elysia skulpter 500, Руководство пользователя

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The Sound Shaping Preamp
The skulpter 500 is the ultimate recording front end. Its audio-
phile preamp is based on single resistors controlling a fully dis-
crete Class-A amplifier capable of complementing any micro-
phone with a remarkably true and natural sound. If additional
mojo is needed, two variable saturation/filter stages and an intel-
ligent onboard compressor make voices and instruments sound
like a finished record right from the start.
Whether clean or colored, the sonic bliss does not stop at your
mic locker. The skulpter 500 provides a balanced DI input with sig-
nificant headroom, so just about any signal coming from guitars,
basses, synths and effects will benefit greatly from the skulpter
500’s pristine amplification and versatile processing qualities.
Way more than just a preamp, the skulpter 500 is a complete
recording solution – everything you’ll ever need in front of your
DAW.
Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Connectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Audiophile Gain Staging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Dual Sound Shaper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Variable Low Cut Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Balanced DI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Intelligent Onboard Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Multifunction Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12