SPL Frontliner 2800 User manual

Manual
Recording channel with separate module inputs and outputs
Frontliner
Model 2800
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2Frontliner
Version 1.0– 6/2009
Designer: Jens Gronwald
This manual contains a description of the product. It in no way represents a guarantee of
particular characteristics or results of use. The information in this document has been care-
fully compiled and veried and, unless otherwise stated or agreed upon, correctly describes
the product at the time of packaging with this document.
Sound Performance Lab (SPL) continuously strives to improve its products and reserves the
right to modify the product described in this manual at any time without prior notice. This
document is the property of SPL and may not be copied or reproduced in any manner, in part
or fully, without prior authorization by SPL.
SPL electronics GmbH
Sohlweg 80, 41372 Niederkruechten, Germany
Phone [phone]
Fax [phone]
E-Mail: [e-mail]
Internet: www.spl.info
The construction of the Frontliner, Model 2800, is in compliance with the stan-
dards and regulations of the European Community.
Notes on Environmental Protection
At the end of its operating life, this product must not be disposed of with regular
household waste but must be returned to a collection point for the recycling of
electrical and electronic equipment. The wheelie bin symbol on the product,
user‘s manual and packaging indicates that. The materials can be re-used in
accordance with their markings. Through re-use, recycling of raw materials, or
other forms of recycling of old products, you are making an important contribution to the
protection of our environment. Your local administrative ofce can advise you of the respon-
sible waste disposal point.
WEEE Registration: 973 349 88
© 2009 SPL electronics GmbH. All rights reserved. Names of other companies and their
products are trademarks of their respective owners.
Manual Frontliner, Model 2800

3
Frontliner
Symbols & Notes ............................................................................... 4
Scope of Delivery & Packaging ................................................................ 4
Important Security Information ............................................................... 4
Hook Up .......................................................................................... 5
Introduction ..................................................................................... 6
The Frontliner concept, Analog plug-ins ................................................... 6
Special technical features, Options ........................................................ 7
REAR PANEL ..................................................................................... 8
Standard wiring channel strip .............................................................. 8
Wiring examples: live and studio ............................................................ 9
Wiring examples: group of modules, Inserts ............................................. 1 0
Rear panel/sockets ........................................................................ 1 0
Signal connections, TRS socket, XLR sockets,
Balanced connections, Unbalanced connections ......................................... 11
Separate inputs and outputs, Preamplier: MIC IN,
Preamplier: LINE IN, Preamplier: OUT, De-Esser: IN and OUT ......................... 1 2
Compressor: IN and OUT, Equalizer/Tube Sat.: IN and OUT,
Main Outs OUT1 and OUT 2, AD Input 2, Power connection and fuses ................... 13
Rear Panel/Switches ....................................................................... 1 4
Voltage selector, Power switch, 48 V phantom power/rear switches, GND Lift .......... 14
CONTROL ELEMENTS ........................................................................... 1 5
Preamplier ................................................................................. 1 5
MIC GAIN, MIC GAIN adjustments, 48 V, Activating phantom power ..................... 15
Phase reverse, High-pass lter, PAD, Instrument input ................................... 16
LINE GAIN/INSTR. GAIN, LINE GAIN and INSTR. GAIN adjustments,
INSTR. LINE IN, TUBE +15 dB ................................................................ 17
De-Esser .................................................................................... 1 8
ON, S-REDUCTION, SPL De-Esser technology ............................................. 18
Compressor/Limiter ........................................................................ 19
ON, THRESHOLD, RATIO, ATTACK .......................................................... 19
ATTACK with cruise control: Auto Mode, RELEASE,
RELEASE with cruise control: AUTO-Mode, MAKE UP ..................................... 20
Equalizer/Tube Saturation ................................................................. 21
ON, EQ PRE COMP., MHF (mid-/hi lter), MHF -/+ (cut/boost MHF) 2 1
LMF (low/Mid lter), LMF -/+ (cut/boost LMF),
AIR BAND, TUBE SATURATION .............................................................. 22
VU-Meter .................................................................................... 23
VU-Meter, VU/GR switch, 0 dB/-10 dB switch, VU/PPM switch ............................ 23
Output ....................................................................................... 24
OUTPUT, AD OVL-LED, MUTE switch ...................................................... 24
External Inputs ............................................................................. 25
Excluding a single module, Excluding a group of two or three modules, Ungroup ...... 25
Determining inserts, Key lock, Keys and switches ......................................... 26
Options .......................................................................................... 27
24/96 A/D converter model 2376, Information on I/O transformers .. . . . . ......... . . . ... 27
Specications ................................................................................... 28
Copy master: recall settings ................................................................... 30
Block diagrams .................................................................................. 31
Table Switch Logic .............................................................................. 33
Content

4Frontliner
IN THIS MANUAL A LIGHTNING SYMBOL WITHIN A TRIANGLE WARNS YOU ABOUT THE
POTENTIAL FOR DANGEROUS ELECTRICAL SHOCKS – WHICH CAN ALSO OCCUR EVEN AFTER
THE MACHINE HAS BEEN DISCONNECTED FROM A POWER SOURCE.
AN EXCLAMATION MARK (!) WITHIN A TRIANGLE IS INTENDED TO MAKE YOU AWARE OF
IMPORTANT OPERATIONAL ADVICE AND/OR WARNINGS THAT MUST BE FOLLOWED. BE
ESPECIALLY ATTENTIVE TO THESE AND ALWAYS FOLLOW THE ADVICE THEY GIVE.
The symbol of a lamp directs your attention to explanations of important functions or applica-
tions.
Attention: Do not attempt any alterations to this machine without the approval or supervision
of SPL electronics GmbH. Doing so could nullify completely any and all of your warranty/guar-
antee rights and claims to user support.
The scope of delivery comprises the Cabulator, the external power supply, the guarantee card
and this manual.
Please keep the original packaging. In case of a service procedure the original packaging
ensures a safe transport. It also serves as a safe packaging for your own transports if you do
not use special transportation cases.
Please note and retain this manual. Carefully read and follow all of the safety and operating
instructions before you use the machine. Be doubly careful to follow all warnings and special
safety instructions noted in this manual and on the unit.
Connections: Only use the connections as described. Other connections can lead to health
risks and equipment damage.
Water and humidity: Do not use this machine anywhere near water (for example 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 uids: Never allow a foreign object through any of the
machine‘s chassis openings. You can easily come into contact with dangerous voltage or
cause a damaging short circuit. Never allow any uids to be spilled or sprayed on the machine.
Such actions can lead to dangerous electrical shocks or re!
Opening the unit: Do not open the machine housing, as there is great risk you will damage the
machine, or – even after being disconnected – you may receive a dangerous electrical shock!
Electrical power: Run this machine only from power sources which can provide proper power
in the range from 100 to 250 volts. When in doubt about a source, contact your dealer or a
professional electrician. To be sure you have isolated the machine, do so by disconnecting all
power and signal connections. Be sure that the power supply plug is always accessible. When
not using the machine for a longer period, make sure to unplug it from your wall power socket
and from the guitar amp.
Cord protection: Make sure that your power and guitar amplier signal cords are arranged
to avoid being stepped on or any kind of crimping and damage related to such event. Do not
allow any equipment or furniture to crimp the cords.
Power connection overloads: Avoid any kind of overload in connections to wall sockets,
extension or splitter power cords, or to signal inputs. Always keep manufacturer warnings
and instructions in mind. Overloads create re hazards and risk of dangerous shocks! >
Symbole and Notes
Scope of Delivery & Packaging
Important Security Information

5
Frontliner
Lightning: Before thunderstorms or other severe weather, disconnect the machine from wall
power (but to avoid life threatening lightning strikes, not during a storm). Similarly, before
any severe weather, disconnect all the power connections of other machines and antenna and
phone/network cables which may be interconnected so that no lightning damage or overload
results from such secondary connections.
Air circulation: Chassis openings offer ventilation and serve to protect the machine from over-
heating. Never cover or otherwise close off these openings. Never place the machine on a soft
surface (carpet, sofa, etc.). Make sure to provide for a mounting space of 4-5 cm/2 inches to
the sides and top of the unit when mounting the unit in racks or on cabinets.
Controls and switches: Operate the controls and switches only as described in the manual.
Incorrect adjustments outside safe parameters can lead to damage and unnecessary repair
costs. Never use the switches or level controls to effect excessive or extreme changes.
Repairs: Unplug the unit from all power and signal connections and immediately contact a quali-
ed technician when you think repairs are needed – or when moisture or foreign objects may acci-
dentally have gotten in to the housing, or in cases when the machine may have fallen and shows
any sign of having been damaged. This also applies to any situation in which the unit has not
been subjected to any of these unusual circumstances but still is not functioning normally or its
performance is substantially altered.
In cases of damage to the power supply and cord, rst consider turning off the main circuit
breaker before unplugging the power cord.
Replacement/substitute parts: Be sure that any service technician uses original replacement
parts or those with identical specications as the originals. Incorrectly substituted parts can
lead to re, electrical shock, or other dangers, including further equipment damage.
Safety inspection: Be sure always to ask a service technician to conduct a thorough safety
check and ensure that the state of the repaired machine is in all respects up to factory stan-
dards.
Cleaning: In cleaning, do not use any solvents, as these can damage the chassis nish. Use
a clean, dry cloth (if necessary, with an acid-free cleaning oil). Disconnect the machine from
your power source before cleaning.
Be very careful to check that the rear chassis power selection switch is set to the correct
local line voltage position before using the unit (230 V position: 220-240 V/50 Hz, 115 V posi-
tion: 110-120 V/60 Hz)! When in doubt about a source, contact your dealer or a professional
electrician.
Before connecting any equipment make sure that any machine to be connected is turned off.
Follow all safety instructions on pages 4 and 5 and read further information on connections
on pages 8, 9 an 10.
Place the unit on a level and stable surface. The unit’s enclosure is EMC-safe and effectively
shielded against HF interference. Nonetheless, you should carefully consider where you place
the unit to avoid electrical disturbances. It should be positioned so that you can easily reach
it, but there are other considerations. Try not to place it near heat sources or in direct sunlight,
and avoid exposure to vibrations, dust, heat, cold or moisture. It should also be kept away
from transformers, motors, power ampliers and digital processors. Always ensure sufcient
air circulation by keeping a distance of 4-5 cm/2 inches to the sides and top of the unit.
Important Security Information
Hook Up

6Frontliner
Our preceding recording channels Track One and Channel One have already been
successful units by combining fast and easy operation with high processing quality. These
channel strips particularly benefit from previous developments for single processors: the
DynaMaxx compressor/limiter delivered the essentials for the respective channel strip
stage, the unique SPL De-Esser is also available as a single, dual-channel unit – and the
preamplifier modules were also derived from existing products.
The development of new units in the last years inevitably evoked the wish to conceive a
new channel strip which would benefit from our latest achievements.
Now the Frontliner comprises the same discrete, hybrid semiconductor/tube preampli-
fier design like the GoldMike MK2. The compressor module is based upon the Kultube
providing a full set of classic controls. We also integrated the Kultube's highlight, a signal-
dependent automation of attack and release parameters which can still be influenced
manually – with this option, manual and automatic control can be merged to always find
the best settings.
The EQ section provides two semi-parametric filters for low and mid band as well as a bell
filter delivering a silky and smooth top end. This filter set offers a perfect frequency first
aid kit and is rounded off with a Tube Saturation control.
In contrast to semiconductors, a tube does not clip from a certain level, but approaches its
limits by increasingly producing harmonic distortions. The sound effects from saturating
a tube can often be used to improve the audio signal. The sound results resemble tape
saturation effects and increase the density and perceived energy in a very pleasant way.
The Frontliner concept
The Frontliner comprises a hybrid semiconductor/tube preamplifier with microphone,
line and instrument input, a de-esser, a compressor/limiter and an EQ section with tube
saturation stage. In addition to its primary function as a recording channel with all tools
onboard to process a signal prior to storing, its modules can also serve for high-end
analog processing during mixing.
The enumeration of the Frontliner’s modules also makes clear that the task of a channel
strip is relatively complex. There is not one specialized device for one job, but a unit that
combines a lot of technology for the preamplification and processing of audio signals. That
is why especially the Frontliner benefits very much from SPL’s innovations for targeted,
efficient work. The SPL De-Esser, for example, performs a highly complex processing, but
can simply be adjusted with one single knob.
The straight and clear front panel design also supports fast and safe operation.
Analog plug-ins
In the last years we have been busy with modular concepts. One result is the RackPack
series: a RackPack frame hosts up to eight 3U high modules for free placement and (inter-)
connection.
But we have also transferred the modular idea to the Frontliner. Each Frontliner module
disposes of its own inputs and outputs. Sophisticated switching options allow to inte-
grate Frontliner’s modules into a studio environment as if they were stand-alone devices.
You can also group modules in any combination and you can determine inserts at each
module’s input.
If you imagine the Frontliner modules as analog plug-ins, the additional value suddenly
becomes apparent: this channel strip also is a versatile analog processing station. With
one single unit, especially DAW based studios benefit from a first-class recording front-
end and have access to high end analog processors for the main signal processing tasks.
Introduction

7
Frontliner
Special technical features
• Three separate, individually optimized inputs for microphones, line signals and instruments.
• Discrete semiconductor/tube hybrid preamplifier to combine the advantages – high
dynamic range and low noise operation of semiconductors with the musical qualities of
tube sounds (appealing top end, beautiful spacial impression). Discrete construction is
based upon single transistors instead of integrated circuits (ICs) from industrial production
and ensures a higher level of optimization.
• 250 volts tube circuits in the preamplifier and for tube saturation stages.
• High-grade operational amplifiers from Burr-Brown at critical positions.
• The SPL De-Esser applies the method of phase cancellation for reducing sibilants. This
innovative approach works much more neutral than traditional compression methods – a
unique method for unobtrusive results and extremely fast operation.
• The compressor is operated by SPL’s double VCA drive circuitry. A differential stage elimi-
nates side effects and the half load per VCA dramatically reduces THD.
• The operational amplifiers for the compressor circuitry meet military specifications.
Therefore the regulating voltages are extremely precise – a precondition for high signal
processing quality.
• Selected condensers for the EQ filters with pleasant sound characteristics. Especially with
vocals, amplified frequencies are not sounding too bright, and on the other hand reduc-
tions can tame harsh sounds without sounding dull.
• Central star ground wiring scheme minimizes influences that could affect the ground paths.
The audio ground is separated from the ground of the remaining equipment. This leads, in
the truest sense of the word ”clean”, to considerably improved tonal quality.
• The power supply is built around two toroidal transformers, one for the audio voltages and
one for the other supply voltages (tube heating, LEDs, micro controller etc.) Mutual inter-
ferences are excluded and lavishly over-dimensioned capacities ensure absolutely stable
supplies for all audio circuitries.
Options
• Lundahl input transformer for the microphone input. The input transformers add ca. 14 dB
gain (depending on the microphone). This must be added to the scaled values. The addi-
tional passive gain relieves the preamplifier electronics at any gain level. Microphone input
transformers are highly recommended for ribbon microphones, as they are demanding a lot
of amplification.
• OUT 1 from the MAIN OUTPUTS can optionally be equipped with an output transformer from
Lundahl.
• The Frontliner can optionally be equipped with a digital output 24bit/96 kHz AD converter
card, model 2376). The Frontliner is a mono channel strip. An additional socket at the rear
panel (AD Input 2) allows to feed the dual-channel converter with feed a second signal
source.
• Refer to page 27 for further information on the optional equipment.
Introduction

8Frontliner
Standard wiring channel strip
Rear Panel
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
230V ~50Hz
Fuse: 315mA slow
115V ~60Hz
Fuse: 630mA slow
A D IN P U T 2
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
WARNING
M AI NS I N P UT
MAINS INPUT
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S CR ET E T U B E P R E AMP L IFI E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
COMPR E SS OR / L IM .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
EQ U A LI Z ER / T U BE S AT.
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O UT P UT S
SPL CO N VE RT ER S L OT – O PT IO NAL
SPL CONVERTER SLOT – OPTIONAL
CONVERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRONTLINER SERIAL # OPTIONS
GND LIFT
GND LIFT
GND
GN D L I F T
POWER
P O W E R
VO LTAG E | FU S E
VOLTAGE | FUSE
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
0
Make sure that
the voltage switch setting
reflects the correct
local power line voltage.
Each of the two MAIN OUTPUTS is fed by its own
driver stage to provide an independent connection for parallel use.
Make sure that the
48V ON switch is only
activated if the microphone
needs phantom power supply.
Monitoring Recording
Monitor FOH console
Line signals
Synthesizer, sampler etc.
Microphone
Instruments
1/4" TRS jack front panel
Interface/DAW
P. A.
Pin wiring 1/4" TRS socket (stereo jack):
tip=left, ring=right, sleeve=ground
Pin wiring XLR input sockets:
1=ground, 2=hot (+), 3=cold (-)
Pin wiring XLR output sockets:
1=ground, 2=hot (+), 3=cold (-)
PUSH
21
3
21 3

9
Frontliner
Rear Panel
Wiring examples: live and studio
Live application: channel strip for vocals, one module used separately
An example for a live setup: The compressor module is separated from the channel strip.
The vocal signal can be processed with all remaining modules, while the compressor is used
for processing bass. In the same way, each module can be taken out of the channel strip,
e. g. using the De-Esser separately while processing an acoustic guitar with the (remaining)
channel strip and so on. Detailed information on page 25.
Studio application: all inputs and outputs are routed to a patchbay
Our recommendation for studio wiring: all inputs and outputs are connected to a patchbay so
that each Frontliner module can be routed with maximum flexibility within a studio environ-
ment. Connections to a console or to DAW interfaces for example can always be configured
to meet the respective requirements. Aside from the switching options that the Frontliner
provides the sequence of modules can be determined in any way with the patchbay.
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
A D IN P U T 2
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
WARNING
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S CR ET E T U B E P R E AMP L IFI E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
COMPR E SS OR / L IM .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
EQ U A LI Z ER / T U BE S AT.
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O UT P UT S
SPL CO N VE RT ER S L OT – O PT IO NAL
SPL CONVERTER SLOT – OPTIONAL
CONVERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRONTLINER SERIAL # OPTIONS
POWER
P O W E R
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
Console DAW
Patchbay
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
A D IN P U T 2
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
WARNING
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S CR ET E T U B E P R E AMP L IFI E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
COMPR E SS OR / L IM .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
EQ U A LI Z ER / T U BE S AT.
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O UT P UT S
SPL CO N VE RT ER S L OT – O PT IO NAL
SPL CONVERTER SLOT – OPTIONAL
CONVERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRONTLINER SERIAL # OPTIONS
POWER
P O W E R
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
2: Monitor 1: Console
Microphone
BassConsole
Channel strip for vocals
Compressor for bass

10 Frontliner
Rear Panel Wiring examples: group of modules, inserts
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
A D IN P U T 2
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
WARNING
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S CR ET E T U B E P R E AMP L IFI E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
COMPR E SS OR / L IM .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
EQ U A LI Z ER / T U BE S AT.
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O UT P UT S
SPL CO N VE RT ER S L OT – O PT IO NAL
SPL CONVERTER SLOT – OPTIONAL
CONVERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRONTLINER SERIAL # OPTIONS
POWER
P O W E R
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
Signal input (line)
Option: use single outputs
2: Monitoring, 1: Recording
Excluding a group of modules from the channel strip
This example shows the exclusion of de-esser, compressor and EQ/tube saturation as a
group. The input signal is connected to the input of the first module. If all three processors are
excluded as a group, the output signal of the group is present at the MAIN OUTPUTS. If a dual
processor group is excluded, the output of the last module is always the group output. In the
example above the preamplifier can be used separately via its own I/Os. Further information
on page 25.
Determining inserts for external processors
You can determine inserts between every processing module. In the example above, an insert
is determined between preamplifier and de-esser. The insert is routed via preamplifier output
and de-esser input as send and return. Refer to page 26 for further information.
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
A D IN P U T 2
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS UNIT
TO RAIN OR MOISTURE.
THIS EQUIPMENT MUST BE EARTHED.
WARNING
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S CR ET E T U B E P R E AMP L IFI E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
COMPR E SS OR / L IM .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
EQ U A LI Z ER / T U BE S AT.
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O UT P UT S
SPL CO N VE RT ER S L OT – O PT IO NAL
SPL CONVERTER SLOT – OPTIONAL
CONVERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRONTLINER SERIAL # OPTIONS
POWER
P O W E R
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
2: Monitor 1: DAW Microphone
SendReturn
Channel strip
External processor

11
Frontliner
Rear Panel
Connections
Signal connection
Switch off the unit before you begin the process of making the rst or any subsequent connec-
tions. Neglecting this can damage either or both your ears and your equipment.
1/4" TRS socket
The TRS socket AD INPUT 2 supports both balanced (1/4" TRS/stereo jack connector) and
unbalanced connections (1/4" TS/mono jack connector). Refer to page 13 for further informa-
tion on that input.
XLR sockets
All XLR sockets are balanced inputs or outputs. Input sockets are always female for plugging
in male connectors, output sockets are always male for female connectors. All in all a compre-
hensible principle.
Balanced connections
It is impossible to exclude all interferences when a single audio signal is transmitted. Shielding
is effective against electric, but not against electromagnetic inuences. Motors, transformers,
and alternating current can always induce interferences. But even if the transmission would
succeed, differences in ground potentials between driver and receiver would produce distur-
bances.
In balanced connections a reference signal with reversed polarity is transmitted additionally
to the audio signal through a second wire. The ground signal is routed separately through
a third wire. Input and output stages are drivers and receivers, and the receiving stage can
suppress interferences by subtracting the difference between audio and reference signal.
Unbalanced connections
Unbalanced connections from and to RCA or 1/4" TS sockets can be made without adaptors to
the balanced XLR sockets. The correct wiring is important. The diagram shows the pin cong-
uration of the XLR sockets and how to correctly connect them for unbalanced connections:
Connections to RCA sockets are always unbalanced, a wiring to jack connectors can be both
balanced (1/4" TRS/stereo jack) or unbalanced (1/4" TS/mono jack). We recommend to use
individually congured cables from XLR to RCA or jack sockets instead of adaptors. You can
get cables in any needed conguration from audio dealers. With the diagram above, the dealer
can ensure to provide the appropriate cable for your application.
Input Output
balanced unbalanced balanced unbalanced
1=GND
2=hot (+)
3=cold (-)
1
2
3
1
2
3
12
3
12
3

12 Frontliner
Sockets
Rear Panel
Separate inputs and outputs
Each Frontliner module is equipped with its own input and output stage. An obvious purpose
is to route the signal from any output, e. g. right after the preamp to store the pure recording
signal. Further applications such as using single or grouped modules separately or inserting
external processors are depicted on pages 9 and 10. Inserts can be determined before each
processing module input.
Preampli er: MIC IN
You can connect any kind of microphone to the MIC IN socket (dynamic, condenser, tube and
ribbon microphones). 48 volts phantom power, which is required for some microphones, can
be activated with the 48V switches on the front or rear panel. Please read the important notes
in chapter “48V” on page 15. The microphone input can also be equipped with an optional
transformer (refer to page 27, “Information on I/O transformers”).
Preampli er: LINE IN
Use the balanced LINE IN socket for high-level signals with impedances lower than 1 kOhm,
e. g. D/A converters, synthesizers or samplers. We recommend connection to a patchbay for
easier access.
The maximum input level of the LINE IN is +22 dBu.
High impedance sources (above 1 kOhm), such as e-guitars and basses, acoustic guitars with
pick ups and so on, must be connected to the instrument input (see pages 16 and 17).
IMPORTANT: The line input is deactivated if the instrument input is in use.
Preampli er: OUT
The electronically balanced, analog preampli er output provides the preampli ed signal prior
to any processing. If you determine an insert between preampli er and de-esser, the pream-
pli er output serves as insert send.
De-Esser: IN and OUT
The analog de-esser input and output sockets are electronically balanced.
Normally the de-esser input signal is the internal preampli er signal. If you are using the
de-esser module separately as single module, you connect the source and receiving units to
the de-esser inputs and outputs. If you are using the de-esser module as part of a group of
modules, you connect the source and receiving units to the group inputs and outputs. If you
determine an insert between preampli er and de-esser, the de-esser input serves as insert
return.
MIC IN
DISABLE
48V ON
FRONT
48V
ON
LINE IN
LINE IN
OUT
OUT
IN
IN
OUT
OUT
230V ~50Hz
Fuse: 315 mA slow
115V ~60Hz
Fuse: 630mA slow
A D I N P U T 2
TO RED UCE RIS K O F FI RE O R EL ECT RIC SHO CK
DO NOT EX POS E TH IS UNIT
TO RA IN O R MO IST URE .
TH IS E QUIP MENT MUS T BE EA RTH ED.
WARNING
M A I N S I N P U T
MAINS INPUT
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK O F ELECTRIC SHO CK
DO NOT OPEN
CAUTION
DISCRETE TUBE PREAMPLIFIER
CONNECTOR WIRING
D I S C R E T E T U B E P R E A M P L I F I E R
DE-ESSER
D E - E S S E R
IN
IN
OUT
OUT
COMPRESSOR / LIM.
C O M P R E S S O R / L I M .
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
E Q U A L I Z E R / T U B E S A T .
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O U T P U T S
S P L C O N V E R T E R S L O T – O P T I O N A L
SPL CONVERTER SLOT – OPTIONAL
CON VERTER SERIAL #
SoundPerformanceLab.com
MADE IN GERMANY
FRO NTLINER SER IAL # OPTIO NS
GND LIFT
GND LIFT
GND
G N D L I F T
POWER
P O W E R
V O L T A G E | F U S E
VOLTAGE | FUSE
XLR WIRING: PIN 1 = GND / PIN 2 = HOT (+) / PIN 3 = COLD (–)
TRS WIRING: TIP = LEFT / RING = RIGHT / SLEEVE = GND
AD INPUT 2
0
MIC INLINE IN
LINE IN
OUT
OUT
DISCRETE TUBE PREAMPLIFIER
D I S C R E T E T UB E PR E A M P L I F I E R
IN
IN
OUT
OUT
DE-ESSER
D E - E S S E R

13
Frontliner
Rear Panel
Sockets
Compressor: IN and OUT
The analog compressor input and output sockets are electronically balanced.
Normally the compressor input signal is the internal de-esser signal (or the EQ signal if EQ
PRE COMP. is activated). If you are using the compressor module separately as single module,
you connect the source and receiving units to the compressor inputs and outputs. If you are
using the compressor module separately as part of a module group, you connect the source and
receiving units to the group inputs and outputs. If you determine an insert between de-esser
and compressor, the de-esser output is the insert send and the compressor input is the insert
return.
Equalizer: IN and OUT
The analog equalizer/tube saturation input and output sockets are electronically balanced.
Normally the EQ input signal is the internal compressor signal (or the de-esser signal if EQ
PRE COMP. is activated). If you are using the equalizer module separately as single module, you
connect the source and receiving units to the equalizer inputs and outputs. If you are using the
equalizer module separately as part of a module group, you connect the source and receiving
units to the group inputs and outputs. If you determine an insert between compressor and
equalizer, the compressor output is the insert send and the equalizer input is the insert return.
MAIN OUTPUTS: OUT 1 and OUT 2
The output signal of the channel strip is supplied by the electronically balanced, analog
outputs OUT 1 and OUT 2. The splitted outputs allow to feed recording and monitoring devices
simultaneously, or, in a live application, monitoring and P. A. paths. Each output is driven by its
own stage to exclude mutual inuences. OUT 1 can optionally be equipped with a transformer
(refer to page 27, “Information on I/O transformers”).
If you have excluded all three processing modules from the channel strip as a group, the
group’s output signal is supplied by the MAIN OUTPUTS. In this case, the preamplier output
signal is only present at the preamp’s output. In all other cases the nal output signal of the
channel strip is always present at the MAIN OUTPUTS.
AD Input 2
The Frontliner is a mono channel strip, but the optional A/D converter card 2376 is a dual-
channel device. Therefore a second (external) signal can be converted with the converter
card, if it is connected to the AD INPUT 2. If no signal is connected to the A/D INPUT 2, the
output signal of the Frontliner is routed to both converter channels. The maximum input level
for the converter is +12dBu (=0 dBFS).
Power connection and fuses
Connect the power cord to the rear MAINS INPUT socket. Transformer, power cord and case
connection conform to VDE, UL and CSA requirements.
The Frontliner’s power supply houses two fuses, one for the neutral wire and one for the phase
conductor. The fuses are accessible from outside and placed right behind the ap below the
socket.
Fuse ratings are 315 mA slow blow ( 230 volts) or 630 mA slow blow ( 115 volts).
IN
IN
OUT
OUT
COMPRESSOR / LIM.
C OM PR E S SO R / L I M.
IN
IN
OUT
OUT
EQUALIZER / TUBE SAT.
E Q UA L I Z ER / TU B E S AT .
OUT 2
OUT 2
OUT 1
OUT 1
MAIN OUTPUTS
M A I N O U T P U T S
A D IN P U T 2
AD INPUT 2
M A I NS I N P U T
MAINS INPUT

14 Frontliner
Voltage Selector
The rear panel VOLTAGE SELECTOR sets the local line voltage (115 V position: 110-120
volts/6o Hz, 230 V position: 220-240 volts/50 Hz). The diagram shows the correct switch posi-
tion for 230 V power supply.
BEFORE you connect electrical power make sure that the VOLTAGE SELECTOR
setting re ects the correct local power line voltage!
Power switch
The rear panel POWER switch activates the unit, con rmed by the illuminated VU meter.
Switch on the unit only after you have checked the correct setting of the rear
VOLTAGE SELECTOR and 48V phantom power supply front and rear switches.
When you activate the Frontliner, the unit commences the warm-up mode to heat
the tubes. The warm-up cycle takes between 45 seconds (if the unit was active shortly before)
and approximately one minute at cold start. During warm-up the MUTE switch  ashes. The
MAIN OUTPUTS and the output to the optional converter card are muted, all EXTERNAL INPUTS
keys are deactivated. The MUTE switch stops  ashing when warm-up is  nished. The MUTE
switch does not illuminate if it was not depressed before. It illuminates permanently after
warm-up when it was activated before.
Phantom power supply/rear panel switches
48 Volt phantom power is only needed for microphones requiring external current
(generally condenser microphones). Other microphones can be damaged if they
are used with activated phantom power, which may damage the Frontliner, too.
Please read the notes on using phantom power and how to activate it under “48 V” on page
15 and “Activating Phantom Power” on page 16.
Since phantom power is critical to operational safety, the Frontliner offers additional switches
on the rear panel to exclude accidental use of the 48 V switch on the front.
If both rear panel switches are not engaged, you can activate and deactivate phantom power
with the 48 V switch on the front.
The switch to the right labelled 48 V ON activates phantom power independently from the
front panel switch setting – now phantom power can no longer be switched off with the front
panel switch.
The left rear panel switch labelled DISABLE 48 V ON FRONT deactivates the 48 V switch on the
front, now phantom power can no longer be activated accidentally with the front panel switch.
The 48 V switch on the front is always illuminated if phantom power is active.
GND Lift
The rear panel GND LIFT switch eliminates hum by separating the internal ground from the
unit’s housing ground. Hum can, for example, result when this unit’s housing has a common
ground connection with other devices that might have a different ground potential. The switch
is usually deactivated to retain the shielding of the housing.
Switches
Rear Panel
POWER
P O W E R
0
230V ~50Hz
Fuse: 315mA slow
115V ~60Hz
Fuse: 630mA slow
V O LTA G E | FU S E
VOLTAGE | FUSE
GND LIFT
GND LIFT
GND
G N D L I F T
DISABLE
48V ON
FRONT
48V
ON

15
Frontliner
MIC GAIN
The MIC GAIN control determines the level of preamplication. The preamplication values
cover a range from +13 dB up to + 68 dB. If an optional microphone input transformer is tted
the scaled values are to be increased by ca. +14 dB (depends upon microphone. Further infor-
mation on page 27, “Information on I/O transformers”). The potentiometer is a RK 27 from
ALPS, a high-grade model with antilogarithmic characteristic and an especially high resolu-
tion between 20 dB and 40 dB to allow for sensitive control within this most important range.
MIC GAIN adjustments
Amplifying a mic signal to line level should principally be done solely with the MIC GAIN
control. Deactivate all processing modules in the rst place. The OUTPUT level control is used
to adjust the proper drive level for subsequent equipment, so initially it should be set to 0 dB
(12 o’clock position). The 0 dB/-10 dB switch should be set to 0dB as well to see the overall
output level (also see “0 dB/-10 dB” on page 23).
Now turn up the MIC GAIN control until the VU shows maximum values between 0 dB and
+3 dB. There is still enough headroom to prevent clipping at varying input levels. Note that
the VU meter shows average levels instead of peak levels (which can be up to 10 dB higher). If
necessary, switch the VU to PPM mode to see peak levels (see “VU/PPM switch” on page 23).
In recording high-level signals such as snare and kick, etc. it may be necessary to engage the
PAD switch (see “PAD” on page 16). You can drive the MIC GAIN harder if you know that unex-
pected input level changes are unlikely to occur. Choose the -10dB setting with the 0 dB/-10 dB
switch to extend the VU meter range accordingly.
48 V
The 48 V switch activates phantom power for condenser microphones with built-in ampliers.
Phantom power should only be activated when using microphones that require it.
VERY IMPORTANT: All microphones with balanced, ground-free outputs, can be used with
the phantom power activated. Please be sure to deactivate phantom power with all other
microphones. Unbalanced microphones may only be used with phantom power deactivated.
Since phantom power is critical to operational safety, the Frontliner offers additional switches
on the rear panel to exclude accidental use of the 48 V switch on the front. The function of
these rear panel switches is described on the previous page.
Activating phantom power
PLEASE ALWAYS FOLLOW THESE INSTRUCTIONS TO ACTIVATE AND DEACTIVATE PHANTOM
POWER (ALSO WHEN CHANGING MICROPHONES). THE FRONTLINER’S INPUT STAGE CAN BE
DAMAGED IF YOU IGNORE THESE PROCEDURES!
1. Connect the microphone to the Frontliner.
2. Now activate phantom power to use the microphone.
3. When nished, rst deactivate phantom power.
4. Wait at least one minute after deactivation of phantom power before disconnecting the
microphone! This ensures residual current will be discharged.
Preamplier Control Elements
7531035
30 50 70 100
VU
531
VU
20
10
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EXTERNAL INPUTS
DE-ES.
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48 V PAD
Recording Channel
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GRVU VU PPM 0 dB -10 dB
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16 Frontliner
Preamplier
Control Elements
Phase reverse
The phase reverse function reverses the polarity of the microphone signal, inverting the
phase (by 180°) to correct phase-inverted signals caused by multiple signal sources. A voice-
over artist, for example, hears himself during recording through the headphones and simul-
taneously through the bones in his head. Phase inversion will cause an unnatural sound, and
even minimal variations in distance to the microphone will cause drastic variations in the
sound. Phase inversion is also commonly encountered when using multiple microphones on
a single sound source. We recommend checking for correct polarity before each recording.
Phase reverse can be applied to the preamplier microphone and line inputs.
High-pass filter
This switch activates the high-pass lter, which operates from 85 Hz downwards with 6 dB/
octave (often also called a “rumble lter“). The lter prevents the amplication of unwanted
low-frequencies. Compared to 12 dB/octave lters, the 6 dB lter works relatively moderate,
but very musical.
The high-pass filter can be applied to all three preamplier inputs (microphone, line, and
instrument).
PAD
The PAD switch attenuates the microphone input by 20dB. High-level input signals can be
attenuated in order to prevent over-driving the preamplier. The Frontliner has a minimum
pre-amplication of +13 dB. But with signals from drums or brass this may already be too
much. Engaging PAD attenuates the minimum pre-amplication (MIC GAIN control fully
counter clockwise) to -7 dB, thus providing a useful gain control range for loud input signals.
INSTRUMENT input
The INSTRUMENT input jack is placed on the front for easy access. It should be used to connect
instruments like e-bass and guitars, acoustic guitars with pick-ups, etc. The Instrument input
features a 1 MOhm (one mega Ohm) input impedance. Line signals with lower impedances,
such as from D/A converters, samplers, synths, etc. should be connected to the rear LINE IN
socket.
IMPORTANT: As long as an instrument is plugged into front INSTRUMENT input, the rear
panel LINE IN input is deactivated.
48 V PADØ
48 V PADØ
48 V PADØ
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17
Frontliner
LINE GAIN/INSTR. GAIN
This control determines the level of preamplication for signals connected either to the rear
LINE IN or to the INSTRUMENT input on the front. You activate the respective input with the
INSTR./LINE IN switch which is described below.
Gain range for line signals reaches from -20 dB to +10 dB. The attenuation allows to also
process very high levels.
Instrument signals can be amplied between +6 dB and +43 dB.
LINE GAIN and INSTR. GAIN adjustments
For optimal leveling of line or instrument signals, deactivate all processing modules and set the
OUTPUT level control to 0 dB (12 o’clock position). The VU meter’s 0 dB/-10 dB switch should be
set to 0dB to see the correct output level (also see “0 dB/-10 dB” on page 23).
Now turn up the LINE GAIN/INSTR. GAIN control until the VU shows maximum values between
0 dB and +3 dB. There is still enough headroom to prevent clipping at varying input levels.
Note that the VU meter shows average levels instead of peak levels (which can be up to 10 dB
higher). If necessary, switch the VU to PPM mode to see peak levels (see “VU/PPM switch” on
page 23).
Levels between 0 and +3 dB usually are safe. Attenuate very high input levels with the LINE GAIN
control. Switch the VU meter to -10 dB display mode to extend the metering range accordingly.
INSTR./LINE IN
With this switch you select between the microphone (off) and line or instrument inputs (on).
The rear mic and line inputs can remain 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.
TUBE + 15 dB
The TUBE +15 dB switch increases the degree of tube preamplication. The switch changes
from standard tube preamplication (+6 dB) to +15 dB. In each setting the total output
level of the preamp is automatically accommodated so that output levels do not have to be
re-calibrated when the tube is driven hotter – therefore MIC GAIN settings do not have to be
changed.
Engaging the TUBE +15 dB switch has an impact on the overall sound, as it directly changes
the sonic character of the tube. The higher the input level, the more you will notice the effects
of the tube’s typical even harmonic distortion.
Driving the tube with +15 dB creates subtle to modest presence effects which can put the
signal up front in a mix. For decent effects you should not apply too high MIC GAIN values with
the TUBE +15 dB switch engaged.
Control Elements
Preamplier
INSTR.
LINE IN
TUBE
+15dB
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18 Frontliner
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 above the
ON switch shows that S-sounds are being detected.
S-REDUCTION
With the S-REDUCTION control you determine the intensity of S-sound reduction. The
processing is related to the levels of the entire frequency spectrum (see next section), there-
fore it is more intensive with extreme S-sound levels than with those of lower levels. This
equalizes levels of 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 indepen-
dent 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.
De-Esser
Control Elements
ON
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ON ON
MUTE
EQ PRE
COM P.
EQ/ TUBECOM P.
EXTERNAL INPUTS
DE-ES.
AUTO
48 V PAD
Recording Channel
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Model 2800
GRVU VU PPM 0 dB -10 dB
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19
Frontliner
ON
The On button activates the compressor/limiter module. Set the VU/GR switch to GR (=gain
reduction) to see the processing intensity (for further information read ”MAKE UP” on page
20).
Usually the signal ow follows the design of the Frontliner, so the input signal normally comes
from the de-esser. However, with the EQ PRE COMP. switch the compressor/limiter module can
be switched behind the equalizer. This allows the compressor to be used as a nal compressor
or limiter after the equalizer (see „EQ PRE COMP” on page 15).
THRESHOLD
The THRESHOLD control determines the compressor threshold value, thus from which level
the compressor starts working. The value scale for the THRESHOLD control indicates the level
in dBu and ranges from 21 dB (fully left) to -58 dB (fully right). Turning the control to the right
intensies processing: fully left provides no compression, and fully right provides compres-
sion starting at a level of approximately -58 dBu.
RATIO
The RATIO control is used to set the ratio between the original signal and the compressed
signal. A ratio of 1:5 (RATIO control set to 5.0) means that a level increase of 5 dB on the input
results in an output level change of 1 dB. The more the control is turned right, the more ‘dense’
the sound becomes. The compressor works as a limiter when RATIO is turned fully right to
innity.
ATTACK
The ATTACK control determines how fast the compressor reacts. When turned fully left this
time is 0.1 milliseconds, and turned fully right the time is approximately 1000 milliseconds
(one second). Sudden, fast and impulsive attacks are called transients, they are produced for
example by hitting a drum. We identify natural sounds by transients, so they are enormously
important for sound impressions.
With very short ATTACK times the compressor reacts to every level jump and all transients are
processed. With slower settings, transients become more and more audible – a drum kit for
example can achieve more presence in a mix and sound faster with such settings. The best
ATTACK settings are not always easy to nd, since you usually need to nd a compromise.
Very fast settings run the risk of producing audible distortions – especially in the case of low
frequencies, since the compressor now tries to catch each waveform rise. The corresponding
control signal assumes a “saw-tooth” form which distorts the audio signal. To suppress this
effect, you would have to again increase the attack time until distortion no longer occurs – but
without missing the aim of processing.
The Frontliner offers a switchable automation feature for the ATTACK and RELEASE param-
eters to achieve perfect results when you are not satised with x settings (see next page).
Compressor/Limiter Control Elements
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TUBE
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MUTE
EQ PRE
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EQ/ TUBECOM P.
EXTERNAL INPUTS
DE-ES.
AUTO
48 V PAD
Recording Channel
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20 Frontliner
Compressor/Limiter
Control Elements
ATTACK with cruise control: AUTO mode
The disadvantage of a usual ATTACK control: the setting refers to one critical moment, but it is
not optimal in every moment. But when you switch to AUTO mode, the ATTACK settings inter-
actively respond to the input signal curves. Moreover, the automation can still be inuenced
manually. With the ATTACK control you can determine the range in which the automation sets
it’s values. Much like a cruise control resumes up to the set speed, the AUTO mode does the
same for the (automated) ATTACK time settings. The more you turn ATTACK to the right, the
broader is the range for the automation to set time values – the ATTACK setting you have chosen
is the maximum ATTACK time the automation applies.
RELEASE
The RELEASE control determines the time the compressor needs to get back to the initial
value after a level reduction. Turned fully left this time is ca. 0.03 seconds, or ca. 2 seconds
for fully right.
Just like setting the ATTACK it can be difcult to nd perfect RELEASE settings – for the same
compromising reason. Fast transients need short RELEASE times, but processing each and
every dynamic change bears the danger to produce rough, distorted sounds. Longer RELEASE
times sound smoother, but now transients may slip through. Again the AUTO mode can help
to achieve better results.
RELEASE with cruise control: AUTO mode
The AUTO mode for RELEASE rst determines the average level of the signal. Then the auto-
mation refers to this level to achieve a balanced control characteristic: short and loud peaks
can be processed very fast, but especially with complex material (summed signals) not every
small peak near the average level is included into the processing.
The RELEASE automation can be inuenced manually, too: the shorter the RELEASE time
ist set, the smaller is the range in which the processing follows the signal. Thus, with short
RELEASE times the processing follows very precisely and nearly “sticks” to the signal curve.
Short RELEASE times are for example adequate for percussive signals. If you apply longer
RELEASE times, the range is getting broader. Medium to slow settings can be recommended
for summed signals.
The AUTO switch activates ATTACK and RELEASE automation simultaneously. It is always
very effective to gain maximum loudness with minimum consequences in a musical sense.
This applies to all kinds of signals, from percussive sounds to vocals and instruments, and
aside from single tracks especially also to the complex structures of summed signals ... not to
mention a kind of signal that’s as difcult as it is common, called “untrained voice”.
MAKE UP
With the MAKE UP control you can make up the output gain that’s lost through compression.
It changes the output level within a range of 0 dB to +20 dB. Setting is very easy when you
switch the VU/GR switch below the VU meter to “GR” (GR=gain reduction). If for example the
loudest peal causes a maximum reduction of -9 dB, you adjust the MAKE UP control to +9dB.
Switch the compressor out now to perceive the loudness gain.
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