TLAudio user manual ® Ivory 2 Series 5060 PRESET VALVE COMPRESSOR TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK email: info@tlaudio.co.uk web: http://www.tlaudio.co.uk CONTENTS 1. 2. 3. 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 4. 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12 4.13 4.14 4.15 4.16 4.17 4.18 4.19 4.20 4.21 5. 5.1 5.2 5.3 6. 7. INTRODUCTION PRECAUTIONS INSTALLATION A.C. Mains Supply Microphone Input Line Inputs Instrument Inputs Balanced Line Outputs Unbalanced Line Outputs Nominal Operating Level Ventilation OPERATION What is Compression? Why Valve Compression? Overview of Compressor Operation Input Source Selection Mic Gain Input Gain 90Hz Low Cut Filter Drive & Peak LEDs Program Control Table 1: Presets Threshold Ratio Attack and Release Gain Make Up Knee Comp On Output Gain Meter Meter `+10dB' Fat EQ DO-2 Digital Output Card GETTING STARTED Connections In Use Frequently Asked Questions (FAQs) SERVICE SPECIFICATIONS FIG 1: BLOCK DIAGRAM 1. INTRODUCTION Congratulations on purchasing the Ivory 5060 Preset Valve Compressor by TL Audio! The Ivory 2 Series consists of a range of hybrid valve signal processors, which utilise low noise solid-state electronics in conjunction with classic valve circuitry to produce audio processing units offering very high quality signal paths with the unique valve audio character. The units offer comprehensive control facilities, whilst remaining straightforward to operate, and represent excellent value for money. The 5060 is a dual channel processor with a single balanced mic input and stereo line inputs/outputs on the rear panel, and stereo instrument inputs on the front panel. The 5060 features a compressor section with 15 presets and a `manual' mode, plus a "Fat EQ" switch that, when active, applies an EQ contour to both channels. The two channels of the 5060 work in `linked stereo' mode, but a mono signal can be applied to channel 1 only, making the 5060 equally powerful for both mono/stereo tracking and final stereo mix processing. A single illuminated VU meter monitors the output level or the compressor gain reduction for both the channels. The optional DO-2 digital output card allows 24-bit A to D conversion via an RCA phono type SPDIF output, with selectable 44.1 or 48 kHz sample rates and an external word clock connection. The block diagram of the 5060 is shown in Figure 1. A solid state, electronically balanced input amplifier is used to achieve state of the art performance with very low noise, low distortion and wide bandwidth. An ECC83/12AX7A triode valve stage (run from a stabilised 100v DC supply) is used as a second stage voltage amplifier, to obtain the classic valve sound and gradual overdrive characteristics. The preamp stage also features 48V phantom power and a high pass 90Hz filter. A Drive LED gives a visual indication of the signal level through valve stages (and thus the amount of `warming' taking place) while a Peak LED warns that clipping is about to occur. The compressor section offers 15 carefully prepared presets designed to work with a variety of suggested signal sources. The compressor also has a manual mode, in which the dedicated compressor controls become active. In preset mode these controls are disabled with the exception of the "Compressor On" switch and the "Gain Make-Up" control. Manual mode features fully variable control of threshold, ratio and gain make-up with switchable fast/slow attack and release settings and hard/soft knee options. Like all other TL Audio compressors, the gain control element of the 5060 is based around a special transconductance amplifier, which avoids the use of VCAs and helps contribute to the smooth, open sound of the unit, along with the valve stage that forms part of the preamp circuit. After the compressor section - but prior to the output gain control - the Fat EQ facility adds a gentle boost to the low and high-end frequencies while introducing a slight dip in the mid range frequencies. The effect of this is to add a subtle "sweetening" or "fattening", similar to the `Loudness' button on Hi-Fi systems, thus adding a touch of "weight" to the signal. The 5060 Mic input is provided on an electronically balanced XLR connector, and the line inputs are provided on balanced TRS stereo 0.25" jack connectors. Balanced and unbalanced line outputs are provided (again on TRS 0.25" jack connectors) and these can be used simultaneously. The operating level of both the line input and outputs can be shifted from -10dB to +4dB via a rear panel switch, allowing the 5060 to easily integrate into any system. A pair of high impedance front panel instrument inputs allow guitars, basses and keyboards to feed directly into the 5060, removing the need for a separate DI box. Please read this manual fully before installing or operating the 5060. 2 2. PRECAUTIONS The 5060 Preset Valve Compressor requires very little installation, but like all electrical equipment, care must be taken to ensure reliable, safe operation. The following points should always be observed: - All mains wiring should be installed and checked by a qualified electrician, - Ensure the correct operating voltage is indicated on the rear panel before connecting to the mains supply, - Never operate the unit with any cover removed, - Do not expose to rain or moisture, as this may present an electric shock hazard, - Replace the fuse with the correct type and rating only. Warning: This equipment must be earthed. 3 FIG 2: FRONT PANEL PREAMP SECTION PRESET PROGRAM SELECTOR COMPRESSOR SECTION OUTPUT SECTION FIG 3: REAR PANEL SLOT FOR OPTIONAL DO-2 CARD IEC INLET INPUT / OUTPUT CONNECTIONS 3. 3.1 INSTALLATION AC Mains Supply. The 5060 is fitted with an internationally approved 3-pin IEC connector. A mating socket with power cord and mains plug is supplied. All mains wiring should be performed by a qualified electrician with all power switched off, and the earth connection must be used. Before connecting the unit to the supply, check that the 5060 is set for the correct mains voltage. The unit is internally set for 110-120V 60Hz or 220-240V 50Hz operation, and should only be changed by an authorised service centre. The mains fuse required is 20mm anti-surge, 315mA rated at 250V. If it is ever necessary to replace the fuse, only the same type and rating must be used. The power consumption of the equipment is 30VA. Warning: attempted operation on the wrong voltage setting, or with an incorrect fuse, will invalidate the warranty. 3.2 Microphone Input. The microphone input is via 3 pin female XLR connector, suitable for balanced microphones. The mating connector should be appropriately wired as follows: Balanced inputs: - Pin 1 = Ground (screen). - Pin 2 = Signal Phase (also known as "+" or "hot"). - Pin 3 = Signal Non-Phase ("-" or "cold"). The single microphone input of the 5060 is automatically routed to both channels of the unit. 3.3 Line Inputs. Each channel has a 3 pin TRS jack socket on the rear panel, which will accept balanced or unbalanced line inputs providing the mating plug is suitably wired: Balanced inputs: - Screen = Ground, - Tip = Signal Phase ("+" or "hot"), - Ring = Signal Non-Phase ("-" or "cold"). 4 Unbalanced inputs: - Screen = Ground, - Tip = Signal Phase ("+" or "hot"), - Ring = Ground. Good quality screened cable should be used, particularly for microphone or low level sources, to prevent hum or noise pickup. Refer to Figure 3 for rear panel connector identification. Please note that if a mono source is connected to line input 1 only, it will be automatically routed to both channels of the 5060. 3.4 Instrument Inputs. Each channel has a high impedance (1Mohm) 0.25" instrument jack socket on the front panel (see Figure 2). A 2 pin (mono) jack plug is required, which should be wired as follows: - Tip = Signal Phase ("+" or "hot"), - Screen = Ground. Please note that if a mono source is connected to instrument input 1 only, it will be automatically routed to both channels of the 5060. 3.5 Balanced Line Outputs. The line outputs are via 3 pin TRS jack sockets on the rear panel, and may be configured for balanced or unbalanced connection. Balanced operation is always preferable to maintain maximum headroom and signal to noise ratio, but can only be used if the following equipment is also capable of balanced operation: Balanced outputs: - Screen = Ground, - Tip = Signal Phase ("+" or "hot"), - Ring = Signal Non-Phase ("-" or "cold"). Unbalanced outputs: - Screen = Ground, - Tip = Signal Phase ("+" or "hot"), 5 - Ring = Ground. 3.6 Unbalanced Line Outputs. An dedicated unbalanced line output is provided for each channel, on a 0.25" mono jack socket. - Tip = Signal Phase ("+" or "hot"). - Screen = Ground. These outputs may be used simultaneously to the balanced line outputs, and are useful for monitoring purposes particularly in a computer based system where latency free monitoring is necessary. 3.7 Nominal Operating Level. A switch on the rear panel allows the line inputs and outputs to be matched to equipment at a nominal operating level of +4dBu or -10dBu. Most professional equipment requires +4dBu (approximately 1.2V rms), but some small mixing consoles, portable tape recorders or domestic audio equipment require -10dBu (approximately 225mV rms). If the operating level is not known, the switch should be set to the position which results in the best signal to noise ratio, whilst preserving sufficient headroom. 3.8 Ventilation. The 5060 generates a small amount of heat internally, mainly due to the valve heater. Do not locate the compressor where it will be subject to external heating, for example, in the hot air flow from a power amplifier or on a radiator. 4. 4.1 OPERATION What is Compression? Compression is an essential but often misunderstood process in modern recording. Put simply, compression reduces the ratio between the loudest and the quietest levels of an audio signal, which is known as reducing the "dynamic range" of that signal. Before the introduction of compressors the only way this could be achieved was by "gain riding", whereby an engineer would control the fader manually in order to try and anticipate very large levels (which might distort the signal) or very low levels (which may get lost in noise). The introduction of compression devices meant that this process could be controlled automatically, allowing the engineer to get on with more productive jobs! Many instruments and voices have a very wide dynamic range, which needs to be controlled. A singer, for instance, may be singing quietly one moment and very loudly the next, and unless compression is applied the vocal won't "sit" correctly in the mix, in addition to the problems of distortion on loud passages and noise on quiet ones. Thus with compression you are effectively turning down the loud bits and turning up the quiet bits, to achieve a more even and controllable level. But there are other benefits of compression as well - applied properly, it can add punch and excitement to music, as well as fattening up sounds and creating a more professional sounding recording. With the 5060, you have the added benefit of valve stages in the signal path, which create a warmth and presence just not obtainable with solid state or digital products. 6 4.2 Why Valve Compression? Valve compression yields a particularly special sound, which has become very sought after, particularly with the widespread use of digital products. The reason valve equipment sounds special is due to two things: harmonic distortion and natural compression. When the signal through a valve is increased, it tends to generate a particular type of subtle and desirable distortion, called "second harmonic" distortion. This has the effect of thickening and warming the sound, and the more the level you feed to the valve stages, the more of this harmonic distortion will be produced. You should be able to hear this effect as you increase the Input Gain on the 5060. Secondly, valves will tend to naturally compress an audio signal, again particularly as the signal level is increased. This itself also contributes to the warmth produced by the 5060. 4.3 Overview of Compressor Operation. The 5060 offers two distinct ways of working: manual or preset modes. In manual mode, all the compressor controls are active and adjustable, so that compression settings can be created from scratch to suit the user's taste. In the fifteen preset modes, the Threshold, Ratio, Attack, Release and Knee controls are disabled and each is fixed internally at a value that is selected to give the best results with that particular instrument (the presets are titled `vocal', `bass', `guitar', `snare' etc. to indicate the recommended application). The 5060 functions by reducing the gain of the signal when it rises above a certain level, known as the Threshold. Any signal below the threshold passes through the unit unaffected. Above the threshold the gain of ...