$ 1,449.00

The SSL X-Rack Stereo SuperAnlogue EQ Module is a stereo version of the SuperAnalogue Channel EQ Module, with independent switching of high and low bands and mid bands between SSL's E and G series console EQ

With audio equipment, two is always better than one. It’s not about being greedy, it’s about stereo, which is the format we all work in (with a side-order of 5.1). Typically, rack modules are mono, so if you want to EQ a stereo source, you need to gang two modules together, which in turn limits the number of channel strips you can use in your X-Rack. The X-Rack Stereo EQ Module, (a stereo version of SSL's SuperAnalogue console Channel EQ), lets you EQ stereo sources, such as keyboards, drum overheads, stereo room mics and etc. without using more than a single module. Like the mono version, the Stereo SuperAnalogue EQ module is a classic SSL four-band parametric EQ taken from the high 6-figure XL 9000 K console. Capable of pinpoint surgical corrections or making broad musical strokes, the Stereo EQ Module lets you switch between E-Series and G-Series console EQs, and features high and low bands switchable between shelving or fixed Q bell curves and two mid-bands each with variable Q control. The stereo EQ Module also has a “Selective Mode” switch which enables independent switching of high and low bands and mid bands between SSL's E and G series console EQ characteristics to provide an even more versatile EQ design.

SSL X-Rack Stereo EQ Module—Just the Facts:

  • Stereo version of the XL 9000 K Channel Equalizer as used on Duality and AWS consoles
  • “Selective Mode” E and G characteristic switching, which enables independent switching of high and low bands and mid bands between E or G curves
  • High and low bands switchable between shelving and fixed Q Bell curves
  • EQ IN switch for A/B comparison
  • Rear panel connections on balanced TRS Jack
  • TotalRecall status LEDs lets you retrieve settings for previous mixes

SSL X-Rack Stereo EQ Module—Under the Hood

The X-Rack Stereo EQ Module is the first product to introduce Selective Mode E-series and G-series curve selection, enabling independent switching between E Series Black and G Series EQ curves for the high/low bands and the two mid bands.

The different frequency sections are as follows:

  • HF Section: Frequency range 1.5kHz – 22kHz Gain ±20dB
  • LF Section: Frequency range 40Hz – 600Hz Gain ±20dB

Normally, the bandwidth of the high-mid frequency and low-mid frequency sections will remain constant at all gain settings. At lower gain, the EQ curves are comparatively narrower for a given Q setting. This is particularly useful for drums, since relatively high Q is available at low gain settings, but is less suitable for overall EQ or subtle corrections because the Q must be adjusted to maintain the same effect as the gain is changed.

When the HMF/LMF band is switched to G-EQ operation, the bandwidth will vary with gain such that an increase in boost or cut increases the selectivity of the EQ. This type of EQ can sound most effective when used at moderate settings; the gentle Q curve lends itself to the application of overall EQ on combined sources and subtle corrective adjustments to instruments and vocals.

For added flexibility, the module input and output gain can be set to operate at a nominal level of either +4dBu or –10dBV, for use with professional level equipment or consumer-grade respectively.

PAD Tech Note: In properly designed equipment, there is no sonic difference between +4dBu and -10dBV equipment. In fact, some pros ponder why it’s necessary to lose 14dB of headroom by using +4dBu (The actual difference in AC voltage is 11.79dB). The reasons vary. Most professional gear is set to operate at +4dBu and is not switchable. The other reason is cable length. The +4 setting allows longer balanced cable runs without signal loss. So, if you’re working on a desktop with cables no longer than 10 feet (3.3m), there is no sonic advantage to +4dBu. However, to avoid signal loss or overloading an input, all equipment in a system should be set to the same nominal operating level.     

SSL Console EQ history

The classic equalizers of the SL 4000 E and G consoles have made their mark on more hit records than any other console. SSL 4000 consoles are still in use today by top mixers, including Chris Lord-Alge and Bob Clearmountain, while Michael Brauer uses the XL 9000 J. The current generation of SuperAnalogue console EQ (featured on Duality, AWS, and the mono X-Rack EQ Module) is switchable between EQ characteristics that offer either the E Series 'Black' EQ or the G Series EQ. Prior to 1987 SSL used the color of the low-frequency EQ knob caps to indicate which type of EQ was fitted. All consoles were custom built and could feature different combinations of EQ module. The following color codes apply:

E Series Brown: The original SSL EQ fitted to all consoles prior to the summer of 1985. Despite the rumors, these equalizers only came in one version. The EQ card was called the “02”.

E Series Orange: The infamous EQP equalizer. This was a variation on the Brown EQ with controls simulating the curves of a valve-type EQ (the Pultec). Very few were sold. This card was named the “132”.

E Series Black: The last version of the standard E series EQ. It evolved in the early 1980s from discussions with many top engineers and proved very popular. The EQ card was called the “242”.

G Series: With the arrival of the G Series console in 1987, the color coding was abandoned and the classic SSL end-cap color scheme used today was adopted. First introduced in 1987, the original G Series EQ introduced Q characteristics which were proportional to gain settings and had a degree of overshoot when boosting and undershoot when cutting.

The SSL Stereo EQ Module is a uniquely versatile EQ that lets you mix and match between E-series and G-series EQs, which can be used for both surgical and tone-shaping chores on any stereo source. For more information, call or chat online with your PAD Studio Specialist today.

Performance

  • THD + N: < 0.007% at +20dBu 1kHz; < 0.007% at +20dBu 10kHz
  • Frequency response: ±0.5dB from 20Hz to 20kHz; –3dB at 90kHz
  • Output headroom: > +26dBu at onset of clipping (+4dBu); > +13.5dBu at onset of clipping (-10dBV)
  • Noise: < –70dBu (+4dBu operating level); < –72dBu (–10dBV operating level)

HF Band controls

  • Frequency: Variable from 1.5kHz to 22kHz
  • Gain: Variable between ±20dB
  • Q: 2.5 (on Bell setting)

HMF Band controls

  • Frequency: Variable from 600Hz to 7kHz
  • Gain: Variable by ±20dB
  • Q: Variable from 0.7 to 2.5 (may also vary with gain)

LMF Band controls

  • Frequency: Variable from 200Hz to 2.0kHz
  • Gain: Variable by > ±20dB
  • Q: Variable from 0.7 to 2.5 (may also vary with gain)

LF Band controls

  • Frequency: Variable from 40Hz to 600Hz
  • Gain: Variable between ±20dB
  • Q: 2.5 (on Bell setting)

Dimensions (approx.)

  • Depth: 7-15/16" / 200 mm (including front panel knobs, excluding connectors)
  • Depth: 10-15/16" / 275 mm (including front panel knobs and connectors)
  • Height: 6-3/4" / 171 mm
  • Width (Front/rear panels): 1-3/8" / 35mm
  • Overall width (front and rear panels are offset): 1-15/16" / 49 mm
  • Weight: 9.5 oz. / 260g

 

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