SSL 400G Console Basic Automation

ADVANCED RECORDING PRIMER

BY ROBERT DENNIS

FADER AUTOMATION BASICS

Our example SSL 4000 console is equipped with fader-only automation. In large analog consoles, automation of things other than faders involves, for instance, replacing "stock" equalizers with VCA-controlled equalizers. Every function that needs to be automated must have a special unit installed to achieve the automated control desired. The console comes "stock" with the main channel faders automated.

Automation of consoles is based on the operator programming initial channel gain and gain changes that take place throughout a tune. This operation is referred to as writing automation data. The console will then, when you replay, perform the gain settings and changes. This operation is referred to as reading the automation data.

The programming of the automation data is as simple as the operator placing the console in the "write" mode and performing the gain changes (by moving faders) with the automation activated. On the SSL 4000 console the "write" mode is called the "absolute" mode, a name now used by other manufactures to describe the write mode.

Playing back the automation is as simple as playing the tune after automation has been enabled and the console is put into "read" mode. On the SSL 4000 console the "read" automation mode is called the "Replay" mode.

Types of Automation

There are two types of fader automation commonly used on large-format analog studio consoles.

Moving Fader Automation systems have small motors inside of the faders that will change the positions of the fader by sending changes in control voltage to the fader's motor. Moving fader systems have a distinct advantage over other systems because they do not need an amplifier to perform the gain changes. They also have a couple of serious disadvantages of being somewhat slow to respond and require mechanical belts or other mechanical mechanisms to move the fader, that can wear out.

VCA Fader Automation systems put voltage-controlled amplifiers in the fader cases and changing the control voltage sent to these VCA's change the channels' gain. Although VCA automation systems create a longer audio path, they can change gain instantly and have no moving parts. Our example SSL 4000 console uses VCA Fader Automation.

DCA Automation is another type of automation used in some consoles. The DCA is a digitally-controlled amplifier which will change gain when a new digital number is sent to the amplifier's control input. The DCA has a disadvantage of adjusting gain in "steps" rather than the smooth continuous changes that can be obtained with VCA automation. This disadvantage more or less limits the use of the DCA for automation of other things beyond channel gain. Some large format consoles use DCA automation for automating equalization and pan pot movements. These same consoles retain the smoother VCA automation for the faders of the console.

SMPTE Timecode

In order for the console to record the changes that are written in the automation. What SMPTE timecode is and how it is used with the SSL is explained in this excerpt from Audio Multitrack Recording Techniques:

"SMPTE" stands for "Society Of Motion Picture and Television Engineers." The SMPTE time code is a standardized signal composed of pulses that give a time reference. The pulses form binary words* that give hours, minutes, seconds and parts of seconds. There is a new binary word every "frame." a frame is 1/30 of a second and represents the time that one picture is shown on 'a television screen. The SMPTE time code is generated by a SMPTE time code generator and recorded onto a blank track of the tape machine. The computer uses this recorded time code to control the tape machine (rewind it to certain spot, etc.). The computer "reads" the time code playing off the tape and the computer screen shows the time code readings. Without SMPTE time code on the tape, the computer approximates the tape position from a signal it receives from a rotating tape guide. This can cause a very inaccurate control of the tape machine.

With the SMPTE time code generator patched to multitrack tape machine, the Solid State Logic Console computer will record SMPTE time code on the machine. The "tape enable" and "record enable" computer status buttons must be turned on. The recording is accomplished by typing "SMPTE" on the keyboard and pressing the execute button. The track output must then be patched into the "read" jack of the SSL. The patching for SMPTE at the Disc Ltd. is shown in figure 10-22 and is typical for other installations.

Figure AMTRT-1 - SMPTE Patching For SSL 4000

Basic Automation - Rewriting Channels

If you performed all of the moves needed using the "write" mode and then played back the automation using the "read" mode, you wouldn't have much use for automation. One big reason for automation is to program more real-time moves than can be made in real-time.

A common way to program an automated mix is to first program a "static" mix where you get the best mix with no fader movements. After completing this, you play he mix in the "read" mode but put one or more channels individually into the "write mode." This allows you to program changes in those channels only. After this is completed you would make another "pass" writing the automation data for different channels. By continuing this sequence, you could really have all channels with programmed gain changes even though you were born with only 10 fingers.

Punching In On Automation Programming

You can change the automation data for the automated mix by putting the fader in "write" mode in the middle pf the tune. You will retain your original fader programming up to this point and write new data for the channel after that point. This is the equivalent of "punching in" the automation data.

When you perform the punch-in, the fader has to be set to the same place as originally programmed - otherwise there will be a level jump at the punch-in point. Moving fader systems always keep the faders in the correct position for a punch-in because the fader position always determines the channel gain.

VCA fader automation systems "disconnect" the slide of the fader during the read (replay) mode. You can literally move the fader anyplace during the playback of the automation because the computer is sending the control voltages to the channel during replay (read). When the pun-in is madfe, however, it is important that the fader be in the correct position.

VCA automation systems have a method of "nulling" the fader to the position used in the programming. With the SSL, this function is called "Level Match." By pushing the "mix" button in the center pannel of the console (with the automation running) will activate the level-match function. The two "status" lights on the SSL main fader tells you if the slide is higher than, lower than or at the point where there is a level match. As shown in figure 1, the upper light (red) indicates that the slide must be increased to get a level match; the lower light (green) indicates that you need to lower the slide for the match. When both light are on, the fader is at the correct position for a level match.

Figure 1 - SSL 4000 Level Matching

The Relative Mode

The relative automation mode is a mode where fader movements made by the operator add or subtract from the previously programmed changes which were programmed in the write mode. The fader will have a "null" point where no gain is being added to or subtracted from the previous programming. When the operator increases (for instance) the fader 5 dB, the previous gain changes programmed will be reproduced 5 dB higher. If the operator dips the fader by 5 dB the changes will be made 5 dB lower. In the original automation systems this mode was referred to as the update mode. SSL refers to this mode as the trim mode. SSL uses the term update for any reprogramming of level changes with "Update by Absolute" meaning re-writing the programming in the write (absolute) mode.

The relative (trim) mode is often used to make each word sung by the vocalist to be consistent in level and to add accents that were not really sung as accents by the singer. Often singers, especially new singers, will trail-off in volume at the ends of the lines because the singer gets low on air supply and needs another breath. Often in punch lines of the tune, several instruments can play accents which would tend to cover up the vocalist on the punch lines. The relative mode can also be used to raise an instrument's level during a solo part or to accent a riff in the music between vocal phrases. All in all the relative (trim) mode is the most-often automation mode that is used after a "static" mix is obtained in the write (absolute) mode.

The SSL 4000 Console Automated Faders

The main faders in the SSL 4000 console have a status switch that will jog between status modes. Pushing this button will joggle between the replay (read) status and the other status that is chosen by the SSL computer when the operator activated the automation system. If the operator chose to activate the automation in the absolute (write) status mode, this switch will joggle between replay (read) and absolute (write) mode. If the operator started with the trim (relative) mode, it will alternately activate the replay and trim modes for the channel.

The faders also have an indicating light that shows the current automation mode of that fader. If the red light is lit, the fader is in the absolute (write) mode. If the green light is lit, the fader is in the trim (relative) mode. If the fader is in replay (read) mode, neither light will be lit.

Figure 2 - SSL 4000 Fader Status

Te SSL Trim Status

The earliest automated consoles set the fader's "null" point for the relative mode at the "0" marking of the fader. This null point is the place you must set the fader to get the previously programmed fader position. The SSL console uses a "floating" null point that could be at any position of the fader's slide.

The automation "null" point for the fader in the trim status is the fader position that was present when the trim status was activated. If your fader was physically at "-15" when you pressed the fader status button, the "null" point would be "-15." If you then again pressed the fader status button to put it in replay, moved the fader to "-5" and put the fader back in trim, the new null point would be "-5." If you start an update with a fader set to -10 and have that fader in trim status, the null point becomes "-10."

Figure 3 - SSL Trim Status

Trimming and Trimming The Trim.

Once the operator reaches the end of the tune, programming level changes, the automation can be saved to disk (by pressing the "end" button on the SSL). The operator can then return the tune to the top and activate the automation system for an update.

When the trim mode is first entered the system is making changes relative to the automation data stored on the disk. The trim mode is entered by setting the channel status just before beginning the mix or by beginning the mix in the replay (write) mode and switching into the trim mode in the middle of the tune.

However, if you write automation changes in the trim mode and then rewind the tape, going into the trim mode again will trim the new level changes. If this is not what you want, you can update the changes on the disk by pushing the trim button twice. In order to keep down the confusion, it is recommended that you save the automation to disc on each pass of the tune, meaning that you will be programming to the saved automation data on the disk.

Automation Setup

Like many computer controlled consoles, the SSL 4000 has "preference" settings that allow the operator to choose default settings upon startup of automation. One of the important settings is the default automation status for updating mixes. Once you have a static mix made and return to the top of the tune to make programmed level changes, the console can default to absolute status, trim status or replay status. Other defaults are also able to be set. These instructional materials are written assuming that the update default status will be set to replay. If the console does not respond according to the instructions written in this chapter, it is suggested that you check the "mix preferences" of the SSL computer.

To activate the mix preferences, push the setup button of the SSL computer. A list of preferences will pop up that have nothing to do with mixing and there will be a prompt that comes up "Do You Want To See More." Press the "Y" key on the keyboard and another setup screen will appear. If you then press the mix button of the SSL computer, you will get the mixing preference screen with many settable preferences. To change the default status for updates go to the Update mode preference (the last one) and place your computer's cursor at the end of this line and type REPLAY and push the execute button. The default automation status will change to the replay status.

Since the operator can choose the stating status of every channel by pressing the individual fader status buttons until the desire mode is chosen (absolute, trim or replay), setting the mixing preferences correctly is not a critical step. It just becomes annoying to change all of the status buttons every time you update an automated mix.

Starting, Ending & Updating An SSL Mix

Before starting an automated mix on the SSL, you must have a reel disc programmed with a title entered. The SSL stores the automation with the data for the tune. If you are unfamiliar with starting a reel disc, see Using the SSL Computer in the chapter on the SSL Master Panels.

Starting a new mix can be done by first pushing the mix on/off button and then using one of the two commands in table 1 (below). After you are done with the first pass you can save the mix data by pressing the end button. The computer will ask you if you are sure (press "Y") and then allow you to name the mix (usually the static mix). Updating a mix can be accomplished by one of the commands in table 1.

TABLE 1 - SSL AUTOMATION COMMANDS
FUNCTION	WITH TAPE MACHINE CONTROL	ALTERNATE COMMAND
Starting a new mix	Go to title Tunename	Setup Mix From Here
Updating a mix	Go to mix Mixname	Setup Mix Mixname From Here
Dedicated keys are bold - Letter/Number keys plain - Type 2 or 3 letters of the name

Using SSL Absolute or Trim Status For Updates

When you first start an automated mix, the console will put all of the SSL main faders in Absolute Mode. Pressing the execute button again will start the mix running with a screen prompt saying "mix running" and a graphic display of the VCA voltages being used by the faders. If the tape machine is being controlled by the SSL computer, the tape machine will start (otherwise you have to push play).

When you start to update a mix the computer will usually put all channels into the Replay Mode. At this point you can repeatedly push the fader's status button to step through the Trim, Absolute and Replay modes for that channel.

Once you begin a channel in the Replay Mode, you can change its automation mode in the middle of the tune by pressing the fader's status button. If the computer is in the "Update by Absolute" Mode (setup by pressing the "u" key on the keyboard) the fader will go into the Absolute Mode and then pushing the status button again will cause it to go back to Replay Mode. If the computer is in the "Update by Trim" Mode (setup by pressing the "u" key on the keyboard a second time), the fader will go into the Trim Mode if the status button is pushed (and go back to Replay Status if it is pushed again). There is an indicator at the top of the screen to indicate if the computer is in the Update by Absolute or Update by Trim modes, as shown in figure 4.

Figure 4 - SSL Automation Mode Display

If you stop and back up the tape, the automation mode for all channels returns to the Replay Mode. Playing the tape past the point that the tape was stopped, will cause the originally chosen to resume. You can , of course, press the fader automation status button at any time to change the automation mode.

The Fader Status Master (FSM) key can be used to change all channels of the console when an update is being started. After this, entering the command "MS execute" will make the FSM key the status button for the master mix fader.

Fader Grouping

Fader grouping can be extremely helpful in mixing. With fader group, several channels may be assigned to one master fader and relatively controlled by movement of this master fader. Thus, for example, all 4 of the background vocal tracks may be controlled by one master fader, brought up and down with the same harmony blend with one fader.

With the VCA equipped SSL 4000, fader grouping is done through the VCA's that are in the main fader cases and the VCA master faders in the center of the console. (GO HERE TO REVIEW VCA GROUPING). To assign a fader to a group master, put the master number in the group select button on the fader (as shown in figure 5). If you assign the master when the master fader is at it's "0" point, there will be no gain change; then moving the master fader above or below it's "0" point will add or subtract gain.

Figure 5 - Assigning VCA Master

The SSL also has an automation feature called Software Groups, where faders are assigned to masters via the automation software. Any of the console's fader can be a master fader. Faders are assigned group and master status and cleared from groups by using the dedicated Preset key in the computer's control panel.

Other Automation Modes

Optional automation modes are available with the SSL computer, which an perform certain functions

Revise Cuts Mode (activated/deactivated by pressing r on the keyboard) allows the operator to jog between READ CUTS and WRITE CUTS to make changes in the cuts without affecting gain settings). The green fader status light with a flashing red status light indicates READ CUTS, while both lit solidly indicated WRITE CUTS mode. With Revise Cuts Mode selected, the system will change the change the channel from Replay Mode to WRITE CUTS mode.

Autotakeover Mode allows the operator, while updating with fader movement to go back to the correct level-match null point, at which the status will revert to Replay. When the Autotakeover Mode is active, the red light flashing indicated you must raise the fader to reach the null and the flashing green light indicates you must reduce the fader to achieve a null. These indications work similarly to the "Level Match" feature.

Preview Mode allows the operator to try changes without writing them. Pressing the fader status button once causes the status indicator to flash and you can hear the change in the monitors without changing automation data. Pressing the fader status button again will cause the fader changes to be active. The preview mode works both for Update by Absolute or Update by Trim programming.

Immediate Takeover Mode means that moving a fader by any amount has the same effect as pushing the status button. Immediate takeover works for both Update by Absolute or Update by Trim programming.