Page 1
Manual
Frontliner
Recording Channel
48 V PAD
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Frontliner
Model 2800
Recording channel with separate module inputs and outputs
Page 2
Manual Frontliner, Model 2800
Version 1.1– 6/2012
Designer: Jens Gronwald
This manual contains a description of the product. It in no way represents a guarantee of
particular characteristics or results of use. The information in this document has been carefully compiled and verified and, unless otherwise stated or agreed upon, correctly describes
the product at the time of packaging with this document.
Sound Performance Lab (SPL) continuously strives to improve its products and reserves the
right to modify the product described in this manual at any time without prior notice. This
document is the property of SPL and may not be copied or reproduced in any manner, in part
or fully, without prior authorization by SPL.
SPL electronics GmbH
Sohlweg 80, 41372 Niederkruechten, Germany
Phone +49 (0)2163 983 40
Fax +49 (0)2163 983 420
E-Mail: info@spl.info
Internet: www.spl.info
The construction of the Frontliner, Model 2800, is in compliance with the standards and regulations of the European Community.
Notes on Environmental Protection
At the end of its operating life, this product must not be disposed of with regular
household waste but must be returned to a collection point for the recycling of
electrical and electronic equipment. The wheelie bin symbol on the product,
user‘s manual and packaging indicates that. The materials can be re-used in
accordance with their markings. Through re-use, recycling of raw materials, or
other forms of recycling of old products, you are making an important contribution to the
protection of our environment. Your local administrative office can advise you of the responsible waste disposal point.
WEEE Registr ation: 973 349 88
© 2012 SPL electronics GmbH. All rights reserved. Names of other companies and their
products are trademarks of their respective owners.
2
Frontliner
Page 3
Symbols & Notes ............................................................................... 4
Scope of Delivery & Packaging ................................................................ 4
Important Security Information ............................................................... 4
Hook Up .......................................................................................... 5
Introduction ..................................................................................... 6
The Frontliner concept, Analog plug-ins ................................................... 6
Special technical features, Options ........................................................ 7
REAR PANEL ..................................................................................... 8
Standard wiring channel strip .............................................................. 8
Wiring examples: live and studio ............................................................ 9
Wiring examples: group of modules, Inserts ............................................. 10
Rear panel/sockets ........................................................................ 10
Signal connections, TRS socket, XLR sockets,
Balanced connections, Unbalanced connections ......................................... 11
Separate inputs and outputs, Preamplifier: MIC IN,
Preamplifier: LINE IN, Preamplifier: OUT, De-Esser: IN and OUT ......................... 12
Compressor: IN and OUT, Equalizer/Tube Sat.: IN and OUT,
Main Outs OUT1 and OUT 2, AD Input 2, Power connection and fuses ................... 13
Rear Panel/Switches ....................................................................... 14
Voltage selector, Power switch, 48 V phantom power/rear switches, GND Lift .......... 14
CONTROL ELEMENTS ........................................................................... 15
Preamplifier ................................................................................. 15
MIC GAIN, MIC GAIN adjustments, 48 V, Activating phantom power ..................... 15
Phase reverse, High-pass filter, PAD, Instrument input ................................... 16
LINE GAIN/INSTR. GAIN, LINE GAIN and INSTR. GAIN adjustments,
INSTR. LINE IN, TUBE +15 dB ................................................................ 17
De-Esser .................................................................................... 18
ON, S-REDUCTION, SPL De-Esser technology ............................................. 18
Compressor/Limiter ........................................................................ 19
ON, THRESHOLD, RATIO, ATTACK .......................................................... 19
ATTACK with cruise control: Auto Mode, RELEASE,
RELEASE with cruise control: AUTO-Mode, MAKE UP ..................................... 20
Equalizer/Tube Saturation ................................................................. 21
ON, EQ PRE COMP., MHF (mid-/hi filter), MHF -/+ (cut/boost MHF)
LMF (low/Mid filter), LMF -/+ (cut/boost LMF),
AIR BAND, TUBE SATURATION .............................................................. 22
VU-Meter .................................................................................... 23
VU-Meter, VU/GR switch, 0 dB/-10 dB switch, VU/PPM switch ............................ 23
Output ....................................................................................... 24
OUTPUT, AD OVL-LED, MUTE switch ...................................................... 24
External Inputs ............................................................................. 25
Excluding a single module, Excluding a group of two or three modules, Ungroup ...... 25
Determining inserts, Key lock, Keys and switches ......................................... 26
21
Content
Options .......................................................................................... 27
A/D converter, Information on I/O transformers ......................................... 27
Specifications ................................................................................... 28
Copy master: recall settings ................................................................... 30
Block diagrams .................................................................................. 31
Table Switch Logic .............................................................................. 33
Frontliner
3
Page 4
Symbole and Notes
IN THIS MANUAL A LIGHTNING SYMBOL WITHIN A TRIANGLE WARNS YOU ABOUT THE
POTENTIAL FOR DANGEROUS ELECTRICAL SHOCKS – WHICH CAN ALSO OCCUR EVEN AFTER
THE MACHINE HAS BEEN DISCONNECTED FROM A POWER SOURCE.
AN EXCLAMATION MARK (!) WITHIN A TRIANGLE IS INTENDED TO MAKE YOU AWARE OF
IMPORTANT OPERATIONAL ADVICE AND/OR WARNINGS THAT MUST BE FOLLOWED. BE
ESPECIALLY ATTENTIVE TO THESE AND ALWAYS FOLLOW THE ADVICE THEY GIVE.
The symbol of a lamp directs your attention to explanations of important functions or applications.
Attention: Do not attempt any alterations to this machine without the approval or supervision
of SPL electronics GmbH. Doing so could nullify completely any and all of your warranty/guarantee rights and claims to user support.
Scope of Delivery & Packaging
The scope of deliver y comprises the Frontliner, the external power supply, the guarantee card
and this manual.
Please keep the original packaging. In case of a service procedure the original packaging
ensures a safe transport. It also serves as a safe packaging for your own transports if you do
not use special transportation cases.
Important Security Information
Please note and retain this manual. Carefully read and follow all of the safety and operating
instructions before you use the machine. Be doubly careful to follow all warnings and special
safety instructions noted in this manual and on the unit.
Connections: Only use the connections as described. Other connections can lead to health
risks and equipment damage.
Water and humidity: Do not use this machine anywhere near water (for example near a wash
basin or bath, in a damp cellar, near swimming pools, or the like). In such cases there is an
extremely high risk of fatal electrical shocks!
Insertion of foreign objects or fluids: Never allow a foreign object through any of the
machine‘s chassis openings. You can easily come into contact with dangerous voltage or
cause a damaging shor t circuit. Never allow any fluids to be spilled or sprayed on the machine.
Such actions can lead to dangerous electrical shocks or f ire!
Opening the unit: Do not open the machine housing, as there is great risk you will damage the
machine, or – even after being disconnected – you may receive a dangerous electrical shock!
Electrical power: Run this machine only from power sources which can provide proper power
in the range from 100 to 250 volts. When in doubt about a source, contact your dealer or a
professional electrician. To be sure you have isolated the machine, do so by disconnecting all
power and signal connections. Be sure that the power supply plug is always accessible. When
not using the machine for a longer period, make sure to unplug it from your wall power socket
and from the guitar amp.
Cord protection: Make sure that your power and guitar amplifier signal cords are arranged
to avoid being stepped on or any kind of crimping and damage related to such event. Do not
allow any equipment or furniture to crimp the cords.
Power connection overloads: Avoid any kind of overload in connections to wall sockets,
extension or splitter power cords, or to signal inputs. Always keep manufacturer warnings
and instructions in mind. Overloads create fire hazards and risk of dangerous shocks! >
4
Frontliner
Page 5
Lightning: Before thunderstorms or other severe weather, disconnect the machine from wall
power (but to avoid life threatening lightning strikes, not during a storm). Similarly, before
any severe weather, disconnect all the power connections of other machines and antenna and
phone/network cables which may be interconnected so that no lightning damage or overload
results from such secondary connections.
Air circulation: Chassis openings offer ventilation and serve to protect the machine from overheating. Never cover or otherwise close off these openings. Never place the machine on a soft
surface (carpet, sofa, etc.). Make sure to provide for a mounting space of 4-5 cm/2 inches to
the sides and top of the unit when mounting the unit in racks or on cabinets.
Controls and switches: Operate the controls and switches only as described in the manual.
Incorrect adjustments outside safe parameters can lead to damage and unnecessary repair
costs. Never use the switches or level controls to effect excessive or extreme changes.
Repairs: Unplug the unit from all power and signal connections and immediately
contact a qualified technician when you think repairs are needed – or when moisture or foreign objects may accidentally have gotten in to the housing, or in cases
when the machine may have fallen and shows any sign of having been damaged.
This also applies to any situation in which the unit has not been subjected to any
of these unusual circumstances but still is not functioning normally or its performance is substantially altered.
In cases of damage to the power supply and cord, first consider turning off the main circuit
breaker before unplugging the power cord.
Important Security Information
Replacement/substitute parts: Be sure that any service technician uses original replacement
parts or those with identical specifications as the originals. Incorrectly substituted parts can
lead to fire, electrical shock, or other dangers, including further equipment damage.
Safety inspection: Be sure always to ask a service technician to conduct a thorough safety
check and ensure that the state of the repaired machine is in all respects up to factory standards.
Cleaning: In cleaning, do not use any solvents, as these can damage the chassis finish. Use
a clean, dry cloth (if necessary, with an acid-free cleaning oil). Disconnect the machine from
your power source before cleaning.
Be very careful to check that the rear chassis power selection switch is set to the correct
local line voltage position before using the unit (230 V position: 220-240 V/50 Hz, 115 V position: 110-12 0 V/60 Hz)! When in doubt about a source, contact your dealer or a professional
electrician.
Before connecting any equipment make sure that any machine to be connected is turned off.
Follow all safety instructions on pages 4 and 5 and read further information on connections
on pages 7-10.
Place the unit on a level and stable surface. The unit’s enclosure is EMC-safe and effectively
shielded against HF interference. Nonetheless, you should carefully consider where you place
the unit to avoid electrical disturbances. It should be positioned so that you can easily reach
it, but there are other considerations. Try not to place it near heat sources or in direct sunlight,
and avoid exposure to vibrations, dust, heat, cold or moisture. It should also be kept away
from transformers, motors, power amplifiers and digital processors. Always ensure sufficient
air circulation by keeping a distance of 4-5 cm/2 inches to the sides and top of the unit.
Hook Up
Frontliner
5
Page 6
Introduction
Our preceding recording channels Track One and Channel One have already been
successful units by combining fast and easy operation with high processing quality. These
channel strips particularly benefit from previous developments for single processors: the
DynaMaxx compressor/limiter delivered the essentials for the respective channel strip
stage, the unique SPL De-Esser is also available as a single, dual-channel unit – and the
preamplifier modules were also derived from existing products.
The development of new units in the last years inevitably evoked the wish to conceive a
new channel strip which would benefit from our latest achievements.
Now the Frontliner comprises the same discrete, hybrid semiconductor/tube preamplifier design like the GoldMike MK2. The compressor module is based upon the Kultube
providing a full set of classic controls. We also integrated the Kultube's highlight, a signaldependent automation of attack and release parameters which can still be influenced
manually – with this option, manual and automatic control can be merged to always find
the best settings.
The EQ section provides two semi-parametric filters for low and mid band as well as a bell
filter delivering a silky and smooth top end. This filter set offers a perfect frequency first
aid kit and is rounded off with a Tube Saturation control.
In contrast to semiconductors, a tube does not clip from a cer tain level, but approaches its
limits by increasingly producing harmonic distortions. The sound effects from saturating
a tube can of ten be used to improve the audio signal. The sound results resemble tape
saturation effects and increase the density and perceived energy in a very pleasant way.
The Frontliner concept
The Frontliner comprises a hybrid semiconductor/tube preamplifier with microphone,
line and instrument input, a de-esser, a compressor/limiter and an EQ section with tube
saturation stage. In addition to its primary function as a recording channel with all tools
onboard to process a signal prior to storing, its modules can also serve for high-end
analog processing during mixing.
The enumeration of the Frontliner’s modules also makes clear that the task of a channel
strip is relatively complex. There is not one specialized device for one job, but a unit that
combines a lot of technolog y for the preamplif ication and processing of audio signals. That
is why especially the Frontliner benefits very much from SPL’s innovations for targeted,
efficient work. The SPL De-Esser, for example, performs a highly complex processing, but
can simply be adjusted with one single knob.
The straight and clear front panel design also supports fast and safe operation.
Analog plug-ins
In the last years we have been busy with modular concepts. One result is the RackPack
series: a RackPack frame hosts up to eight 3U high modules for free placement and (inter-)
connection.
But we have also transferred the modular idea to the Frontliner. Each Frontliner module
disposes of its own inputs and outputs. Sophisticated switching options allow to integrate Frontliner’s modules into a studio environment as if they were stand-alone devices.
You can also group modules in any combination and you can determine inserts at each
module’s input.
If you imagine the Frontliner modules as analog plug-ins, the additional value suddenly
becomes apparent: this channel strip also is a versatile analog processing station. With
one single unit, especially DAW based studios benefit from a first-class recording frontend and have access to high end analog processors for the main signal processing tasks.
6
Frontliner
Page 7
Special technical features
• Threeseparate,individuallyoptimizedinputsformicrophones,linesignalsandinstruments.
• Discrete semiconductor/tube hybrid preamplifier to combine the advantages – high
dynamic range and low noise operation of semiconductors with the musical qualities of
tube sounds (appealing top end, beautiful spacial impression). Discrete construction is
based upon single transistors instead of integrated circuits (ICs) from industrial production
and ensures a higher level of optimization.
• 250voltstubecircuitsinthepreamplifierandfortubesaturationstages.
• High-gradeoperationalamplif iersfromBurr-Brownatcriticalpositions.
• The SPLDe-Esser applies the method ofphase cancellation forreducing sibilants. This
innovative approach works much more neutral than traditional compression methods – a
unique method for unobtrusive results and extremely fast operation.
• ThecompressorisoperatedbySPL’sdoubleVCAdrivecircuitry.Adifferentialstageelimi-
nates side effects and the half load per VCA dramatically reduces THD.
• The operational amplifiers for the compressor circuitry meet military specifications.
Therefore the regulating voltages are extremely precise – a precondition for high signal
processing quality.
• SelectedcondensersfortheEQfilterswithpleasantsoundcharacteristics.Especiallywith
vocals, amplified frequencies are not sounding too bright, and on the other hand reductions can tame harsh sounds without sounding dull.
Introduction
• Central star ground wiring scheme minimizes influences that could affect the ground paths.
The audio ground is separated from the ground of the remaining equipment. This leads, in
the truest sense of the word ”clean”, to considerably improved tonal quality.
• Thepowersupplyisbuiltaroundtwotoroidaltransformers,onefortheaudiovoltagesand
one for the other supply voltages (tube heating, LEDs, micro controller etc.) Mutual interferences are excluded and lavishly over-dimensioned capacities ensure absolutely stable
supplies for all audio circuitries.
Options
• Lundahlinputtransformerforthemicrophoneinput.Theinputtransformersaddca.14dB
gain (depending on the microphone). This must be added to the scaled values. The additional passive gain relieves the preamplifier electronics at any gain level. Microphone input
transformers are highly recommended for ribbon microphones, as they are demanding a lot
of amplification.
• OUT1fromtheMAINOUTPUTScanoptionallybeequippedwithanoutputtransformerfrom
Lundahl.
• The Frontliner can optionally be equipped with a digital output AD converter card. The
Frontliner is a mono channel strip. An additional socket at the rear panel (AD Input 2) allows
to feed the dual-channel converter with feed a second signal source.
• Refertopage27forfurtherinformationontheoptionalequipment.
Frontliner
7
Page 8
Rear Panel
needs phantom power supply.
Microphone
Standard wiring channel strip
ON
48V
DISCRETE TUBE PREAMPL IFIER
FRONT
MADE IN G ERMANY
SoundPerformanceLab.com
CONNECTOR WIRING
XLR WIRING: PIN 1 = GN D / PIN 2 = HOT (+) / PIN 3 = COLD (–)
FRONTLINER SERIA L # OP TIONS
48V ON
DISABLE
MIC IN
LINE IN
LINE IN
OUT
TRS WIRING: TI P = LEFT / RING = RIGHT / SLEEVE = G ND
DISCRETE TUBE PREAMPL IFIER
OUT
Make sure that the
48V ON switch is only
activated if the microphone
Line signals
tip=left, ring=right, sleeve=ground
Pin wiring 1/4" TRS socket (stereo jack):
P. A.
Monitor FOH console
IN
DE-ESSER
OUT
SPL CONVERTER SLO T – OPTIONA L
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
POWER
MAINS IN PUT
CONVERTER SERIA L #
COMPRESSOR / LIM.
IN
OUT
EQUALIZER / TUBE SAT.
SPL CONVERTER SLO T – OPTIONA L
IN
OUT
OUT 1
MAIN OU TPUTS
OUT 2
AD INPUT 2
WARNING
TO RAIN OR MOISTURE.
DO NOT EXPOSE THIS UNIT
THIS EQUIPMENT MUST BE EARTHED.
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
AVIS: RISQUE DE CHOC ÉLEC TRIQUE - NE PAS OUVRIR
0
POWER
GND LIF T
GND LIFT
VOLTAGE | FUSE
MAINS IN PUT
115V ~6 0Hz
230V ~50Hz
Fuse: 315m A slow
IN
DE-ESSER
OUT
IN
OUT
COMPRESSOR / LIM.
IN
OUT
EQUALIZER / TUBE SAT.
OUT 1
MAIN OU TPUTS
OUT 2
AD INPUT 2
GND
GND LIF T
Fuse: 630 mA slow
VOLTAGE | FUSE
Instruments
1/4" TRS jack front panel
Make sure that
reflects the correct
local power line voltage.
the voltage switch setting
Synthesizer, sampler etc.
Interface/DAW
Monitoring Recording
Each of the two MAIN OUTPUTS is fed by its own
driver stage to provide an independent connection for parallel use.
Pin wiring XLR output sockets:
1=ground, 2=hot (+), 3=cold (-)
21
3
Pin wiring XLR input sockets:
1=ground, 2=hot (+), 3=cold (-)
1
3
PUSH
2
8
Frontliner
Page 9
Wiring examples: live and studio
SoundPerformanceLab.com
POWER
SoundPerformanceLab.com
MADE IN G ERMANY
POWER
Live application: channel strip for vocals, one module used separately
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLEC TRIQUE - NE PAS OUVRIR
WARNING
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
AD INPUT 2
OUT 2
SPL CONVERTER SLO T – OPTIONA L
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
SPL CONVERTER SLO T – OPTIONA L
CONVERTER SERIA L #
COMPRESSOR / LIM.
IN
DE-ESSER
OUT
Rear Panel
FRONTLINER SERIA L # OP TIONS
XLR WIRING: PIN 1 = GN D / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TI P = LEFT / RING = RIGHT / SLEEVE = G ND
IN
CONNECTOR WIRING
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
DISABLE
48V ON
FRONT
48V
ON
AD INPUT 2
OUT 2
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
COMPRESSOR / LIM.
IN
OUT
DE-ESSER
IN
BassConsole
Compressor for bass
2: Monitor 1: Console
Channel strip for vocals
An example for a live setup: The compressor module is separated from the channel strip.
The vocal signal can be processed with all remaining modules, while the compressor is used
for processing bass. In the same way, each module can be taken out of the channel strip,
e. g. using the De-Esser separately while processing an acoustic guitar with the (remaining)
channel strip and so on. Detailed information on page 25.
Studio application: all inputs and outputs are routed to a patchbay
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLEC TRIQUE - NE PAS OUVRIR
WARNING
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
AD INPUT 2
OUT 2
SPL CONVERTER SLO T – OPTIONA L
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
SPL CONVERTER SLO T – OPTIONA L
CONVERTER SERIA L #
COMPRESSOR / LIM.
IN
DE-ESSER
OUT
IN
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
MIC IN
Microphone
FRONTLINER SERIA L # OP TIONS
XLR WIRING: PIN 1 = GN D / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TI P = LEFT / RING = RIGHT / SLEEVE = G ND
CONNECTOR WIRING
OUT
LINE IN
MADE IN G ERMANY
DISCRETE TUBE PREAMPL IFIER
DISABLE
48V
48V ON
ON
FRONT
DE-ESSER
IN
OUT 2
AD INPUT 2
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
COMPRESSOR / LIM.
IN
OUT
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
MIC IN
Patchbay
Console
Our recommendation for studio wiring: all inputs and outputs are connected to a patchbay so
that each Frontliner module can be routed with maximum flexibility within a studio environment. Connections to a console or to DAW interfaces for example can always be configured
to meet the respective requirements. Aside from the switching options that the Frontliner
provides the sequence of modules can be determined in any way with the patchbay.
Frontliner
DAW
9
Page 10
Rear Panel
SoundPerformanceLab.com
MADE IN G ERMANY
POWER
SoundPerformanceLab.com
MADE IN G ERMANY
POWER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLEC TRIQUE - NE PAS OUVRIR
WARNING
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
AD INPUT 2
Wiring examples: group of modules, inserts
Excluding a group of modules from the channel strip
SPL CONVERTER SLO T – OPTIONA L
FRONTLINER SERIA L # OP TIONS
CONVERTER SERIA L #
SPL CONVERTER SLO T – OPTIONA L
OUT 2
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
COMPRESSOR / LIM.
IN
OUT
XLR WIRING: PIN 1 = GN D / PIN 2 = HOT (+) / PIN 3 = COLD (–)
DE-ESSER
TRS WIRING: TI P = LEFT / RING = RIGHT / SLEEVE = G ND
IN
CONNECTOR WIRING
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
DISABLE
48V ON
FRONT
48V
ON
AD INPUT 2
OUT 2
MAIN OU TPUTS
OUT 1
EQUALIZER / TUBE SAT.
2: Monitoring, 1: Recording
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLEC TRIQUE - NE PAS OUVRIR
WARNING
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
AD INPUT 2
OUT 2
MAIN OU TPUTS
OUT 1
OUT
DE-ESSER
IN
IN
OUT
COMPRESSOR / LIM.
IN
OUT
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
MIC IN
Option: use single outputs
Signal input (line)
This example shows the exclusion of de-esser, compressor and EQ/tube saturation as a
group. The input signal is connected to the input of the f irst module. If all three processors are
excluded as a group, the output signal of the group is present at the MAIN OUTPUTS. If a dual
processor group is excluded, the output of the last module is always the group output. In the
example above the preamplifier can be used separately via its own I/Os. Further information
on page 25.
Determining inserts for external processors
SPL CONVERTER SLO T – OPTIONA L
FRONTLINER SERIA L # OP TIONS
CONVERTER SERIA L #
SPL CONVERTER SLO T – OPTIONA L
EQUALIZER / TUBE SAT.
OUT
IN
OUT
COMPRESSOR / LIM.
IN
OUT
XLR WIRING: PIN 1 = GN D / PIN 2 = HOT (+) / PIN 3 = COLD (–)
DE-ESSER
TRS WIRING: TI P = LEFT / RING = RIGHT / SLEEVE = G ND
IN
CONNECTOR WIRING
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
DISABLE
48V ON
FRONT
48V
ON
DE-ESSER
IN
OUT 2
AD INPUT 2
MAIN OU TPUTS
OUT 1
OUT
EQUALIZER / TUBE SAT.
IN
OUT
COMPRESSOR / LIM.
IN
OUT
OUT
LINE IN
DISCRETE TUBE PREAMPL IFIER
SendReturn
MIC IN
External processor
2: Monitor 1: DAW
Microphone
Channel strip
You can determine inserts between every processing module. In the example above, an insert
is determined between preamplifier and de-esser. The insert is routed via preamplif ier output
and de-esser input as send and return. Refer to page 26 for further information.
10
Frontliner
Page 11
Connections
Signal connection
Switch off the unit before you begin the process of making the first or any subsequent
connections. Neglecting this can damage either or both your ears and your equipment.
1/4" TRS socket
The TRS socket AD INPUT 2 supports both balanced (1/4" TRS/stereo jack connector) and
unbalanced connections (1/4" TS/mono jack connector). Refer to page 13 for further information on that input.
XLR sockets
All XLR sockets are balanced inputs or outputs. Input sockets are always female for plugging
in male connectors, output sockets are always male for female connectors. All in all a comprehensible principle.
Balanced connections
It is impossible to exclude all interferences when a single audio signal is transmitted.
Shielding is effective against electric, but not against electromagnetic influences. Motors,
transformers, and alternating current can always induce interferences. But even if the transmission would succeed, differences in ground potentials between driver and receiver would
produce disturbances.
Rear Panel
In balanced connections a reference signal with reversed polarity is transmitted additionally
to the audio signal through a second wire. The ground signal is routed separately through
a third wire. Input and output stages are drivers and receivers, and the receiving stage can
suppress interferences by subtracting the difference between audio and reference signal.
Unbalanced connections
Unbalanced connections from and to RCA or 1/4" TS sockets can be made without adaptors to
the balanced XLR sockets. The correct wiring is important. The diagram shows the pin configuration of the XLR sockets and how to correctly connect them for unbalanced connections:
Input
balanced
2
1
3
unbalanced
2
1
3
1=GND
2= hot (+)
3= cold (-)
balanced
1
2
3
Output
unbalanced
1
2
3
Connections to RCA sockets are always unbalanced, a wiring to jack connectors can be both
balanced (1/4" TRS/stereo jack) or unbalanced (1/4" TS/mono jack). We recommend to use
individually configured cables from XLR to RCA or jack sockets instead of adaptors. You can
get cables in any needed configuration from audio dealers. With the diagram above, the
dealer can ensure to provide the appropriate cable for your application.
Frontliner
11
Page 12
Rear Panel
Sockets
MAINS INPUT
MAINS INPUT
230V ~50Hz
Fuse: 315mA slow
115V ~60Hz
Fuse: 630mA slow
VOLTAGE | FUSE
OUT
OUT
DISCRETE TUBE PREAMPLIFIER
VOLTAGE | FUSE
GND LIFT
GND
GND LIFT
LINE IN
GND LIFT
MIC INLINE IN
POWER
0
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
POWER
THIS EQUIPMENT MUST BE EARTHED.
AD INPUT 2
DISCRETE TUBE PREAMPLIFIER
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
AD INPUT 2
OUT 2
MAIN OUTPUTS
SPL CONVERTER SLOT – OPTIONAL
MAIN OUTPUTS
OUT 2
OUT 1
OUT 1
OUT
EQUALIZER / TUBE SAT.
OUT
IN
IN
EQUALIZER / TUBE SAT.
OUT
OUT
COMPRESSOR / LIM.
SPL CONVERTER SLOT – OPTIONAL
MIC IN
SoundPerformanceLab.com
MADE IN GERMANY
DISCRETE TUBE PREAMPLIFIER
DISABLE
48V
48V ON
ON
FRONT
FRONTLINER SERIAL # OPTIONS
CONVERTER SERIAL #
COMPRESSOR / LIM.
OUT
OUT
DE-ESSER
IN
IN
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
DE-ESSER
IN
IN
CONNECTOR WIRIN G
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
OUT
LINE IN
OUT
LINE IN
DISCRETE TUBE PREAMPLIFIER
Separate inputs and outputs
Each Frontliner module is equipped with its own input and output stage. An obvious purpose
is to route the signal from any output, e. g. right after the preamp to store the pure recording
signal. Further applications such as using single or grouped modules separately or inserting
external processors are depicted on pages 9 and 10. Inser ts can be determined before each
processing module input.
Preamplifier: MIC IN
You can connect any kind of microphone to the MIC IN socket (dynamic, condenser, tube and
ribbon microphones). 48 volts phantom power, which is required for some microphones, can
be activated with the 48V switches on the front or rear panel. Please read the important notes
in chapter “48V” on page 15. The microphone input can also be equipped with an optional
transformer (refer to page 27, “Information on I/O transformers”).
OUT
OUT
DE-ESSER
Preamplifier: LINE IN
Use the balanced LINE IN socket for high-level signals with impedances lower than 1 kOhm,
e. g. D/A converters, synthesizers or samplers. We recommend connection to a patchbay for
easier access.
The maximum input level of the LINE IN is +22 dBu.
High impedance sources (above 1 kOhm), such as e-guitars and basses, acoustic guitars with
pick ups and so on, must be connected to the instrument input (see pages 16 and 17).
IMPORTANT: The line input is deactivated if the instrument input is in use.
Preamplifier: OUT
The electronically balanced, analog preamplifier output provides the preamplified signal
prior to any processing. If you determine an insert between preamplifier and de-esser, the
preamplifier output serves as insert send.
DE-ESSER
IN
IN
De-Esser: IN and OUT
The analog de-esser input and output sockets are electronically balanced.
Normally the de-esser input signal is the internal preamplifier signal. If you are using the
de-esser module separately as single module, you connect the source and receiving units to
the de-esser inputs and outputs. If you are using the de-esser module as part of a group of
modules, you connect the source and receiving units to the group inputs and outputs. If you
determine an insert between preamplifier and de-esser, the de-esser input serves as insert
return.
12
Frontliner
Page 13
Sockets
Compressor: IN and OUT
The analog compressor input and output sockets are electronically balanced.
Normally the compressor input signal is the internal de-esser signal (or the EQ signal if EQ
PRE COMP. is activated). If you are using the compressor module separately as single module,
you connect the source and receiving units to the compressor inputs and outputs. If you are
using the compressor module separately as part of a module group, you connect the source and
receiving units to the group inputs and outputs. If you determine an insert between de-esser
and compressor, the de-esser output is the insert send and the compressor input is the insert
return.
Equalizer: IN and OUT
The analog equalizer/tube saturation input and output sockets are electronically balanced.
Normally the EQ input signal is the internal compressor signal (or the de-esser signal if EQ
PRE COMP. is activated). If you are using the equalizer module separately as single module, you
connect the source and receiving units to the equalizer inputs and outputs. If you are using the
equalizer module separately as part of a module group, you connect the source and receiving
units to the group inputs and outputs. If you determine an insert between compressor and
equalizer, the compressor output is the insert send and the equalizer input is the insert return.
Rear Panel
OUT
OUT
COMPRESSOR / LIM.
OUT
OUT
EQUALIZER / TUBE SAT.
IN
IN
IN
IN
COMPRESSOR / LIM.
EQUALIZER / TUBE SAT.
MAIN OUTPUTS: OUT 1 and OUT 2
The output signal of the channel strip is supplied by the electronically balanced, analog
outputs OUT 1 and OUT 2. The splitted outputs allow to feed recording and monitoring devices
simultaneously, or, in a live application, monitoring and P. A. paths. Each output is driven by its
own stage to exclude mutual influences. OUT 1 can optionally be equipped with a transformer
(refer to page 27, “Information on I/O transformers”).
If you have excluded all three processing modules from the channel strip as a group, the
group’s output signal is supplied by the MAIN OUTPUTS. In this case, the preamplif ier output
signal is only present at the preamp’s output. In all other cases the final output signal of the
channel strip is always present at the MAIN OUTPUTS.
AD Input 2
The Frontliner is a mono channel strip, but the optional A/D converter card is a dual-channel
device. Therefore a second (external) signal can be converted with the converter card, if it is
connected to the AD INPUT 2. If no signal is connected to the A/D INPUT 2, the output signal of
the Frontliner is routed to both conver ter channels. The maximum input level for the converter
is +12dBu (=0 dBFS).
Power connection and fuses
Connect the power cord to the rear MAINS INPUT socket. Transformer, power cord and case
connection conform to VDE, UL and CSA requirements.
OUT 2
OUT 2
MAIN OUT PUTS
AD INPUT 2
MAIN OUT PUTS
OUT 1
OUT 1
AD INPUT 2
MAINS INPUT
The Frontliner’s power supply hou ses two fuses, one for the neutral wire and one for the phase
conductor. The fuses are accessible from outside and placed right behind the flap below the
socket.
Fuse ratings are 315 mA slow blow (
230
volts) or 630 mA slow blow (
115
volts).
Frontliner
MAINS INPUT
13
Page 14
Rear Panel
VOLTAGE | FUSE
230V ~50Hz
Fuse: 315 mA slow
115V ~60Hz
Fuse: 630 mA slow
Switches
VOLTAGE | FUSE
Voltage Selector
The rear panel VOLTAGE SELECTOR sets the local line voltage (115 V position: 110-120
volts/6o Hz, 230 V position: 220-240 volts/50 Hz). The diagram shows the correct switch position for 230 V power supply.
BEFORE you connect electrical power make sure that the VOLTAGE SELECTOR
setting reflects the correct local power line voltage!
POWER
DISABLE
48V ON
FRONT
POWER
Power switch
0
48V
ON
The rear panel POWER switch activates the unit, confirmed by the illuminated VU meter.
Switch on the unit only after you have checked the correct setting of the rear
VOLTAGE SELECTOR and 48V phantom power supply front and rear switches.
When you activate the Frontliner, the unit commences the warm-up mode to heat the tubes.
The warm-up cycle takes between 45 seconds (if the unit was active shortly before) and
approximately one minute at cold start. During warm-up the MUTE switch flashes. The MAIN
OUTPUTS and the output to the optional converter card are muted, all EXTERNAL INPUTS keys
are deactivated. The MUTE switch stops flashing when warm-up is finished. The MUTE switch
does not illuminate if it was not depressed before. It illuminates permanently after warm-up
when it was activated before.
Phantom power supply/rear panel switches
48 Volt phantom power is only needed for microphones requiring external current
(generally condenser microphones). Other microphones can be damaged if they
are used with activated phantom power, which may damage the Frontliner, too.
Please read the notes on using phantom power and how to activate it under “48 V” on page
15 and “Activating Phantom Power” on page 16.
Since phantom power is critical to operational safety, the Frontliner offers additional switches
on the rear panel to exclude accidental use of the 48 V switch on the front.
GND LIFT
GND
GND LIFT
If both rear panel switches are not engaged, you can activate and deactivate phantom power
with the 48 V switch on the front.
The switch to the right labelled 48 V ON activates phantom power independently from the
front panel switch setting – now phantom power can no longer be switched off with the front
panel switch.
The left rear panel switch labelled DISABLE 48 V ON FRONT deactivates the 48 V switch on the
front, now phantom power can no longer be activated accidentally with the front panel switch.
The 48 V switch on the front is always illuminated if phantom power is active.
GND LIFT
GND Lift
The rear panel GND LIF T switch eliminates hum by separating the internal ground from the
unit’s housing ground. Hum can, for example, result when this unit’s housing has a common
ground connection with other devices that might have a dif ferent ground potential. The switch
is usually deactivated to retain the shielding of the housing.
14
Frontliner
Page 15
Preamplifier
Control Elements
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
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T
N
S
LINE IN
T
N
I
TUBE
+15dB
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4
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MIC GAIN
The MIC GAIN control determines the level of preamplification. The preamplification values
cover a range from +13 dB up to + 68 dB. If the optional microphone input transformer is
installed the scaled values are to be increased by ca. +14 dB (depends upon microphone;
further information on page 27, “Information on I/O transformers”). The RK27 potentiometer
from ALPS is a high-grade model with antilogarithmic characteristic and an especially high
resolution between 20 dB and 40 dB to allow for sensitive control within this most important
range.
MIC GAIN adjustments
Amplifying a mic signal to line level should principally be done solely with the MIC GAIN
control. Deactivate all processing modules in the first place. The OUTPUT level control is used
to adjust the proper drive level for subsequent equipment, so initially it should be set to 0 dB
(12 o’clock position). The 0 dB/-10 dB switch should be set to 0dB as well to see the overall
output level (also see “0 dB/-10 dB” on page 23).
7
10
20
30
0
%
GRVU VU PPM 0 dB -10 dB
5
5
50
VU
VU
Model 2800
3
3
1
1
0
3
5
70
100
I
M
2
2
2
0
2
8
1
6
1
5
1
4
1
3
1
EXTERNAL INPUT S
EQ/TUB ECOMP.
DE-ES.
P
T
U
O
-
V
U
T
D
O
2
-
5
.
4
-
5
.
7
-
3
1
-
0
G
A
C
I
N
6
2
2
8
4
3
L
A
0
1
.
5
3
MUTE
4
5
5
.
5
2
-
0
3
3
3
6
3
9
4
2
4
5
5
2
6
1
6
8
dB
Now turn up the MIC GAIN control until the VU shows maximum values between 0 dB and
+3 dB. There is still enough headroom to prevent clipping at varying input levels. Note that
the VU meter shows average levels instead of peak levels (which can be up to 10 dB higher). If
necessary, switch the VU to PPM mode to see peak levels (see “VU/PPM switch” on page 23).
In recording high-level signals such as snare and kick, etc. it may be necessary to engage the
PAD switch (see “PAD” on page 16). You can drive the MIC GAIN harder if you know that unexpected input level changes are unlikely to occur. Choose the -10dB setting with the 0 dB/-10 dB
switch to extend the VU meter range accordingly.
48 V
The 48 V switch activates phantom power for condenser microphones with built-in amplifiers.
Phantom power should only be activated when using microphones that require it.
VERY IMPORTANT: All microphones with balanced, ground-free outputs, can be used with
the phantom power activated. Please be sure to deactivate phantom power with all other
microphones. Unbalanced microphones may only be used with phantom power deactivated.
Since phantom power is critical to operational safety, the Frontliner offers additional switches
on the rear panel to exclude accidental use of the 48 V switch on the front. The function of
these rear panel switches is described on the previous page.
Activating phantom power
48 V PADØ
PLEASE ALWAYS FOLLOW THESE INSTRUCTIONS TO ACTIVATE AND DEACTIVATE PHANTOM
POWER (ALSO WHEN CHANGING MICROPHONES). THE FRONTLINER’S INPUT STAGE CAN BE
DAMAGED IF YOU IGNORE THESE PROCEDURES!
1. Connect the microphone to the Frontliner.
2. Now activate phantom power to use the microphone.
3. When finished, first deactivate phantom power.
4. Wait at least one minute after deactivation of phantom power before disconnecting the
microphone! This ensures residual current will be discharged.
Frontliner
15
Page 16
Control Elements
48 V PADØ
48 V PADØ
48 V PADØ
Preamplifier
Phase reverse
The phase reverse function reverses the polarity of the microphone signal, inverting the
phase (by 180°) to correct phase-inverted signals caused by multiple signal sources. A voiceover artist, for example, hears himself during recording through the headphones and simultaneously through the bones in his head. Phase inversion will cause an unnatural sound, and
even minimal variations in distance to the microphone will cause drastic variations in the
sound. Phase inversion is also commonly encountered when using multiple microphones on
a single sound source. We recommend checking for correct polarity before each recording.
Phase reverse can be applied to the preamplifier microphone and line inputs.
High-pass filter
This switch activates the high-pass filter, which operates from 85 Hz downwards with 6 dB/
octave (often also called a “rumble filter“). The filter prevents the amplification of unwanted
low-frequencies. Compared to 12 dB/octave filters, the 6 dB filter works relatively moderate,
but very musical.
The high-pass filter can be applied to all three preamplifier inputs (microphone, line, and
instrument).
PAD
The PAD switch attenuates the microphone input by 20dB. High-level input signals can be
attenuated in order to prevent over-driving the preamplifier. The Frontliner has a minimum
pre-amplification of +13 dB. But with signals from drums or brass this may already be too
much. Engaging PAD attenuates the minimum pre-amplification (MIC GAIN control fully
counter clockwise) to -7 dB, thus providing a useful gain control range for loud input signals.
M
U
R
E
T
S
N
I
N
T
INSTRUMENT input
The INSTRUMENT input jack is placed on the f ront for easy access. It should be used to connect
instruments like e-bass and guitars, acoustic guitars with pick-ups, etc. The Instrument input
features a 1 MOhm (one mega Ohm) input impedance. Line signals with lower impedances,
such as from D/A converters, samplers, synths, etc. should be connected to the rear LINE IN
socket.
IMPORTANT: As long as an instrument is plugged into front INSTRUMENT input, the rear
panel LINE IN input is deactivated.
16
Frontliner
Page 17
Preamplifier
LINE GAIN/INSTR. GAIN
This control determines the level of preamplification for signals connected either to the rear
LINE IN or to the INSTRUMENT input on the front. You activate the respective input with the
INSTR./LINE IN switch which is described below.
Gain range for line signals reaches from -20 dB to +10 dB. The attenuation allows to also
process ver y high levels.
Instrument signals can be amplified between +6 dB and +43 dB.
LINE GAIN and INSTR. GAIN adjustments
For optimal leveling of line or instrument signals, deactivate all processing modules and set the
OUTPUT level control to 0 dB (12 o’clock position). The VU meter’s 0 dB/-10 dB switch should be
set to 0dB to see the correct output level (also see “0 dB/-10 dB” on page 23).
Now turn up the LINE GAIN/INSTR. GAIN control until the VU shows maximum values between
0 dB and +3 dB. There is still enough headroom to prevent clipping at varying input levels.
Note that the VU meter shows average levels instead of peak levels (which can be up to 10 dB
higher). If necessary, switch the VU to PPM mode to see peak levels (see “VU/PPM switch” on
page 23).
Levels between 0 and +3 dB usually are safe. Attenuate very high input levels with the LINE GAIN
control. Switch the VU meter to -10 dB display mode to extend the metering range accordingly.
Control Elements
G
A
E
I
N
N
I
L
.
G
R
A
T
S
N
I
3
2
9
-
1
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8
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N
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7
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3
3
5
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4
1
4
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4
3
1
0
5
2
INSTR./LINE IN
With this switch you select between the microphone (off ) and line or instrument inputs (on).
The rear mic and line inputs can remain connected, regardless of which input is selected. You
can choose the line input as source as long as the instrument input is not being used.
TUBE + 15 dB
The TUBE +15 dB switch increases the degree of tube preamplification. The switch changes
from standard tube preamplif ication (+6 dB) to +15 dB. In each setting the total output
level of the preamp is automatically accommodated so that output levels do not have to be
re-calibrated when the tube is driven hotter – therefore MIC GAIN settings do not have to be
changed.
Engaging the TUBE +15 dB switch has an impact on the overall sound, as it directly changes
the sonic character of the tube. The higher the input level, the more you will notice the effects
of the tube’s typical even harmonic distortion.
Driving the tube with +15 dB creates subtle to modest presence effects which can put the
signal up front in a mix. For decent effects you should not apply too high MIC GAIN values with
the TUBE +15 dB switch engaged.
INSTR.
LINE IN
INSTR.
LINE IN
TUBE
+15 dB
TUBE
+15 dB
Frontliner
17
Page 18
Control Elements
De-Esser
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
E
T
N
S
LINE IN
T
N
I
-
S
1
-
-
TUBE
+15dB
R
2
E
0
1
6
1
5
1
1
2
7
1
-
1
4
1
1
1
8
1
-
D
G
A
C
I
M
6
2
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4
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1
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dB
G
A
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G
R
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S
6
2
2
N
5
2
I
3
2
9
-
1
2
9
8
6
0
2
-
dB dB
S
C
U
T
3
-
dB
I
N
8
3
I
N
A
I
7
2
D
-
ON
I
0
8
N
9
3
3
3
1
6
3
2
4
1
0
E
O
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4
3
6
3
9
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9
T
E
N
1
2
S
1
-
C
T
-
-
T
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E
C
D
-
T
S
ON ON
C
U
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D
I
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O
R
N
-
3
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2
0
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9
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1
A
T
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AUTO
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ms s
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dB 1: x dB dB
T
A
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F
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Hz %
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k
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EQ PRE
-
COM P.
7
.
5
1
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0
1
-
1
2
2
1
-
A
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ON
6
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8
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E
B
0
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4
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1
Sound Performan ce Lab Made in Germany
A
B
N
R
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0
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4
20
6
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1
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5
7
10
50
30
0
%
VU
VU
GRVU VU PPM 0 dB -10 dB
Model 2800
3
3
1
1
0
3
5
70
100
EXTERNAL INPUT S
DE-ES.
U
O
2
-
5
.
4
-
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7
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1
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EQ/TUB ECOMP.
P
T
U
O
-
T
D
A
0
1
.
5
3
MUTE
4
5
5
.
5
ON
The first processing module is the de-esser, which removes disturbing sibilants when
required. The de-esser module is activated with the ON button. The S-DETECT LED above the
ON switch shows that S-sounds are being detected.
S-REDUCTION
With the S-REDUCTION control you determine the intensity of S-sound reduction. The
processing is related to the levels of the entire frequency spectrum (see next section), therefore it is more intensive with extreme S-sound levels than with those of lower levels. This
equalizes levels of sibilants in the output signal.
V
L
SPL De-Esser technology
In contrast to common de-essers based upon compressor techniques the SPL De-Esser makes
use of the phase cancellation principle. It employs filters that process only the reducible
”S-frequencies” but do not interfere with the remainder of the spectrum. The S-frequencies
are detected automatically, the phase is inverted and mixed with the original signal. This
method of operation has distinct advantages because it is unobtrusive and helps retain the
original tonal quality. Compressor-typical side effects such as lisping or nasal tones do not
occur. Finally its operation is as simple as pulling on the hand brake.
The reduction is accomplished by comparing the average level with the individual S-sounds:
the de-esser functions only when the S-noise level exceeds the average level of the entire
frequency spectrum. This means for example that original S-sounds with a certain S-portion
are not processed whereas those that are too loud, or do not effectively contribute to the
sound, are reduced – but the character of the voice remains unchanged.
A further specialty is the integrated Auto Threshold function which makes processing independent of the input level. Even when the speaker or singer does not maintain a constant
distance to the microphone, processing is retained at the pre-set S-reduction value.
Conventional systems are dependent on the input level and work more intensively as the
distance to the microphone is reduced. As a result, the SPL De-Esser does not need to be
monitored and re-adjusted permanently to keep processing constant – and it can always be
applied before the compressor, as changing its position would not be an advantage. That is
why an accordant switching function is not necessary.
18
Frontliner
Page 19
Compressor/Limiter
Control Elements
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
E
T
N
S
LINE IN
T
N
I
TUBE
+15dB
C
I
M
4
2
2
2
0
2
8
1
6
1
5
1
4
1
3
1
N
I
L
T
S
N
5
2
I
3
2
9
-
1
2
9
1
2
7
1
-
1
4
1
1
1
8
8
1
-
6
0
2
-
G
A
I
N
6
2
2
8
3
0
3
3
3
6
3
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4
2
4
5
5
2
6
1
6
8
dB
G
A
E
I
N
.
G
R
A
I
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-
6
2
2
7
S
2
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9
3
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3
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3
7
1
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3
9
4
1
4
2
9
4
3
1
0
dB dB
T
E
E
C
D
-
T
S
ON ON
C
U
T
D
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O
R
N
3
-
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4
2
-
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1
2
0
A
T
T
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7
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1
AUTO
4
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ms s
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S
E
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dB 1: x dB dB
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F
F
M
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M
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M
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–
F
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F
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M
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EQ PRE
-
COM P.
7
.
5
1
0
0
1
-
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2
2
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-
A
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4
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ON
6
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8
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B
0
U
4
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1
Sound Performan ce Lab Made in Germany
A
B
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ON
The On button activates the compressor/limiter module. Set the VU/GR switch to GR (=gain
reduction) to see the processing intensity (for further information read ”MAKE UP” on page
20).
Usually the signal flow follows the design of the Frontliner, so the input signal normally comes
from the de-esser. However, with the EQ PRE COMP. switch the compressor/limiter module
can be switched behind the equalizer. This allows the compressor to be used as a final
compressor or limiter after the equalizer (see „EQ PRE COMP” on page 15).
THRESHOLD
The THRESHOLD control determines the compressor threshold value, thus from which level
the compressor starts working. The value scale for the THRESHOLD control indicates the level
in dBu and ranges from 21 dB (fully left) to -58 dB (fully right). Turning the control to the right
intensifies processing: fully left provides no compression, and fully right provides compression starting at a level of approximately -58 dBu.
7
10
20
30
0
%
GRVU VU PPM 0 dB -10 dB
5
5
50
VU
VU
3
3
1
1
70
100
-
0
6
1
1
0
3
5
ON AUTO
S
E
R
H
-
T
6
1
-
9
-
5
6
1
1
2
dB
Model 2800
EXTERNAL INPUT S
EQ/TUB ECOMP.
DE-ES.
P
T
U
O
-
V
U
T
D
O
2
-
5
.
4
-
5
.
7
-
3
1
-
0
H
O
L
2
2
-
3
L
A
0
1
.
5
3
MUTE
4
5
5
.
5
2
-
D
0
-
3
8
-
4
6
-
5
4
-
5
8
RATIO
The RATIO control is used to set the ratio between the original signal and the compressed
signal. A ratio of 1:5 (RATIO control set to 5.0) means that a level increase of 5 dB on the input
results in an output level change of 1 dB. The more the control is turned right, the more ‘dense’
the sound becomes. The compressor works as a limiter when RATIO is turned fully right to
infinity.
ATTACK
The ATTACK control determines how fast the compressor reacts. When turned fully left this
time is 0.1 milliseconds, and turned fully right the time is approximately 1000 milliseconds
(one second). Sudden, fast and impulsive attacks are called transients, they are produced for
example by hitting a drum. We identify natural sounds by transients, so they are enormously
important for sound impressions.
With very short ATTACK times the compressor reacts to every level jump and all transients are
processed. With slower settings, transients become more and more audible – a drum kit for
example can achieve more presence in a mix and sound faster with such settings. The best
ATTACK settings are not always easy to find, since you usually need to find a compromise.
Very fast settings run the risk of producing audible distortions – especially in the case of low
frequencies, since the compressor now tries to catch each waveform rise. The corresponding
control signal assumes a “saw-tooth” form which distorts the audio signal. To suppress this
effect, you would have to again increase the attack time until distortion no longer occurs – but
without missing the aim of processing.
T
I
O
A
R
7
.
2
3
3
.
2
0
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2
7
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1
4
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1
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1
A
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1:x
A
C
T
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T
0
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7
1
6
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3
0
5
3
0
1
0
0
0
ms
The Frontliner offers a switchable automation feature for the ATTACK and RELEASE parameters to achieve perfect results when you are not satisfied with fix settings (see next page).
Frontliner
19
Page 20
Control Elements
Compressor/Limiter
R
2
.
0
5
1
.
0
9
0
.
0
5
0
.
0
3
ON AUTO
A
E
S
L
E
E
4
.
0
0
.
5
0
.
6
5
.
0
0
s
ON AUTO
ATTACK with cruise control: AUTO mode
The disadvantage of a usual ATTACK control: the setting refers to one critical moment, but it is
not optimal in every moment. But when you switch to AUTO mode, the ATTACK settings interactively respond to the input signal curves. Moreover, the automation can still be influenced
manually. With the ATTACK control you can determine the range in which the automation sets
it’s values. Much like a cruise control resumes up to the set speed, the AUTO mode does the
same for the (automated) ATTACK time settings. The more you turn ATTACK to the right, the
broader is the range for the automation to set time values – the ATTACK setting you have chosen
is the maximum ATTACK time the automation applies.
RELEASE
1
.
0
1
.
3
1
.
8
2
The RELEASE control determines the time the compressor needs to get back to the initial
value after a level reduction. Turned fully left this time is ca. 0.03 seconds, or ca. 2 seconds
for fully right.
Just like setting the ATTACK it can be difficult to find perfect RELEASE settings – for the same
compromising reason. Fast transients need short RELEASE times, but processing each and
every dynamic change bears the danger to produce rough, distorted sounds. Longer RELEASE
times sound smoother, but now transients may slip through. Again the AUTO mode can help
to achieve better results.
RELEASE with cruise control: AUTO mode
The AUTO mode for RELEASE first determines the average level of the signal. Then the automation refers to this level to achieve a balanced control characteristic: short and loud peaks
can be processed very fast, but especially with complex material (summed signals) not every
small peak near the average level is included into the processing.
The RELEASE automation can be inf luenced manually, too: the shorter the RELEASE time
ist set, the smaller is the range in which the processing follows the signal. Thus, with shor t
RELEASE times the processing follows very precisely and nearly “sticks” to the signal curve.
Short RELEASE times are for example adequate for percussive signals. If you apply longer
RELEASE times, the range is getting broader. Medium to slow settings can be recommended
for summed signals.
The AUTO switch activates ATTACK and RELEASE automation simultaneously. It is always
very effective to gain maximum loudness with minimum consequences in a musical sense.
This applies to all kinds of signals, from percussive sounds to vocals and instruments, and
aside from single tracks especially also to the complex structures of summed signals ... not to
mention a kind of signal that’s as difficult as it is common, called “untrained voice”.
E
-
K
U
A
M
5
4
3
2
1
5
.
0
0
P
7
6
8
9
1
0
1
2
1
4
1
6
1
9
2
0
dB
MAKE UP
With the MAKE UP control you can make up the output gain that’s lost through compression.
It changes the output level within a range of 0 dB to +20 dB. Setting is very easy when you
switch the VU/GR switch below the VU meter to “GR” (GR=gain reduction). If for example the
loudest peal causes a maximum reduction of -9 dB, you adjust the MAKE UP control to +9dB.
Switch the compressor out now to perceive the loudness gain.
20
Frontliner
Page 21
Equalizer/Tube Saturation
Control Elements
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
E
T
N
S
LINE IN
T
N
I
TUBE
+15dB
C
I
M
4
2
2
2
0
2
8
1
6
1
5
1
4
1
3
1
N
I
L
T
S
N
5
2
I
3
2
9
-
1
2
9
1
2
7
1
-
1
4
1
1
1
8
8
1
-
6
0
2
-
G
A
I
N
6
2
2
8
3
0
3
3
3
6
3
9
4
2
4
5
5
2
6
1
6
8
dB
G
A
E
I
N
.
G
R
A
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N
-
6
2
2
7
S
2
0
9
3
2
3
3
5
3
7
1
-
3
9
4
1
4
2
9
4
3
1
0
dB dB
T
E
E
C
D
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T
S
ON ON
C
U
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D
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O
R
N
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-
-
4
2
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1
2
0
A
T
T
A
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7
5
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1
AUTO
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.
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dB 1: x dB dB
.
2
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2
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8
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Sound Performan ce Lab Made in Germany
A
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ON
The ON switch adds the Equalizer/Tube Saturation module to the signal path. Usually the
input signal comes from the compressor module. With the EQ PRE COMP. key you can switch
the EQ module in front of the compressor, so that the input signal for the EQ module comes
from the De-Esser module.
EQ PRE COMP.
The EQ PRE COMP. key reverses the sequence of Compressor/Limiter and Equalizer: When the
key is pressed the Equalizer operates in front of the Compressor/Limiter; when not pressed
the succession remains unchanged.
Application examples: use of the compressor module as a limiter to maintain a stable output
level. If the EQ was to be used again after limiting it could not be guaranteed that the output
level would not alter. Or reduce frequencies with the EQ to prevent too excessive reactions
within the compressor, respectively vice versa: emphasize frequencies to let the compressor
react more intensively.
7
10
20
30
0
%
GRVU VU PPM 0 dB -10 dB
5
5
50
VU
VU
3
3
70
1
1
0
3
5
100
ON
EQ PRE
CO MP.
Model 2800
EXTERNAL INPUT S
DE-ES.
T
U
O
2
-
5
.
4
-
5
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7
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-
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-
EQ/TUB ECOMP.
P
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.
5
3
MUTE
4
5
5
.
5
The EQ PRE COMP. key only switches the equalizer module, but not the tube saturation stage.
This function can also be used if compressor and EQ are taken out of the channel strip unit as
a group. In this case the signal connected to the compressor inputs is directly routed to the EQ
inputs. The EQ PRE COMP. function can not be activated if the compressor or EQ module is is
excluded from the channel strip via EXTERNAL INPUTS and operated as a single module or if
an insert was determined via the compressor or EQ inputs. The EQ PRE COMP. key flashes, if
the function is not accessible for one of the mentioned reasons.
MHF (mid-/high filter)
The MHF control ser ves to set the center frequency of the semi-parametric mid/high filter. The
control range is between 680 Hz and 15 kHz, so the filter covers a broad range of 4.5 octaves
for processing of both mid and high frequencies.
MHF -/+ (cut/boost MHF)
The MHF -/+ control determines the boost, or cut of the mid/high filter; the maximum values
range up to +/- 12 dB. The filter utilizes the proportional-Q principle. In other words the bandwidth (=Q ) is dependent on the selected boost or cut. Higher boost or cut values narrow the
bandwidth; with lower boost or cut values the bandwidth broadens. This filter characteristic
permits a musically more sensible processing of the frequency spectrum than with constantQ filters: if a more thorough setting has been chosen this will lead to a precise definition of
the frequency range to be processed. This in turn minimizes influences from adjacent ranges.
This filter construction permits the complete scope, from selective removal of accentuated
frequencies through to character giving accentuations, to be effectively and quickly covered.
H
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dB
Recommendation on frequency settings: To find the frequency which is to be processed as
quickly and accurately as possible, firstly adjust the MHF -/+ control to the maximum position. Subsequently the relevant frequency should be sought. Because the filter at maximum
setting works with the smallest bandwidth, the frequencies can be heard most distinctly at
this setting, making them easier to locate. Finally the desired MHF +/- setting can be applied
after the frequency is determined with MHF.
Frontliner
21
Page 22
Control Elements
M
F
L
0
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5
5
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dB
Equalizer/Tube Saturation
LMF (low/mid filter)
The center frequency of the half-parametric low/mid filter is set with the LMF control. The
5
0
0
7
.
5
adjustable frequency range lies between 30 and 700 Hz so that this filter covers a range of
about 4.5 octaves, allowing it to be used from the deepest bass to the lower mid range. This
together with the mid/high filter ensures that the entire frequency spectrum is covered.
LMF -/+ (cut/boost LMF)
The LMF-/+ control determines the cut or boost of the LMF filter; the maximum values are +/12 dB. The LMF filter also operates to the proportional-Q principle, in other words the bandwidth is dependent on the selected boost or cut. The LMF f ilter can be applied in many ways.
Examples are to accentuate the fundamental sound of a voice, to cut “boom frequencies” and
for placement of instruments such as bass guitar, bass drums or synthesizers, both during
recording or subsequently when mixing.
Recommendation on frequency settings: To find the frequency which is to be processed as
quickly and accurately as possible, firstly adjust the LMF -/+ control to the maximum position. Subsequently the relevant frequency should be sought. Because the filter at maximum
setting works with the smallest bandwidth, the frequencies can be heard most distinctly at
this setting, making them easier to locate. Finally the desired LMF +/- setting can be applied
after the frequency is determined with LMF.
A
B
N
R
D
I
A
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2
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4
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dB
AIR BAND
The high frequency filter in the equalizer module is described as the AIR BAND. A coil/capacitor filter with so called bell characteristics and a center frequency of 17.5 kHz comes into
operation here. At this frequency the maximum possible accentuation is +10 dB, the maximum
possible damping is -10 dB. The sof t and natural tonal characteristic of the coil-capacitor f ilter
lends itself extremely well to provide clarity and, well ... air to vocals in the upper frequency
range, thereby improving their presence. On the other hand harsh sounds can be lent a more
pleasant sound characteristic through damping.
U
T
R
A
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%
TUBE SATURATION
With this control you determine the amount of tube saturation. The output level is accommodated automatically, in extreme settings the level increases by only 6 dB. Therefore you can
easily dial in decent to expressive harmonic distortions with the TUBE SATURATION control by
turning just one knob.
Saturation effects are generated through the tube being pushed to and beyond its normal
operating limits. In contrast to semiconductors, a tube thus pushed to such levels does not
clip from a certain level, approaching more gradually its level limits and thereby producing
its typical tonal result, which in audio signal processing can have such of ten profitable aural
effects —on one hand (and depending on the amount applied), from subtle to extensive
harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting
effect that exhibits a pleasant, rounded or soft sound. Acoustically and also in its range of
applications this can be compared very well with tape saturation effects.
22
Frontliner
Page 23
VU-Meter
Control Elements
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
E
T
N
S
LINE IN
T
N
I
TUBE
+15dB
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dB
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dB dB
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Sound Performan ce Lab Made in Germany
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VU meter
The VU meter displays the output level (behind the OUTPUT control). The gauge indicates
levels from -20 dB to +5 dB. If necessary you can lower the sensitivity by 10 dB so that the
gauge goes up to +15 dB output level (see “0 dB/-10 dB” below).
An especially interesting feature is the option to switch between two display modes: VU mode
and PPM mode. The VU mode (VU=Volume Unit) displays average levels, thus provides information on the overall loudness. The PPM mode (PPM=Peak Program Meter) displays the peak
levels.
The integration time of the display complies with the BBC requirements, as these characteristics represent ideal conditions for reading both VU and PPM values.
VU/GR switch
7
10
20
30
0
%
GRVU VU PPM 0 dB -10 dB
5
5
50
VU
VU
Model 2800
3
3
1
1
0
3
5
70
100
EXTERNAL INPUT S
DE-ES.
T
U
O
2
-
5
.
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EQ/TUB ECOMP.
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T
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L
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1
.
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3
MUTE
4
5
5
.
5
With the VU/GR toggle switch you can select if the VU meter displays the output level (VU) or
the gain reduction (GR) caused by compression. In GR mode the needle jumps to the 0 dB mark
and moves from there to the left, the more the compressor takes action. The displayed values
correspond to the level reduction. If the loudest peak causes the compressor to execute a
-9 dB reduction, the MAKE UP control should be set to values around +9 dB to compensate for
(see “MAKE UP” on page 20 for further information).
0 dB/-10 dB switch
With this toggle switch you can change the sensitivity of the VU display. If you select the
-10 dB setting, the sensitivity of the display is lowered by 10 dB. With the needle for example
at 0 dB, a value of +10 dB is displayed. Now you can read values of up to +15 dB, thus read
much higher levels. Switching the VU sensitivity is important with high levels. If you have
for example levelled a signal to 0-3 dB during recording, an EQ processing can easily result
in a level increase above 5 dB – now the sensitivity switch allows to keep following the exact
output level values.
VU/PPM switch
The VU/PPM toggle switch allows to switch the VU metering characteristics from VU display
mode to PPM display mode. The VU mode (VU=Volume Unit) displays average levels, thus
provides information on the overall loudness. The PPM mode (PPM=Peak Program Meter)
displays the peak levels.
GRVU
0 dB -10 dB
VU PPM
A/D converter displays also make use of the PPM mode. Monitoring peak levels is most
important to avoid overloading the converter and to prevent audible distortion. Peak levels
are always above the average levels. At times it may make sense to also select the -10 dB
setting to prevent the needle from getting stuck on the right side of the gauge.
Frontliner
23
Page 24
Control Elements
Output, AD OVL, Mute
Frontliner
Recording Channel
48 V PAD
Ø
INSTR.
U
M
R
E
T
N
S
LINE IN
T
N
I
5
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4
-
5
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7
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1
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1
dB
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2
N
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9
-
1
2
9
TUBE
1
2
7
1
-
1
+15dB
4
1
1
1
8
8
1
-
6
0
2
-
dB dB
P
T
U
U
O
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2
-
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2
-
E
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A
G
2
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S
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0
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3
9
ON ON
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1
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I
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dB 1: x dB dB
A
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1
AUTO
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0
ms s
H
T
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6
5
.
0
∞
0
OUTPUT
The outgoing signal can either be dampened to -20 dB or further amplified by +5.5 dB with
the OUTPUT control to provide optimal drive to the subsequent units or the optional A/D
converter. The individually selected output level is shown in the PPM display mode of the VU
meter. Before a recording commences the OUTPUT control should be set to 0 dB – the uninfluenced values from the OUTPUT control are then legible and available for adjustment of the
preamplifier levels (also refer to “MIC GAIN adjustments” on page 15).
AD OVL-LED
H
S
-
U
7
F
M
E
k
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P
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3
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6
M
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Hz %
–
F
/
H
+
M
0
2
5
.
.
5
2
-
5
-
1
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k
1
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2
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-
dB dBHz
–
/
F
+
M
L
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4
-
ON
7
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-
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-
1
E
B
0
U
4
T
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0
EQ PRE
3
COM P.
7
.
0
5
2
1
0
0
1
1
Sound Performan ce Lab Made in Germany
A
B
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4
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0
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7
10
50
30
0
%
VU
VU
GRVU VU PPM 0 dB -10 dB
Model 2800
3
3
1
1
0
3
5
70
100
EXTERNAL INPUT S
DE-ES.
U
O
2
-
5
.
4
-
5
.
7
-
3
1
-
0
2
-
EQ/TUB ECOMP.
P
T
U
O
-
V
T
D
L
A
0
1
.
5
3
MUTE
4
5
5
.
5
This LED is activated only if the optional A/D converter is fitted. It indicates that the converter
is overloaded. For further information on the converter please refer to its manual.
The AD OVL-LED never illuminates if the unit is not equipped with the optional converter.
MUTE
If the optional converter is fitted, the AD OVL should not illuminate. Otherwise reduce the
output level until it does not illuminate anymore.
If you are using external A/D converters you must use their level meters to control the input
levels.
MUTE
The MUTE switch mutes the output signal at both MAIN OUTPUTS and at the output to the
optional converter.
An instance could be allowing the musician to practice for a while and then, when ready,
freeing the signal path and commencing recording by deactivating the MUTE switch.
Since only the output signal is muted, you can still adjust gain settings etc. (with the VU
meter).
During the warm-up phase the MUTE switch flashes. The MAIN OUTPUTS and the output for
the optional converter card are muted, all EXTERNAL INPUTS keys are deactivated. The MUTE
switch stops flashing when the warm-up mode is finished. The MUTE switch will not illuminate if it was not activated before switching in the unit and it will illuminate permanently after
warm-up when it was activated before.
24
Frontliner
Page 25
External Inputs
Control Elements
Frontliner
Recording Channel
48 V PAD
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EXTERNAL INPUTS
A main feature of the Frontliner is the modular concept. That’s why each module has its own
input and output. Aside from the standard application – using the Frontliner as a recording
channel – you can also integrate each module independently into your studio or live setup,
just like an analog plug-in. With the EXTERNAL INPUTS keys you can apply all switch functions
to exclude single modules or dual and triple module groups from the channel strip unit and you
can determine inserts between the modules. See pages 9 and 10 for wiring diagrams with application examples.
Let’s start with the standard configuration: No EXTERNAL INPUTS key is engaged. You can use
the entire channel strip: preamplifier, de-esser, compressor and EQ with tube saturation stage
for one signal. The EQ can be switched in front of the compressor with the EQ PRE COMP. key.
Excluding a single module: Press the respective EXTERNAL INPUTS key and hold it for about
one second.
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The key illuminates permanently and the module can now be used with its own inputs and
outputs. With the de-esser as example, the signal now runs from the preamplifier directly into
the compressor, while the de-esser can be used as an autarchic device. E ach processing module
(de-esser, compressor, and equalizer with tube saturation) can be taken out of the channel
strip unit in this way. EQ and tube saturation stage are always treated as one module. If all
modules are excluded as single modules, the preamp signal is routed directly to the MAIN
OUTPUTS – the Frontliner now is a pure preamplifier.
Excluding a group of two or three modules: Press the respective EXTERNAL INPUTS keys of
two or three modules simultaneously and hold them for about one second.
Pressing and holding the EXTERNAL INPUTS keys of two or three modules simultaneously
defines a group and excludes this group from the channel strip unit. The input of the f irst
module is the group input. All module outputs can be used, the output of the last module is
the group output. With the example of de-esser and EQ as an excluded dual module group, the
Frontliner signal now runs from the preamplifier directly into the compressor and from there to
the MAIN OUTPUTS. The de-esser/EQ module group could be used for example to treat vocals
from another preamp, while the Frontliner is used to record and process (compression) an
acoustic guitar. The successful determination of a group is conf irmed by pulsing illumination of
the respective EXTERNAL INPUTS keys. Like the signal flow the pulse moves from left to right.
If all three modules are excluded from the channel strip unit as a group, the group input is the
de-esser’s input, but the output signal is also present at both MAIN OUTPUTS. The preamplifier signal in this case is only present at the preamp’s output.
Ungroup: Press and hold the EXTERNAL INPUTS keys for modules to be grouped for about 1 s.
The module group is ungrouped when the pulsed illumination goes out. Pressing only one
key within in a group also ungroups the grouped modules, but the respective module is also
excluded from the channel strip unit.
Notes on the EQ PRE COMP. key: This function can also be applied if compressor and EQ are
excluded as a group. In this case the input signal connected to the compressor input sockets
is directly routed to the EQ inputs. The EQ PRE COMP. function is not available if either the
compressor or EQ module is used as a single module or if an insert is determined at the
compressor or EQ inputs. The EQ PRE COMP. key flashes if you press the key and the function
is not available for one of the above reasons.
Please also note the block diagram on page 32 and the table on page 33 for details about
switching configurations.
Frontliner
25
Page 26
Control Elements
External Inputs
EXTERNAL INPUTS
DE-ES.
EQ/TUBECO MP.
You can also determine inserts with the EXTERNAL INPUTS keys in order to integrate further,
external devices into the channel strip unit. Inserts can be determined before each processing
module. If you for example wish to insert a unit between preamplifier and de-esser, the
preamplifier output is the insert send channel and the de-esser input is the insert return.
To determine an insert e. g. between the preamp and de-esser module, press the EXTERNAL
INPUTS DE-ES. key shortly once. The key illuminates pulsating. The de-esser input is now
active, but the signal flow does not leave the channel strip – in contrast to the exclusion of a
module (group). The same applies to all three modules.
Key lock
The EXTERNAL INPUTS keys have a determinant effect on the signal flow. Hence a little
mistake can have a major consequence which one may want to exclude for example in a live
situation. That’s why the EXTERNAL INPUTS keys can be locked.
Lock the EXTERNAL INPUTS keys: Press the DE-ES. and EQ PRE COMP. keys simultaneously
and hold them for about two seconds.
All EXTERNAL INPUTS keys blink four times and are locked now. The EQ PRE COMP. key and all
other switches are not locked.
Unlock the EXTERNAL INPUTS keys: Again press the DE-ES. and EQ PRE COMP. keys simultaneously and hold them for about two seconds.
Determining inserts
The EXTERNAL INPUTS keys blink two times to confirm successful unlocking.
The key lock does not change a switching configuration (exclusion of single or grouped
modules, determination of inserts). If the unit is switched of f with activated key lock, the key
lock remains active after powering up the unit again. When the warm-up cycle is finished, the
EXTERNAL INPUTS keys flash four times as if the key lock would be activated for the f irst time
to remind you of the current status.
Keys and switches
The status of all EXTERNAL INPUTS and EQ PRE COMP. keys is always retained also after
powering off the unit.
The EXTERNAL INPUTS and EQ PRE COMP. functions are operated by keys which switch relays.
All other switches keep their status mechanically.
Faint switching noise can not be avoided when operating the EXTERNAL INPUTS keys, as
the switching occurs during signal flow with relays. However, relays sound better and have
less THD at higher levels than semiconductor-based switches, so we accepted the switching
noise – particularly because an EXTERNAL INPUTS configuration usually is not altered during
recording.
26
Frontliner
Page 27
A/D converter, I/O transformers
Please note that you can order products with optional equipment from all dealers, even if they
do only list standard product versions, for example in an online store. Please contact your
dealer or SPL before you place an order. Optional equipment can also be installed after sales.
Available options for the Frontliner, model 2800:
• A/Dconverter(userinstallationpossible).Fordetailsrefertotheconvertermanual.
• Lundahlinputandoutputtransformers(installationonlybyqualifiedtechniciansorSPL).
Information on I/O transformers
We think a good part of the “warmth” that is commonly associated with vintage gear comes
from transformers. With transformers the low end and lower mids sound rounder, full-bodied
with more punch. The top end gets a silky touch and benefits from improved presence without
sounding boosted. Reasons are reduced odd harmonic s (which produce harsh top end impressions) and a slower characteristic compared to electronic stages which causes a more voluminous sound. We recommend transformers especially for vocals while electronic stages can be
better for highest precision in signal transmission (transients), but in the end it’s a question of
personal taste, applications or for example which microphones are in use.
Used in SPL preamps or channel strips, the input transformers add ca. 14dB gain (depending
on the microphone). This must be added to the scaled values. The additional passive gain
relieves the complete unit permanently at any gain level. The higher gain levels are also
beneficial with ribbon microphones. That’s why the input transformer is more important in
preamps, but to benefit from all possible sonic effects and full operational safety, both input
and output should be equipped with transformers.
Options
Frontliner
27
Page 28
Specifications
Inputs & Outputs
Electronically balanced instrumentation amplifiers, optionally transformer-balanced
Sockets/inputs
Microphone input XLR
Line input XLR
Instrument input 6,35 mm (1/4") TRS (stereo jack)
De-Esser input XLR
Compressor input XLR
EQ-/Tube Saturation input XLR
AD Input 2 6,35 mm (1/4”) TRS (stereo jack)
Sockets/outputs
Preamplifier output XLR
De-Esser output XLR
Compressor output XLR
EQ-/Tube Saturation output XLR
Main Outputs XLR
Input impedances
Microphone input ca. 1,9 kOhms unbalanced/ca. 3,8 kOhms balanced
Line input ca. 20 kOhms unbalanced/ca. 40 kOhms balanced
Instrument input ca. 1 MOhm
De-Esser input ca. 20 kOhms unbalanced/ca. 40 kOhms balanced
Compressor input ca. 20 kOhms unbalanced/ca. 40 kOhms balanced
EQ-/Tube Saturation input ca. 20 kOhms unbalanced/ca. 40 kOhms balanced
Output impedances
Preamplifier output ca. 600 Ohms unbalanced/ca. 1,2 kOhms balanced
De-Esser output ca. 600 Ohms unbalanced/ca. 1,2 kOhms balanced
Compressor output ca. 600 Ohms unbalanced/ca. 1,2 kOhms balanced
EQ-/Tube Saturation output ca. 600 Ohms unbalanced/ca. 1,2 kOhms balanced
Main Output OUT 1 ca. 75 Ohms unbalanced/ca. 150 Ohms balanced
Main Output OUT 2 ca. 75 Ohms unbalanced/ca. 150 Ohms balanced
Maximum input level
Microphone input @ 13 dB gain: +9 dBu, PAD activated: +29 dBu
Line input +22 dBu
Instr ument input +11,5 dBu
De-E sser input +21 dBu
Compressor input +21 dBu
EQ-/Tube Saturation input +21 dBu
Maximum output level 21,5 dBu
Gain control ranges
Microphone input +13 dB to +68 dB
Line input -20 dB to +10 dB
Instrument input +6 dB to +43 dB
28
Frontliner
Page 29
Measurements
Frequency range (-3 dB)
Channel strip 10 Hz to 50 kHz
Microphone preamplif ier ‹10Hz to 50kHz
Line preamplifier ‹10Hz to 50kHz
Instrument preamplifier ‹10Hz to 50kHz
De-Esser ‹10Hz to 140kHz
Compressor ‹10Hz to 180kHz
Equalizer/Tube Saturation ‹10Hz to 60kHz
Common mode rejection (@1 kHz, 0 dBu input level and unity gain)
Microphone preamplifier › 8 0 dB
Line preamplif ier › 75 dB
Instr ument preamplif ier › 75 dB
De-E sser › 75 dB
Compress or › 75 dB
Equalizer/Tube Saturation line › 75dB
Total harmonic distortion (in %, @ 1 kHz, 0 dBu input level and unity gain)
Channel strip 0,03
Microphone preamplifier 0,03
Line preamplifier 0,03
Instrument preamplifier 0,03
De-Esser 0,002
Compressor 0,007
Equalizer/Tube Saturation Line 0,01
Specifications
Signal to noise ratio (A-weighted)
Microphone preamplifier (VU =30 dB) -91 ,5 dB
Line preamplifier -94,7 dB
Instrument preamplifier -95,5 dB
De-Esser -97 dB
Compress or - 97 dB
Equalizer/Tube Saturation Line -91 dB
Dynamic range (unweighted)
Channel strip 110 dB (microphone input › main outputs, @ 30 dB)
Channel strip 112 dB (line input › main outputs)
Channel strip 112 dB (instrument input › main outputs)
Microphone preamplifier (@ 30 dB) 110 dB
Line preamplifier 114 dB
Instrument preamplifier 1 05 dB
De-E sser 115 dB
Compressor 115 dB
Equalizer/Tube Saturation Line 112 dB
E.I.N. microphone preamplifier -127 dBu (@ 68 dB gain, Rs=150 Ohms, 20-22 kHz)
Power supply Two toroidal transformers
Audio trans former 20 VA
Transformer other currents 15VA
Fuses 230 V AC, 50 Hz: 315 mA/120 V AC, 60 Hz: 630 mA
Voltage selector 115V/230V
Power consumpt ion 29 W
Dimensions and weight
Housing (W x H x D) 482 x 88 x 261 mm (Depth with controls and sockets)
Weight 5,7 kg/ca. 12,57 lbs (w/o converter & I/O transformers)
Note: 0 dBu = 0,775 V. Specifications are subject to change without notice.
Frontliner
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Recording Channel
48 V PAD
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Album/Gig:
Track(s)/Groups:
Artist:
Copy Master: Recall Settings
Engineer:
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Model 2800
EQ/T UBECO MP.
Page 31
Signal flow
Block Diagram 1
Page 32
Block Diagram 2
Switch Logic
Page 33
Frontliner
33
Page 34
Manual Frontliner, Modell 2800
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