Related Manuals for TLAudio Ivory 2 5021
Summary of Contents for TLAudio Ivory 2 5021
- Page 1 ® udio user manual Ivory 2 Series 5021 DUAL VALVE COMPRESSOR TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK email: info@tlaudio.co.uk web: http://www.tlaudio.co.uk...
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Page 2: Table Of Contents
CONTENTS INTRODUCTION PRECAUTIONS INSTALLATION A.C. Mains Supply Audio Operating Level Balanced Line Input Unbalanced Line Input Instrument Input Balanced Output Unbalanced Output Mounting Rear Panel OPERATION What is Compression? Why Valve Compression? Overview of Compressor Operation Input Stage Drive and Peak LEDs Threshold Ratio Attack and Release... -
Page 3: Introduction
INTRODUCTION Congratulations on purchasing the Ivory 2 5021 Dual Valve Compressor by TL Audio! The Ivory 2 Series consists of a range of hybrid valve signal processors, which utilise low noise solid state electronics in conjunction with classic valve circuitry to produce audio processing units offering very high quality signal paths with the unique valve audio character. -
Page 4: Precautions
PRECAUTIONS The Ivory 5021 requires very little installation, but like all electrical equipment, care must be taken to ensure reliable, safe operation. The following points should always be observed: - All mains wiring should be installed and checked by a qualified electrician, - Ensure the correct operating voltage is indicated on the rear panel before connecting to the mains supply,... -
Page 5: Installation
INSTALLATION AC Mains Supply. The unit is fitted with an internationally approved 3 pin IEC connector. A mating socket with power cord is provided with the unit, wired as follows: Brown: Live. Blue: Neutral. Green/Yellow: Earth (Ground). All mains wiring should be performed by a qualified electrician with all power switched off, and the earth connection must be used. -
Page 6: Balanced Line Input
interfacing to semi-professional equipment and have an operating level of - 10dBu, or about 225mV rms. However, the input and output level switches allow these levels to be shifted by 14dB, i.e. to +18dBu on the XLRs (suitable for high levels from a digital machine), and +4dBu on the unbalanced jacks. The normal default mode would be the +4dBu balanced setting, but if - upon feeding a digital multitrack machine into the 5021 line inputs - clipping occurs even on low input gain settings, then the +18dBu setting should be used. -
Page 7: Unbalanced Line Input
Unbalanced Line Input. An unbalanced line level input at a nominal level of -10dBu is also provided, on a 0.25” mono jack socket. The mating plugs should be wired as follows: - Tip = Signal Phase (“+” or “hot”). - Screen = Ground. Instrument Input. - Page 8 FIG 2: FRONT PANEL KNEE MODE SWITCH ATTACK / RELEASE CONTROLS THRESHOLD CONTROL VU METER RATIO CONTROL THRESHOLD THRESHOLD RATIO KNEE ATTACK RELEASE RATIO KNEE ATTACK RELEASE 1:10 1:10 SLOW FAST SLOW FAST SLOW FAST SLOW FAST HARD HARD SOFT SOFT 5021 1:1.5...
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Page 9: Mounting
- Sleeve = Ground. - Tip = Send. - Ring = Return. The insertion point is unbalanced, and operates at a nominal level of -2dBu. If used as an additional send only (e.g. as a send to a tape machine or monitor mixing desk), the Tip and Ring should be wired together, to preserve the signal path through the insertion point. -
Page 10: Why Valve Compression
controlled automatically, allowing the engineer to get on with more productive jobs! Many instruments and voices have a very wide dynamic range that need to be controlled. A singer, for instance, may be projecting quietly one moment and very loudly the next, and unless compression is applied the vocal won’t “sit” correctly in the mix, in addition to the problems of distortion on loud passages and noise on quiet ones. -
Page 11: Input Stage
To operate the 5021 successfully, an understanding of each control will help to obtain the best results. If you are unfamiliar with the effect of compression it may help to adjust each individual control to extreme settings and listen to the sonic effect. -
Page 12: Threshold
level gain), which will cause the Peak LED to illuminate at a lower level of Drive. This situation implies that a high level of “clean” signal is present, without driving the valves hard. Threshold. The Threshold is the signal level - measured in dB - above which any compression comes into operation. -
Page 13: Knee
to 4S. There is an element of automatic operation of the Attack and Release on the 5021: for instance, should a very short transient occur the time constants tend to become shorter, to prevent a slow release leaving a “hole” in the signal after the transient. -
Page 14: Compressor On
4.11 Compressor On. This switch enables or disables the compressor stage, thus allowing an A/B comparison to be made between the original untreated signal and the compressed signal. Any gain make up applied to the signal only becomes active when the “Compressor On” is enabled. An associated status LED indicates when the compressor is active. -
Page 15: Gate
insert ‘send’ connects to the equaliser input, and the equaliser output connects to the insert ‘return’, thus completing the circuit). Once connected, any frequency boosted on the equaliser will effectively lower the compression threshold at that frequency. To de-ess, for instance, use a parametric EQ patched into the insert point and try boosting the sibilant frequency (normally 3-5kHz) using a narrow bandwidth setting on the EQ. -
Page 16: Optional Do-2 Digital Output
This controls the level at the 5021 output stage. The nominal level is 0dB at the centre detented position. This control effectively acts like an output fader, and is very useful when recording direct to tape or hard disc through the 5021. You may find that some digital recorders require a good deal of input level in order to register a 0dB reading on their meters (a +18dBu analogue output usually matches 0dBFS in the digital scale). - Page 17 may result in a loss of quality. The 5021’s balanced line outputs are the recommended connections to use for the best sound quality. Once the output is connected, simply feed your instrument into the front panel jack input on the 5021.
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Page 18: In Use
mastering recorder to the mixer’s 2-track return inputs and monitoring these returns on the mixer. The optional DO-2 digital output will allow a stereo high quality A/D conversion at 24-bit from the 5021 on a coaxial SPDIF output. The DO-2 can feed directly into digital recorders such as Digital Multitrackers, Hard Disk Recorders, DAT Recorders, Minidisc and CD-Recorders, bypassing any A-D conversion stages on the way. -
Page 19: Specifications
starting point, by lowering the Threshold further if necessary. You should also notice that increasing the Ratio setting causes more gain reduction to occur. 7. When gain reduction is taking place, you should notice that the output level is reduced. By switching the compressor ‘in’ and ‘out’, you can compare the levels and the subjective sound quality of the original and compressed signals. - Page 20 Input Gain Range: +/-20dB (Line), -2dB to +38dB (Instrument). Maximum Input Level: +26dBu (Line), +10dBu (Instrument). Outputs: Balanced XLR, switchable +4dBu/+18dBu nominal level. Unbalanced jack, switchable -10dBu/+4dBu nominal. Output Gain Range: +/-20dB. Maximum Output Level: +26dBu (XLR), +12dBu (Jack). Gate: Threshold variable -60dBu to -10dBu.
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Page 21: Service
output gain, Compressor on. Dynamic Range: 106dB (Line input @ 0dB gain). Sidechain Insertion Points: Unbalanced, switched 3 pin jack socket, tip = send, ring = return, Nominal level -2dBu, Output impedance 47 ohms, Return input impedance 10Kohms. Power Requirements: Internally set to 230V 50Hz or 115V 60Hz operation, Detachable IEC power cord,... - Page 22 caused by deliberate or accidental misuse, tampering, operation on the incorrect mains voltage, or without the correct type and value of fuse fitted. It is the user’s responsibility to ensure fitness for purpose in any particular application. The warranty is limited to the original purchase price of the equipment, and excludes any consequential damage or loss.
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