Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.
Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer 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.
Notices Important Safety Information 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.
Table Of Contents Notices ................................................................................................................................................... ii Introduction ............................................................................................................................................ 5 A Letter from Bill Putnam Jr. .............................................................................................................................5 Overview .
Introduction A Letter from Bill Putnam Jr. Thank you for purchasing the Model 4-710d Four-Channel Tone Blending Mic Preamplifer — Universal Audio's new analog+digital hybrid product. The 4-710d combines four channels of our Model 710 Twin-Finity™ preamplifier with eight channels of pristine analog-to-digital conversion and adds a complement of modern convenience features, all in a 2U, all-metal chassis at an amazing price.
Introduction Overview The Universal Audio 4-710d is a four-channel microphone/line preamplifier with tube and solid-state tone blending, offering four additional line inputs, dynamics control, and eight channels of pristine analog-to-digital conversion. The 4-710d combines UA’s classic design approach with several modern innovations, creating a unique studio device suited to a wide range of applications.
The Two Page, Two Minute Guide to Getting Started No one likes to read owner’s manuals. We know that. We also know that you know what you’re doing—why else would you have bought our product? So we’re going to try to make this as easy on you as possible. Hence this two-page spread, which we estimate will take you approximately two minutes to read. It will tell you everything you need to know to get your Universal Audio 4-710d up and running, without bogging you down with details.
Getting Started Step 10: Make sure the Power switch is off (down position) and then connect the supplied IEC power cable to the rear panel AC power connector. Step 11: Power on the 4-710d. The front-panel meters will light up. Because the Model 4-710d utilizes a tube, it needs several minutes to achieve a stable operating temperature. During warm-up, audio quality may vary slightly.
Front Panel Descriptions Analog Controls The controls for channels 1-4 are identical, so each control is only described once. (1) Hi-Z Inputs - Connect a high impedance signal from an instrument such as electric guitar or bass to these standard unbalanced 1/4" phone jack connectors. The 4-710d’s jack detection circuitry automatically switches from the selected rear panel MIC or LINE input to the channel’s front panel Hi– Z input whenever a plug is inserted into this jack. The Hi-Z input impedance is 2.
Front Panel (4) Level - This is the channel’s master volume control. It determines the amplitude of the signal sent to the rear panel LINE OUTPUT ( #8 on page 16) and INSERT SEND ( #11 on page 16) jacks. This control also sets the level sent to the A/D converter inputs. The numeric values for the Gain and Level knobs are relative scale markings and do not represent specific dB values. > You can come up with many useful tonal variations by experimenting with different Gain and Level settings.
Front Panel (9) Meter Function - This three-position switch determines what the channel’s VU meter displays. In the up (OUTPUT) position, it shows the final output level in dB. "0" on the VU meter corresponds to +4 dBu at the analog outputs and -16 dBFS at the A/D converter inputs.
Front Panel Digital Controls (14) Power - Turns the 4-710d power on or off. When powered on, the front panel meters light up. The 4-710d should be powered off when it is not being used for extended periods of time. (15) Bit Depth – This switch determines the bit depth, or resolution, of the digital output signal for all eight A/D channels. In the up position, the digital output word length is 24 bits; in the down position, the digital output word length is 16 bits.
Front Panel (18) Digital Out Level - These LEDs indicate the signal level of the A/D converters. Each of the eight A/D channels has its own two-segment level indicator. The lower LED illuminates green when the incoming signal is between -37 dBFS and -6 dBFS. This LED displays the signal level continuously (it does not have peak/hold functionality). The upper LED is a two-state indicator.
Rear Panel Descriptions Digital Connectors (1) AES/EBU Out – All eight channels of the 4-710d’s A/D converters are output in AES/EBU digital format on this standard DB-25 connector. The 4-710d AES/EBU output supports “Single Wire” mode at all available 4-710d sample rates. The AES/EBU output does not support “Dual Wire” mode at sample rates above 96 kHz.
Rear Panel (3) Word Clock Out – This BNC connector transmits a standard (1x) word clock. For all settings except W/C, the 4-710d is the clock master and the clock rate sent by this port is specified by the Sample Rate knob (#17 page 12). The 4-710d will drive the Word Clock to all devices on the chain. When the Sample Rate is set to W/C (external word clock), the 4-710d is a word clock slave. If the incoming external word clock is within ±3% of a supported sample rate (44.1 kHz, 48 kHz, 88.
Rear Panel Two 4-710d units can combined using these inputs to obtain eight mic pre channels on one 8-channel digital stream. Simply connect the channel 1–4 line outputs of the first unit to the line inputs 5–8 of the second unit; the digital outputs of the second unit will now contain the combined mic pres of both units! Note: There are no analog outputs for line inputs 5–8. Since the connectors for channels 1–4 are identical, each is only described once below.
Interconnection Diagrams Analog-Only Setup This diagram illustrates a typical system using the 4-710d in an analog-only configuration, such as when using it as the front end to a public address system or analog recording device. In this setup, the digital features of the 4-710d are not used.
Interconnections Basic Digital Setup This diagram illustrates a typical system using the 4-710d as the front end of a digital recording setup. A variety of input sources are used, with the 4-710d performing A/D conversion on the inputs. In this setup, the converted input signals are sent to the computer digitally via the ADAT lightpipe, and the software monitoring features of the DAW are used to monitor the 4-710d inputs.
Interconnections Advanced Digital Setup This diagram illustrates a typical system using the 4-710d as the front end of a more complicated digital recording setup. A variety of input sources are used, with the 4-710d performing A/D conversion on the inputs while slaved to an external word clock. In this setup, the converted input signals are sent to the computer digitally via the AES/EBU output, and the software monitoring features of the DAW are used to monitor the 4-710d inputs.
Model 4-710d Overview The Universal Audio 4-710d, with its four mic preamps derived from our TEC award-winning UA Model 710 Twin-Finity Mic/Line/Hi-Z Preamplifier, combines our highly revered analog tube and solid state preamplification technology... but with a twist. Its unique phase-aligned Blend controls allow the user to literally dial in the desired sound, from precise ultra-clean solid-state tones to fat tube presence and overdriven crunch, or anywhere in between.
Model 4-710d Overview Phantom Power Most modern condenser microphones require +48 volts of DC (Direct Current) power to operate. When delivered over a standard microphone cable (as opposed to coming from a dedicated power supply), this is known as “phantom” power. The 4-710d provides such power when the Phantom switch ( page 11) is engaged (placed in the +48V, up position), applying 48 volts to pins 2 and 3 of the rear panel output connector.
Model 4-710d Overview A/D Conversion The 4-710d conveniently provides eight channels of high-quality analog to digital (A/D) conversion with digital output via AES/EBU DB-25 and ADAT optical connectors. No matter what task you give it, the 4-710d can dramatically improve the quality of your audio environment. The 4-710d provides up to eight channels of sterling sound quality for tracking, monitoring and mastering, with full support for today’s higher sample rates of 88.2, 96, 176.4, and 192kHz.
Digital Clocking Primer Digital clocking is a complicated issue, with a number of important aspects that are often not very well understood. First and foremost, a digital clock is used to maintain synchronization between different digital devices. There are two primary purposes for clock synchronization: 1. Digital Conversion. Analog-to-digital (A/D) conversion and digital-to-analog (D/A) conversion need extremely accurate clocking in order to correctly process the digital data.
Digital Clocking Primer Clock jitter affects digital transmission and digital conversion differently, as follows: • Clock jitter in digital transmission can be caused by a bad source clock, inferior cabling or improper cable termination, and/or signal-induced noise (called “pattern-jitter” or “symbol-jitter.”) Digital signal formats like AES/EBU, S/PDIF, and ADAT all embed a clock in the digital signal so the receiving device can synchronize to the transmitted data bits correctly.
Insider’s Secrets The Best of Both Worlds There’s a reason why tube preamplifiers have long been favored by audio engineers (especially in this age of digital recording): they impart a warmth and richness that makes most sounds larger than life. However, there is no denying that tube preamps also tend to color the incoming signal somewhat, albeit in a way which most listeners find pleasant and desirable.
Insider’s Secrets complementing it with the 4-710d’s solid-state preamp (or use the Blend control to dial in a combination of the two that favors the contribution of the TRANS side). Electric Guitar and Bass There’s something very special about the mix of tube preamplification and electric guitar and bass, which is why tube amps are so prevalent in that world. Cranking up the 4-710d's Gain control will impart anything from a slight bark to total grunge.
History of the Model 4-710d Like the microphone, preamplifiers come in all shapes, sizes and colors. And, like a microphone, the preamp is one of many devices that may impart a sound to a recording... or may conversely attempt to avoid coloration. In this way, mics and preamps can be compared to the various paints, brushes and surfaces a visual artist may choose from, or to the various films, lenses and filters the photographer uses in his process.
History of the Model 4-710d Throughout the years, solid-state preamplifiers have evolved into ever more sophisticated designs (such as the Precision mic preamp utilized in the Universal Audio SOLO/110 and multichannel 4110/8110, and the transimpedance design first unveiled in the Universal Audio DCS Remote Preamp).
Glossary of Terms A/D - An acronym for “Analog to Digital,” which refers to the conversion of analog signal to digital. ADAT - An acronym for “Alesis Digital Audio Tape.” ADAT was the name given to the Alesis-branded products of the 1990s which recorded eight tracks of digital audio on a standard S-VHS video cassette. The term now generally refers to the 8-channel optical connection that is used in a wide range of digital products from many manufacturers.
Glossary of Terms avoid signal degradation or undesirable audible artifacts, it is absolutely critical that all digital devices that are interconnected in a system be locked to the same clock. Clock Distribution – Refers to the process of routing a master clock signal (either from an internal clock or an external source) to multiple devices by means of multiple outputs, thus removing the need to cascade the clock through external devices, which can degrade the signal.
Glossary of Terms External Clock - A clock signal derived from an external source. (See “Clock”) FET - Short for “Field Effect Transistor” which is a type of transistor that relies on an electric field to control the shape, and hence the conductivity, of a “channel” in a semiconductor material. Front End - Refers to a device that provides analog and digital input/output (I/O) to a digital audio workstation (DAW). (See “DAW”) Hi-Z - Short for “High Impedance.
Glossary of Terms Patch Bay - A passive, central routing station for audio signals. In most recording studios, the line-level inputs and outputs of all devices are connected to a patch bay, making it an easy matter to re-route signal with the use of patch cords. Patch Cord - A short audio cable with connectors on each end, typically used to interconnect components wired to a patch bay. Pro Tools - A popular and widely used computer-based digital audio workstation developed and manufactured by Digidesign.
Glossary of Terms Transcoding - Converting one type of digital signal to another (i.e, from AES to SPDIF, or from ADAT to AES). Transformer - An electronic component consisting of two or more coils of wire wound on a common core of magnetically permeable material. Audio transformers operate on audible signal and are designed to step voltages up and down and to send signal between microphones and line-level devices such as mixing consoles, recorders, and DAWs.
Maintenance The 4-710d contains no user-serviceable parts. Repair should be performed only by qualified service personnel. Contact Universal Audio for service information. Calibration The 4-710d is internally calibrated at the factory. Calibration should never be required and no user adjustments are available. Fuse There is no user accessible fuse for the 4-710d. It contains an internal power supply circuit board with its own fuse.
Session Recall Sheet 4-710d TONE-BLENDING MIC PREAMPLIFIER Session Recall Sheet 35
Block Diagram 36
Specifications Analog Section, Channels 1–4 Note: all specifications are typical performance unless otherwise noted. Unless otherwise noted, all specifications are 20 Hz-20 kHz, minimum gain, maximum level, 24 bits, all switches in neutral or off mode, 100% solid state, digital output = 0 dBFS.
Specifications Solid State @ 100% – LINE IN TO LINE OUT THD+N (min gain, 1 kHz, 20 kHz BW) THD+N (max gain, 1 kHz, 20 kHz BW) SNR (min gain, 1 kHz, A-wgt, 20 kHz BW) SNR (max gain, 1 kHz, A-wgt, 20 kHz BW) -101 dB (0.0009%) -70 dB (0.
Specifications Analog-To-Digital Converter Section Note: all specifications are typical performance unless otherwise noted. Unless otherwise noted, all specifications are 20 Hz-20 kHz, minimum gain, maximum level, 24 bits, all switches in neutral or off mode, 100% solid state, -1 dBFS output. Microphone Input THD+N (-1 dBFS) SNR (A-Wt) Dynamic Range (-60 dBFS, A-wt) Frequency Response Stereo Phase -100 dB (0.001%) 110 dB 110 dB +0.1/-0.15 dB < 0.
Specifications Digital Output Section Digital Output Formats AES/EBU ADAT Optical Bit Depths Clock Options A/D Metering 8 channels, 44.1-192kHz, single wire 44.1-48kHz: Port 1 = channel 1-8 Port 2 = channel 1-8 (duplicate out) 88.2-96Khz (S/MUX™): Port 1 = channel 1-4 Port 2 = channel 5-8 176.4-192kHz (S/MUX™): Port 1 = channel 1-2 Port 2 = channel 3-4 24-Bit 16-Bit (dithered) Internal (crystal) 44.1, 48, 88.2, 96, 176.4, 192 kHz Word Clock 44.1, 48, 88.2, 96, 176.
Index 1176, 1, ii, 6, 27 Dynamic, 29, 30 610, ii, 27 EQ, 16, 27, 31 75Ω Termination, 15 FCC Compliance, ii A/D Conversion, 22 Features, 6 ADAT, 6, 15, 22, 24, 29, 31, 32, 33 FET, 27, 31 ADAT Optical, 15, 22 Fuse, 34 AES/EBU, 6, 14, 15, 22, 24, 29, 30, 32 Getting Started, 7 Analog, 9, 10, 15, 17, 23, 29, 30 Glossary, 29 Analog Connectors, 15 Guitar, 26 Analog Controls, 9 History, 27 Balanced, 6, 29, 40 Hi-Z Inputs, 9 Bass, 26 Horns and Reeds, 26 Bill Putnam Sr.
Index Meter, 7, 8, 10, 11, 20, 40 slave, 15, 23 Metering, 25 S-MUX, 15, 22, 32 Microphone, 26, 40 Solid-State, 20, 40 Overview, 20 SPDIF, 32, 33 PAD, 7, 10 Support, 43 Polarity, 11, 16, 21 synchronization, 23, 24 Power, iii, 8, 12, 15, 21, 40 Trademarks, ii Rear Panel, 14 Vacuum Tube, 20 Registration, 43 Vocals, 25 Resources, 43 Voltage Select, 34 Ribbon, 32 Warranty, 43 Sample Rate, 12, 13, 14, 15, 32 Website, 43 Service, 34, 43 Word Clock, 14, 15, 22 Single Wire, 14, 22, 29, 30,
Additional Resources Universal Audio Website We’ve got a pretty cool website, if we may say so ourselves. Check us out at http://www.uaudio.com. There, you’ll find tons of information about our full line of products, as well as e-news, videos, software downloads, FAQs, an online store, and a way cool webzine that features hot tips, techniques, and interviews with your favorite artists, engineers and producers each month.
