RC 500
Channel Strip with Solid-State Preamp,
Compressor, and EQ
Owner’s Manual
OverviewResources Tutorial Hookup
®
www.presonus.com
English
Table of Contents
1 Overview — 1
1.1 Introduction — 1
1.2 Summary of RC 500 Features — 1
1.3 What’s in the Box — 2
2 Hookup — 3
2.1 Input Controls — 3
2.2 Compressor Controls — 4
2.3 EQ Controls — 5
2.4 VU Meter and Controls — 6
2.5 Master Control — 6
2.6 Physical Connections — 6
2.7 Hookup Diagrams — 8
2.7.1 Basic Recording Diagram — 8
2.7.2 Advanced Recording Diagram — 8
3 Tutorial — 9
3.1 A Brief Tutorial on Dynamics Processing — 9
3.1.1 Common Questions Regarding
Dynamics Processing — 9
3.2 Equalizers — 11
3.2.1 What is an EQ? — 11
3.2.2 Equalization Settings: How to Find the Best
and Leave the Rest — 12
3.2.3 EQ Frequency Charts — 12
4 Resources — 15
4.1 Audio Specifications — 15
4.2 RC 500 Block Diagram — 16
4.3 RC 500 Recall Sheet — 17
4.4 Troubleshooting — 18
4.5 Warranty — 19
1 Overview
RC 500 Owner’s Manual
1.1 Introduction
OverviewResources Tutorial Hookup Overview
Thank you for purchasing the PreSonus® RC 500. PreSonus Audio Electronics, Inc.,
has designed the RC 500 utilizing high-grade components to ensure optimum
performance that will last a lifetime. The RC 500 is a professional channel strip that
includes a Class A solid-state preamplifier with a unique hybrid design that combines
the latest generation of low-distortion operational amplifiers and low-noise, discrete
transistors. This design maintains the sonic qualities of Class A circuitry and benefits
from the operational amplifier’s characteristic repeatability in performance.
The Class A preamp is combined with the same FET-based compressor and
semi-parametric equalizer circuits found in the PreSonus ADL 700, making
the RC 500 an excellent choice for professional studio applications. Great for
use with all types of microphones and instruments, the RC 500 has the sonic
power and flexibility to achieve luscious vocals, crystal-clear acoustic guitars,
fat bass guitars, dynamic acoustic piano, cracking snares, and much more.
We encourage you to contact us with questions or comments regarding
this product. You can reach us by email at support@presonus.com or call us
at 1-225-216-7887 between 9 a.m. and 5 p.m. U.S. Central Time. PreSonus
Audio Electronics is committed to constant product improvement, and we
value your suggestions highly. We believe the best way to achieve our goal
of constant product improvement is by listening to the real experts: our
valued customers. We appreciate the support you have shown us through the
purchase of this product and are confident that you will enjoy your RC 500!
ABOUT THIS MANUAL: We suggest that you use this manual to familiarize
yourself with the features, applications, and correct connection procedures
for the RC 500 before connecting it to the rest of your studio gear. This
will help you avoid problems during installation and setup.
Throughout this manual you will find Power User Tips that can help make
you an RC 500 expert. In addition, tutorials covering the basics of dynamics
processing and equalization can be found in Section 3 of this manual.
1.2 Summary of RC 500 Features
• Transformer-coupled, high-gain microphone preamp
• Class A hybrid design with minimal signal path
• Unbalanced ¼” TS Instrument input on front panel
• Balanced XLR Microphone and Line inputs on rear panel
• Input Select switch
• FET based compressor using hybrid detection methods,
with switching relays for hard bypass
• 3-band semi-parametric equalizer with switching relays for hard bypass
• +48V phantom power, 80 Hz rolloff, and -20 dB pad
• High-grade components
• Film capacitors
• 1% tolerance resistors
• Low-distortion op amps
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Overview
Overview ResourcesTutorialHookup
1.3 What’s in the Box
• VU meter with selectable Output Level and Gain Reduction display
• Master Fader output control
• Balanced Send and Return signals
• Balanced line-level output on XLR and ¼” TRS connectors
• Internal toroidal power supply
• Steel chassis
1.3 What’s in the Box
In addition to this manual, the RC 500 package contains the following:
• PreSonus RC 500 Channel Strip
• IEC power cable
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2 Hookup
RC 500 Owner’s Manual
2.1 Input Controls
OverviewResources Tutorial HookupHookup
Input Source Select. The input Source Select switch allows you to choose between
the signal sources connected to the RC 500 inputs. It patches the selected input
through the signal chain, completely bypassing the other inputs.
Power User Tip: The Instrument input is normalled through the Microphone
input and will take precedence when both inputs are in use. Because of this,
you can leave your favorite mic and line-level source connected all the time
and quickly patch in an instrument via the front panel when necessary.
Polarity Invert. Reverses the polarity of the signal.
Power User Tip: Use Polarity Invert when recording with more than one open
microphone to combat phase cancellation between microphones.
+48V. The 48 volt phantom power supplied by the XLR input on the rear panel
provides power for condenser microphones and other devices requiring continuous
power. This power is supplied at a constant level to prevent signal degradation.
WARNING: In general, phantom power is only required for condenser
microphones and can severely damage some dynamic microphones,
especially ribbon mics. Therefore, switch phantom power off when not required by
the device connected to the XLR input. Consult the documentation that came with
your microphone to verify its phantom power requirements.
80 Hz Rolloff. Your RC 500 is equipped with a High Pass Filter. The 80 Hz switch
engages this filter, causing all frequencies below 80 Hz to be attenuated by a slope of
12 dB/octave.
Power User Tip: A high-pass filter attenuates all frequencies below the 80 Hz threshold.
Use this filter, instead of the equalizer, to remove unwanted low frequencies from your
source signal. For example, the 80 Hz filter can be used to reduce the “boominess”
or “muddiness” of a vocal and to improve the overall clarity of the signal.
-20 dB Pad. The pad provides 20 dB of attenuation for the microphone preamp only.
Power User Tip: The -20 dB pad reduces the signal level coming into your RC 500,
helping to prevent clipping and distortion from high-gain sources. Padding the
input increases “headroom” and reduces the likelihood of signal overload.
Gain. Your RC500 provides a gain range from +20 dB to +70 dB for the Mic preamp
and -20 dB to +15 dB for the Line Input.
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2.2 Compressor Controls
Overview ResourcesTutorialHookup
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2.2 Compressor Controls
Threshold. Sets the threshold of the compressor. When the signal’s amplitude (level)
exceeds the threshold setting, the compressor engages. Turning the knob counterclockwise lowers the threshold so that compression begins at a lower amplitude, and
more of the input signal is compressed. The threshold can be set from -25 to +20 dBu.
Power User Tip: Your RC 500 compressor has a fixed ratio of 3:1. This ratio
will work well for a wide variety of instruments. If you would like more
compression, lower the threshold while raising the input level. Lighter
compression can be easily achieved by raising the threshold.
Attack. Attack sets the speed at which the compressor acts on the input signal. A
slow attack time (fully clockwise) allows the beginning component of the signal
(commonly referred to as the initial transient) to pass through, uncompressed,
whereas a fast attack time (fully counter-clockwise) triggers compression
immediately when a signal exceeds the threshold. The compressor attack time
ranges from 0.5 ms (Fast) to 10 ms (Slow).
Release. Sets the release of the compressor, which is the time the compressor takes
to return the gain reduction back to zero (no gain reduction) after the signal level
crosses below the compression threshold. The compressor release time ranges from
40 ms (Fast) to 500 ms (Slow).
Power User Tip: Very short release times can produce a choppy or “jittery” sound,
especially when compressing instruments that have a lot of low-frequency
components, such as a bass guitar. Very long release times can result in an
overcompressed, or “squashed,” sound. All ranges of release can be useful, however,
and you should experiment to become familiar with different possibilities.
Compressor In/Out. Bypasses the compressor circuit in the signal chain.
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2.3 EQ Controls
RC 500 Owner’s Manual
Low Band Frequency. Sets the center frequency of the EQ’s low-frequency band.
You can adjust the center frequency between 20 and 400 Hz.
OverviewResources Tutorial HookupHookup
Low Band Gain. Sets the attenuation or boost of the EQ’s low-frequency band. The
gain can be set between -16 and +16 dB.
Low Band Shelf. By default, the low band of the EQ is a standard peak filter with a
fixed Q of 0.6. When the Shelf switch is engaged, the low band functions as a shelving
filter.
Power User Tip: A shelving EQ attenuates or boosts frequencies above or below a
specified cutoff frequency. In practice, these types of EQs are much like the treble and
bass controls on a car stereo. Like a bass control, a low-shelf filter will raise or lower
the gain on all frequencies below the specified cutoff frequency. A high-shelf filter
will raise or lower the gain on all frequencies above the specified cutoff frequency,
just like a treble control. Shelving EQs can be used to make big changes to the
sound very quickly by adding or removing an entire frequency range at once.
In contrast, a peak EQ offers continuous control over the center
frequency of the band and over the level (boost/cut) of the designated
frequency band, which makes it capable of more subtle changes.
Mid Band Frequency. Sets the center frequency of the EQ’s mid-frequency band.
You can adjust the center frequency between 400 Hz and 5 kHz.
Mid Band Gain. Sets the attenuation of boost of the EQ’s mid-frequency band. The
gain can be set between -16 and +16 dB.
High Band Frequency. Sets the center frequency of the EQ’s high-frequency band.
You can adjust the center frequency between 2 and 20 kHz.
High Band Gain. Sets the attenuation of boost of the EQ’s high-frequency band. The
gain can be set between -16 and +16 dB.
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Overview ResourcesTutorialHookup
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2.4 VU Meter and Controls
High Band Shelf. By default, the high band of the EQ is a standard peak filter with a
fixed Q of 0.6. When the Shelf switch is engaged, the high band functions as a
shelving filter.
EQ In/Out. Bypasses the EQ circuit in the signal chain.
2.4 VU Meter and Controls
VU Meter. By default, the analog VU meter displays the RC 500’s output level.
Meter – GR. This switch changes the VU metering to display the compressor’s gain
reduction rather than the RC 500’s output level.
2.5 Master Control
Master Level. Adjusts the overall output volume of the RC 500 between -80 dB and
+10 dB.
2.6 Physical Connections
Instrument Input. The ¼” TS connector on the front panel is for use with a passive
instrument (guitar, bass, etc.). To use this input, turn the Source Select switch to the
Mic/Inst position.
Power User Tip: Passive instruments do not have an internal preamp and should
be plugged into an instrument input. Active instruments have an internal preamp
and a line-level output and should be plugged into a line input. Plugging a line-level
source into the instrument input on the front of the RC 500 risks damage to the circuit
and is likely to produce a very loud and distorted audio signal. So don’t do that!
Mic Input. The RC 500 mic preamp works great with all types of microphones,
including dynamic, ribbon, and condenser mics. To use this input, turn the Source
Select switch to the Mic/Inst position. As previously stated in Section 2.1, if both the
Mic and the Instrument inputs are connected, the Mic input will be bypassed, and
the Instrument input will be patched through the signal path.
Power User Tip: Dynamic microphones and ribbon microphones (which are a special
type of dynamic mic) are generally lower-output devices that, with few exceptions,
require no external power source. Sending phantom power to a ribbon mic that
doesn’t require it can cause severe damage to the mic—usually beyond repair.
Condenser microphones are generally more sensitive than dynamic and ribbon
microphones and typically require external +48V phantom power. Always review your
microphone’s documentation and follow its recommended operating practices.
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