Advent 100A Owner's Manual page 13

You can now compare the source to the recording by
witching b tween OURCE and TAPE on the Model
l OOA. By using the Model lOOA's OURCE-TAPE
witches, the source and tape will be at precisely the
ame level, which is a necessity when checking the tape
for di crepancie from the ource.
• et the OUTPUT LEVEL controls to suit. It i a
good idea to set them to approximate the level of your
other ources, such as a tuner or turntable. This often
requires etting the OUTPUT L VEL control at or near
their full clockwise position.
Recording with Microphone
fakin g "live" r ordings with microphones and the
lodel 1 th u of an accessory microphone
pr arnp
th
d nt
f PR-1.
This preamp is designed
pecifically for r cord ing with low impedance micro-
phone , and i a truly high-p rformance device of wide
fr
quency range and low noi e. Th inputs permit
mi rophones to be connected in a balanced (as well a
unbalanced) configuration, which will allow for the u e
oflong mic cables without the risk of picking up hum and
RF int rference .
Th MPR-1 al pro ides a switch to select either
40 or60 dB of gain, o th at it can be used with a wide
variety of m i rop hone u nd r a ide variety of place-
m nt condition . I ost i m derate becau e it is
d ign d to b pow r db an external power upply,
u h a that in
th
Mod l 100 . However, the co t of
building into the Model 1 A ver atile and high per-
fo nnance mic p reamp \
c
on idered high enough to
b an unn a burd non those not interested in live
r ordin
Y.
10
NORMAL MODE
The MPR-1 is a stereophonic preamp, for recording
with two microphones. It connects to either of the jacks
on the back of the Model lOOA marked+ 1 VOLTS,
and its outputs connect to either pair of the Model lOOA'
LINE inputs. A second MPR-1 may be used, thereby
allowing full control and mixing of four microphone ,
two on each stereo channel.
The MPR-1 comes with complete instruction for
its u e, including suggestions and tips for "live" record-
ing. Written originally for using the MPR-1 with the
Advent Model 201 , the instructions apply equally to the
Model l OOA.
Mixing
The Model l OOA' LINE inputs are truly mixable,
that is, all four inputs are completely i olated from each
other, and there is no interaction between the four
I PUT LEVEL controls.
A a re ult, the Model lOOA will add mixing facilitie
to those recorders which lack them. If your recorder
already has mixing facilities , the l OOA u urps them,
because all ignal must pass through the l OOA for
Dolby-processing before they reach your recorder.
The Model lOOA can be used to mix two stereo pairs •
of high level signals; mic-line mixing can be accom-
pli hed with the u e of the MPR-1 microphone pre-
amplifier plugged into one pair of LINE input ; or four-
microphone mixing can b accompli hed with two
MPR-l's.
Adjusting the LINE 1 and LINE 2 INPUT LEVEL
controls allows you to adjust the relative balance of the
two sources you're mixing together. Once you ach ieve
the desired balance between the source , use the master
RECORD LEVEL control to set the overall record level
of the mixed signal going onto the tape.
Monophonic Recording
All the calibrating, recording, and playback in truc-
tions we've upplied apply equally to monophonic
recordings, except of cour e for those instructions uch
as balancing channel which obviously apply to stereo
recording. You'll find that the level controls of the
Model l OOA are handily laid out for mono recording, as
you will imply be using one horizontal row of control -
A or B-at a time.
If you have a quarter-track
recorder and are record-
ing monophonically on each of the four trac individ-
ually, just remember to change your focus of attention
from the A row of controls to the B row (and vice ve a)
when you change cone ponding tracks on the recorder.