8
into the patchbay. That way you can decide, whether it should
be used while recording or later during mixdown – or simply
inserted into specific channels. Processing subgroups is another
interesting application. Using C
HARISMA
while recording to
digital is the most beneficial application as the tube limiting
prevents clipping.
Creating effects like tape saturation,
Increasing loudness,
Improving presence.
You control the sound of C
HARISMA
with the D
RIVE
and
C
HARISMA
controls. The O
UTPUT
control is used to compensate for
the level increase when the D
RIVE
control is set higher than 0dB.
Set the D
RIVE
to zero and C
HARISMA
to center position.
Set the O
UTPUT
control fully clockwise (0 dB).
Input and output levels should be identical now. Check this by
depressing the bypass switch, labeled with the channel number.
Turn the D
RIVE
control slowly clockwise. You start to drive the
tube into saturation. The level increases. Compensate this by
turning the O
UTPUT
control counter clockwise.
The P
ROCESS
LED illuminates when the processing starts.
Depending on the source characteristic you will hear the
C
HARISMA
process much more intense with sinewave-like/layer
sounds. When processing these sounds the P
ROCESS
LED should
illuminate rarely. When processing squarewave-like/transient
sounds you can drive the tubes harder. The P
ROCESS
LED may
illuminate constantly and the M
AX
LED may also light up
frequently. The M
AX
LED tells you that the maximum satura-
tion of the tube is reached.
Now, check the peak level meters on your playing and recor-
ding unit and set the O
UTPUT
controls in a way that identical
levels are shown on both units. Switching on C
HARISMA
´s chan-
nels will give the aural impression that the processed signal is
louder than the unprocessed. If this effect is not impressive
enough, turn the D
RIVE
control a little further clockwise.
After setting the D
RIVE
control, start to vary the C
HARISMA
control. This control varies the tube sound from H
ARD
to S
OFT
.
In the S
OFT
position the processing curve looks similar to that
of a soft-knee limiter curve. The tube processing comes in softly
with a gently rounded curve, whereas in the H
ARD
position the
programme material is treated more dramatic. This can be
compared with the processing curve of a hard-knee limiter.
A specific C
HARISMA
control setting may make it necessary to
readjust the D
RIVE
control. If you use a S
OFT
setting, the proces-
The Charisma-
control
Getting started
Set-up positions
Normal processing
