Wunder Audio Wunderbar Super D User manual

Wunderbar
Super D
Operations Manual
Wunderbar Super D User's Manual Rev. 1, Dec. 2018 1

Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . 3
PEQ2 Input Module . . . . . . . . . . . . . . . . 6
Routing Module . . . . . . . . . . . . . . . . . . . 8
Control Room Master Section . . . . . . . . .1
Aux Send and Return Master Section . . . . 12
Track-Mix and Insert Bypass Option . . . . 13
Simplified Block Diagram . . . . . . . . . . . . 15
General Guidelines . . . . . . . . . . . . . . . . 15
Tracking and Mixing Tips . . . . . . . . . . . . 16
Unpacking . . . . . . . . . . . . . . . . . . . . . .17
Installing the Wunderbar Stand . . . . . . . 19
Stand Illustrations . . . . . . . . . . . . . . . . 2
Dimensions . . . . . . . . . . . . . . . . . . . . . 22
Depth and Height of Console . . . . . . . . . 23
Audio Connections . . . . . . . . . . . . . . . 24
Typical Patch Bay Layout . . . . . . . . . . . 27
PEQ2 Module Connection . . . . . . . . . . . 28
Connecting the Power Supply . . . . . . . . 29
Cleaning Instructions . . . . . . . . . . . . . . 29
Water and Moisture . . . . . . . . . . . . . . . 29
Servicing . . . . . . . . . . . . . . . . . . . . . . . 3
Warranty . . . . . . . . . . . . . . . . . . . . . . . 31
Wunderbar Super D User's Manual Rev. 1, Dec. 2018 2

Introduction
The Fully Discrete Class-A Wunderbar will bring you years of the most enjoyable
trouble free recording and mixing experiences. The blend of transformer sounds and
bus flavors is infinite and it will be hard making anything not sound huge.
The Console utilizes the PEQ2 Channel Amplifier delivering from 8 to 56
channels. A "Fully Balanced Busing Scheme" is the heart of the Wunderbar, buffering
the ground out of the equation. This results in significant increase in dynamic range
while lowering noise substantially. There are transformer balanced direct outputs
and inserts on all channels. The Stereo Bus champions The Wunderbahn and has
three Stereo Amplifier choices: Wunder, 1272, and the 312.
The Wunderbar’s circuitry is shielded by Mu-metal, Aluminum, steel and includes
an external AC-DC power supply to reduce interference, to make it virtually immune
to Wi-Fi, EMI and RFI interference. This is very import in todays cell phone
environment.
The PEQ2 is a fully Class-A discrete 197 's-style mic-pre/ equalizer. The design
employs proprietary, custom-designed mic, line, and output transformers. It can
directly replace the 1 73 module. The 18-way gold plated Amphenol connector will
mate with vintage "8 Series" consoles or racks designed for a 1 73 or equivalent.
The key to the sound of the Wunder Audio modules are the Western Electric 618-
style transformers. The PEQ2 incorporates Upgraded "NICO" transformers
(Nickle/Iron/Cobalt). This “Mu” metal was made in the USA at the same factory that
supplied the Nickle/Iron/Cobalt cores that were use in the 196 ’s in our favorite
vintage gear. Wunder went through the painstaking steps of having this metal re-
made by the original factory and is the only recipient of this new batch of core
metal.They are to the exact specifications as transformers that were custom made
for the vintage console made for Led Zeppelin in 1971. These transformers are
physically large and just fit in the 1 73 style module housing!
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One of the most interesting features about the PEQ2, besides the magical mic-
pre and EQ, is that you can record bass guitar and other instruments by plugging
direct into the Line Input. When accessing the Line Input, you will get more low-end
than any direct box/mic preamp combination. There is a very wide range of gain in
the line input incorporating 6 dB of gain. The upper end of this gain stage from -24
to -42 dB is bracketed “HiZ” on the front panel which is suitable for tracking
instruments. Here you will have monster bass sounds like no direct box can achieve.
The “HiZ” range on the line input can also be used as a second, totally different
mic pre on the PEQ2 using a different transformer, thus a different sound. Try it. You
can actually plug a microphone into the “LINE INPUT” the PEQ2.
Interestingly, the 66 dB of line input gain is double that of a 1 73 and therefore
has a huge amount of headroom. Thus when EQ-ing a source coming back into the
PEQ2 from tape or hard disk to you will notice a fat, wide open sound with virtually no
phase shift.
All the switches are custom made by Greyhill. The custom made potentiometers
are Vishay audio-grade, made with conductive plastic for a long life (one million
cycles). Large Sprague "Orange Drop" capacitors are used in the equalizer circuit.
The Panasonic FC 1 5˚C Electrolytic capacitors are used to insure reliable high
temperature operation and long life. The hook-up wire is from the UK and is hand
assembled to "Military Spec". A single circuit board offers a vast sonic improvement
over 5 separate boards found in a 1 73 eliminating the use of multiple edge-board
connectors and redundant wiring. The enclosures are CAD designed to 1/1 "
tolerance and are bright-nickel plated and have PEM nut hardware throughout for
solid construction. Finally, the custom-designed anodized aluminum knob set on the
PEQ2 gives the module character. The boost and cut knobs are solid brass with
shiny nickel plating. The knob markers are embedded with white plastic dowels, so
the white mark will never wear off.
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Configuration
The Wunderbar Super D can be configured to any size in channels of multiples of
eight, up to 56 channels. Master section, cinema display, and patchbay can be
located in any position from left to right. Any number of channels can be added to an
existing console at a later date, as the desk is completely modular.
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PEQ2 Input Module
A
Gain Switch
- At the top of each channel PEQ2
module is a red winged knob which controls a 12-
position switch. Each Position will show two values.
The “Line” gain level is circled whereas the “Mic”
gain level is not circled. Unity gain for the Line level
is at “ ”.
HiZ range is the four most clockwise positions of
the Line gain (-24 through -42) has higher input
impedance ideally suited for “Direct In” instruments
such as Bass or keyboards. These four line
positions are can also be used as an alternate mic
input using a different transformer.
B
High Frequency control
- The high frequency is
adjusted using this dual concentric knob. The outer
black knob determines the frequency at which
boost or cut will occur. This knob also has an off
position. The inner silver knob provides
continuously variable BOOST or CUT from to +/-
2 dB of the selected frequency. This knob should
be set to the 6 o’clock position to achieve no boost
or cut.
C
Mid control
- The Mid frequency is adjusted using
this dual concentric knob. The outer black knob
determines the frequency at which boost or cut will
occur. This knob also has an off position. The inner
silver knob provides continuously variable BOOST
or CUT from to +/- 2 dB of the selected
frequency. This knob should be set to the 6 o’clock
position to achieve no boost or cut.
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D
High Low control
- The Low frequency is
adjusted using this dual concentric knob. The outer
black knob determines the frequency at which
boost or cut will occur. This knob also has an off
position. The inner silver knob provides
continuously variable BOOST or CUT from to +/-
2 dB of the selected frequency. This knob should
be set to the 6 o’clock position to achieve no
boost or cut.
E
EQ Switch
- The Equalizer is activated by
depressing this switch.
F
Mic/Line Switch
- This switch determines
whether the unit is in Microphone Preamplifier or
the Line Input mode.
G
Discrete High Pass Filter
- Corner Frequency is
set at 9 HZ.
H
Signal/Clip LED
– This dual purpose LED will
turn green when any signal is detected and red
when signal approaches clipping.
I
Phase Switch
- The Output Polarity is Shifted
18 degrees by depressing this switch.
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outing Module
A
48 Volt/Phantom Power
- on/off switch
B
Trim (Direct Out) Knob -
The second of two active
gain stages. This is essentially a fade before the output
amplifier in the PEQ2.
Although housed in the routing module, it is completely
independent from the routing electronics. The VU meter
displays the level of whatever is plugged into the input
of the routing module.
This knob is very unique to the Wunderbar. Unity Gain is
just slightly before the 3 O’clock position. When making
boost and cuts to the EQ this knob can be adjusted to
achieve zero dB at the VU meter for unity gain. Not
enough can be said about lowering this knob below
unity gain and turning up the PEQ2 Line input knob
during mix down to achieve a different more distorted
color.
C
Flip Switch -
Swaps the trim knob and the P&G
1 mm conductive plastic channel fader.
This allows
the user to “ride” the trim via the channel fader during
tracking if desired.
D
Auxiliary Sends 1-4 -
Send signal from the I/O module
(channel strip) to the corresponding aux master knob
(rotary fader) in the master section.
Pre/Post switch determines whether the auxiliary signal
is before or after the channel fader.
When sending signals to headphones, putting this
switch in the pre-fade position will allow the headphone
levels to be independent of the fader being used to
monitor levels on the console. During a mix, setting this
fader to post mode will conform its output to an effects
device in proportion to the fade being used in the mix.
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E
Bus Assign Switches -
Assigns the channel output to
the Wunderbar Left Right (L-R) bus, Neve 1-2 bus, and
the API 3-4 bus.
F
The Pan Knob -
Determines the proportion of signal
sent to the left and right sides of the selected stereo
buses. The pan law has a -3dB center attenuation to
approximate constant power panning.
When the Pan Defeat Switch is engaged (off) the
resistor that controls the pan is out of the circuit, the
signal is centered straight up, or if assigned via the bus
assign switches either left or right for a “hard pan.” It
also doesn't have a -3dB center attenuation if you bus
the signal to both left and right. With it on, the pan
functions normally.
G
Solo Switch -
Mutes all channels not in solo,
monitoring output is determined globally to be PFL or
AFL via the PFL/AFL lighted switch in the master
section. Listening in Pre-Fade Listen mode is a solo of
the input to the routing module and is good for setting
levels on the mic pre-amp. Listen in After Fade Listen
mode to make level changes on the fader and
adjustments on the eq.
H
Mute Switch
- Silences the output of the channel
using an opto for completely silent switching.
Wunderbar Super D User's Manual Rev. 1, Dec. 2018

Control oom Master Section
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A
ControlRoom Input Switch
- Selects which input source the control room will monitor, the
Wunder bus (L/R), the Neve bus (1 / 2), the API bus (3 / 4), or 1 of 3 two track sources. Example: A
stereo mix routed from a pair of PT outputs or output from a two track tape machine.
B
Control Room Speaker Selector
- Selects between three possible pairs of monitor speakers.
C
Talkback Microphone and Talkback Assign Switches
– Assigns output from the talkback mic
to Auxes 1-4 and/or the L/R, 1 / 2, 3 / 4 buses.
D
Talkback Knob
– Sets talkback volume (there is a built in optical limiter, so it it starts to sound
too compressed, turn down the talkback.)
E
PFL Level
– Adjusts the output volume of the PFL signal. Unity gain for this knob is all the way
clockwise.
F
Wunderbahn Buttons
– Folds the output of the 1 / 2 (Neve) and or 3 / 4 (API) buses into the L
and R (Wunder) bus.
G
Headphone Output and Volume
– Takes the same signal as the control room has, but pre-
mute and volume.
H
Headphone Jack
– Accepts standard 1/4” TRS headphone connectors .
I
Talkback Switch
– Set on a rocker switch, the forward position temporarily engages the
talkback as long as the switch is pressed, the back position engages the talkback until the
rocker is switched into the center off position.
J
Solo Clear
– Clears Solos globally and also flashes as a solo indicator.
K
AFL/PFL Switch
– Selects between PFL (dark) and AFL (lite) for solo switches globally on the
console.
When in PFL mode, the PFL knob controls the volume. In AFL the pans and fader
positions are maintained, but it isn't a destructive solo, so if you solo an Aux, you will hear any
other channels that are routed as well.
L
Dim Switch
– Reduces output on the console by -2 dBs.
M
Mono Switch
– Sums the output of the left and right buses, handy for checking phase relations
during mixing.
N
Master Mute Switch
– When engaged, silences all output from the console.
O
Master Volume Knob
– Controls all output from the console.
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Aux Send and eturn Master Section
A
Auxiliary Send Masters 1-4
- There is a 1 dB gain “in-
hand” split between the Aux Master and the Channel Aux
Send controls. For gain staging reasons, you want to
start with the Aux Masters at just less than 3 o'clock.
This splits the gain +4dB master and +6dB in the routing
modules.
B
Master Aux Send Solo
C
Aux Returns 1-4 to Bus Assign Buttons –
Assigns the
Aux Returns to the L / R bus, 1 / 2 bus, and/or the 3 /4 bus.
D
Aux Return Pans 1-4
– The proportion of aux return
signal to L / R, 1 / 2, and/or 3 / 4 stereo buses. Example:
May be used to bring effected signal back into the
console from outboard devices.
E
Aux Return Levels 1-4
– Adjusts the amount of signal
routed back into the stereo buses. Example: May be
used to bring effected signal back into the console from
outboard devices.
These inputs also have 1 dB of gain
above unity, just like the routing modules, but without
transformer inputs.
F
Aux Returns 5-8 to Bus Assign Buttons
– Assigns the
Aux Returns to the L / R, the 1 / 2 bus, and/or the 3 / 4 bus.
G
Aux Return Pans 5-8 –
Assigns the proportion of aux
return signal to L / R, 1 / 2, and/or 3 / 4 stereo buses.
Example: May be used to bring effected signal back into
the console from outboard devices.
H
Aux Return Levels 5-8
– Adjusts the amount of signal routed back into the stereo buses.
Example: May be used to bring effected signal back into the console from outboard devices.
These inputs also have 1 db of gain above unity, just like the routing modules, but without
transformer inputs.
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Track-Mix and Insert Bypass Switching Option
Above each channel fader are two backlit pushbuttons. Track-Mix is on the left
and Insert Bypass is on the right.
Track-Mix:
Track-Mix Switching is set to Mix by pressing the button so it turns blue, and set to
Track by not pressing the button, keeping it turn white.
When in Mix mode,
blue
, the PEQ OUTPUT feeds the INSERT SEND/INSERT
RETURN and the Routing Module input. The Routing Module is module below the
PEQ.
In this mode the OUTPUT FROM DAW MULT feeds the users patchbay to a row
above the PEQ LINE INPUT, which needs to be normeled.
When in Tracking mode,
white
, it is assumed that the PEQ is in Mic Pre mode and
the signal is sent via the PEQ OUTPUT to the input of the DAW while the output of
the DAW feeds the Routing Module input via INSERT RETURN.
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Insert Bypass:
The Insert Bypass pushbutton turns red when pressed to indicate a hard insert
bypass on any outboard equipment patched into that channel on the users patchbay.
When the button is not pressed the insert is not bypassed and the light remains off.
The INSERT SEND and INSERT RETURN D-Subs need to be normal-ed to an
upper and lower row of the users patch bay.
When the Insert Bypass is pressed, it lights red making the signal go directly from
the DAW OUTPUT connector to the Routing Module input. This will hard bypass the
inserted piece of equipment.
In Insert Bypass, the signal will not go to the INSERT SEND connector, and not
come back via the INSERT RETURN as the signal flows internally through the
channel in the console.
When not pressed, the signal goes out to the patchbay and is normal-ed back to
the Routing Module input.
Note: The OUTPUT FROM DAW and OUTPUT FROM DAW MULT connectors are
truly multed together. It is a convenience connection point. If you are plugged into
one, the signal is copied to the other connector so you do not have to make any “Y”
cables from the patchbay.
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Simplified Block Diagram
General Guidelines
The Wunderbar Console is completely modular, including the master section and
rear i-o panels.
It is recommended that when removing the PEQ2 Modules, outing modules, and
all other sections the console should be powered down.
It is not necessary that you leave this console permanently switched on. If you
decide to leave your equipment powered up or turn it off when not in use, the console
should run problem free.
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Tracking and Mixing Tips
The Wunderbar is an extremely easy console to use. When using the mic-pre, a
good starting gain is 36 dB, right next to the Wunder Audio logo at the top of the
PEQ2. The output trim, which is the top small red knob of the routing module and
located below the PEQ2 on the console, should be between the 2 and 3 o’clock
position.
Using the PFL (Pre-Fader Solo) button on the master section is a good way to
check your level. As you sound check the instrument to be recoded, the small round
LED at the bottom of the PEQ2 will light up yellow . This means that a signal is going
though the PEQ2. This LED will turn RED as you approach 3 dB below clipping. Set
the mic-pre level on the gain switch knob at the top of the PEQ2 until you reach
clipping, then turn down one click so it will just light yellow. You can also use the large
analog meter associated with the channel you are using to see your gain visually and
make it so it just averages hitting zero. For a slightly different, more distorted sound
you can drive the PEQ2 gain switch knob one click higher to get the LED to just light
up red while turning down PEQ2 output trim on the routing module slightly.
When mixing, using the Line input on the PEQ2, a good starting gain is dB right
next to the Wunder Audio logo at the top of PEQ2, and the PEQ2 output trim, which is
the top small red knob of the routing module below the PEQ2 on the console, should
be between 2 and 3 o’clock position. Using the PFL (Pre fader Solo), button on the
master section is a good way to check you level.
When mixing we suggest trying the Wunderbahn mode which adds the Neve 1 - 2
bus and the API 3 - 4 bus into the main Left Right (L -R ) bus. To engage this mode,
press the buttons labeled 1 2 –> L R and 3 4 –> L R. When these are engaged, the
buttons light up blue. This will create a triple-tiered stereo bus, which is unique as
there are three discrete classic flavors blended together. This can be infinitely
adjusted using the six master faders.
It is suggest to always use the solo in PFL
mode to set the level of each channel fader used in the mix down.
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Unpacking
When you receive your Wunderbar, it will be fully commissioned three times at our
shop and ready to use. It roughly takes two hours to unpack, set it on the stand (see
instruction below), plug in all the XLR connectors, and start recording and mixing!
Keep the PEQ2’s unloaded until the desk in in its final place on the stand. The
easiest way to remove the console from the crate is to fully disassemble all the
sides of the crate, then use 2 padded dollies to move the desk by gently resting the
desk on it’s back panel (the panel above the d-subs) with the armrest pointing
towards the ceiling.
Bring the desk to the area where you want to set it on the stand by resting it on the
floor on padded blankets, armrest still toward the ceiling and then build the stand as
described in this manual. When it is in place on the stand, power up the desk before
installing any PEQ2 modules to check that the console is properly functioning after
being shipped. Then turn it off to load the PEQ2 modules.
When loading the PEQ2 modules, always start at one end using the aluminum side
of the 8 channel PEQ2 bucket to align the 1st module and gently slide it down the
Wunderbar Super D User's Manual Rev. 1, Dec. 2018 17

black guide rails until it is in place. Never force the knurled thumb screw at the
bottom of the PEQ2 to tighten it. Add each addition module using the last module as
an alignment guide. Please note the slight space in between the routing modules
below the PEQ2’s and copy the spacing when tightening the thumb screws for the
PEQ2’s.
To connect audio to the Wunderbar, we recommend you use only very high quality
balanced cabling and connectors. The patch points on the back plane may be
connected directly to other sources and destinations, however we recommend that
you have a professional patch bay, to add convenience and avoid wear on the
Wunderbar’s connection jacks.
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Installing the Wunderbar Stand
Install the stand before you install the PEQ2 modules so the frame is lighter.
1) Place the desk on a carpet or blanket and tilt back the desk so the armrest faces
upwards and the rear/back panel (just above the XLR' s) of the desk is on the floor
(never lift the desk by the armrest.)
2) Install one of the two “Stand Feet” to the far left part of the bottom of the desk
using 2 of the 4 inch bolts (included). When doing this, have someone hold all the
weight of the end foot so there is no stress on the screw threads. Do not tighten all
the way.
Place a small wood block in between the stand foot and the floor so the end foot
does not hang all its weight on the two loose screws.
3) While leaving the left stand foot about 1/16" loose, as in the last step, place one
of the 2" x 3” “Frame Struts” over the square stand foot guide. Examine the holes at
either end of the frame strut and note that one hole is smaller and threaded, this hole
goes upwards so that it is against the bottom panel of the desk.
Attach the frame strut to the bottom on the desk with the long bolts. Do not tighten all
the way.
4) Carefully thread the 3" bolt into the left end of the frame strut, through the stand
foot guide and back into the treaded top on the frame strut.
5) Repeat step 3 & 4 with the 2nd frame strut.
6) Tighten all long bolts in the frame struts and left end foot.
7) Install the 2" x 3" bottom frame strut.
8) Install the right stand foot and tighten bolts.
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9) The desk is ready to tilt back upwards but before you do so, unscrew the rear
adjustable foot on the bottom of each end foot so it is not subjected to the force of
tilting up the desk.
1 ) After the desk is tilted up then use the wood blocks to raise the rear of the stand
skids so that you can re-install the adjustable feet.
11) Adjust the leveling feet to the desk is level. See illustrations below.
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