Universal Audio 4-710d Manual Download Page 26

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Insider’s Secrets

complementing it with the 4-710d’s solid-state preamp (or use the Blend control to dial in a

combination of the two that favors the contribution of the TRANS side).

Electric Guitar and Bass

There’s something very special about the mix of tube preamplification and electric guitar and bass,

which is why tube amps are so prevalent in that world. Cranking up the 4-710d's Gain control will

impart anything from a slight bark to total grunge. Set the Blend control all the way to TRANS for that

overloaded console effect, or all the way to TUBE to emulate the grittiness and bite of an overdriven

guitar amp... or anywhere in-between for a custom guitar sound perfectly crafted to the context of the

song.
Electric bass players may want to set the Blend control so that the solid-state amp is slightly favored

(try a 10 o’clock position to start), allowing you to take advantage of the precision of the

transimpedance preamp stage, combined with just a touch of tube warmth. For acoustic bass, try

dialing in just a touch more tube preamp.

Acoustic Guitar

The 4-710d is also a powerful tool for the recording of acoustic guitar. Try pairing it with a small-

diaphragm omnidirectional mic and then set the Blend to about the 2 o’clock position (thus slightly

favoring the tube preamp) for a sound that is both pristine and warm.

Horns and Reeds

The incredible detail provided by the 4-710d’s solid-state transimpedance preamp make it a perfect

match for horn and reed instruments. Dial in just a touch of the tube preamp (set the Blend control to

approximately 9 o’clock) to add a touch of tube warmth, and you’ve got a sound that will work in just

about any musical context.

Drums

The huge range of sonic possibilities offered by the 4-710d make it an invaluable companion for any

kind of drum miking. The excellent transient response of its solid-state transimpedance preamp serves

to enhance overhead and ambient mics picking up the crispness of cymbals, while the roundness of its

tube preamp adds fullness to snare and tom mics. Again, the best solution is usually a blend of the

two, depending upon the specific mics being used and the mic positioning. Be sure also to experiment

with the 4-710d polarity control whenever multiple mics are being used!

Improving the Sound of Your Microphone

Incredible but true: in some cases, the 4-710d can make an inexpensive microphone sound like an

expensive one. Even an inexpensive stage dynamic microphone can come to life when routed through

one or both 4-710d preamps, adding richness and airiness to the sound without adding undesirable

graininess or coloration.

Live Applications

Although the 4-710d was designed primarily for use in recording, it can also serve as a powerful

addition to a live sound rig, especially in FOH (Front Of House) applications. Because its tube preamp

section is based on vintage guitar amp design, it can even be used as an onstage preamp; just plug

your instrument directly into its Hi-Z input and then route the 4-710d output to a power amp and/or

FOH console input.

Summary of Contents for 4-710d

Page 1: ... Four Channel Tone Blending Mic Preamplifier Universal Audio Part Number 65 00051 Revision A Universal Audio Inc Customer Service Tech Support 1 877 MY UAUDIO Business Sales Marketing 1 866 UAD 1176 www uaudio com ...

Page 2: ...cepts are subject to copyright protection No part of this document may be reproduced in any form without prior written permission of Universal Audio Inc Trademarks 4 710d 710 Twin Finity 4110 8110 SOLO 110 SOLO 610 2 610 LA 610 LA 2A 2 LA2 LA 3A 6176 1176LN 2 1176 2192 DCS Remote Preamp UAD and the Universal Audio Inc logo are trademarks of Universal Audio Inc Other company and product names menti...

Page 3: ...ing or disconnecting it 7 Grounding of the Plug This unit is equipped with a 3 wire grounding type plug a plug having a third grounding pin This plug will only fit into a grounding type power outlet This is a safety feature If you are unable to insert the plug into the outlet contact your electrician to replace your obsolete outlet Do not defeat the purpose of the grounding type plug 8 Cleaning Fo...

Page 4: ...anced Digital Setup 19 Model 4 710d Overview 20 Digital Clocking Primer 23 Insider s Secrets 25 History of the Model 4 710d 27 Glossary of Terms 29 Maintenance 34 Calibration 34 Fuse 34 Voltage Select 34 Service 34 AES EBU DB 25 Connector Pinouts 34 Session Recall Sheet 35 Block Diagram 36 Specifications 37 Analog Section Channels 1 4 37 Analog To Digital Converter Section 39 Digital Output Sectio...

Page 5: ...l includes an 1176 style compressor this dynamics circuit sounds incredible and provides yet another dimension of available sounds For flexible signal routing and external processing the 4 710d also includes send return jacks in each preamp that can be individually switched via the front panel The 4 710d facilitates easy integration of analog signals into your digital world with its built in high ...

Page 6: ...st popular audio interfaces Features Preamplifiers Four TEC Award winning 710 Twin Finity microphone line preamps each featuring Dual path 285 volt Class A tube and transimpedance solid state preamps Phase aligned tone blending of tube and solid state circuits creamy to crunchy Newly designed 1176 style compression circuit per preamp channel JFET Direct Input with 2 2MΩ ultra Hi Z impedance w auto...

Page 7: ...onnectors connect the 4 710d s rear panel line output s to the appropriate input s on your patch bay mixer or DAW Step 3 Set the front panel 48V phantom power 15dB PAD and LOW CUT switches to their down OFF position Step 4 Set the front panel POLARITY switch to its down IN ø position Step 5 Connect the desired input source to one of the 4 710d s rear panel balanced XLR mic and or line inputs page ...

Page 8: ...st most uncolored signal from the 4 710d set the Gain knob to its lowest usable setting change the Meter to OUTPUT and then adjust the Level control as necessary If you hear distortion when using a connected microphone even at the lowest Gain level employ the 15 dB pad to reduce the input level If you hear low frequency rumble employ the Low Cut filter switch Step 16 Finally experiment with the Bl...

Page 9: ...t of gain applied to the input signal This control also determines the level sent to the compressor if the compression circuit 13 on page 11 is engaged 3 Blend This unique control sets the relative contribution from the solid state and vacuum tube preamplifier circuits When in the fully counterclockwise TRANS position only signal from the solid state preamplifier is heard When in the fully clockwi...

Page 10: ...used on loud instruments or if the A D converter is clipping 7 Input Select Determines whether the channel s MIC up position or LINE down position input is active If the channel s Hi Z input is in use this switch has no effect See Analog Connectors on page 15 for more info on the rear panel inputs 8 Meter This standard VU meter can display the channel s overall output level tube drive level or amo...

Page 11: ...termines the polarity of the channel s LINE OUTPUT 8 on page 16 and the polarity of the signal at the A D converter inputs When off in the down IN ø position pin 2 of the LINE OUTPUT is hot positive When the switch is enabled in the up OUT ø position the output signal is placed out of phase and pin 3 of its LINE OUTPUT is hot positive Normally the switch should be off and only enabled when it is d...

Page 12: ...ors on channels 1 4 The limiter threshold is 17dBu 3dBFS and the ratio is effectively infinite The attack time is 0 075 ms and the release time is 100 ms Although the limiter will help prevent digital overs A D clipping during conversion it is not a brick wall limiter It is still possible to clip the A D input especially with very hot signal levels and or signals with fast transient peaks 17 Sampl...

Page 13: ...le Rate knob 17 on page 12 is set to an internal sample rate For the clock to be locked when the clock source is external a valid clock signal must be present at the rear panel word clock input see note above In order for the 4 710d to detect and lock to a valid external word clock the frequency of the incoming word clock must be within 3 of any of the supported sample rates 44 1 48 88 2 96 176 4 ...

Page 14: ...in 3 of any of the supported sample rates If not the LOCK indicator will glow red the word clock OUT will be driven at 48 kHz and the digital outputs will be driven at 48 kHz and muted External clocking is required when connecting the 4 710d to another digital device such as a com puter audio interface whose digital clock is set to internal making that device the master clock All digital devices i...

Page 15: ...he chain For example if the 4 710d is the last slave unit at the end of a clock chain when the 4 710d s word clock Out port is not used termination should be active If the word clock is passed through the 4 710d to another unit when the 4 710d s Word Clock Out port is connected passing the word clock through to another device termination should be disabled 5 ADAT Optical Outputs 1 2 Up to eight ch...

Page 16: ... can be inserted into the analog path of channels 1 4 using the Insert Loop for additional processing of the channel s signal using the Send and Return jacks 11 and 12 below The Insert Loop can be enabled or disabled using the Insert switch for the channel on the front panel 12 on page 11 11 Insert Send Connect this jack to the audio input of the external processor The signal at this jack is post ...

Page 17: ...e the line input instead the XLR line input and a guitar connected to channel 3 using the Hi Z input A signal processor e g reverb is connected via the insert loop of channel 1 for the mic The insert send of channel 3 but not the return is used as a guitar direct output for connection to a tuner The line outputs are connected to an analog mixer where the input signals are combined before being sen...

Page 18: ...H Z inputs of channels 3 and 4 and a stereo keyboard connected to line inputs 5 and 6 A guitar effects processor is connected via the insert loop of channel 3 The insert send of channel 4 but not the return is used as a bass direct output for connection to a tuner The ADAT output from the 4 710d is connected to the ADAT input of the computer s audio interface for monitoring and recording Key point...

Page 19: ...fo about synchronization The inputs and inserts are connected as in the previous example The AES EBU output from the 4 710d is connected to the AES EBU DB 25 input of the computer s audio interface and the word clock output is connected from the audio interface to the 4 710d word clock input The software monitoring features of the DAW are used to monitor the 4 710d inputs Key points for this examp...

Page 20: ... control pot between them as well as a Drive Meter that displays the signal level entering the second stage a wide variety of tonal possibilities can be dialed in from gentle warmth to extreme grit 4 710d Solid State Preamp The 4 710d solid state preamp circuitry utilizes Universal Audio s transimpedance design for precision sound and ultra low distortion delivering the highest possible quality of...

Page 21: ...ay of the second mic the one behind the amp will show a downward negative valley when the speaker pushes forward because from the back of the amp the speaker moves away from the mic thus creating negative sound pressure If these two signals are mixed the positive waveform from the front mic combines with the negative waveform from the back mic to result in cancellation of much of the amp s sound a...

Page 22: ...ers are output in AES EBU digital format on an industry standard DB 25 connector The 4 710d AES EBU output supports Single Wire mode at all available 4 710d sample rates the AES EBU output does not support Dual Wire mode at sample rates above 96 kHz ADAT Optical Digital Output The 4 710d provides two standard ADAT optical digital output ports At sample rates of 44 1kHz and 48kHz all eight channels...

Page 23: ...every other device to slave mode where it receives and synchronizes to external clock with the appropriate clock signal routed between the master and slave devices Keep in mind that any device whether it s the clock master or a slave can send or receive data once everything is synchronized correctly When doing digital conversion it s best to have the converter serve as the clock master For example...

Page 24: ...is extracted from the incoming digital AES EBU S PDIF or ADAT signal Word clock cannot be used by the converters until it is multiplied up to the m clock rate This requires a PLL or other frequency multiplier circuit which will either be cheap and jittery or expensive and clean depending on who makes the converter As we said earlier the clock recovered from the digital inputs is unsuitable for use...

Page 25: ...cide how high to raise the Gain control because it indicates how much tube saturation is going to be present in the output signal It does this by monitoring the signal that is driving the tube If what you want is crystal clear tube tone then the meter will be bouncing around near the low end of its range If what you are after is a ton of tube dirt then drive the meter into the red there is nothing...

Page 26: ...ance preamp make it a perfect match for horn and reed instruments Dial in just a touch of the tube preamp set the Blend control to approximately 9 o clock to add a touch of tube warmth and you ve got a sound that will work in just about any musical context Drums The huge range of sonic possibilities offered by the 4 710d make it an invaluable companion for any kind of drum miking The excellent tra...

Page 27: ... session The traditional console of the time was a one piece control surface with all components connected via patch cords If a problem occurred the session came to a halt while the console was dismantled Putnam s answer was to build a mic pre with gain control echo send and adjustable EQ on a single modular chassis using a printed circuit board Though modular consoles are commonplace today the 61...

Page 28: ...ed amount of tone from each The 4 710d is truly a cutting edge product for its time In 2000 Bill Putnam Sr was awarded a Technical Grammy for his multiple contributions to the record ing industry Highly regarded as a recording engineer studio designer operator and inventor Putnam was considered a favorite of musical icons Frank Sinatra Nat King Cole Ray Charles Duke Ellington Ella Fitzgerald and m...

Page 29: ... quieter signal more accurately See Sample and Dynamic range Bit Depth See Bit Resolution Bit Resolution Used interchangeably with bit depth this is a term used to describe the number of bits used in a digital recording The 4 710d converts analog audio and transmits digital audio with a resolution of 24 bits thus yielding a theoretical dynamic range of approximately 145 dB the highest resolution i...

Page 30: ...a series of numbers See Analog and Bit Dither Minute amounts of shaped noise added intentionally to a digital recording in order to reduce a form of distortion known as quantization noise and aid in low level sound resolution The 4 710d performs dithering when set to 16 bit mode DSP Short for digital signal processing Dual Wire sometimes referred to as Double Wide A revised format of AES EBU data ...

Page 31: ...abling or improper cable termination and or signal induced noise A jittery signal will contain spurious tones at random inharmonic frequencies Usually the jitter will be worse with higher signal frequencies The internal digital clock of the 4 710d was designed for extreme stability and jitter free operation and its onboard phase aligned clock conditioner circuitry removes jitter from external sour...

Page 32: ...96 kHz 2 x 48 kHz used by DVDs 176 4 kHz 4 x 44 1 kHz and 192 kHz 4 x 48 kHz The higher the sample rate the greater the frequency response of the resulting signal however higher sample rates require more storage space See kHz Sample Rate Conversion The process of altering a digital signal s sample rate to a different sample rate The 4 710d does not perform sample rate conversion Single Wire someti...

Page 33: ...formerless solid state preamplifier utilizing a transistor configuration that employs current feedback for ultra low distortion and the highest possible quality of signal from input to output The transimpedance design allows audio from 4 Hz to 150 kHz to pass through without altering the phase relationships between fundamental frequencies and overtones Noise and distortion are kept to near theoret...

Page 34: ...ervice If your 4 710d should ever require service please see Service Support on page 43 AES EBU DB 25 Connector Pinouts The table below details the signals present on the DB 25 connector pins for the AES EBU outputs CHANNEL DESIGNATION HOT COLD GROUND shield Channels 1 2 Receive 24 12 25 Channels 3 4 Receive 10 23 11 Channels 5 6 Receive 21 9 22 Channels 7 8 Receive 7 20 8 Channels 1 2 Transmit 18...

Page 35: ...35 Session Recall Sheet 4 710d TONE BLENDING MIC PREAMPLIFIER Session Recall Sheet ...

Page 36: ...36 Block Diagram ...

Page 37: ...ne Out 20 kHz 0 5 deg Stereo Phase Mismatch 0 6 deg Stereo Level Balance 1 kHz 0 01 dB Crosstalk max gain 1kHz 115 dB Common Mode Rejection Ratio max gain 60 Hz 62 dB LINE IN TO LINE OUT Gain Range 56 dB Min Gain 7 dB Max Gain 49 dB Max Input Level bal 26 dBu Max Input Level unbal 20 dBu Max Output Level bal 20 dBu Input Impedance bal 10 kΩ Input Impedance unbal 5 kΩ Output Impedance bal 600 Ω Out...

Page 38: ... Phantom Power Current per jack 10 mA Voltage 48V 1V Compressor Threshold 10 dBu Compression Ratio 4 1 Fast Attack Time 0 3 ms Fast Release Time 100 ms Slow Attack Time 2 0 ms Slow Release Time 1100 ms Limiter Threshold 17 dBu 3 dBFS Attack Time 0 075 ms Release Time 100 ms Send Return Send Level Max bal 20 dBu Return Level Max bal 20 dBu Send Level Max unbal 14 dBu Return Level Max unbal 20 dBu A...

Page 39: ...Wt 110 dB Dynamic Range 60 dBFS A wt 110 dB Frequency Response 0 1 0 15 dB Stereo Phase 0 3 deg Line Input Ch 1 4 THD N 1 dBFS 100 dB 0 001 SNR A Wt 110 dB Dynamic Range 60 dBFS A Wt 110 dB Frequency Response 0 1 0 15 dB Stereo Phase 0 3 deg Line Input Ch 5 8 THD N 1 dBFS 103 dB 0 0007 SNR A Wt 117 dB Dynamic Range 60 dBFS A Wt 117 dB Frequency Response 0 1 dB Stereo Phase 0 5 deg 16 Bit Mode Dith...

Page 40: ...dB Top segment Yellow 6 dB to 1 dB Top segment Red 1 dB to Clip Connector Types Digital Output Formats External Connections rear panel 8 x XLR Female Line in Mic in channel 1 4 4 x XLR Male Line out channel 1 4 12 x TRS Female ch 1 4 send return line in 5 8 2 x Toslink out ADAT Optical output 1 8 2 x BNC 75Ω Word Clock in out 1 x DB 25 AES EBU Tascam pin out ch 1 8 External Connections front panel...

Page 41: ...4 28 DAW 7 16 23 30 31 Digital Clocking 14 15 19 23 Digital Connectors 14 Digital Controls 12 Digital Metering 22 Disclaimer ii Dither 30 32 Drums 26 Dynamic 29 30 EQ 16 27 31 FCC Compliance ii Features 6 FET 27 31 Fuse 34 Getting Started 7 Glossary 29 Guitar 26 History 27 Hi Z Inputs 9 Horns and Reeds 26 Impedance 31 40 Important Safety Information iii Input 7 10 15 16 40 Insert 11 16 Insert Retu...

Page 42: ...ar Panel 14 Registration 43 Resources 43 Ribbon 32 Sample Rate 12 13 14 15 32 Service 34 43 Single Wire 14 22 29 30 32 slave 15 23 S MUX 15 22 32 Solid State 20 40 SPDIF 32 33 Support 43 synchronization 23 24 Trademarks ii Vacuum Tube 20 Vocals 25 Voltage Select 34 Warranty 43 Website 43 Word Clock 14 15 22 XLR 7 16 29 33 40 ...

Page 43: ...rdware is one year from date of purchase parts and labor Service Support Even gear as well designed and tested as ours will sometimes fail In those rare instances our goal here at UA is to get you up and running again as soon as possible The first thing to do if you re having trouble with your device is to check for any loose or faulty external cables bad patchbay connections grounding trouble fro...

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