1996 SOLID STATE LOGIC- COMMUNICATIONS MASTER. 120v to 240v operation 50hz to 60hz. Rack Mount Unit, Just Plug it in and use it. Removed from a Working Console.
This unit has 3 of the SSL Listen Mic Compressors AND PREAMP for direct Mic Input. Forget the recreations, this is the real thing from 1996!! You will see two switches missing, Sorry! Had to use them to repair a console. They don't effect the operation as they are wired directly to the user 25pin Dsub on the rear.They can easily be replaced if you desire. The switches all have red leds in them and light up. The buttons on the front don't have anything do with the listen mic operation. The macro buttons were to trigger user macros programmed on the console. The USER buttons can be set to N/O or N/C operation and can be accessed on the rear USER connector.
It has one internal mic that can be bypassed and wired to an XLR so you have 3 XLR mic inputs. I pointed to this with a screwdriver in one of the pictures.
You can also see the pots for threshold and gain in the pictures, they are factory set now. It also has the ability to mix all three to one output or take each one direct. Four outputs, Three direct and One mixed. There are USER buttons on the front panel that can be accessed via the 25pin Dsubs on the rear.SEE HOW IT WAS DISCOVERED. In this interview famed producer Hugh Padgham remembers arriving at the unique and iconic sound for Phil Collins' drums on'In The Air Tonight'. When did you first discover'the sound'? The whole sound really was discovered on a completely different album when Phil was in playing drums on Peter Gabriel's third album on a song called'The Intruder'. Phil was a guest player on the album and he was mucking around with a drum sound. The Solid State Logic console was quite a new console then and it had a compressor noise gate on every single channel which before that had never happened. You had external compressor or external noise gates but you had to patch them in, whereas with the SSL it was in every single channel. All you had to do was press a button and it was on, and also an outboard compressor was a compressor, an outboard gate was a gate.
I don't believe anybody made a single unit that had both of those things in it. The whole essence of the sound is the compression of it which makes it sounds really fat and then the second that there is a lull in the sound the gate just shuts it off. The fact that the drums were in a very live room, when you compress a sound in a live room it brings up all the background noise and the echo in a room.
When you compress a drum sound in a live room like that it makes it just sound much bigger and it makes the room sound bigger as well. Therefore when you go from something sounding big to nothing, i.A sort of anechoic chamber, you get this feeling of massive contrast. That is the whole essence of why the sound was so interesting because it is going from all to nothing in milliseconds. What happened was, Phil was playing this drum pattern and on the Solid State console there was what's called a Listen Mic, which was also a new feature on that console.
If you needed to listen to somebody talking in the studio in the old days you had to either listen through the microphone that they were playing into or put up a separate microphone that they would talk into and that's how you would communicate with the artist, and then you would communicate with them through their headphones. The Solid State Logic decided to have a dedicated microphone hanging up in the studio that, if you pressed the button on the console it immediately let you listen to them speaking, so in other words you didn't have to plug in a separate microphone.
They designed it with a huge great compressor on it as well, so that there was one microphone hanging down from the ceiling and if somebody was talking quietly in the corner you'd still hear them as well as if somebody was shouting at you in the middle of the studio. When Phil was playing the drums one day, I opened this microphone to speak to him to hear what he was saying while he was still playing the drums and out came the most unbelievable sound.Everyone went,'oh my god', that sounds incredible. So we go okay, that was the compression on the mic. Then we had the compressors and noise gates in each channel so I said okay, let's put up some room mics, listen to the drums through those and compress them. That's what I did, but we hadn't discovered the noise gate side of it yet. When I pushed the button for the compressor on the console, there was a noise gate already in the chain and he stopped and the sound suddenly went to nothing. It was like,'oh my god, that's amazing'. But the compressor of that compressor gate didn't sound as good as the one through the Listen Mic in the ceiling. The next day I got the maintenance engineer to take an output from the Listen Mic hanging in the ceiling, because it was only rigged up to work on the monitors - you couldn't record it - so I got him to take an output from this compressor and feed it into the console as a separate channel so we got the compression sound from the Listen Mic that we were then able to record. The item "SOLID STATE LOGIC- LISTEN MIC COMPRESSOR and PRE AMP, 1996 G Series Vintage" is in sale since Wednesday, May 29, 2019. This item is in the category "Musical Instruments & Gear\Pro Audio Equipment\Preamps & Channel Strips". The seller is "mcirile" and is located in Putnam Valley, New York. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi arabia, Ukraine, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Barbados, Brunei darussalam, Bolivia, Guadeloupe, Iceland, Jordan, Cambodia, Sri lanka, Maldives, Uruguay.