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User`s Manual - TC Electronic

1. asc amp e jg usc cene DENM Eu Without Bass Management With Bass Management 11 Trim Range 20 dB to O dB Individual trim levels for each channel 12 DLY Range O to 30 ms Perfect listening conditions and placement of speakers according to an ITU 775 circle are not always possible This delay parameter allows for individual alignment of speakers 13 Output label The physical outputs have fixed names according to the labels on the rear panel However you can also add an additional personal label to these channel 20 outputs OUTPUTS PERSONAL LABEL MAIN OUT BM 6A mkII Bass management The bass management system is designed to subtract the bass contents of all main channels and reproduce this by the use of a subwoofer and is easily set up with the Studio Konnekt 48 Let us take at look at the components and how to set up bass management using the Studio Konnekt 48 The Subwoofer A subwoofer is a monitor that reproduces low frequencies The purpose is to take over from the main monitor s as frequencies approach the lower end of the monitors frequency range Depending on the performance and size of the main monitors the used threshold frequency between main monitors an sub may vary from 80 to 120 Hz From psycho acoustics we know that there is no directional information in audio signals below approximately 120 Hz Hence the advantage of placing the subwoofer in a position where the best distribution is
2. a L L L 2 E CHO CO CHEM CI GUITAR BASS U S QUvogA3 ge 70 uso D i nini THRU a EE a E ess MANAGEMENT a 8 a ate B ous Bm 30 B Q unuseD 10 Bl a 0 ICES JO m o 8 Co 0 E 3o 0 Bru 10 B Bm 0 B Blum 0 B Jg 22 23 SETUP EXAMPLES BASS MANAGEMENT amp INTEGRATION ACTIVE SPEAKERS LEFT SUB DAW COMPUTER WITH FIREWIRE LINE 8 MAIN R FIREWIRE ee MAIN L CAT 5 STUDIO CONTROL SPDIF LINE 5 OUT z n ul z l REVERB 4000 po ANALOG FILTER INY OUT po 24 RIGHT SETUP EXAMPLES BASS MANAGEMENT amp INTEGRATION Features in this setup e One stereo set of active speakers and one active Sub The sub is fed with both the LFE channel signal and lo freq signal from the main channels via bass management e Two separate sends for monitoring on headphones via AUX 1 and AUX 2 sends on the TC Near mixer page e Computer with TC Near control panel and DAW application e Integrated external digital reverb via S PDIF and the Integrator plug in e Integrated external analog filter via analog line I O Please refer to the instructions for the Integrator plug in on the following pages aaa Setting up e Select DAW Main Out 1 2 as source Set speaker to on and assign to main JENNI ess M oe CITTETTTTITTITT
3. achieved The LFE Channel LFE is short for Low Frequency Enhancement or Low Frequency Effects the first being the original name but the second being the most correct with regards to its application It is also referred to as the 1 channel which indicates that the frequency range of this channel is only a fraction of the other channels in a multi channel setup The actual frequency range is 20 Hz to 120 Hz 14 Bass Management For bass management to be active a few conditions must be setup main channels must be assigned MAIN MIX for bass management of the main channels to be active mark the bass management box AW OPTICAL 6 z amp a subwoofer is connected to line out 8 and thus any LFE channel should be routed to this output by setting Assign to Sub MAW LINC wu 7 ri YY nu DAW LINE OUTS v x 4ABC suse v f maurituuc ora KA are 15 X OVER 0 24 dB octave v Sets the X over frequency for the main channels to determine the frequency where the main channel signal is split Frequencies below this point is routed to the sub channel line out 8 X BASS MANAGEMENT MAIN CHANNELS LFE CHANNEL DAW LINE OUT 8 24 dB octave v SETUP PAGE 16 17 High Pass amp Low Pass The high low pass filters filtrate the signal before distribution to main and sub channels The high pass filter is typically used when relatively small main monit
4. patent pending Next generation of jitter elimination and sync handling based on experience from TC flag ship System 6000 EQ station and AIR speakers DICE II has been specially developed for high performing digital interfaces S PDIF ADAT 1394 and AD DA DICE II is based on many years of research and experience from making products for the top professional market including studios and broadcast industry The DICE II s hardware based FireWire audio streaming engine ensures robust glitch free performance independent of how many channels are being streamed FIRMWARE UPDATE amp RESET TO DEFAULT Versions This section gives information on Control panel versions and FireWire driver Check for updates e fthe computer is connected to the Internet you may check for updates by pressing CHECK FOR UPDATES You will be directed to the Konnekt product page at www tcelectronic com e Press Click here to download the latest version and download the full installer e Run the installer Updating firmware e Once the installer has been run see above the latest version of firmware is placed in the TC Near folder on your hard drive e You will now need to update the firmware for each Konnekt unit in the setup e Goto the About page for the unit you want to update Example TC HEAR CONTROLPANEL DESETOKEOANFETA iS SYSTEM SETTINGS FABRIK STOMA ramum m runt Wo konnekt 48 FIRMWARE VERSION 1 08 BUILD 1
5. 8 9 10 11 12 dB Meters 1 4 Indicate the signal level present on the four inputs on the front panel Meters 5 6 7 8 9 10 amp 11 12 Indicates the signal preset on the line inputs on the rear panel The meters always indicate the loudest hottest signal of a channel pair Orange LEDs for ADAT S PDIF amp TOS The orange LEDs refer to the lock state of the digital channels Lock is acheived when the orange LEDs are lit Orange LEDs for MIDI LEDs for indication of MIDI In Out 7 FireWire Power LED indicator When Studio Konnekt 48 is hooked up via FireWire the blue LED in the right side of the display can indicate the following Steady lit Connected to FireWire Flashing Uploading firmware hardware error or FireWire communication error Off The Studio Konnekt 48 has no connection to the driver maybe because the driver is not installed 8 Valid LED The master output level can be set using either the physical OUTPUT knob via the Studio Kontrol remote or via the TC Near software mixer If the green LED is 10 FRONT PANEL lit the current position of the knob matches the actual output level Output Level control Sets the output level and overrules the level previously set by the Studio Kontrol remote Phantom Power 48V The XLR part of the Combo XLR Jack connections features 48V phantom power when this switch is set to on Phantom power is used to power line drivers and condenser microphones Th
6. MIDI channel and MIDI controller type from the drop down menus in normal mode and push mode 39 FABRIK C STUDIO Introduction Fabrik C Studio is based on the innovative Meta Intuitive Navigation Technology MINT that redefines the way you use professional audio plug ins for professional results We have integrated a simple yet highly effective and intuitive approach to working with audio and the result is a user interface with few handles that are effective but simple to use Often people think that if you want to create professional results the process has to be tedious and complex we don t agree The Fabrik plug ins introduce a new way of working with audio and they build on proven and award winning TC technology ensuring the highest level of audio quality Fabrik C Studio is a full blown channel strip plug in with EQ De Esser 3 band Compressor and Limiter in one single plug in With MINT you have total control of all parameters using only a few dedicated knobs The EQ section is a 4 band parametric EQ with high low pass filters choose between 4 different filter types Based on no nonsense design the De Esser is controlled using a single fader With a built in 3 band intelligent compression technique the Compressor is not only one of the best compressors available it also gives you the means to avoid bad side effects compared to traditional compression Combined with the Limiter the compression section can be used in
7. Near control panel will be visible in the drop down menu SAVE By selecting Save you can save your preset to any folder in the system that you have write access to including any shared folder By default presets are saved to the default location of the TC Near control panel presets P1 P2 amp P3 The TC Near control panel has 3 preset locations you can load and save presets from and to These presets are total recall and hold all settings on all pages including settings for the Fabrik plug ins 58 59 RESONANCE FILTER Studio Konnekt 48 comes with ResFilter a plug in that offers state of the art filtering effects Throw in resonance 6 12 and 24 dB slopes for even more stunning sounds Its inter communication bus facilitates controlling and tweaking multiple plug ins and parameters from one plug in cross fading between two instances of the plug ins etc Basic operation The ResFilter integrates as a pure VST AU filter and does therefore NOT open from the TC Near control panel like the Fabrik plug ins e First select the filter type lo pass or hi pass and the slope e Then adjust the resonance amount the resonance will occur at the filter s cut off frequency Please note that a filter with a slope set to 6dB does not have a resonance e The ResFilter is controlled by an envelope follower which has depth attack and decay time controls Attack and decay time define the enveloper follower s responsiveness Depth def
8. R Studio and Fabrik C Studio amp 192 kHz are not available 5 File The output section offers numerous choices of configuration and this section therefore has its own preset menu Presets contain all the parameters in the output section Load and Save files via this menu LOAD SAVE M User Presets gt SETUP PAGE Routing Channels to Outputs Introduction basics The main purpose of the output section is routing of the physical DAW and FireWire input channels to the physical outputs Starting from left going to right we have the the Source select that allows you to select the input you intend to route SOURCE 8 DSP MAIN MIX 1 2 v UNUSED PHYSICAL 142 v MALA i TA aera l the option of routing source signal to any of the three speaker sets A B C and furthermore setting individual trim and delay for each source SOURCE DIRECT SPEAKER ASSIGN TRIM DB DLY MS LE MAIN MIX asc mane 00 T foo i E giving the outputs personal labels Y MS LEVEL OUTPUTS PERSONAL LABEL 0 1 E 0 MAIN QUT eem let us take a look at each element of the Output section in detail 18 6 Link button Example Typically you would prefer having main outputs linked but you may unlink main L and main R if individual delay or trim is needed Linked SOURCE SPEAKER ASSIGN TRIMdB DLY MS LE G CDSP MAIN MIx 142 v X 5 MAN v 0 0 T 00 i E Unlinked SOURCE SPEAKER ASS
9. STUDIO CONTROL REMOTE PAGE The Remote page handles various options for the Studio Kontrol Fallback to master TC NEAR CONTROLPANEL i COX DESKTOPKONNEKT6 svstefs FABRIK C STUDIO2 FALLBACK TO MASTER LEVEL KNOB MIX PUSH MODE EFFECT BUTTON The big encoder is per default assigned to control the master volume However it can also be used to adjust the other parameters that can be selected via the Studio Kontrol buttons Via the The Fallback to master drop down menu you can set the time it takes before the encoder controls the master volume again after it has been assigned to another parameter Example Notice that the LED in the MASTER button is lit indicating that the big encoder controls the MASTER level parameter Set Fallback time to 2 5 seconds Press MICI and turn the big encoder You are now adjusting the level of the MIC1 channel Don t touch the encoder for 2 5 seconds and see that the MASTER button is lit again indicating that the encoder now controls the master level again 38 LEVEL knob Mix push mode TC NEAR CONTROLPANEL FALLBACK TO MASTER 2 5s LEVEL KNOB MIX PUSH MODE v PAN BALANCE L UL Ime REVERB SEND EFFECT BUTTON AUX 1 SEND AUX 2 SEND The big encoder on the Studio Kontrol can also be used to adjust the following parameters Pan Balance Reverb Send and AUX 1 2 send levels Select the parameter from the drop down menu Then press e g the MICI
10. clocking a CD player is uncontrollable and can thus only act as master 3l SYSTEM SETTINGS Again we have to stress that not only does Studio Konnekt 48 provide a high quality clock but it also facilitates excellent jitter elimination that will clean up a less than perfect digital signal from an external source such as a CD player The CD player is connected to SKA8 Nol via Tos link optical S PDIF SK48 Nol is selected as Clock Master on the System Settings page and Sync Source is set to Optical S PDIF SETTINGS STATUS CLOCK MASTER SK48 No1 d SYNC SOURCE TOS 1 2 Y SAMPLE RATE 44 1 kHz only v Pani CLOCK recovery x CURRENT SAMPLE RATE 44096 Hz 32 The R4000 is connected to the other Konnekt in the setup SK48 No2 and it is set to slave to S PDIF 1 2 Sample Rate If Sync Source is set to Internal the sample rate must be set The options are 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz mixer not available 192 kHz mixer not available Typically the sample rate is set by your host application If you e g play a 44 1 kHz project the sample rate automatically shifts to 44 1 kHz If you later load and play a 48 kHz song the sample rate shifts to 48 kHz Please note that even though Studio Konnekt 48 receives information about the sample rate it still provides the actual digital clock Prevent from changing sample rate When any application in
11. remote Should this manual leave any of your questions unanswered please use the TC Support service which you can access via our website www tcelectronic com Over a period of time we will collect the most frequently asked questions and update the manual accordingly Manual updates are available for download on our website in PDF format The current manual revision number is found at the bottom of page 3 World class DSP effects e 4 simultaneous 4 band EQ multiband compression channel strip and mastering effects based on TC System 6000 algorithms e No compromise built in reverb based on TC Electronic Reverb 4000 technology All plug ins VST and AU compatible Intuitive guitar tuner ResFilter plug in Assimilator Konnekt plug in Hardware effects Integrator plug in Desktop remote control with integrated talkback microphone optional e Full mixer at your hand e Built in talkback mic e High resolution LED light ring e Compact design More e DICE II JetPLL jitter elimination technology e Clock recovery e Expandable with all other Konnekt interfaces thru TC Near Unpacking e Open the box from the top and remove cabling e Lift out Styrofoam insert then using both hands lift out Studio Konnekt 48 e Remove plastic bag from Konnekt e Inspect your Studio Konnekt 48 for signs of transit damage e In the unlikely event of this having occurred inform the carrier and the supplier e Keep all the packaging if damag
12. set higher than the normal level Talkback routing The AUX sends are typically used for setting individual mix levels on the two headphone outputs The AUX 1 AUX 2 and MAIN buttons determine to which outputs the talkback signal should be sent Talk button Press the TALK button on the Studio Kontrol Remote or on the mixer Listen back function Per default all output channels are muted when talkback is activated It is however possible to keep feeding selected channels to the outputs even when the talkback is invoked For this we use the Listen back function Press TALK and you will see an L button appearing just below the MUTE M and SOLO S buttons on each channel 14 Click the L on the channels you want to feed to the outputs when talkback is active Notice that the listen back function overrides the dim function in order to be able to communicate with the recording musicians 19 AUX Channels This is the Fabrik R return level Press M to mute the Fabrik R return Even on the AUX channels you are allowed to insert one of the Fabrik C Studio compressors Assuming you use the AUX channels to set up one or two mixes for the headphone sets used by the recording artists you may want to hear what you are currently sending to the AUX channels in the control room main monitors Press TO MAIN to send to the AUX send to the main mix 20 Master Level Channel MAST
13. strings Bass 4 open strings Bass 5 open strings Bass 6 open strings Banjo Bluegrass 65 APPENDIX ASIO CHANNEL NAMES STUDIO KONNEKT 48 SIGNAL FLOW This page describes how the Konnekt ASIO channels distribute according to the selected sample rate 44 1 kHz 96 kHz normal low rate and 176 4 kHz 192 kHz quadro high rate double mid rate phantom computer 48V to fro A v mixer 24 8 eS Ent Inputs Outputs Inputs Bici deis EN Doista m ronm eL L3 BZ 5 9 Manis 1 miclinst in 1 1 main out 1 1 miclinst in 1 or C e Emo fon qa sew m ou AG ae 2 miclinst in 2 2 main out 2 2 miclinst in 2 nei anum pad a uu oU ee 3 miclline in 3 3 phones out 3 3 miclline in 3 feng combo e em y Ss e 43 0 ree 4 miclline in 4 4 phones out 4 4 miclline in 4 eus m mt a p Mm F ain thim pad ores eus A Phone 5 line in 5 5 line out 5 5 line in 5 MP RE ou me NM 6 line in 6 6 line out 6 6 line in 6 ch6linein e w rms uy hous 2 tek ee ch5 line out Left 7 line in 7 7 line out 7 7 line in 7 Umen O cet SE ES EL aeei Tm 8 line in 8 8 line out 8 8 lin
14. the amount of drive for the soft saturation Output Range 100 to 100 Sets the output level 61 RESONANCE FILTER Communication Using the communication section it is possible to send and receive parameter movements between instances of the plug in In other words a parameter on one instance of the plug in can control an unlimited amount of parameters in other instances of the plug in Communication is not limited to each of the parameter types but works very fine across parameter types For example the Cutoff parameter of one instance can control the output level of another instance Let us take a look at the parameters in the communication section Parameter w Cubotf R sonenos Mute Driv Cultu Selects the parameter you would like to link to a parameter in another Res Filter instance Meaning this is the handle you will use to change parameters in other instances of the plug in Role Sets the role of the plug in instance If Master is selected you can control other instances set to Slave 62 Target Parameter This is where you select the parameters to control in the other instances of the plug in Send Curve The send curve determines how the slave parameter should react to movement of the master parameter E g you may prefer that the value of the slave parameter moves in the opposite direction of the controlling parameter Range Using the range parameter you can limi
15. you a sound that is sharp sweaty funky and really emphasizes the rhythmic and percussive qualities of your track Limiter The Limiter is used to prevent overloads occurring at extreme and occasional peaks in the source material peaks that may not be caught and attenuated sufficiently in the Compressor As the Limiter can be used to limit the extreme the Compressor can be used to apply a much more musical and gentle compression EQ Section The Fabrik C Studio EQ section is a 4 band parametric EQ that gives you full control of high and low pass filters Four filter types are available offering Notch Parametric Shelving and Cut If you are looking for a razor sharp filter use the Notch filter which has a range as low as 0 01 of an octave For a more gentle approach go for the shelving filter that sports a variable slope with a range from 3 dB oct over 6 and 9 to 12 dB oct The Cut filter can be switched between a flat amplitude maximum of 12 dB to an octave and a flat group delay type For a natural and well behaved bandwidth apply the parametric EQ De Esser A De Esser is a compressor type used to reduce only specific sibilant frequencies Typically the s sounds can be far too dominant on a vocal track and the track would therefore often benefit from being processed by a De Esser Headroom To avoid internal clipping and to secure ease of use all processing is done in the 48 bit domain and is not truncated to 24 bit befor
16. 02 1 kHz 1 dBFS lt 103 dB A 20 Hz to 20 kHz 0 0 1 dB 20 Hz to 20 kHz lt 99 dB 20 Hz to 20 kHz 24 bit 128 x Oversampling Bitstream 0 1 0 2 0 4 ms 2 x 1 4 TRS Jack Stereo 80 Ohm 18 dBu analog gain scale lt 9od B 0 003 1 kHz 1 dBFS lt 101 dB A 20 Hz to 20 kHz 0 0 2 dB 20 Hz to 20 kHz lt 90 dB 20 Hz to 20 kHz 200 mW 93 mW EN 55103 1 and EN 55103 2 FCC part 15 Class B CISPR 22 Class B IEC 60065 EN 60065 UL6500 and CSA E60065 CSA FILE LR108093 32 F to 122 F o C to 50 C 22 F to 167 F 30 C to 70 C Max 90 non condensing In Out 5 Pin DIN IEEE 1394a IEC 61883 19 X 1 75 x 7 3 483 X 44 x 185 mm 5 5 lb 2 5 kg Anodized aluminum front panel Plated and coated steel back top plate 6 LEDs pr mono channel 6 LEDs pr stereo channel 90 to 240 VAC 50 to 60 Hz Auto Select No 25 W 1 Year
17. 853 Miknema amp x48 Mol RESET TO DEFALRT c teg TC Fletes 208558 A rights ne serene DEP TOTAL RECALL FME P1 F2 F3 e Press UPDATE FIRMWARE and you will be directed to the folder where the firmware is located Example Ploase sobect the filo to upload Ik Look se e Ferrera 7 ET ED E Tal urbt NEN IT Wy Documerni 4 Lem Cancel e Select the xxx bin file with the highest number This is the latest released firmware e Now press Open and wait while the firmware is being updated Reset to Default The Reset to Default function will reset the selected Konnekt unit to factory default settings for the currently loaded software The software will not be degraded to previous Mena software versions and no presets are affected 69 TECHNICAL SPECIFICATIONS Digital Inputs and Outputs Connector S PDIF Formats S PDIF and TosLink Connector ADAT or TosLink Format ADATG Connector Word Clock 10 FireWire format FireWire channels Digital IO Engine Clock and Jitter Internal Sample Rates Internal Clock Precision External Sample Rates Jitter Rejection Engine Jitter Rejection Filter DIO Interface Jitter AD DA Conversion Jitter Digital Output Phase stand alone and across network Input Slip Sample Tolerance all Dis Processing Delay DIO 192 96 48 kHz Frequency Response DIO Line Inputs Ch 5 12 Connec
18. B switch for that channel The 1 4 jack connection reamp The 1 4 jack part of the connector is a high quality unbalanced Hi Z circuit that is designed especially for direct connection of a passive guitar pick up system e g Strat type directly If you want to connect balanced equipment using TRS jacks you should connect via the line inputs on the rear panel Phones 1 ADAT SPDIF TOS MIDI i ami gt 94i 1 8 1 2 1 2 3 4 IN OUT ne e o 3 6 12 24 k 40 in ax 1 2 3 4 56 7 8 9 10 11 12 dB t c electr mic ch3 4 ch11 12 phones 2 2 Pad selector The PAD selector can attenuate the input sensitivity by 20 dB If you cannot attenuate the signal sufficiently using the GAIN TRIM knob you should use the 20 dB position This is typical when connecting line level instruments 3 Gain Trim Use this control to set the appropriate input level see previous paragraph 4 Phones 1 Phones 2 Individual level control for phones output 1 and 2 5 Headphones connection Two set of headphones may be connected for monitoring Each headphones output has its own level control It is also possible to set up an individual mix for each headphones output via aux 1 on the mixer page Please refer to the description of the mixer page Warning Excessive sound pressure from earphones and headphones can cause hearing loss 6 Meters ADAT SPDIF TOS MIDI FireWire 1 8 lt 2 1 2 3 4 IN OUT LA 40 4 5 6 7
19. ER LEVEL Adjust master level using the fader or the big volume knob on the remote if assigned Press DIM for dimming function Meters indicate the current master level CONTROL PANEL MIXER PAGE SETUP PAGE C NEAR CONTROLPANEL gh E SK48 NOL DESKTOPKONNEXT SY ITTM sr T1NG8 1 i Cra SE TIEN 53 dB H 4 4 SOURCE ORAT SPCAMCR ASSIGN TRIM YMS uh OUTPUTS PERSONAL LAB D MIC CH 3 B MAIN wax G dae ww 06 foo 1 90 MAIN OUT MIC CH 4 BH MAIN Mix J unt OUT mowsi moms ee uos DAW LINE OUTS 9 B untoursy my uso 7 8 G3 ec DAW LINE OUTS OR a LINE OUT 6 R SS eao Gn a z O1 uwcorr7ic DAW LINE OUTS 34 oe v o5 f lz O LINE OUT 8 SUB ee uon aoe ee ORE a UNE QUT 9 Ls SPOF 142 DAW LINE OUT 10 v 9 e UNE OUT 10 Re e MAIN MOX Y e cot quit oe 5 Lf OUT 11212 IH on r ut Out Q srr ADAT 1 8 eae t paw oenca 1 o UNE OUT ADAT 1 WORDCLOCK DAW owna v X Lut OUT ADAT 2 K DAw OPTICAL 3 gt x ist out ADAT 3 HB SU caw OPTICAL4 A UN OUT a a af DAW OTICALS G Lint OUT ADAT 5 ow wnae 3 UNE QUT ADAT 6 aw owna 3 UME OUT ADAT 7 oaa A amp DAW OPTICAL A OF e cot cat ADAT A z BASS MANAGEMENT B 5 aao O TOS IN CHANNELS MAIN CHANNELS 3 SYNC SOROL INTERNA m INAL SAMPLE RATE 44 1 be v a CHANNEL DAW
20. G 8 and press P1 P2 or P3 simultaneously to recall presets P1 P2 or 3 DSP TOTAL RECALL FILE F1 P2 P3 6 DAW Press to control the DAW channels USER 1 to 6 User buttons 1 to 6 are accessed by pressing SHIFT followed by one of the 6 buttons in the top part of the remote MIC1 MIC2 CH5 6 CH7 8 Any channel that you have added via the Add Channel function on the Mixer page has a remote icon STUDIO KONTROL Via the drop down menu you can assign the channel to any of the 6 user buttons To access assigned channels simply press Remote Button 3 SHIFT followed by the button you have remote can assigned the channel to Remote Button 6 Remote Button 2 Which button the channel is assigned to is Q displayed within the button 7 MIC Talkback microphone for communication with the recording artist Press TALK to activate the microphone The talkback function has various functions described in the talkback section 8 PROG see 5 continued 35 STUDIO KONTROL ENCODER and LIGHTRING The encoder is used to change values for the selected parameter or function The encoder and lightring have various secondary functions when pressed once Dim function Master aux 1 aux 2 and Main mix can have can have an individual dimmed level setting Press the encoder to go to dimmed mode and once more to exit Dim mode is also indicated on the lightring See illustrat
21. IGN TRIM dB DLY MS LE DSP MAIN MIX 1 v x 4 58c MAIN v 0 0 T 0 0 DSP MAIN MIX2 v x 4A8C MAIN v 0 0 7 8 amp 3 i mm T 7 Source select Via the source select drop down menu you select the signal you are about to route The options are Physical These are the physical inputs on Studio Konnekt 48 j DSP MAIN MIX 14 4 UNUSED b MIC INST 142 DAW gt MIC INST 3 4 DSP gt LINE 5 6 ee LINE 7 8 DAW LINE O 2 UJ LINE 9 10 LINE 11412 DAW LINE OU SPDIF 1 2 OPTICAL 1 2 OPTICAL 3 4 OPTICAL 5 6 OPTICAL 7 8 H This button allows you to link unlink channel pairs DAW In this section you route the outputs of your DAW SOURCE SPEAKER AS DAW MAIN OUT 1 2 DAW PHONES 3 4 DAW LINE OUT 5 6 DAW LINE OUT 7 8 DAW LINE OUT 9 10 DAW LINE OUT 11 12 DAW SPDIF 142 DAW OPTICAL 1 2 DAW OPTICAL 3 4 DAW OPTICAL 5 6 DAW OPTICAL 7 8 DSP The DSP outputs are Main AUX1 AUX 2 outputs and Fabrik R sends The AUX outputs are typically used for headphones J OsPMAINMIxi 2 O M UNUSED PHYSICAL 142 JO 3 DSP MAIN MIX 1 2 orozco DSP AUX 1 MIX 1 2 DSP AUX 2 MIX 1 2 DSP REVERB MIX 1 2 SETUP PAGE Speaker Sets Three speaker setups can be setup and switching between the sets is easy The speaker setups A B and C can be individually labeled according to your specific application 8 Speaker or Line level In the speaker section you
22. ITTTTTTT ERR SOURCE SPEAKER ASEIGH TRIM dB Dir Ms LEVEL OUTPUTS PERSONAL LABEL B Duanan Hc wm os Tp oo 1j mmm OR nun ovr e Select DAW Line Out 8 as source and pn assign this channel as SUB Caw HES a w PHONES 1 LEFT phrsm Dot B DAW PHONES 4 w Raan i PHONES 1 RIGHT phones Oura B ms e We have set a typical X over frequency raw LINE SOT aan i uxecursi i hrec S paw ura curt X aaa T a LINE OUT amp A inethet of 95 Hz Low pass Is set to 24 dB oct ee eae GC ounecurric insu and High pass to off paw ura cur m E 148 sun wv jun Tio _ S LINE OUT B Um inechetl DAW LINE GUTS fx 440 mE i uveoursiu beth naw rir our to v 9 ase LINE CLT 20 As ineche Lo DAW LINE GUT 11 E 4 n i c unecuria brett li 8 paw tirar cur 12 E 458 o c unt cura inethel EA 0 mW g Um ET Bi UNUSED ID E SPDIF RIGHT spe Coat B onam D B TS 147 bptoDot 1 43 BI musee 9D fs 2 ToS 344 opie 3 4 B onam J0 bptoCutt fs E LIT CHANNEL 0N LENT ERIT HJ 25 INTEGRATOR The Integrator plug in for Studio Konnekt 48 makes integration of external hardware into your DAW environment seamless Integrator offers a plug in audio routing representation of your external digital effects processors and operates as a normal VST AU plug in The Integrator plug in can be inserted on any track utilizing external effects as send o
23. LINE OUT amp SUR CHANNEL t ps TOTAL recau FEE F1 3 P3 tc electronk l6 Input section Overview of the input channels Idle inputs are grayed out If a device is connected to an input the icon will display this Example Nothing connected XLR device connected 1 Mic Ch1 4 Channels 1 4 connections on the front panel are auto sensing They automatically detect whether you have connected an XLR microphone or 1 4 jack instrument and display this graphically Nothing connected Mic XLR Inst Jack These are the options Optical Format 2 Optical Input Format Select between ADAT or TOS Stand Alone Clock Settings To apply the stand alone clock settings power off the unit disconnect firewire cable form unit switch on the unit again SETUP PAGE SYNC SOURCE NOMINAL SAMPLE RATE ADAT TOS 142 TOS 3 4 S PDIF WORDCLOCK y INTERNAL 3 Sync Source See the options in the illustration above Studio Konnekt 48 will attempt to lock to the selected sync source A steady orange LED above the meter for the relevant format indicates lock A flashing LED indicates no lock 4 Nominal Sample Rate Depending on the selected sample rate there are few restrictions with regards to the plug ins Options are 44 1 kHz Both Fabrik R Studio and two Fabrik C amp 48 kHz Studio are available 88 2 kHz Fabrik R Studio and Fabrik C Studio amp 96 kHz are available 176 4 kHz Fabrik
24. LUG IN MODE Plug In mode must be selected when Fabrik R Studio is used as VST plug in Internal mode Use internal mode when Fabrik R is used without a host program with VST facilities Example Using Plug In mode in a recording situation will add a slight delay on the reverb The delay length is depending on the selected Buffer Size set on the System Settings page However as the reverb is used as a send effect unlike Fabrik C which processes the entire signal you will most likely not notice that delay in a recording situation on the Reverb Therefore we suggest using the Plug In mode for Fabrik R in both recording and mixing 57 PRESET HANDLING FABRIK C amp FABRIK R Preset Handling The comprehensive file based preset architecture makes storing presets a simple process Presets are saved as discrete files on your hard drive Once a preset is saved on the default location it automatically appears in the File menu Preset File Menu DSP TOTAL RECALL FILE F1 Pressing the File button will open the File menu The File menu allows you to load or save into the currently selected program P1 P2 and P3 The following options are available from the File menu LOAD By selecting Load you can navigate to any folder in the system including shared folders By default you will be directed to the default location for Studio Konnekt 48 presets Only presets located in the default file locations for TC
25. Studio Konnekt 48 ee eo TI e User s Manual English Version IMPORTANT SAFETY INSTRUCTIONS an equilateral triangle is intended to alert the user to The lightning flash with an arrowhead symbol within NOORWND 10 11 12 13 14 the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus Only use attachments accessories specified by the manufacturer Use only with the cart s
26. Xn interface to the ADAT inputs DAW COMPUTER WITH FIREWIRE Speaker set A Speaker set B Speaker set C Main speakers with bass management Surround Lo Fi rm fe OU e mer 31 3 j wmm 3 3 3 3 e 3 31 3 3 mmm 5 5 2 f coi PISETS SPEAKER ETE RA peur FIREWIRE SELL ee ee Bec SOURCE SPENNER zama AER B Dam MAIN CUT a7 3 Ae B mr iux 152 O IH B EX LINE GUT S gt x 4 N D LI CRT v AC ge H sam DX Like CUTS x dame G coo cammn corte an mos B Ceum 8 i X EE o Se unt 01 56 Cz jg Comers es pom CIE a ee moras GD DW Lief OUT Y 9 sete UNE O 9 30 Daw owt our 7 2 n se US AEE C 1a ee imtos a gimus or s sorin nox Daw Love our 20 ee DAN Line GUT 11 v 3 4 c e Q mwi oE B fae ori amp acc n TOS 3 4 wo cx uwustD 0 womaox NU 8 ruo J0 oo T eo i g Bl poem ar r E nans Bm B SAW RINE CRIT 0 G oa aM Eu WWE EXIT 7 amp 4 8 B Fon awe outa 7 C An g Leneroecours GD e gp Cone urt cure gt Gane 9 Bu LINE CRIT id e 4 87 E pw Live cur to a ame aeee ga OQ g Geet G ac owe ari e 6 c ICI DW LNG GT iz E as CAT 5 STUDIO KONTROL JJI o LINE OUT 11 L i LINE OUT 12 R LINE IN 56 CE LINE IN 748 59 eo mam L L
27. a musical way without worrying about overshoots Main features e Built in MINT Meta Intuitive Navigation Technology e Three main sections with TC technology EQ de esser and compressor e Predefined presets based on source selection e Intuitive and easy control of dedicated parameters Instant gratification e 4 band parametric EQ e Scalable de esser e 3 band full band compressor e Limiter e Control multiple parameters with few knobs e 48 bit double precision e Access the Fabrik C Studio channel strips by pressing Fabrik C Studio 1 or Fabrik C Studio 2 FABRIK STUDIOI FABRIK C STUDIO2 AT 96kHz USE 2 40 FABRIK C Overview TE REAR CONTHOLFANEL THLE ROUTING TER UL AT UME ee EYETECH SETTIHGE bamer eTa s Hack M mures c4 Gore m AIHE in TUNHE Ime WD 0 Co a IH 0H cu Bw DE ESSER TEE aT vil Qmm ox B Lc elecronk pe TOTAL neca FRE T E E Full band or 3 band compression Fabrik C Studio includes both a 3 band and a Full band compression mode As Fabrik C Studio is a plug in that is designed to be used on single sources and not as a dedicated mastering tool you might wonder how the 3 band mode applies An overall rule of thumb is that if you are working with a source that has a wide frequency range with large peaks in specific frequency areas you are most likely best off using the 3 band mode If on the other
28. age C4 BS 1363 of 1984 Specification for 13A fused plugs and switched and unswitched socket outlets e This equipment should be installed near the socket outlet and disconnection of the device should be easily accessible e To completely disconnect from AC mains disconnect the power supply cord from the AC receptacle e The mains plug of the power supply shall remain readily operable Do not install in a confined space Do not open the unit risk of electric shock inside Caution You are cautioned that any change or modifications not expressly approved in this manual could void your authority to operate this equipment Service e There are no user serviceable parts inside All service must be performed by qualified personnel EMC EMI amp CERTIFICATE OF CONFORMITY EMC EMI This equipment has been tested and found to comply with the limits for a Class B Digital device pursuant to part 15 of the FCC rules These limits are designed to provide reasonable protection against harmful interference in residential installations This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determin
29. all drop down menu just below the channel meter you can insert one of the two Fabrik C channel strips or none l E i Iz E nine MWNE 1 Fare x pr a7 L4 12 11 Sends Each channel has three sends One for the Fabrik R reverb and one for each of the two AUX sends Each send can be set as a pre or post fader send The routing of the sends is set up on the Setup page 12 Pan Balance Fader for for left right panning Press Ctrl Shift and left mouse button to center 13 Mute Solo Press M to mute the channel output and S for soloing this channel 14 Channel Fader Fader for the output of the channel 15 Fader assign Studio remote control symbol Some channels and functions are by default assigned to the Studio Kontrol remote However any channel added with the Add Channel function will appear with the remote control symbol By pressing this symbol you are allowed to assign this channel to remote buttons 1 6 when the remote is in shift mode Press the remote symbol to access the drop down menu and select between Remote Button 1 to 6 TE 16 Channel pair link unlink Press to link unlink channels pairs see example on the following page CONTROL PANEL MIXER PAGE Example The recording artist is typically placed in a recording Linked Unlinked room wearing headphones The Talkback function allows FRONTPANEL you to communicate to the performer either via the small pill built in microp
30. background music from your media player or watch a DVD movie while working on your audio application at the same time Via the Advanced tab you can select between different speaker setups playback option KONNEKT WDM DRIVER Example 5 1 selected as playback Advanced Audie Properties SEE Perkoenance P 5 lael th ife s ph an ha ii aiil Bei ha biag pia S i 2 Cuin Corina pes TC Near WDM page Depending on the sound recording and sound playback options set in the Sound Recording an Sound Playback advanced options the TC Near WDM page will change accordingly In the example below we have selected a 5 1 speaker setup for playback and a stereo setup for recording TT ARAB CONTEC FEALL 29 SYSTEM SETTINGS Access the System Settings page by pressing the System Settings tab B 1 TC NEAR CONTROLPANEL stt SK48 NO1 SYSTEM OHS SYSTEM SETTINGS BUFFER SIZE LATENCY 5 8 ms STATUS SK48 Nol INTERNAL bal v D ne SAMPLE RATE 44 1 kHz CLOCK RECOVERY EX CURRENT SAMPLE RATE 44100 Hz TC NEAR CONTROL PANEL 1 4 0 r1807 TC NEAR 1394 FIREWIRE DRIVER 3 0 0 35 uffer Size System Press to enter the page holding the system settings Buffer Size The buffer size can be set from 32 to 8192 samples The higher buffer setting the longer latency through Konnekt The default buffer size is set to 256 samples The driver latency is also indicated in ms mill
31. beck Chief Executive Officer INTRODUCTION Safety instructions 0 0 0 0 naana a EMC EMI amp Certificate of Conformity b Table of contents lllu 3 IntfOO UC OTT osx dci ret n T TOREM 4 Setup NOLES s dus cr en DT RC UOCE OE 5 Computer requirements 5 OVERVIEW Front panel overview ln 6 Rear panel overview 00 eee ees 8 CONTROL PANEL Mixer page c cetera o ret Ri e oie 10 Preset handling ose er RS RS 15 Setup Dade 26 Baie ry WR Ae LOE ees 16 Bass management sss 20 SETUP EXAMPLES Studio recording amp monitoring 22 Bass management amp integration 24 Integrator vu ataca asd OS eR a d 26 Konnekt WDM driver llus 29 System settings i anaana 30 Studio Kontrol Remote 34 Studio Kontrol Remote page 38 Fabrik C Studio raso b Res 40 Fabrik R Studio naana anaana omnes 52 Preset Handling 26 06 sse e ne 58 ResFilter uas itat e Bias ru e Mckee eles 60 TUTIBI s coque Mg ge arra I a RR PA eh rid 64 TC Electronic Sindalsvej 34 DK 8240 Risskov info tcelectronic com TABLE OF CONTENTS APPENDIX ASIO channel names sn 66 Signal flow 35a uos ach 8 ease ep dota ef ul 67 2 0 NEP EDT EDI 68 Shortcut keys e ovv rcp e ee E eed 68 DICE background o eive Re ERU 68 Firmware update amp Reset to default 69 English Versi
32. bles to external units are properly connected a pink noise test signal can be sent to left right channels Use L or R to send to left right channels individually You may also press AUTO Then Integrator will send a pink noise signal that alternates between Left and Right channels EX To prevent sending a test signal at max level O dB FPN to the selected 1st audio channel the test signal level will automatically be turned down when pressing L R or AUTO However you may change the test signal level by grabbing the yellow triangle and moving it up down The set level for this instance of the Integrator will be remembered NOTE 5 6 Send Return levels By moving the two yellow triangles next to the Send and Return meters you can set the Integrators send return levels Adjust these according to the I O levels on the sending device Meter indications should be as close to O dB as possible without overloading 27 INTEGRATOR Integrating external hardware with your DAW Let us take at closer look at the integration of the Reverb 4000 from the setup example on page 24 LEFT DAW COMPUTER WITH FIREWIRE RIGHT SUB ay WS SY ZY f CAT 5 Ue STUDIO CONTROL REVERB 4000 E ANALOG FILTER 5 oj Z L o ito W ul z z S 3 The example shows how Studio Konnekt 48 and the Integrator plug in allow integration of ext
33. button for the front panel channel 1 Now click once on the big volume knob and turn to adjust the parameter value After the interval set by the Fallback to Master parameter the encoder returns to the state where it controls the master level EFFECT button Via the drop down menu the EFFECT button can be set in two modes Reverb Time Decay or MIDI REVERB TIME DECAY When the REVERB TIME DECAY option is selected you can control each of these parameters by turning the big encoder To alternate between Reverb Time and Reverb TC HEAR CONTROLPANEL DES TIFRINNEEKTE i VALLHALK TO MANTIE Ce seror FABRIC CSTUG AERE zm SPS TEM M oa FABRIK C STUDIOS STUDIO CONTROL REMOTE PAGE Decay level simply click once on the encoder TC NEAR CONTROLPANEL Cem DESKTOPKONNEKTG RN rasa C STUDIO FALLBACK TO MASTER LEVEL KNOB MIX PUSH MODE EFFECT BUTTON REVERB TIME DECAY v 2 55 PAN BALANCE Y v REVERB TIME DECAY MIDI i DSP TOTAL RECALL tc electronic LEVEL KHOB MIX PUSH MODE REVERE stb EFFECT BUTTON runt CH CONTROLLER NORMAL 3 vodka PUSH 3 Pan a Smeg To mc ra O maw DSP TOTAL RECALL ri tc electranit The big encoder can also be used to send MIDI information The MIDI information is either sent to the Studio Konnekts MIDI out port and or to the DAW Select MIDI in the EFFECT buttons drop down menu Then set
34. ct Mid2 BW 0 01 oct to loct Hi BW 0 01 oct to loct Range for the Parametric filter Lo BW 0 1 oct to 4 oct Midl BW 0 1 oct to 4 oct Mid2 BW 0 1 oct to 4 oct Hi BW 0 1 oct to 4 oct Range for the Shelve filter Lo BW 3dB oct to 12dB oct Hi BW 3dB oct to 12dB oct Range for the Cut filter Lo BW Bessel or Butterworth Hi BW Bessel or Butterworth Bandwidth Q Key Values BW Q 0 5 2 87 0 7 2 04 10 1 41 46 Freq Range Lo band 20 Hz to 20 kHz Range Midl band 20 Hz to 20 kHz Range Mid2 band 20 Hz to 20 kHz Range Hi band 20 Hz to 40 kHz Gain Select the band click on the Gain field then drag the mouse vertically to change the value Range for the Parametric and Shelve types Lo Gain 12 dB to 12 dB Mid1 Gain 12 dB to 12 dB Mid2 Gain 12 dB to 12 dB Hi Gain 12 dB to 12 dB Source selection via the drop down menu Us 7 000 Saas TE pe aS L SOURCE SELECTION Miv Rol E JE Female vocal m Male Vocal Guitar tic Piana Speak id Choir Horns Bass du Kick iz Snare Mix Rack i8 Mix Soft ox FEC GAIN CONTROL c n Mix Aqstic Mix Purisk COMPRESSOR BBINZG inn HIGH RAT Trance Source Selection Use the drop down menu to select which type of material you are processing Each type selects a carefully tuned combination of the essential compression parameters Attack Release Threshold and Ratio FABRIK C STUDIO Compression 3 ba
35. e again and move for frequency gain adjustments Bands On Off Grab handle to select 100Hz ikHz 10 kHz FREG c enm 4 BW TYPE 25 0 Hz x Cut Btw Bands On Off Click to activate deactivate the four individual bands Adjusting Frequency and gain Simply grab the symbol for one of the active bands 1 2 3 or 4 using the left mouse button and move until desired settings are achieved Adjusting BW TYPE First select a band Then place the cursor within the BW Type field press left mouse button and move mouse up down to change type and bandwidth Different filter types are available for the Low Mid and High filters Please refer to the following pages for overview of the EQ types Bypass Press to bypass the EQ section 44 Filter types For Lo and Hi filters select between filter types Parametric Notch Shelve and Cut For Mid 1 and Mid 2 select between filter types Parametric and Notch Parametric Filter Broad type Powis Ham breed iara Fregen Shelving Filter Eee m Dodo w Freue pu FABRIK C STUDIO Notch Filter Narrow type kaik Ee raea sare w Wu Fewer es Cut Filter Bessel type Cad En bna 45 FABRIK C STUDIO Type Range for the Notch filter Lo Gain inf 97 dB to O dB Mid1l Gain inf 97 dB to O dB Mid2 Gain inf 97 dB to O dB Hi Gain inf 97 dB to O dB Range for the Notch filter Lo BW 0 01 oct to loct Midl BW 0 01 oct to lo
36. e has occurred as this will show evidence of excessive handling force e It is also a good idea to keep the packaging if possible for future transportation Check contents The package should contain the following items e Studio Konnekt 48 audio interface Studio Kontrol 48 remote and cable optional FireWire cable CD with software etc Safety Instructions Quick Start Guide Computer Requirements Mac OS X 10 4 Tiger or 10 5 Leopard e PowerPC 1 GHz or faster or Intel CPU 512 MB RAM FireWire IEEE 1394 port OS X 10 4 1 or 10 5 Windows XP SP2 or Vista x32 e Pentium 4 1 6 GHz or faster e 512 MB RAM e FireWire IEEE 1394 port e Windows XP or Vista 32 bit We recommend running Konnekt units on a dedicated FireWire bus If your computer has one or more FireWire connections on the chassis they will typically run on the same FireWire bus You may connect the Konnekt to one of these If you intend to run more FireWire devices simultaneously such as e g an external hard drive we recommend running this device on a separate bus SETUP NOTES This would typically be on an installed FireWire PCI card Note that such a FireWire PCI card typically has 3 ports but these also operate on a single bus Software installation e Be sure that you have the latest software Download the latest software from www tcelectronic com software e We recommend installing the software before connecting the Studio Konnekt 48 e Refer to
37. e in 8 jen S s Arp E Z aa am 2 dn ae 9 line in 9 9 line out 9 9 line in 9 chidlinein FW10 TE IM LZ D daea Tm 10 line in 10 10 line out 10 10 line in 10 chitiinein ei Ni ar EN p Odeon utes 11 line in 11 11 line out 11 11 line in 11 Bum Olea masa gy e l Poo 12 line in 12 12 line out 12 12 line in 12 manm uu m a ine y igri tirir 13 13 13 tos in 1 fost Computer 1 0 d mom EN xia 14 14 14 tos in 2 tesa 2 CES 7 oe 15 s pdif in 1 15 s pdif out 1 15 s pdif in 1 t electrenic l 16 s pdif in 2 16 s pdif out 2 16 s pdif in 2 ae studiokonnekt 48 17 adatltos in 1 17 adatltos out 1 18 adatltos in 2 18 adatltos out 2 Outputs 19 adatltos in 3 19 adatltos out 3 1 main out 1 20 adatltos in 4 20 adatitos out 4 2 main out 2 21 adat in 5 21 adat out 5 3 phones out 3 22 adat in 6 22 adat out 6 4 phones out 4 23 adat in 7 23 adat out 7 5 line out 5 24 adat in 8 24 adat out 8 6 line out 6 25 fabrikC rtn 1 25 fabrikC snd 1 7 line out 7 26 fabrikC rtn 2 26 fabrikC snd 2 8 line out 8 27 fabrikC rtn 3 27 fabrikC snd 3 9 line out 9 28 fabrikC rtn 4 28 fabrikC snd 4 10 line out 10 29 fabrikR rtn 1 29 fabrikR snd 1 11 line out 11 30 fabrikR rtn 2 30 fabrikR snd 2 12 line out 12 31 aux1 rtn 1 13 tos out 1 32 aux1
38. e the output of the Limiter 42 FABRIK C STUDIO Signal Flow 3 band mode r 3 m Comp r 3 Comp i De Eser Make up In Level i f 3 band i ue Split Limiter EQ Filter This is a schematic overview of the signals flow through the algorithm in 3 band mode As illustrated the signal first passes the 4 band parametric EQ The signal is then split into lo mid and hi bands for individual compression Cross over frequencies between the bands are set by the selected Source type After the Make up Gain section the signal passes the Limiter Signal Flow Full band mode Comp Make up In Level Gain Parametric a Comp u Bi EQ M Limiter The signal flow in Full band mode is similar to 3 band mode The difference lies solely in the Full band compression as opposed to the split filter and 3 compression bands found in 3 band mode 43 FABRIK C STUDIO EQ section The Fabrik C Studio EQ section is a 4 band parametric EQ with four selectable filter types Notch Parametric Shelving and Cut If you re looking for a razor sharp filter use the Notch filter that has a lower limit as low as 0 01 octaves For a more gentle approach the shelving filter with a variable slope is a better choice Cut filters can be switched between a 12dB oct maximum flat amplitude Butterworth and a flat group delay type Bessel Mark the handle 1 2 3 or 4 for the band to adjust Set the BW Type then grab the handl
39. ed by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help For Customers in Canada This Class B digital apparatus complies with Canadian ICES 003 Cet appareil num rique de la classe B est conforme la norme NMB 003 du Canada Certificate of Conformity TC Electronic A S Sindalsvej 34 8240 Risskov Denmark hereby declares on own responsibility that the following product Studio Konnekt 48 that is covered by this certificate and marked with CE label conforms with following standards EN 60065 q Safety requirements for mains IEC 60065 operated electronic and related apparatus for household and similar general use EN 55103 1 Product family standard for audio video audio visual and entertainment lighting control apparatus for professional use Part 1 Emission EN 55103 2 Product family standard for audio video audio visual and entertainment lighting control apparatus for professional use Part 2 Immunity With reference to regulations in following directives 73 23 EEC 89 336 EEC Issued in Risskov September 2007 Mads Peter L
40. ere are three main types of microphones Condenser microphone phantom power required except for some models that use proprietary power supplies or built in batteries Please check the microphone s manufacturer specifications for details Electrodynamic microphone phantom power is not required but does not harm the microphone Ribbon microphones phantom power could damage the microphone Seek advice and documentation from the manufacturer of the microphone Only the condenser type requires phantom power It is however no problem combining a condenser microphone in e g ch 1 with a standard electrodynamic microphone such as e g a Shure SM57 in ch 2 Nor is it any problem to activate phantom power and use a condenser microphone to one input and connect a guitar using a 1 4 jack one of the other inputs as phantom power only concerns the XLR connections NOTE REAR PANEL ch2 right ch1 left right left right Sid right left right left Power In Mains power in Studio Konnekt 48 uses a switch mode power supply that accepts from 100 to 240VAC Word Clock In If you want to sync to an external word clock generator connect it to WCK In using BNC connectors and select Word Clock as sync source on the System Settings page Word Clock Out Due to the DICE Il chip Studio Konnekt 48 can act as an excellent master clock generator for you setup Connect via standard BNC plugs Beware that the Word Clock signa
41. ernal digital effects devices with your DAW Connections e Reverb 4000 is connected via S PDIF coax 1 2 on Studio Konnekt 48 e Studio Konnekt 48 is connected to your computer via FireWire 28 Objects Reverb 4000 is an excellent reverb and we intend to use this as a send effect in our DAW Please refer to the reference manual for your DAW for detailed information about setting up send effects For each external effect one instance of the Integrator plug in must be set up Each of the Integrator instances then represents one external effect WDM handling Windows only WDM is Windows audio driver system and is used for Windows sounds media player and other applications that don t support ASIO An application such as PowerDVD also uses WDM as audio driver system Setting up To use Studio Konnekt 48 with WDM you need to tell Windows that this is your intension Go to Control Panel Sounds and Audio Devices Properties Audio Sounds and Audio Devices Properties Ze Volume Sounds Audio Voice Hardware Sound playback Q9 Default device d TCNear WDM Audio v TCNear WDM Audio SoundMAX Digital Audio Sound recording A Default device TCNear WDM Audio v MIDI music playback Sis Default device 4222 TCNear MIDI Out iv Select TCNear WDM Audio for both Sound playback and Sound recording Studio Konnekt 48 is able to handle even WDM and ASIO at the same time You can listen to
42. hand you re working with audio that is within a small frequency area such as e g a trumpet section or background vocals you ll obtain a great advantage using the Full band mode Let us look at a few specific application scenarios to give you an idea of what can be achieved with the different compression styles 3 band compression on Bass If you are to do a 3 band compression on a bass this will allow the higher frequencies to pass through while adding compression to lower frequencies What this gives you is better control and longer sustain and a more punchy bass with all 41 FABRIK C STUDIO the overtones intact 3 band compression on grouped sources If you have grouped several sources and want to do a global compression on this section the 3 band mode can be very effective It will give you more transparency in your overall mix as you can apply independent compression to each of the three frequency bands Full band compression on vocals You probably know that in your face airy kind of vocal that you hear on some tracks The way to get that effect is by using a full band compressor on your vocal track slowing the attack time and speeding up the release time It s pretty simple when you know how to do it Full band compression on Guitar It s amazing how some tonal instruments can get a very percussive quality to them when the right type of effect is applied Using a full band compressor on a rhythm guitar will give
43. hat allows you to completely remove an input channel that you no longer use the Auto shrink function keeps all channels in the mixer but collapses the graphics so that idle channels take up only a minimum of space Example In this example no cables are attached to the Studio Konnekt 48 s inputs and by pressing the AUTO SHRINK button we get this view 5 Channel type Indicates the channel type Front panel Digital DAW FireWire Output Line etc 6 Ch1 4 auto sensing input Channels 1 4 connections on the front panel are auto sensing They automatically detect whether you have connected an XLR microphone or 1 4 jack instrument and this is displayed graphically CONTROL PANEL MIXER PAGE These are the options Nothing connected Mic XLR Inst jack 7 Channel name editable This is the name of the mixer channel Click once on the name using the mouse to edit the name All Channels 8 Input Level meters amp 4 dBu 10 dBv sensitivity The meters indicate the level of the signal present on the input channels Best signal to noise ratio is achieved when the input signal only occasionally peaks at O Adjust the level on the sending device while watching the meters You can toggle between a 10 dBv 4 dBu sensitivity for line input channels by pressing 9 Clip LED RED When the Clip LED is lit the signal is too hot Reduce the level on the sending device to compensate 10 Channel inserts Via the sm
44. hone located in the Studio Kontrol remote or via a microphone connected to Mic Input 4 or via Line In 12 Selecting talkback microphone The talkback microphone in the Studio Kontrol is selected per default e To change to either mic preamp 4 or line input 12 first close the talkback channel 17 Monitor mix on off Tick of this box if you do not want to use the TC Near direct monitor feature Output section 18 Talkback function e Then press ADD CHANNEL and select talkback channel under talkback Talkback microphone LISP 5 LIMF Feil ec cet iint Maelan DneInfe 4 a dJ i E k ii PROG H LINE CH 9413 Ma P1 P3 Le To LINE CH Liel B 9e B acme B e UNTINOGM LIS PH 4 T ene RIREVMIE EFFECT i El F M GRBAC PL CHA TAHT M LIEW 17 Talkback alnpace mutton ER It is only possible to select channels that currently Wed are not in use CONTROL PANEL MIXER PAGE Let us take a closer look at the Talkback mixer channel talkback1 2 ine o Channel naming and channel input metering Eta is described previously Fabrik C studio even on talkback Even on the talkback channel you can insert one of the Fabrik C compressors if you like Dim level When activating the talkback function you most likely want to attenuate the mix level in the performer s headphones The Dim o Level knob sets this level The dim level can DIM LEVEL never be
45. in a grid LEUEL CONTROL Lou e MID 23d HIGH 05dB S 5 5 dD 0 5 dB e Grab the C L or G handle using the left mouse button e Press and hold the Alt key Mac Command key while moving the mouse in a circle The compass function is now active and you can select one of 2 to 6 directions e Release the Alt key Mac Command key and move the mouse still holding the left mouse button pressed to select desired values e Release mouse button to release the grid 49 FABRIK C STUDIO The Limiter ee MOMP scan LT renes 0 1 dB Bypassy SOURCE SELECTION Mix Rock iw d dE Fabrik C Studio also holds a Limiter The Limiter is used to prevent overloads occurring at extreme and occasional peaks in the source material peaks that may not be caught and attenuated sufficiently by the Compressor Where the Limiter can be used to limit the extremes the Compressor can be used to apply a much more musical and gentle compression Threshold Range 12dB to OdB The Threshold sets the max amount allowed to pass through the Limiter We recommend a setting of 0 1dB as maximum De Esser neum decre 0 A De Esser is a compressor type used to reduce only specific sibilant frequencies Typically the ss sounds can be too dominant on a vocal track and the track would therefore often benefit from being processed by a De Esser The De Esser also comes in handy when working with background vocal track
46. ines the amount of modulation Try the different presets to get an idea of their modulation capabilities FILE INIT PROG INSTANCE NAME Hest iiter CUTOFF RESONANCE SOFTSAT DAMP OUTPUT COMMUNICATION Cutoff Linear 60 Instance name INSIANCE NAME Hest Iter As several instances of the ResFilter can be opened at the same time you may find it useful to name each instance Place the cursor and type in your preferred name Filter Cutoff Sets the cutoff frequency for the selected filter type Lo Cut or Hi Cut Resonance A resonance filer boosts frequencies just prior to the selected Low or Hi Cut filter The higher the setting the more pronounced the filter effect The resonance is set in percent CUTOFF BP Siar Beware that extreme settings at loud levels may ZA Te damage your speakers RESONANCE FILTER Type amp Slope Select between Lo or Hi Cut filter types The steepness of the curve is set by the Slope parameter Select between 6 12 or 24 dB slope The higher the dB the steeper the slope 6 dB slope 24 dB Slope Output The SoftSat section provides more drive for the resonance filters output allowing you to create a warm sounding analog distortion Softsat on off On off switch for the Softsat section Damp On off for the hi frequency attenuation Mute ResFilter mute In mute mode the source signal is still passed to the output Drive Range 100 to 100 Sets
47. internal and use the internal clock as this is the best solution under the given circumstances AUTO INTERNAL BAD REFERENCE This message appears when a valid reference sync is never received This situation occurs when the reference device only has delivered an invalid reference clock outside the acceptable range 1 5 or after having been in AUTO INTERNAL or NO REFERENCE and attaching a new invalid reference clock is attached In this situation Studio Konnekt 48 will go to auto internal and use the internal clock as this is the best solution under the given circumstances Check for update If your computer has internet access you can allow TC Near to connect to www tcelectronic com and check for relevant software updates Press CHECK FOR UPDATE 33 STUDIO KONTROL OPTIONAL t c electronic MIC1 MIC2 SPDIF CH5 6 CH7 8 DAW EFFECT TALK e CH on off surFT 34 The optional Studio Kontrol is a highly flexible remote giving access to numerous key functions even from a distance By default the big encoder will control the Master output level and the Studio Kontrol remote will automatically return to this default setting if it is left untouched for two seconds 1 MIC 1 Press to control Mic 1 input 2 MIC2 Press to control Mic 2 input 3 SIPDIF Press to control the S PDIF inputs 4 CH 5 6 amp CH 7 8 Press to control line 5 6 or 7 8 inputs 5 P1 P2 P3 Press and hold PRO
48. io Konnekt 48 s digital inputs NO REFERENCE External sync on the master Studio Konnekt 48 is unobtainable Check connections and external devices Studio Konnekt 48 features unique clock handling via the DICE II chip from TC Applied Technologies The technology allows for various handling methods of lost or unstable external clock ensuring a continued workflow with no audio dropouts even in critical situations With Clock Recovery enabled the following status indications can be given AUTO COAST NO REFERENCE External reference sync is lost E g reference device has been shut down cable has been removed etc In this situation Studio Konnekt 48 will auto coast and immediately shift to the latest received valid clock AUTO COAST BAD REFERENCE This message appears when receiving a bad reference sync source This would occur if the external device delivers an invalid reference clock outside the acceptable range of 1 5 or after Studio Konnekt 48 has been in AUTO COAST NO REFERENCE mode and a new invalid reference clock SYSTEM SETTINGS is received In this situation Studio Konnekt 48 will auto coast and immediately shift to the latest received valid clock rate AUTO INTERNAL NO REFERENCE This message appears when a valid external reference sync source has not been received Maybe the reference device has not been turned on cable removed etc In this situation Studio Konnekt 48 will go to auto
49. ion below Not dimmed Dimmed The dimmed level cannot be set higher that the ZA normal level NOTE 10 PANEL 11 Once you have the TC Near control panel opened the PANEL button is a convenient way to maximize the control panel on top of your DAW application and minimize it again No need to use mouse or keyboard SPEAKER SET select Press and hold l while pressing to select speaker sets 36 12 13 14 M MIX MON MIX The level control for the mixer outputs AUX 1 SHIFT M MIX Level control for the AUX 1 channel EFFECT Controls the Fabrik R Studio return level on the Main Mix channel AUX 2 SHIFT EFFECT Level control for the AUX 2 channel TALK When activating the talkback function you most likely want to attenuate the mix level in the performer s headphones The Dim Level function sets this level The dim level can never be set higher than the normal level The AUX sends are typically used for setting individual mix levels on the two headphones outputs The AUX 1 AUX 2 and MAIN buttons determine to which outputs the talkback signal should be sent Press the TALK switch on the Studio Kontrol or on the mixer Momentary or latching Unlike all other functions the Studio Kontrol will not 15 default to Master after TALK has been used Instead the TALK button has a latching and a momentary function Latching Press TALK once to activate talk P
50. iseconds The displayed latency is the driver latency only To A R NOTE 30 calculate the complete latency in your setup you need to add the latency of converters host DAW plug ins and e g DPC latency You should only increase the buffer size if you experience problems such a clicks and pops in the sound Relevant for PC version only On Mac computers buffer size is set in the audio application For instance in Logic Pro go to Audio Hardware drivers to set the buffer size Note clicks and pops in the sound may also derive from clock problems These should be resolved first Clock 3 Clock Master With the Clock Master parameter you select which of the Konnekt units in your setup that will act as System Clock Master In a digital setup it is important that all connected devices run at the same sample rate The Clock Master device defines this sample rate and distributes a digital clock based on this sample rate to all devices in the setup There can be one and only one clock master in a digital setup and you cannot select your computer here the clock master device is always your audio interface However the Clock Master device may sync to an external device See Sync Source below Sync Source The Sync Source parameter determines to which device the Clock Master should sync The DICE II FireWire chip provides excellent clock and in many setups the internal option is the best choice Howeve
51. kHz 24 bit 128 x Oversampling Bitstream 0 15 0 3 0 61 ms Neutrik Combo XLR 10 10 dBu o 52 32 dBu 62 dB 2000 1300 ohm 3 dB lt 128 dBu lt 95 dB 0 002 1 kHz 1 dBFS lt 106 dB A 20 Hz to 20 kHz lt 75 dB 20 Hz to 20 kHz Neutrik Combo 1 4 TRS Jack 25 dBu o 17 dBu 42 dB 1 Mohm 93 dB 0 002 1 kHz 1 dBFS 105 dB A 20 Hz to 20 kHz 90 dB 20 Hz to 20 kHz 1 4 TRS Jack Balanced unbalanced 100 Ohm Max Output Level THD Dynamic Range Freq Response Crosstalk Main Output 1 2 Connectors Impedance Max Output Level THD Dynamic Range Freq Response Crosstalk DAC D to A Conversion D to A Delay 192 96 48 kHz Headphones Output Ch 3 4 11 12 Connectors Impedance Max Output Level THD Dynamic Range Freq Response Crosstalk Power 40 Ohm Load Power 600 Ohm Load EMC Complies With Safety Certified To Environment Operating Temperature Storage Temperature Humidity Control Interface MIDI FireWire DAW General Dimensions Weight Finish PPM Meter Ch 1 4 Stereo PPM Ch 5 12 Mains Power Supply FireWire Bus Powered Power Consumption Warranty Parts and labor 13 dBu lt 95 dB 0 00296 1 kHz 1 dBFS lt 103 dB A 20 Hz to 20 kHz 0 0 3 dB 20 Hz to 20 kHz lt 90 dB 20 Hz to 20 kHz XLR Balanced 100 Ohm 13 dBu analog gain scale lt 93 dB 0 0
52. l do the trick well that goes for vocals and horns too Fabrik Room The Fabrik Room algorithm simulates a relatively small well furnished room In such a room many reflections are absorbed by soft materials and the sound is reflected and sustained only by the walls covered with wallpaper windows and maybe some furniture Fabrik Box The Fabrik Box algorithm defines and excels in reproducing the reflection patterns of a small box If the in your face feeling of a 100 dry recording is too much try this eminent reverb to create just a bit of distance Fabrik Ambient With focus on the Early Reflections that define the perception of a room size the Ambience Reverb is typically used on dry recordings or dry drum samples to emulate a feeling of environment Ambience and Room definition are keywords here Fabrik Spring The Spring algorithm has been designed to reproduce the sound of the old spring reverbs such as the ones used in vintage guitar amps 53 FABRIK R STUDIO PREDELAY DECAY 5 ms 400s Tweak section In this section all parameter adjustments are made Parameters are organized in 4 different layers pages Level Color Modulation Time There are a couple of different ways of altering the parameter values e Grab and move the icon e g TIME in any direction This way of changing parameter values gives an excel lent intuitive feeling e You can of course also change parameter values by g
53. l is not DM standardized Some Word Clock receivers are known to fail when the peak to peak signal exceeds 3 Volt and others are known to require at least 4 Volt making it impossible to design a Word Clock driver guaranteed to operate with all receivers Studio Konnekt 48 sends 1 7V PP 4 SIPDIF In Out Two channel 24 bit 96 kHz digital in out on S PDIF In addition to standard l O it is possible to insert e g an external digital effects unit and use this as a send effect see setup examples ADAT Toslink I O connectors The optical connections carry either Toslink optical S PDIF or ADAT signal ADAT At normal sample rate 8 channels of ADAT is carried on a single lightpipe Use the MAIN connector At double sample rate 8 channels of ADAT is distributed on 2 lightpipe connectors Use both the MAIN and the 96 kHz connections Toslink Studio Konnekt 48 handles up to 4 input channels and 4 output channels of optical S PDIF via Toslink MIDI In Out Standard MIDI in out When Studio Konnekt 48 is used in stand alone mode MIDI out always acts as MIDI thru Main Outputs Digitally controlled true analog main outputs on balanced XLR Pin 1 Ground Pin 2 Hot Pin 3 Cold In Out additional channels Input and outputs for channels 5 to 12 on balanced 1 4 jacks The sensitivity for the line inputs can be set to 10 dBv or 4 dBu via the TC Near mixer page 9 Remote RJ 45 connector for the Studio Kontrol remote
54. mes and have a listen The Live reverb type also does wonders for vocals or instruments that need a clear and to the point reverb Try it on different material and you ll be surprised with the results Two Studio Konnekt 48 comes with two variations of this algorithm Experiment and listen to the differences Fabrik Hall Often you re concerned about preserving the natural characteristics of your source material and reluctant to apply large reverbs Don t worry the Hall reverb will preserve your audio and add a large hall effect giving you lots of natural sounding space For most vocal material this reverb is superior to many other reverbs and will be an excellent choice for various studio applications Fabrik Plate Welcome back in time In the old days reverberating Springs or large metallic plates were used to create a reverb effect The Plate reverb emulates this characteristic type of reverb If you re working with a recording of percussive instruments it will often call for a diffuse bright and light reverb and the Plate is just perfect for that job Fabrik Club This reverb could be exactly what the doctor ordered if you want to put extra focus on the guitar or the vocals It emulates a medium sized club adding a broad yet intimate feel to your audio material If you ve got a recorded guitar that cries out for reverb but you don t FABRIK R STUDIO want the stadium rock sound the Club reverb wil
55. n In strobe mode Three LEDs are always lit If the played note is too low the LEDs run from right to left Opposite if the pitch is too high In normal mode Three green LEDs in center position indicates that the played note is in pitch 2 Note indication The displayed notes reflect the selected scale mode In the example above all 8 pitch notes are indicated because the C Major scale mode is selected see also 8 64 3 Mode selector Click to switch between Strobe and normal mode TUNER Strobe mode Sections of three red LEDs will slide left when the played note is too low and right when it is too high ES SCALE Chromatic scale KONNEKT SCALE C major scale Out of tune Chromatic scale mode selected in tune C major scale mode selected 4 Play tone Press PLAY TONE if you want to tune acoustically to a reference tone The played note is A according to the set pitch default 440Hz The level of the tone can be adjusted using the small speaker handle located just below the PLAY TONE button 5 Pitch Sets the reference frequency Default value is 440Hz and the range is from 438 to 445 6 Mute Press to mute the output of the tuner Excellent if you need to tune visually only 7 Scale modes The following scale modes are available via the drop down menu Chromatic scale Chromatic scale for bass C majer scale C majer scale for bass Guitar amp open strings Guitar 7 open
56. nd and Full band modes Gain page COMP seen Lat THES 0 4 48 FEY re d SUURCE SELECT JU mec Hack le Ez An Al GAN CORTAL fi fi in aun A z dual Gain Control The Gain settings are very important The higher set In Gain the harder the signal meets the Compressor Threshold e Grab GAIN and move the symbol in vertical and horizontal directions to set both In Gain and Make up gain with just one handle The Threshold is automatically set when the Source type is selected however the Gain parameters determine how hard the signal meets the Threshold Depending on how the Compressor parameters are set the level will change The Make up Gain parameter is used to compensate for this level change In Gain Range 18 to 18 dB Make up Gain 18 to 18 dB 47 FABRIK C STUDIO Compression 3 band mode only Compressor Control page COMP steno orn tees 03148 pape T SOURCE EELEGTIOM Mec Hock Compressor control The Low Mid and High parameters indicate the set compression amount for the three bands e Grab COMP and position this icon freely within the triangle to distribute the amount of compression on the three bands If the compression should primarily be on the low end frequencies move COMP in that direction Likewise with the Mid and High areas Where the Gain parameter is used to gain the input of the Compressor and also set the Make up gain on the output the Compression Control adjus
57. on Manual revision 1 0 INTRODUCTION Studio Konnekt 48 offers a comprehensive array of professional features that make recording mixing and monitoring a breeze All essential recording tools are in one box including world class DSP effects a wealth of I O options speaker management and many other powerful tools to take your recordings to the next level Extensive I O section with IMPACT II preamps e 4 Impact II mic preamps e 12 analog inputs 12 analog outputs simultaneously e High resolution input meter e 96 kHz ADAT 8 channels SMUX word clock and S PDIF 24 24 channels simultaneously to from DAW e Digitally controlled analog main XLR outputs e Dual headphone outs with individual level control and source 24 8 channel digital mixer with double precision summing e Flexible 24 8 DSP mixer with total recall and DSP effects insert points e No compromise routing for all outputs e 48 bit double precision summing on all mix busses with 56 bit internal processing e Talkback with selectable dim setting and listen back feature e Aux send busses with flexible output routing Speaker management based on AIR technology e Full featured bass management section based on AIR Speaker Management Technology e Full support for surround systems e Individual speaker level and delay settings in 0 1 steps e Selectable frequency crossover points e Support for 3 speaker systems individually configurable selectable from the
58. optional 10 FireWire connectors IEEE 1394 connectors for connecting to a computer and or linking multiple Konnekt units ZA Before plugging the firewire connectors make ELS sure that plugs are positioned correctly REAR PANEL CONTROL PANEL MIXER PAGE TC NEAR CONTROLPANEL OO oper mo J E SK48 NO1 DESKTOPKONAIIKIG SYSTEM SETTINGS 000 8 O DSP TOTAL RECALL FILE P1 P2 P3 t c electronic 10 1 The Konnekt select tabs Use the select tabs to switch between the Konnekt units in your setup and the System Settings page DESKTOPKONNEKT6 Page tabs Press to navigate between the mixer setup effects and tuner pages for the selected Konnekt unit Add Channel i To keep an easy overview not all channels are included in the default mixer layout You may add any idle channel or channel pair via the Add Channel drop down menu Channels that are already displayed in the mixer are grayed out Channels that you can add B son are solid nisi Max I O mixer channels are 24 in 8 out B oxons Bl w Removing a channel Just as some channels can be added the same channels can also be removed from the mixer when not used Channels that can be removed have a small crossed square in the upper right corner De click this field to remove the channel from the mixer See also Auto shrink CONTROL PANEL MIXER PAGE 4 Auto shrink Unlike the Remove Channel function t
59. ors are used The performance of such small main monitors will improve significantly when they don t have to reproduce very low frequency signals High Pass The high pass filter filters the low end frequencies from the main channels above the x over frequency and according to the high pass options off no high pass filter 12 dB octave for a 12 dB slope above the X over point 24 dB octave for a 12 dB slope above the X over point Low Pass The low pass filter filtrates the high end frequencies from the signal below the x over frequency according to the low pass options 12 dB octave for a 12 dB slope below the X over point 24 dB octave for a 24 dB slope below the X over point 18 Levels Individual level adjustment for the LFE channel and the extracted signal below the X over frequency LFE CHANNEL 21 SETUP EXAMPLES STUDIO RECORDING amp MONITORING SETUP EXAMPLES STUDIO RECORDING amp MONITORING Features used in this setup e 4 mic preamps and 4 line inputs for instruments and microphones e Easy switching between three sets of speakers including a 5 1 setup e Two separate sends for monitoring on headphones via AUX 1 and AUX 2 sends on the TC Near mixer page e Computer with TC Near control panel and DAW application e Studio Konnekt 48 as MIDI interface e Instruments and microphones connected via IMPACT II preamps N For more inputs connect a pre amp with ADAT
60. pushed Early and Reverb Levels are fixed at off Dry Range Off 24 dB to O dB Sets the amount of dry level passing through the algorithm Early Range Off 24 dB to O dB The Early Reflections are the defining basis of the Reverb diffuse field Adjust the amount to set the emphasis between the Early Reflections and the Reverb diffuse field Reverb Range Off 24 dB to O dB The Reverb parameter sets the amount of applied reflections from the Reverb diffuse field Additional parameters Bypass Bypass function for the entire plug in In Out In level Range 24 to O dB Out level Range 24 to 12 dB Sets the Input Output levels for the algorithm If the Internal overload indicators O L are lit you may need to readjust the In Out levels Meters In and output meters For best performance the In meter should show as close to O dB as possible without clipping Kill Dry Kill wet l l A reverb can be used either as an insert effect or as a send effect Most often it is used as a send effect on a bus The bus is fed from the channels you apply the effect to When used as a send effect the Kill Dry should be set to on and this is also the default setting When used as an insert channel dry signal is necessary and Kill Dry should be set to off FABRIK R STUDIO Routing modes Two routing modes can be selected via the Routing mode drop down menu ROUTING PLUG IN MODE Al IM INTERNAL E p 4 P
61. r you may sync to any digital device attached to the digital inputs of a Konnekt in your system and benefit from the outstanding JetPLL jitter elimination technology also provided by the DICE II chip Example 1 Studio Konnekt 48 as Clock Master hh gum COMPUTER WITH FIREWIRE FIREWIRE lt KONNEKT FIREWIRE KONNEKT p 1 2 ADAT INTERFACE SYSTEM SETTINGS Setting Clock Master and Sync Source e The setup consists of 2 Studio Konnekt 48 units connected via FireWire a computer and an ADAT interface e We assigned the nick names SK48 Nol and SK48 No2 to the two Studio Konnekt 48 units nick names are set on the Setup page The intention is to sync the entire setup to the ADAT interface e Set Clock Master on the System Settings page to SK48 Nol as this is is the physical Konnekt unit that will determine the clock master e Set Sync Source to ADAT as this is the connection on the Clock Master unit that you would like to sync to That is basically it The Sample Rate should only be set if Internal Clock source is selected Example 2 Studio Konnekt 48 Jitter Elimination cD F OPTICAL srar u aw mmm i W 4 ix KONNEKT E gt d gt w gt n z KONNEKT o o e SPDIF I O M4000 In this setup we have a CD player in the system In terms of digital
62. r insert effects on any track or bus in your host application ore pw p Ge ir io LL Lu DEVICE SK48 Not o i 1st AUDIO CHANNEL main out 1 TOTAL ROUNDTRIP CALIBRATE a LATENCY TEST SIGHAL m ES 26 Installation The Integrator plug in is automatically installed along with the TC Near control panel Parameters 1 Device Your setup may include several Konnekt units Select the Konnekt unit to which you are about to integrate an external effect 2 1st audio channel Your DAW detects audio channels on the Studio Konnekt 48 and labels these automatically If you insert Integrator on a mono track it will open as a mono plug in On a stereo track it will open as a stereo plug in In stereo you will select channels by selecting the only first of the two In the illustration on the previous page main out 1 2 is selected even though the label says main out 1 3 Calibrate Integrating external digital devices will introduce a short latency but your host application can be set up to compensate for this using the Integrator calibrate function e Press CALIBRATE to measure the total roundtrip latency including the latency within the external device The latency compensation feature of the host application will then make sure to compensate for this latency This procedure should be carried out on each audio track where Integrator is inserted INTEGRATOR 4 Test amp Auto To verify that all ca
63. rabbing the parameter value fields and move the mouse up or down e Finally values can be entered numerically by double clicking on the parameters value fields and entering values using the keypad 54 Meters The list below shows the exact distribution of value readings on the meter segments on both IN and OUT meters A precise reading close to OdBFS and around key values such as 18 20 and 24 dBFS is imperative and this distribution takes these key values into consideration O L Overload indication Internal overload is indicated via the O L indicators located between the In Out meters Internal overload may occur at certain extreme parameter settings even when the In Level meters show reasonable levels Use the In Out parameters to compensate OdBFS 16 0 5 18 1 20 2 220 3 24 4 30 5 36 6 42 8 48 10 56 E 64 14 72 Time page REVERB CONTROL PREDELAY DECAY 5 ms 400s Decay Range 10 ms to 20 sec The Decay parameter determines the length of the Reverb Diffuse Field The length is defined as the time it takes for the Diffuse Field to decay approximately 60dB PreDelay Range O to 100 ms A short Delay placed between the direct signal and the Reverb processing A Pre Delay is often used to keep the source material clear and undisturbed by the Reverb Diffuse Field FABRIK R STUDIO Modulation page SPSEREBD MODULRTION 10 0 410 e0 e 5 FATE DEPTH 16 15 The algo
64. ress once more to deactivate talk Momentary Press and hold to speak Release to return to normal TUNER SHIFT TALK The lightring around the encoder can also be used as a convenient tuner if you e g have a guitar or a bass plugged into one of the channel preamps on the front of Studio Konnekt 48 The tuner on the Studio Kontrol remote has a strobe and a point mode just as the tuner on the Tuner page The selected mode follows the mode selected on the TC Near tuner page Default mode is Point mode MASTER This is the default setting for the remote that assigns the encoder to control the master volume STUDIO CONTROL 16 CH on off Channel on off With the CH on off activated LED is lit the 6 buttons in the top of the remote can be used to mute un mute channels As explained previously these buttons have six primary assignments MIC1 MIC2 S PDIF CH 5 6 CH 7 8 and DAW The Channel on off function will also work on channels assigned to the 6 USER assignments Enable shift and press one of the top 6 buttons t c elortre nie ee Ge ae pee wiIC1 MIC2 SPDIF CH5 6 CH7 8 DAW p1 P2 P3 PROG P1 P3 PANEL M MIX EFFECT TALK A el CH on off 8 SHIFT MASTER 17 SHIFT Press to allow secondary functions Some functions require that you press SHIFT once Some functions require that you press and hold SHIFT Please refer to the descriptions on this and the previous pages 37
65. rithm designers have adjusted the diffuse field part of the reverb to be as smooth and natural sounding as possible However by modulating the diffuse field the reverb will in certain cases integrate better with the entire signal You may also find the modulation parameters useful simply to create new flavors of reverb Modulation Rate Range 25 Adjusts the Rate of modulation Modulation Depth Range O 200 Adjusts the Depth of modulation 55 FABRIK R STUDIO Color page COLOR CONTROL LOW COLOR 2 J HI FACTOR HI COLOR 12 2 12 36 The Color parameter controls are advanced controls handling the sonic spectrum of the Reverb diffuse field Try adding a bit of HiColor if you feel the level of reverb is correct but still doesn t stand out as intended LoColor Low Color adjustment of the Decay HiFactor The HiFactor parameter is used to enhance or attenuate the frequency area set by the HiColor parameter HiColor HiColor adjustment of the Decay This parameter selects frequency area in focus 56 Level page The relation between Dry Early and Reverb levels defines the perceived distance of a source The less dry the signal compared to Early and Reverb levels the greater the perceived distance Early and Reverb levels set the relation between the amount of room definition compared to the reverb diffuse field If the Kill Dry button is pushed Dry Level is fixed at off If the Kill Wet button is
66. rtn 2 14 tos out 2 15 s pdif out 1 66 S pdif out 2 67 APPENDIX FAQ TC Near prevents computer standby mode Before setting your computer in standby mode the TC Near control panel must be shut down Computers handle standby mode and hibernation in different ways To prevent instability on the audio interface after the computer is turned back on the TC Near control panel must be closed Most likely you will also need to close you host application Cubase or Logic or Shortcut keys The various main pages can be accessed using the following shortcut keys Function Press Device pages Mixer Morl Setup So0r2 Fabrik C Cor3 Fabrik R Ror4 About Aord Monitor mix on off CTRL M System settings page eOIRL 435 Alternate between devices CTRL 1 to A 68 APPENDIX DICE BACKGROUND The Konnekt units use the TC developed DICE II digital interface chip from TC Applied Technologies The DICE II chip provides a very stable digital clock to ensure jitter free digital signal flow all the way through the device Digital sound quality is not just digital sound quality having a stable digital clock is crucial to the sound quality Get perfect alignment of all your digital signals With integrated JET technology the Konnekt is able to perfectly align all digital signals from external digital sources This means that all supported digital formats will be aligned to ensure maximum digital quality JET
67. s with many voices dubbing the s sounds from the lead track The De Esser works in both 3 band and Full band modes Bypass Use Bypass to activate or deactivate the De Esser Amount Range O to 100 While listening move the slider from left to right set appropriate amount of de essing A De Esser reduces certain high end frequencies and you should not set the Amount parameter higher than necessary 50 Routing modes Two routing modes can be selected via the Routing mode drop down menu ROUTING AT 96kHz Mu macula J PLUG IN MODE Plug In mode must be selected when Fabrik C is used as VST plug in Internal mode Use internal mode when Fabrik C is used without a host program with VST facilities and when monitoring a source signal with no latency Example Typically you would record thru the Fabrik C channel strip adding limited compression and EQ In this case Internal mode should be selected When mixing you would probably use the Fabrik C as a good channel strip inserted as VST on a channel In that scenario Plug In mode would be the correct choice FABRIK C STUDIO 51 FABRIK R STUDIO Introduction Fabrik R Studio is based on the innovative Meta Intuitive Navigation Technology MINT that redefines the way you use professional audio plug ins for professional results Fabrik R Studio combines nine TC Reverb algorithms in one single plug in Thanks to MINT it is a breeze to find the sound yo
68. select whether the signal is routed to a speaker or directly to a line output at max level If this box is checked the level can be controlled by the master level of the remote control If not line is sent to outputs regardless of the master level setting SOURCE DIRECT SPEAKER MAIN MIX IMPORTANT If a source signal is NOT assigned to a speaker set you can check DIRECT and thus route the signal directly to the mains out at FULL VOLUME If you e g have active monitors connected to the outputs and these set at full volume then sending a signal also at full volume may damage the speakers A pop up dialog box will ask you to reconsider before sending the un attennuated signal to outputs Attention This will disable level control and send line level bo the output This can be critical if you have active speakers attached to the output e Assigned to Indicates which speaker set or sets the source is assigned to 19 SETUP PAGE SOURCE DIRECT SPEAI Rowe 08 10 Speaker sets The speaker sets can be labeled individually Simply click in the text field and enter a name of your choice SPEAKER SETUP IM Assigning an output to a speaker set With no bass management an output is assigned directly to a speaker set by checking the ASSIGN check box for the output However when bass management is used you must set main speakers to main and sub to sub SPEAKER ASSIGN TR amp 5 X
69. t the movement of the target parameter Grab the two small handles to change values or place hold and move left mouse key in the value fields below Here are a few examples of automation between more instances of the ResFilter Example Cross fade between two tracks e Insert a ResFilter plug in on each of two tracks A and B e Send the Cutoff parameter from the instance on track A to the one on track B e Select a cross fade filter curve e Now when you turn down the cutoff frequency on track A the one on track B will go up Example Control the filter on multiple channels You have a mix with 32 tracks You want to fade all tracks out but instead of using track levels you want to fade out using Cutoff e Place an instance of ResFilter on all tracks e Set the first one to send out the Cutoff frequency the other ones to receive e Now automating only the first instance will make all tracks fade out RESONANCE FILTER 63 TUNER Studio Konnekt 48 holds an excellent tuner with various modes for stringed instruments The Tuner page holds all relevant parameters as well as the tuner display It is also possible to have Tuner indication via the lightring on the Konnekt unit This is excellent for stand alone applications The Tuner page Let us take a look at the Tuner page in the TC Near Control panel KONNEKT TUNER SCALE c major scale Y D PITCH iD ton v MUTE 4 1 Tuner Indicatio
70. tand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the product The exclamation point within an equilateral triangle is Warning e To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture and objects filled with liquids such as vases should not be placed on this apparatus e This apparatus must be earthed Use a three wire grounding type line cord like the one supplied with the product e Be advised that different operating voltages require the use of different types of line cord and attachment plugs e Check the voltage in your area and use the correct type See table below Voltage Line plug according to standard 110 125V UL817 and CSA C22 2 no 42 220 230V CEE 7 page VII SR section 107 2 D1 IEC 83 p
71. the Konnekt Installation Guide supplied in the package and on the Konnekt CD e f you are familiar with software installation procedures in general you may simply insert the accompanying CD ROM in your computer s CD drive and follow the instructions TC Near control panel If Konnekt drivers are installed correctly you are able to open the TCNear control panel On Windows computers Press Start Programs TC Electronic TC Near The TC Near can also be accessed via the Windows Control panel On Mac computers Applications TC Near You may also start the application from System Preferences FRONT PANEL channel 1 preamp channel 2 preamp channel 3 preamp channel 4 preamp IMPACT TI technolo logy IMPACT ritechnology IMPACT techn iov IMPACT IT technology 1 Mic Inst ch1 4 on combo XLR Jack Combo XLR jack inputs Both XLR and 1 4 inch jack can be used with this connector type The XLR connection balanced Connect a microphone and you connect directly to the input of the IMPACT mic preamps For condenser microphones phantom power must always be activated see also 10 on the following page It is generally no problem to use dynamic microphones in combination with phantom power The Input LEDs on meters 1 4 indicate the level of the input signal If the red O dB LED overload is lit your signal is too hot and you should reduce the input gain using the GAIN TRIM potentiometer and or the the PAD 20 d
72. tors Impedance Bal Unbal Max Input Level incl PAD THD Dynamic Range Freq Response Crosstalk ADC A to D Conversion A to D Delay 192 96 48 kHz Mic Inputs Ch 1 2 3 4 Connectors Sensitivity Full Range Pad on off Total Preamp gain Impedance Pad on off NF Rg 150 ohm Max Gain EIN Rg 150 ohm Max Gain THD Min Gain Dynamic Range Min Gain Crosstalk Inst Inputs Ch 1 2 3 4 Connectors Sensitivity Range Total Preamp gain Impedance THD Min Gain Dynamic Range Min Gain Crosstalk Line Outputs Ch 5 12 Connectors Impedance 70 RCA Phono 75 Ohm S PDIF 24 bit IEC 958 Pro status bits Optical Pipe 8 ch 48 kHz 8 ch SMUX 96 kHz BNC 75 Ohm 1 x Fs 2 5 Vpp terminat ed rising edge reference IEEE 1394a S400 IEC 61883 30 to and 28 from the DAW TC DICE Il handling all IO formats 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz and 192 kHz 30 PPM 43 to 193 kHz jitter rejection at all rates JET technology in TC DICE Il lt 3 dB 10 Hz lt 100 dB 600 Hz 1 ns peak BW 700 Hz to 100 kHz lt 42 ps RMS BW 100 Hz to 40 kHz lt 0 5 of Sample Period 50 to 50 of Sample Period 0 09 0 19 0 38 ms DC to 23 9 kHz 0 01 dB 48 kHz 1 4 TRS Jack Balanced 20 kOhm 25 kOhm 13 dBu or 25 dBu lt 90 dB 0 003 Q 1 kHz 1 dBFS lt 101 dB A 20 Hz to 20 kHz 0 0 5 dB 20 Hz to 20 kHz lt 95 dB 20 Hz to 20
73. ts the individual compression amount on the three bands 48 Compression 3 band mode only Level page Level Control Depending on the amount of applied compression you may need to level compensate the three individual bands e Grab the LEVEL and position this handle freely within the entire triangle Whereas the Make up Gain function on the Gain page is used as a general level compensation on the entire signal the Level control can be used to set the level of the three bands individually Compression Full band mode The Compressor is in Full band mode when 3 band is not marked FABRIK C STUDIO In 3 band mode the Compression Control COMP and the Level Control LEVEL handle the distribution of compression and level between the 3 bands In Full band mode these controls are redundant and not available In Full band mode only Source and GAIN apply Adjusting Parameters Compressor section As described in the previous section the parameters on the 4 Compression pages are adjusted simply by grabbing and moving the S G C and L handles however a few extra cool features are available Grid On the Source pages the S handle moves in vertical and horizontal directions only but on the Compression Control Level and Gain pages the C L and G handles move freely in all directions You may however see the advantage of moving the handle in one direction only Therefore it is possible to lock a direction
74. u are looking for If you want to apply a live vibe to your vocals or instruments use the Live Reverb For vocals that need a larger quality choose the Hall Reverb For that sound of the past and for drums and percussion apply the Plate Reverb If you re working with guitars try the Club Reverb which also works great with vocals Within each reverb you ll find it very easy to adjust any setting to your own liking You won t waste time with nitty gritty preset adjustments all you really have to worry about is using your ears Main features e Built in MINT Meta Intuitive Navigation Technology e 9 TC reverbs e Intuitive and easy control of dedicated parameters Instant gratification e Exceptionally good for vocals drums amp percussion and instruments e Perfectly emulates that illustrious live ambience e Control multiple parameters with few knobs e 48 bit double precision TC HEAR CINTENELIPANMEL Overview a i E rd 24 ta i 7E wL CHERA MET Iu Le electronk i CSP Tota ec A Fi R3 3 52 Reverb Types e Select one of the 9 Reverb types using the left mouse button Fabrik Live Live recorded audio sources sometimes have a lot of background noise A very smooth discrete reverb on such a source will often be almost in audible What you need is a brighter and grainier reverb for that type of audio material and the Live reverb is perfect for that job Try medium to long decay ti
75. your system operating systems alert sounds Itunes etc play a sound it will in most cases try to set the sample rate of your sound card Konnekt If you are trying to make music this is not what you want To prevent these interruptions we have therefore made the following options available WDM With this option selected your DAW project e g Cubase LE4 sets the current sample rate and no Windows alert sounds or media players will accidentally change the sample rate WDM ASIO With this option selected the sample rate is set solely in the TC Near Control Panel see previous page NONE With this option selected any application Windows sound DAW project etc is allowed to change the current sample rate DPC Safety Buffers Numerous things in a computer system may cause DPC spikes Spikes that momentarily may cause your application Itunes Cubase etc to stop playing Therefore it is possible to set a safety buffer level preventing these spikes Select between Normal Level 1 Level 2 Level 3 Use only as high a buffer level as necessary as the system latency increases with the buffer level 6 7 Clock Recovery and Status If the Clock Recovery function is disabled the following status indications can be given INTERNAI LOCK Indicates that the system is locked to the master Studio Konnekt 48 unit EXTERNAL LOCK Indicates that the system is locked to an external digital device connected to the master Stud

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