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17

Track  One

All status and level displays are concentrated in a central display area, so all important infor-
mation can be perceived at a glance.

S-DET.

The  S-DETECT  LED  shows  when  sibilants  have  been  detected.  It  is  only  active  when  the 
de-esser is switched on, but it is independent from the de-esser control. 

So if you turn on the de-esser, you are always informed about detected sibilants and a possible 
need for regulation.  

CLIP

The CLIP LED shows overload in the unit. The clipping level of the LED lies approximately 2 dB 
below the internal full scale (conforms to + 19 dBu). The CLIP LED should flash as seldom as 
possible. At all relevant points of the signal flow the display gets read off: behind the preampli-
fier, behind the compressor/limiter, behind the EQ and behind the output control. All possible 
causes for overload can be directly checked (overloaded microphone/instrument/line gain, 
an excessive make up value in the compressor/limiter, too much boost in the EQs or too high 
output levels). Possible causes of overload can be quickly detected by simply switching off 
the modules individually. If 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 preamplifier. This provides 
a quick method of checking that a signal source is correctly connected. 

All levels above -50 dB are covered. 

PPM OUTPUT

The PPM OUTPUT display shows the peak reading of the output level (calibrated to 0 dB) and 
is present at the rear outputs. This display also serves to level the preamplifier. The +12 dB 
value conforms to 0dBFS – the maximum level which should not be exceeded for the optional 
AD converter (further information is given in the manual of the AD converter and on page 22).
Although the values of the PPM OUTPUT display only cover up to + 12 dB sufficient headroom 
remains internally (approximately 6 dB) so that the output value can exceed this limit without 
causing clipping. The range of optimal noise performance lies between 0 and + 9 dB. 

GAIN REDUCTION

This  display  provides  information  about  the  processing  being  undertaken  with  the 
compressor/limiter. The level changes, perhaps caused by compression, are scaled in 1.5 dB 
steps. The display is activated when the compressor/limiter module is switched on (also refer 
to „MAKE UP GAIN“ on page 14).

Control Elements

Display area

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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