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ORAM T Series Owner's Manual

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OWNER'S MANUAL

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  • Page 1 T Series OWNER’S MANUAL...
  • Page 2 T Series Recording Console Operator's Manual Manual copy by Rob Dewar. Manual Contents Copyright 2007 Rob Dewar and Oram Prefessional, Old Forge Barn, Hook Green, Meopham, Kent, England.

  • Page 4: Table Of Contents

    The Stereo Master Faders The Stereo Returns Masters The Control Room/Monitor Masters The Solo/Phones Level Masters The Talk Back Master Controls The T Series Meterbridge Setting Up The Basic Connections/QUICK START GUIDE Connect The Power Connect Your Recorder's Inputs Connect Your Monitor Returns...
  • Page 5 Setting Up To Mix Down Your Tracks Inserted Processing Using AUX Sends For Effects Using The Stereo Returns and Line Inputs For Returns Setting Up A Second Stereo Mix Buss Troubleshooting Guide T Series Technical Specifications T Series Signal Flow Diagrams...

  • Page 6: General Advisory

    Clean your Oram product on the outside with a soft, dry cloth, or a duster. Use only –...

  • Page 7: Introduction

    Design Insights The T Series is built in the format of what is known as a classic “inline monitoring” design. This is an extremely efficient and flexible design, used on the highest-end professional recording consoles for decades.

  • Page 8: Channel And Master Section Overview

    Let's have a look at the individual controls and connections, so you can see the many control and routing possibilities that are available to you. On the following pages are three overview diagrams of the T Series console surface, channel strips and Master Section. Dimensional information is also included, as a quick reference.
  • Page 9 Master Output Connections Page 20-25 Channel Input Connections Page 9 VU Meters Page 26 Channel Input Controls Page 10 AUX Send Controls Page 12 Track Buss Masters Page 27 Tape Monitor Return Controls Page 14 AUX Send Masters Page 29 Classic EQ Page 16 Stereo Master Faders...

  • Page 10: The Channel Connections

    The Channel Connections Note that the channel INS jacks are “normalled” connections, and inserting a TRS-M plug into the jack will break the channel's signal path and mute the channel, until the two “ends” of the chain are both connected together again, through a signal processor, etc.

  • Page 11: The Channel Input Controls

    In fact, the pres on the T Series console are the same basic design as those used on Oram's high-end rackmount and channel strip units, making them an uncommonly high-quality circuit, in the world of recording consoles.
  • Page 12 phantom power can adversely affect sonic performance, or, in some cases, can permanently damage the delicate inner workings of the mic or power supply connected. Check the owner's manual for your mic or hardware, or contact its manufacturer, or their representative, if you are unsure about its power handling capabilities or requirements.

  • Page 13: The Auxiliary Sends

    L/R buss, all at once. Pretty cool..Remember that doubling the signal fed into the circuit path will also add about 6 dB to the channel's level, so take care to avoid clipping. There's a limit to even a Oram circuit's incredible dynamic range. The Auxiliary Sends Just below the Channel Input Controls on the channel strip, are the auxiliary sends, labeled “AUXS”.
  • Page 14 The second knob in the group, also labeled “LEVEL”, is used to control level to either AUX 2 or AUX 4. The knob's function is determined by the position of the white button to its right, labeled “AUX 2/AUX 4”. Leaving this button up sends signal from the main channel path to AUX 2, while depressing it routes the signal to AUX 4.

  • Page 15: The Tape Monitor Return

    The Tape Monitor Return The section located immediately below the AUX section, is the Tape Monitor Return. The 8T's Monitor section is normally used to control and mix the signal connected to the TAPE input jack at the top of the channel, though depressing the red I/P FLIP button in the Channel Input Control section will switch the inputs, and route the LINE input jack's signal here instead.
  • Page 16 The default mode of operation for the Monitor section sends the Monitor return signal into the Monitor buss. Alternatively, the signal can be routed to the AUX 7/8 outputs. This routing assignment is determined by the position of the white button labeled “MON/AUX 7&8”.

  • Page 17: The Classic Eq

    The EQ is designed after one of the most respected and musically- flattering equalisers ever built by John Oram. This design incorporates five separate filters, which are implemented as a low frequency shelving filter, a high frequency shelving filter, and two sweepable midrange peaking filters, plus a low-frequency rolloff filter.
  • Page 18 depressing the switch raises the turnover point for the filter to 12 kHz. The HI SHELF knob then boosts or cuts the frequencies at and above the selected turnover point, by an amount based on the knob's position. The knob has a detent at the “0” position (12:00), and a range of +/- 15 dB of gain.

  • Page 19: The Channel Fader, Pan And Buss Assignments

    The Channel Fader, Pan and Buss Assignments At the bottom of the channel, there is the main 100mm linear channel level fader, and near this fader, there are several switches and indicators, the functions of which are described here.
  • Page 20 The channel fader is used to control the level of the main channel's signal, with respect to its relative output power, for feeding the tracking busses, the L/R main buss, and the Direct Output, as well as any post-fader AUX sends. A fader setting of “0” implies a neutral effect on the line level standard, with a range from –...

  • Page 21: The Master Section

    The Master Section On the right-hand side of the T Series is the Master Section, or Centre Section, as it is sometimes called. This section contains all the “master” controls for all the channel routing functions, plus, it contains some additional line level inputs, called Returns, and the basic console metering functions, also.

  • Page 22: The Track Buss Connectors

    If you are using the T Series with a patchbay, you will want to connect the TRACK BUSS 1-8 outputs to eight patch points on your bay, for connection to recorder inputs, or re- patching to other devices.

  • Page 23: The Stereo Returns Connectors

    The Stereo Returns Connectors The next group of jacks, below the TRACK BUSS 1-8 connectors, are the STEREO RETURNS, individually labeled from 1-4, in L and R pairs. The stereo returns are actually four stereo pairs of line level inputs, intended for use with effects processing devices, or stereo reproduction sources, such as master recorders, samplers or CD players.

  • Page 24: The Track Buss Insert Connectors

    Feel free to experiment with all the possibilities. If you are using the T Series with a patchbay, you will want to connect the AUX SEND MASTERS outputs to eight patch points on your bay, for connection to processors, headphone amplifiers, or other devices.

  • Page 25: The Main L/R Buss And Insert Connectors

    In particular, these points are especially suited to the insertion of stereo mastering equalisers and dynamics controls, such as the Oram Hi-Def 35 EQ, or the Oram Sonicomp 2 optical/solid-state compressor/limiter.

  • Page 26: The Control Room Monitor Connectors

    The Control Room Monitor Connectors Below the main L/R OUT and INSERT connector group, is the control room monitor connector group, labeled “MAIN” and “N-FIELD”, with further individual labeling as “L” and “R”. These jacks are intended for the connection of the control room's monitors. There are two independent pairs of monitor jacks, to allow for the connection of, and easy selection between two different sets of monitors –...

  • Page 27: The Master Section Features

    headphone amplifier, or a slate recorder..or try using it to make some really unusual recordings. The TB OUT connection is only active when the momentary “EXT” switch in the TALKBACK section is depressed (see the TALK BACK controls later in this section). The PHONES jack is used for connecting a set of stereo headphones, for use by the engineer in the control room.

  • Page 28: The Track Buss Masters

    A red master SOLO LED lights whenever any SOLO button is depressed, anywhere on the console. It should be noted that any signal metered on the VUs while any SOLO switch is depressed, will be the combined values of all channels or busses whose SOLO switches are depressed at that time.
  • Page 29 button for each pair of busses. Each buss is individually labeled from 1-8. Each track buss knob in the group controls the master level of the signal through the respective track buss, both to its output jack on the connector panel, and also into the main L/R buss, if it is routed there, as described below.

  • Page 30: The Aux Send Masters

    The Auxiliary Send Masters To the right of the Track Buss Masters, are the AUXILIARY SEND MASTERS. This control group consists of a column of eight level control knobs, plus eight red SOLO switches. Each buss is individually labeled from 1-8, and has a grey “writing strip” area marked to the right of each control set, for easy identification of the use of each AUX.

  • Page 31: The Stereo Master Faders

    VUs. The Stereo Master Faders At the bottom left of the T Series Master Section are the main STEREO MASTER faders. These faders control the level of the main L/R buss to the output jacks on the connector panel.

  • Page 32: The Stereo Returns Masters

    The Stereo Return Masters At the top of the STEREO MASTER main faders, and to their right, is the STEREO RETURNS master control group. The group consists of two level control knobs, and four selection and routing switches, the functions of which are described here. The knob at the top-left of the group, labeled “LEVEL”, controls the signal level into the return buss, from the STEREO RETURNS connection jacks for stereo returns 1 and 2, located on the connector panel.

  • Page 33: The Control Room/Monitor Masters

    RETURNS connection jacks for stereo returns 3 and 4, located on the connector panel. The active return, the level of which is adjusted by this knob, is determined by the position of the white “RTN 3/RTN 4” switch, located to the right of the control knob. The default return to the control knob is RTN 3, but depressing this switch activates RTN 4, instead.

  • Page 34: The Solo/Phones Level Masters

    The white MAIN and N-FIELD switches, located to the right of the control knob, select the monitor pair to be connected to the control room level knob. One or both sets can be activated simultaneously. The red MONO switch connects both the L and R channels of the control room monitors together, to allow easy checking of the phase integrity of stereo pairs, or for testing an intended mono mix.

  • Page 35: The Talk Back Master Controls

    The Talk Back Master Controls At the bottom right-hand corner of the Master Section, is the TALK BACK control group, which includes a level control knob, a built-in mic, and two function buttons, the descriptions of which are given here. The LEVEL knob controls the output of the built-in microphone to the talkback destination.

  • Page 36: The T Series Meterbridge

    The 8T Meterbridge If your T Series is equipped with the optional meterbridge, you will want to read this section, to familiarize yourself with its connections and adjustments. The T Series meterbridge is built in sections of eight channels each, plus the master section meters, as shown above.
  • Page 37 The meterbridge has controls for the fine-tuning of individual meter responses, as well as a global meter sensitivity switch. In normal use, the fine channel calibration settings should not require adjustment, and it is advised that these not be adjusted, unless necessary, and then, only by a qualified technician.

  • Page 38: Setting Up The Basic Connections/Quick Start Guide

    The following is a walk-through of the basic steps required to connect and operate the T Series as a stereo recording console. For those operators sufficiently grounded in basic signal flow and engineering, you may skip this section, but even seasoned pros might want to glance through this section, to make the most of the T Series design advantages.

  • Page 39: Connect Your Recorder's Inputs

    T Series designed-in flexibilities, and connect it in one of the following ways: Method A - To a small multitrack system of eight or fewer hardware channels: For small multitrack systems, the output buss system can be used for bussing signals to the recorder's inputs, hence their name, “Track Busses”.

  • Page 40: Connect Your Control Room Monitors

    Connect Your Control Room Monitors How your control room monitors are connected to the T Series will depend on whether you are using active (self-powered) monitors, or passive monitors with a separate power amplifer.

  • Page 41: Set Your Input Levels

    To get a signal passing through the T Series, start the setup process at the top of the first connected channel. First, always check your phantom power needs, and switch it off for that channel, unless you specifically need it.

  • Page 42: Arm Your Recorder

    channel, the green SIG light will illuminate. Once you have the SIG LED lighting, get your source to play or sing one of the louder passages he or she will be including in the performance, and watch the PK LED, as you finesse the MIC gain knob, so that the LED flickers, or lights only briefly during the most powerful parts of the performance.

  • Page 43: Route Your Input Channel And Set Your Recording Levels

    track output, when the recorder is idle, or playing back audio, and is replaced with the signal taken from after the record circuit, when the unit is actually recording. When you have this type of monitoring functioning properly on your recorder, if you “arm” (set to record) a track that you have an active channel or Track Buss output connected to, you will be able to mix the individual recorded track's outputs into the Monitor buss, through each channel's MON/AUX 7&8 level control knobs, and route this mix to your control...

  • Page 44: Setup Your Monitor Buss

    If you are using Method B (Direct Outputs) for your recorder connections : Near the bottom of the channel your source is connected to, locate the assignment switches, labeled 1-2, 3-4, etc. Unlike when using the Track Buss connection to the recorder, ensure that none of these assignment switches is depressed on your input channel, for this direct recording application.

  • Page 45: Create Your Monitor Mix

    Create Your Monitor Mix Now, you're ready to make some sounds. Starting with the first active channel, or whichever channel you wish to set for monitoring first, check the setting of the white MON/AUX 7&8 switch, located to the right of the MON/AUX 7&8 level knob. Set this switch to the “up”...
  • Page 46 For this, you will need to connect a headphone amplifier, such as the Oram S-140 Headphone Mixer, or a similar monitoring system, to the output of at least one of the eight AUX busses, to create a discrete mono monitor mix.

  • Page 47: Recording An Overdub

    Slowly turn up the AUX SEND MASTER control knob for the AUX you have connected to the performer's monitoring system, while watching and listening carefully to the performer's reactions to the sound level in their phones, and stop when they tell you that it's loud enough.

  • Page 48: Setting Up To Mix Down Your Tracks

    Monitor buss has served, up until now, to create a rough mix of the recorder's returns for work purposes, a finished product will likely benefit from some of the other capacities of the T Series, such as the addition of external effects processing, and the use of the world- class channel EQs.

  • Page 49: Using Aux Sends For Effects

    disconnected cable, or “dummy” plug into an INS jack, will disconnect the rest of the channel's signal path and mute the channel, as the signal is diverted away from the channel path and out the insert jack, when it is plugged into, but is not returned, until the cable ends are properly connected to an external device.

  • Page 50: Using The Stereo Returns And Line Inputs For Returns

    Once the send and return are connected, turn up the AUX SEND MASTER knob for the AUX send you have connected your processor to, up to a reasonable median level, perhaps near the 2:00 position. Then, slowly turn up the AUX send level control for the send you are using, on the channel whose signal you want to send to the processor.
  • Page 51 TAPE input jacks (I/P FLIP switch disengaged), or LINE input jacks (I/P FLIP switch activated) on the T Series, and re-route the signals from there. These circuits may be wired to run to and from a recorder, for example, or, the patches can be made directly from jack to jack.
  • Page 52 the PAN control for the Monitor buss, the signal can now be panned across the AUX 7&8 outputs, allowing the creation of a stereo imaged output. Because the MONITOR sections of each channel are getting their feed from a pre-fader signal source (the INS jacks), the mix they send out is independent of the main L/R buss mix.

  • Page 53: Troubleshooting Guide

    Troubleshooting Guide Here is a quick, non-exhaustive “Idea Chart”, for when things seem to be out of order. When in doubt, troubleshoot from the top of the signal chain, through to the bottom, mic to monitors, assuming nothing, until you can verify everything, and even then, be suspicious: No lights on, nothing running Power cables plugged in, unit switched on, building AC OK...

  • Page 54: T Series Technical Specifications

    T Series Technical Specifications...

  • Page 55: T Series Signal Flow Diagrams

    T Series Signal Flow Diagrams...

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