SSL Live
Ultimate Sonic PerformanceSSL Live

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Something Special
Solid State Logic has been at the leading edge of audio console design for more than 35 years.
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Solid State Logic :: Live3

Control Surface
Up Close and Personal
SSL Live control surfaces consist of four main elements; a multi-gesture touch screen, Fader Tiles,
a Channel Control Tile and a Master Tile. The quantity, availability and layout of these elements
differs but their functionality is common to L550, L350, L200 and L100 consoles.

Multi-gesture Touch Screen
A super bright, high resolution central touch screen is the hub of the console, giving constantvisual feedback and access to Channel View & Overview interfaces, system configuration menus,
the Layer Manager and the Effects Rack. The screen offers true tablet style multi-touch gesturecontrol, delivering an unprecedented degree of on screen parameter manipulation.

Fader Tile
Fader Tiles are freely configurable to control any signal path, with clear bright colour coding. Users
can lay out channel/path types across the console to precisely match their own workflow. Fader
Tiles are independent. Each Tile features 12 fader strips, with five layers of five banks giving up
to 25 banks of 12 faders per Tile. Layer and Bank keys with LCD displays provide rapid layer andbank navigation. Each strip includes a touch sensitive 100 mm motorised fader, Solo, Mute, Queryand Select buttons, individual LCD display and a set of Quick Controls. Alongside each channel
fader are 14 segment level meter and separate gate and compression meters. A collection ofmenu buttons select various aspects of the Tile’s functionality, including ‘Swap’ which allows any
bank to be set as a ‘Home’ set of strips. A ‘Screen’ key assigns the entire Tile to the main screen.

Quick Controls

Channel Control Tile

Master Tile

The Channel Control Tile (L550 & L350 only) provides instant physical control for aselected path. The tile has a high resolution 5.7” touch screen surrounded by colourcoded push/select controls that map to adjacent screen functions. A collection of rapid
access buttons instantly call various functions to the Tile, including; EQ, Dynamics,
Insert Effects, Panning, Input section, All Pass Filter, Line Delay, Aux, Stem Group,
Master, Fader, Talkback, VCA and Mute Group controls. ‘Press and hold’ on these rapid
access buttons also calls the function to the Quick Controls across all the Fader Tiles.
The Channel Control Tile combines with the Focus Fader in the Master Tile to form a‘Focus Channel’.

The Master Tile gathers together Automation controls & Mute
Group buttons alongside a Main Fader (which can be assigned
and locked to any signal path), the Focus Fader (which caneither follow the selected path or be locked to a specified path),and a set of assignable user keys. The Tile also features our
flexible Solo and Talkback system. Two individual Solo Buses,
each with dedicated push/select level controls, feed three Solo
Channels which might be used for example with a wedge,
headphones and in ear feeds. A mini matrix of Solo Select and
Output Select buttons allow routing of either or both solo buses
to any or all solo outputs quickly and easily. There are two
Talkback channels, each of which can feed Auxes and/or direct
outputs and have dedicated controls and routing buttons that
follow the same logic.

Peripheral Interfaces
An optional sprung boom arm enables a VESA screen or laptop
mount to be positioned on either the left or right side of theconsole. Screens can be used to display the Console Overview
or Automation interface. Any standard monitor can be used for
display only, or an SSL supplied touch screen can be specified.
SSL’s TaCo iOS or Android application can also be used toprovide additional tablet control interfaces.

At its upper edge each Fader Tile has a row of twelve ‘Quick Controls’ (a push/select control andthree buttons). The Quick Controls can be assigned to the same single parameter for all channels
console wide (eg Input section, Aux’s etc). Alternatively, the entire row of Quick Controls in theFader Tile below the touchscreen can be used in Follow Detail mode as individual parameter
controls for EQ, Dynamics, or Effects parameters etc. The Quick Control rotary functions can be
flipped onto the faders.

Solid State Logic :: Live

5

Workflow
The Big Screen

Super-Q

Stem Groups

The main touch screen is the heart of the console and can beused for system & I/O configuration, creating surface layouts
using the Layer Manager, the Automation interface, the Effects
Rack and two different views of your project; The Channel View
and Console Overview.

SSL’s acclaimed Super-Q system offers unprecedented workflow
flexibility from the touch of a single button. Super-Q allows theuser to ‘spill out’ the contributing elements or destinations for aselected fader/path across the control surface. It works for all
path types; pressing a channel’s ‘Q’ button in the Fader Tile, inthe touchscreen or TaCo Screen Query interfaces, shows the mix
buses to which the channel is routed. Querying a mix bus willshow only the channels that are contributing to that mix. Pressing
a VCA’s Q button will show all channels under its control.

SSL Live consoles introduce a new and enormously powerfultype of signal path which we are calling the Stem Group,
offering incredibly flexible routing options not found on any
other live console. A Stem Group is a unique type of hybrid
mix bus that combines the key functions of a subgroup, an
Input, an Aux, and a Matrix. Stem Groups provide 6 different
routing feed points (post trim, pre/post fader, post insert A/B,
post all processing) and can route to Aux’s, Masters, Matrices
and even other Stem Groups to create nested subgroups.
As with all other path types they can be configured in mono,
stereo, LCR, 4.0 or 5.1. Both full and dry versions are available.
Stem Groups offer truly new and powerful ways to think about
mixing and offer flexible solutions to manage your creativeenvironment.

The Channel View provides a clear and logically organised
overview and interface for detailed channel information. This
GUI lines up with the faders in the Fader Tile and provides
touch access for all path functions. SSL Eyeconix displays
ensure that channel identification is immediate. The meters
can be expanded to give a large-scale view. Double tapping
individual channels opens up detailed GUI’s that provide
intuitive configuration and multi-gesture control for a menu ofoperations including; routing assignments, VCA’s, Aux’s, StemGroups, EQ, Dynamics, the All Pass Filter and Panning. Live
allows changes in path processing order and bus architectureon the fly through straightforward drag and drop actions.
An at-a-glance view of the whole console’s signal flow
is essential. The Console Overview provides this on atouchscreen that enables the operator to immediately identify
and access a channel or bus that needs attention. Selectionof any channel or bus to the Focus Fader and Channel Tile isliterally one press away at all times. With meters and bright
red overload indicators for every input and output, identifying
issues is easy and a single press brings a full set of pathcontrols to hand.

Solid State Logic :: Live

Super-Q also shows the send levels to and from mixes, allowing
instant and accurate mix control, either from a channel- or mixcentric view. These contributions can be displayed either on therotary encoders at the top of each fader strip or automatically‘flipped’ onto the faders.
Super-Q has two modes; ‘Compressed’ mode shows a focusedview of only the audio paths contributing to or from the Queried
path. ‘Expanded’ mode offers user-defined layers and banks,
allowing the user to lay out exactly where they want each channel
to appear on the surface. The modes are configurable on a
per-path type basis, giving the user complete control of theirworkflow.
A new “Query to Focus Fader” option assigns the queried path tothe Focus Fader. A new Clear Query User Key provides a rapid
method of exiting Query mode from the same button every time.

“Other live consoles seem to mimic what’s
happening on stage... The SSL gives you
what’s really happening.”
Jason Decter, FOH - Blink 182

The Focus Channel
The Channel Control Tile and the Focus Fader in the Master
Tile both follow the selected channel and effectively combine
to form a ‘Focus Channel’. The Focus Fader places a full single
fader strip in an optimal ergonomic position on the console toprovide the fastest possible means of addressing issues withany selected channel. The Channel Control Tile provides its
own independent combination of multi-gesture touch screen
and hardware control. It provides a streamlined way to assign
all of the parameters of a specific processor on a selectedchannel to a set of hardware controls that will be immediatelyfamiliar to analogue console users.

7

Flexible Open Architecture

Configurable Surface

Absolute Power and Ultimate Flexibility

What you want where you want it
Managing your session

Stageboxes

Local Inputs

SSL Live console processing power allocation
is extremely flexible. Each console has a ‘Path
Pool’, a maximum number of mix paths that canbe used as required to suit each production.
These paths can be assigned as Channels, StemGroups, Auxes and Masters to suit demands andconfigured as mono, stereo, LCR, 4.0 or 5.1. A
mono Channel consumes one path, a stereo two,an LCR three a 4.0 path four and a 5.1 six.

Recorder Outputs

Router (inputs to the console).

Onboard
Effects Rack
45+ Effect
Types

Channels

Stem Groups

Path Pool
Total maximum
available Paths

Auxes

Masters

MatrixRouter (Outputs from the console).

Stageboxes

Solid State Logic :: Live

Local Outputs

Recorder Inputs

To make most efficient use of available processing
resource, consoles can have a proportion of fulland dry processing paths, which can be allocatedto suit different applications. Insert Effects havetheir own dedicated processing which is also
dynamically allocated.
An Output Matrix also has its own dedicatedprocessing and can be segmented into four
separate smaller matrices if desired. All Matrix
Output paths have High and Low Pass Filters, 4band EQ, 2 seconds of delay and our unique All
Pass Filters available. This is in addition to two
inserts that can be used with both the internal
Effects Rack and external processing.

Keeping control of even the largest sessions is very straightforwardwith Live. The control surface layout is completely configurable
allowing users to place any Channel, Stem Group, VCA, Aux,
Master etc anywhere on the available Fader Tiles. This is doneusing a beautifully straightforward drag and drop Layer Manager
interface. Whether at FOH or Monitors, Live allows you to create
your own personal perfect layout. The combination of elegant
Layer & Banking and Super Q hardware controls with excellent
touch screen layouts, makes navigating and controlling sessions
extremely fast and superbly comfortable.

Colour Function
Our consoles use colour beautifully. Within the fader strips a single
large LED strip is used to identify and organise the type of signal
path (VCA, Aux etc) or the instrument group (drums, vocals etc)
assigned to the fader. The colours used are user definable. Controls
designed for parameter editing (Aux send levels, EQ & Effectparameters etc) in the fader strips and in the Channel Control Tile
also use colour coding. What is selected in the touch screens andthe various sets of edit control hardware can be made to follow
each other.

9

Stunning Audio Performance
The finest studio sound on stage

Classic Processing

Effects Rack

SSL has always set the audio performance benchmark for others to reachand sound quality is the primary design consideration of SSL Live consoles.
Nothing is sacrificed so that the ultimate sonic performance can be delivered.
The Live local I/O and Stageboxes use SSL’s patented mic amp technology
to deliver SSL SuperAnalogue™ performance with better than industry
standard studio grade mic pre’s combined with 24 bit/96 kHz ADC’s to delivera frequency response that is within 0.25 dB from 20 Hz to 20 kHz (within 1.3
dB down to 10 Hz) and a THD of 0.005%. The circuitry is DC coupled (noelectrolytic capacitors in the signal path) and high input impedance. Mic amp
gain is controlled with extreme precision in more than 16,000 steps ensuring
totally smooth control, very good common mode rejection and extremely
low distortion. 64-bit internal processing is used throughout guaranteeing
maximum precision to support the highest standards of audio performancewithin all our processors. It all adds up to an exceptionally detailed sound weare sure you will love.

SSL Live consoles provide the audio processing toolkit that generations of SSL
mix engineers have used to create countless hit recordings along with a suiteof freshly developed processors. The full processing paths include a four band
parametric EQ that can be switched between a precise constant Q mode and‘SSL Legacy EQ’ with our signature tonal character, hi- and lo-pass filters withselectable slopes, SSL dynamics presented as separate compressor, analogue
style tube emulator, expander/gate as well as a delay line and cleverly configured
All Pass Filter. Our Live consoles also feature precision analysis tools such as the
fixed point per octave spectrum analyzer and the acclaimed Dialogue Automix
system from SSL’s broadcast consoles.

SSL Live consoles feature an internal effects rack that can be accessed via theinsert points of Channels, Stems, Auxes and Masters as well as from the router.
Designed to emulate a studio setup, the effects rack allows engineers to feel
immediately comfortable creating complex effect routings with every parameter
stored as part of the console automation. There are seven categories of studioquality, mono, stereo and multi-channel, ultra low latency effects designed
specifically for live use. Reverbs, Delays, Modulation effects, EQ and even the
famous SSL Stereo Bus Compressor are all included in a suite of more than 45
effects and tools. The effects rack has its own dedicated processing core withadaptive processing that intelligently reduces the overall processor overhead as
you increase the effects load. Depending on the effect type up to 96 effects canbe used in an L550 and up to 48 in an L350 or L200 and 24 in an L100.

Channels
Live channel architecture is easy to configure and extremely flexible. Channels
have their own dedicated processing power and can be full with complete
processing or dry and consume less processing power. There are two insert
points. Dry channels have no processing tools, two inserts and use lessprocessing power. The Channel setup panel in the touch screen makes
configuration and routing fast and intuitive. Channels can be mono, stereo, LCR,
4.0 or 5.1 and there are configurable foldown options.

“This console is the most analogue-correct
digital console I’ve ever encountered. It
sounds phenomenal.”
Kenny Kaiser, FOH - The Killers

Solid State Logic :: Live11

L550 - The Big One

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Grand production masterpiece
The L550 is the largest and most powerful console in the SSL Live range. It has
cut its teeth on global tours for some of the world’s biggest stars. It offers a large
scale control surface and the power to handle the grandest and most complex
productions.

“A lot of the new album was recorded
onto 16-track analogue, and then moved
onto Pro Tools. I love the feel of the album,
and I love the sound of it, and I wanted torecreate that. So the SSL was a no-brainer...
It sounds like an analogue console, and it
has a Save button!”
Jim Ebdon, FOH - Sam Smith

Solid State Logic :: Live

13

L350 - Compact Powerhouse
All the power and grace in a smaller frame
The L350 is a deceptively powerful console. It packs a 24 fader control surface into a compact
frame and delivers ample power for the majority of mid to large scale productions. It offers SSL’s
premium performance and streamlined mixing experience in a format that is a perfect fit for
demanding productions where space is restricted.

Solid State Logic :: Live

Explore Online“Everything just falls into place... There’s tonnes ofheadroom, and I never have to push it hard at all to
get exactly what I want out of it.”Charlie Izzo, FOH - Portugal The Man

15

L200 - Dare To Be Different

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The unique layout of the L200
The L200 is the ideal mid-scale production console with a superb balance of processing power and plenty ofhands on control. The L200’s striking design is driven by ergonomic considerations, placing all essential controls
within easy reach. L200’s unique layout allows for screen arms or laptop mounts to be attached to either or bothsides of the console creating a compact yet extremely versatile working environment.

“The layout of the console really helps. I like having
the 36 faders up front as I have a lot of balancing to
do and a lot of mics to deal with. I also use the FX
Rack Automix tool pretty heavily for our big theatrical
productions. Not having to eat up faders to make itwork is a big win for us.”
Chris Trowbridge, Technical Director - Victory Church

Solid State Logic :: Live17

L100 - Little Beauty

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Introducing the new L100
L100 is the latest addition to the SSL Live console family. It provides a physically smaller premium solution for customers
who prioritise outstanding sonic performance in space restricted installations, for sub-mix positions or corporate production.
L100 sets itself apart with its compact, 12 + 2 fader configuration frame, while retaining the same fast access layer / bankswitching and Super-Q technology to ensure no channel, group, aux, VCA, or master is ever far away from the engineer’s
fingers. Users who require more faders can expand the L100 with the addition of SSL’s Remote Tile and more screen spacecan be added via external touchscreens and tablet control.

“It was the only console that I thought could exceed thebeautiful analogue sound that I had been used to.... Not justmatch it, but exceed it. There’s a clarity and a transparency
that comes from the SSL platform that I have neverexperienced before.”
Andrew Stone, Production Manager - Church On The Move
Solid State Logic :: Live19

Which one?
Four consoles one soul
There are four models available in the SSL Live console range, theL550, the L350, the L200 and the L100. At SSL we believe thatoffering differently sized and specified consoles should not mean
compromising on quality or features. All four consoles use thesame Remote I/O, use identical audio conversion and internal
audio engine technology. The combination and layout of Fader
Tiles, Master Tile and Channel Control Tile varies but the controls
available and feature set are identical. The consoles use thesame software with identical architecture, routing capability andof course audio processing tool kit – so a full channel on the L550
is the same as a full channel on the other consoles and they all
offer exactly the same outstanding collection of insert Effects.
The differences between the four models centre on physical size,layout, available channel paths & processing power, and available
local I/O. The differences are so straightforward they are summed
up in the comparison opposite.

Solid State Logic :: Live

“You want something that will work every day,sound good, and travel on the truck... So SSL
is the only choice.”
Antony King, FOH - Depeche Mode

L100

L200

L350

L550

Paths

96 (all full)

144 (all full)

216 (168 full, 48 dry)

288 (240 full, 48 dry)

Input Channels

64 (all full)

96 (all full)

216 (168 full, 48 dry)

288 (240 full, 48 dry)Stem Groups1224

48 (36 full, 12 dry)84 (72 full, 12 dry)

Auxes

36

48

132 (108 full, 24 dry)204 (156 full, 48 dry)

Masters4

6

18 (12 full, 6 dry)

30 (24 full, 6 dry)

Matrix4 x 32 inputs / 12 outputs

4 x 32 inputs / 24 outputs

4 x 32 inputs / 36 outputs

4 x 32 inputs / 36 outputs

VCA’s

12

24

36

48

FX slots

24

48

48

96

Sample rate

96kHz or 48kHz

96kHz or 48kHz

96kHz or 48kHz

96kHz or 48kHz

Local analogue I/O

12 mic/line, 2 TB, 3.5mm input,

12 mic/line, 2 TB, 3.5mm input,

16 mic/line, 16 line out

32 mic/line, 32 line out

12 line out , 2x headphone

12 line out , 2x headphone

Local AES/EBU I/O

4 pairs (with SRC)

4 pairs (with SRC)

4 pairs (with SRC)

8 pairs (with SRC)MADI ports

4 coax

6 coax, 2 optical

6 coax, 2 optical

12 coax, 4 optical

MADI FX loop

Optical in/out x 1

Optical in/out x 1

Optical in/out x 1

Optical in/out x 1

SSL Blacklight II

1 optional redundant pair *1 optional redundant pair *1 optional redundant pair *1 Optional redundant pair

SSL X-Light

1 optional redundant pair *1 optional redundant pair *1 optional redundant pair *1 Optional redundant pair

Local Dante @ 96 kHz

Optional 32x32 redundant pair

Optional 32x32 redundant pair

Optional 32x32 redundant pair

Optional 32x32 redundant pair

Maximum I/O @ 96 kHz

Up to 472 in /out

Up to 600 in /out

Up to 600 in /out

Up to 1136 in /out

Local MIDI & GPIO

Not Available

MIDI IN, OUT & THRU. 12 GPIO

MIDI IN, OUT & THRU. 12 GPIO

MIDI IN, OUT & THRU. 12 GPIO

Channel Control Tile

Not Available

Not Available

Standard

Standard

Main touch-screen17” 600 Nits17” 600 Nits19” 1,500 Nits19” 1,500 Nits

Power Supply

One (redundant option)

Two redundant

Two redundant

Two redundant

Width

691mm (27.2”)1370mm (54”)

923mm (36.3”)

1,191mm (46.9”)

Weight52kg (115 lbs)

85kg (187 lbs)

86kg (190 lbs)

90kg (198l bs)*Usage restricted to Blacklight II or X-Light

21

Expansion
More faders for your fingers
Remote Tile
The new SSL Live Remote Tile is a self-contained 12-fader extension for any console in the Live range. It features
a Fader Tile identical in operation to those found within the consoles and requires just USB and IEC mains
connections to function. Up to two Remote Tiles can be connected to each console. A rotary switch sets the IDof each Remote Tile. VESA mounting points are also provided on the underside of the Remote Tile for securely
mounting to heavy duty VESA arms or furniture. The Remote Tile can be used to expand the capabilities of an
L100 or added to L200, L350 or L550 consoles to create very large console configurations.

Remote Expander
The Remote Expander feature 24 or 36 fadersand one touch screen and provides remotehardware control for a main console. Multiple
Expanders can be connected remotely using
a standard Ethernet connection. Expanders
can also be connected to a console in parallelwith SOLSA, for a highly flexible remote control
solution. Remote Expander does not add moreaudio processing capacity!

Solid State Logic :: Live23

Remote Control & Offline Setup SoftwareYour show preparation and remote control toolkit

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Offline Preparation
SSL’s SOLSA (SSL On/Off Line Setup Application) can be used for preparation of show files ‘offline’ whenaccess to a console is not possible. SOLSA allows creation and editing of Live console Showfiles on yourlaptop or desktop PC.
Almost anything that can be done on a console can be manipulated and configured using SOLSA. This
includes console architecture configuration and setup of Fader Tile Layers and Banks. Stageboxes and I/Orouting can also be assigned along with the creation of scenes and other automation editing. SOLSA also
allows you to add effects, manipulate channel processing settings, bus routing and VCA assignments.

Solid State Logic :: Live25

‘TaCo’ Tablet Control App

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On stage mix control for artists and engineers
The SSL Live TaCo (Tablet Control) mix app provides wireless* tablet control of SSL Liveconsoles from iPad and Android devices.
On stage TaCo can be used by both monitor engineers and artists. The app can belimited to control an individual Aux mix or unlocked to quickly and easily control all mixes
from a single screen. Multiple tablets can be connected simultaneously for providing mix
capabilities to each performer on stage. TaCo utilises the same Query technology as theLive console, meaning only the channels routed to the selected Aux are displayed. Using
the Live console’s Stem groups, input channels can be combined into logical sub groups toprovide the performer with a simplified set of faders.
TaCo’s Engineer Mode offers the ability to remote control all channel processing parameters
for every path. This includes filters, EQ, dynamics and time-based processing. TaCo canalso control bus, Mute Group and VCA assignments as well as Input parameters. TaCo isespecially useful for L100 and L200 users when it is positioned on the Tablet Tile, providing
a channel processing control interface within easy reach. Selecting a path on the console
will display that path’s channel processing on the tablet. L100 and L200 users now have a
choice between adjusting processing parameters from the main screen, quick controls ora tablet running TaCo. L550 and L350 users can also benefit from TaCo as an extra control
surface in this way. A Link Channel Control Tile setting can be used in conjunction with
Focus Fader lock to keep one path displayed on the tablet screen at all times.
*Wireless access point required.

Solid State Logic :: Live27

SSL Networked I/O Ecosystem

FOH

STAGE
Monitors

Leading edge high bandwidth system technology

Recording
Solid State Logic

L550

L200

Opposite is an example of an SSL combined audio ecosystem showing integration of MADI, Blacklight II,
X-Light and Dante protocols to provide an extremely flexible and robust distributed audio network for live
sound reinforcement, recording and simultaneous broadcast.
In this example, SSL Live consoles connect to the main Dante I/O system via SSL X-Light Bridges
to provide each console with 256 low latency Dante 96 kHz audio channels and control via a pairof redundant connections. A pair of Primary and Secondary network switches are used to create aredundant Dante network with SSL Network I/O stageboxes connected as required. SSL System T
broadcast consoles and OB/Recording units connect via Dante and can be provided with gain
compensated splits from each SSL Dante stagebox. Mic amp control is arbitrated between all consoleson the network.
SSL Blacklight II connectivity is used to provide a 256 channel @ 96 kHz connection between themonitor console and a BL II.D Concentrator. Standard MADI is used for distribution between the BL II.D
Concentrator unit and SSL ML MADI stageboxes for additional Monitor channels and outputs on stage.

X-Light

SSL

X-Light

SSL

X-Light Bridge

X-Light

SSL

X-Light Bridge

X-Light Bridge

NETWORK SWITCHES
Primary Network
Secondary Network

Broadcast console
System T

SSL

L350
BL II
Solid State Logic

BL II Concentrator
SSL

SSL System T

SB 32.24

Solid State Logic

ML 32.32

ML 32.32

SB 32.24
SSL

SB 32.24

Solid State Logic

ML 32.32

SB 32.24

X-Light
Solid State Logic :: LiveML 32.32

Primary Network

Secondary Network

BL II

Madi Coaxial

Remote I/O - MADI

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Flexibility and Scalability

ML 32.32 - Analogue Stagebox

A fully scalable set of remote I/O units are available for SSL Live consoles including
analogue, AES/EBU digital, MADI and Dante devices. Interconnection between console
and stage is via MADI or Dante. Remote gain control data can be carried by either
MADI or Dante. For simpler systems standard coaxial MADI can be used to connect theconsole directly to analogue and/or digital AES/EBU Stageboxes.

The 5U ML 32.32 analogue stagebox has 32 remote controlled SSL SuperAnalogue™ mic/line inputs and 32 line outputs on the front panel. Multiple units can be used to create larger
systems. Remote switchable phantom power is available to all inputs. A/D D/A conversion
takes place within the stagebox and the standard unit has two pairs of coaxial MADI In/Out
configured as a redundant pair on the rear panel. I/O sharing between SSL Live consoles
is made possible via an additional pair of coaxial MADI outputs. There is an optional rearmounting 32 analogue mic output split panel. There are sample rate and clock setup buttons
and a pair of wordclock connections. MIDI and GPIO connections are also supplied foralternative remote control methods.

For higher channel count MADI based systems, SSL’s proprietary
Blacklight II high bandwidth multiplexed MADI can be used to provide point to pointconnectivity with a single or redundant pair of cables. Blacklight II carries 256 @96kHz audio signals, equivalent to eight MADI connections, bi-directionally down asingle multimode fibre (single mode fibre option also available). A MADI Concentrator
box located at the stage is then used to distribute standard coaxial MADI to MADI
based analogue and AES/EBU Stageboxes, a second SSL Live console or other MADI
devices. When two or more SSL Live consoles are connected to the same I/O, arbitrated
gain sharing allows specification of which console has master gain control. All I/Ostageboxes are fitted with dual redundant power supplies.

D 32.32 - AES/EBU Stagebox
The D 32.32 is a 2U digital stagebox providing 16 x AES/EBU pairs via front panel XLRs. The
unit offers sample rate conversion from the standard 96 kHz operating rate to other rates. The
rear panel features exactly the same connectivity as the analogue stagebox.

BL II.D - MADI Concentrator
This 2U unit features two redundant pairs of SSL’s proprietary Blacklight II connectors on thefront panel. Each connection carries 256 channels of audio at 96 kHz and is used for efficient
cable connection to the console. The rear panel provides 8 redundant pairs of coaxial MADI
connectors. This high density MADI I/O device delivers digital audio interconnection between
any configuration of analogue and digital stageboxes and facilitates I/O sharing.

Network I/O: MADI-Bridge
Provides an interface between a Dante IP Audio Network and MADI. It has on board Sample
Rate Conversion so can deliver 32 channels at 96 kHz into a 48 kHz Dante network. It has dual
MADI, IP Network ports and PSU which can be used as a fully redundant solution or in Split
Mode to connect two 96kHz MADI streams to a 48kHz Dante Network (and vice versa). It alsooffers a unique front panel headphone confidence monitoring system.

Solid State Logic :: Live31

Remote I/O - Dante

Explore Online

Built for a fully networked world
A fully scalable set of remote I/O units are available for SSL Liveconsoles including analogue, AES/EBU digital, MADI and Dante devices.
Interconnection between console and stage is via MADI or Dante. Remote
gain control data can be carried by either MADI or Dante.
SSL’s Network I/O range of Dante devices provide analogue, AES digital oreven embedded SDI bridging. Dante networks offer an extremely flexible
and powerful solution to audio routing and asset sharing in a wide rangeof on stage and installed systems. SSL Network I/O Stageboxes place theexemplary audio performance of SSL’s renowned SuperAnalogueTM mic pretechnology at the heart of your system. When two or more SSL Live consoles
are connected to the same I/O, arbitrated gain sharing allows specificationof which console has master gain control. All I/O stageboxes are fitted withdual redundant power supplies.
SSL’s Network I/O range is also fully compatible with our System T broadcast
audio technology, making truly cross-functional system design possible.
Broadcast oriented Network I/O units provide SDI Embed-De-Embed options
if required.

SB 32.24 & SB 16.12 - Stageboxes
SB 32.24 is a 5U unit featuring, 32 mic/line inputs, 16 analogue line outputs and 8 digital inputs
and outputs on 4 AES/EBU input/output pairs. SB 16.12 is a 3U unit featuring, 16 mic/line inputs,
8 analogue line outputs and 4 digital inputs and outputs on 2 AES3 input/output pairs. Both units
have redundant RJ45 Dante network connections in addition to a user configurable SFP portsthat can be fitted with RJ45 or optical connectors. These can be used for network extension or
to provide network separation for a gain-compensated Dante “split”, for connection to a second
Dante-equipped console or appropriately equipped device on a different network. They haveindividual signal present, clip and phantom power LED’s as well as global indication of PSU,
Network A and B and Hardware status. They can operate at 96 kHz or 48 kHz sample rates.

SB 8.8 & SB i16
These 2RU units offer slightly different configurations but share identical features. The SB 8.8
offers eight mic/line inputs and eight line outputs. SB i16 offers sixteen mic/line inputs. Bothhave a pair of redundant RJ45 Dante connections, a pair of network extension connections, and
GPIO. They have individual signal present, phantom power and attention LEDs. They feature
inbuilt limiters and SSL’s innovative AutoPad system that automatically applies a Pad according
to gain setting. An Aud (Audition) feature allows for automatic gain setting: Hold Aud while audio
is present to automatically set the gain based on the source level.

X-Light Bridge & BL II Bridge
SSL’s X-Light Bridge is a 1U unit that provides a bridge between any Live console and awider Dante network using SSL’s proprietary high bandwidth X-Light protocol. This delivers
256 channels of ultra low latency 96 kHz audio in and out of the console via a redundant pairof touring-grade ruggedised connections; perfect for taking Dante on the road. X-Light carries
Dante audio and control data using a single connection.
For fixed installations where ruggedised connections are not required, the BL II Bridge alsooffers 256 channels of 96 kHz audio between a Live console and a Dante network by utilising
SSL’s proprietary high bandwidth Blacklight II protocol.

Solid State Logic :: Live33

Automation

Built For The Road

New improved advanced scene control

Ready for the all weather hard knocks life of the roadAs you would expect from the company that first introduced
console automation over 30 years ago, SSL Live consoles feature
an automation system that benefits from our unrivalled studio andbroadcast background.

SSL has a global reputation for the highest standards of build quality and first class
support. With our Live consoles we have taken things to the next level. At their heart isa stainless steel chassis that is expecting a life on the road and it is well balanced withweight distributed carefully and well placed lifting points to make them a comfortable
and safe two man lift. They are also designed for life in a wide range of environments…
they aren’t waterproof but are ready for any level of non-condensing humidity planet
earth has to throw at them. They are designed to operate in a complete spectrum oflighting conditions. They have the brightest touch screens available on a live console
and powerful colour change LED’s throughout with the punch to remain crystal clear
even in full daylight. There is a concealed light strip along the top of the front panel toilluminate the control surface in low lighting conditions. With L550 and L350 there arethree front panel rotary controls to adjust brightness of the console: one each for thescreens, control LED’s and light strip. These brightness controls respond to automation
to aid blackouts.

Automation is controlled via a full hardware interface in the Master
Tile or via a software interface that can be manipulated via themain touchscreen or Channel Control Tile screen. The Automationinterface can also be displayed on the optional external monitor.
The system can store virtually unlimited automation scenes.
Extensive filters enable the user to choose exactly what settings
the console stores or recalls, not just on a global basis but also
on a per scene basis. Scene groups enable absolute or relative
editing of all selected scenes in a single operation. Scenes can betriggered manually or from external triggers. Scenes even include
the Eyeconix images and display brightness settings.

Solid State Logic :: LiveThe Consoles are not the only ones who live on the road so there is a front panel
USB port which is there to enable complete show files to be saved and loaded via a
USB drive. SSL Live showfiles can be moved between all SSL Live consoles without
the need for any external conversion process. The automation system features anextremely powerful filter system which allows the operator to define on a global or per
scene basis which settings will be recalled, so that for example everything except
Master Output EQ settings can be recalled for the show.

35

Solid State Logic
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owners. No part of this publication may be reproduced in any form or by any means, whether mechanical or electronic, without the written permission of Solid State Logic, Oxford, England. Solid State Logic has a policy ofcontinual product enhancement and reserves the right to alter specifications without notice. E&OE