®
TLAudio
user manual
Ivory 2 Series
5021
DUAL VALVE COMPRESSOR
TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK
email: info@tlaudio.co.uk web: http://www.tlaudio.co.uk
CONTENTS
1INTRODUCTION
2PRECAUTIONS
3INSTALLATION
3.1A.C. Mains Supply
3.2Audio Operating Level
3.3Balanced Line Input
3.4Unbalanced Line Input
3.5Instrument Input
3.6Balanced Output
3.7Unbalanced Output
3.8Sidechain Insert
3.9Mounting
3.10Rear Panel
4 OPERATION
4.1What is Compression?
4.2Why Valve Compression?
4.3Overview of Compressor Operation
4.4Input Stage
4.5Drive and Peak LEDs
4.6Threshold
4.7Ratio
4.8Attack and Release
4.9Knee
4.10Gain Make-Up
4.11Compressor On
4.12Stereo Link
4.13Meter
4.14Frequency Conscious Compression
4.15Gate
4.16Output Gain
4.17Optional DO-2 Digital Output
5 GETTING STARTED
5.1Connection
5.2In Use
6 SPECIFICATIONS
7 SERVICE
1 INTRODUCTION
Congratulations on purchasing the Ivory 2 5021 Dual Valve Compressor by TL Audio!
The Ivory 2 Series consists of a range of hybrid valve signal processors, which utilise low noise solid-state electronics in conjunction with classic valve circuitry to produce audio processing units offering very high quality signal paths with the unique valve audio character. The Ivory 2 Series units offer comprehensive control facilities, whilst remaining straightforward to operate, and represent excellent value for money.
The block diagram of the 5021 is shown in Figure 1. A solid state, electronically balanced input amplifier is used to achieve state of the art performance with very low noise, low distortion and wide bandwidth. An ECC83/12AX7A triode valve stage (run from a stabilised 150v DC supply) is used as a second stage voltage amplifier, to obtain the classic valve sound and gradual overdrive characteristics. Like all other TL Audio compressors, the gain control element of the 5021 is based around a special transconductance amplifier, which avoids the use of VCAs and helps contribute to the smooth, open sound of the unit. A second ECC83 valve stage forms part of the compressor gain make-up circuit.
The 5021 has both line and instrument inputs, a compressor (with variable controls) and a noise gate. Two illuminated VU meters monitor the output level or the gain reduction. The optional DO-2 digital card allows 24-bit A to D conversion via an RCA phono type SPDIF output, with selectable 44.1 or 48 kHz sample rates and the option to clock the converter to an external word clock source.
Line inputs and outputs are provided on electronically balanced XLR connectors and on unbalanced mono 0.25” jack connectors, both of which can be used simultaneously. The operating level of the inputs and outputs can be shifted by 14dB from -10dB to +4dB (for the unbalanced connectors) or +4dB to +18dB (for the balanced connectors) via a rear panel switch, enabling the
5021 to be used with the latest generation of digital recorders - which generate very high signal levels. A front panel instrument input is also provided, thus allowing guitars, basses and keyboards to feed directly into the 5021, removing the need for a separate DI box.
The compressor sidechain connectors on the rear of the 5021 can be used to connect an external processor such as an equaliser into the compressor circuit. This allows the compressor to effectively become frequency conscious, as the compressor then becomes more sensitive to any boosted frequencies on the equaliser. A typical application of this would be to “de-ess” (remove sibilance) from a source by boosting the sibilant frequency on the side-chained equaliser.
Please read this manual fully before installing or operating the 5021.
2 PRECAUTIONS
The Ivory 5021 requires very little installation, but like all electrical equipment, care must be taken to ensure reliable, safe operation. The following points should always be observed:
-All mains wiring should be installed and checked by a qualified electrician,
-Ensure the correct operating voltage is indicated on the rear panel before connecting to the mains supply,
-Never operate the unit with any cover removed,
-Do not expose to rain or moisture, as this may present an electric shock hazard,
-Replace the fuse with the correct type and rating only.
Warning: This equipment must be earthed.
3 INSTALLATION
3.1AC Mains Supply.
The unit is fitted with an internationally approved 3-pin IEC connector. A mating socket with power cord is provided with the unit, wired as follows:
Brown: Live.
Blue: Neutral.
Green/Yellow: Earth (Ground).
All mains wiring should be performed by a qualified electrician with all power switched off, and the earth connection must be used.
Before connecting the unit to the supply, check that the unit is set for the correct mains voltage. The unit is internally set for 110-120V 60Hz or 220240V 50Hz operation, and should only be changed by an authorised service centre. The mains fuse required is 20mm anti-surge, 1AT rated at 250V. If it is ever necessary to replace the fuse, only the same type and rating must be used. The power consumption of the equipment is 20VA.
Warning: attempted operation on the wrong voltage setting, or with an incorrect fuse, will invalidate the warranty.
3.2Audio Operating Level.
The 5021 is equipped with inputs and outputs suitable for connection to a wide variety of other audio equipment. Generally, the balanced XLR connections will be required for interfacing to other professional equipment, where the operating level (line-up level or nominal level) will be +4dBu, or approximately 1.2V rms. The unbalanced jack connectors are generally intended for interfacing to semi-professional equipment and have an operating level of - 10dBu, or about 225mV rms. However, the input and output level switches allow these levels to be shifted by 14dB, i.e. to +18dBu on the XLRs (suitable for high levels from a digital machine), and +4dBu on the unbalanced jacks. The normal default mode would be the +4dBu balanced setting, but if - upon feeding a digital multitrack machine into the 5021 line inputs - clipping occurs even on low input gain settings, then the +18dBu setting should be used.
Similarly, If the line output of the 5021 is fed into a digital multitrack input and very large amounts of 5021 output gain are necessary to register 0dBfs on the recorder, the +18dBu setting should be used, allowing the 5021 output gain to be set at a more conservative level.
The 5021 may be used to shift operating levels, for example by connecting the unbalanced output of a semi-pro mixing console to the 5021’s unbalanced input, and taking the balanced output of the 5021 to the balanced input of a tape machine at +4dBu. All line-level inputs and outputs of the 5021 may be used simultaneously if required. Balanced interconnection is always preferable to obtain the best headroom and noise rejection, but can only be used effectively if the other equipment in the chain, e.g. the mixing console, also has provision for balanced connections.
3.3Balanced Line Input.
The line level input is via a 3 pin female XLR connector, suitable for balanced or unbalanced line sources at a nominal level of +4dBu. The mating connector should be appropriately wired as follows for balanced or unbalanced operation:
Balanced inputs:
-Pin 1 = Ground (screen).
-Pin 2 = Signal Phase (also known as “+” or “hot”).
-Pin 3 = Signal Non-Phase (“-” or “cold”).
Unbalanced inputs:
-Pin 1 = Ground (screen).
-Pin 2 = Signal Phase (“+” or “hot”).
-Pin 3 = Signal Ground.
When using unbalanced signals into the balanced XLR input, the signal ground may be obtained by linking pins 1 and 3 in the mating XLR connector.
If this connection is not made, a loss in level may result.
3.4Unbalanced Line Input.
An unbalanced line level input at a nominal level of -10dBu is also provided, on a 0.25” mono jack socket. The mating plugs should be wired as follows:
- Tip |
= Signal Phase (“+” or “hot”). |
- Screen = Ground.
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