Waves Audio Kramer HLS Channel User Guide

WAVES

Kramer HLS Channel

User Guide

TABLE OF CONTENTS

CHAPTER 1 – INTRODUCTION..............................................................................................................

1.1

WELCOME.........................................................................................................................................3

1.2

ABOUT KRAMER HLS CHANNEL.........................................................................................................3

ABOUT THE MODELING ......................................................................................................................4

1.3

1.4

COMPONENTS...................................................................................................................................5

CHAPTER 2 – QUICKSTART GUIDE......................................................................................................

3

6

CHAPTER 3 – INTERFACE AND CONTROLS.......................................................................................7

INTERFACE........................................................................................................................................7

3.1

CONTROLS........................................................................................................................................8

3.2

CHAPTER 4 – THE WAVESYSTE

4.1

THE WAVESYSTEM TOOLBAR ..........................................................................................................14

M......................................................................................................14

PRESET HANDLING..........................................................................................................................14

4.2

4.3

INTERFACE CONTROLS....................................................................................................................16

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Chapter 1 – Introduction

1.1 Welcome

Thank you for choosing Waves! In order to get the most out of your Waves processor, please take the
time to read through this manual.

In conjunct
an extensive Answer Base, the latest Tech Specs, detailed Installation guides, new Software
Updates, and current information on Authorization and Registration.

By signing up at www.wavesupport.net
products, reminders when updates are available, and information on your authorization status.

1.2 About Kramer HLS Channel

The HLS Channel is modeled after the legendary Helios console channels, designed and built by Richard
Swettenham, and used by
at London’s Olympic Studios. During the early ’60s, Swettenham worked at EMI’s Abbey Road Studios as
a service/design engineer, later moving to Olympic studios, where he was asked to design and build an
especially “musical” recording desk. The desk was a success, and began a golden era for Olympic
studios, which hosted recording sessions for such artists as Jimi Hendrix, Rolling Stones, Led Zeppelin,
Traffic and many others.

Following the success of the first Olympic desk came its successor. Both desks had silver-faced panels
with 3-band EQs that had variable boost or cut for midrange frequencies, a high shelf at 10 kHz,
special low filter that could boost at frequencies of 60Hz – 400Hz and cut at 50Hz. Their mic preamps
used an especially musical transformer made by Lustraphone, a London-based consumer and pro audio
equipment manufacturer.

This success of these designs drew special interest from Chris Blackwell, founder of Island Records, who
wanted to base a new studio venture on Swettenham’s co
Olympic, rather than commissioning Richard Swettenham to build a console, Blackwell funded
Swettenham’s going into business for himself, under the brand name Helios. Under the Helios brand,
Swettenham continued to produce custom-made recording desks for various studios using Olympic-style
EQ’s, with Beyer transformers replacing Lustraphone’s and other small variations.

Swettenham’s channels shared many basic features, but were essentia
some user-driven changes. Since the original Olympic desks have since gone through several
restorations jobs and lost the original transformers, Waves called upon Eddie Kramer, the engineer at
Olympic during its heyday. Kramer helped us find the Helios channel that best characterized the sound of
the classic rock recordings we all know and love. Eventually, we chose the first desk revision from the
Rolling Stones mobile truck, courtesy of Mr. David Kean and the Audities Foundation. Thanks to them,

ion, we also suggest that you become familiar with www.wavesupport.net

, you will receive personalized information on your registered

Eddie Kramer during the late ’60s to record some of rock’s most classic tracks

sole designs. In order to avoid conflict with

n

lly custom-built to order,

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. There you will find

and a

with

we were able to model original channels that were in the truck from 1970 – 1973, when the console was
redone by Helios according to specs from engineer Mick McKenna. Our long, arduous search for the
perfect Olympic-style channel reflects the rarity of the original units, and we are truly excited and proud to
present the Helios sound for posterity, and for the creative use of generations to come.

1.3 About the Modeling

Many different elements contribute to the unique sonic chara
mixing console. Waves painstakingly modeled and incorporated these elements into the Kramer HLS
Channel, in order to fully capture and replicate the sound and performance of the original equipment. In
addition to modeling the Helios EQs, we also modeled the unique behavior, coloration, and drive of the
console’s preamps.

These are some of the most important elements of analog behavior:

Total Harmonic Distortion

•
Perhaps the most important analog behavior is Total Harmonic Distortion or THD, which is
defined as t
fundamental frequency. THD is usually caused by amplification, and changes signal shape and
content by adding odd and even harmonics of the fundamental frequencies, which can change
the overall tonal balance. THD can also change peak output gain, usually by no more than
+/- 0.2-0.3 dB.

he ratio of the sum of the powers of all harmonic components to the power of the

• Transformers

Some hardware uses transformers to stabilize or change Input/Output loads and signal levels. In
earlier days, transformers did not have a flat frequency response, and often introduced low and
super-high frequency roll offs. The original channel has transformers which cause high-frequency
roll off, so if you encounter loss above 10 kHz, this is due to the modeled transformers.

•

Hum

Waves modeled both 50 Hz power current and 60 Hz power current. If you listen closely, you
will hear that there is a d
to each region and dependent upon the local electrical conditions, you may find that the
modeled hum is different than the hum already present in your studio, and may not be suitable
for your particular use.

ifference in hum level between 50 Hz and 60 Hz. Since hum is unique

• Noise

All analog equipment generates internal noise or a noise floor. In vintage equipment, the noise
floor is sometimes quite high and colored. Waves modeled the noise to match the level and color
of noise exhibited by the original unit, both with and without signal present.

cteristics of analog gear such as the Helios

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1.4 Components

WaveShell technology enables us to split Waves processors into smaller plug-ins, which we call
components. Having a choice of co
the configuration best suited to your material.

The Kramer HLS has two component processor

• Kramer HLS Stereo –

• Kramer HLS Mono

Latency

HLS latency differs for Native & TDM versions:

Native

161 samples (all supported sample rates)

TDM

292 samples @ 44.1/48 kHz
548 samples @ 88.2/96 kHz

– A 3- band mono channel

mponents for a particular processor gives you the flexibility to choose

s

:

A 3-band stereo channel

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Chapter 2 – Quickstart Guide

At left: The EQ section of the Kramer HLS.

• High frequency EQ: Grab and turn the top knob to boost or cut high
frequencies.

Midrange EQ is controlled by a combination of two knobs and a

•

switch:

o

The Mid gain knob sets the amount of midrange frequency
gain adjustment.

o

Below it is the switch that determines whether to boost (PK)
or cut (TR).

o The knob to the left selects the center frequency of the

midrange EQ (in kHz).

Low frequency adjustment is controlled by two knobs:

•

o

The top Bass knob specifies the amount of boost for the
frequency selected in th

o The lower half of the bottom knob’s scale cuts lows at 50Hz.

(In this mode, the upper

e top half of the bottom knob’s scale.
bass knob is inactive.)

To control analog coloration, use the Source
switch to select Mic/Line
Preamp knob to select the amount of coloration.
Higher values introduce more harmonic
distortion with increased noise and hum. The
overall level will not change significantly, as the
HLS recreates the coloration alone, not the
amplification itself.

If the noise level is excessive, set the Noise
switch to LO. To retain only the mod
harmonic distortion, bypass the noise and hum
by setting Analog to OFF.

amplification and the

eled

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