Ssl duende software update

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SSL duende update available now. On PPC machines only is unusable as in v2. Duende is compatible with Pro Tools HD providing the recommended settings are observed and firewire bus considerations are taken into account.

It will provide a maximum of a sample latency compensation. If the total latency throughout the signal path exceeds this value then the remaining latency must be compensated for manually.

More information is found on this in the Duende manual. Duende is compatible with Live! There are two buffer sizes available in Live! We recommend using the VST Duende plug-ins. The option is found in a menu in the top left of the plug-in GUI graphical user interface just to the right of the 'close plug-in' arrow.

This menu also handles preset management. On some systems this is ticked and greyed out, where as on others it is a user definable option. All Duende plug-ins should have this option ticked to prevent any issue when closing the GUI. A black box at the top of the channel strip displays the current parameter value, which will also show up above individual controls during adjustment in software version 1.

As you'd expect, plug-in parameters can be automated to the extent that plug-in automation is supported by the host application, and all the plug-in settings are saved in your host DAW's song file in the normal way. A Preferences panel shows information about the Duende hardware and also displays DSP loading information so you can see how much free DSP you have available at any time.

There are 32 slots available 16 at high sample rates and each slot may be filled with either a Channel Strip or a Bus Compressor. Note, however, that a stereo version of a plug-in takes up two slots, and each half of a stereo plug-in must run on the same one of the four DSP chips, rather than being spread over two chips.

If you end up with just two slots left on different DSP chips and you need to load in another stereo instance, closing and then reloading the song should remedy the problem, as the DSP resources are reallocated when a song opens. One major concern about DSP-assisted Firewire devices is the inevitable increase in latency caused by having to send the audio out of the computer, process it and then send it back.

Duende is no exception to the general rule that your host software's audio driver latency will be roughly doubled. This isn't an issue when mixing but may mean it is best to record your session, including any overdubs, before opening up any Duende or other DSP-powered plug-ins. As Duende's plug-ins are intended for mixing, unlike soft synths and some other plug-ins, this isn't really a problem, but it is something you need to be aware of, and if SSL could add a control to bypass all of Duende's plug-ins at once for those occasions where you need to come back and do an overdub, that would be a great help.

Most host applications automatically compensate for plug-in latency providing the plug-in correctly publishes its delay characteristics to the host software, so all your tracks retain the correct time relationships with each other.

Providing PDC is switched on, the process is transparent to the user. Note, however, that not all host applications offer delay compensation for sends, group busses or outputs, and in the case of programs like Logic , you have the option to switch this on or off — so you should ensure it is switched on if you are using plug-ins in buss insert points.

This is of course true of any plug-in, but as DSP-powered plug-ins tend to double the latency set by your original buffer size selection, the result can be very noticeable if you forget! Pro Tools LE 7. Currently there is no expander option to allow channel operation at high sample rates, and multiple Duende units are not supported, but SSL are actively researching ways around this limitation. I also did some tests to see how much CPU load Duende placed on the host processor; some administrative load is inevitable, but on a Mac G5 the extra load is pretty much insignificant — probably around the same as running one or two native compressor plug-ins.

Both can be bypassed and the filters can be switched out of the audio path and into the dynamics side-chain if required. Additionally, the filters can be switched pre- or post- the main EQ. Filters of this kind are very useful for constraining the frequency range of tracks when you're trying to create separation in a mix. A routing block diagram is always shown in the plug-in window, so you can always check that the signal is being routed as you expect.

The four EQ bands comprise high and low-frequency shelving equalisers, which can also be switched to peaking curves using a Bell button which I personally find a very useful option , and two variable-Q, variable-frequency mid-range parametric sections. The two parametric bands offer ranges from Hz to 2kHz and Hz to 7kHz, with Q adjustable from 0.

In the G-series mode, the shelving curves EQ exhibit some overshoot, like their analogue counterparts, while switching to E-series mode gives a gentler slope with no overshoot. In G-series mode, the bandwidth of the parametric bands varies with the amount of cut or boost applied, whereas the E-series version operates in constant-Q mode; this may be perceived as being less subtle, and you have a definite choice of EQ flavours here. It's also possible to bypass the EQ section of the plug-in independently of the rest, or place the EQ in the dynamics side-chain.

If you've already assigned the filters to the side-chain, the EQ comes before the filters in the signal path. The dynamics section of the channel strip is relatively simple but nevertheless very powerful. Compression can sound different depending whether it is applied pre- or post-EQ so there a Pre EQ switch to provide this choice as well as a bypass button.

When the dynamics is switched pre-EQ, it still comes after the input high- and low-pass filters. There's also a choice of detection algorithms.

Choosing Peak means the compressor responds to high signal levels regardless of how short they are in duration, while RMS makes the compressor respond more to the average input signal level as it would be perceived by a human listener. As a rule, peak compression is more assertive and is well suited to percussive material. In this design, the RMS mode uses a soft-knee compression curve whereas the Peak setting reverts to a conventional hard knee, so the RMS mode is clearly the more gentle of the two.

A meter with yellow and red 'LEDs' shows the amount of gain reduction being applied.