User manual TL AUDIO IVORY 2 5052

[. . . ] TLAudio user manual ® Ivory 2 Series 5052 STEREO VALVE PROCESSOR TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK email: info@tlaudio. co. uk web: http://www. tlaudio. co. uk 4. 11 What Is Compression?Overview of Compressor Threshold Ratio Attack and Release Knee Gain Make Up Compressor On EQ S/C & Frequency Conscious Meter Equalisation Cut/Boost Control Frequency Control Q (Bandwidth) Control Shelving EQ EQ On EQ Pre Output Limiter Stereo Link Modes Optional DO-2 Digital CONTENTS 1 2 3 3. 1 3. 2 3. 3 3. 4 3. 5 3. 6 3. 7 3. 8 3. 9 3. 10 3. 11 4 4. 1 4. 2 4. 3 4. 4 4. 5 4. 6 4. 7 4. 8 4. 9 4. 10 INTRODUCTION PRECAUTIONS INSTALLATION A. C. Mains Supply Microphone Input Compression Balanced Line Input Unbalanced Line Input Instrument Input Insert Points Sidechain Insert Points Line Outputs Nominal Operating Level Ventilation Rear Panel OPERATION Input Stage Microphone Input Line Input Instrument Input 30dB Pad Switch 90Hz Filter Phase Reverse Drive and Peak LEDs Output Gain Bypass 4. 12 4. 13 4. 14 4. 15 4. 16 4. 17 4. 18 4. 19 4. 20 4. 21 4. 22 4. 23 4. 24 4. 25 4. 26 4. 27 4. 28 4. 29 4. 30 4. 31 Operation Output Card 5 5. 1 5. 2 mode 5. 3 mode 6 7 8 FAQ SPECIFICATIONS SERVICE In Use ­ Stereo mixdown GETTING STARTED Connections In Use ­ Mono tracking 1. INTRODUCTION Congratulations on purchasing the Ivory 5052 Stereo Valve Processor 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. [. . . ] If you wish to use an external EQ unit to assist with frequency conscious compression, then the provision of rear panel sidechain insert points on the 5052 allows this. Proceed by patching an equaliser (normally a parametric or graphic type) into the sidechain (the insert point works on a send-and-return principle whereby the insert `send' connects to the equaliser input, and the equaliser output connects to the insert `return', thus completing the circuit). Once connected, any frequency boosted on the equaliser will effectively lower the compression threshold at that frequency. Working this way frees up the EQ section within the 5052, allowing it to be used for normal EQ duties. 4. 21 Meter. The 5052 is equipped with a pair of illuminated VU meters. The associated Meter switch enables this meter to monitor each one of four parameters. When switched to `I/P', the meter reads the audio input level just after the preamp stage. When switched to `O/P' the meter reads the audio output level, and is calibrated to read 0VU when a +4dBu signal is reached at the main XLR line outputs of the 5052 (or 10dBu at the unbalanced line outputs). The meter when switched to `Comp G/R' (Gain Reduction) indicates the amount of compression occurring. If the signal is below the threshold, the meter will indicate 0dB: i. e. As the signal passes through the threshold, the meter will start to indicate the gain reduction at the compressor stage (this will be a negative value, so the meter will move to the left, applied. The final setting on the Meter switch is marked `Lim G/R', and this separately monitors the amount of gain reduction that the limiter circuit is applying. A separate `+ 10dB' switch is provided which reduces the meter reading by 10dB below the actual audio signal level, and this applies to both input and output level metering. This is useful when the 5052 is being fed with large input levels - or is producing large output levels - and the meter needle would otherwise be pressing constantly at its end stop. This situation is normal, particularly if the 5052 is interfacing with digital recorders or mixers where large signal levels are regularly encountered. Note that this reading won't include any extra gain make-up The 5052 equaliser section has four bands, each with continuously variable cut/boost and frequency controls. The LM and HM bands also have a variable Q (or bandwidth) control that means these two bands are fully parametric in operation (see section 4. 25). Before switching the EQ into circuit, it is advisable to set the cut/boost controls to their centre, or flat, position. Each channel of EQ is brought into circuit with the overall "EQ-ON" push switch positioned to the far right of the unit. The four bands of EQ per channel are labelled as LF (low frequency), LM and HM (low and high mid frequency) and HF (high frequency). However, the frequency variation available on each band allows overlapping of two, or more, bands into the same frequency range. This arrangement allows maximum flexibility, permitting reduction of a narrow band whilst simultaneously boosting an overlapping broader band of frequencies, for example. [. . . ] Attack continuously variable, programme dependant, typically 0. 4ms to 40ms. Release continuously variable, programme dependant, typically 40ms to 4s. Sidechain insertion point, unbalanced via TRS jack, nominal level -2dBu. Equaliser: Four band, switchable Pre/Post compressor and into compressor sidechain. [. . . ]