the processor rack, designed to use
HD (High Density, 1.44MB) disks. The system software is stored on the ‘Program Disk’, which is loaded into
the left-hand P drive. Session information is stored on the ‘Reel Disk’ in the right-hand R drive. A single floppy
disk represents a ‘Reel’ (traditionally of tape), as against the earlier Bernoulli data cartridges which could be
subdivided into a number of different Reels.
Floppy disks must be formatted prior to use:
Place a disk into the Reel (R) drive, type FORMAT [EX], and follow the on-screen instructions. Press M for Mini
Floppy, followed by R for the Reel Disk. After the warnings and prompts, formatting will begin; this takes
about one minute. When completed, type LABEL [EX] to initialise the disk. This will produce a blank ‘List’
page, ready for use (see over the page).
2-3
#
59:28.22 The information on this page (which may be called up at
# any time by entering LIST [EX]), is for operator reference
# List
# only, except the tape speed and sample rate. The tape speed
* * Solid State Logic * *
must be set correctly to allow the computer to correctly
7:42 pm 24 OCT 2002 calculate tach pulses when a tape is spooling; for example,
reel : BETTY SWANK 4046 sector
drive B created 24 OCT 2002
to set the tape speed for 30ips type SP_30 [EX].
artist : BETTY SWANK To change any other information on this page, type the
client : T & A RECORDS
producer : JUSTIN CASE first two letters of the required field (except artist which
engineer : MARK TIME
assistant : ERIC RACE must be ART_), add a space and then the desired text.
For example: to enter the artist as ‘BETTY SWANK’, type
eq : AES
nr : SR ART_BETTY SWANK [EX]
speed : 30 sample rate :
To enter the client as ‘T & A RECORDS’, type CL_T & A
RECORDS [EX]. Should you wish to preserve the names for all future Reel Disks as a default, type ALTER [EX].
To create TITLEs see below under Project Management.
Computer Control
The computer is controlled from a panel located in the centre of the console (see drawing provided at the end
of this guide). At the bottom right of this panel are five computer status buttons: MIX ON-OFF, FADER
STATUS, LARGE-SMALL, TAPE ENABLE, and RECORD ENABLE. To the left of these are the master
transport remotes, for manual control of the multitrack. The TAPE ENABLE button enables the computer to
control an external (tape) machine.
Communication with the computer is generally made via the lower dedicated command keyboard (LIST,
GOTO, PLAY etc.). These commands cannot be duplicated on the QWERTY keyboard. Command keys are
used to form simple English phrases in a basic command-line instruction. The G Series Computer allows
abbreviations, thereby eliminating numerous keystrokes, and interprets keys according to the context in which
they are used. Furthermore, the system prompts the engineer through the less common procedures and, should
a mistake be made, the computer will respond with the message I don’t understand, (adding the assistant’s
name from List page).
The upper alphanumeric keyboard is provided for the entry of specific words, especially names not found on
the dedicated keyboard. The function keys located above are commonly used to store frequently entered, or
long command lines. The dedicated numeric keypad is for the entry of timecodes and numbered locate points.
All command entries must be concluded by pressing the EXECUTE key; this informs the computer that the
command line has been completed, and the command should now be performed. To escape from any
command, or abort any command proceeding and delete the last command given, press the CANCEL key (note
that CANCEL does not need to be followed by EXECUTE, and is not detected when using the REPEAT key).
2-4
G Series Computer
Project Management
There are a number of different lists in which details about the session are stored; the primary one of these is
the LIST [EX] page which stores basic project information, including the tape speed and timecode offset
settings (see opposite). All information relating to cues, mixes and setups (Total Recall) is stored under named
‘Titles’. A Title usually represents a song, or section of a recording, within a project.
The Title List is called up by entering LIST TITLE [EX]. It shows the names of all the titles (songs or sections),
complete with start (From) and end (To) times. This data is built up and stored on the Reel disk over the course
of initial tracking sessions.
Creating a New Title

0:49.06
Cue the machine to the beginning of the song or take #
(having previously devised a source of timecode). Enter # List title
#
NAME TITLE (song title) FROM HERE [EX], and the
client: T & A RECORDS
TITLE page will be automatically displayed. Play or spool reel: BETTY SWANK
the machine, and at the end of the song or take, enter title from to
TITLE TO HERE [EX], causing the end (To) time to
GROOVE THAT TUBE 0:49.06 6:12.05
appear in the list. You can change the To and From times FAST MUZAK 7:02.05 11:21.17
later by entering TITLE FROM (or TO) (time) [EX].
Your new TITLE will be displayed with From and To

times (as shown right).
Current Item
Notice that the new Title has a square cursor next to it. This means it is the current item. Whenever an item in
a list is stored, named or specified (as the subject of a command, except COPY) it becomes the current item,
until any other item from the same list is chosen. IF you enter a command line without a given name, the
computer will automatically choose the current item. For example, if the command PLAY TITLE [EX] is
entered, the computer will locate and play the Title with the cursor next to it. The same principle extends to all
other lists within that Title, such the Cue List, the Mix List, etc.
To select a different Title, Cue, Mix, etc. and make it current, issue a command including its name, eg. GOTO
TITLE (name) [EX]. To save time, and when working with any list, you can enter just the initial letter of a name.
In the example above, there are two Titles: ‘Groove That Tube’ and ‘Fast Muzak’. To select the latter Title,
GOTO TITLE F [EX] would be sufficient. Should you have two or more list items beginning with the same
letter, add sequential letters to the command until the computer can differentiate.
2-5
Basic Autolocator Functions

Ensure TAPE ENABLE is pressed for all control via computer locate functions.
GOTO will locate to a specified timecode value or TITLE, CUE etc and stop, eg. GOTO CUE INTRO [EX]
PLAY will locate to the specified item and play, eg, PLAY MIX 1 [EX]
HERE [EX] creates a volatile location point in memory. You can return to the mark using either GOTO [EX] or
PLAY [EX]
To hear a track several times over, enter CYCLE TITLE [EX]; the multitrack will roll to the beginning of the
Title, play it, and rewind, repeating the procedure until instructed to do otherwise.
More elaborate commands can be composed, always in common-sense English, such as: CYCLE TITLE FROM
HERE [EX] which plays from the current location to the end of the Title, then rewinds to the current location
and repeats the sequence until told to stop.
Cues
A Cue List enables the division of Titles into subsections (verses, choruses, etc) and the identification of
locations such as instrumental breaks.
To list the Cues (if any have been created): LIST CUE [EX]
Cue points can be generated in two ways: enter NAME CUE (name) [EX], or, to save keystrokes, the NAME
key need not be used — CUE (name) [EX] will do the same. If you use just CUE [EX], the Cues will be created
with a computer generated 1*, 2*, 3* etc., name. The timecode reference of a Cue will be the instant the [EX]
key is pressed. Using the REPEAT key enables Cues to be rapidly produced on-the-fly.
Cues can be renamed thus: CUE (name) NAME (new name) [EX]
Useful Tip: If you name the Cues VERSE 1, VERSE 2 etc, then the computer will need V_1, V_2 etc. to
differentiate between them, as in PLAY CUE V_1 [EX]. But, if you name them 1 VERSE, 2 VERSE etc. then the
computer only needs to differentiate between the numbers, as in PLAY CUE 1 [EX].
A Cue can be shifted in time: CUE (name) TO (time) [EX]. A block of Cues can be shifted in time: REVISE CUE
FROM (time 1) TO (time 2) TO (time 3) [EX]. This can be useful if you are recording another version of a track
but using the same Cues, or the original timecode reference has changed.
All Cues can be shifted in time: REVISE CUE FROM CUE (1st Cue) TO CUE (last Cue) TO TIME [EX]. You
might use this if you have placed all your Cues at the exact event points, and now want to create a certain
amount of global ‘preroll’.
2-6
G Series Computer
Track Lists
Each Title can have its own Track List, which can be written, added to or changed at any time.
Create a Track List by entering NAME TRACK [EX], and use the arrow keys to navigate the cursor around the
list. With the cursor on an appropriate line, enter the track name using the QWERTY keyboard. To transfer the
information to the Reel Disk for permanent storage, you must press the END key, as track names are only held
in RAM until you do so.
LIST CUE [EX] displays the Cue List, and LIST TRACK [EX] the Track List etc; alternatively, from the TITLE
List, use the arrow keys to cycle through the lists associated with the current Title.
Notes Pages
Four Notes Pages are available for each Title. Enter: TITLE LIST [EX] and enter whatever text you wish. Press
END to store the Notes on the Reel Disk.
Bar/Beat Locating
To set the option for a bars and beats timecode display, type:
SETUP [EX]
Y [EX] for the Setup menu
S [EX] for the Session Page
Scroll to Display Time and type BARS.
Press END to exit from the menus.
The Bar/Beat count will be displayed in the top right of all screens, in the Large Time display (selected by the
LARGE/SMALL button), and in Cue Lists. All other times such as Title From and To times, and Mix times will
be shown as timecode values until a tempo map is programmed. Times may be still be entered in timecode
format when the Bar/Beat option is selected. The time display may be toggled between Bars/Beats and
timecode by entering BB[EX]. Note that there will be no Bar/Beat count until a Tempo Map has been set up.
To program the Tempo Map enter TITLE LIST [EX] to access the Notes Page, followed by SETUP to generate
a display similar to this: 1:05.03
Each line, with contiguous From and To times, represents

When finished entering map
a section of the Title where a differing time signature or Press END
tempo exists. Up to 16 sections may be entered. From To Tempo Time Sig
Set the From time using the normal timecode format or 1:05.03 4:22.15 120.5 4/4
4:22.15 ????
TITLE, HERE, CUE X etc. Press [EX] or the right arrow ???? ????
???? ????
key to enter the To time in the same way. Once entered, ???? ????
???? ????
this value will also appear in the From column for the next ???? ????
section. ???? ????
???? ????
???? ????
???? ????
???? ????
???? ????
2-7
Tempo rates can be entered either directly or by using the ‘tap’ function: first enter a tempo of 0 (zero), followed
by [EX]. Now tap the required tempo, in time to the track, on any computer key with the exception of [EX], and
the tempo will be displayed on the screen. Once satisfied that the displayed figure is the correct tempo, press
the [EX] key. This exits the tap entry mode and enters the tempo value into the field. The permissible tempo
range is 40-400 BPM, and can include up to one decimal place. The Time Signature is entered as, for example,
3 [EX] 4 [EX], or 7 [EX] 8 [EX], to result in the display of 3/4 or 7/8.
By pressing the TRACK key, the Time Sig column will flip to show the Bar value of any To times entered. The
time display at top right of all screens may be toggled between the Bar/Beats count and timecode by entering
BB [EX]. If the external machine is not moving, the position display will not change until the timecode value
changes or you select another screen display. Similarly, the Cue List will need to be redrawn by pressing the
LARGE/SMALL button twice and all Cue points will then be shown with Bar/Beat values. Any times may
now be entered in Bars format by typing the bar value followed by the # key [EX]. Since the # key on the G
Series QWERTY keyboards is SHIFT-3, it may be useful to program one of the function keys with # [EX],
although values may still be entered in timecode format when the Bar/Beat option is selected.
Programmed Drop-Ins
The G Series Computer can control record enabling of an external machine as well as the transport functions.
This allows the computer to be used to rehearse and perform drop-ins (punch-ins). The relevant button is
RECORD ENABLE (next to TAPE ENABLE.).
Drop-in programming is as simple as dropping in manually. With a fully interfaced machine, track arm the
designated track(s) for Record, using the channel Record button(s) (via READY GROUP or READY TAPE —
see the G Series Console Guide).
Make sure that the RECORD ENABLE button is off. Roll the tape, press DROP-IN [EX] at the drop-in point.
At the drop-out point, press [EX] again. The screen will display the drop-in and drop-out times, and the
accuracy can be checked by entering PLAY DROP-IN [EX]. Any adjustments to the timings can be made (see
below), and once satisfied select the RECORD ENABLE button. Now when the drop-in is played, the system
will actually perform the operation, switching the chosen tracks in and out of record at the programmed times.
Some other useful drop-in commands:

DROP-IN FROM (timecode, cue) TO (timecode, cue) [EX] sets the drop-in and drop-out times.
DROP-IN + (or - ) (time) [EX] nudges the drop-in time.
DROP-IN END + (or -) (time) [EX] nudges the drop-out time.
DROP-IN FROM (time) [EX] defines the start and clears the drop-out time for indefinite recording.
Drop-ins can be used as locate targets in PLAY FROM, CYCLE and GOTO commands, in the same way as Cues.
2-8
G Series Computer
Copying Information
Stored data can be freely copied from the current area to a different one on the same Reel, or onto another Reel
Disk altogether, or to alternative media such as 8” floppy disc or Data Cartridge.
A copy command line always starts with COPY, usually followed by specification of the source data, then TO,
ending with specification of the destination. Or, if the current Reel and/or Title are the destination for the data,
the specification of the source data is followed by FROM, followed by the current location of the same data.
Alternatively, to copy information to the current Reel or Title, enter COPY followed by the source Reel name,
Title name and information identity. This type of command enables Lists (complete), Titles, Notes, Mixes etc.,
to be copied. See the G Series Computer Reference Card for examples.
Mixing
The G Series Computer provides automation of the following controls: Large Faders, Large Fader Cuts, Group
Faders and Cuts, Master Fader, and Patchable VCAs (if fitted).
Before you start mixing, it is important that you understand some fundamental principles. The most important
of these is that the faders and cuts are, in Absolute write status, united. In other words, when you drop a fader
into write in Absolute by pressing its status button, you are also dropping its associated cut into write. Various
statuses to aid the mixing process are provided, and some of these separate the faders and cuts. Experienced
operators use the G Series Computer in different ways, according to their personal preferences. However, if this
is your first experience of G Series automation, we recommend as a general rule that you write the cuts first,
before any fader moves. Once you are satisfied with the cuts, you can use Play Cuts Only status and write the
fader moves, knowing that your cuts are saved and protected.
A button in the centre section of the console — SOLO CUTS TO COMPUTER (G+ consoles only), forces the
mix system to see the channel cuts generated by soloing a channel, which would otherwise not be written to
the mix. On E/G Series consoles, the group solos are ‘automated’ in that the cuts they generate to each other
are read by the computer; to facilitate this, IP (Immediate Pickup — see Page 2-13) must be enabled for the
relevant group faders.
Mix information is stored in conjunction with SMPTE/EBU timecode data from the master audio machine
(there is no independent timing track within the computer). Each fader move or cut is written, together with
the time stamp, initially to RAM. At the operator’s discretion the mix data is then saved onto the Reel Disk for
permanent storage. There is no limit to the number of mixes stored for any single Title except the allocated disk
space.
If there is insufficient space on the disk, the message Reel full, Unsaved mix in memory will appear. The mix
is held in RAM until another Reel Disk is loaded. If necessary, a new disk can be formatted, labelled and a Title
created to store the mix in — the mix will stay safely in RAM until END [EX] is entered.
The MIX ON-OFF button on the computer keyboard panel instructs the computer to enter automated mixing
mode; the single button on each fader (together with two associated LED indicators) defines the fader and cut
statuses; the FADER STATUS (FADER STATUS MASTER on E Series consoles) button , aka FSM, switches all
faders statuses globally, sets the master fader status and the Fader Status Lock facility.
2-9
Mix Statuses
There are three principal mix statuses: Absolute (UA), Trim and Replay. In Absolute, fader levels and cuts are
written exactly as made by the operator. In Trim, the existing (Absolute) levels may be adjusted by the value of
the trim fader movement. The true fader position is no longer relevant (except in terms of the gain or trim
values, determined by the logarithmic scale). See below for more details.
Replay is simply used to play back Absolute and/or Trim mix data.
Two more advanced statuses — Revise Cuts (RC) and Play Cuts Only — can be used to modify mix data for
faders and the cuts independently.
New Mix
The mix system employs two fundamental processes: New Mix where a completely original mix is created, and
Update Mix where a revised mix version is generated by making adjustments to an existing mix.
You will, of course, have set up a basic ‘monitor’ balance before you begin to dynamically automate the mix.
As mentioned above, it is a good idea to write the cuts before you begin refining the fader balance. Ensure that
you have a Title in which to save your mix; an accurate Cues List is also useful, as cues can be used in mix locate
commands.
Two methods may be used to create a New Mix:
Press the MIX ON/OFF key (puts MIX ENABLED in the top right hand corner of the screen), followed by a
locate command, such as GO TO TITLE [EX], which will instruct the system to locate to the beginning of the
Title, and set up for a New Mix.
Alternatively, with the track at an appropriate spot, type SETUP MIX [EX], which will activate the mix system
(MIX ENABLED ) and set up for a new mix from the current location.
** new mix ** 0:49.06 In both cases, the monitor will display the message: You
You may adjust status AT may adjust status now. Press EXECUTE to continue (see
READY
now. Press EXECUTE to PV
continue
left).
IP MIX ENABLED
client: T & A RECORDS All faders will be automatically set to Absolute status as
reel: BETTY SWANK
indicated by the red abs LEDs. Only two statuses —
title from to
Absolute and Manual — are accessible during a New Mix,
GROOVE THAT TUBE 0:49.06 6:12.05 because there is no previously stored data to Trim. By
FAST MUZAK 7:02.05 11:21.17
pressing the fader status button once, individual channels
may be switched to Manual status, enabling movements
to be monitored, but not written as mix data. The FSM key
cycles all channels through the two statuses prior to
mixing.
Press [EX] (not the PLAY button, as the computer is now controlling the external machine) and start mixing.
The message MIX ENABLED becomes MIX RUNNING, and the fader levels will be displayed as bargraphs
on the screen. These levels may also be shown on the console meters by selecting the FADERS TO METERS
function in the console centre section.
2-10
G Series Computer
The transport keys and autolocation functions can be used at any time during mixing, whilst the audio source
is under computer control. Fast-forwarding will write the current fader levels and cut states up to the point
where the machine is stopped. Rewinding and entering Play puts the system into MIX REVIEW, with the
faders and cuts in Replay status (both LEDs out), until you reach the point at which you rolled back, where the
faders and cuts automatically drop back into Absolute, and you can continue to build the mix.
Whilst in Mix Review you can drop individual faders (or groups of faders) in and out of Absolute, continually
rewinding and making corrections, leaving later moves intact (this is known as Insert Mixing — see Page 2-
14). At the point from which changes are needed, press the fader status button, and press again to drop out to
Replay the previously written moves. The JOIN key can be used to drop in on all channels simultaneously (see
also Page 2- 14); winding back will drop all channels out of Absolute.
You can leave a mix without saving at any time by pressing CANCEL twice.
Saving Mixes
Using the methods described above, a mix can be built up section by section, channel by channel, working
purely in RAM until the end of the Title. It is therefore possible to create a complete mix from scratch without
reference to previously stored mixes. But, whilst being possible it is not necessarily advisable, because of the
risk of losing a mix due to, for example, a power cut or something similar.
A permanent save to disk serves two purposes — preventing the loss of work, and creating a reference for
subsequent updates.
To save the mix press the END key. The machine will stop, 0:10.09
and the prompt Name of mix? appear on the screen. 3988 sectors left:
2% of reel used.
Enter (name) [EX]. Choose a suitable name like CUTS
MIX ENABLED
ONLY or ROUGH MIX etc. If you do not not enter a name
title: GROOVE THAT TUBE
the computer will automatically name the mix *1, *2 etc.
mix from to
The mix will be stored under its Title on the Reel Disk, and
the Mix List is displayed, showing the name, together CUTS 0:49.06 1:32.03
with the start and end times (see right).
2-11
Updating CUTS UA 0:47.06 Update Mixes

RC
You may adjust status AT READY
Once a Mix List exists, any of the saved mixes can be
now. Press EXECUTE to PV
continue specified, and edited on-line as an Update Mix. Update
IP MIX ENABLED
Mixes are created by placing a copy of the stored mix in
title: GROOVE THAT TUBE
RAM, to become the reference mix to be modified. In this
mix from to way, saved mixes are always securely retained, unless
CUTS 0:49.06 1:32.03 deliberately deleted.
Entering a locate command that refers to a named mix,

such as GOTO MIX (name) [EX] (unless the required mix
is the current item, in which case the name can be
omitted), sets up for an Update Mix. The screen will look
similar to that shown left.
Mix Options in an Update Mix

Before starting an Update Mix, you can select from a complete range of statuses. The five choices can be used
either singly or combined. To select them, either type the first letter or positional number (as shown below). It
is not necessary to press [EX]. Your selection will be indicated on-screen by a square cursor, next to the
abbreviation of that status, in the ‘Mix Options’ box.
Update Absolute (UA: U or 1) — Unavailable in a New Mix. Faders drop into Absolute instead of Trim when
selected. See notes on Trim below.
Play Cuts Only (UA + RC: U & R or 1 & 2 ) — Unavailable in a New Mix. The faders will be in Absolute, with
cuts in either Trim or Replay (dependent on whether Edit Cuts in Play Cuts Only is set to Yes or No on the
Mix Page of the Engineers Setup Menu); fader levels may be changed while the cuts play out unaffected.
Revise Cuts (RC: R or 2) — Unavailable in a New Mix. A two stage process, designed to edit cuts in a more
sophisticated fashion than is possible in Trim. The fader remains in Trim, while the fader status button toggles
the cut between Absolute and Replay — WRITE CUTS and READ CUTS. Fader LEDs will indicate either mode,
(see the Fader Status LED table at the end of this guide).
Autotakeover (AT: A or 3) — Can be used in a New or Update Mix, with Trim or Absolute. Normally, when a
fader is dropped out of write, the level will jump back to the previous written replay level. With AT selected,
when a fader is dropped out, one of the LEDs will flash to show the direction in which to move the fader to
match the replay level. When it matches this level, the fader will automatically drop out of write and back into
Replay. In this way level jumps can be avoided as the operator decides the fade rate between one level and
another.
Preview (PV: P or 4) — Can be used in a New or Update Mix. Preview can be used to rehearse moves, and then
selectively write them to the mix. With PV selected, pressing a fader status button will drop the fader into a
preview mode of the current active write status, as indicated by the flashing LED(s). Any new moves may now
be monitored, while the written mix level remains unaffected. Additionally, the audition and currently written
levels may be compared by toggling the FSM key (displayed on-screen by PREVIEW ON/PREVIEW OFF).
When the desired level is found, the fader status button or JOIN key can be pressed, and any faders in preview
mode will drop into write.
2-12
G Series Computer
Immediate Pickup (IP: I or 5) — Can be used in a New or Update Mix. When selected, as soon as a fader or
cut is moved/pressed, the channel will drop into write as determined by current selections in the Mix Options
box. With PV and IP selected, moving a fader or switching a cut will put them into Preview mode to audition
new levels, until the status button is pressed to drop them into write. Note that, on consoles fitted with
Ultimation™, IP only has an application in MOTORS OFF.
Level Match
When using the rollback features described above, it may be necessary to physically match a fader level or cut
state, before dropping into write, in order to prevent any undesired level jumps. (On consoles fitted with
Ultimation™ — see below — the fader motors automatically set faders to the correct replay level.)
Pressing the MIX key selects ‘Level Match’ mode, and a LEVEL MATCH legend appears on-screen. The faders
are now disconnected from the mix system and their LEDs illuminate to indicate the match state (it is probably
best, but not essential, to stop the machine at this stage, as you may well be attempting to chase a moving audio
target). Both LEDs on solid indicate that the fader and cut are matched; a flashing green LED means move the
fader up, a flashing red LED indicates that you should move it down; both LEDs flashing indicate the cut
button is inverted. Having set the faders/cuts as required, press the MIX key again to disable Level Match.
Drop the faders that need to be rewritten into Absolute by pressing their fader status buttons.
Using Ultimation™
On consoles fitted with Ultimation, the fader motors can be toggled on/off by typing MO [EX]. When they are
on, MTR will show in the top right of the screen. In Motors On mode, audio passes through the fader itself,
bypassing the VCA, and giving a ‘cleaner’ signal path. In Motors Off the signal passes through the VCA, as in
a normal VCA-equipped console.
If the first mix pass is experimental, (to find rough levels, to be written from the start) after rolling back to the
top, Ultimation faders will reset themselves to their original positions on moving forward again. To avoid this,
turn the fader motors off before rewinding.
In a new mix, in Motors On and Mix Review, to drop a fader into write, simply touch the fader knob; it will
automatically switch from Replay to Absolute.
Dropping out may be achieved in one of two ways, dependent on whether ‘Snap’ mode is currently selected.
Snap mode is toggled by typing SO [EX]); appropriate legends appear top right of the screen.
SNAP ON — The yellow Alt LED lights when the fader is touched; the fader will drop out to Replay as soon
as you remove your finger from the fader.
SNAP OFF — The Alt LED remains off while the fader is held, indicating that the fader will continue writing
until the fader status button is pressed to drop it back into Replay.
Note that the system defaults to SNAP OFF on boot up. If Snap On is currently selected, but an extended move
is necessary, pressing the fader status button will keep the fader in Absolute until the button is pressed again.
2-13
The Trim Concept

A fader in Trim status always modifies the existing data (ie. the reference mix) by any amount within the range of
the channel VCA. For example, at Cue A the fader is trimmed up by 5dB, down again by 3dB at Cue B, and
switched back to Replay at Cue C; all the previous moves will be retained and played back, but 5dB higher
from Cue A, and just 2dB higher from Cue B to Cue C. If you rewind, and drop the channel back into Trim at
Cue B until Cue C, the previous Trim will be overwritten, and therefore lost — it is not possible to Trim a Trim.
With both VCA and Ultimation systems, when faders are in Trim, audio passes through the channel VCA. The
fader remains free of motor control, allowing delicate moves to be made without concern for accommodating
the ballistics of a moving fader, or chasing a moving target. Additional cuts may be made in Trim, and existing
ones overwritten. For more extensive editing, you should use Revise Cuts. Faders selected to Trim at the head
of a mix are disconnected, allowing them to be renulled to a convenient position.
All the previously discussed tools are available for use with Trim, including Immediate Pickup direct from
Replay.
The Join/Revise Concept

REVISE and JOIN switch faders in Mix Review from Replay back to their write status. These functions only
differ when faders are in Trim (including faders in Revise Cuts).
REVISE — any difference between the fader position and current mix levels will be ignored. When Trim faders
are revised from Replay into write there are no level jumps, as the fader null is recalculated at this point. Thus,
Trim faders may be moved freely to any convenient position whilst in Replay.
JOIN — returns all faders to write as before, but with a level change, the degree of which is determined by any
fader movement made in Mix Review, relative to the last level written before rollback.
Individual channels in Mix Review may be dropped from Replay back into Trim by pressing their faders status
buttons; generally this effects a REVISE dependant on a user option (Selected trim faders will Join in Mix
Review - Yes/No, found in the Mix Page of the Engineers Setup Menu).
Outside rollback (ie. in Mix Running), individual faders switched from Replay to Trim will Revise.
Insert Mixing
New mix moves are written into a separate one-shot buffer memory location, overwriting previous moves,
while the reference mix is stored in RAM. You can therefore choose whether to return to the previous pass level
(the buffer), or the reference mix when switching from a write status back to Replay. The choice, known as
‘Insert Mixing On/Off’, can be selected on the Mix page of the Setup Menu, via the option Insert Mixing
Yes/No.
New Mixes are always Insert Mixes as there is no reference mix to switch to. With the option set to Yes, the
system returns to playing the last pass much like drop-ins on a multitrack. With the option set to No, the system
always returns to the reference mix being updated, losing any subsequent moves made in the previous pass.
2-14
G Series Computer
Additional Mix Options
Status Retention
Pressing the COPY button at the head of a mix stores all the channels’ statuses, allowing the rapid build-up of
different statuses while progressing through subsequent Update Mixes. Also, in an Update Mix, channels can
be locked in the status they are in at the point of rollback, by pressing the COPY key.
Timed Joins/Revisions
Global drop-in times to return to switch from Replay in Mix Review can be pre-programmed, eg. AT (TIME)
JOIN [EX].
Safe Set
At any point in a mix, selected faders may be made ‘Safe’ by either typing SA at the beginning of a mix, or SAFE
[EX] during the mix, and pressing the required fader status buttons.
The first press (red LED) switches the channel to ‘Safe Manual’ — any changes to faders or cuts affect only the
monitoring, leaving the current mix information intact. The fader is effectively disconnected from the mix
system, so any automation data will not play back.
The second press switches to ‘Safe Replay’ (green LED) — any moves made will neither be heard nor will they
affect the mix data. However, the mix data will play back as usual. This is useful for printing a final mix when
you want to avoid accidental adjustments. If you touch an Ultimation fader that is in Safe Replay, and the fader
motors are on, then that fader will drop into Safe Manual.
Track Copy/Swap Mode

Written mix information can be copied or swapped between channels, only at the start of an Update Mix. At the
start of a mix (MIX READY) press the TRACK key, and toggle between TRACK COPY and TRACK SWAP
using the FSM key. In either case, press the fader status button of the channel to be copied/swapped from, and
then, following the screen prompt, press the status button of the channel to be copied/swapped to. DELETE
will clear the selection to allow you to start again. Once the copy/swap has taken place, the information is held
in RAM; to ave it to the mix, press the END key.
Status Help
A useful feature when learning the system, ‘Status Help’ can be called up at any point during the mixing
process. Enable Help at the head of a mix by pressing the H key; in a mix type HELP [EX]. The fader LEDs will
be switched off. Now, if you select a channel by pressing its fader status button, its current status will be shown
on the screen. Disable Help by repeating the command, and the display will track the selected fader’s status
on-screen as it is switched. Clear that fader’s Help display by re-enabling Status Help, and deselecting the
channel.
2-15
Software Control Groups
Up to fifteen software control groups can be set up with any fader slaved to any other fader, with any number
of faders in each group; it is not possible for a fader to belong to more than one group. Each slave fader can be
one of five types, which determines its reaction in response to changes on the master; mixed types can exist
within a single group. The slave types are: Slave Fader and Cut, Slave Fader Only, Slave Cut Only, Slave Cut
Inverted, and Slave Status Only.
Software Groups act only on the mix playback. Using the Group Merge command will write grouping data into
the mix, directly onto the slave faders (allowing this data to be edited), and the group is dissolved.
To set up a software group press PRESET and follow the on-screen instructions.
Off-line Mix Facilities
Off-line Mix Trim

The levels of mix moves on selected faders can be adjusted by a specified value, over a defined section. The
command uses the REVISE key. Eg. REVISE MIX (name) +5 [EX] will trim the whole mix up by +5dB. REVISE
MIX (name) +1 FROM (time 1) TO (time 2) [EX] will trim the mix by +1db between the two times. The mix
outside these times will not be affected.
Off-line Mix Join

Stored mixes can be combined in a number of ways, by section and/or selected channels, to form a composite
mix. Enter the required command and follow the on-screen prompts; the options allow cuts to be separated
from the faders. Some examples:
Butt Join: JOIN (mix B) TO (mix A) AT (time)

Insert Join: JOIN (mix B) TO (mix A) FROM (time) TO (time)
Time Shift Join: JOIN (mix A) FROM (time) TO (time) TO (Mix A) FROM (time)
2-16
G Series Computer
Total Recall (TR)
Total Recall scans and records the positions of all the I/O modules’ front panel controls, faders and
thumbwheels as a single snapshot called a ‘Setup’, stored under the current Title. Recalling a Setup provides a
graphic representation of the selected channel on an external RGB monitor.
To create a Setup, enter NAME SETUP (name) [EX]. Press the fader status buttons on any channels set to I -
‘Independent’, that are to be included, and hit [EX] again. The Setup is now saved and will appear in the LIST
SETUP [EX] list.
To recall a Setup, type PLAY SETUP (Name) [EX]. The RGB display is divided into four sections, with the
channel number and group assignment displayed at the bottom of the screen. Press any channel’s fader status
buttons to display that channel on the RGB monitor.
For rotary controls, the RGB display shows the stored settings in black and highlights any misaligned controls
in white. Resetting a control until the two lines match makes the highlight disappear. Switches are highlighted
white when incorrectly set, press them to match their stored positions; those incorporated within rotary
controls are highlighted to the side of the control graphic (except the large fader Solo Isolate switches,
incorporated in the Group Trim control, which are indicated on the large fader Solo button). The small fader’s
stored position is shown by a black horizontal line.
The on-board monochrome monitor displays the TR instructions page. The console’s fader LEDs will be in
Level Match, indicating the fader positions stored in the Setup. Pressing the T key, causes the red status LEDs
to light on any channels or groups with incorrectly set thumbwheels; once checked, END will return the system
to Level Match.
AutoScan can be used to rapidly scan some or all the channel settings. Press the A key and follow the
instructions on-screen. Once a channel’s settings have been restored, the computer will automatically display
the next unmatched channel
The LARGE/SMALL key enables specific areas of the module to be displayed in an enlarged form, and will
automatically track to that section of the module when a control is operated.
Useful Tip: TR Setups can use a lot of disk space. Instead of taking a fresh Setup each time, you can simply
update an existing Setup by using REVISE SETUP (name) [EX]. The computer will then store only the
differences between the named Setup and the current console settings.
2-17
LED Reference Table for Fader Statuses
New Mix
No LED Manual/Replay
Red LED, solid Absolute
Red LED, slow flashing Preview Absolute
Update Mix
No LED Replay/Safe
Red LED, solid Absolute
Green LED, solid Trim
Red LED solid + green LED flashing Play Cuts Only
Green LED + red LED, solid Revise Cuts Write
Green LED solid + red LED flashing Revise Cuts Read
Red LED, slow flashing Preview Absolute
Green LED, slow flashing Preview Trim
Red LED slow flashing
+ green LED flashing Preview Play Cuts Only
Green LED slow flashing
+ red LED, solid Preview Revise Cuts
Red LED, fast flashing Direction indicators

Green LED, fast flashing for Autotakeover
Ultimation Only
Yellow LED Snap On mode
All LEDs lit Fader stall
2-18
G Series Computer
G Series Command Reference
DATA CARTRIDGE AND DISK DRIVES TAPE CONTROL

BEGIN EX .................................. Re-loads program GOTO (TIME) EX or If TIME is not entered, the last specified
FORMAT EX .............................. Formats new Data Cartridge (DC) (5 mins) PLAY (TIME) (TO TIME) EX .. target is assumed
or 3.5"Reel Disk (1 min).A must!
HERE EX .................................... Sets a NOW target for GOTO EX,
LABEL EX .................................. Sets choice of REEL size if using DC or
PLAY EX etc. or Mix data changes
‘labels’ Reel Disk as required. Essential!
ALTER EX .................................. Stores current List page info for further PLAY FROM TIME (TO
transfer to REELS and Reel Disks TIME) EX ......................... Plays for ever if TO time is not specified
LOAD EX ................................... Loads the default floppy CYCLE ((FROM TIME) Cycles from last locate target if FROM
FLOPPY EX ................................ Makes 8" disk current Reel Disk TO TIME) EX .................. TIME is not specified
MINI EX ..................................... Makes 3.5" disk current Reel Disk PLAY CYCLE EX ...................... Reinstates an interrupted cycle
DI EX .......................................... Displays remaining current Reel space CYCLE EX ................................. Cycles to NOW from the last specified locate target
+/- (t) EX .................................... Overrides Setup Menu default time value
GENERAL of +/- keys
+/- EX ......................................... Locates and plays
SIGN_ .................EX............. Changes Program start sign on message +/- GOTO EX ........................... Locates and parks
HERE EX .................................... Makes a NOW cue point for use in locate +/- CYCLE EX .......................... Locates and cycles
command lines. Q EX ......................................... Toggles the option to locate the machine
? HERE EX ................................. Displays current timecode value to target without preroll
SET_CL EX ................................. Sets Time and Date clock
TI EX ........................................... Displays clock
DELETE (whatever) EX ........... Whatever must be specified. The item REELS
name of the TITLE, MIX etc may be NB. The REEL key replaces the SEQUENCE key used on E Series keyboards
abbreviated as usual
SETUP EX .................................. Accesses Setup Menu (customising pages) NAME REEL Name EX ........... Creates and names REEL on the current DC.
NAME REEL (A) or (B) Name EX . Creates a REEL on a specific drive
REEL Name EX ......................... Makes that REEL current
Time as referred to here by a) Last time specified
REEL (A) or (B) Name EX ....... Makes that REEL and that DC current
TIME can be: .............................. b) Timecodes hh:mm:ss.ff or hhmmssff
REEL (A) or (B) Name ............. Lists TITLES on REEL ‘Name’ and makes
c) Feet' Frames
TITLE EX ......................... first TITLE on list current
d) TITLE, MIX, CUE, HERE, DROP-IN
REEL X TITLE A EX ................ Makes Title A on REEL X current
(t) indicates a specific value of time i.e. . 6(6 frames), 3. (3 secs) etc. DELETE REEL Name EX ........ Deletes the named REEL. Fairly lethal!
REEL X NAME Y EX ............... Renames REEL X
TIMECODE NB.When defining DC with (A) or (B) the brackets must be entered in command line.
Flashing SMPTE, EBU, DF TC System is set (incorrectly) for this type of

or FILM ............................ timecode. Solid display when set correctly LISTS
Flashing smpte, ebu, df tc System needs to be reset to this type of
(LIST) REEL EX ........................ Displays REEL List
or film ............................... timecode in Setup Menu
(LIST) REEL (A) or (B) EX ...... Lists REELS on DC in A or B drive
SMPTE?, EBU?, DF TC? or FILM? Wrong Speed/Tach rate. Wrong Master
LIST EX ...................................... Displays Information page of
machine selected in Setup Menu
current REEL or Reel Disk
SMPTE*, EBU*, DF TC* or FILM* No Tach
(LIST) TITLE, TRACK
???? .............................................. Synchroniser gone away
or MIX etc EX ................. Gives a list of the specified item
LARGE/SMALL key ................ Toggles large display of current timecode
TITLE LIST EX ......................... Accesses Notes Pages for reading or writing
or Sync page with current page display
NAME TRACK (n) EX ............ Enables TRACK List entries
SMPTE, EBU or STRIPE EX .... To generate timecode. Set type in Setup Menu
Left/Right cursor keys ............ Scan through CUES, MIX, SYNC PRESET,
OFF_TIME EX ........................... Sets up REEL/Reel Disk offset
TR SETUP, TRACK, NOTES pages
OFF_: .......................................... Cancels REEL/Reel Disk offset
Up/Down cursor keys ............ Give alternative information associated
SP_30 (or 15) EX ........................ Changes Speed on List page. (MUST be
with TITLE, MIX and TR SETUP lists
correct for current Master machine)
NAME TITLE (FROM TIME)
(TO TIME) EX ................. Enters new TITLE
BAR/BEATS NAME TITLE (Name) Enters new TITLE starting at current time
TITLE LIST EX SETUP ........... Displays Tempo Map TO TIME EX .................... and ending at TIME
nnn.n EX .................................... With cursor in Tempo column, defines TITLE (Name) FROM TIME EX Changes TITLE start time (and re-
tempo in the range 40-400 BPM sorts list)
0 EX ............................................ Enables entry of Tempo by tapping any TITLE (Name) TO TIME EX .. Changes TITLE end time
key (not EX). Hit EX to enter value TITLE END TIME EX .............. As above
3 EX 4 EX, 7 EX 8 EX etc. .......... Enters time signature TITLE END EX ......................... Clears TITLE end time
TRACK key ............................... Displays Bar value of ‘To’ times TITLE (Name) NAME Renames title. Same syntax used for
GOTO nn# EX .......................... Locates to Bar nn (New Name) EX .............. cues, mixes etc.
BB EX .......................................... Toggles display of Bar/Beats and Timecode
DELETE key .............................. Hit twice to delete entire Tempo Map
2-19
LISTS (cont) COPYING INFORMATION

CUE EX ...................................... Defines CUE point at current time, WARNING
computer numbered G Series and Ultimation mixes are not backwards compatible with E Series
CUE Name AT TIME EX ......... Defines a named CUE point at TIME software.
CUE (Name) TO TIME EX ...... Changes time of CUE point (and re-sorts list)
CUE (Name) +/- (t) EX ........... Nudges cue time by one frame if it is not specified Stored information can be copied from the current area to another area or
REVISE CUE FROM CUE X Re-sorts Cue List so that CUE X is now at copied from another area to the current area or between two other areas as
TO CUE Y TO TIME EX .... TIME and subsequent Cues on the list up required e.g:
to Y are time shifted accordingly
DELETE ALL CUE, MIX NB. Omit (A) or (B) from command lines if copying within the same DC
SETUP etc EX ................. Deletes all items on the specific list
DELETE CUE 1 CUE 2 COPY ALL EX ........................... Copies Program Disk or any floppy to
CUE 3 etc EX ................... For selective multiple deletions floppy
DELETE TITLE LIST EX ........ Deletes all Notes in current TITLE COPY REEL EX ........................ Specifically copies Reel Disk to another
floppy
COPY CUSTOM EX ................. Copies custom Setup parameters to new
DROP-INS Program Disk
NB. On SL 4000/6000/8000 Series systems, Drop-ins will be REHEARSED BACKUP EX .............................. Makes copy of DC in drive A to DC
on monitor if desk TRACK READY is set but RECORD ENABLE is NOT in drive B
set. To Drop-in for real, set RECORD ENABLE. COPY FLOPPY TO REEL ....... Copies 8" Reel Disk to a REEL
(A/B) Name EX
DROP-IN EX ............................. Plays and sets Drop-in for indefinite recording COPY REEL (A) Name TO Copies REEL to 8" Reel Disk if there’s
DROP-IN EX..........EX .......... Sets Drop-in and out times on the fly FLOPPY EX ...................... room!
DROP-IN FROM TIME COPY REEL (A) Name TO
TO TIME EX .................... Sets Drop-in and out times REEL (B) Name EX ....... Copies REEL and renames it
DROP-IN END EX .................. Clears Drop-out time COPY TITLE Name TO
DROP-IN AT TIME EX ........... Resets Drop-in time but not Drop-out REEL (A/B) Name EX ... Copies TITLE to another REEL
time COPY TITLE Name TO Copies TITLE on current REEL
DROP-IN TO TIME EX .......... As above MINI EX ........................... to 3.5" Reel Disk
DROP-IN (END) +/-(t) EX .... Changes Drop-in or out times by one COPY TITLE 1 FROM REEL Copies TITLE 1 from REEL X to
frame or specified time (t) (A/B) X EX ...................... current REEL
LIST DROP-IN EX .................. Displays Drop-in and out times COPY MIX 1 FROM
GOTO DROP-IN EX ............... Guess what ! TITLE X EX ..................... Copies Mix 1 to current TITLE
PLAY DROP-IN FROM COPY REEL X TITLE 1 Copies Mix from another REEL to
TIME EX ........................... Plays Drop-in from TIME MIX 3 EX ......................... current TITLE
CYCLE DROP-IN (FROM
TIME) EX ......................... For multiple Drop-in rehearsal Total Recall SETUPS are copied in the same way as Mixes.
AT TIME DROP-IN EX ........... Locates and drops in at TIME for Substitute SETUP for MIX.
indefinite recording
AT DROP-IN EX ...................... As PLAY DROP-IN but clears Drop-out time COPY CUE FROM (REEL Replaces CUE list in current TITLE
+/-(t) DROP-IN EX ................. Locates and drops in at time set by +/- keys Name) TITLE 1 EX ......... with TITLE 1 CUE list
PLAY FROM DROP-IN EX .... Locates but does not perform the Drop-in COPY CUE TO TITLE 1 EX ... Current CUE list overwrites CUE
list in TITLE 1
TOTAL RECALL BEWARE
NAME SETUP (Name) EX (EX) Stores complete scan of desk Copying a Cue list to a Title will overwrite any existing Cue list for that Title. If
REVISE SETUP (Name) EX (EX) Changes existing Setup to current settings the destination Title specified does not exist, you have the option to create it.
PLAY SETUP (Name) EX ........ Runs Total Recall and displays Setup
LIST SETUP EX ....................... Lists Total Recall Setups ! Track lists are copied in the same way as Cue lists - substitute TRACK for
LARGE/SMALL Key .............. Zooms in on section of display CUE. (This facility replaces NAME TRACK FROM TITLE). Substitute SYNC
PRESET for CUE to copy Sync Presets. Substitute LIST for CUE to copy
Notes Pages and Bar/Beat Tempo Map.
PRINTER
PRINT ........................................ Prints screendumps if this feature
enabled in Setup Menu
Otherwise:
PRINT TITLE EX ..................... Prints every List in the current TITLE
PRINT MIX, CUE,
SETUP etc EX .................. Prints that list from current TITLE
PRINT TITLE LIST EX ........... Prints Notes Pages from current TITLE
2-20
G Series Computer
MIXING
Although SSL offer both VCA-based G Series and G Series with Ultimation Fader Status Cycles in a New Mix
moving faders, almost all of the mix commands are common to both systems.
Any differences mostly apply to default fader status and status indication. CONTROL READY MIX RUNNING MIX REVIEW
Please note that this card does not cover the G Series moving fader system
fitted to SL5000M consoles. None ABS ABS REPLAY
MANUAL ABS
All G Series mix systems operate in two basic modes - New Mixes where an PV ABS ABS REPLAY
original mix is created from scratch and Update Mixes where a mix, P/VIEW ABS P/VIEW ABS* P/VIEW ABS*
previously created and stored on disk, is edited. ABS ABS ABS
PV+AT ABS ABS REPLAY
P/VIEW ABS P/VIEW ABS* P/VIEW ABS*
NEW MIXES ABS ABS ABS
SETUP MIX EX ........................ Enables mix system, and starts mix here AUTOTAKEOVER
MIX ON/OFF key ..................... Followed by any locate command, Autotakeover allows faders to be switched to REPLAY automatically when
enables mix from locate target the fader crosses the previous pass level of the mix being edited.
Mix Options * Toggle between PREVIEW ON (current fader levels) and PREVIEW OFF
(written levels) using the FADER STATUS MASTER (FSM) key.
1. UA UPDATE ABSOLUTE*
2. RC REVISE CUTS On non-moving fader systems, with IP selected, faders and cuts switch from
3. AT AUTOTAKEOVER REPLAY to ABS, or PREVIEW ABS, on touch in MIX REVIEW.
4. PV PREVIEW
5. IP IMMEDIATE PICKUP Ultimation Systems Only
UA + RC = PLAY CUTS ONLY The yellow alt LED indicates SNAP ON mode when lit. In SNAP ON, touch
the fader to write, take finger off to return to Replay; individual faders may
The above may be selected or de-selected at the start of, or during a mix, by be switched to SNAP OFF by pressing their fader status buttons. In SNAP
typing either the associated number (1, 2, etc.) or the first letter (U, A,etc.) of OFF, touch fader to write, use fader status button to return to Replay. All
the required control name. Selected controls are indicated by a blot on the LEDs flashing indicate fader stall.
screen display. Any selected controls may be cleared down (to Setup Menu
standard) at any time by typing 0 (zero). Note that controls 1 and 2 are not SO EX .......................................... Toggles SNAP ON/OFF
available in a New Mix and are therefore not displayed. MO EX ........................................ Toggles MOTORS ON/OFF
. (period key) ............................. Displays current state of
MOTORS ON/OFF
FADER STATUS
Changes to fader status at the head of, or during a mix may be made
individually using fader status buttons. Across the board changes at the head UPDATE MIXES
of a mix are made using the Fader Status Master key (FSM).
SETUP MIX HERE EX ............ Sets up for Update of current mix here
ABSOLUTE Red LED SETUP MIX Name EX ............ Sets up for Update of mix ‘Name’
PREVIEW ABSOLUTE Flashing red LED GOTO MIX (Name) EX .......... Locates and parks at start of Update mix
MANUAL (See SAFE MODE) No LEDs PLAY MIX (Name) EX ............. Locates and starts Update mix
REPLAY No LEDs PLAY FROM MIX (Name) EX Locates to start of selected mix,
TRIM Green LED plays past end of selected mix
PREVIEW TRIM Flashing Green LED GOTO/PLAY/CYCLE MIX
TRIM (Fader) READ CUTS Green + flashing Red LED (Name)FROM TIME
TRIM (Fader) WRITE CUTS Green + Red LED (TO TIME) EX ................. Creates an mix with updated section but
ABS (Fader) READ CUTS (UA + RC) Red + flashing Green LED at least as long as the mix being updated
Fader Status Cycles in an Update Mix

NB. On Ultimation systems only, the yellow alt LED indicates SNAP ON
mode; all LEDs flashing indicate a fader stall. Default starting status in an Update Mix can be set in the Mix Options Page
of the Setup Menu. The following table assumes Replay has been selected.
CONTROL READY MIX RUNNING MIX REVIEW

None REPLAY REPLAY REPLAY
TRIM TRIM TRIM
ABS REPLAY REPLAY
2-21
MIXING (cont)
MIX COMMANDS (continued)
Other Status Controls
MIX ............................................. Selects LEVEL MATCH. (Choose faders
UA, RC or UA + RC will allow faders to be switched to ABS, READ/WRITE with buttons or all with FSM if Local
CUTS or ABS FADER READ CUTS from any previous status, at any point Fader Level Match = YES in Setup Menu)
before or during the mix, by using the status buttons or the Fader Status JOIN or REVISE ...................... Enables MIX RUNNING from MIX
Master key at the head of the mix only. REVIEW on all channels. With PV
selected, only channels in Preview status
IP sets faders and cuts to the appropriate status e.g. ABS, WRITE CUTS etc. AT TIME JOIN (REVISE) EX Specifies end of rollback
immediately on moving the fader in MIX REVIEW. With Ultimation, AT TIME EX .............................. Switches faders to preview levels at TIME
channels only switch when the state of a cut is changed. -(t) JOIN/REVISE EX................. Rolls back by value of - key plus run-up
time and JOINS/REVISES at target time
PV allows faders to be selected to a PREVIEW of the update status selected. determined by the - key
PREVIEW ON/OFF can be toggled during the mix, with the FSM key and can HERE EX .................................... Sets/Updates current JOIN/REVISE
also be used in MIX REVIEW to selectively JOIN faders to the mix - see JOIN point
and REVISE. enabling AT EX or AT JOIN EX
commands. Also Sets/Updates
AT allows faders to be switched to REPLAY automatically when the fader current locate target
crosses the reference level of the mix being updated. Autotakeover is not COPY (Head of Mix only) ...... Stores current fader status for starting
available with RC (REVISE CUTS mode) as this mode is specifically designed further Update mixes until Mix System is
to toggle READ/WRITE CUTS status. disabled with MIX ON/OFF key
FROM EX .................................. Logs current fader statuses
TO EX ......................................... Restores statuses logged with FROM EX
MIX COMMANDS (all systems) BA EX ......................................... Toggles bargraph display on or off
END ............................................ Stops mix and asks for name * key ............................................ Switches through name of mix, sectors
CANCEL (twice) ....................... Cancels current mix used, FSM assignment, Master Fader
LARGE/SMALL key ................ Toggles bargraphs with current page status, Insert Mixing on/off and Mix
display if bargraphs are enabled Options Box selection
FSM key ..................................... Toggles ‘Status Locked’ mode, except PRESET ...................................... Accesses/clears Software Group
when faders are in a Preview status or the Setup menu
FSM key is assigned to the Master Fader ? MIX or ? END MIX EX ........ Displays mix start or end time with
frames
MIX ............................................. Selects LEVEL MATCH. (Choose faders ? END MIX- MIX EX ............... Displays length of mix
with buttons or all with FSM if Local MF EX ......................................... Makes FSM the Master Fader status
Fader Level Match = YES in Setup Menu) selector
JOIN or REVISE ...................... Enables MIX RUNNING from MIX HELP EX .................................... Enables STATUS HELP
REVIEW on all channels. With PV SAFE EX ..................................... Enables SAFE SET
selected, only channels in Preview status TRACK (in mix READY only) Enables TRACK COPY/SWAP mode.
AT TIME JOIN (REVISE) EX Specifies end of rollback Use FSM to choose COPY or SWAP
AT TIME EX .............................. Switches faders to preview levels at TIME SL (in mix READY only)............. Toggles ‘Status Locked’ mode. Do not hit
-(t) JOIN/REVISE EX................. Rolls back by value of - key plus run-up EX after SL unless you want to start the mix!
time and JOINS/REVISES at target time
determined by the - key
HERE EX .................................... Sets/Updates current JOIN/REVISE SOFTWARE CONTROL GROUPS
point
enabling AT EX or AT JOIN EX Up to 15 separate software groups, with any number of faders in each group,
commands. Also Sets/Updates may be set up at any time – out of a mix or during mixing i.e. Mix Ready,
current locate target Running or Review. Select the Group Setup Menu with the PRESET key.
COPY (Head of Mix only) ...... Stores current fader status for starting Up/Down cursor keys select slave type, Left/Right keys select group
further Update mixes until Mix System is number. Select faders with fader status buttons - Master first (red LED)
disabled with MIX ON/OFF key followed by slaves (green LED). RUB key clears current group. To exit menu
FROM EX .................................. Logs current fader statuses press PRESET again. Group information is ‘monitor only’ until merged with
TO EX ......................................... Restores statuses logged with FROM EX mix data by using the COPY key when group menu is on the screen and the
BA EX ......................................... Toggles bargraph display on or off group to be merged is current. Once merged, groups are dissolved.
* key ............................................ Switches through name of mix, sectors
used, FSM assignment, Master Fader
status, Insert Mixing on/off and Mix
Options Box selection
PRESET ...................................... Accesses/clears Software Group
Setup menu
? MIX or ? END MIX EX ........ Displays mix start or end time with frames
? END MIX- MIX EX ............... Displays length of mix
2-22
G Series Computer
MIXING (cont)
OFF-LINE CREATION AND JOINING OF MIXES
REVISE MIX Name ±n.n Initiates a trim of ±n.n dB for the specified
(FROM TIME TO TIME) EX time.
REVISE MIX Name TO G EX Copies G Series or Ultimation mix for use
with earlier G 2.12 software. E Series and
G2.12 mixes are automatically converted
for use with Ultimation and current G Series
REVISE MIX Name FROM
TIME TO TIME EX .............. Creates a shortened mix from mix ‘Name’
REVISE MIX Name FROM Creates a new mix from (a section of) Mix
TIME TO TIME ‘Name’ and time shifts it to start at the
TO TIME EX ......................... second TO time
JOIN (MIX) B TO (MIX) A Off-line Butt join resulting in Mix A
AT TIME EX ......................... followed by Mix B
JOIN (MIX) B TO (MIX) A Off-line Insert join resulting in Mix A
FROM TIME TO TIME EX ..... followed by Mix B followed by Mix A
JOIN (MIX) A FROM
TIME TO TIME TO Time shifts portion of Mix A and
(MIX) A FROM TIME EX .. inserts it back into Mix A
JOIN (MIX) A FROM
TIME TO (MIX) B FROM
TIME TO TIME EX .............. As above with different mixes
OFF-LINE CUTS
SETUP PRESET MIX Enables off-line Cut creation without
(AT TIME) EX .................. running tape machine
To display and edit cut data for individual faders enter LIST Fnn EX for Channel
Fader nn. Use Vn for Groups, Sn for Patchable VCAs and M1 for the Master fader.
Move cursor to time column to enter EDIT MODE. Then:
GOTO, PLAY, CYCLE keys ...... Locate to and play events
REVISE key ................................ Toggles cut/uncut state
JOIN key ..................................... Inserts new cut event on the line above
DELETE key ............................... Deletes current cut event (for ever!)
COPY key ................................... Enables the same event to be modified on
multiple channels
END key ...................................... With cursor in the Cue column, saves
edited cuts as a Mix to disk
2-23
Solid +1
ANAL OG MO NO OVR 0 +12
+9
+6
State
L R TEST
–6
–12
0 +S -S –18
23 LF RF LEFT RIGHT
Logic
1 24 25 –24
26 –30
–36
–1
–42
IN FO OUT UTIL SPECT PPM 20d B
Channel meters (VU standard, 1 24 Main bus output meters (VUs

PPM optional) 24 LB RB M ¯ standard, PPM optional)
24 Solid State Logic • Oxford • England SL4000G+ 25 Left, Right, Mono and phase
Routing to multitrack busses 2 correlation meters
1 2 3 4 48V +18V +11V -18V
32
5 6 7 8
26 Optional phasescope
50 0
9 10 11 12 -5 5
100
Routing to quad mix busses 3

13 14 15 16
GROUPS
QUAD
BUS 33 ON
15K
220
440
-10 10
10K 1K cal. +20

3K
17 18 19 20
2
27 Optional Video Switcher
21 22 23 24 34 pull to cut
¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0
TB to cans TB to studio slate level listen 1 listen 2
Channel input controls 4 25 26 27 28
29 30 31 32 0 0
LOCAL AUX SENDS
0 0 0 0 0
CUE-AUX SENDS
0 0 0
28 On-board computer monitor
3
LF RF LB RB -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
C HF HF HF HF HF HF HF HF HF HF
PAN 0 0 0 0 0 0 0 0 35 0 0
Compressor/Limiter 5
ODD
LINE
EVEN
29 Computer keyboard
0 FLIP -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
LF LF LF LF LF LF LF LF LF LF
36
SUBGP
-20 +20
MIC
34 40
4 ¯
22
28
52 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0 ¥ 0
16
10
+4
58
64
+70
48v
Cue Stereo Aux 1 Aux 2 Aux 3 Aux 4 Cue Stereo Aux 1 Aux 2 Aux 3 Aux 4 30 Master transport buttons
Expander/Gate 6 DYNAMICS
5
pull RELEASE
for fast attack
AFL AFL AFL AFL AFL
STEREO ECHO RETURNS
3 8
LINK
2 20 IN IN IN IN
-5
1
RATIO
° 0 -10 off ¥ off ¥ off ¥ off ¥
spin spin spin spin
COMPRESS
.2
.4
5
1
+5
+10 -20
-15
CUE 1 CUE 1 CUE 1
31 Optional tape remotes
THRESHOLD CUE 2 CUE 2 CUE 2
.15 2
¥ ¥ ¥ ¥
-12
.1 4 0 0 0 0
-20 +4 CUE ST CUE ST CUE ST CUE ST
Hi/Low-Pass Filters 7 F RELEASE
-25 +5
cans cans cans cans
10
20
30 -30 +10
THRESHOLD
C C 37 C C
F/B F/B F/B

Power rail indicators
F/B
5 35
GATE
PAN PAN PAN PAN 32
0 40 S M S M S M S M
RANGE
L/R L/R L/R L/R
width width width width
EXPAND
.4
6 20
14 C
PAN
C
PAN
C
PAN
C
PAN
.2 1 10
L CUT L CUT L CUT L CUT
.15 2 6
3
27
L R L R L R L R
Channel Insert select 8 .1 4
R CUT R CUT R CUT R CUT
33 Oscillator
¬ ®
F RELEASE balance balance balance balance
DYNAMICS to
B C V H
CH
IN
CH
OUT
MON
SSL 1 2 3 4
¬ ® STOP PLAY RECORD LOCATE ZERO
AFL AFL AFL AFL
TAPE 3 ¥ 0 ¥ 0 ¥ 0 ¥ 0
5
FILTERS
7
8 4
Solid State Logic Studio Computer Stereo Return 1 Stereo Return 2 Stereo Return 3 Stereo Return 4
12 3.5
¬ ® 34 Talkback level controls
¬ ®
120
70 200 OUT 3 STOP PLAY RECORD LOCATE ZERO
kHz
Equaliser 9 20
OUT 350
300
SPLIT
TAPE 2 38
CUE
STEREO
CUE
STEREO
Hz
Press END to save mix 12:30:03.04
0
HF
28
HMF x3
AT ¬ ®
¬ ®
CUE CUE
LEVEL MATCH LB LF RF
STOP PLAY RECORD LOCATE ZERO RB
8
PV 1 1
Cue/Aux master controls
Ð +
5 10
IP MIX REVIEW 35
2 14
0 TAPE 1
1.5 16 MONITOR CUTS
kHz CUE CUE
2 2
Overload indicator 10 Ð +
1.5
3
4.5 31
8 12
HMF .8 6 4 16
CUE CUE
1.5
111111111122222
.6 7 3 3
36 Local Aux Send controls
20
123456789012345678901234
0
2 1 kHz dB
COMPRESSION
3 .5
IN
CUE CUE
INSERT
0
8 4 4
PRE
Cue/Aux controls 11 Ð + 1 222223333333333444444444 VVVVVVVV M 0 7.5 STEREO STEREO
LMF 9 .3
.8 1.5
2
567890123456789012345678 12345678 F 1 1
37 Stereo Echo Returns
1.5
.2 2.5 0 +15
2 1 kHz -15 +15
THRESHOLD MAKE-UP STEREO STEREO
3 .5
200
2 2
1 3 .3 .6 1.2
100 300
.1
.3 10
30
39 .1 Auto
50
LF 0
STEREO STEREO
Group/Bus level trim 12

30
Hz
LMF ¸ 3
450
ATTACK-mS RELEASE-S
3 3 38 Monitor cuts
Ð + 4
2 10
EQUALISER to
FLT
STEREO STEREO
DYN
IN 4 4
CH MON
S/C
RATIO
QUAD COMPRESSOR
CUES
C
OVERLOAD
10
STEREO
5
STEREO
5 39 Main output compressor
MASTER QUAD
Channel/monitor path output 13
L R
push for busses 25 - 32
CH INPUT
FLIP
FADER
REVERSE TO
CUES
AUTO
CUE
select STEREO
PRE
40 DISC DISC
SMALL F11 F12 F13 F14 F15 F16 F17 F18 F19 F20 CHANNEL
FADER SOLO RECORD REMIX MIX STATUS
INTO LOCK
LINK
1
°
PRE
F1 F2 F3 F4 F5 29 F6 F7 F8 F9 F10 METERS 4 TRK
1
4 TRK
1
40 Master console status selection
MASTER MASTER STATUS
SMALL READY CUES
5 6 5 6
F. KEY
FADER
! " # ? ! ( ) Ð +
° GROUP CUT 4 4 QUAD 4 TRK
Monitor path input select 14
2
11 PRE 1 2 3 4 5 6 7 8 9
0
WRITE
RUB
2
3 7
8 2
3 7
8
BUS 2
1 9 1 9 41
°
SMALL 0 10 0 10
41 External source selectors
Q W E R T Y U I O P
FADER CUES SLS
E
X 42 STUDIO EXTERNAL EXTERNAL
3 PRE
E
TO TO
STUDIO MONITORS
C
SMALL U
A S D F G H J K L
T
*
FADER
°
E
5
Track record arm button 15 4 PRE
43 RATE-S LEVEL
3
2
4 6
7
8
4
5 6
7
42 Studio LS output level controls
,
1 9 3 8
.
SMALL
0 10
Z X C V B N M
FADER
° SHIFT : MINI LS 2 9
GROUP pull for Solo Isolate
VCA
TRIM
AUTO
FADE
STEREO
AFL 47 1 10
12 FLOAT
0 11
MONITOR
13
DIRECT
-30 0dB DIM
TRIM STORE DISPLAY CLEAR level
MONO 43 VCA level, AFL level, Autofade
Small fader input select 16 50 PEAK PEAK PEAK
READY
GROUP
READY
TAPE 14 44
rate
SPECTRA
PRINT JOIN NAME REVISE COPY CANCEL 7 8 9 SPECTRA ON
SOLO
+20dB 0 0 STEREO 48
24 15 5 5
FADER 44 Optional bargraph meter mode
LIST GO TO PLAY CYCLE DELETE REPEAT 4 5 6 VU PPM TO
METERS 10 10
QUAD
from CHANNEL
selector
Small fader 17 15 15 MONITOR
MATRIX
1 2 3
INPUT
10 16 TITLE MIX CUE EVENT DROP

OUTPUT
IN
45 DESK
OUTPUT
FOLLOW
MONITOR
EXTERNAL
SOURCE
20 20
5
0
FADER
REV INH
SOLO
CUTS TO 25
4925 MINI 45 Main output meter selector
0
SOLO
COMPUTER
1
SET RHS QUAD METERS
PRESET REEL TRACK SYNC RUB
5 UP
CUT 30 30
LISTEN
10 RED MINI
MIC TO
Front/Surround pan ,
LIGHT
18 17 2
Ð
35 35
+
TAPE
20
END FROM HERE TO AT EXECUTE
C
F SOLO CUT 50
30
40
S
18
0 0
46 OMNI CUES M.D.
40 40
DIM
46 Talkback buttons
MASTER REMOTE 60 60
IN
60 TAPE RECORD
C ¬ ® MIX FADER LARGE
ENABLE ENABLE
¥ ¥
¬ ®
° STOP PLAY RECORD CUE CUE CUE
CUT
ON/OFF STATUS SMALL STEREO 1 2
19
Left/Right pan 19
to ROUTING L R
30 COMMUNICATIONS MONITORS 47 Monitor level controls
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT
24
20 48 Monitor mode selector
Large fader Solo and Cut 20
52 53
49 Master fader
10 10 10 10 10 10 10 10 10 10 10 10 10
Large fader 21 trim

5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5 trim
5
abs abs abs abs abs abs abs abs abs abs abs abs abs
(Ultimationª version shown) alt alt alt alt alt alt alt alt alt alt alt alt alt
0 0 0 0 0 0 0 0 0 0 0 0 0
status
22
status status status status status status status status status status status status
50 Monitor selector
5 5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10 10
Automation status select and 22 21
indicators 20 20 20 20 20 20 20 20 20 20 20 20 20 51 Additional master functions
30 30 30 30 30 30 30 30 30 30 30 30 30
group group group group group group group group group group group group group
40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50
Group assignment thumbwheel 23 0 0 0 0 0 0 0 0 0 0 0 0 0
52 8 Group faders
¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥
23
SSL SSL SSL SSL SSL SSL SSL SSL SSL SSL SSL SSL SSL
53 4 Patchable VCA faders
Drg. No T4000G.41 LARGE FADER AFL BUS
SL4000G+ SERIES CONSOLE
Rev: 1.1 © Solid State Logic CUT
VCA GROUP DC
BLOCK SCHEMATIC
VCA GROUP DC
Date: 25 May 1994 CHANNEL INSERT VCA
Design: SSL Japan RECORD RC1, RV15, RC13, RG15a, RG13 MIX RC2, RV15, RG14, RG15a, RC14 TO RV16, RG16a, RC14, RG14
SLATE SIGNAL COMPUTER SEND
Solid State Logic Drawn:

Ref:
AH/DG
SL4KG+.MD
CUT
COMPUTER SEND MONITOR
COMPUTER RETURN
COMPUTER RETURN
SOLO ISOLATE AFL

+48V
PHANTOM D
VCA DC LEVEL
POWER
CHANNEL IN
(to METER SEL)
TO METER
31
32
1
OVERLOAD +
2
+
+20dBu L - - L
MASTER 1
+48V CH INPUT IN OUT
FLIP GROUP
2 + +
IN IN MULTITRACK TRIM R R
MIC - -
BUS -30 Ñ 0dB
TRIM
FLIP ¯ SELECT
+4 Ñ +70dB SL 622G Stereo Patchable VCA (x4)
MIC INPUTS PRE RG2
DYN DYN DIRECT LF
RC13
31
RC1 RV15
F EQ F GROUP OUTPUTS
SLATE (MTR SENDS) RF
S/C 32
S/C CHANNEL +
MIC RG1 QUAD 1
LINE CHANNEL VCA FADER +
RV16 RC14 - LB REC
TRIM RC4 CUT SELECT LF -
MIX
-20 Ñ +20dB RF RB
LINE INPUTS SPLIT CH IN CH CH OUT RG15d A
LB A
B
(MTR RETURN) VCA FADER PAN LF
+ RC2 RB VCA PRE Insert
SELECT VCA POST Insert
RB
RF
LF
ODD/EVEN
LB
- CHANNEL DYN RG16d
RF
EQ F PAN
LINE INPUT
SELECT INPUT QUAD 2
RC3
F S/C LB REC
A
INPUT OUTPUT VCA
SG OUTPUT RB
+ + + LF
QUAD
FLT CH IN CH OUT - - -
SUB GP BUS
DYN SMALL FADER L
SELECT
S/C SELECT STEREO 1
LINK MON MON MON MON 82E26 Quad Bus Mix Amplifier and Compressor
CUT R REC
READY RG14
RG16a FLOAT
TAPE STEREO LINK
L
+ + + RF
DYN - - - STEREO 2
+ RG4 RG15a RG13 R
EQ F REC
-
TAPE RC3 CUT
S/C L
TAPE MONITOR LEFT/RIGHT
INPUTS RG6 PAN STEREO 3
SMALL FADER + + + LB
IN R REC
CUE PRE FRONT/BACK - - -
T+G
SELECT PAN
+ RG5 MONITOR L
B INPUT
CUE AUX 3
CUE AUX 4
CUE AUX 1
CUE AUX 2
RG16c STEREO 4
-
CUE ST R
SMALL
CUE ST L
SELECT R REC
GROUP MONITOR GROUP 82E32 (1) Cue Mix Amplifier & EQ + + + RB
INPUTS - - -
ON/OFF CUE ST L
MASTER SUPER CUE RG15c
READY
READY SELECT + + STEREO 5
GROUP EQ R
GROUP PRE - - REC
Status RG7 ON/OFF
L R 1 2 3 4 dB
Line SLATE SIGNAL
COMPRESSION
M/TRK + +
RG10 TAPE
RG16b EQ ECHO SENDS COMPUTER
AUDIO REC - -
RG9 RETURN
REMOTE 82E31 Cue Patch Return
Command
TAPE SMALL ¥ L R AUX 1 CUE L
+ STEREO CUE L LF
T+G RG15b STEREO 9A COMPRESSOR LF +
Line RG11 + + -
RG8 EQ -
ON/OFF - -
ON/OFF 8A
GROUP
METER GROUP CUE R QUAD LB
RG12 INPUT PRE + STEREO CUE R RF +
VCA DC LEVEL AUX 2 9B FADER
SELECT - -
AUX 3
VCA
AUX 4 8B AUTO FADER COMPUTER
CHANNEL IN
¥
RG17
D SEND RF
TO METER 82E32 (2) Cue Mix Amplifier & EQ CUE 1 LB +
CHANNEL + CUE 1 L
9C -
CHANNEL METER CHAN IN IN TO SOLO -
METERS SOLO IDENTICAL
FOR 8C
AFL 82E27 Computer Auto-Fade RB
SOLO AUX 2 - 4 RB +
LINK STEREO L CUE CUE 1 R
9D -
+ + INSERTS
- EQ -
SL611G Total Recall Input/Output Module 8D DESK OUTPUT METERS
MAIN
CUE STEREO L ON/OFF CUE 2 LF
CUE 2 L OUTPUTS
CUE STEREO R +
STEREO R 9E
CUE AUX 1 -
CUE AUX 2 + +
EQ
RB
RF
LF
LB
- - 8E
AFL BUS L
RF +
AFL CUE 2 R -
9F
QUAD CUE 1
LF , RF
¯
LOCAL AUX SENDS

IN CUE 2 CUE ST PAN F/B PAN + +
EQ 8F
R
- - LB +
ON/OFF
-
A
C CUES
AFL T.B. TO
L CUT AFL M
CUE 2 CANS
1L + + M
+ RB +
- EQ -
- ON/OFF -
4A 1A
AFL 3A
CUE 3 C
+ + 82E25 Main Outputs MINI
EQ 4B L.S. 1
- - T.B. SIGNAL C
ON/OFF
3B
1R + LISTEN MIC SIGNAL
AFL LF
- CUE 4 MINI
+ + QUAD T.B MINI L.S. L.S. 2
4A, 4B CUE CUE CUE (OMNI)
R CUT L/R PAN - EQ - TO TO LEVEL
ON/OFF 8A to 8F STEREO 1 2
CUES CUES
AFL
SPIN CANS RETURN BALANCE RF
LEVEL LEVEL LEVEL + MINI L.S. 1L
ECHO RETURNS
SL652G Split Cues

R
L
82E35 (1) Echo Switch Card -

AUX 1
AUX 2
AUX 3
AUX 4
CUE STEREO
LF , RF
82E30 (1a) Echo Return Card [ Note: 2x this circuit per card ] A
C LB
T.B. TO LISTEN MINI L.S. 1R
2L STUDIO
82E30 (1b) Echo Return Card EXT EXT MIC
3A, 3B TO
CUE L TO
9A to 9F
S.L.S. MONITOR RB
2R 82E35 (2) Echo Switch Card CUE R + MINI L.S. 2L
+ -
STEREO 1 - T.B. SIGNAL TALKBACK TO STUDIO (OMNI)
AUX 1 INTERNAL MONITOR
3L REP + MONITOR
82E30 (2a) Echo Return Card - STUDIO LS DIM MINI L.S. 2R
LEVEL
+ STUDIO L.S. LEVEL
L LEVEL
3R -
82E35 (3) Echo Switch Card STEREO 2
REP + R +
L LF MONO MONITOR L.S. LF
4L - - TRIM +
82E30 (2b) Echo Return Card LF
+ -
STEREO 3 - RF
4R 82E35 (4) Echo Switch Card + LB
REP
- LF
+
82E33(1) 2x Talkback Amplifier + - R
82E34 Main and Slate Oscillator RF
STEREO 4 - RF MONITOR L.S. RF
ENGINEER T.B. SIGNAL SLATE LEVEL REP + TRIM
OMNI +
TALKBACK - 82E338 (1) EXTERNAL TO CUES -
SLATE + CUE L
SLATE SIGNAL RB
STEREO 5 -
PRODUCER OSCILLATOR OUT CUE R
COMP REP +
TALKBACK LEFT FRONT
- LF
AUX 1 MONITOR L.S. LB
OSC TO...... TRIM
+ RF +
- -
82E33(2) 2x Talkback Amplifier QUAD QUAD 1 RIGHT FRONT
OSC LISTEN GROUPS LB STEREO
BUS REP + L
LEVEL MIC TO - RB
LISTEN LEVEL 1 TAPE M.D. R
LISTEN MIC 1 ON + +
LEFT BACK
POST - LF
MONITOR L.S. RB
COMP QUAD 2 AFL TRIM +
REP + QUAD -
RF
OSCILLATOR - RIGHT BACK
LISTEN MIC 2
AMPLIFIER M.D. + LF
COMP - A.F.L.
QUAD RF CUT LB
LISTEN LEVEL 2 LEVEL STEREO
LISTEN MIC DISC + CUT RB 82E22
QUAD
SIGNAL OUT - Monitor L.S. Output
DIM
82E29
AFL
External Monitoring Buffers 82E338 (2) 82E23 External Monitor Matrix 82E24 Internal/External Monitor Select
OSC
External
LB LF RF RB
Monitoring MONITOR CUTS
Selectors (x2)

G Series Shortform

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Solid State Logic

Operator’s Shortform Guide

Solid State Logic

Visit SSL at URL: http://www.solid-state-logic.com

© Solid State Logic Limited

No part of this publication may be reproduced in any form or

Centre section 1-10 RECORD + MIX status 1-3

FLOAT button — channel 1-9 Talkback 1-13

Group Output section — channel 1-6 VCA control groups 1-8

Input/Output module 1-4

Main outputs — centre section 1-10

Computer control 2-4

Data storage 2-3

Fader status LED reference table 2-18

Locating with the computer 2-6

The G+ Console — an Overview

MASTER FADER QUAD AUTO

RECORD REPLAY MIX STATUS

MASTER QUAD AUTO

INPUT SELECTION PROCESSING FADER OUTPUT ASSIGNMENT

O TAPE Large Quad

INPUT SELECT ION PROCESSING FADER OUT PUT ASSIGNMENT

RECORD + MIX (press both buttons simultaneously)

Channel Input Section

See Appendix B for the Channel Input Amplifier specification.

See Appendix B for Dynamics specifications.

Two different EQ cards are available. The standard G-Series parametric EQ

these points is within 4dB of clipping.

Cue and Aux Sends

supplying the mix to headphones.

Group Output Section

Monitor Input Section

GROUP and READY TAPE together enables simultaneous monitoring of tape

performance to be monitored prior to a drop-in.

INPUT + OUTPUT Pre signal processing, pre large fader 10

via the Routing Matrix. 5

The Large Fader

four buttons at the foot of the matrix.

Stereo I/O Modules

The Centre Section

Master Fader (with accompanying AutoFade function) in conjunction

Post VCA Insert Sends and Returns provided on the patchbay.

configured for surround mixing, the QUAD button is redesignated LCRS.

Studio Loudspeakers DIM

Cue/Auxiliary Sends and Echo Returns

Optionally, the Red Light may be switched on in Status Lock.

CHANNEL INSERT SENDS

LISTEN SMPTE FROM SSL SMPTE SMPTE TO

Custom Switch Functions

Patchable Stereo VCAs

Extended Multitrack Routing

User-selectable Options (via internal switches and links), include:

Appendix A — Signal Processor Routing

A AA SIGNAL PROCESSOR PATH

Appendix B — 611G I/O Module Specifications

Microphone Amplifier (82E291)

Line Amplifier (82E291)

G-Series Four Band Equaliser (82E292)

Headroom > +26.0 dBu at onset of clipping

‘Classic’ E-Series Four Band Equaliser (82E242)

High and Low Bands

Headroom > +26.0 dBu at onset of clipping

Filters (82E292 and 82E242)

Freq Ranges High Pass: 15Hz to 350Hz (-3dB point)