User manual TL AUDIO M1

[. . . ] f. CONTENTS 2 3 5 6 7 7 8 8 9 9 10 10 10 11 11 11 12 12 12 13 13 13 13 13 INTRODUCTION Block Diagram PRECAUTIONS INSTALLATION AC Mains Supply Audio Connections Mic Inputs Line Inputs InsertionPoints Direct Output Main StereoOutput Monitor Outputs Aux Outputs Stereo2T Returns EffectsReturn Headphone Outputs Meter Calibration Digital Modules OPERATION Input Selection Input Gain Control Line Input MicrophoneInput Phase Reverse High PassFilter 30dB Pad Equalisation InsertionPoints Aux Sends Direct Output Track Level Control PanControl Mute Switch PFL Switch ChannelFader Drive andPeakLEDs StereoMix Aux Masters Effects Return Monitor and 'phonesLevel PFL BalanceLevel 2-TrackReturns Loudspeaker Mute Metering Digital OutputOption Wordclock Input A Final Word!SERVICE SPECIFICATIONS 14 14 14 14 15 15 15 15 15 16 16 16 16 16 16 17 17 17 17 18 18 18 18 19 20 21 CONGRATULATIONS! 1 ~ CONGRATULA TIONS! Congratulations you purchaseof a TL Audio M 1 TubetrackerMixer, the perfect on solution for the modem day studio. Anyone who has used or heard our outboard equipment, will be familiar with its ability to createa warm, smooth, and cleansound that caninject wonderful 'feel' into your recordings. Our acclaimedVTC and M4 consoleshave also now been acceptedas a great soundingmusthavein the professional recordingenvironment, with manyhigh profile users. [. . . ] A steadysignal of the desiredline up level shouldbe applied, and a small screwdriverinsertedthrough the front panel to adjustthe meterto the line up point on the scale. Digital Modules. An 8 channelinput/output modulemay be fitted, providing a digital input which is normalledto the channelline inputs (i. e. inserting an analogueinput cable into the line socket will override the digital input), plus digital outputsthat follow the channelDirect outputs. When fitted to the 12 channelversion of the Ml, the digital input and output connectionsare to channels1 to 8 only. Thereis a separate DO-2 moduleavailablefor the mastersection, which providesthe stereooutput in digital format. The specifications userinstructionsfor the digital modulesaresuppliedseparately. Like the phase reverse switch, the high pass filter is active on both mic and line inputs, and is ideal for removing low frequency rumble. The filter can be useful in restricting 'popping' on vocals or even low frequencies caused by contact with microphone stands or microphone cables. Popping is an undesirable thump that is caused by close-miking certain spoken or sung letters, namely 'P' or 'B'. These particular letters cause a sudden expulsion of air that can result in an audible thump. As this thump has a lot of low frequency content the high pass filter can help to reduce the problem, as can using a pop filter (a device usually made out of nylon material similar to stockings) suspendedin front of the microphone. The low cut filter is easily bypassedfor quick A/B comparison. 30dB Pad Occasionally when using sensitive condenser microphones the source signal may be too loud for the input preamp. In this situation, to avoid any overloading or distortion of the mic preamp stage, the 30dB pad can be used to reduce the input gain to a more manageablelevel. The 30dB pad only applies to the microphone input. Equalisation Before switching the EQ into circuit, it is advisable to set the cut/boost controls to their centre, or flat, position. The EQ is brought into circuit with the 'EQ' push switch, signalled by a green LED. Each channel has three bands of equalisation: shelving low frequency (LF) (i. e. it extends from the selected frequency to the extreme low frequency limit of the equaliser's response. ), peaking sweepable mid (i. e. it boosts or cuts a section of the audio spectrum around its selected centre frequency only) and shelving high frequency (HF). The LF shelf operatesat a frequency of 80Hz, while the HF shelf is set at 12kHz. The EQ slopes have a second order 12dB/octave response, and an associatedgain control on both bands provides up to 15dB of cut or boost on each selected frequency, controlling the full range of frequencies below the LF comer frequency and above the HF comer frequency. The mid band has a fixed Q of 0. 7 14 (which Gorresponds a bandwidth of around 1. 5 octaves)allowing +/- 15dB cut or to boost over a moderatelybroad band of frequencies. The centrefrequencyis selected via the dedicated variablefrequencycontrol, andthe requiredamountof cut or boostis appliedusing the associated gain control. You shouldfrequently AIB the soundyou are Equalisingby pressingand depressing the EQ button, it is astonishing how quickly the earcan adjustto changes. By making frequentcomparisons can makesureyou do not strayfrom the requiredsound. [. . . ] These are selectablefrom the back of the digital card. Word clock Input A rear panel input (on the back of the DO2 & DO8 card) is provided for connecting the M 1 to an external master clock source. The wordclock input connector is a BNCtype terminated in 75 ohms. 18 A FINAL WORD We hope you will enjoy your new MI console, we're confident that once you start using it you'll wonderhow you managed without one!For best results, switch your MI consoleon shortly beforethe start of your session to allow the tubesto fully warm up. Enjoy! 19 SERVICE Should the mixer or power supply require service, it must be taken or postedto an authorised dealer. Please retain the original packingfor possiblefuture use, andensure the unit is suitably protected during transit. [. . . ]