® 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.
CONTENTS 1. INTRODUCTION 2. PRECAUTIONS 3. 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 INSTALLATION A.C. Mains Supply Microphone Input Line Inputs Instrument Inputs Balanced Line Outputs Unbalanced Line Outputs Nominal Operating Level Ventilation 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.
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.
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.
FIG 2: FRONT PANEL PREAMP SECTION PRESET PROGRAM SELECTOR COMPRESSOR SECTION FIG 3: REAR PANEL SLOT FOR OPTIONAL DO-2 CARD IEC INLET INPUT / OUTPUT CONNECTIONS OUTPUT SECTION
3. INSTALLATION 3.1 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.
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.
- 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.
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.
4.5 Mic Gain. The Mic Gain control sets the level of the microphone input signal prior to the Input Gain control. There are 4-switched level positions: -20, 0, +20 and +40dB, with a further +/- 20dB available on the Input Gain control. For normal operation it is recommended to keep the Mic Gain setting at the +40dB position, with any fine adjustments to the input signal level made by either boosting or reducing the Input Gain control.
4.9 Program Control. This 16-way rotary switch enables factory preset compression settings to be selected for different types of audio signal. The ‘Manual’ mode enables the Threshold, Ratio, Attack, Release, and Knee controls to be adjusted, along with the Input Gain, Output Gain and Gain Make Up controls (which are active at all times).
4.10 Table 1: Presets. Number Preset Title Typical Applications 1 Whisper Vox 2 Pop Vox 3 Rock Vox 4 Scream Vox 5 Keys 6 Bass 7 8 Acoustic Guitar Electric Guitar 9 10 11 Snare Kick Loop 12 Pop Mix 13 Rock Mix 14 Dance Mix 15 Slam Mix 16 Manual Subtle compression for softer vocal performances. Soft knee, fast attack and release. Medium compression for more obvious control. Soft knee, fast attack and slow release. Hard compression for powerful performances.
Figure 4 PRESETS 1. Whisper Vox 2. Pop Vox 3. Rock Vox 4. Scream Vox 5. Keys 6. Bass 7. Ac Guitar 8. El Guitar 9. Snare 10. Kick 11. Loop 12. Pop Mix 13. Rock Mix 14. Dance Mix 15.
4.12 Ratio. Once the input signal has crossed the threshold, the degree of gain reduction is determined by the Ratio control. The Ratio control is calibrated in dBs and is simply the change in output level that results from a given change in input level. An uncompressed signal will have a 1:1 compression ratio - every 1dB change in input level results in the same 1dB change in output level.
Assuming the compressor is activated, the Gain Make Up control is active whether the Program control is set to Manual or Preset modes. 4.15 Knee. The Knee switch enables the 5060 to be operated in two different modes - Soft Knee or Hard Knee. Soft Knee mode offers a gentle compression curve around the threshold point, and is traditionally employed to yield a more subtle, musical type of compression effect.
4.19 Meter ‘+10dB’. As referred to in the previous section, sometimes the output level of the 5060 may need to be set to a relatively high level, particularly when driving a digital recorder. The Meter ‘+10dB’ setting reduces the normal meter reading by 10dB so that high output levels can be generated without the VU needle pressing constantly at its end stop. This doesn’t affect the actual output level, but only the metered reading.
relevant input of the 5060 (mics will connect to the rear panel XLR input, line level signals such as mixer or tape machine outputs will connect to the 5060 line inputs, while guitars, basses and keyboards will use the 5060 front panel instrument inputs). Select the relevant input source on the input selector switch at the top left of the 5060 front panel. ‘Mic 48V’ is necessary for condenser type microphones that require 48V phantom power.
c) If the optional DO-2 card is fitted, the 5060 will convert the analogue output signal into 24-bit digital format. If the 5060 is used either at the front end stage of recording or at the mixdown stage, a high quality 24-bit signal can be fed directly into the mixer or recording device avoiding the use of possibly inferior quality converters. When using the DO-2 the analogue outputs of the 5060 are unaffected and can be used simultaneously.
5.3 Frequently Asked Questions (FAQs). Q: A: 5060 is a stereo unit yet there is only one set of controls, why is this? Q: A: The Threshold, Ratio, Attack, Release and Knee controls aren’t working. Q: A: Why is it I occasionally get some LF distortion on certain settings? Q: A: Can I use the preset settings on instruments other than those recommended? Q: A: The Gain Make-Up control isn’t working. Q: A: The 5060 is a stereo unit but there is only one valve in it.
Serial Number............................. Date purchased........................... Dealer......................................... 7. SPECIFICATIONS Inputs: Balanced line inputs, switchable for +4dBu / -10dBu nominal level. Unbalanced instrument inputs, input impedance 1Megohm. Balanced microphone input, common to both channels. Outputs: Balanced line outputs, switchable for +4dBu / -10dBu nominal level. Unbalanced line outputs, switchable for +4dBu / -10dBu nominal level.
“FAT EQ”: +2dB @ 50Hz, -0.9dB @ 720Hz, +1.8dB @ 10KHz. Metering: Illuminated VU meter displaying Channel 1 + 2 with 10dB pad, Meter switchable to display Compressor gain reduction, Variable intensity “Drive” LED, illuminating from +8dBu to +18dBu, “Peak” LED monitoring whole signal chain, illuminating 6dB before clip. Power Requirements: Internally set to 230V 50Hz or 115V 60Hz operation, Detachable IEC power cord, Power consumption 30VA.