® TLAudio user manual Ivory 2 Series 5021 DUAL VALVE COMPRESSOR TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK email: info@tlaudio.co.uk web: http://www.tlaudio.co.
CONTENTS 1 INTRODUCTION 2 PRECAUTIONS 3 INSTALLATION 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 A.C. Mains Supply Audio Operating Level Balanced Line Input Unbalanced Line Input Instrument Input Balanced Output Unbalanced Output Sidechain Insert Mounting Rear Panel 4 OPERATION 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.
7 SERVICE
1 INTRODUCTION Congratulations on purchasing the Ivory 2 5021 Dual 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.
2 PRECAUTIONS The Ivory 5021 requires very little installation, but like all electrical equipment, care must be taken to ensure reliable, safe operation.
3 INSTALLATION 3.1 AC Mains Supply. The unit is fitted with an internationally approved 3-pin IEC connector. mating socket with power cord is provided with the unit, wired as follows: A Brown: Live. Blue: Neutral. Green/Yellow: Earth (Ground). 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 unit is set for the correct mains voltage.
The 5021 may be used to shift operating levels, for example by connecting the unbalanced output of a semi-pro mixing console to the 5021’s unbalanced input, and taking the balanced output of the 5021 to the balanced input of a tape machine at +4dBu. All line-level inputs and outputs of the 5021 may be used simultaneously if required. Balanced interconnection is always preferable to obtain the best headroom and noise rejection, but can only be used effectively if the other equipment in the chain, e.g.
3.5 Instrument Input. Each channel has a 0.25” 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. 3.6 Balanced Output. The output is via a balanced, 3 pin male XLR connector. The mating connector should be wired as follows: - Pin 1 = Ground (screen). - Pin 2 = Signal Phase (“+” or “hot”). - Pin 3 = Signal Non-Phase (“-” or “cold”). 3.7 Unbalanced Output.
FIG 2: FRONT PANEL KNEE MODE SWITCH THRESHOLD CONTROL THRESHOLD 0 VU METER RATIO 1:5 KNEE 1:10 ATTACK SLOW RATIO CONTROL THRESHOLD 0 RELEASE FAST SLOW FAST RATIO 1:5 KNEE 1:10 1:1.
mixing desk), the Tip and Ring should be wired together, to preserve the signal path through the insertion point. When used in this manner, the send will be post-compressor. Please note that the sidechain insert is normally used for frequency conscious compression only (see section 4.14) and doesn’t break into the signal path in the same manner as a standard console insert point. It doesn’t for instance allow you to insert an EQ “in-line” between the 5021 line input and compressor sections. 3.9 Mounting.
and noise on quiet ones. Compressors effectively turn down the loud bits and turn up the quiet bits, to achieve a more even and controllable level. Compressors are often judged by their ability to control the dynamics without creating noticeable audible side effects. Heavy compression can cause the signal to pump or breathe with the onset and release of the compression. Some compressor designs can dull the signal and lose the top end of the signal.
4.4 Input Stage. The Input Gain control sets the level of the line or instrument signal into the 5021. Both the line input and the instrument input remain active simultaneously, therefore it is recommended to disconnect any inappropriate connection when not in use to minimise noise. The instrument input allows high impedance instruments such as guitars or a bass etc to connect directly into the 5021 and eliminates the need for a DI (Direct Injection) Box.
4.6 Threshold. The Threshold is the signal level - measured in dB - above which any compression comes into operation. The Threshold control is variable from +20dB in the fully anticlockwise position to -20dB at the fully clockwise position. Any signal below the Threshold passes through the unit unaffected; while signals above the Threshold are reduced in gain (and are thus ‘compressed’).
constants tend to become shorter, to prevent a slow release leaving a “hole” in the signal after the transient. Also, a fast release setting will be extended by a slow attack setting. Due to this automatic nature of the time constants, the controls are simply labelled ‘Slow’ to ‘Fast’. The speed of the Attack and Release should in general be able to work with the tempo of the signal.
This switch enables or disables the compressor stage, thus allowing an A/B comparison to be made between the original untreated signal and the compressed signal. Any gain make up applied to the signal only becomes active when the “Compressor On” is enabled. An associated status LED indicates when the compressor is active. The Gain Reduction on the VU meter will monitor the level of compression regardless of the compressor stage being active or non-active. 4.12 Stereo Link.
frequency boosted on the equaliser will effectively lower the compression threshold at that frequency. To de-ess, for instance, use a parametric EQ patched into the insert point and try boosting the sibilant frequency (normally 3-5kHz) using a narrow bandwidth setting on the EQ. This should make the 5021 more sensitive to the boosted frequency, thus compressing it to a greater degree. 4.15 Gate.
You may find that some digital recorders require a good deal of input level in order to register a 0dB reading on their meters (a +18dBu analogue output usually matches 0dBFS in the digital scale). This is normal, since many digital recorders are designed to preserve headroom and keep the signal well below the 0dB clip point - thus preventing the recorder distorting. The 5021 provides a further 20dB of gain at the output fader to drive digital recorders.
5021. Recording direct to the multitrack recorder (thus bypassing the console) is a common technique these days as it keeps the signal path short, and of the highest quality. No unnecessary console stages are passed through, thus maintaining quality. Many mixers have sockets called ‘insert points’, which allow processors such as dynamics devices and EQs to be patched in-line into the mixer signal path at various points.
The optional DO-2 digital output will allow a stereo high quality A/D conversion at 24-bit from the 5021 on a coaxial SPDIF output. The DO-2 can feed directly into digital recorders such as Digital Multitrackers, Hard Disk Recorders, DAT Recorders, Minidisk and CD-Recorders, bypassing any A-D conversion stages on the way. When connecting the DO-2’s SPDIF output it is advisable to use cables less than 5 metres in length and of high quality.
7. When gain reduction is taking place, you should notice that the output level is reduced. By switching the compressor ‘in’ and ‘out’, you can compare the levels and the subjective sound quality of the original and compressed signals. With the compressor active, use the Gain MakeUp control to set the level so that when disabling the compressor, there is no level drop. This way you can A/B the original and compressed signals without the levels changing. 8.
Output Gain Range: +/-20dB. Maximum Output Level: +26dBu (XLR), +12dBu (Jack). Gate: Threshold variable -60dBu to -10dBu. Compressor: Threshold -20dBu to +20dBu, Attack 0.5msec to 40msec, Release 40msec to 4 seconds, Ratio 1:1.5 to 1:30, Hard / Soft Knee switch, Gain Make-Up 0 to +20dB. Drive LED: Increasing intensity to reflect valve drive, commencing at +4dBu to full brightness at +14dBu (Output level control at 0dB). Peak LED: +20dBu. Monitors input and output levels.
Power Requirements: Internally set to 230V 50Hz or 115V 60Hz operation, Detachable IEC power cord, Power consumption 20VA typical. Dimensions: 19” rack mounting, 2U high, W x H x D: 483 x 88 x 200mm (19.0” x 7.9” x 3.5”). Shipping Weight: 6kgs. The above specifications are typical figures, and are subject to change without notice.
7. SERVICE Should the 5021 require service, it must be taken or posted to an authorised dealer with a description of the fault. Please retain the original packing for possible future use, and ensure the unit is suitably protected during transit. The manufacturer cannot accept responsibility for damage caused during transportation. The 5021 is supported by a limited warranty for a period of one year from the date of purchase.
