Phoenix Audio N90-DRC 500 User manual

Costa Mesa
CA 92626
USA
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Owner’s Manual
N90-DRC 500 FORMAT COMPRESSOR/GATE
Firstly, let us congratulate you on your purchase of the N90-DRC Compressor/Gate
designed for the API 500 series Lunchbox or suitable compatible rack. We know
you will be as pleased with it’s sonic qualities as we are.
You are now the proud owner of a Compressor/Gate that has the advantages of
more than 40 years experience in audio engineering, today’s component and
manufacturing technology, but still retaining “that sound” uniquely achievable
through Class A design.
As you can tell, Phoenix Audio is dedicated to the development of Class A discrete
technology used within high build-quality equipment.
The N90-DRC uses our well proven and loved Class A output stage (DSOP-2).
You CAN hear the difference!!!

The N90- DRC (David Rees Compressor) Compressor/Gate combines
compression and gate facilities in a 500 series format.
Unlike the majority of other 500 series compressors, the N90-DRC is a single rack
space unit. This gives the versatility of buying just a single channel, or as many
channels as you prefer.
The compressor operates with the less common progressive control
characteristics.
Gain reduction begins at well below, and ends somewhat above, the nominal ratio.
The ratio knob indicates a range from 2 to 8 but these are midway values only.
The curves actually provide a spread of ratios from less than 1.5 to over 10.
Musically the progressive curves are very kind - There is no sudden change on
passing the threshold and audio processing is virtually "seamless". Rapid release
times become inappropriate and the 30:1 range provided is ample. A fully
automatic dual release is also available.
Technically the progressive curves are achieved using linear detection combined
with logarithmic attenuation inside a closed control loop. The method is not
suitable for "protective" limiters but is ideal for a compact wide ranging dynamics
unit.
"Limiter sound" is still provided by the higher ratios and there is a choice of attack
times.
The gate is more conventional, but it's release time is composite with a hold time
followed by a fade time. This makes the gate very versatile in that as well as basic
noise reduction it can also provide quite subtle changes to ambience or
background.

The N90-DRC is designed to be driven by "ear". Each control knob indicates
simply the range available and has a ring of marks to aid setting - Only experience
can determine optimum settings for the occasion and these may well include the off
buttons.

N90-DRC/500 Specifications
API 500 series compatible rack unit:
Class A (DSOP2) Output specs. Frequency response: 20Hz to 20kHz +- 0.5dB,
Maximum Output = +15dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Input connections: XLR input on rear of API compatible rack
Phoenix Audio’s unique Class A, transformer-less, True electronically
balanced buffer amp input stage.
Compressor Section Rotary Controls:
Threshold Settings: From +10db to -30db
Ratio Settings: From 2 to 8
Release Settings: Release time of 0.1 seconds to 3 seconds
Compressor Section Switches
Bypass : engages or bypasses compressor section
Fast : Fast or auto attack times (1ms for fast or 15ms for slow/auto)
Auto : Auto release of compression
Gate Section Rotary Controls:
Threshold Settings: From 0db to -40db
Range Settings: From 40 to 10
Release Settings: Release time of 0.1 seconds to 2 seconds
Gate Section Switches:
Link: Ability to link multiple modules (up to 8).
Key: External input for gate section, connector is a TT Bantam connector
Gate: Switches the Gate in and out
Compression Meter: LED Metering. (Green = -3dbu, -6dbu -10dbu & -14dBu,
Red= -20dBu and doubles as the Gate Active LED)
Typical Headroom: +26dB on output stage.

COMPRESSOR SECTION
Comp/Byp Switch: This switch activates the compression circuit. It does not affect the
gate circuit. The Bypass is a soft bypass. This means you can still have the benefit of
the Class A Input buffer stage.
THRSH Rotary: This is the Threshold control for the compressor. Threshold
Settings: From +10db to -30db. This sets the level at which the compression will
start. If the input level exceeds the set value the compression circuit will start to
compress the input signal.
Ratio Rotary: Ratio Settings From 2 to 8. This sets the ratio of the compression,
or how much the compressor reigns-in signal that over-shoots the level set with
the Threshold control. A lower setting (2) is more gentle at bringing the overshoot
under control, whereas a higher setting (8) will be a more aggressive or “brick-wall”
control. Or, (for instance) for every 8dB over the threshold the compressor will only
allow 1dB to pass through.
Fast Switch: The Fast switch deals with attack times. The N90 has an auto attack
time built-in that generally covers most situations. Occasionally a signal with very fast
transients will need a faster attack time than the auto. Switching the Fast switch down
will engage the faster attack-time. The auto time is around 15mS, and the Fast is
around 1mS.
Rel Rotary: Release time from 0.1 seconds to 3 seconds. This controls the period
of time between when the signal falls below the compression threshold and the
compressor stop compressing the signal.
Auto Switch: The Auto switch is an Auto Release that takes over from the Release
rotary control. Switching it down activates a dual timing circuit that uses combined
release times that vary automatically with the input. The Auto automatically uses a
fast release on fast transients and a longer release time on the slower transients.
The Auto release is very program sensitive and is sometimes used for gain riding
applications.

GATE SECTION
The gate section works independently from the compressor but is designed to
complement it's functionality. The gate is not designed to be a “Hard” cut-off gate
control, but is designed to be an analogue gentle and musical gate that gently drops
the background noise by -15dB making it less obvious that a gate has been employed.
THRSH Rotary: This is the Threshold control for the gate. Threshold settings:
From 0 to -40.
Link Switch: The N90 can be linked in any multiple you like (up to 8 modules) by
utilizing Pin 6 of the 500 Series compatible rack. Pin 6 is designated as the Stereo
Link Pin. Usually Pin 6 is linked in pairs, or is bussed. Please see your 500 series
compatible rack manual for information about how to link the pins.
When N90's are linked via Pin 6 it is always the left-most module that takes
command when the units are in Link mode. The Link switch must be switched down
for the N90 to be in link mode.
Link Scenario: If you have a rack with 8 x N90's installed and Pin 6 is “bussed”
on channels 1 to 6. with channel 7 and 8 only linked to each other.
Switching channels 1 to 6 Link Switch down will link the 6 modules together and
all 6 channels will follow channel 1.
If you then switch channels 3 and 4 Link Switch up, channels 2, 3, 5 and 6 will
continue to follow channel 1, but channels 3 and 4 will work completely
independently.
At all times channel 7 and 8 would operate independently of each other and the
other channels, or could be linked together by switching both Link switches down,
in which case channel 7 would take control of channel 8.

Key Switch: The Key switch determines which input the gate will use for it's
control signal. If the Key switch is up the gate circuit uses the signal on the input
as it's trigger source. If the Key switch is down the gate circuit will use an input applied to
the Bantam TT jack on the front panel (EXT) as it's trigger source.
Rel Rotary: Release time from 0.1 seconds to 2 seconds. This controls the period of time
between when the signal falls below the gate threshold and the gate releasing the signal.
Gate Switch: Switching the gate switch down activates the gate circuit. This illuminates
the 20 (Red) LED to show the gate is active.
EXT: This connector is a TT Bantam connector (6.35mm) An external trigger source can
be sent to this connector (such as a snare input), and if the Key switch is down the gate
circuit will be triggered by this.
Gain: Rotary control. This controls the make-up gain of the module. As compression
often attenuates the signal, make-up gain is needed to bring the signal level back up
again.