TL Audio IVORY 2 5052, Ivory 5052 User Manual
user manual
TL A
udio
®
Ivory 2 Series
5052
STEREO VALVE PROCESSOR
TL Audio Ltd, Letchworth, Herts, SG6 1AN, UK
email: info@tlaudio.co.uk web: http://www.tlaudio.co.uk
CONTENTS
1 INTRODUCTION
2 PRECAUTIONS
3 INSTALLATION
3.1 A.C. Mains Supply
3.2 Microphone Input
3.3 Balanced Line Input
3.4 Unbalanced Line Input
3.5 Instrument Input
3.6 Insert Points
3.7 Sidechain Insert Points
3.8 Line Outputs
3.9 Nominal Operating Level
3.10 Ventilation
3.11 Rear Panel
4 OPERATION
4.1 Input Stage
4.2 Microphone Input
4.3 Line Input
4.4 Instrument Input
4.5 30dB Pad Switch
4.6 90Hz Filter
4.7 Phase Reverse
4.8 Drive and Peak LEDs
4.9 Output Gain
4.10 Bypass
4.11 What Is Compression?
4.12 Why Valve Compression?
4.13 Overview of Compressor
Operation
4.14 Threshold
4.15 Ratio
4.16 Attack and Release
4.17 Knee
4.18 Gain Make Up
4.19 Compressor On
4.20 EQ S/C & Frequency Conscious
Compression
4.21 Meter
4.22 Equalisation
4.23 Cut/Boost Control
4.24 Frequency Control
4.25 Q (Bandwidth) Control
4.26 Shelving EQ
4.27 EQ On
4.28 EQ Pre
4.29 Output Limiter
4.30 Stereo Link Modes
4.31 Optional DO-2 Digital
Output Card
5 GETTING STARTED
5.1 Connections
5.2 In Use – Mono tracking
mode
5.3 In Use – Stereo mixdown
mode
6 FAQ
7 SPECIFICATIONS
8 SERVICE
1. INTRODUCTION
Congratulations on purchasing the Ivory 5052 Stereo Valve Processor by TL Audio!
The Ivory 2 Series consists of a range of hybrid valve signal processors, which utilise
low noise solid state electronics in conjunction with classic valve circuitry to produce
audio processing units offering very high quality signal paths with the unique valve
audio character. The units offer comprehensive control facilities, whilst remaining
straightforward to operate, and represent excellent value for money.
The 5052 is a dual channel processor with mic, line and instrument inputs, and
features a compressor, four band equaliser and peak limiter on both channels. The
compressor, equaliser and limiter stages can be operated in ‘dual mono’ or ‘linked
stereo’ modes, making the 5052 equally powerful for both mono/stereo tracking and
final stereo mix processing. A pair of illuminated VU meters monitor the input level,
output level, compressor gain reduction and limiter gain reduction for both channels.
The optional DO-2 digital output card allows 24-bit analogue to digital 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.
The block diagram of the 5052 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. The preamp
stage also features 48V phantom power, phase reverse, 30dB pad and a high pass
90Hz filter. A Drive LED gives a visual indication of the signal level through valve
stages (and thus the amount of ‘warming’ taking place) while a Peak LED warns that
clipping is about to occur, and this monitors the signal at key points in the audio
path.
The compressor section offers fully variable control of threshold, ratio,
attack/release and gain make-up, and both hard and soft knee options are
available. A ‘Hold’ facility reduces LF distortion, and a side chain insert point is
provided for frequency conscious compression. Like all other TL Audio
compressors, the gain control element of the 5052 compressor stage is based
around a special transconductance amplifier, which avoids the use of VCAs and helps
contribute to the smooth, open sound of the unit, along with a triode valve stage
that forms part of the gain make-up circuit.
A four band valve EQ stage is included, providing up to 15dB of cut or boost on
each band. The LF and HF bands provide swept frequency controls with a choice of
shelving or peaking response. The LM and HM bands are fully parametric with
variable control of gain, frequency and bandwidth. The ‘EQ PRE’ switch places the
EQ ahead of the compressor in the signal path, while the ‘EQ S/C’ switch places the
EQ entirely in the compressor sidechain circuit, for frequency conscious
compression. A triode valve stage is located just after the four EQ filter stages.
A peak output limiter is included, and this is located after the output level control.
This limiter has a high ratio and a fast attack time, making it ideal for prevention of
overload in digital recorders. A threshold control is provided, along with an LED
indication of when the limiter threshold is exceeded.
Mic and line inputs are provided on electronically balanced XLR connectors, and the
line input is duplicated on an unbalanced mono 0.25” jack connector. Balanced and
unbalanced line outputs are provided (on XLR and jack respectively) and these can
be used simultaneously. The operating level of the line input can be shifted from 10dB to +4dB (unbalanced) or +4dB to +18dB (balanced) via a rear panel switch,
allowing the 5051 to accept very high levels - such as those from a digital recorder. A
pair of high impedance front panel instrument inputs are also provided, thus allowing
guitars, basses and keyboards to feed directly into the 5052, removing the need for
a separate DI box. Finally, balanced insert points (located after the preamp stage
but before the processing stages) and compressor sidechain insert points are
featured. The former allows other external units to be patched into the 5052 signal
path, while the latter permits frequency conscious compression to be performed by
patching in an external equaliser.
Please read this manual fully before installing or operating the 5052.
2. PRECAUTIONS
The Ivory 5052 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.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION
RISQUE DE CHOC ELECTRONIQUE
NE PAS OUVRIR
Manufactured by TL Audio Limited, England.
SERIAL NUMBER 5052 STEREO VALVE PROCESSOR
W/CLOCK
IN
44.1 48
kHz
SPDIF OUTPUT
FUSE T1AL 250V
230V~30VA 115V~30VA
WARNING - ATTENTION
THIS APPARATUS MUST BE EARTHED.
FOR CONTINUED PROTECTION
AGAINST RISK OF FIRE, REPLACE ONLY
WITH SAME TYPE AND RATING OF FUSE.
UTILISER UN FUSIBLE DE RECHANGE DE
MEME TYPE ET CALIBRE
WARNING
TO REDUCE THE RISK OF FIRE
OR ELECTRICAL SHOCK,
DO NOT EXPOSE THIS EQUIPMENT
TO RAIN OR MOISTURE
JACK (UNBALANCED):
TIP = +VE, SLEEVE = GND.
JACK (BALANCED): TIP = +VE, RING = -VE, SLEEVE = GND.
JACK (UNBALANCED INSERT): TIP = SEND, RING = RETURN, SLEEVE = GND.
XLR: PIN 1 = GND, PIN 2 = +VE, PIN 3 = -VE.
SIDECHAIN INSERT
(UNBALANCED)
12
OUTPUT (BALANCED +4dBu)
12
OUTPUT
(UNBALANCED -10dBu)
12
LINE INPUT
(UNBALANCED)
-10dBu
+4dBu
12
INSERT
(BALANCED +4dBu)
LINE INPUT LEVEL
SEND 1 RETURN 1 SEND 2 RETURN 2
LINE INPUT (BALANCED)
+4dBu
+18dBu
12
MIC INPUT (BALANCED)
12
MIC LINE
MIC INST
48V
PEAKDRIVE
LIMITON (PULL)
INPUT GAIN
MIC(LINE)
BYPASS
PH REV
COMP
EQ
ON
PK
SHLV
LIM
+10dB
EQ
LIMITER
POWER
ON
METERS
STEREO MODE
(CH1 MSTR)
EQUALISER 1
+16(-20) dB +60(+20)
+38 (0)
INPUT GAIN
MIC(LINE)
+16(-20)
dB +60(+20)
+38 (0)
OUTPUT
GAIN
-
oo dB +15
0
0 dB +20
+5 +12
HF
0
-15 dB +15
3K Hz 20K
6K 12K
HM
0
-15 dB +15
1K Hz 12K
2K 6K
LM
0
-15 dB +15
100 Hz 3K
300 1K
LF
0
ATTACK RELEASE
RATIOTHRESHOLD GMU
-
15 dB +15
30 Hz 1K
100 300
FAST SLOWFAST SLOW
1:1.5 1:30
1:5 1:10
+10 dB -20
0 -10
0 dB 20
5 12
INPUT 1
COMP1
INST
INPUT 1
O/P COMP G/R
I/P LIM G/R
1 2
90Hz
MIC
-30dB
MIC LINE
MIC INST
48V
PEAKDRIVE
LIMITON (PULL)
BYPASS
PH REV
LIMITEROUTPUT
GAIN
-
oo dB +15
0
0 dB +20
+5 +12
INPUT 2
90Hz
MIC
-30dB
EQ
PRE
ON KNEE EQ
S/C
PK
SHLV
HARD
SOFT
EQ
ON
PK
SHLV
EQUALISER 2
HF
0
-15 dB +15
3K Hz 20K
6K 12K
HM
0
-15 dB +15
1K Hz 12K
2K 6K
LM
0
-15 dB +15
100 Hz 3K
300 1K
LF
0
ATTACK RELEASE
RATIOTHRESHOLD GMU
-
15 dB +15
30 Hz 1K
100 300
FAST SLOWFAST SLOW
1:1.5 1:30
1:5 1:10
+10 dB -20
0 -10
0 dB 20
5 12
COMP2
INST
INPUT 2
EQ
PRE
ON KNEE EQ
S/C
PK
SHLV
HARD
SOFT
5052
STEREO VALVE
PROCESSOR
FIG 2: FRONT PANEL
FIG 3: REAR PANEL
INSTRUMENT INPUT COMPRESSOR SECTION EQ SECTION STEREO LINK SECTION
INPUT SELECTOR SWITCH LIMITER SECTION VU METERS
IEC INLET OPTIONAL DO-2 OUTPUT CARD MIC INPUTS
SIDECHAIN INSERT POINTS LINE OUTPUTS INSERT SEND/RETURN POINTS LINE INPUTS
3. INSTALLATION
3.1 AC Mains Supply.
The unit is fitted with an internationally approved 3 pin IEC connector. A mating
socket with power cord is provided with the unit, wired as follows:
Brown: Live.
Blue: Neutral.
Green/Yellow: Earth (Ground).
All mains wiring should be performed by a qualified electrician with all power switched
off, and the earth connection must be used.
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 220-240V 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 30VA.
Warning: attempted operation on the wrong voltage setting, or with an incorrect
fuse, will invalidate the warranty.
3.2 Microphone Input.
The microphone input is via 3 pin female XLR connector, suitable for balanced or
unbalanced microphones. 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.
3.3 Balanced Line Input.
The 5052 has a 3 pin XLR socket on the rear panel, which will accept both balanced
and unbalanced line level inputs. The mating connector should be appropriately
wired as follows:
Balanced inputs:
- Screen = Ground,
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
Unbalanced inputs:
- Screen = Ground,
- Tip = Signal Phase (“+” or “hot”),
- Ring = Ground.
When using unbalanced signals, 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.
3.4 Unbalanced 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.
3.5 Instrument Input.
Each channel has a 0.25” jack socket on the front panel (see Figure 2). A 2 pin
(mono) jack plug is required, which should be wired as follows:
- Tip = Signal Phase (“+” or “hot”),
- Screen = Ground.
Good quality screened cable should be used, particularly for microphone or low level
sources, to prevent hum or noise pickup.
3.6 Insert Points.
The insert points are interfaced via a pair of 3 pin, 0.25” jack sockets on the rear of
the unit. These points (not to be confused with sidechain insert points – see section
3.7) are located after the initial preamp stage but before the compressor stage, and
allow an external device to be patched into the 5052 signal path.
One socket is marked ‘Send’ (which connects to the external device’s input) while
the other is marked ‘Return’ (which connects to the external device’s output).
The pin connections for both Send and Return are:
- Sleeve = Ground,
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
The insertion points are balanced, and operate at a nominal level of +4dBu.
3.7 Sidechain Insert Points.
The sidechain insert points allow access to the 5052 compressor sidechain (i.e. for
frequency conscious compression – see section 4.20) and are interfaced via a 3 pin,
0.25” switched jack socket on the rear of the unit. The pin connections are:
- Sleeve = Ground,
- Tip = Send,
- Ring = Return.
The sidechain insert point is unbalanced, and operates at a nominal level of -2dBu .
If used as an additional send only (e.g. as a send to a tape machine or monitor
mixing desk), the Tip and Ring should be wired together, to preserve the signal path
through the insertion point. If connecting the 5052 sidechain insert to a patchbay it is
important to ensure that the ‘send’ and ‘return’ are connected together when not in
use – if the send/return circuit is left open then this can cause incorrect operation of
the compressor stage.
3.8 Line Outputs.
The line outputs are provided on a balanced XLR connector, and also via an
unbalanced _” jack. Balanced operation is always preferable to maintain maximum
headroom and signal to noise ratio, but can only be used if the following equipment
is also capable of balanced operation:
Balanced outputs:
- Screen = Ground,
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
Unbalanced outputs:
- Screen = Ground,
- Tip = Signal Phase (“+” or “hot”),
- Ring = Ground.
3.9 Nominal Operating Level.
A switch on the rear panel allows the line inputs to be matched to equipment at a
nominal operating level of +4dBu or -10dBu for unbalanced signals, and +18dBu or
+4dBu for balanced signals. Most professional equipment requires +4dBu
(approximately 1.2V rms), but some small mixing consoles, portable tape recorders or
domestic audio equipment require -10dBu (approximately 225mV rms). Digital
multitrack recorders have very high signal levels due to the digital scale of 0dBFS
usually matching +18dBu in the analogue domain. The 5052 is able to match the
operating level of such recorders, using the +18dBu setting. If the operating level is
not known, the switch should be set to the position which results in the best signal to
noise ratio and least noise while being able to handle high signal levels.
3.10 Ventilation.
The 5052 generates a small amount of heat internally, mainly due to the valve heater.
This heat should be allowed to dissipate by convection through the side grills, which
must not be obstructed. Do not locate the 5052 where it will be subject to external
heating, for example, in the hot air flow from a power amplifier or on a radiator.
3.11 Rear Panel.
The rear panel connectors are identified in Fig.3. Make sure that all settings, mains
and audio connections have been made as described above before attempting to
operate the equipment.
4. OPERATION
4.1 Input Stage.
The Input Gain control sets the level of the mic, line or instrument input into the 5052
preamp stage. The signal source is selected by the 4-position switch adjacent to the
Input Gain control. Input choices are Mic 48V (for condenser microphones that
require phantom power), Mic (for dynamic or most ribbon microphones), Line and
Instrument. The Instrument input allows high impedance instruments such as guitars
or a bass etc to connect directly into the 5052 and eliminates the need for a Direct
Injection Box. A wide range of signals can be fed into the 5052, and the Input Gain
control also allows the valve stages to be driven to a variable degree. After the
preamp stage the signal passes through a triode valve stage positioned between the
input circuit and the compression stage. Increasing the input gain pushes more signal
level into the valve, thus generating more harmonic distortion and creating that
special “valve sound”. This is indicated by the yellow ‘Drive’ LED which will glow more
intensely as the level increases. At the same time the output level can be turned
down to preserve the same level at the output, so a choice of sounds is available.
For a more pronounced valve sound, turn up the input gain and reduce the output
gain, and vice versa for a cleaner sound. Don’t be afraid to push the 5052 hard!
As well as driving the valves harder, increasing the Input Gain control setting will also
have a pronounced effect on the amount of compression as the threshold will remain
constant as the input level increases. If the input gain is adjusted, the threshold can
be adjusted accordingly to maintain a similar amount of compression.
4.2 Microphone Input.
When using the 5052 with a microphone source, care should be taken not to apply
too much gain at the input. Start with the input gain control set to minimum, and the
output master at the mid-point (12 o’clock position). The input gain can then be
gradually increased until the VU meter registers about 0VU on normal signal level,
when set to read ‘I/P’. The master output level should then be adjusted to produce
the required output.
CAUTION: Never switch phantom power on or off, or plug / unplug a
microphone with phantom power applied unless the output level control is turned
down. Failure to do so may result in a thump in your monitor loudspeakers or PA
system.
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