11
GETTING STARTED
1. Having powered up the Ebony A1 and ensured all the gain controls are at minimum
connect its line output to the desired line input on your console, recorder or sound
card. Avoid connecting the line output of the Ebony A1 to the microphone input of a
console or soundcard - this could well result in level and impedance mismatches, with
a resultant loss of quality (but is easy to do in error since both normally use the same
type of 3 pin XLR connector!) Aim for a balanced XLR to jack cable to connect into
your console or soundcards line input.
2. Ensure that the console, recorder or sound card has its input gain set to a sensible
level (0dB is a good starting point).
3. Then connect the desired mic or instrument source to the relevant Ebony A1 input
(microphones will use the rear panel XLR and instruments will use the front panel
0.25” jack).
4. If a condenser microphone is the sound source, then depress the +48V phantom
power switch. You may see a transient thump register on the Ebony A1 meters as you
do this (which is why it is important to have the gains at minimum). Then gradually
bring up the Ebony A1 input gain level until the signal starts to register a healthy
reading on the VU meter. When the tube stage is ‘IN’ and you also turn up the
‘warmth’ control, the Drive LED starts to glow as the mic or instrument are used.
5. Now bring up the Ebony A1 output level control - you should now start to hear
some sound, and as the output is increased the red signal LEDs will start to illuminate.
Set the output level to a comfortable level so that you are getting a good metered level
on the piece of equipment the Ebony A1 is driving into. Remember that some digital
recorders and sound cards require a large amount of level to fully modulate their
meters, so you may need to apply a significant amount of output gain to do this
successfully. By contrast a standard analogue console will require much less level.
Please beware not to let the signal ever clip (go into the red) on your DAW input
(Logic, Pro Tools, Cubase etc). Clipping will cause digital distortion which a square
wave and signal degradation.
6. Experiment with the 90Hz filter - you should notice how it removes extreme LF
content (particularly noticeable on close-miked male voices) and the 30dB pad will
reduce the signal level quite markedly. The pad is only normally used on very loud
sources where even minimum gain settings will drive the Ebony A1 preamp into
distortion. The phase reverse switch should have no real effect unless you are using
multiple mics through the Ebony A1 and some phase cancellation is occurring.
7. Experiment with the tube warmth rotary knob. Turn the rotary knob level up so
that the Drive LED glows brighter - you should notice an audible change in sound
character as the tube stage is driven harder. This variation in tone is one of the great
strengths of the Ebony A1 - you have the option of running it very clean, or nice and
warm as you increase the valve drive via the ‘Tube Warmth’ control.
Содержание Ebony A1
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