INSTALLING THE MODULE
1.
Power off
2.
Unplug the 500 series rack frame from it’s power supply.
Visually inspect the slot you intend to use to make sure it is clean
and undamaged. Before touching the z501 module with your hands, make
sure you electrostatically discharge yourself by touching the 500 series rack.
3.
Align the card edge connector with the card slot. Firmly and evenly push
the module into place until it is positively seated in the slot.
- Use the two supplied screws to mount the front panel to the 500 series rack.
- Plug in and turn on the power supply to the rack frame.
The module will automatically power up.
2.
UNPLUG
3.
MOUNT
POWER OFF
GAIN CONTROL
Use the gain control to trim the level of the amplification of the input
signal. Too little, and you wont be able to hear anything, but too much and your signal
might go into clipping. Always follow the LED indicators for the signal level
and make sure that you are always below the red zone, or the red zone only light up
occasionally. To do fine-tuning and compress some peak values, use the limiter
(explained below).
LINE
switch: switches between line and mic input level signal.
BASIC OPERATIONS
Before connecting any type of input device, first make sure
that the gain control is set to minimum. Also, make sure
that the settings on the module are switched properly for
the type of your input device (see functions below). Turn the
output level to 12 o’clock and add gain until you can clearly
hear the input signal. After this, you can use the various
controls to achieve the sound you like!
+48V
Power supply for condenser microphones, turn this switch on ONLY for this
type of input devices.
ø
POLARITY
Regular function which rotates the signal for 180 degrees. Important –
not to be confused with phase shifting, this function only reverses the poles of the
output signal. For example, if you are recording a snare drum with two microphones,
one on top and one under the snare drum, you must rotate the polarity on one of the
microphones so the two signals don’t cancel each other out.
75Hz
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This high pass filter is excellent for taming low frequencies from a mic, but
depending on your application, you can use this function on any input you want.
THRESHOLD
Turning the THRESHOLD from MORE to LESS increases the value for the
signal level at which the limiter will be active when the LIMITER is ON.
LIMITER -
a type of compressor designed for a specific purpose to limit the level of a
signal. The graph below shows a limiting ratio of infinity to one, i.e. there is no gain at all
above the threshold.
OUTPUT
Attenuating the output level
Limit
Threshold
Input Level
O
utput L
ev
el
1:1
2:1 3:1
∞:1
LIMITER
MORE
LESS
LINE
GAIN
+48v
75Hz
ø
POL.
THRESHOLD
OUTPUT
8
-48
6
15
30
-30
+12
45
50
0
60
VU
GR
-24
-12
-6
0
The silky smooth top end combined with the natural and warm sound
reproduction of the source material will never sound harsh with the z501.
The limiter is extremely smooth but yet very fast and effective in moderate
settings. But when used in extreme settings it will give you a sound with a burly
character. In light settings the Limiter reacts like a soft clip to protect the signal
from distorting and overloading the AD/DA converters or the tape recorders
alike. Since the unit is designed with a multi gain-stage topology, every
gain-stage is used to raise the gain in small amounts, leaving a tremendous
amount of headroom. The result is a very smooth sounding Mic Pre with a lush
and warm sound character. Perfect choise if you are looking for a natural
reproduction of the source material, the result will be a very musical and warm
soundscape. The z501 is especially well suited for smooth vocals. When serving
as the Mic Pre choice for the overhead mics for the drum kit it can tame even
harsh cymbals. When used on a string ensemble it will bring out the details
without sounding brittle and thin when replayed. It actually shines in every
situation and if a distorted sound character is preferred just add a distortion unit
to color the sound after the z501 in the signal chain. This will give you the
aggressive cut through sound when needed but with the full frequency spectra
in the foundation of the recorded source, resulting in a massive sound.
Legendary Ted Fletcher’s
MIC PRE & LIMITER
with multi gain-stage design
