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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-DETECT LED in the display area 
shows that S-sounds are being detected. It is independent from the S-REDUCTION control 
and always informs about detected sibilants – attracting your attention to a possible need for 
regulation (also see „S-DETECT“ on page 22).  

S-REDUCTION

With the S-Reduction control you can 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 inde-
pendent 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  S-reduction  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.

13

Channel One

De-Esser 

Control Elements

Содержание Channel One 2950

Страница 1: ...Manual Channel Strip Channel One Model 2950...

Страница 2: ...40 Fax 49 0 2163 983 420 E Mail info spl info Internet www spl info The construction of the Channel One Model 2950 is in compliance with the stan dards and regulations of the European Community Notes...

Страница 3: ...UCTION SPL De Esser technology 13 Insert 14 Compressor Limiter ON LIMIT 14 COMPRESSION MAKE UP GAIN NOISE GATE 15 SPL compressor technology 16 Equalizer ON EQ PRE COMP 17 LMF LMF MHF MHF Recommendatio...

Страница 4: ...ample 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 a...

Страница 5: ...s 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 d...

Страница 6: ...upported And more time remains for the creative tasks From the outset great value was placed on high flexibility An example are the three separate inputs for microphone line signals or instruments eac...

Страница 7: ...OPTIONS GND LIFT GND LIFT GND GND LIFT VOLTAGE FUSE VOLTAGE FUSE X L R W I R I N G PIN 1 GND PIN 2 HOT PIN 3 COLD T R S J A C K W I R I N G TIP LEFT RING RIGHT SLEEVE GND CONNECTOR WIRING Sound Perfo...

Страница 8: ...in ground potentials 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...

Страница 9: ...tch on the front panel Please read the important notes in chapters 48V and Activating phantom power on page 11 The microphone input can also be equipped with an optional input transformer see page 29...

Страница 10: ...r is 12dBu 0 dBFS PLAYBACK INPUTS The playback signal is connected to the unbalanced PLAYBACK INPUTS to create a head phone moni toring mix If a mono playback signal is available only the LEFT connect...

Страница 11: ...PHANTOM POWER ALSO WHEN CHANGING MICROPHONES THE INPUT STAGE OF THE CHANNEL ONE CAN BE DAMAGED IF YOU IGNORE THESE PROCEDURES 1 Connect the microphone to the Channel One 2 Now activate phantom power...

Страница 12: ...n connected regardless of which input is selected You can choose the line input as source as long as the instrument input is not being used INSTRUMENT The INSTRUMENT input jack is placed on the front...

Страница 13: ...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 opera...

Страница 14: ...shows the processing intensity see GAIN REDUCT on page 23 Usually the signal flow follows the design of the Channel One and for this reason the input signal normally arises from the de esser or when...

Страница 15: ...eration of the subsequent recording system MAKE UP GAIN With the MAKE UP GAIN control you can restore the overall level reduction caused by compression or limiting With assistance of the GAIN REDUCT d...

Страница 16: ...ignal as far as possible Overall this technique provides the optimal solution between fast unobtrusive control response and the least distortion of the audio signal The result is a natural and transpa...

Страница 17: ...n the switch is pressed the equalizer operates in front of the compressor limiter when not pressed the succession remains unchanged This function permits very flexible operation with the Channel One w...

Страница 18: ...f bass emphasized instru ments during recording or subsequently when mixing etc MHF The center frequency of the semi parametric mid high frequency filter is set with the MHF control The frequency rang...

Страница 19: ...the equalizer so that the newly created spectrums can also be processed with the EQ A more or less over driven field effect transistor forms a part of the distortion circuitry It s characteristic cur...

Страница 20: ...T display does not show any values An instance of a sensible application could possibly be when the output signal of the Channel One together with the playback signal are reproduced via the studio mon...

Страница 21: ...o that of the OUTPUT control or MUTE switch which means the volume in the headphones does not alter although the output value of a modula tion has changed TIP When working with hard disc systems or di...

Страница 22: ...e EQ and behind the output control All possible causes for overload can be directly checked overdriven microphone instrument line gain an excessive make up value in the compressor limiter too much boo...

Страница 23: ...f the AD converter and on page 29 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 thi...

Страница 24: ...kHz 80 dB 10 kHz 78dB 0dBu LINE IN only THD N Gain A weighted 5dB 99 4 dBu 20 dB 97 2 dBu 42 dB 79 4 dBu Input impedance Line 20 kOhm Instrument 1 MOhm Maximum input level Line 22 dBu Instrument 14dBu...

Страница 25: ...25 Channel One Block diagram...

Страница 26: ...and output Curve B shows the curve charac teristics of the compressor The soft knee characteristic is clearly visible Curve C portrays the limiter s curve characteristics Diagram2 shows various cut an...

Страница 27: ...r at 3kHz The proportional Q characteristic is distinctly visible Diagram 4 displays the curves of the LMF filter Various cut and boost settings at 150Hz Again the proportional Q char acteristic is cl...

Страница 28: ...Copy master recall settings Artist Album Gig Title Engineer Track s Groups Date...

Страница 29: ...synchronization 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 inter...

Страница 30: ...Manual Channel One Model 2950...

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