Remote Preamp Dual Pre & Cue Mixer Universal Audio Manual Number 65-0019 Revision 1.
The Desktop Console System Thank you for choosing the Remote Preamp from Universal Audio’s Desktop Console System Series. Universal Audio has partnered with original Euphonix founders to design a revolutionary series of DAW “expansion & enhancement” products under the Desktop Console System (DCS) family brand.
IMPORTANT SAFETY INSTRUCTIONS Before using this unit, be sure to carefully read the applicable items of these operating instructions and the safety suggestions. Afterwards keep them handy for future reference. Take special care to follow the warnings indicated on the unit, as well as in the operating instructions. 1. Water and Moisture – Do not use the unit near any source of water or in excessively moist environments. 2.
Notice This manual and the included Quickstart guide and instructional DVD provide general information, preparation for use, installation and operating instructions for Universal Audio’s DCS Remote Preamp. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc.
Table Of Contents Performance and Audio Specifications........................................................................................................... 1 Remote and Base Overview.............................................................................................................................. 2 Preamp Operation Instructions ....................................................................................................................... 3 DI ........................................
DCS Remote Preamp Performance Specifications A Mic, B Mic input type: input impedance: peak input level: CMR: XLR balanced, transformer-less 2 k ohms +14dBu RMS sine wave >70dB 20Hz to 20kHz A DI, B DI input type: input impedance: peak input level: CMR: TRS balanced or TS unbalanced, transformer-less 4 M ohms balanced, 2 M ohms unbalanced +24dBu RMS sine wave >60dB 20Hz to 1kHz, >45dB 1kHz to 20kHz Pre Outputs output type: peak output level: output impedance: TRS balanced or TS unbalanced, transform
Remote and Base Overview Meter Bridge is adjustable for angled or flat view (page 11) Channel A and B Preamp Controls GAIN, LO CUT, Phase and +48v Phantom for mic or DI with lockout protection (page 3,8,9) Digital Display and +/keys select REVERB presets, adjust EQ and 0VU level, CUE IN/OUT trims and configuration settings (page 7) GAIN Trim Controls max pre output level (dBu) allowing gain range, meters and PEAK warn/clip light to match DAW max input level (page 3,9) CUE > VU Switches VU meters from pr
Preamp Operation Instructions (Channel A & Channel B) DI Switches the Preamp source to the DI inputs for use with electric guitars, basses, other electrified instruments or line-level signals from keyboards or effects processors. Turning on the DI switch will turn off the +48V switch. [see APPLICATION NOTES: Preamps & Connecting balanced line levels to DI inputs] +48 Switches "phantom power" to the Mic Input XLR jacks.
2-Channel Operation (Preamp + Cue Mixer) STEREO Switches the Channel A Preamp GAIN knob to control the Channel B Preamp GAIN by the same dB amount. The Channel B Preamp GAIN knob becomes disabled until STEREO is switched off. When STEREO is switched off, the Channel B Preamp GAIN knob becomes active again. In the Cue Mixer, the STEREO switch causes the A TO CUE knob to control the B TO CUE level in the same manner as the Preamp GAIN (see above).
C TO CUE Controls the C IN mono or stereo line level to the Cue Mixer outputs through 63 steps of 1dB. When turned to the OFF position, the C IN audio feed to the Cue Mixer is muted (see "Configuring the Remote Preamp" to switch the C IN between Lo and Hi operating levels). REVERB The REVERB knob blends the selected Room, Hall or Plate effect with the A TO CUE and B TO CUE feeds to the Cue Mixer outputs - no REVERB is applied to Pre Outputs.
Cue Clip The red Cue Clip LED lights whenever the Cue Mixer is overloaded. Clipping may eliminated by: • turning down A TO CUE, B TO CUE, or C TO CUE knobs • changing C IN configuration from L to H operating level • turning down frequency-selective boost in the EQ • trimming down the CUE IN level • turning down the CUE VOL knob NOTE: It is possible for the Preamp channels to be clipping but not overloading the Cue Mixer because the A or B TO CUE knob is turned down.
Configuring the Remote Preamp CFG (ConFiGure) Press the -/+ keys simultaneously to enter the configuration menu (CFG). Use the - key to scroll through the menu items (shown below). When the desired menu item is reached, use the + key to scroll through the available settings (shown below next to each menu item). Press the -/+ keys simultaneously again to cancel the CFG menu. The CFG display will turn itself off after no adjustment has been made for 1 minute. Menu item Settings C IN operating level c.H* c.
Application Notes The DCS Transimpedance Preamp For applications requiring transparent amplification of microphones and Instruments, the preamps' transimpedance circuitry ensures the highest possible quality of signal transfer from input to output. The Remote Preamp is designed for use with hi-definition digital recording systems operating at 24-bits and 44.1K, 48K, 96K or 192K sample rates, or sound reinforcement systems requiring extremely high audio fidelity and dynamic range.
Matching Pre Outputs to DAW inputs The GAIN Trim feature is uniquely designed to allow users to match the DCS Remote Preamp's outputs to the inputs of a wide range of DAW audio interfaces. When a typical outboard preamp is used with a DAW, the user must carefully watch the on-screen meters while adjusting preamp gain in order to get the signal hot enough for best A/D conversion while making sure it's not clipping the DAW's maximum input or 0dBFS.
LO CUT Filtering A common method for optimizing mixes is to apply low-cut filtering whenever possible. Excessive low frequencies from microphones and instruments tend to build up in the mix - combining to create sonic "mud" that masks musical detail, overloads or tires the listeners ears, and sucks energy from power amps and speakers. It isn't uncommon to notice mix meters dropping down after low-cut filtering is applied - this is a good sign that filtering was necessary.
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Historical Notes Bill Putnam Sr. was awarded the 2000 Technical Grammy for his multiple contributions to the recording industry. He was highly regarded as a recording engineer, studio designer/operator and inventor. Putnam was considered a favorite of musical icons including Frank Sinatra, Nat King Cole, Ray Charles, Duke Ellington, Ella Fitzgerald and many, many more.
The 1176LN Limiting Amplifier and LA-2A Leveling Amplifier The LA-2A and 1176 compressor/limiters long ago achieved classic status. They're a given in almost any studio in the world — relied upon daily by engineers whose styles range from rock to rap, classical to country and everything in between. With so many newer products on the market to choose from, it's worth looking at the reasons why these classics remain a necessary part of any professional studio's outboard equipment collection.
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