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Track  One

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-DET. LED in the display 
area shows that S-sounds are being detected. It is independent from the De-Esser control 
and always informs about detected sibilants – attracting your attention to a possible need for 
regulation (also see „S-DET.“ on page 17).  

De-Esser control

This  control  serves  to  determine  the  intensity  of  S-sound  reduction.  Because  processing 
is  undertaken  from  comparison  with  the  level  of  the  entire  frequency  spectrum  (see  next 
section)  the  processing  is  more  intensive  with  extreme  S-sound  levels  than  with  those  of 
lower levels. This processing method achieves a consistent level of the remaining sibilants in 
the output signal.

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 indepen-
dent 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  de-essing  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.

Control Elements

De-Esser

Summary of Contents for Track One 2960

Page 1: ...Manual Channel Strip Track One Model 2960...

Page 2: ...0 Fax 49 0 2163 983 420 E Mail info spl info Internet www spl info The construction of the Track One Model 2960 is in compliance with the stan dards and regulations of the European Community Notes on...

Page 3: ...ts 11 De Esser EQ ON De Esser control SPL De Esser technology 12 Compressor Limiter COMP ON LIMIT COMPRESSION 13 MAKE UP GAIN SPL compressor technology 14 Equalizer ON LMF LMF MHF 15 MHF Recommendatio...

Page 4: ...ple 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 all...

Page 5: ...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 da...

Page 6: ...ly in live situations Due to its excellent sound quality the Track One is a highly recommended alternative to built in console pre amps and processing tools All the modules are immediately at hand for...

Page 7: ...right sleeve ground Pin wiring XLR input sockets 1 ground 2 hot 3 cold Pin wiring XLR output sockets 1 ground 2 hot 3 cold PUSH 2 1 3 2 1 3 Pin wiring 1 4 TS socket mono jack tip left sleeve ground Ma...

Page 8: ...tentials between driver and receiver would produce disturbances In balanced connections a reference signal with reversed polarity is transmitted additionally to the audio signal through a second wire...

Page 9: ...shielding of the housing 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...

Page 10: ...P LINK compressor link feature allows to operate two Track One compressors with one control signal to ensure coherent stereo results The MASTER SLAVE switch determines which unit operates as master an...

Page 11: ...ollow these instructions to active and deactivate phantom power also when changing microphones The input stage of the Track One can be damaged if you ignore these procedures 1 Connect the microphone t...

Page 12: ...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 Final...

Page 13: ...s processing earlier than with hard knee curve see page 20 diagram 1 curve B Hard knee compressors can sometimes gain more loudness but they process abruptly and the danger to ruin a recording with co...

Page 14: ...tomatic setting of the release times is dependent on the input signal too Fast and large level fluctuations are correspondingly processed with shorter time constants than minor fluctuations in order t...

Page 15: ...sically more sensible processing of the frequency spectrum than with constant Q filters if a more thorough setting has been chosen this will lead to far preciser definition of the frequency range to b...

Page 16: ...d with MHF 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...

Page 17: ...overloads occur during recording the quickest remedy is to gradu ally reduce the respective gain control in the preamplifier SIG The SIGNAL LED illuminates when a signal is being received at the prea...

Page 18: ...Copy master recall settings Artist Album Gig Title Engineer Track s Groups Date...

Page 19: ...crophone Input Frequency response 10Hz 200kHz 3dB Maximum input level 8dBu Common mode rejection at 20dBu 1kHz 80 dB 10kHz 68dB THD N Amplification A weighted 20dB 97 5dBu 40dB 91 0dBu 65dB 69 6dBu Dy...

Page 20: ...LMF A C B Diagram 1 compressor curves Line A displays the ratio between input and output Line B shows the curve character istics of the compressor Line C protrays the limiter s curve characteristics...

Page 21: ...21 Track One MHF Air Band Measurements Diagram 4 various cut and boost settings of the Air Band filter Diagram 3 various cut and boost settings of the MHF filter at around 1 8kHz...

Page 22: ...ynchronization The yellow Sync Lock LED illuminates when a valid sync signal is present at the SYNC INPUT and the converter is automatically synchronized to the external sample rate To prevent interfe...

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