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Art Tube Channel manuel d'utilisation

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Habituellement, cela est dû au manque de temps et de certitude quant à la fonctionnalité spécifique de l'équipement acheté. Malheureusement, la connexion et le démarrage Art Tube Channel ne suffisent pas. Le manuel d’utilisation contient un certain nombre de lignes directrices concernant les fonctionnalités spécifiques, la sécurité, les méthodes d'entretien (même les moyens qui doivent être utilisés), les défauts possibles Art Tube Channel et les moyens de résoudre des problèmes communs lors de l'utilisation. Enfin, le manuel contient les coordonnées du service Art en l'absence de l'efficacité des solutions proposées. Actuellement, les manuels d’utilisation sous la forme d'animations intéressantes et de vidéos pédagogiques qui sont meilleurs que la brochure, sont très populaires. Ce type de manuel permet à l'utilisateur de voir toute la vidéo d'instruction sans sauter les spécifications et les descriptions techniques compliquées Art Tube Channel, comme c’est le cas pour la version papier.

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Tout d'abord, il contient la réponse sur la structure, les possibilités du dispositif Art Tube Channel, l'utilisation de divers accessoires et une gamme d'informations pour profiter pleinement de toutes les fonctionnalités et commodités.

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Table des matières du manuel d’utilisation

  • Page 1

    TUBE CHANNEL USER’S MANU AL[...]

  • Page 2

    1 FEATURES ...................................................................................... 3 OVERVIEW ..................................................................................... 3 W HY USE AN EXTERNAL PROCESSING CHANNEL ? ............................... 3 D ESIGN N OTES ..............................................................[...]

  • Page 3

    2 Output Level VU Meter ............................................................ 14 Power ....................................................................................... 14 REAR PANEL CONNECTIONS .................................................. 15 I NPUT AND O UTPUT C ONNECTIONS ................................................ 15 I NP[...]

  • Page 4

    3 Features The Tube Channel is a unique product. It contains three independent award-winning circuit designs: one of the finest tube microphone preamplifiers available, one of the finest optical tube compressors available, and one of the most flexible EQs you’ve ever used -- all in one unit. Developed in partnership with studio and live sound eng[...]

  • Page 5

    4 flexible collection of circuits. Mixer manufacturers need to make trade-offs to keep prices down while keeping performance up. Imagine the price of your mixer if each channels’ EQ cost over $200 (and we’re not talking about those of you who have one of those $250,000+ consoles!) The use of external processing (equalizers, preamps and compress[...]

  • Page 6

    5 signal, it was designed to excel in areas where transparent and musical dynamics control is desired. The beauty of the optical design is its ability to apply heavy amounts of compression without pumping and breathing like VCA-based compressors. In many cases you will hear the results of the compression without hearing the compressor. The tube-bas[...]

  • Page 7

    6 unbalanced connectors. We recommend using only high-quality cables equipped with the appropriate connectors. Installation The Tube Channel may be employed in a number of setups including:- Between a microphone and a mixer, digital multi-track recorder, DAT machine, hard disk recorder, or analog recorder.- In a mixer’s channel insert points.- Be[...]

  • Page 8

    7 Front P anel Contr ols & Indicator s Preamp Circuit Gain Control The Gain control sets the amount of input gain of the Tube Channel. Turn the control clockwise to increase gain and counterclockwise to decrease gain. Selection of the gain range is made with the +20dB gain switch. You may control two ranges of gain with this control, +9 to +50d[...]

  • Page 9

    8 microphones to the Tube Channel. Note: Be sure to turn down or mute the output of the Tube Channel when engaging or disengaging phantom power. Additionally, when disengaging, allow 30 - 45 seconds for the power to completely dissipate. Most microphones will make a sound like air leaking from a tire when phantom power is disconnected, but some can[...]

  • Page 10

    9 When setting up the preamp circuit, start with the Preamp Output at its “0” level. Once you get the Gain control set the way you want it to sound, use the Preamp Output control to set the level out of the preamp circuit (much like using the master volume control on a guitar amplifier). Use the Preamp Output control to add more gain when you h[...]

  • Page 11

    10 (bypass) position, signal is allowed to pass from the preamp circuitry to the equalizer circuit with no compression. The LED will glow red when Bypass is engaged. This informs you that the compressor is bypassed. In its “out” (Norm) position, the compressor is active. Use the Bypass switch when setting the compressor’s output level to achi[...]

  • Page 12

    11 When the control is fully counter-clockwise, the output is attenuated by –20dB. Turning the control clockwise increases the level to a maximum of +20dB of gain. While you can use the compressor to add gain to a signal, it is better to add gain before the compressor for the best signal to noise ratio. If you want to use the compressor to add mo[...]

  • Page 13

    12 position the corner is 120Hz. Lo-Mid Frequency Control The Lo-Mid control is a dual concentric pot (there are two controls-- one outer and one inner). The outer control is used to select a frequency while the inner control is used to apply +/-12dB of gain. The Lo-Mid control can cover two frequency ranges depending on the position of the Shift x[...]

  • Page 14

    13 The High Frequency control has as range of +/- 12dB. The two ranges are selected with the High Shift switch. 6KHz is great for adding top end to guitars, snare drums and vocals. Cutting 6KHz can also help to “take the edge off” brittle or harsh sounding instruments. 18KHz may be used to add “sizzle” to cymbals and is generally referred t[...]

  • Page 15

    14 Tube Channel’s XLR Output jack. The Phase switch also reverses the polarity of the ¼” Output jack. In the Normal (out) position, the signal is in-phase. In the Reverse (in) position, the polarity of Pins 2 and 3 (and the Tip of the ¼” jack) are reversed and the signal is changed to 180 degrees out of phase with the input signal. In multi[...]

  • Page 16

    15 Rear P anel Connecti ons Input and Output Connections The Tube Channel’s XLR connectors follow the AES standard: Pin 1 = Ground, Pin 2 = Hot (+), Pin 3 = Cold (-). The unbalanced ¼” phone jacks are typical Tip = Hot (+), Sleeve = Ground. Input One input jack per channel should be used at a time. However, because of its design, the Tube Chan[...]

  • Page 17

    16 signal paths from specific sections. The connections are unbalanced ¼” (Tip = Hot (+), Sleeve = Ground). Both of the “send” jacks may be used without interrupting signal-flow through the Tube Channel. The “return” jacks break the signal-flow when a jack is inserted. The loops may also be utilized to “re-patch” the compressor and e[...]

  • Page 18

    17 the following for an output: Plug the output from the Preamp Send jack into the input of the next piece of equipment, - or - bypass the compressor and equalizer circuits and connect either of the Output Jacks to the input of the next piece of equipment. To use only the compressor circuit of the Tube Channel: Plug a line level signal (or a send f[...]

  • Page 19

    18 Note: Be certain that you do not connect the Tube Channel’s XLR Output to a mixer input that has Phantom Power applied. The Tube Channel has enough gain to be used in front of a power amplifier. To use the Tube Channel as a instrument preamp, simply plug the instrument into the Input jack and connect the Output jack to the input of the power a[...]

  • Page 20

    19 EQ Tips What is the best way to use EQ? There are two schools of thought on EQ: 1) Use as much as you need to make things sound good. 2) Don’t use any EQ. Most people follow the suggestion of “if it sounds good, it is good.” You need to use your ears and judge for yourself as their are no steadfast rules for EQing. Here are a few pointers [...]

  • Page 21

    20 frequency. You’ll have to adjust the level of the instrument depending on how much you cut, but you should find that with the “problem area” pulled out, the instrument works better in the mix.When recording EQ’d instruments you want to make sure you have good representation of frequencies on tape. Always monitor “off” tape when recor[...]

  • Page 22

    'HWHFWRU %/2&.',$*5$07XEH&KDQQHO[...]

  • Page 23

    22 A R T T ube Channel Specifi cations Dimensions 5.25"D x 19"W x 1.65"H Weight 8.0 lb. Maximum Gain XLR to XLR 81dB ¼” t o ¼” 63dB Phantom Power +48v DC (switchable) Compression Ratio 2.3:1 (comp)/ 6:1 (lim) Attack Time 6.5ms Release Time 200ms (fast), 70ms-1sec (auto) EQ Frequency Bands: Low Shelf: 40Hz/120Hz Selectable High [...]

  • Page 24

    23 215 Tremont Street (716) 436-3942 (FAX) Rochester, NY 14608 USA We’re on-line! For Product information, questions, applications, tips, answers and general discussion with A R T employees look for A R T on the Internet.. Email us at artroch@aol.comCheck out our Web Page at: http://www.artroch.com W arra nty and Serv ic e In fo rmati on Limited [...]

  • Page 25

    24 States only. For service outside the United States, please contact your authorized A R T distributor.1) Be sure the unit is the cause of the problem. Check to make sure the unit has power supplied, all cables are connected correctly, and the cables themselves are in working condition.2) If you find the unit to be at fault, write down a descripti[...]