Manual Model 2058 Channel Strip Manual Track One Version 1.0 ­ 4/2001 R & D: Ruben Tilgner Model 2058 The information in this document has been carefully verified and is assumed to be correct. However Sound Performance Lab (SPL) reserves the right to modify the product described in this manual at any time. Changes without notice. This document is the property of SPL and may not be copied or reproduced in any manner, in part or full without the authorization of SPL. Limitations of Liability: In no event will SPL be liable for any damages, including loss of data, lost profits, cost of cover or other special, incidental, consequential or indirect damages arising from the use of the unit, however caused and on any theory of liability. This limitation will apply even if SPL or an authorized dealer has been adviced of the possibility of such damage. Sound Performance Lab SPL electronics GmbH P.O. Box 12 27 D- 41368 Niederkruechten, Germany Phone +49 - 21 63 / 98 34-0 Fax +49 - 21 63 / 98 34-20 eMail: info@soundperformancelab.com www.soundperformancelab.com © 2001 SPL electronics GmbH. All Rights Reserved. 2 Content Introduction ............................................................................................... 4 Principles ................................................................................................... 4 Hookup/Security advices ........................................................................... 5 Connections Rear panel/wiring ...................................................................................... 6 General advices, connectors & switches .................................................... 7 Control Elements · Preamplifer stage Microphone Gain, Line/Instrument, 48 Volt phantom power ...................... 9 Highpass, on levelling ................................................................................ 10 · De-Esser On, S-Reduction ........................................................................................ 10 Technical information regarding the De-Esser ............................................ 11 · Compressor/Limiter On, Limiter ................................................................................................. 11 Compression, Make-Up, technical information regarding the compressor .. 12 · Equalizer On, Low Band, Cut/Boost (Low) ................................................................ 13 Mid-Hi Band, Cut/Boost (Mid-Hi), Air Band, Recommendations ................. 14 · Output/Display Output ....................................................................................................... 15 Display: S-Det., Clip, Sig. ............................................................................ 15 Display: PPM-Output, Gain Reduction ....................................................... 16 Power supply .............................................................................................. 16 Specifications ............................................................................................ 17 Measurements ........................................................................................... 18 Warranty .................................................................................................... 20 3 Introduction SPL is mainly known for the development of highly specialized audio-tools. Our philosophy, "one product for one task", is aimed at fast and simple operation in conjunction with high processing quality to ensure an excellent musical performance. With Track One SPL have produced a complete channel strip which for the greater part is based on the processing concepts already successfully realized in other products. The very complex task of a channel strip profits particularly from the innovative techniques that have always allowed the operation of SPL equipment to be efficient and objective. The ususal recording day is to a high degree determined by a series of opposing time limits ­ the "highly paid" singer/speaker desires a quick recording; however, if technical preparation takes a long time because of unsuitable equipment, time will be lost, increasing the costs and souring the working environment. The Track One in all cases however allows fast production without any loss of professional precision and diligence. The Track One consists of pre-amplifiers optimized for all kinds of microphones and instruments, SPL`s acclaimed De-Esser, a compressor/limiter that can be linked with the compressor of a second unit for stereo operation, an equalizer (EQ) section for sound corrections or creations and an output stage for perfectly feeding following units. A central display shows metering for output level and gain reduction and all other status LEDs. Principles The Track One is a channel strip that excels primarily in two aspects: it is disarmingly easy to use and offers outstanding sound qualities. This concept is ideally suited for alle kinds of vocal and instrument recordings in studio, broadcast or live applications as well as for ,,one man show" entertainment. The controls are reduced to the necessary basics to ensure highest userfriendliness. Therefore, working with the Track One can be dramatically timesaving which is most important especially in live situations. Due to its excellent sound quality the Track One is a highly recommended alternative to built-in console pre-amps and processing tools. All the modules are immediately at hand for fast interactions. Recording a voice and providing clarity, detail and intelligibility is a question of seconds. Optionally the Track One can be equipped with a 24 bit/96 kHz Ad converter for direct digital recording. An additional connector allows to insert a second signal - if for example two Track Ones are used to process stereo material, only one converter is needed. The second option is a Lundahl transformer input stage. These transformers already amplify the microphone signals by factor 5 ­ the preamps are relieved by this factor, which improves noise values and linearity of the amplification in the high frequency spectrum. 4 Principles A special feature of the printed circuitry layout is the central star ground wiring scheme: Disturbing influences that could affect the ground paths are minimized in that the audio-ground is separated from the ground of the remaining equipment. This leads, in the truest sense of the word "clean", to considerably improved tonal quality. The scatter free toroidal transformer, manufactured to SPL tolerances, supplies the equipment with the necessary voltages and forms the basis for a clean electrical supply to all parts of the circuitry. Hookup & Security Advices Carefully select a place for setting up the Track One. The unit should be situated away from heat sources and direct sunlight. Avoid installation in environments exposed to vibrations, dust, heat, cold or moisture. Keep the unit away from transformers or motors or any other unit that could generate large variations in power supply or cause electrical interferences. Do not install the unit in proximity to power amplifiers or digital processors. You may consider placing it in a rack containing other analog gear. Such placement can prevent interference from Word Clock, Smpte, MIDI, etc. · Do not open the case. You may risk electric shock and may damage your equipment. · Leave repairs and maintenance to a qualified service technician. Should foreign objects fall inside the case, contact your authorized dealer or support person. · To avoid electric shock or fire hazards do not expose your unit to rain or dampness. · In case of lightning unplug the unit. Please unplug the cable by pulling on the plug only; never pull on the cable. · Never force a switch or knob. · To clean the case use a lint-free cloth. Avoid cleaning agents as they may damage the chassis. Manufactured in standard 19" EIA format, it utilises two rack units. · Please support the back of the unit whenever it is being mounted into a 19 inch rack (especially important when touring). 5 Connections 6 C AUTION OPTIONAL AD-CONVERTER SLOT Balanced operation: use TRS jack Unbal. operation: use mono jack MADE IN GERMANY SOUND PERFORMANCE LABORATORY ANALOG OUTPUTS ANALOG INPUTS Unbal. only: use mono jack INSTR. LINE/INSTR. SERIAL NO. VOLTAGE SELECTOR GND MASTER COMP. LINK AD INPUT 2 RISK OF ELECTRIC SHOCK DO NOT OPEN AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR XLR WIRING: SLAVE (use stereo jack) (with converter only) Pin 1 = GND Sleeve = GND Tip = Hot (+) Ring = Cold (-) Pin 2 = Hot (+) Pin 3 = Cold (-) LINE Fuse: 315mA - 15 watts JACK WIRING: MIC Compressor-Link with 2nd Track One 2nd signal input for optional AD converter (HD) recorder or console Instruments, line signals Microphone 2 1 3 1 2 pin wiring input XLR Rear Panel/Wiring 3 1=GND 2=hot (+) 3=cold (-) pin wiring XLR output 1 = GND 2 = hot (+) 3 = cold (-) pin wiring stereo jack plug Tip = hot (+), ring = cold (-), sleeve = GND General Advices Again, while Channel One's housing is EMV-proof and protects against HF-interference, placement of the unit is very important since it amplifies microphone signals as well as other unwanted signals. Before connecting the Channel One or any other equipment turn off all power. Adjust the voltage setting on the back so that it corresponds with the power conditions. The following graph shows the correct wiring for connecting unbalanced signals to the balanced XLR connectors: Connections Input balanced unbalanced Output balanced unbalanced 2 3 1 2 3 1 1 3 2 1 3 2 1= GND 2 = hot (+) 3 = cold (-) The Line/Instr. connector accepts unbalanced signals only. The output jack connector accepts both balanced and unbalanced signals (use a mono jack plug for connecting unbelanced signals). Please also refer to ,,Analog Outputs" on page 8. Connectors & Switches Mic connector The Mic connector is used to plug in microphones of any type (dynamic, condenser or tube microphones etc.). If 48 V phantom power is required for some mics, switch on the 48 V button. For further information please read "48V phantom power" on page XXX. Connections ANALOG INPUTS Unbal. only: use mono jack INSTR. LINE/INSTR. LINE MIC Line/Instr. connector & switch This connector is used to connect line and instruments signals. A switch ensures to set the appropriate level and impedance values. Usually, the switch can be set to INSTR. also for line signals, except they are delivering very high levels - in this case, the switch should be set to LINE. Analog outputs The Analog Outputs deliver balanced output signals. Since both connectors are working in parallel, unbalancing one connector also unbalances the other one. If for example a mono jack plug is connected to the jack connector, the XLR connector is switched to unbalanced operation as well. ANALOG OUTPUTS Balanced operation: use TRS jack Unbal. operation: use mono jack 7 Connections AD INPUT 2 Connectors & Switches A/D Input 2 This connector serves to feed a further signal to the optional AD converter. Two different signals can be converted at the same time. The maximum input level should not exceed +12dBu to avoid clipping of the converter (+12dBu represents the digital full scale level, 0 dBfs). (with converter only) GND GND Lift The GND Lift switch separates internal ground from chassis ground. The switch should be activated to eliminate ground loop humming which may occur if the Channel One is connected to units with another ground potential. MASTER COMP. LINK Comp. Link The Comp. Link function allows to drive two Track One compressor stages from one master control unit, e. g. for coherent stereo processing. SLAVE (use stereo jack) The units are to be connected via a stereo wiring with jack connectors. The switch serves to determine which of the units is the master to control the COMPRESSION, MAKE UP and LIMIT controls from. The respective controls on the slave unit are deactivated in link mode. All other controls and switches (including the ON switch) must be taken care off on both units. The GAIN REDUCTION metering of the master unit now is the master display for both units. If the two units are to be used separately again, the wiring must be disconnected and the SLAVE unit must be set to MASTER. IMPORTANT: If two units are connected for master/slave operation, NEVER EVER switch both units to MASTER! Both units would try to control each other - in worst cases, damaging the units can not be excluded. 8 Preamplifier Stage Control Elements Microphone Gain The Microphone Gain control determines the preamplification of the microphone signal. The preamplification values extend up to + 65 dB. If Lundahl input transformers are fitted the scale values are to be increased by + 14 dB. Please refer to ,,About levelling" on page 10 for further information. If the LINE/INSTR. switch is activated, the MICROPHONE GAIN control determines the preamplifi ...