STUDIO CHANNEL Vacuum Tube Channel Strip User’s Manual Version 1.1 © 2008, PreSonus Audio Electronics, Inc. All Rights Reserved.
PRESONUS LIMITED WARRANTY PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase. This warranty is enforceable only by the original retail purchaser. To be protected by this warranty, the purchaser must complete and return the enclosed warranty card within 14 days of purchase.
TABLE OF CONTENTS 1 OVERVIEW 1.1 Introduction ........................................................................................................................................... 3 1.2 Features ................................................................................................................................................ 4 1.3 What is in the Box .................................................................................................................................
OVERVIEW 1.1 INTRODUCTION Thank you for purchasing the PreSonus Studio Channel. PreSonus Audio Electronics has designed the Studio Channel utilizing high-grade components to ensure optimum performance that will last a lifetime. The Studio Channel is a professional channel strip combining Class A tube preamplifier, VCA-based compressor and threeband parametric equalizer perfect for the professional and project studio.
OVERVIEW 1.2 FEATURES The Studio Channel has everything needed to deliver big tone. The preamplifier stage of the Studio Channel is based on the award winning PreSonus BlueTube preamplifier with a high output 12AX7 vacuum tube operating on voltages double than all other preamplifiers in its class. It delivers high headroom and big tone, featuring dual control Gain and Tube Drive to create a wide range of sounds.
OVERVIEW 1.
CONTROLS AND CONNECTIONS 2.1 FRONT PANEL LAYOUT 2.1.1 Tube Microphone Preamp Instrument Input. The ¼” TS connector on the front panel is for use with a passive instrument (guitar, bass, etc.). When an instrument is plugged into the instrument input, the microphone preamp is bypassed, and the Studio Channel becomes an active instrument preamplifier. NOTE: Active instruments are those that have an internal preamp or a line level output.
CONTROLS AND CONNECTIONS Phase Reverse. Reverses the polarity of the signal. Use the phase reverse when recording with more than one open microphones to combat phase cancellation between microphones. -20 dB Pad. This button attenuates the input signal by 20 dB. The pad can be used to keep a hot signal from overdriving the microphone preamp. 80Hz Roll-off. The 80Hz button is a low-end roll-off filter.
CONTROLS AND CONNECTIONS Soft. The Soft button selects Soft Knee and Hard Knee compression curves. When this button is pushed in, Soft knee compression curves are used, otherwise hard knee compression curves are used. With Hard knee compression, the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold. With Soft knee compression, the onset of gain reduction occurs gradually after the signal has exceeded the threshold. Auto.
CONTROLS AND CONNECTIONS Mid Band Q. Sets the frequency range for the Mid Band EQ. The Frequency knob sets the center of this range. High Band Frequency. Sets the Center Frequency of the “Q” or frequency range width of the High Band EQ. You can adjust the center frequency from 2 to 20 kHz. High Band Peak Button. By default, the High EQ is set as a shelving EQ. When the peak button is enabled, the High Band EQ becomes a standard peak equalizer with a fixed Q of 0.7. High Band Gain.
CONTROLS AND CONNECTIONS 2.2 BACK PANEL LAYOUT Microphone Pre-Amplifier. Your Studio Channel is equipped with a custom designed PreSonus microphone preamplifier for use with all types of microphones including dynamic, condenser and ribbon. Line Level Input. The Studio Channel also features a balance line level input to connect synthesizers, amp modelers, etc. Main Outputs. The Studio Channel features both a balanced TRS and an XLR output for greater ease of connectivity. Digital Option Card.
OPERATION 3.1 MICROPHONES The Studio Channel works with all standard microphones including dynamic, ribbon and condenser microphones. 3.1.1 Condenser Condenser microphones tend to generate a high-quality audio signal and are one of the most popular mic choices for today’s studio recording applications. Because of their design technology, condenser microphones require a power source, which can be provided from a small battery, external power supply or from microphone inputs as phantom power.
OPERATION 3.2 A BRIEF TUTORIAL ON DYNAMICS PROCESSING The compressor in the Studio Channel is a fully variable, ultra-fast and smooth VCA-based circuit with all of the controls needed for a wide range of compression settings: ratio, threshold, attack, release and gain make up. The VCA-based compressor is known for musicality as well as ultra fast attack with the ability to tame the fastest transients.
OPERATION Why do you need noise gates? Consider the compressed vocal example above and you now have a 20dB dynamic range for the vocal channel. Problems arise when there is noise or instruments in the background of the vocal mic that became more audible after the lower end of the dynamic range was raised (air conditioner, loud drummer, etc). You might attempt to mute the vocal between phrases in an attempt to remove the unwanted signals; however this would probably end disastrously.
OPERATION dynamic response of a performance. (‘Over compression’, however, is used by some engineers as an effect, and with killer results!) Compressor / Limiters are commonly used for many audio applications. For example: A kick drum can get lost in a wall of electric guitars. No matter how much level is increased, the kick drum stays ‘lost in the mud’. Add a touch of compression and tighten up that kick drum sound allowing it to ‘punch’ through without having to crank the level way up.
OPERATION 3.2.3 Vocabulary of Dynamics Processors In scientific research, it is widely accepted that if one needs to master a subject quickly, learn the associated vocabulary and industry terms. The same is true with audio recording and production. Most manuals and text books assume a prior level of knowledge. We hope this section will help you to get the most benefit from your independent study in the world of music production. Compressors Threshold.
OPERATION Compressor Sidechain. The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction to apply. When no connector is inserted into this jack, the input signal goes directly to the compressor’s control circuitry. When a connector is inserted into this jack, the signal path is broken. This signal can then be processed by an equalizer for example to reduce sibilance (de-essing) in a vocal track.
OPERATION 3.2.4 General Compression Setting Suggestions The following are compression presets used in the PreSonus BlueMax. We have included them as a jumping off point for setting up compression on your Studio Channel. Vocals Soft. This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range. Good for live use. This setting lets the vocal sit “in the track”. Threshold -8.2dB Ratio 1.8:1 Attack 0.002mS Release 38mS Medium.
OPERATION Fretted Instruments Electric Bass. The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level. Threshold -4.4 dB Ratio 2.6:1 Attack 45.7mS Release 189mS Acoustic Guitar. This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track. Threshold -6.3dB Ratio 3.4:1 Attack 188mS Release 400mS Electric Guitar.
OPERATION Stereo Mix Stereo Limiter. Just as the name implies, this is a hard limiter or ‘brick wall’ setting ideal for controlling the level to a 2 track mixdown deck or stereo output. Threshold Ratio 5.5dB 7.1:1 Contour. This setting fattens up the main mix. Threshold -13.4dB Ratio 1.2:1 Attack 0.001mS Release 98mS Attack 0.002mS Release 182mS Effects Squeeze. This is dynamic compression for solo work, especially electric guitar. It gives you that glassy ‘tele/strat’ sound. It is a true classis.
OPERATION 3.3 EQUALIZERS The equalizer in the Studio Channel is like a Swiss Army pocket knife, with the ability to carve out unwanted frequencies as well as tailor your tone to enhance your sound. The custom-designed amplifiers in the EQ deliver sweet-sounding gain/cut for ultra smooth highs, deep solid lows and clear midrange. The mid-band of the EQ section has variable Q for controlling the width around the center point of the selected frequency.
OPERATION Shelving EQ A shelving EQ attenuates or boost frequencies above or below a specified cutoff point. Shelving equalizers come in two different varieties: high-pass and low-pass. Low-pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating all the frequencies above it. A high-pass filter does the opposite: passing all frequencies above the specified cut-off frequency while attenuating everything below. 3.3.
OPERATION 3.3.3 To Boost or Not To Boost….. With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness to it in the mix. And of course, there are frequencies that can make an instrument shrill, muddy, or just downright annoying. The following two charts offer some suggestions of frequency ranges that should be accentuated or downplayed for the most common instruments.
OPERATION Table 2 23 | PreSonus 2007
OPERATION 3.4 APPLICATION SETTINGS The following are application settings to get you started with your Studio Channel. Feel free to experiment by pushing any and all buttons and turning knobs to their extreme values - remember there are no rules when creating music. Let your imagination and ear guide and direct the way you set your Studio Channel. These application settings do not include the main preamplifier controls: Gain and Tube Drive.
OPERATION Bass Guitar THRESH -15 dB EQ>COMP Out RATIO 7:1 GAIN +4 dB LOW GAIN +6 dB PEAK In COMPRESSOR SETTINGS SOFT BYPASS In Out EQ SETTINGS FREQ 85 Hz Q Mid-Narrow MID GAIN -3 dB FREQ 2.2 kHz ATTACK Mid-Fast PEAK Out RELEASE Mid-Slow HIGH GAIN 0 dB FREQ n/a Keyboards THRESH -22 dB EQ>COMP Out RATIO 4:1 PEAK In GAIN +4 dB LOW GAIN -3 dB COMPRESSOR SETTINGS SOFT BYPASS Out Out EQ SETTINGS MID Q GAIN Mid-Narrow +4 dB FREQ 20 Hz FREQ 2.
OPERATION Drum Overheads THRESH -22 dB EQ>COMP Out RATIO 5:1 PEAK Out GAIN +4 dB LOW GAIN -4 dB COMPRESSOR SETTINGS SOFT BYPASS Out Out EQ SETTINGS FREQ 40 Hz Q n/a MID GAIN 0 dB 26 | PreSonus 2007 FREQ n/a ATTACK Fast PEAK In RELEASE Mid HIGH GAIN +2 dB FREQ 20 kHz
TECHNICAL INFORMATION 4.1 SPECIFICATIONS Channels ...................................................................................................................................................................... One Dynamic Range .................................................................................................................................................... >115 dB Frequency Response .....................................................................................................
TECHNICAL INFORMATION Power Supply Type ...................................................................................................................................................................... Linear Input .................................................................................................................................................... 16 VAC / 1000mA Power Requirements (Continuous) ...............................................................................................
