Manual - Mastering Mansion
Contents
1. 20 GA d RITU A amp srt ss ee a Re COMP E I EUN N EON Va i POETE MNT mir CON ON gi ge g e Mr n DS DA DS De UTER OUTPUT Made in German MAKE UP GAIN Limit COMP EQ ON ON With the MAKE UP GAIN control you can restore the overall level reduction caused by compres sion or limiting With assistance of the GAIN REDUCTION display setting the MAKE UP GAIN control is made easy If the maximal reduction value caused by the loudest tone amounts to 9 dB for instance the MAKE UP GAIN control should be set to values around 9 dB If the compressor limiter is now switched off the achieved gain in loudness will be audible SPL compressor technology In the compressor limiter section ofthe JZ Trackthe parameters for the time constants attack and release are set automatically and adapt themselves to the changing conditions of the input signal far better than can ever be achieved by manual adjustments The transient and final oscillation behavior of voices and instruments are constantly changing and at times are so erratic that a manual control will only achieve good average values which at critical moments can produce disadvantageous effects e g distorted sounds pumping etc If for example the compressor has to react very quickly to harsh P or T noises it must also be capable of reacting slowly to softer tones otherwise di2. Uno A o A A N 20 50 100 200 500 1k 2k 5k 10k 20k Hz 20 JZ Track MHF Air Band Audio Precision A A FFT SPECTRUM ANALYSIS 20 18 Ap 16 14 12 10 8 6 ES Qa N A n A N 1 E 1 a f 20 Y 50 Audio Precision 100 200 A A FFT SPECTRUM ANALYSIS 2k 5k 10k 20k 20 18 Ap 16 14 12 10 8 6 4 d 2 A n 1 N 1 x fi gt f 20 8 50 JZ Track 100 200 500 1k 2k 5k 10k 20k Measurements Diagram 3 various cut and boost settings of the MHF filter at around 1 8 kHz Diagram 4 various cut and boost settings of the Air Band filter Options 22 A D converter I O transformers Please note that you can order products with optional equipment from all dealers even ifthey do only list standard product versions for example in an online store Please con
3. The JZ Track consists of preamplifiers optimized for all kinds of microphones and instruments SPL s acclaimed De Esser a compressor limiter an equalizer EQ section and an output stage for perfectly feeding following units The microphone input can optionally be equipped with a transformer input stage These transformers already amplify the microphone signals by factor 5 the preamps are relieved by this factor at any gain setting The balanced output can also be equipped with optional transformers read page 22 for further information The compressor can be linked with a second JZ Track compressor for coherent stereo opera tion oftwo units Acentral display shows metering for output level and gain reduction and all other status LEDs Another option is a digital output via a 24bit o6kHz A D converter card see page 22 for further information A special feature of the printed circuitry layout is the central star ground wiring scheme Disturbing influences that could affect the ground paths are minimized in that the audio ground is separated from the ground of the remaining equipment This leads in the truest sense ofthe word clean to considerably improved tonal quality The scatter free toroidal transformer supplies the equipment with the necessary voltages and forms the basis for a clean electrical supply to all parts of the circuitry JZ Track Rear Panel iagramm d iring punoi8 A s 53a dn Joef
4. JZ Microphones Manual PPM OUTPUT POWER X 151236303692 5 i es DION JZ Track Model 2960 moner 2960 EQUALIZER Channel Strip Manual Track Model 296o Version 1 0 1 2014 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 verified and unless otherwise stated or agreed upon correctly describes the product at the time of packaging with this document JZ Microphones 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 JZ Microphones and may not be copied or reproduced in any manner in part or fully without prior authorization by JZ Microphones JZ Microphones Gaujas street 30 Marupe LATVIA LV 2167 Phone 371 67246648 E Mail info jzmic com Internet www jzmic com The construction of the JZ Track is in compliance with the standards and regulations of the European Community C Notes on Environmental Protection At the end of its operating life this product must not be disposed of with regular house hold waste but must be returned to a collection point for the recycling of electrical and elec tronic equipment The wheelie bin symbol on the product user s manual a
5. 48V 48 V The 48 V switch activates phantom power for condenser microphones with built in amplifiers 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 micro phones Unbalanced microphones may only be used with phantom power deactivated exe Activating phantom power Please always follow these instructions to active and deactivate phantom power also when changing microphones The input stage of the JZ Track can be damaged if you ignore these procedures Connect the microphone to the JZ Track Now activate phantom power to use the microphone After recording first deactivate phantom power Wait at least one minute after deactivation of phantom power before disconnecting the microphone This ensures residual current will be discharged ral 48V MM f Q N A High pass This switch activates the high pass filter often also called a rumble filter which operates from a low 5o Hz downwards with a high slope of 12 dB octave Therefore amplification of unwanted low frequencies is avoided effectively while influences on vocal frequencies are notto be expected Gain adjustments For perfect levelling ofthe preamplifier firstly switch off allother modules and set the OUTPUT i i control to o dB The signal c
6. RBA PUT AR DAND Wo 645 ue sit yN EQUALIZER Made in Germany MHF This control determines the boost or cut of the MHF filter the maximum values lie between 12 dB The MHF filter utilizes the proportional Q principle too the higher the boost or cut values are set so the bandwidth becomes narrower by low boost or cut values the bandwidth increases the exact curves of the MHF filter can be seen in diagram 3 on page 21 The filter PPM OUTPUT construction permits the complete scope from selective removal of accentuated frequen 15129 6 3 0 3 6 9412 cies through to character giving accentuations of an instrument to be effectively and quickly i covered Recommendation on frequency settings for LMF and MHF PPM OUTPUT To find the frequency which is to be processed as quickly and accurately as possible firstly adjust the MHF control to the maximum position Subsequently the relevant frequency should be sought Because the filter at maximum setting works with the smallest bandwidth the frequencies can be heard most distinctly at this setting making them easier to locate Finally the desired MHF setting can be applied after the frequency is determined with MHF 3512963036941
7. level Dynamic response Outputs Max output level Output impedance Power supply Toroidal transformer Fuses Dimensions amp Weight Stand EIA 19 inch 1U housing Weight Specifications 10Hz 200kHz 3dB 8 dBu 1kHz 80 dB 10 kHz 68dB Amplification A weighted 20dB 97 5 dBu 40dB 91 0dBu 65 dB 69 6 dBu 115dB 10 Hz 180 kHz 3 dB Amplification A weighted 7dB 98 4dBu 20dB 95 8dBu 42dB 77 2 dBu Line 42kOhm Instrument 1 MOhm Line 28 dBu Instrument 12 dBu 115 dB 20dBu lt 500hm 15 VA 315 mA 230 V 50 Hz 630 mA 115 V 60 Hz 482 X 44 x 210MM 4 15 kg ca 9 15 lbs Note o dBu 0 775 V Specifications are subject to change without notice JZ Track Measurements Compressor Limiter LMF Diagram 1 compressor curves Audio Precision A A FFT SPECTRUM ANALYSIS 20 Line A displays the ratio between input and output 15 10 Line B shows the curve charac teristics of the compressor i 0 Line C protrays the limiter s curve characteristics amp ma A a 5 20 25 30 35 40 45 50 LEELELETELLELEI LELETELELL TEELL LELELELEEELLELELTEEL ET ELI 40 35 0 15 10 E LELELLLLLEI 30 25 21 5 0 5 10 15 20 A a 3 Diagram 2 various LMF settings Audio Precision A A FFT SPECTRUM ANALYSIS around 2ooHz 20 Ap
8. 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 amplifier 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 fire hazards and risk of dangerous shocks JZ Track Important Security Information 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 overheating 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 an
9. processing concepts already successfully realized in other products made by SPL The very complex task of a channel strip profits particularly from the innovative tech niques that have always allowed the operation of SPL equipment to be efficient and objective To a high degree the usual recording day is determined by a series of opposing time limits the singer speaker desires a trouble free and efficient recording however iftechnical prepa ration takes a long time because of unsuitable equipment time will be lost increasing the costs and souring the working environment As opposed to this the JZ Track always ensures fast production without any loss of professional precision and diligence The JZ Track is a channel strip that excels primarily in two aspects it is disarmingly easy to use and offers outstanding sound qualities This concept is ideally suited for all kinds of vocal and instrument recordings in studio broadcast or live applications The controls are reduced to the necessary basics to ensure highest user friendliness Therefore working with the JZ Track can be dramatically time saving which is most important especially in live situations Due to its excellent sound quality the JZ Track is a highly recommended alternative to built in console pre amps and processing tools All the modules are immediately at hand for fast interactions Recording a voice and providing clarity detail and intelligibility is a question of seconds
10. switch not pressed 2 Determine the slave device switch engaged 3 NOW connect both COMP LINK sockets with a stereo jack wiring Always deter mining the device status before connecting the COMP LINK sockets excludes a mutual control activity In COMP LINK mode the master device controls the COMPRESSION MAKE UP and LIMIT controls of both compressors The respective controls on the slave unit are deactivated The COMP ON switch is not slaved The GAIN REDUCTION metering of the master unit now is the master display for both units If the two units are to be used separately again the wiring must be disconnected and the slave unit must be set to master again JZ Track Preamplifier Control Elements C LINE G4 2 A 38 3 K 2a 22 59 30 SERE X s 3 m T g EY LE MIC LINE GAIN LINE INSTR The MIC LINE GAIN control determines the level of preamplification for microphone and line or instrument signals In standard mode you control microphone preamplification Engage the LINE INSTR switch to control line or instrument signals The preamplification values for microphone signals cover a range from 8 dB up to 63 dB If the optional microphone input transformer is installed the scaled values are to be increased by ca 14dB also see page 22 Information on O transformers The preamplification values for line and instrument signals cover a range from 12dB to 22 dB LINE instr
11. 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 JZ Track Control Elements 14 Compressor Limiter COMP ON The COMP ON button activates the compressor module At the same time the GAIN REDUCTION display shows the processing intensity also see MAKE UP GAIN on page 14 and GAIN REDUCTION on page 17 LIMIT The LIMIT switch turns the compressor into a limiter The COMPRESSION control now serves the purpose of controlling the threshold The Limiter applies a soft characteristic and does not function as a peak limiter see page 20 diagram 1 In other words there is no guarantee that all peaks are limited It is therefore advisable when driving a subsequent unit that a head room of 2 to 4 dB remains Peak limiters have a system based disadvantage in producing audible distortions considerably sooner so with regard to both sound quality and recording safety we think the soft limiter mode is the better choice for a recording channel strip COMPRESSION The COMPRESSION control sets the intensity of compression Turning the control clockwise increases compression The working area spans between odB fully left and 32dB fully right The compressor ap
12. GAIN REDUCTION AIR BAND The high frequency filter in the equalizer module is described as the AIR BAND A coil capacitor filter with so called bell characteristics and a center frequency of 17 5 kHz comes into operation here At this frequency the maximum possible accentuation is 10 dB the maximum possible damping is 10 dB PPM OUTPUT 1512 9 6 3 0 3 6 9412 S gt DET CLIP The soft and natural tonal property characteristic of the coil capacitor filter lends itself extremely well to provide clarity and well air to vocals in the upper frequency range SIG thereby improving their presence On the other hand harsh sounds can be lent a more pleasant sound characteristic through damping 345 12 9 6 3 GAIN REDUCTION The characteristics ofthe AIR BAND filter are shown in diagram 4 on page 21 PPM OUTPUT 1512 9 6 3 0 3 6 9 12 15 42 9 6 3 OUTPUT GAIN The outgoing signal can either be dampened to 20 dB or further amplified by 5 5 dB with the OUTPUT control to provide optimal drive to the subsequent units or the optional AD converter The selected output level is shown on the PPM OUTPUT display in the display field GAIN REDUCTION Before a recording commences the OUTPUT control should be set to o dB 12 o clock position the uninfluenced values are th
13. OUOW 1990S SL 7 1 SUMIM Uld punoi8 A s 3u810 8Ul 3a 2 dn oef 021815 19205 SYL V t SULIM Uld euoudonIW s eusis eui pio 104 1518505 indui 1X SUHIM Uld T 15 25205 INdino YTX SUHIM Uld l 9 osuo syu uni Sul 392449 UI MYO NI 3NI1 MLSNI PAAsni 101S YILYIANOI AV 1VNOI1dO ON TWIdas SINdINO 5OTVNV 8e1 oA aul JaMOd e20 3931109 ay S 23 J 1 SUI 9S uoiMs Be OA ay Jey ains ayeyy V JZ Track Rear Panel A Cal Sockets and switches Signal connection Switch off the unit before you begin the process of making the first or any subsequent connections Neglecting this can damage either or both your ears and your equipment 1 4 TRS TS sockets The INSTR LINE IN socket only supports unbalanced connections 1 4 TS mono jack connector All other sockets are support both balanced 1 4 TRS stereo jack connector and unbalanced connections 1 4 TS mono jack connector 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 an audio signal is tran
14. an 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 about the rear sockets and switches on pages 8 9 an 10 Placement 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 butthere are other considerations Try notto 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 amplifiers and digital processors Always ensure sufficient air circulation by keeping a distance of 4 5 cm 2 inches to the sides and top of the unit JZ Track AN Hook Up Introduction Principles With the JZ Track we have produced a complete channel strip which for the greater part is based on the
15. an now be levelled with the assistance of the PPM OUTPUT display To achieve a good signal level the values should range between o and 3 dB At these levels an optimal drive level and enough headroom for further processing e g adding level in the EQ stage is ensured The Clip LED will warn you of potential peaks if during recording the JZ Track Control Elements De Esser i 16 10 My 11 12 14 7 ON CLIP LED illuminates the gain value is to be reduced accordingly 12 JZ Track Compressor Limiter Control Elements spl J Track gresse 4 Ie EQ ON 10 32 12 14 dB DE ESSER COMP EQ ON umir COMP EQ 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 DET LED in the display area shows that S sounds are being detected It is independent from the De Esser control and always informs about detected sibilants attracting your attention to a possible need for regulation also see S DET on page 17 De Esser control This control serves to determine the intensity of S sound reduction Because processing is undertaken from comparison with the level of the entire frequency spectrum see next section the processing is more intensive with extreme S sound levels than with those of lower levels This processing method achieves a consistent level of the remaining si
16. bilants 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 Afurther specialty isthe integrated Auto Threshold function which makes processing indepen dent ofthe input level Even when the speaker or singer does not maintain a constant distance to the microphone processing is retained at the pre set de essing value Conventional systems are dependent on the input level and work more intensively as the distance
17. d Activating phantom power on page 11 The microphone input can also be equipped with an optional input transformer see page 22 Information on I O trans formers INSTR LINE IN Use the balanced INSTR LINE IN socket for high level line or instrument signals Line signals usually have impedances lower than 1kOhm examples are sources like D A converters synthesizers or samplers Instrument signals such as e guitars and basses acoustic guitars with pick ups and so on are high impedance sources above 1 kOhm The maximum input level of the INSTR LINE IN is 28 dBu in LINE mode and 12 dBu in INSTR mode INSTR LINE switch This switch serves to match to levels and impedances of line and instrument signals Press the switch if you have connected line signals do not press the switch when you connect instrument signals JZ Track VOLTAGE FUSE 230 V 50Hz Fuse 315 mA 115 V 60Hz Fuse 630 mA Bl Qc JL GND LIFT INPUTS INSTR m INSTR LINE IN e unbal INSTR m INSTR LINE IN e unbal INPUTS INSTR LINE IN Rear Panel Sockets and switches ANALOG OUTPUTS For unbalanced operation use mono jack f OUT bal OUT bal ADINPUT2 with converter only Bl waster comp uk JL SLAVE use stereo jack Bl master cone LINK T SLAVE use stereo jack 10 ANALOG OUTPUTS The ANALOG OUTPUTS deliver balanced outpu
18. d 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 qualified technician when you think repairs are needed or when moisture or foreign objects may accidentally 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 first 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 specifications as the originals Incorrectly substituted parts can lead to fire 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 finish Use a cle
19. ecall settines uuu u S bu PORE Dayu Susa ES E Sa R Maw 18 Powersupply uuu ARE A ERA 19 Specifications sara 19 Measurements siria alari 20 Options A D converter I O transformers eene nennen nennen enne 22 JZ Track Content Symbols and Notes A A 5 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 JZ Microphones Doing so could nullify completely any and all of your warranty guarantee rights and claims to user support Scope of Delivery amp Packaging The scope of delivery comprises the JZ Track the internal power supply with separate power cable the guarantee card and directions to find 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 Important Securit
20. en legible and available for adjustment of the preamplifiers levels see Gain adjustments on page 11 PPM OUTPUT 15129 6 3 0 3 6 9 12 S gt DET CLIP 610 35 32 9 6 3 GAIN REDUCTION JZ Track 17 Copy master recall settings Artist Engineer Album Gig Track s Groups Title Date PPM OUTPUT 45129 6 3 0 3 6 9412 lID s ULU 45 42 9 6 dB GAIN REDUCTION COMPRESSOR LIMITER OUTPUT Made in Germany PRES UP N o Soy KARTU PR LER VA 7 Na OMP Va c va LIMIT ON Power Supply Built around a toroidal transformer the power supply ensures a minimal electromagnetic field with no hum or mechanical noise The power supply s output side is filtered by an RC circuit to extract noise and hums caused by your power service 6000 pf capacitors smooth out the positive and negative half waves The phantom power is derived from a separate winding in the transformer a precise current regulator a clean phantom power of 48 volts Our high quality 0 1 6 81kOhm resistors ensure the pristine quality ofthe phantom power supply Further information on page 9 Microphone Input Frequency response Maximum input level Common mode rejection at 20 dBu THD amp N Dynamic response Instrument Input Frequency response THD amp N Input impedance Maximum input
21. ncy spectrum than with constant Q filters if a more thorough setting has been chosen this will lead to far preciser definition of the frequency range to be processed This in turn minimizes influences from adjacent ranges The boost or cut values in relation to the bandwidth lie somewhat higher than with the MHF filter The bandwidth is therefore narrower at maximum boost than with the MHF filter for even more precise filtering The exact curve of the LMF filter is shown in diagram 2 on page 20 The LMF filter can be applied in many ways Examples are to accentuate the fundamental sound of a voice to cut boom frequencies and for placement of bass emphasized instru ments during recording or subsequently when mixing etc Control Elements Output Gain PPM OUTPUT POWER NR BAND PYT G i come sat M t m Ny 1512 9 6 3 0 3 6 9412 2 os TA ae S UU We gt ca Wu GAIN REDUCTION Q OUTPUT Made in Germany The center frequency of the semi parametric mid high frequency filter is set with the MHF control The frequency range can be set between 680 Hz and 15 kHz so that this filter covers a range of 4 5 octaves and can be equally employed in the lower mid as well as the high range This together with the LMF filter ensures that the entire frequency spectrum is covered 16 JZ Track Display area Control Elements PPM OUTPUT 1512 9 6 3 0 3 6 9 12
22. nd 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 recy cling of old products you are making an important contribution to the protec tion of our environment Your local administrative office can advise you of the responsible waste disposal point WEEE Registration 973 34988 2014 JZ Microphones All rights reserved Names of other companies and their products are trademarks of their respective owners JZ Track Symbols amp Notes Scope of Delivery amp Packaging Important Security Information 4 HOOP Up arca 5 Introduction Principles 6 REAR PANEL Wiring Diagrami Em 7 Sockets amp SWITCHES uyay a esor anr Eee eene ruine e 8 CONTROL ELEMENTS Preamplifer MIC LINE GAIN 48V Activating phantom power High pass Gain adjustments 11 De Esser EQ ON De Esser control SPL De Esser technology 12 Compressor Limiter COMP ON LIMIT COMPRESSION 4 ien rea coeno eara e n ee vera eisrean nio ninni i anaia MAKE UP GAIN SPL compressor technology Equalizer ONEMELEME 35 MIE Z u a eu tek tee ep eara ott ea roe tat u miu SSS eaae MHF Recommendation on frequency settings for LMF and MHF Air Band Output Gain OUTPUT GAIN EE 16 Display area S DET CLIP SIG PPM OUTPUT GAIN REDUCTION ieri 17 Copymastersr
23. plies the so called soft knee characteristic which means it starts processing earlier than with hard knee curve see page 20 diagram 1 curve B Hard knee compressors can sometimes gain more loudness but they process abruptly and the danger to ruin a recording with compression artifacts is much higher On the other hand the soft knee compressor always helps very wellto keep levels under control and ensures highest recording safety and if there is a desire to gain further loudness the signal can still be processed after recording At maximal compression it operates with a ratio of 1 3 between input and output signal very effective dynamic processing are achievable with unobtrusive sound characteristics When setting the COMPRESSION rate the GAIN REDUCTION display in the display area is of great assistance The effect on the selected COMPRESSION rate is scaled in 1 5 dB steps Depending on signal source and dynamic structure the reduction values should lie between 4and8 dB to restrict higher peaks and to optimize the operation of the subsequent recording system IMPORTANT Make sure that the rear COMP LINK switch is set to MASTER not engaged Otherwise the compressor does not operate The COMP LINK switch only serves to determine the SLAVE unit when operating two devices in COMP LINK mode for further information see COMP LINK on page 10 JZ Track Equalizer Control Elements PPM OUTPUT POWEI
24. s SPL s double VCA drive circuitry overall displays vastly improved distortion values so that a distinctly clearer and more transparent sound impression is achieved than with conventional circuitry Voices and instruments are given a considerably more natural and dynamic timbre whereas muffled tones are not audible The compressor characteristics are portrayed on page 20 JZ Track Control Elements Equalizer EQ ON The ON button inserts the equalizer module into the signal path The input signal comes from the compressor Tip Deactivating the equalizer module at the beginning of a recording can avoid irritations Otherwise and especially with intensive EQ settings tonal changes could occur immediately LMF The center frequency of the half parametric bass filter is set with the LMF control low mid frequencies The adjustable frequency range lies between 30 Hz and 700Hz so that this filter covers a range of about 4 5 octaves allowing it to be used from the deepest bass to the lower mid range i This together with the MHF filter ensures that the entire frequency spectrum is covered LMF The LMF control determines the boost or cut of the LMF filter the maximum values lie between 14 dB The LMF filter also operates to the proportional Q principle in other words the bandwidth is dependent on the selected boost or cut This filter characteristic permits a musically more sensible processing of the freque
25. s or for example which microphones are in use Used in SPL preamps or channel strips the input transformers add ca 14dB gain depending on the microphone This must be added to the scaled values The additional passive gain relieves the complete unit permanently at any gain level The higher gain levels are also beneficial with ribbon microphones That s why the input transformer is more important in preamps but to benefit from all possible sonic effects and full operational safety both input and output should be equipped with transformers JZ Track
26. smitted through a single wire Shielding is effective against electric but not against electromagnetic influences Motors transformers and alternating current can always induce interferences But even ifthe transmission would succeed differences in ground potentials between driver and receiver would produce disturbances 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 also be made without adap tors to the balanced XLR sockets The correct wiring is important The diagram shows the pin configuration of the XLR sockets and how to correctly connect them for unbalanced connec Input Output balanced unbalanced balanced unbalanced m TE 2 hot 3 cold tions 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 configured cables from XLR to RCA or jack sockets instead of adaptors You can get cables in any needed configuration from audio dealers With the diagram above the dealer can ensure
27. stortion occurs Accordingly the JZ UNF 4 Track compressor regulates the level of large fluctuations faster than smaller ones tones of 5 9 1 longer duration are automatically processed with a longer attack time to prevent distortions t s X The automatic setting of the release times is dependent on the input signal too Fast and large level fluctuations are correspondingly processed with shorter time constants than minor fluctuations in order to limit the distortion of the audio signal as far as possible Overall this technique provides the optimal solution between fast unobtrusive control response and the least distortion of the audio signal The result is a natural and transparent sound impres sion A further technical specialty of the circuitry contributes to the high audio quality of the compressor in the JZ Track SPL s double VCA drive One VCA receives the in phase the other the out of phase signal Subsequently the signal is passed through a differential amplifier The effect of this circuitry is that distortion products and offset fluctuations can be removed the product of the differential of both signals means that possible interference is canceled out The original information is however further amplified by 6 dB In addition the VCAs provide relief to each other because they share their loads They do not even run the danger of operating in the saturation range which ensures to avoid offset noises audible as clicks or pop
28. t signals An output trans former can be equipped optionally see page 29 Since both connectors are working in parallel unbalancing one connector also unbalances the other one If for example a mono jack connector is plugged into to the jack socket the XLR socket is operating unbalanced as well Depending on the impedances of the connected devices a parallel use of both outputs can reduce the signal level Therefore we recommend to use either the XLR or the 1 4 TRS output socket A D INPUT 2 The JZ Track 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 JZ Track is routed to both converter channels The maximum input level for the converter is 12dBu o dBFS COMP LINK MASTER SLAVE The COMP LINK compressor link feature allows to operate two JZ Track compressors with one control signal to ensure coherent stereo results The MASTER SLAVE switch determines which unit operates as master and which unit is being controlled as slave units would try to control each other in worst cases damaging the units can not CAUTION PLEASE NOTE Never switch two connected units to MASTER Both AN be excluded Therefore always follow this procedure when activating COMP LINK 1 Determine the master device
29. tact your dealer or JZ Microphones before you place an order Optional equipment can also be installed after sales Available option for the JZ Track 24bit 96kHz A D converter user installation possible e Lundahlinput and output transformers installation only by qualified technicians or SPL AD 24 192 SAMPLE RATE SYNC INPUT DIGITAL OUTPUTS Converter pO O 9G rz LOCK a 1 x SPDIF Model m48 SPDIF OPTICAL Made in 1090 192 kHz when clocked via Sync Input OUTPUT OUTPUT Germany 24 96 AD converter model 2376 The optional converter card provides a digital output Output signals are delivered via a S P DIF output through two sockets one RCA socket and one optical socket The converter provides 24 bit signals All common sample rates can be selected see below Highly accurate quartz oscillators ensure a clean low jitter master clock SAMPLE RATE The A D converter allows you to select among the four most common sample rates of 44 1 48 88 2 and 96 kHz The 44 1 48 button selects one of the two basic sample rates out 44 1 kHz in 48 kHz The x2 button doubles these sample rates to select 88 2 or 96 kHz respectively DIGITAL OUTPUTS The converted S P DIF signal is routed in parallel to the RCA and optical outputs The signalis in professional format with no sample rate data in the status block SYNC INPUT Since this is an AD converter the SYNC INPUT is no audio signal input The SYNC INPUT allows you
30. to feed the converter with an external sample rate Connect an S P DIF output from your master source e g DAW interface to the SYNC input The AD converter will automatically switch to the same sample rate that is received The A D converter 2376 is not equipped to accept Word Clock synchronization The yellow Sync Lock LED illuminates when a valid sync signal is present at the SYNC INPUT and the converter is automatically synchronized to the external sample rate To prevent interference the internal oscillators are automatically disabled when an external clock signal is present If the sync signal is no longer present e g in the case of a dropout the converter automatically reverts to the sample rate selected via the converter s control switches Information on I O transformers We think a good part of the warmth that is commonly associated with vintage gear comes from transformers With transformers the low end and lower mids sound rounder full bodied with more punch The top end gets a silky touch and benefits from improved presence without sounding boosted Reasons are reduced odd harmonics which produce harsh top end impres sions and a slower characteristic compared to electronic stages which causes a more volumi nous sound We recommend transformers especially for vocals while electronic stages can be better for highest precision in signal transmission transients but in the end it s a question of personal taste application
31. to provide the appropriate cable for your application JZ Track Rear Panel Sockets and switches VOLTAGE The rear panel VOLTAGE selector sets the local line voltage 115V position 110 120 volts 60 Hz 230V position 220 240 volts 50 Hz The diagram to the right shows the correct switch position for 230V power supply BEFORE you connect electrical power make sure that the VOLTAGE selector setting reflects the correct local power line voltage Power connection and fuses Connect the power cord to the rear power socket Transformer power cord and case connec tion conform to VDE UL and CSA requirements The power socket also houses the fuse It is accessible from outside and placed right behind the flap below the socket Fuse ratings are 315 mA slow blow 230 volts or 630 mA slow blow 115 volts 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 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 switch on the front panel Please read the important notes in chapters 48V an
32. y Information A 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 fluids Never allow a foreign object through any ofthe machine s chassis openings You can easily come into contact with dangerous voltage or cause a damaging short circuit Never allow any fluids to be spilled or sprayed on the machine Such actions can lead to dangerous electrical shocks or fire 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
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