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® TLAudio user manual Ivory 2 Series 5051 MONO VALVE PROCESSOR TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK email: info@tlaudio.co.uk web: http://www.tlaudio.co.
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CONTENTS 4.10 1 INTRODUCTION 2 PRECAUTIONS 3 INSTALLATION 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 3.10 3.11 3.12 A.C. Mains Supply Microphone Input Balanced Line Input Unbalanced Line Input Instrument Input Sidechain Insert Point Balanced Output Unbalanced Output Link Connection Nominal Operating Level Ventilation Rear Panel 4 OPERATION 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.
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1. INTRODUCTION Congratulations on purchasing the Ivory 5051 Mono Valve Processor 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. The units offer comprehensive control facilities, whilst remaining straightforward to operate, and represent excellent value for money.
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Mic and line inputs are provided on electronically balanced XLR connectors, and the line input is duplicated on an unbalanced mono 0.25” jack connector. Balanced and unbalanced line outputs are provided (on XLR and jack respectively) and these can be used simultaneously. The operating level of the line input can be shifted from -10dB to +4dB (unbalanced) or +4dB to +18dB (balanced) via a rear panel switch, allowing the 5051 to accept very high levels - such as those from a digital recorder.
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Warning: This equipment must be earthed. 3. INSTALLATION 3.1 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.
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Balanced inputs: - Pin 1 = Ground (screen). - Pin 2 = Signal Phase (also known as “+” or “hot”). - Pin 3 = Signal Non-Phase (“-” or “cold”). Unbalanced inputs: - Pin 1 = Ground (screen) - Pin 2 = Signal Phase (“+” or “hot”). - Pin 3 = Signal Ground. 3.3 Balanced Line Input. The 5051 has a 3 pin XLR socket on the rear panel, which will accept both balanced and unbalanced line level inputs.
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- Tip = Signal Phase (“+” or “hot”). - Screen = Ground. 3.5 Instrument Input. Each channel has a 0.25” jack socket on the front panel (see Figure 2). A 2 pin (mono) jack plug is required, which should be wired as follows: - Tip = Signal Phase (“+” or “hot”), - Screen = Ground. 3.6 Sidechain Insert Point. The sidechain insert point is provided on a 3 pin, 0.25” switched jack socket on the rear of the unit. The pin connections are: - Sleeve = Ground. - Tip = Send. - Ring = Return.
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FIG 2: FRONT PANEL EQUALISER FREQUENCY SWITCH INPUT SELECTOR SWITCH INPUT MIC COMPRESSOR ATTACK LINE MIC 48V SLOW INST EQUALISER RELEASE FAST 120 SLOW FAST 60 HARD SOFT MIC -30dB INPUT IVORY LINE 0dB THRESHOLD 0 RATIO 1:5 1:10 INSTRUMENT GAIN MAKE-UP 5 500 500 METER 2K2 2K2 3K6 1K5 Hz 5K 5K LM 0 8K 2K2 Hz LF 0 GATE -40 1K 250 Hz KNEE 12 250 VU METER O/P 12K O/P+10 G/R I/P 5051 Hz HM 0 HF 0 MONO VALVE PROCESSOR OUTPUT 0 -20 EQ ON 16 dB 60 DRIVE 90Hz +20 d
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- Pin 2 = Signal Phase (“+” or “hot”). - Pin 3 = Signal Non-Phase (“-” or “cold”). 3.8 Unbalanced Output. An unbalanced line output is provided on a 0.25” mono jack socket. - Tip = Signal Phase (“+” or “hot”). - Screen = Ground. 3.9 Link Connection. The compressor section stereo link facility is via an unbalanced jack socket. The mating connector should be wired as: - Tip = Signal Phase (“+” or “hot”) - Screen = Ground. Note: The link signal is a DC control voltage.
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3.12 Rear Panel. The rear panel connectors are identified in Fig.3. Make sure that all settings, mains and audio connections have been made as described above before attempting to operate the equipment. 4. OPERATION 4.1 Input Stage. The input gain control sets the level of the mic, line and instrument signals into the 5051. The signal source is selected by the 4-position switch above the input gain knob.
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is turned down. Failure to do so may monitor loudspeakers or PA system. 4.3 result in a thump in your Line Input. A line level signal should already be at about the correct operating level, but this may be checked by monitoring the level on the output meter, with the compressor bypassed and the output gain at 0dB. The input gain should be adjusted until the meter reads about 0VU at normal audio level, when set to read ‘I/P’. 4.18 Instrument Input.
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The red Peak LED operates as a conventional warning that clipping is about to occur. The operating level of the entire signal chain is monitored, and the LED illuminates when there is less than 5dB of headroom remaining. Normal operation would be to set the input gain so that the drive LED is regularly illuminating, with occasional lighting of the red Peak LED on transients.
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to music, as well as fattening up sounds and creating a more professional sounding recording. With the 5051, you have the added benefit of valve stages in the signal path, which create a warmth and presence just not obtainable with solid state or digital products. 4.9 Why Valve Compression? Valve compression yields a particularly special sound which has become very sought after, particularly with the widespread use of digital products.
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4.12 Ratio. Once the input signal has crossed the threshold, the degree of gain reduction is determined by the Ratio control. The Ratio control is calibrated in decibels and is simply the change in output level that results from a given change in input level. An uncompressed signal will have a 1:1 compression ratio - every 1dB change in input level results in the same 1dB change in output level.
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The Knee switch enables the 5051 to be operated in two different modes - soft Knee or hard Knee. Soft knee mode offers a gentle compression curve around the threshold point, and is traditionally employed to yield a more subtle, musical type of compression effect. The hard knee setting causes the full compression ratio to be applied immediately the signal has passed the threshold point, so tends to produce more pronounced and severe compression. 4.15 Gain Make Up.
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5051 more sensitive to the boosted frequency, thus compressing it to a greater degree. 4.18 Gate. A gate (or noise gate) is a device that can completely shut off or mute the signal path in order to prevent unwanted low level signals from passing. The closing of the 5021 gate is triggered by the level of the input signal falling below an adjustable threshold point (in this case the threshold is adjusted by the ‘Gate’ control over the range -10dB to ‘OFF’).
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Stereo linked compression is essential to avoid imbalances in the stereo image (known as “dips”) to appear on one side of a stereo signal, if the signal exceeds the threshold on that side only. If a compressor has not been stereo linked, the “dipping” of one channel can sound very obvious and unnatural. In linked mode, if either signal crosses the threshold setting, both channels will react together and will be compressed by the same amount.
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The LM (Low-Mid Frequency) band has a peaking characteristic - i.e. it boosts or cuts a section of the audio spectrum around its selected centre frequency only. The centre frequency of the LM band is selected by a rotary switch from 250Hz to 2.2kHz. The mid bands possess a fairly low Q value of approximately 0.5, for a response which results in effective equalisation without harshness.
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may find that some digital recorders require a good deal of input level in order to register a 0dB reading on their meters (+18dBu analogue usually matches 0dBFS in the digital domain). This is normal, since many digital recorders are designed to preserve headroom and keep the signal well below the 0dB clip point - thus preventing the recorder distorting. The 5051 provides a further 15dB of gain at the output fader to drive digital recorders.
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multitrack recorder (thus bypassing the console) is a common technique these days as it keeps the signal path short, and of the highest quality. No unnecessary console stages are passed through, thus maintaining quality. Many mixers have sockets called ‘insert points’, which allow processors such as dynamics devices and EQs to be patched in-line into the mixer signal path at various points.
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stages switched out, start with the 5051 input gain at minimum and output gain at 0dB. 2. Gradually bring up the 5051 input gain until the Drive LED illuminates with the chosen source material - this should also generate a healthy reading on the 5051 VU meter (when set to ‘I/P’). Then switch to meter ‘O/P’ and check that around 0VU is being produced, and adjust the output level control if necessary. 3. Try engaging the 30dB pad and 90Hz filter switches.
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9. Engage the EQ section and experiment with applying some EQ. You should find that the LF & HF bands are useful for adding some low end ‘warmth’ and high end ‘air’, while the mid bands are more useful at removing ‘boxiness’ or nasal tones from mic sources. Unlike other EQ’s, you should find that you can apply quite drastic amounts of EQ boost and the unit will still retain its musicality – and not introduce unwanted harshness. 6.
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Unbalanced jack, nominal level -10dBu. Output Gain Control: Rotary fader, +15dB maximum gain. Maximum Output Level: +26dBu (XLR), +12dBu (Jack). Gate: Threshold variable -60dBu to -10dBu. Compressor: Threshold -20dBu to +20dBu, Attack 0.5msec to 40msec, Release 40msec to 4 seconds, Ratio 1:1.5 to 1:30, Hard / Soft Knee switch, Gain Make-Up 0 to +20dB. Equaliser: LF Band: +/-12dB at 60Hz to 500Hz. Shelving response. LM Band: +/-12dB at 250Hz to 2K2Hz. Peaking response, Q = 0.5.
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commencing at +4dBu to full brightness at +14dBu (Output level control at 0dB). Peak LED: +20dBu. Monitors Input and Output Levels. VU Meter: Switchable to Input level, (0VU = +4dBu), Output level, (0VU = +4dBu), Output +10dB, (0VU = +14dBu), Gain Reduction (Compression). Frequency Response: 10Hz to 40KHz, +0, -1dB. Distortion: Predominately second harmonic, increasing with “Drive” level. Typically 0.2% @ 0dBu.
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Power consumption 25VA typical. Dimensions: 19” rack mounting, 2U high. W x D x H = 483 x 88 x 200mm (19.0” x 7.9” x 3.5”). Shipping Weight: 6 kgs. . 7. SERVICE Should the 5051 require service, it must be taken or posted to an authorised dealer with a description of the fault. Please retain the original packing for possible future use, and ensure the unit is suitably protected during transit. The manufacturer cannot accept responsibility for damage caused during transportation.
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Serial Number............................. Date purchased........................... Dealer.........................................
