Manual

may find that some digital recorders require a good deal of input level in order
to register a 0dB reading on their meters (+18dBu analogue usually matches
0dBFS in the digital domain). 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 5051 provides a further
15dB of gain at the output fader to drive digital recorders. It is important to
distinguish the difference between the output gain knob and the gain make-up
knob in the compressor section. The gain make-up control is only active when
the compressor is switched on, whereas the output gain control is always
active but will have no effect on the compression characteristics of the signal.
4.28
4.17 Digital Output.
The digital output is an option for the Ivory 2 5051. The card converts the
analogue signal at 24-bit resolution and is selectable to 44.1 or 48 kHz sample
rates. The digital connector is a coaxial SPDIF format on an RCA phono type
connector. The card also has a word clock BNC connector for clocking to an
external digital source. This is useful for ‘slaving’ the 5051 A/D card to an
existing digital setup without the 5051 needing to be the digital master in the
system.
5. GETTING STARTED
5.1 Connections.
There are various ways that the 5051 can be connected into your audio
system. The three most common are:
a) As an instrument front end
b) Connected to a channel insert point on a mixing desk
c) Connected to a group or master insert point on a mixing desk
To use the 5051 as an instrument front end, connect the output of the 5051
directly to the
line
(not mic) input of your console, recorder or sound card. A
common mistake is to plug the 5051 line output into the XLR mic input of a
console. This will cause the console mic inputs to overload very easily and
may result in a loss of quality. Once the output is connected, simply feed your
mic or instrument into the relevant input on the 5051. Recording direct to the