USERS MANUAL Gold Channel DIGITALLY ENHANCED MIC-PREAMP
TABLE OF CONTENTS By Bruce Botnick FOREWORD About this Manual WELCOME Features INTRODUCTION Buttons, Knobs, Controllers and other functions THE FRONT PANEL Inputs, Outputs THE REAR PANEL THE SIGNAL FLOW CONNECTING THE GOLD CHANNEL General description to get started QUICK REFERENCE SIGNAL Selecting the primary Inputs, Outputs ,Clock, Dither and Insert Setting the Analog Input Gain GAIN LEVEL RECALL AND LIST STORE Digital In, Master Out and Analog Out levels Recalling a Factory, User or Memory C
FOREWORD Microphones as Ears by Bruce Botnick I've always felt that microphones were colors on a sound painter's palette. Colors that can be used to bring out the many sounds that we record and help us to create different textures used in the mix. Many recording engineers have their favorite microphones and don't necessarily use the same favorite on the same instrument in all applications.
FOREWORD sounded just like what I remembered, minus Miles Davis of course. As time has advanced forward I am always on the lookout for this printed information as well as photographs and film documentaries of recording sessions. Seeing the masters at work and their use of the pallet is the best way to learn. Not only can you see and hear what they used, but also how high and far away the microphone was placed from the instrument.
WELCOME Congratulations Congratulations on the purchase of your new Gold Channel. We hope that you have as much pleasure using it as we had making it. The Gold Channel is carefully designed to make perfect recordings of your precious music directly to your digital storage media. There are three essential steps in the recording process: Microphone amplification, Analog to Digital conversion and a powerful package of signal processing. These are all brought together in the Gold Channel.
INTRODUCTION General Introduction The Gold Channel is designed so that all its main functions are available directly on the front panel: Input select, +48V phantom, gain setting with PAD, Lo-Cut, Phase Invert, Mute, Soft Clipper and Meter select. These combined with separate bypass buttons for each processing block and a user friendly display, gives you an intuitive box that is very easy to use, despite the many features.
THE FRONT PANEL POWER Press and hold the Power switch until the Gold Channel logo shows, then release. CARD SLOT The PCMCIA slot can be used for storing and loading presets. Use Type 1 PC Cards with a minimum 64 KBytes of SRAM, or up to 2MB. 8 CHANNEL 1 AND 2 The Gold Channel has direct access to all primary functions on the micpreamp for each channel: Input gain encoder: Sets the analog input gain along with the PAD button.
THE FRONT PANEL FUNCTIONS The four Function buttons give access to the primary display groups. Programs: Here you can store, recall or delete a preset. Edit: Here you can decide the layout and setup the processing blocks you want, control all parameters in the processing and view input meters for the blocks. Setup: Here you can select inputs and outputs, insert send/return, dither, and all main input and output levels.
THE REAR PANEL Main Power Switch Balanced Mic/Line XLR Inputs Balanced Analog XLR Outputs Serial no. ADAT and Tos-link In/Out Word Clock Input RCA Digital AES/EBU S/PDIF In/Outs MIDI External In,Thru,Out Control Input Notes Pin 2 is “Hot” on all XLR’s (IEC and AES standards). You must use balanced XLR-XLR cables to get the +48V phantom power to your condenser microphones. External control jack works with the optional TC Master Fader to control the Master Output Level.
THE SIGNAL FLOW On this page you can see the signal flow through the Gold Channel presented in a technical drawing.
CONNECTING THE GOLD CHANNEL The Gold Channel can be used in different kinds of setups and applications due to the extensive input and output possibilities. Here are a couple of suggestions on how to connect the Gold Channel. Recording setup The normal recording or tracking setup, where you connect one or two microphones directly into the Gold Channel and have all outputs available simultaneously.
QUICK REFERENCE General Control General control of the Gold Channel display is accomplished by dialing the Parameter wheel to change position of the cursor, and the Value wheel to change values. In many of the displays you can select different menus by pressing the < > Menu keys, as in the Edit display where you can select between Meter, Edit, Routing and Layout. Press Enter to carry out an action (for example, when recalling a preset).
SETUP - Signal The Signal Display On the Signal display you can select the main inputs, Insert send and return, Sample Rate source, ADAT or TOS Link output, and view what outputs are available. To get to the Signal page press the SETUP button, if you are not already there, and use the < > Menu keys to select SIGNAL. Basic operation is accomplished by using the Parameter wheel to change cursor position and the value wheel to change values.
SETUP - Signal ADAT - When using an ADAT, use the Parameter wheel to move the cursor to the channel 1 or 2 input boxes, and the Value wheel to select channel number. It is possible to select two ADAT channels, process them and send them out on two different - or the same - ADAT channels. The incoming sample rate will be displayed in the Digital box at the Signal page. The “Digital” LED’s will be blinking if no clock is present or if the Gold Channel can not lock to the incoming clock.
SETUP - Gain The Gain Display On this page you can set and adjust the gain of the analog inputs, and use the Auto Gain Setting option, which helps you get the best results when you are doing recordings. To view the Gain page press the SETUP button, if you are not already there, and use the < > Menu keys to select GAIN. Basic operation is accomplished by using the Parameter wheel to change cursor position and the value wheel to change values.
SETUP - Level The Level display On the Level page you can adjust the Digital Input level, the Master Level for all outputs and the Analog Output level for channels one and two. To view the Level display, press the SETUP key if you are not already there, and use the < > Menu keys to select the Level page. Basic operation is accomplished by using the Parameter wheel to change cursor position and the value wheel to change values.
PROGRAMS - Recall The Recall and List Displays Here you can Recall a Factory, User or Card preset, and you can load a separate channel of processing or even a single processing block from one preset to another. To get to the Recall page press the PROGRAMS button, if you are not already there, and use the < > arrow keys to select Recall. Basic operation is accomplished by using the Parameter wheel to change the Recall mode and the value wheel to change preset number.
PROGRAMS - Recall The List Display This is another way of recalling and displaying the preset lists (Factory, User and Card), and is very useful when you are looking for a specific preset name but cannot remember the preset number. You can Recall a preset directly from the List by scrolling with the Parameter wheel. The preset name/number that is blinking will be instantly recalled when you press Enter.
PROGRAMS - Store The Store Display When you have made a preset, you can go to this page, give it a name and store settings in a space in the User bank. To get to the Store page press the PROGRAMS button, if you are not already there, and use the < > Menu keys to select STORE Basic operation is accomplished by using the Parameter wheel to change cursor position, and the value wheel to change values.
PROGRAMS - Store Exercise 2: How to Store a preset with the existing name When you want to store a Factory preset, the Gold Channel automatically selects the first free storage space in the User bank. If you try to re-store a User preset, the Gold Channel will automatically select the same storage space. - Press the Programs key and use the < > menu keys to access the Store display. - Dial the Value wheel to select a storage space. - Press Enter to confirm.
EDIT - Routing and Layout Setting up the processing blocks In the Routing display you can freely select the order of the processing blocks in the Gold Channel. With the Layout page you can select if you want to run two channels or one channel at 96 kHz and where to place the Insert block. To get access to the Routing display, press the EDIT key if you are not already there, and use the < > Menu keys to select the Routing page.
EDIT - Routing and Layout Mode Rate Mode - This is where you decide what basic layout of the grid you want to work with. There are three different setups: 1) Two channels with four processing positions on each channel (44.1/48kHz) 2) One processing position on both channels. (88.2/96kHz) 3) Three processing positions on Ch.1 and none at Ch.2 (88.2/96kHz) The difference between the three modes is, that the processing sample rate in the first mode is 44.1 or 48 kHz, where it is 88.
EDIT - Edit and Meter Editing the digital processing The Edit display is the place where you have a general overview of what processing blocks, Insert and Links are set up in the current preset, and it is where you get access to edit the different parameters in the digital processing section of the Gold Channel. To get access to the Edit display, press the EDIT key if you are not already there, and use the < > Menu keys to select the Edit page.
EDIT - Edit and Meter NOTE: The Panner settings of the output also have influence on the output phase, therefore this Phase Correlation meter is also shown at the Output page along with the Panner controls. The OUT Block The Output block contains M/S matrix, Panners for each channel, Phase Correlation meter and indication of total processing delay. M/S Matrix - Select between Encoding and Decoding, depending on what you want your output signal to be.
THE BLOCKS The Blocks SIDECHAIN Expander The Sidechain is the reference signal that the Gate is listening to internally for making the processing. You will never hear this signal on the output. On the following pages you will find a description of the ten processing algorithms, and the parameters you can control in them. There are two different expander/gate sub types in the Gold Channel.
THE BLOCKS Hold Is the time that the Expander/Gate will keep the Ratio at 1:1 below the threshold, before the Release time sets in. Release The Release time is the fallback time that the Expander/Gate uses to reach the gain reduction specified by the Ratio parameter. Example: If the input signal suddenly drops 4 dB below threshold in no time with the Ratio set to 1:4 and the Release set to 20 ms, the Gold Channel will use 20 ms to reach a gain reduction of 12 dB.
THE BLOCKS Soft Compressor This is a feed forward compressor.. It sounds very smooth and works well on acoustic and electronic instruments. Threshold When the input level exceeds the Threshold, the Compressor will be activated. This means that the lower the Threshold, the more compression you will get. Ratio The Ratio of the gain reduction. E.g.: When the Ratio is set to 4:1 it means that for every 4dB the input level rises, the output level increases by only 1 dB.
THE BLOCKS Attack The Attack time is the response time that the Compressor uses to reach the gain reduction specified by the Ratio parameter. Example: If the input signal suddenly increases to 4 dB above threshold in no time with the Ratio set to 4:1 and the Attack set to 20 ms, the Compressor will use 20ms to reach the gain reduction of 1 dB. Release Release sets the fall back time of the Compressor, after the signal drops below the Threshold.
THE BLOCKS Tools Input In the Tools section you’ll find some useful algorithms for different purposes. De-Esser This De-Esser takes advantage of a technique where the Threshold is always relative to the average level of the material. This means that if the average level of your material increases, so will the Threshold, and the De-Esser removes relatively the same. This gives you a more musical and useful De-Esser.
THE BLOCKS Attack The Attack time is the response time that the Compressor uses to reach the gain reduction specified by the Ratio parameter. Example: If the input signal suddenly increases to 4 dB above threshold in no time with the Ratio set to 4:1 and the Attack set to 20ms, the Dynamic EQ will use 20ms to reach the gain reduction of 3 dB. Release Release sets the fall-back time of the Dynamic EQ, after the signal drops below the Threshold.
UTILITY The Utility Display In Utility you can choose between CONFIG, CARD and MIDI. Use the < > Menu keys to select between the three displays. The Config. Page In the Config. page you can set up a number of global parameters for the Gold Channel such as memory protect, MIDI bulk dump etc. Display Viewing Angle Adjust for best contrast of the LCD display. Clip Hold Here you can set the time you want the Clip indicator to stay lit after a clip is detected (Off, 5sec, 30sec or 60sec).
UTILITY Copy Select whether you want to copy from User bank to card or from card to User bank. Custom Map In the Custom Map you can decide what every incoming Program change should map to, using the “Map Program Change No.” and the “Into Preset” parameters Execute Copy Select this parameter and press Enter twice to carry out the copy action. Map Program Change No. Use this parameter to select the Program change number you want to remap.
RESET MENU The Reset page Enter User Data page Store and load your setup to or from card Reset system parameters Clear all user presets Test Programs The User data page Type your name here and your phone number How to enter the Reset Menu Hold the Programs key pressed during power-up. Move the cursor using the Parameter wheel and press Enter to select the option you want. Power off/on to leave the Reset Menu.
SELF TEST PRESS AND HOLD THE PROGRAMS KEY WHILE POWERING UP, TO ACCESS THE RESET MENU AND SELECT »RUN TEST PROGRAM« Turn the Value Wheel to scroll through Self tests Key test Select Key test by pressing Enter. The keys must be pressed in the order they are requested by the Gold Channel to pass the test. Press Exit to leave Key test. In knobs test Select In knobs test by pressing Enter. Turn the In knobs to 30 and back to 0 to pass test. Press Exit to leave In test.
TECHNICAL SPECIFICATIONS ANALOG LINE INPUTS Connectors: Impedance (balanced): Phantom supply: Max. Input Level (balanced): Sensitivity, @ 12 dB headroom (balanced): Dynamic Range (unweighted): THD+N: Frequency Response: Crosstalk (Line to Mic. Pad 0), worstcase: (Line to Line or Mic. Pad 20/40/60), worstcase: Common Mode Rejection, RS = 40 Ohm: A to D Conversion: A to D Delay: Analog MiC Inputs Connectors: Impedance (balanced): Phantom supply: Max.
MIDI IMPLEMENTATION CHART Digitally Enhanced Mic-preamp, Gold Channel - May 1998 Version 1.
TROUBLE SHOOTING You press Power switch, but there is no reaction. - The power switch on the rear panel is switched off. You cannot turn the power off. - Press and hold the Power switch for 3 seconds, then release to power off No sound through the Gold Channel - You are using Analog input, but the input selected is Digital, or some send/return has been selected on the Signal page, without anything connected. You do not hear what you expect as Ch.2 input - Ch.2 gets it input from Ch.1.
CERTIFICATIONS This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in residential installations. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications.
FACTORY PRESET LIST Preset 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 40 Description Female Vocal Lead Vocal Male Vocal El Gtr Clean Rthm Gtr D/I Acoustic Gtr Helper Kick L BassDI R Rock 909 BD/SD Insert Drum Room MS-Rec String Quartet MS Vox Eq/Comp Male Vocal 2 Easy Vocals Gold Vocal Male Vox Eq/Comp Back Voc Composite Vintage Vox Comp.
FACTORY PRESET LIST Preset 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 Description Flamenco Gtr Viola Da Gamba Irish Mandolin Wire Harp El Cajon Hi/Lo Piezo Guitar Wide Piezo Guitar Pickups Dynamic Piezo Pickup Kick L Snare R Rock Kick L Snare R Dark Kick L Snare R Sqush Kick L Hat R Rock Tom Floortom Overhead Comp Ducking Drums Wind Chime Snaredrum No Attack Gate Channel 1 Kicks Snares Crazy Kick Suc
WHERE GREAT RECORDINGS BEGIN by Loren Alldrin Have you ever thought about where recordings really begin? If this question brings to mind a tape deck, mixer or analog-to-digital converter, you're a bit too far down the signal path. While these components are crucial parts of many recording chains, they're not where the process actually beings. Instead, it's the microphone that's the real starting point for most recordings.
WHERE GREAT RECORDINGS BEGIN A bi-directional pattern is impractical to create in a dynamic design, which explains why most dynamic mics are either omni or some form of cardioid. Ribbon mics are bi-directional by default, though some ribbon mics are available in a cardioid pattern. Condenser mics cover the whole gamut of directional patterns, and many large-diaphragm condenser mics offer a selection of pickup patterns from omni to cardioid to bi-directional.
WHERE GREAT RECORDINGS BEGIN Miking distance works in concert with directional pattern to affect the amount of ambient sound recorded. Moving a mic closer to a sound source makes it louder in relation to competing sounds. To the listener, this reduction of ambient sound makes the instrument or voice appear to be closer. Pulling the mic back and allowing it to record more ambient sound will appear to push the sound back from the plane of the speakers.
WHERE GREAT RECORDINGS BEGIN The third common stereo miking approach is mid-side or "M/S." M/S miking uses a forward-facing directional mic and a side-facing bidirectional mic. M/S recording offers very good stereo imaging with the added benefit of excellent mono compatibility. Through some electronic processing: M/S-encoding and decoding, the two mic signals can be combined to create a stereo signal either before recording or on playback.
