![]() Shelford Channel - Rupert Neve. Transformer Gain Mic Input. Like Rupert’s classic designs, the Shelford Channel’s mic input uses direct transformer coupling with 1. B of gain in the transformer itself. This design, delivers exceptional clarity to high- Z sources, with a substantial low- end presence and incredibly smooth high frequencies. The DI also includes a passive THRU output to feed a separate amplifier. The low headroom tap however is optimized to allow an engineer to drive the full voltage range of the Channel – adding dynamic tone with these same non- linear “colorations” – without clipping most professional interfaces (Max output level +1.
SCI FI Channel is now Syfy, but you can still get access to all your favorite SCI FI Channel content right here. Syfy features science fiction, drama, supernatural.GameStop: Buy History Channel Civil War: Secret Mission, Activision, PlayStation 3, Find release dates, customer reviews, previews and screenshots. A Whole New Vintage – Over fifty years in the making, the Shelford Channel is the definitive evolution of the original technologies in Rupert’s classic console. BU). On drums, vocals, guitars and other instruments, this output lets you easily hit the transformer’s “sweet- spot” of non- linear harmonic content, which can bring a recorded performance to life in a way that other effects can’t. Silk & Texture. Another advantage of the Shelford Channels’ transformer balanced output stage versus vintage modules is the addition of the variable Silk & Texture circuitry, which allows complete control over the harmonic content and saturation of the output transformer. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger- than- life transformer sound. When engaged, the harmonic content – predominantly 2nd order and 3rd order with no high order distortion – can be dialed up to several times beyond that found in his vintage units like the 1. This is further controlled with Silk Red and Blue modes, which emphasize harmonic content generated by the source’s high frequencies (Red) or low frequencies (Blue). MIC/DI/LINESwitches between microphone/direct injection input (button out) or line input (button in). Gnd Lift. This switch separates the direct connection from audio signal ground to chassis earth. Signal Present LEDThis LED is dual function. When green, it indicates “Signal Presence” (a signal level of - 2. Bu). When red, it indicates 2- 3d. B below input stage clipping of the Mic/Line stage (+2. Bu while the pre actually clips at +2. Bu). Mic Gain. This 1. B in 6 d. B steps. Trim. This rotary switch provides further continuous gain adjustment over a range of +/– 6 d. B. 4. 8VThis push button switch engages phantom power on the microphone input. Please remember to press the mute button or turn down monitors and headphone sends or the channel the Shelford Channel is plugged into before toggling “+4. Phase. This push button switch inverts the polarity of the signal path. It illuminates when engaged. The HPF potentiometer is variable from 2. Hz to 2. 50. Hz, and can be used to filter out unwanted low frequencies, or in conjunction with the EQ to help shape source material. Note that engaging the HPF to S/C switch moves the HPF from the primary signal path to the compressor side- chain signal path. HPF Freq. This control selects the frequency at which the filter begins (- 3db) to roll off low frequency signals. It is a 1. 2 d. B per octave Bessel filter designed to musically preserve important timing information while cutting low frequency noise and garbage like air conditioning rumble. We may suggest that while recording that the lowest practical setting is generally the safest because it is difficult to try to recover lows with an EQ (6 d. B/oct) that may have been chopped off with a filter (1. B/Oct). EQ In. This swtich engages all EQ frequency bands except the HPF. LFAdjusts up to 1. B of boost or cut at the selected low frequencies. Cut can be used as a variable, and perhaps more gentle alternative to using the HPF. Remember to reduce the signal level at the source to minimize the potential for distortion when any of the 3 bands are boosted significantly. Low Freq. The LOW FREQ rotary switch has 4 positions for selecting one of four corner or center frequencies for the low band EQ section. The frequencies are 3. Hz, 6. 0 Hz, 1. 00 Hz and 2. Hz. LF Peak. When the button is out, the low frequency band operates in shelf mode, boosting or cutting below the corner frequency. Above the corner frequency the amount of boost or cut gradually diminishes at approximately 6 d. B/octave. With the HI PEAK button pressed the low frequency band changes to peak mode with a bell shaped boost or cut curve. Between the LF PEAK button and LF FREQ rotary switch, an engineer has 8 tonal variations of EQ shapes to finesse the bottom end, plus the high pass filter can be introduced for further tightening and manipulation. Mid Hi QThe resonance or Q of the mid band at maximum boost is typically 2 when the button is out. When the MID HI Q is pressed at maximum boost, the Q narrows to approximately 3. The Q widens nicely with less boost or cut as is typical for passive EQ circuits. The Q tends to be slightly wider when the frequency is set lower, and slightly higher for higher frequency selections. The Q is also narrower for cuts than it is for boosts and the mid band is non- symmetrical by design. Mid. Adjusts up to 1. B of boost or cut at the selected mid frequencies. Remember to reduce the signal level at the source to minimize the potential for distortion when any of the 3 bands are boosted significantly. Mid Freq. The MID FREQ rotary switch has 6 positions to select the center frequency of the mid band EQ stage. This circuit utilizes an inductor and capacitors to shape the EQ curve, the same way as Rupert Neve’s console designs of the 7. The frequencies chosen are 2. Hz, 4. 00 Hz, 9. 00 Hz, 1. Hz, 3. 5 k. Hz and 7. Hz. 2. 00 Hz is especially useful for cuts on individual tracks within a dense mix. HF Peak. When the button is out, the high frequency band operates in shelf mode, boosting or cutting above the corner frequency at approximately 6 d. B/octave. Below the corner frequency the amount of boost or cut gradually diminishes. With the HI PEAK button pressed, the high frequency band changes to peak mode with a bell shaped boost or cut curve. The Peak mode utilizes an inductor and capacitor circuit to create the bell- shaped curve. With the switch out, the center or corner frequency of the high band is 8 k. Hz. With the button pressed, the center or corner frequency changes to 1. Hz. Between this switch and the HI PEAK switch, you have 4 different EQ curves to finesse the high frequency content. HFAdjusts up to 1. B of boost or cut at selected high frequencies. THE SIDE CHAIN INSERT JACKSThese pairs of jacks are only used to perform some fine tuning of the compressor operation. The audio that normally controls the compressor is available on the “SIDECHAIN SEND” jack. One can take this audio and pass it through an external equalizer then return it back to the “SIDECHAIN RETURN” jack. Now changes on the external EQ affect the sensitivity of the compressor. For example, if you cut some low frequencies on the external EQ, then the compressor will tend to not want to reduce the gain as much on bass notes. This is not the same thing as simply boosting lows on an equalizer, because the latter changes the frequency response while the former changes levels. Similarly, one could boost highs (6k. Hz for example) on the external EQ and cause the compressor to be extra- sensitive to that part of the spectrum which happens to correspond with sibilance (esses). This can act as one type of a de- esser that pulls down the volume of the whole signal if it senses an “ess.”Comp In. The compressor- limiter section is engaged with this button in. Watch out for the compressor exaggerating noise and room sound in the quiet sections and chopping off transients and consonants in the loud sections, either of which suggest maybe too much compressor “action.” Conversely, losing quiet phrases or inadvertent clipping might suggest that a little more compression is warranted keeping in mind that you can always do a bit more in the mix but undoing over- compression is not fun and often not even possible. Threshold. Sets level where the compressor may begin to react from - 2.
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