T L Audio User Manual FAT TRACK Tube Production Suite TL Audio Limited, Letchworth, England. Tel 01462 492090, Fax 01462 492097. www.tlaudio.co.uk email: info@tlaudio.co.
CONTENTS. CONTENTS.................................................................................................................................................... 1 INTRODUCTION ......................................................................................................................................... 3 PRECAUTIONS ............................................................................................................................................ 4 FIGURE 1 – BLOCK DIAGRAM ..........
WARMING UP A STEREO MIX VIA THE FAT TRACK.................................................................................... 20 SPECIFICATIONS ..................................................................................................................................... 21 FOUR 2-TRACK RETURNS: ......................................................................................................................... 22 MAIN OUTPUTS: ......................................................................
INTRODUCTION Congratulations on your purchase of the TL Audio Fat Track Tube Production Suite the complete solution for tracking, summing and monitoring. Designed to be the centrepiece of any home, project or professional studio, this unit combines some of the best-loved TL Audio features into one compact and professional unit, adding warmth and sonic pleasure to all recordings and mixes.
PRECAUTIONS The TL Audio FAT TRACK requires very little installation, but like all electrical equipment, care must be taken to ensure reliable, safe operation.
FIGURE 1 – BLOCK DIAGRAM 5
INSTALLATION AC Mains Supply. The unit 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.
in a loss of level and/or increased noise. Good quality screened cable should be used, particularly for microphone or low level sources, to prevent hum or noise pickup. Channel Line Inputs. The line inputs are connected via a stereo TRS jack connectors. These may be wired to accept balanced or unbalanced connection as follows: Balanced inputs: - Sleeve = Ground (screen). - Tip = Signal Phase (“+” or “hot”). - Ring = Signal Non-Phase (“-” or “cold”).
Balanced sends and returns, (using stereo TRS Jack connectors) : - Sleeve = Ground (screen). - Tip = Signal Phase (“+” or “hot”). - Ring = Signal Non-Phase (“-” or “cold”). Unbalanced send and returns: (using stereo TRS Jack connectors) - Sleeve = Ground (screen) - Tip = Signal Phase (“+” or “hot”). - Ring = Ground (screen) (Alternatively a mono TRS Jack may be used for unbalanced signals wired hot to tip, screen to sleeve).
- Tip = Signal Phase (“+” or “hot”). - Screen = Ground. Phones and Tape Outputs. These outputs are unbalanced, stereo signals, on TRS jack connectors. The mating connectors should be wired as follows: - Sleeve = Ground (screen) - Tip = Left channel - Ring = Right channel. Balanced XLR Outputs. The outputs are via balanced, 3 pin male XLR connectors.
OPERATION. Input Selection You must ensure that the correct input connector, mic, instrument or line, is being used from the required source. You can select the type of input by pressing the 'LINE' switch at the top of each channel strip in or out. In the "up' position the mic input is selected; depressing the 'LINE' switch selects the line input or instrument input as the source.
needed, activate it before setting the gain by depressing the button marked '48V' on the channel strip. Although the Fat Track provides 48V of phantom power, microphones requiring less than 48V can still be connected without any difficulties. Phantom Power. +48V phantom power is available at the mic socket, selected by a front switch. Phantom power should only be used in conjunction with suitable condenser microphones.
contact with microphone stands or microphone cables. Popping is an undesirable thump that is caused by close-miking certain spoken or sung letters, namely 'P' or 'B'. These particular letters cause a sudden expulsion of air that can result in an audible thump. As this thump has a lot of low frequency content the high pass filter can help to reduce the problem, as can using a pop filter (a device usually made out of nylon material similar to stockings) suspended in front of the microphone.
Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. The mid ranges are very important, as it is within these ranges that your vocal and lead instruments will be most prominent so it is essential that you get a good balance. Finally, towards the top of the listening spectrum, frequencies here are generally adding sparkle and a sense of space to your overall mix.
Pan Control The pan control positions the image within the stereo field, from fully left in the anticlockwise position, through centre at the dented position to fully right in the clockwise position. The gain law is -3dB at the centre. Mute Switch The channel may be muted or switched on without affecting the level set on the channel fader.
Main Select Buttons The ‘MAIN’ switch located in the centre of the unit just above each corresponding rotary stereo return knob (A,B,C,D) activates the return and routes it into the stereo bus. To activate the main switch it needs to be pressed to its downward position. The ‘MAIN’ switch can be used as an ‘ON’ switch to route the stereo signal to the stereo bus, or as a ‘MUTE’ switch when it is de-selected.
Monitor Level This ergonomically satisfying knob controls the volume of the monitor speakers connected to the Fat Track. Alternative Loudspeaker By selecting the ‘ALT LS’ switch in the master section it allows you to switch your monitoring to an additional set of monitor speakers . This is great for A/B comparisons and for switching between near-field and mid-field monitors. A great feature for mixing and mastering. Loudspeaker Mute This switch mutes the monitor and alternate LS outputs.
Digital Output Options The optional DO8 card can be fitted to the back of the Fat Track, providing an 8channel ADAT lightpipe I/O interface. This professional protocol makes for easy connection when conducting computer-based recording or when connecting to other digital equipment. It provides you with digital access to channel direct outputs, master stereo output, 4 stereo returns and both channel line inputs, a total of 10 inputs and 4 outputs.
TIPS ON OPERATION Recording a Vocal to your DAW via the Fat Track To set up the Fat Track for a basic recording of a single vocal, you can use the following instructions as a simple guide to get started. It is up to you how you wish to use and operate the equipment, and the following is meant as a guide only, highlighting one of many possible ways in which to record. 1.
Summing via the Fat Track One of the big audible benefits you will be aware of with the Fat Track is its ability to sum your sounds together in analogue to produce a more detailed, open, rich, warm and dynamic sound. Summing is basically another term for what is essentially mixing, but in its most basic form. Summing, as the name would suggest is the process of adding several different signals together into one combined signal.
Warming up a stereo mix via the Fat Track Sometimes you may just want to inject some life into, or warm up your final stereo mix. It is very easy to do this with the Fat Track, giving you a great sounding back end to your DAW or general recording set up. Having a quality analogue back end to your system can put soul and life back into your recordings, taking away that clinical, dull sound.
SPECIFICATIONS 2 Input Channels (figures quoted to Direct Outputs with Fader at maximum): Line Input: Balanced, via 3 pin TRS jack. Nominal Level +4dBu, Gain range +/-20dB. Frequency Response 10Hz to 40KHz, +/-0.4dB. Maximum Input Level +22dBu. Noise -83dBu unweighted, 22Hz to 22KHz. Mic Input: Balanced, via 3 pin XLR. Gain range +16dB to +60dB (-14dB to +30dB with pad). Input Noise (EIN) -127dBu, 22Hz to 22KHz @ 60dB gain, Frequency Response 10Hz to 40KHz, +/-0.5dB, @ 40dB gain.
Semi-balanced Send, balanced Return, on separate 3 pin TRS jacks. Bypass switch. Nominal Level -2.7dBu. FX Send: Post EQ, Fader and Mute switch. Variable send level. Routing: To Main L+R stereo mix, via pan pot (-3dB at centre) and mute switch. Four 2-Track Returns: Fader: Rotary, 0dB maximum gain. Inputs: Balanced, via 3 pin TRS jacks. Nominal Level individually switchable +4dBu/-10dBu. Maximum Input Level +22dBu. Routing: To Main L+R stereo mix, via Fader and routing switch.
FX Send: Output: Mono, semi-balanced, via 3 pin TRS jack. Nominal level -6dBu. Noise -87dBu, channel sends @ maximum. Noise -100dBu, channel sends @ minimum. FX Returns: Inputs: Stereo, Right Input normalled to Left Input for Mono compatibility. Balanced, via 3 pin TRS jacks. Nominal level +4dBu. Maximum Input Level +22dBu. Monitoring: Source: Normally follows Main Output, overridden by 2-Track AFL selection. Level controlled by large diameter knob. Main / Alt LS switch. LS Mute switch.
Power Requirements: Voltage: 230V 50Hz or 115V 60Hz, internally wired. Consumption: 37VA, without digital I/O. 41VA, with DO-8 option fitted. These specifications are typical figures, subject to normal production tolerances. They do not represent guaranteed limits for any particular piece of equipment. Specifications are subject to change without notice.
SERVICE Should the unit 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. This equipment is supported by a limited warranty for a period of one year from the date of purchase.