Dave Lockwood checks out Soundtracs' new VCA-automated addition to the popular Solo range.

Soundtracs' Solo MIDI looked like a real winner when it arrived on the scene — a serious-looking desk with a good clean signal path, decent MIDI muting, and a compact frame with plenty of inputs. Clever internal routing allowed the Solo to address all 24 tracks of a tape machine, and the flexible EQ configuration was shared between channels and in-line monitors. What more could you want? Well, how about simple-to-use dynamic fader automation, writing to an on-board computer that both reads and generates MIDI Timecode?

And if that's not enough, throw in a tape recorder-like interface which is simple to use, and which can remotely control tape transports via MIDI Machine Control. That is exactly what Soundtracs have given us, in the form of the Solo Logic. The new model also has a couple more upgrades, including a full-size meter bridge that transforms the appearance of the desk into something undeniably a bit more up-market.

Solo Logic is available in 24- and 32-channel versions (Solo MIDI has a further option of 16), with eight multitrack busses, operating in conjunction with a direct output from every input/output module, to create a highly efficient routing system. Up to 24 tracks can be easily accessed without patching being required, but the flexibility and ease-of-use of visible sub-group routing, complete with an output fader, is retained.

TRANSFORMED

The basic finish is Soundtracs regular grey/brown, nicely rounded off by stylish moulded end-cheeks. Controls are picked out with tastefully colour-coded knob-caps, and also have clear markers extending across the top and down the sides, aiding precise positioning. A write-strip is provided just above the faders (usefully repeated at the top of the channels), with a token, 'not-very-padded', armrest below. The upper end of the desk, however, is transformed by the presence of a new meter bridge, running the full width of the frame. Ten-segment, peak-reading LED bargraph meters display levels for every channel (read pre-fader), and the left and right master outputs.

Apart from the balanced XLR mic inputs, all connections are quarter-inch jacks, mounted on the rear panel, helping to keep cables tidy and out of sight, but at the same time necessitating the use of an external patchbay if frequent re-plugging is to be at all convenient. The eight Groups and main Left and Right bus outputs are all balanced (with insert points); F/X returns are also balanced. Tape sends, the six Aux outputs, and the studio and control room outputs (separate jacks for left and right signals), are all unbalanced. Two sets of 2-track tape-return inputs are featured, and two banks of MIDI In, Out and Thru sockets complete the connection facilities. The console power supply is a 2U rack-mounting, switch-mode unit, which runs cool enough not to require a fan.

Channels have Mic, Line and Tape inputs, with individually switchable 48V phantom power for condenser mics. Insert points (located after the EQ) use the normal tip-send, ring-return, stereo jack format, and there is a Tape output from each channel for connection to the equivalent-numbered tape machine input. Tape send operating level, and indeed other points within the desk where a choice of interface level might be necessary, may be set for +4dBu or -10dBV operation by means of internal links. The direct sends are augmented by dedicated outputs from the eight sub-groups. Normally, the tape out socket on the rear of the channel strip outputs the post-fader channel signal; however, when the Bus switch is activated, the tape sends pick up the correspondingly numbered sub-group bus. These are repeated, in blocks of eight, across the console, so that Group 1 feeds tape outputs 1, 9, 17 and 25, while Group 2 feeds 2, 10, 18, 26, and so on.

MAXIMUM FLEXIBILITY

A single gain control governs both mic and line circuits, combined with source switching. A red peak LED, illuminating 5dB before clipping and common to both circuits, assists gain setting. In common with most EQ sections that are designed to be split between the main and monitor signal paths, the Solo Logic's four-band system has the shelving high and low stages located together, just above the two sweep sections. Also, when an EQ is going to be split, each section needs to cover a wider range than normal, being able to function virtually as a full-range equaliser in its own right. The response of the shelving filters offers 15dB of cut or boost at the well-chosen frequencies of 80Hz and 12kHz — subjectively preferable, and operationally more useful, I feel, than the more common 100Hz/10kHz combination. The two sweep mids are not true parametrics, in that there is no 'Q', or bandwidth control, but offer a similar range of cut or boost, covering 350Hz-8kHz, and 50Hz-1kHz. The separate EQ sections each have a Mon switch, used to assign that stage to the monitor signal. This offers the maximum possible flexibility, for either element, or both, can be deployed in either path. The EQ bypass switch, however, always operates on both sections, regardless of their assignment.

The six auxiliary sends may be individually selected pre or post fade by means of internal links. The factory assignment is: Aux 1 pre-fade from the channel path; 2 pre-fade from the monitor path; 3 and 4 post-fade, transferable as a pair between channel and monitor; 5 and 6 post-fade, also transferable as a pair.

"Solo Logic provides a level of automation functionality that cannot be faulted in this price range."

The Mix switch allows you to reverse the normal input configuration used for track laying, flipping the tape returns from the monitors into the channel signal path, and re-routing the line inputs into the monitors — monitor channels are also switched to directly feed the main stereo mix, rather than the monitor output. The monitor controls consist simply of basic rotary Level and Pan, plus single auxiliary (Aux 2); however, both the monitor Mute and Solo switch are tied in with the automation. At the bottom of the channel strip is a conventional routing matrix (to four pairs of busses, plus left and right), with the channel pan control being used to select between odd and even groups. The 100mm faders (made by Panasonic), are actually conventional carbon track designs, although easily smooth enough to pass for an up-market Penny and Giles. The fader panel is augmented by a pair of switches controlling automation functions, accompanied by prominent Record and Play LED status/nulling indicators, in green and red. Below the pan control, the Mute (On) and Solo switches for the channel feature integral status LEDs, like those for the monitor section and aux masters and returns.

MASTER SECTION

Solo Logic has a generous allocation of four stereo F/X returns, each with Level, Balance, two-band EQ, and a feed to aux bus 1 (left and right return signals are simply summed, as the send is mono). The six auxiliaries are equipped with master level controls and AFL switches. Usefully, they too have automated mutes.

Control room monitoring can be switched between the stereo mix bus, or either of two stereo tape returns from mastering and copy machines. Talkback, routable to the studio for communication, or to the groups for 'slating' (putting the 'take' number, etc, on tape to aid later identification), is facilitated via an integral electret mic capsule. A rather limited, single-frequency oscillator is provided, with a 1 kHz tone routable either to the groups or the aux busses.

Master Solo switching offers a choice of true stereo Solo In Place (a 'destructive' solo, which hard-mutes all other signal paths), or conventional Pre-Fade Listen (which isolates the signal only in the monitoring). A headphone jack with level control is also provided, fed from the control room signal. Monitoring for performers is provided via the Studio output, which can be switched to receive aux 1, aux 2, or a combination of both. The Control Room monitor signal is another option — often a better foldback mix from the performer's point of view, particularly on headphones, as it is stereo (although the engineer is then deprived of the ability to radically play with the monitor mix during a take).

Separate left and right master faders are provided, very closely spaced, facilitating easy stereo fades, whilst still allowing an offset to be made if necessary.

AUTOMATION

Solo Logic features VCA-based dynamic automation, with fader moves being recorded to an on-board computer with 1Meg of battery-backed RAM, so you don't lose the mix when the desk is powered down. External storage must be used for archiving, however, and in practice it is probably worth also backing up important work as it develops. During the course of even an abnormally extended, hyperactive mix, done solely for test purposes, I found it fairly difficult to exceed the memory capacity of the system — you would have to be doing something pretty unusual to run out, but when you do, I can verify that nothing more untoward happens than the discarding of the new information added in your last pass.

The automation has a dedicated control panel with a prominent LCD window, and a rotary dial and cursor keys for data input. The system is also equipped with a set of 'tape' transport controls; Stop, Play, Record, Fast Forward, and Rewind, making it instantly very familiar and easy to use. When the Solo Logic is synchronised to tape these can even be used to remotely control the transport via the MIDI Machine Control protocol (provided the tape machine supports MMC), taking the system even closer to the convenience of integrated 'pro' systems.

The Logic automation can control the channel faders, and the On and Solo switches of channels, monitors, groups, F/X returns, and aux masters. All events are recorded against a MIDI Timecode reference — the Logic includes an MTC generator, allowing it to function as the master 'transport', in a system with an 'MTC-literate' sequencer. Normally, however, things will be configured with SMPTE/EBU on tape, and a SMPTE to MTC converter interposed between tape machine and the Logic's MIDI input. The provision of two sets of MIDI ports allows one to handle MTC whilst the other deals with MMC transport control — not strictly necessary, but convenient.

'KEEP OR ABORT?'

Sensibly, when first powered-up, the Logic defaults to Automation Off, which means that you can always operate the console manually, both in the initial stages of recording, or if you get into a real mess when still learning the system. On starting up the automation with no existing mix in memory, all faders will automatically drop into Record. If data already exists, the display 'Faders Record' needs a confirmatory press of Enter to achieve this condition. Record is acknowledged by a red LED adjacent to each fader. Pressing Play on the Logic's control panel (or the tape machine, if there is no MMC link), will start the first pass, with any fader moves being recorded. Even if there are no moves being attempted at this stage, it is necessary for the first pass to be allowed to run for the full length of the mix, to avoid problems later on. At the end of every recording pass, whatever its duration, the system asks if you want to 'Keep' or 'Abort' the mix. If you decide to keep this version, the next time you 'Play' it (pressing Stop twice is a quick way of resetting the MTC to zero, although you will still have to wait for the tape to get there), the faders will automatically select Play mode, with the replay level now controlled by the channel VCA, not the physical fader. Assuming that you didn't do everything in one pass (which would, after all, be defeating the point of having automation), the next stage is to update, or overdub the information. This is achieved either by dropping individual faders into Record once again (by pressing their Record switches, just like a tape recorder), in order to completely re-write their data, or via Trim mode. Trim is entered by selecting Record and Play at the same time. Now, fader moves will be added to those already present, rather than re-recording them. This is useful for fine-tuning elements in a mix — you may perhaps have already written a series of moves to level out a lead vocal, but then decide that the whole vocal track is a little too loud at one point. Rather than having to try to replicate the moves again, you can simply use Trim to apply an offset for that section.

Visual 'nulling', allowing matching of the fader position to the VCA level, is incorporated, with the Record and Play LEDs flashing to indicate the required direction of movement. Nulling prevents a sudden change in level when a fader is dropped in or out of Record. Faders can be Isolated from the automation (useful if you need an input channel for a last minute overdub when you are already halfway through the mix), and can also be dropped in and out in pre-selected groups. Writing and amending mute data is equally simple — this really is a very easy system to use, even for the complete automation novice.

The mix in memory can eventually be named, and dumped to a MIDI recorder for storage. The process is monitored by a countdown display, so you can see how much longer you are going to have to wait. My totally OTT test mix, which used the entire memory, took just over three minutes! I would expect any normal mix, however, to be less than half this. Not all sequencers are equally happy handling large SysEx files, so it is worth making sure that your intended back-up medium actually works before doing any important work. Of course, if the program content involves MIDI sequencing, the logical place to dump would seem to be the sequencer song file itself, ensuring that it can never be lost or separated from the data to which it applies. In practice, however, a complex mix may well not fit all that readily alongside a data-intensive song in a standard 1Meg Atari.

Although the Solo Logic does not utilise MIDI messages to perform the actual automation functions, the system does transmit MIDI controller information. This allows you to use a sequencer purely as a graphic display, showing on-screen faders corresponding to VCA levels. You can in fact operate the system perfectly well without it, but there is always a certain comfort in seeing your written moves confirmed by visual 'fader' activity. There is also an option to output mutes as note data, rather than controllers (excessive controller activity can tax MIDI bandwidth to the limit, causing delays — albeit only in the display data in this instance).

Solo Logic provides a level of automation functionality that cannot be faulted in this price range. It is easily learnt and, once mastered, is fast, efficient, and fun to work with. The local switching in the fader area — rather than having to access an external computer screen to switch everything — makes all the difference in the world, allowing the automation to become simply part of the natural mixing process, rather than always feeling like a bolt-on accessory.

IN USE

Despite the presence of VCAs in the primary signal paths, the Soundtracs Solo Logic is an impressively clean, quiet desk in use. The mic amps are typical of most contemporary designs for this sector of the market, which means they are actually pretty respectable. The padless front-end seems to have plenty of headroom, and subjectively there is no untoward difference between the extremes of the gain range. The equaliser has plenty of 'reach', particularly when not split, allowing some quite complex salvage work to be undertaken. It doesn't sound too bad either, allowing subtle lifting in the mid-range or at HF without getting too coloured or hard edged.

Twelve-bit fader resolution gives, theoretically, 4096 discrete levels. In operation, there was more than sufficient fine control of level, I felt, but the one area I did have trouble with was response time. The system did not seem able to reproduce really fast fader movements, such as might be used for momentarily dipping a vocal 'pop'. With the VCAs being scanned at frame rate, the limitation doesn't lie there — there is certainly some data-thinning going on (which can, in fact, be disabled via a hidden sub-menu); perhaps there is some compensatory software interpolation incorporated which is causing a degree of inertia in the system. In the vast majority of typical mixing applications replicated during testing, however, no other problems associated with the mixing process itself seemed to arise.

Even with all channels, monitors, and returns simultaneously routed to the mix bus, the noise performance remains more than acceptable for a console in this price range. Operationally, I found the Solo Logic a very comfortable desk to work with — it is electronically docile and predictable, and seems ergonomically sound, enabling fast and efficient working.

CONCLUSION

Solo Logic is really quite an achievement. Serious dynamic automation, the ability to efficiently address 24-tracks, and a significantly large number of remix inputs, all in a good-sounding, and indeed good-looking, package - and all for under £9,000 for a 32-channel system. The mixture of balanced and unbalanced connectors is sensible, and the use of quarter-inch jacks is probably correct for the target user. The lack of an on-board patchbay option can not really be criticised given that the Solo series desks are of non-modular construction. There are only two options for the Logic — 24 and 32 channels — but offering a patchbay would have necessitated two more frame sizes, which would obviously have to be accommodated in the pricing.

Where compromises have been made — and they inevitably must have been in order to target a console of this specification at this sector of the market — they cannot really be said to significantly compromise either operation or sound quality. There is nothing radically new here; no surprises. It is all just so well conceived and put together, and at the right price. Solo Logic re-affirms Soundtracs' position among the leading manufacturers in this highly competitive sector of the market.

Further Information

Soundtracs Solo Logic 24:8:24, £7461; 32:8:32, £8960. Prices include VAT.

Beyer Dynamic, (Contact Details).