LIMITING
+10
kHz
NCY
MAX
TUBE STAGE
-12
HI
0
dB
INSERT
JACK
+12
DIRECT
OUT 1
-6
OUTPUT
GAIN
0
dB
+4
MIN
RELEASE
c o r e
c o r e
c o r e
MAX
LIMIT
REFERENCE C H A N N E L STRIP
SLOW
R
TE
MI
I
L
MAIN
OUT 2
OWNER’S MANUAL
EQ
AST
F
OUTPUT
GAIN
FET
BRICKWALL
LIMITER
c o r e
REFERENCE CHANNEL STRIP
c
REFERENCE
O/P
1
o r
CHANNEL S
O/P 2
e
TR
GR
TIP: SEND
RING: RETURN
SLEEVE: GROUND
INSERT
DIRECT OUTPUT (1)
LINE INPUT
MIC INPUT
XLR PINOUT
PIN1: SHIELD/GROUND
PIN2: HOT/POSITIVE P
PIN3: LOW/NEGATIVE
Contents
PAGECHAPTER
i) Introduction 2
ii) Manual Conventions 2
1. Important Safety Instructions 3
2. Getting Started 3
3. Front Panel 4
4. Input Section 4
5. Optical Compressor 5
6. Equalizer 5
7. Limiter 6
8. VU Meter 6
9. Rear Panel 7-8
10. Rear Panel Connections 9
11. Operational Notes 9
12. Questions 10
13. Copyright Notice 10
14. Servicing 11
15. Core Calibration Procedure 11-12
16. Curves & Specifications 13
17. Call Out Template 14
c o r e
1
i) An Introduction To The Manley Core Reference Channel Strip
Thank you for selecting the Manley CORE. This unit combines a high quality vacuum tube MIC
Pre, an ELOP Compressor as found in our VOXBOX , an EQ section and a fast FET Brickwall
Limiter.
Musical. Flexible. Forgiving.
These three concepts were my main goals in designing the CORE channel strip. To give the
musician tools he or she really needs, without needless complication.
Why is this important?
Because recording has become more complicated than ever!
Computers, plug-ins, and software can easily distract from creating your music. By designing
a dedicated recording channel with very high quality stages – but without extra functions you
will rarely use – you can concentrate on your art, not worry about the technology.
The elements that make up the CORE are the result of decades of design, listening and
experience of working with engineers and musicians. The CORE may have fewer knobs than
other units, but I think they are the right knobs.
® ®
Dave Collins
December 2013
ii) Manual Conventions
Please take a few moments to read through this manual carefully. It contains essential information
for the proper operation of your Manley Core Reference Channel Strip.
Also in the following pages you will find useful hints and tips, allowing us to help you achieve the
utmost performance from your equipment.
Below are the following conventions, used to pick out particularly important parts of the manual.
The symbols are found in the margin next to the body of text of interest.
Especially Useful Tip
Important Information. Read Carefully
Caution! Pay Attention!
!
c o r e
Refer to another section in this Manual
2
1. Important Safety Instructions
1. Water and Moisture – Do not use The CORE near any source of water or in excessively moist
environments.
2. Object and Liquid Entry – Care should be taken so that objects do not fall, and liquids are not
spilled, into the enclosure through the openings.
3. Heat & Ventilation – When installing The CORE in a rack or any other location, be sure there is
adequate ventilation. Improper ventilation will cause overheating, and can damage the unit.
The unit should be situated away from heat sources, or other equipment that produce heat.
5. Power Sources – The CORE has a universal power supply which can operate in any country. It
has an input voltage range of 90-260 VAC at 50/60 Hz.
6. AC Power Cord - The CORE is permanently powered once the AC cord is plugged in. If The
CORE is not used for a long period of time it is advisable to unplug the AC power cord.
3. Cleaning - The CORE can be cleaned with just a damp cloth, or alcohol/methylated spirits for
more stubborn marks.
5. Damage - If after unpacking your CORE there are signs of shipping damage, contact your
dealer.
6. Servicing - Do not attempt any servicing without consulting your dealer or Manley
Laboratories, Inc. The user should not attempt to service the unit beyond that described in the
operating instructions. All other servicing should be referred to qualified service personnel.
7. DO NOT connect the AC supply cord until all other connections have been made. Afer initial
power up the VU Meter back light will “blink” for thirty seconds. The unit remains in MUTE
until this warm up period has elapsed.
2. Getting Started
Unpacking your ;
CORE
The is secured in its packing carton by two end-caps.
Hold the unit by the middle and simply lift the unit vertically straight out of the box.
After it has been unpacked, check that nothing is loose when handling the unit. The unit is shipped
with the vacuum tubes installed. Make sure they are not loose by looking through the vent holes on the
top cover. Ensure they are standing upright in their sockets.
It is advisable to keep the original packaging. In the event of servicing or relocating, the original
packaging ensures that the unit will always be shipped safely.
This package contains the following;
CORE
c o r ec o r e
3
1 x Manley Reference Channel Strip
1 x Manley Owner’s Manual
CORE
CORE
1 x IEC Power Cable
1 x Warranty Registration Card
3. Front Panel
MIC
120Hz
HI
LINE
FLA
T
LOW
C
RAFTED IN CA
DIRECT IN
PHANTOM
LIF
HA
ND
0
INPUT
LEVEL
4
8V
180
MIC
0
O
R
N
IA
U
S
A
COMPRESSION
MIN
A
TTACK
MAX
RELEASE
SLOW
SLOW
LOW
dB
-10
F
AST
IN
BYP
ASS
FAST
COMPRESSOR
0
1kHz-10kHz
100Hz-1kHz
dB
-12
+12
FREQUENCY
MIN
HI
+10
0
dB
-12
+12
L
I
MI
T
MAX
EQ
E
LIMITING
MIN
MAX
0
LIMIT
RELEASE
SLOW
R
dB
-6
+4
OUTPUT
GAIN
!!
F
AST
REFERENCE
c
O/P 1
o
r
CHANNEL STRIP
O/P
2
GR
e
PREAMPLIFIER
Input Attenuator
Mic/Line
Source Select
High Pass Filter
High/Low Gain
Mic 48V Phantom
Mic Phase Invert
Instrument
Direct Input
As the signal flow in the CORE is from right to left, we'll describe the functions in that order as well:
4. Input Section
COMPRESSOR
Attack
Release
Bypass
Compression
(Threshold)
INPUT
LEVEL
EQ
High & Low Shelf
Sweepable Mid
Frequency
Low/High Range
Select
Continuously
Variable Frequency
Selection
LIMITER
Fast Attack FET
Brickwall Limiter
Limiting/Threshold
Release
Limit LED
Indicator
Output Gain
Control
VU METER
Meter Source
Select Switch
Displays Audio;
Compressor
Gain Reduction
Tube Preamp Out
Final Output
The INPUT LEVEL control is an input attenuator, it functions like a
variable pad. It acts on the Direct In (DI), Mic and Line inputs. Fully
counter-clockwise is off, and clockwise rotation increases the gain. For
the Mic input, fully clockwise is about 40dB of gain, for the Line input,
it's about 20dB. With the gain switch set in the LOW position.
The top label of the selector switches are in operation when the button
is pushed in and illuminated.
MIC/LINE selects either the MIC input XLR or it selects the LINE or DI
inputs.
c o r e
MIC
120Hz
LINE
FLA
H
AN
D
C
R
A
T
FTE D
HI
LOW
IN
4
8
V
180
MIC
PHA
NTOM
0
C
A
L
I
F
OR
N
I
A
U
SA
a reduction in bass response is desired.
The HI/LOW gain switch adds 20dB of gain to the circuit when engaged.
For most applications, this switch can be in the Low position, but for
low-output microphones, or quiet sources, extra gain may be needed.
48 Volt “PHANTOM” power is applied to the Mic input XLR when this
switch is engaged. This should only be used for microphones that
The 120Hz filter position is useful in reducing breath “pops,” or anytime
DIRECT IN
!
require phantom power.
0 0
0 180 - The Mic phase switch inverts the signal by 180 degrees when
engaged.
Diagram 2
DIRECT IN, Instrument input. This 1/4 inch input jack is for use with
guitars, keyboards, or any other instrument. When a jack is inserted
the CORE will automatically switch to the DI input. The Mic/Line switch
must be set to the Line position to activate the DI. This is an
unbalanced 10 Megohm input, that will not load down Hi Z instruments
like guitar. The connections on the TS Jack are TIP-HOT, SLEEVEGROUND.
4
ELOP
®
A
TT
ACK
5. Compressor
The Compressor utilizes our famous circuit topology as
found in the VOXBOX , and is also similar to the ELOP and SLAM
® ®
®
ELOP
limiters.
The COMPRESSION (Threshold) control determines at what level
the compressor begins to act. Clockwise rotation makes the
compressor reduce the signal.
COMPRESSION
MIN
MAX
RELEASE
SLOW
BYP
IN
ASS
F
AST
With the meter in the “GR” position, the amount of gain reduction
can be displayed. (Refer to Diagram 6, pg.6)
The ATTACK control determines how long the compressor takes to
respond to signals above the threshold.
The RELEASE control determines how long the compressor takes to
recover after the signal falls below the threshold level.
SLOW
FAST
CO
M
PRE
S
S
O
R
The BYPASS switch can be used to bypass the compressor section.
It may be used during recording as the switching process is silent.
Diagram 3
The output after this stage is available on XLR O/P 1, and the
INSERT SEND. (Refer to Diagram 7, pg.8) This audio level can be
monitored on the VU Meter.
While compression is one of the most powerful tools
in recording, it is possible to overdo it. And, unlike
EQ, it's not reversible. Although there are really no
rules when it comes to creativity and the recording
process, a few guidelines can be helpful. When it
comes to vocals, you might not need more than a
couple dB of gain-reduction. It's better to adjust the
singing style or distance from the mic than to rely on
compression to get a totally even performance.
That said, there is no harm in really burying the GR
needle if that's the sound you're going for.
Try starting with the attack and release knobs in
the 12 o'clock position and go for a dB or three of
gain-reduction. If there are still peaks that are
sounding too loud, move the attack more clockwise
to the faster settings. For percussive sounds,
starting with a faster attack can also be good.
Putting the attack and release fully clockwise and
really getting a lot of gain-reduction is also an
interesting sound. Consider combining a track
processed this way with one done at minimal
compression.
c o r e
5
6. Equalizer
LOW
0
dB
-12
+12
MIN
0
dB
-10
1kHz-10kHz
100Hz-1kHz
FREQUENCY
+10
MAX
EQ
Diagram 4
-12
The LOW and HI Shelf controls are Baxandall shelves centered
around 90 Hz and 12kHz respectively. +/- 12db
The Mid-frequency EQ is a bell shaped curve, with a range
control in the low position of 100Hz to 1kHz, and in the high
HI
0
position, between 1kHz and 10kHz. The desired range is selected
using the toggle switch. One can then boost or cut at the
selected frequency by approximately 10dB.
The FREQUENCY control allows continuous sweepable frequency
dB
+12
of the selected range.
The controls that run vertically through the middle of the EQ
section, MID FREQUENCY EQ, TOGGLE RANGE SWITCH &
FREQUENCY SWEEP, all operate together. There is substantial
overlap available between the shelf and peaking controls,
allowing a large amount of EQ control.
7. Limiter
MIN
MAX
LIMITING
The FET output limiter is a powerful, high-ratio, peak limiter. It can
be used for many creative effects, as well as for setting a maximum
output ceiling to avoid overloading the next piece of gear in the chain.
The LIMITING controls the amount of limiting. The Limit LED lights
when the signal crosses the threshold, and goes off when the signal is
both below the threshold and the release time completed.
0
The RELEASE controls how FAST or SLOW the limiter returns to full
volume.
RELEASE
SLOW
L
IM
IT
ER
8. VU Meter
LIMIT
F
AST
Diagram 5
-6
OUTPUT
dB
GAIN
The release time control has purposely been made with a very wide
+4
control range. Very fast release times can create distortion effects.
This is an active gain stage following the FET limiter than can both
attenuate and amplify the Main (2) output over a range of 10dB.
The Final OUTPUT GAIN control gives a range of 10dB. This is an active
gain stage following the FET limiter that can both attenuate and
amplify the Main Output. This output is available from XLR O/P 2.
(Refer to Diagram 7, pg.7)
When Limiting is set to “Minimum” the Limit light acts as a general
overload indicator at +20 dBu.
Three positions are selectable on the analog VU meter. Use the selector
switch to meter the desired output.
O/P 1- indicates the direct output of the preamplifier
and compressor section.
O/P 2 - indicates the main output of the CORE.
c o r e
c o r e
REFERENCE
O/P
CHANNEL S
O/P 2
1
GR
Diagram 6
TRIP
GR - indicates the amount of compressor gain
reduction, this position stays at “0 VU” when
there is no gain reduction, and moves to the left
to show the amount of compression.
Because the VU meter is mechanical and really just shows the average,
it can't follow every signal exactly. In fact, things like snare drums are
not displayed very accurately at all. The VU meter might only be
ticking over at -10, but the actual peak level may be 20dB higher. This
is OK, as every workstation has a digital peak meter. And it's a good
idea to keep all of your peak levels in the DAW to around -6dBFS
anyway. There is no reason to go to 0dBFS on the individual tracks, and
the final result will sound better and actually combine better if the
tracks are recorded with some headroom below zero.
Also, it's a good general practice to look at the VU meter occasionally
when recording and try to keep the majority of the track on the scale
of the meter – not a hard and fast rule – but if you are pinning it all the
time (unless as an intentional effect) or the needle isn't moving at all,
you might need to adjust the input gain of the CORE.
6
10. Rear Panel Connections
From Right to Left:
Mic Input: This is a transformer-balanced, microphone preamp input.
The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-).
!
All pins must be driven. DO NOT “float” PIN 2 or PIN 3.
Line Input: An electronically-balanced, line-level input.
The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source can be connected, PIN2 or
3 can float but NOT ground.
Direct Out (1): Gives an impedance balanced output directly after the tube preamp and ELOP compressor
stage. The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source can be connected,
PIN2 or 3 can float but NOT ground.
Insert Jack: This TRS 1/4” jack interrupts the connection between the Preamp/Compressor and EQ/FET
Limiter sections, allowing external gear to be inserted in the signal path. Alternately, it provides an input
to the CORE that is after the tube preamp, to the input of the EQ stage. The interface in unbalanced in and
out. The pinout is TIP:SEND, RING:RETURN, SLEEVE:GROUND.
Output (2): This is the main output from the CORE, which is an electronically-balanced output. It is after
the EQ/Limiter section. The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source
can be connected, PIN2 or 3 can float but NOT ground.
®
11. Operational Notes
Unbalanced Operation
All of the XLR inputs of the CORE can be used with either balanced or unbalanced sources. However, the Main
(2) XLR output should only be connected to balanced inputs. If it's necessary to connect to a unbalanced
!
!
input, a cable must be used that has NO connection on XLR pin 3. This is important in order to prevent
damage to the CORE, as well as distortion to the signal. DO NOT GROUND PINS 2 OR 3.
Getting the most from your CORE
Earlier, in the Introduction we mentioned one of the three design principles was “Forgiving”, to allow our
equipment to be easy to use, and difficult to to make a bad sound! An example of this is the placement of the
compressor before the amplifier stages. This allows the signal to be reduced by the compressor first, which
prevents the preamp from being overloaded. Setting the COMPRESSION level just at the start of gainreduction will allow you to get the full dynamic range of the source, but if the musician suddenly plays louder
the compressor will gracefully ride the level down.
Another forgiving element is the FET output limiter, which can be set to reduce just under the overload level
of the following piece of gear. This can be especially useful in protecting an A/D converter from overload.
There is no rule that says you can't put a line-level signal in the Mic input. Try it! Many different
transformer/tube saturation effects can be made this way.
Just be careful not to engage the PHANTOM power 48V if you have anything other than a phantom-powered
microphone plugged in.
c o r e
9
12. Questions
“Where's the -20dB pad switch?”
Because the input attenuator precedes the tube gain stage, the input level control acts as a
variable pad. It can be used to either reduce the level of a hot input signal, or to simply set
the overall gain of the preamp.
“Sometimes I hear distortion in the peak limiter!”
To allow maximum creativity, the release time of the limiter was intentionally allowed to
operate over a wide range. This means that with some signals, when the release time is set to
the fastest setting some audible distortion may be created. But not to worry, if this distortion
is not desired, just turn the release time knob counter-clockwise and slow down the release.
The sound of a super-fast release time can be used as a creative effect. Try it on vocals or
drums! Try it on anything.
13. Notice
This manual provides general and technical information for use, installation and operating
instructions for the Manley CORE Reference Channel Strip.
Manley Laboratories, Inc. reserves the right to make changes in specifications and other
information contained in this publication without prior notice. Manley Laboratories, Inc. shall not
be liable for errors contained herein or direct, indirect, incidental or consequential damages in
connection with the furnishing, performance, or use of this material.
No statement contained in this publication, including statements regarding suitability or
performance of products shall be considered a warranty by Manley Laboratories, Inc. for any
purpose or give rise to any liability of Manley Laboratories, Inc.
© 2014 COPYRIGHT Manley Laboratories, Inc. All rights reserved.
This manual and any associated artwork, product designs, and design concepts are subject to
copyright protection. No part of this document may be produced, in any form, without prior
written permission of Manley Laboratories, Inc.
TM ® ® ®
CORE , ELOP , VOXBOX , MANLEY and the Manley Laboratories, Inc. logo are trademarks of
Manley Laboratories, Inc.
c o r e
10
14. Servicing
TUBE LOCATION
12AX7WA
6922
2A (T) FUSE
CALIBRATION TRIM POT LOCATION
VR11
GR-ZERO
VR9
GR-METER
VR6
GR-AUDIO
15. Core Calibration Procedure
The CORE requires calibration for 3 sections of its circuitry:
I) - VU METER- Adjust: +4dBu (1.228 Volts RMS) = “0” VU, Meter “GR” zero set
ii) - ELOP COMPRESSOR- Adjust: Gain Reduction (Audio & Meter GR)
iii)- FET PEAK LIMITER- Adjust: reference voltage & FET control voltage
Tools required:
- Audio Tone Generator (oscillator)
- Audio Analyzer or a voltmeter capable of reading both DC & AC voltages.
Initial settings:
- Mic/Line Input select switch: Out = LINE IN Enable
- 120Hz HP filter switch: Out = Disable
- Gain switch: Out = LOW
- 48V Phantom switch: Out = OFF
- Phase Invert switch: Out = 0
- Input Level Attenuator: Set at Minimum
- Compressor Section: Switch = Bypass; Compression, Attack & Release =12:00 O'clock
- Shelving EQ section: High/Low controls set both = 12:00 O'clock.
- Mid EQ section: Boost/Cut control = 12:00 o'clock, Frequency range select switch = 100Hz-1kHz,
- Peak Limiter section: Limiting = MIN, Release = 12:00 o'clock
- Output Gain Control: 12:00 o'clock
®
Frequency sweep control = MIN
VR15 VR12 VR16
LIM REF V
LIM CV
OP1 ZERO VU
Diagram 8
c o r e
11
i) CALIBRATION OF VU METER:
1- Feed a balanced sine tone @ 1 KHz, +4dBu (1.228V RMS) from an audio tone
generator/oscillator into the LINE INPUT XLR.
2- Use your audio analyzer and/or, set your voltmeter to read volts AC and put it at the output of
XLR “OP1”, and start bringing up the Input level attenuator, until you have +4dBu (1.228V
RMS) at the output XLR “OP1”. Same level as the input signal from oscillator (unity gain)
3- Use the VU meter select switch to read “OP1”. Adjust VR16 (OP1 ZERO VU) so the meter reads
“0” VU.
4- Use the VU meter select switch to read “GR”. Adjust VR11 (GR-ZERO) so meter reads “0” VU.
ii) CALIBRATION OF OPTO COMPRESSOR:
1- Make sure the output level at XLR “OP1” is still +4dBu, and meter reading for “OP1” is “0” VU.
2- Move your voltmeter (volts AC)/Audio Analyzer to output XLR “OP2”.
3- Use the VU meter select switch to read “OP2”.
4- Adjust the OUTPUT GAIN control for an output level of +4dBu (1.228V RMS) at “OP2”. Meter
reading for “OP2” should be “0” VU.
5- Switch IN the opto compressor.
6- Adjust VR6 (GR-AUDIO) for a gain reduction of 3.5dB at “OP2” (output XLR “OP2” will read
+0.5dBu)
7- Use the VU meter select switch to read “GR”.
8- The VU meter should read -3.5 if not, adjust VR9 (GR-METER). Verify that VU “GR” and audio
“track” within .2dB
9- Repeat steps 6 to 8.
10- Move the compression control to “MAX”. Verify that VU “GR” and audio “track” within .5dB
11- Switch out the opto compressor (BYPASS).
iii) CALIBRATION OF PEAK LIMITER:
1- Make sure the output level at XLR “OP2” is still +4dBu, and meter reading for “OP2” is “0” VU.
2- Turn OFF your audio generator/oscillator temporarily to complete next step.
3- Switch your voltmeter to read volts DC. Locate test point TP13 and use your voltmeter to check
for a voltage reading of +9.0Vdc (+/- 0.1Vdc), if not adjust VR15 (LIM REF V.). Locate test
point TP14 verify a voltage reading of -9.0Vdc (+/- 0.1Vdc).
4- Locate test point TP20, check for a reading of -4.4Vdc (+/-0.3Vdc), if not adjust VR12 (LIM CV)
5- Turn audio generator/oscillator back on.
6- Make sure the output level at XLR “OP2” is still +4dBu, and meter reading for “OP2” is “0” VU.
7- Move the limiting control to “MAX”. Peak limiter red LED indicator should turn ON (+/- 1.0dB).
Decrease oscillator output level by 2dB, LED indicator should turn OFF.
8- Return the limiting control back to “MIN”. Restore oscillator output level back to +4dBu.
9- Use the VU meter select switch to read “GR”.
10- Increase the oscillator output to +21dBu. Peak limiter red LED indicator should turn ON (+/-
1.5db). Decrease oscillator output level by 2dB, LED indicator should turn OFF.
Note-1: if you do not have enough output level coming from your oscillator, then increase the signal level
coming into the CORE by adjusting the INPUT LEVEL ATTENUATTOR control. Bring up the input level
attenuator, until you have a reading of +21dBu at the output XLR “OP2”.
Note-2: The Manley CORE Peak limiter section was designed to automatically “kick in” according to
specific output levels at the main output “OP2”.
LIMITING control knob set at:
MIN = +20dBu* (+/- 1dB)
MAX = +3.5dBu* (+/- 0.5dB)
c o r e
* “fixed” per design, and cannot be changed. It is possible if a customer requests.
12
16. Curves & Specifications
MID EQ PLOT
EQ SHELF
LIMITER, MIN, MED, MAX
15
c o r e
13
• ALL-TUBE preamplifier audio path using 1 x 12AX7WA for gain and 1 x 6922 White follower output
• Balanced Transformer Coupled XLR Microphone Input Impedance: 1200 Ohms
• Balanced XLR Line Input Impedance: 10K
• Unbalanced 1/4" Direct Input Impedance: 10 Meg Ohms
• Hi-current drive Direct XLR output Impedance: <50 Ohms
• Silent conductive plastic INPUT attenuator
• Compressor Maximum GAIN REDUCTION: 16dB
• Compressor ATTACK time: 80 mS slowest CCW, 40 mS at 12:00, 4mS fastest CW for 3dB compression
• Compressor RELEASE time: 1.47 Sec slowest CCW, 1 Sec at 12:00, 470 mS fastest CW from 3dB
compression
• Maximum Input Mic input: -5dBu or 435mV @ LOW gain -25dBu or 44mV RMS @ HI gain 0.5% THD
• Maximum Input Line input: +13dBu or 3.5V RMS @ LOW gain -8dBu or 300mV RMS @ HI gain 0.5% THD
• Maximum Input Direct input: + 24dBu or 12V RMS @ LOW gain +17dBu or 5.5V RMS @ HI gain 0.5% THD
• Maximum Input Insert return: + 20dBu or 7.8V RMS @ 0.5% THD
• Maximum Preamp Output (Insert Send): + 35dBu or 43V RMS @ 0.5% THD
• Maximum Main Output: +20dBu
• Main Output Impedance: 50 Ohms
• Headroom (referenced to +4dBv) 16dB at OP2 (Main) or 31 dB @ OP1 (Preamp)
• Frequency Response: 10 Hz to 20 kHz ±0.5 dB
• Large 3” LED illuminated VU METER
• Meter switch to read OUTPUT from Preamp, OUTPUT from Main Out, or Compressor GAIN REDUCTION
• Dynamic Range >90dB
• Noise Floor (Gain set to minimum): -70dB Wideband
• Gain via Microphone Input: 40 or 60 dB
• Gain via Line Input: 20 or 40dB
• Maximum Gain of EQ & Limiter section: 10 dB
• AUTOMUTE warmup delay: 30 Seconds
• Power consumption: 35 watts
• Operating mains voltage: universal supply 90 VAC to 254 VAC
• Mains Voltage Frequency: 50~60Hz
• Dimensions: 19" x 3 1/2" x 7" (occupies 2u)
• Weight = 8.3 lbs / Shipping weight: 11.5 lbs.
17. Call Out Template
+4
dB
OUTPUT
-6
RELEASE
+12
dB
-12
100Hz-1kHz
FREQUENCY
+12
dB
-12
BYPASS
MAX
TRIP
e
r
CHANNEL S
c o
REFERENCE
GAIN
RELEASE
GR
2
O/P
1
O/P
ENGINEER
DATE
!!
FAST
SLOW
R
E
IT
IM
L
MAX
EQ
MIN
R
O
S
S
E
PR
M
O
C
AST
F
SLOW
e
GR
2
O/P
1
O/P
c o r
REFERENCE CHANNEL STRIP
ENGINEER
DATE
+4
0
dB
GAIN
OUTPUT
-6
LIMITING
MAX
LIMIT
MIN
0
HI
TTACK
A
dB
LOW
+10
-10
1kHz-10kHz
0
AST
F
IN
SLOW
100Hz-1kHz
BYPASS
0
RELEASE
+12
dB
-12
FREQUENCY
+12
dB
-12
MAX
!!
RELEASE
FAST
SLOW
AST
F
SLOW
R
E
IT
LIM
MAX
EQ
MIN
R
O
S
S
E
PR
OM
C
0
LIMITING
dB
LOW
TTACK
A
HI
+10
-10
0
MAX
MIN
0
1kHz-10kHz
0
AST
F
IN
SLOW
LIMIT
c o r e
INPUT
LEVEL
COMPRESSION
MIC
180
V
8
4
HI
120Hz
MIC
MIN
A
S
U
0
A
LIFO RNI
PHANTOM
A
C
N
LOW
D I
E
FT
FLAT
A
R
C
ND
LINE
HA
IN
DIRECT
MIC NOTES
INSTRUMENT / TRACK
ARTIST
SONG
INPUT
LEVEL
COMPRESSION
MIC
180
8V
4
HI
120Hz
MIC
MIN
A
S
U
0
A
IFOR NI
PHANTOM
AL
C
LOW
D IN
E
FT
FLAT
RA
C
ND
LINE
HA
IN
DIRECT
MIC NOTES
INSTRUMENT / TRACK
ARTIST
SONG
14
Loading...