Solid State Logic SL 6048E/G TR
This sonically and visually stunning Solid State Logic SL 6048E/G console was recently recapped and is in great working condition. It features 48 mono channels with E242 "Black" EQ, plasma meters, Left-hand patchbay, Total Recall, G-Series computer with 8" drive, 2 power supplies, tower rack, and all manuals.
Though decades from its introduction, Solid State Logic SL 6000 E- and G-series consoles remain an industry standard to this day, and as such, retain their resale value. A completely handmade console built to incredibly high standards (which explains the original high six-figure cost now normalized to the $30k-$50k range), the SL 6000 can also be repaired more easily due to its modular construction and the availability of parts. It’s also far more efficient in terms of power consumption than competing Neve VR consoles as well as the SSL 9000. By dissipating less heat, capacitor life is extended while switch oxidation is significantly reduced, saving on maintenance costs. A favorite among producers of rock, pop, and hip-hop, legacy SSL desks are still being used today to craft chart-topping records by mix engineers such as Bob Clearmountain, Chris Lord-Alge, and Michael Brauer.
Solid State Logic SL 6048E/G TR—just the facts:
- 48 mono I/O modules
- Classic E-series Black EQs per channel
- Dynamics processors per channel
- Total Recall™ stores complete details of all stereo and mono I/O settings; control accuracy is within 1/4 dB
- Complete inter-format flexibility for stereo, tri-phonic, stereo plus SAP, and mono television audio, with simultaneous broadcast and multi-track capability
- 32 output groups, 3 stereo mix groups with mono feeds and trims, stereo and mono program outputs
- Stereo compressor on main program outputs
- Electronically balanced inputs and outputs (transformer-coupled mic preamps are available)
- Patch-free audio subgrouping plus 8 VCA control groups with dedicated faders, solos, and cuts located at the central mix position
- 6 cue/auxiliary sends with HF and LF equalization
- 26 illuminated external source selectors for control room and studio monitors
- Six master statuses for rapid setup, fully distributed logic for maximum reliability, local overrides of all logic functions for complete flexibility
- Each mono module has 4-band parametric EQ and switchable high- and low-pass filters; compressor/limiter and expander/gate with gain reduction meters; built-in multi-track electronics remotes; and patch-free processor routing
- Mic preamps have individual +48V on/off switches; 50dB gain range plus 20dB pad; mono line inputs have ±20dB trim with center detent at unity; phase reverse operates on both line and mic
- SSL plasma display shows VU, PPM, or VCA levels; stereo 1/3 octave spectrum analysis; peak hold and display
- Renowned SSL performance: short, clean signal paths provide ultra-wide dynamic range and bandwidth
- The computer provides complete machine management and synchronization for up to five audio, video and film transports; the system is compatible with EBU, SMPTE, VITC, Bi-Phase, and Tach; RS232 and RS422 communications ports are provided
- Dual floppy disk system is referenced to timecode, requiring no data tracks; maintains frame accuracy throughout unlimited mix revisions and edits
- Total Recall setups and sync presets restore complete console and multi-machine settings at any time
- Events controller provides up to 150 events per title, with as many as 32 contact closures per event!
- SSL programmable equalizer and panning unit provides continuously variable controls that track with timecode; ideal for dialog matching and effects equalization and positioning
- SSL Real-Time System brings computer support to live broadcast mixing, using sequences of preset channel and group faders and cuts, operated from a single switch and crossfader
- SSL hardware and software components are field retrofittable, allowing the system to grow
- Support for G-Series software
- Channel input to meters
- Solo link
- Master ready group
- Master cues cut
- Patchable VCAs
- Split cues system
PAD Tech note: The model number SL 6048 refers to the console series (6000) and the number of input channels (48). When you see the designation E/G TR after the model number, it can have a few meanings. SSL consoles are subject to a certain amount of user configuration. When the G series came out, engineers discovered that they preferred the E-series 242 Black knob EQ to the G-series EQ. At the customer’s request, SSL would install E-Series equalizers on G-series desks, or a combination of the two. The “G” also designates the computer system used. In this case, the SL 6048E/G is a G-series console with E-series EQ on all channels. The “TR” refers to Total Recall, SSL’s snapshot recall and automation system, which was optional.
Solid State Logic SL 6048E/G TR —Beneath the Surface
An advanced system for audio and post-production and The SL 6000 was SSL’s answer for the exacting needs of music, video, and television, comprising an audio console mainframe, studio computer mainframe, and family of fully integrated hardware and software modules. These features combined to provide extensive audio processing, routing, and mixing capabilities, as well as complete machine, synchronizer, and events control, all accessible to a single operator. In its day, the SL 6000 was the only mixing system with interformat capabilities, supporting the diverse requirements of each with equal ease and almost instantaneous changeover between formats.
The SL 6000 uses an advanced in-line architecture. Each input/output module contains two signal paths that provide complete channel input, output, and multi-track monitoring facilities. During standard multi-track operation, the channel level is controlled by the large VCA fader and the monitor level by the small audio fader. Both the large and small faders can control independent signals, effectively doubling the number of simultaneous sources available to the mix bus. Additionally, SSL’s unique patch-free audio subgrouping allows any of the first 32 large or small faders to be selected as audio subgroup masters.
Any large fader whether servicing as a channel control or audio subgroup master may be assigned to one of eight VCA control groups. Each control group has its own fader, solo, and cut controls, located at the optimum stereo center listening position. Sets of control groups may be assigned to a further control group when desired.
Unlike the rigid architecture of other vintage consoles, the SL 6000 permits the console setup to be changed at will, so that each project can be handled in the most efficient manner. SSL’s unique ability to totally define the downstream branching of both the audio and control paths allows a single engineer to control as many as 132 simultaneous sources and four simultaneous stereo mixes.
The console’s freely structured audio submasters and control groups reduce the mechanics of the final mix to the simplest possible level, maintaining instant access to each individual source. Additionally, as the sources head downstream to the mix busses, each successively important level of grouping brings their control closer to the central mix position.
This versatility has been extended to include patch-free positioning of the correction and enhancement controls. Seven signal processor routing pushbuttons in each module allow the four-band parametric EQ, pass filter, compressor/limiter and expander/gate to be switched into either the large- or small-fader signal path on over two-dozen combinations.
Three stereo output busses
While the SL 4000 had two stereo busses, the SL 6000 has three stereo output busses plus the main program bus. The console can be operated in standard multi-track, mono or stereo configurations, or to suit a variety of multi-channel release formats. The three stereo mix buses can be used to create music, dialog and effects mixes, or other useful subdivisions, such as cast, audience, and orchestra. They can also be used to create “mix minuses” for splits or live broadcast. Each of the busses can be mixed with any of the others, either at unity gain or variable. AB and C buses can be combined via SL688V Mix Matrix module to feed main stereo output.
PAD For the Record: Coming across an SL 6000 caused a light to go off for mix engineer Michael Brauer, who, like many engineers, was frustrated by the problems that mixing to a single stereo bus compressor introduced. Realizing that he could send different groups of instruments to each stereo bus would prevent excessive energy certain instruments from pulling down the entire mix. This led to his multi-bus compression mixing scheme. The SL 6000 had the ability to send each sub stereo bus to the other two busses. Initially, he had compressors across the A and B bus (drums and bass on B, vocals and instruments on A). These were sent to the mysterious bus C, which did not have a compressor. What was on bus C you ask? An Aphex B Aural Exciter, which was kept off the mix until the end. The Aphex added an incredible liveliness to the mix in the midrange. The best examples of this technique are Brauer’s remixed singles for Toad The Wet Sprocket, particularly the song, “All I Want,” as well as the Fishbone album, The Reality of My Surroundings, and Chris Whitley’s “Poison Girl.”
Classic E-Series four-band equalizer (82E242)
In 1983 a new “242” EQ circuit was developed in conjunction with the late Sir George Martin for the first SSL console to be installed in AIR studios. The “Black Knob” EQ, as it became known, featured enhanced cut and boost ranges combined with a different control law and a steeper 18dB/octave high-pass filter for tighter control of low frequencies. The Black EQ has 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.
G-Series Computer basic functions:
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 (minimizing destructive errors).
Total Recall (TR): 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 facilitate 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.
It’s never been more affordable to put an SSL in your studio and be the envy of every audio pro on your block—plus, PAD makes it easy with installation, support, and maintenance services. For more information, call or chat online with your PAD Studio Integrator today.