TABLE OF CONTENTS 1 Introduction 2 Precautions 3 Wiring and Specifications 4 Front Panel Connections Diagram 5 Front Panel Connections 6 Rear Panel Connections Diagram 7 Rear Panel Connections 8 Setting up Your System 9 Insert Processors Example 10 Audio, Speaker, Track Controls 11 Mid/Side, Parallel Processing Controls 12 Tracking Instruments and Mics 13 Playback and Summing 14 Mastering 15 Blank Patch Sheet 16 User Notes Written by Jered Flickinger Copyright 2012 Future Ret
INTRODUCTION Thank you for choosing the db. Please take time to read through the entire manual to gain a complete understanding of the unit’s features, as well as learn helpful procedures, precautions, and tips. OVERVIEW The db is designed to be the core of the modern recording artist’s studio. This multifunctional device can be used for tracking, summing, and mastering your audio tracks, as well as full control of your monitoring system.
PRECAUTIONS Look over the unit to make sure no damage has occurred during shipping. Never apply power to a unit that appears damaged. Check that the red voltage indicator on the power switch is set to the proper voltage for your country. To change the voltage selection, first make sure the power cord has been removed from the unit. Open the voltage selector/fuse cover (near the mounting screw). Gently pry the red fuse holder out of the enclosure, rotate it 180 degrees and reinsert the fuse holder.
WIRING All DB-25 connectors are for use with standard D-sub 8-channel snakes. Use high-quality audio cables whenever possible.
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CONNECTIONS Microphones should be connected to MICROPHONE inputs 1 and 2 on the front panel. If you are doing stereo recording, input 1 will be Left channel while input 2 will be the Right channel. Connect the outputs of your instruments to the respective L / R INSTRUMENT inputs on the front panel. Connect your headphones to the front panel jack labeled HP. The HEADPHONES control adjusts the audio sent to the headphones.
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Connect channels 1-8 OUT of your DAW audio interface to SUMMING IN 1-8. If your DAW audio interface has 16 outputs, connect channels 9-16 OUT to SUMMING IN 9-16. Connect the outputs of your first 4 hardware buss processors to BUSS IN 1-4. Connect the inputs of your first 4 hardware buss processors to BUSS OUT 1-4. Connect the outputs of your second 4 hardware buss processors to BUSS IN 5-8. Connect the inputs of your second 4 hardware buss processors to BUSS OUT 5-8.
SETTING UP YOUR SYSTEM Once the db is fully connected to your system, you should calibrate the sound pressure level (SPL) of audio in your room. Set the MONITOR control to the 0 dB setting, and set the MODE control to PLAY. Set your DAW master output channels to outputs 1 and 2 of your audio interface. Play source material in your DAW (white or pink noise may be preferable), and set the output of your DAW and audio interface so it is as close as possible to 0 dB without clipping.
INSERT PROCESSORS EXAMPLE Here is an example of how we set up our db. You can think of this as a starting point. Obviously, your hardware requirements and/or uses may differ. First you will notice we have stereo preamps for inserts 1 and 2. If you are going to be doing any audio summing from your DAW, you will need a preamp for makeup gain. Preamps in these locations will also be useful when tracking mics and instruments to get the optimum signal level for further processing and recording.
AUDIO CONTROL Activating the MONO AUDIO switch will take all stereo audio and convert it to a mono audio signal sent to both left and right monitors. Only the monitor signal will be converted to mono. The audio signal going through the BUSS PROCESSING and to the RECORD OUT will remain stereo. This feature is useful to check the left/right phase of your stereo mix. It can also be used when tracking mono signals so that you hear this mono audio coming out both the left and right speakers.
MID/SIDE PROCESSING MID/SIDE processing allows you to process the left/right in-phase audio separately from the out-of-phase audio, allowing you to control the width of your audio stereo image. The MID signal is comprised of the in-phase left/right audio. The SIDE signal is comprised of the out-of-phase left/right audio. To hear the effect of the MID/SIDE processing, activate the M/S switch. With the WIDTH control at the 11 o’clock setting, you will hear an even mix between the MID and SIDE signals.
TRACKING First, prepare an audio track to record to in your DAW, setting the input source to inputs 1 and 2 (for stereo recording) or input 1 or 2 individually (for mono recording). Mute the track that is being recorded to in the DAW to prevent feedback from occurring, and arm the track so that the level of incoming audio can be monitored. TRACKING MICROPHONE SOURCES To record microphone sources, set the MODE switch to MIC.
PLAYING TRACKS FROM THE DAW Select PLAY MODE to hear what you just recorded, or to monitor any other audio playing in the DAW. Make sure the master output of your DAW is set to outputs 1 and 2 of your audio interface and that the track you just recorded is unmuted. This mode is nice as it allows you to record a track and then quickly monitor the recording without having to disrupt the selection and settings of the processor buss.
NOTE: Selecting MONO SUMMING will make that audio input louder as it assigns a single audio input to both the left and right audio outputs. You can compensate for this by adjusting the track output level in the DAW. With stereo inputs, you can use the pan control in your DAW to specify the stereo placement for that track. Prepare an audio track to record the summed audio to in your DAW, setting the input source to inputs 1 and 2 (for stereo recording) or input 1 or 2 individually (for mono recording).
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USER NOTES 16
