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Square ONE Dynamics - manual_Issue B.book

1. THRESHOLD THRESHOLD COMPGAIN THRESHOLD COMPGAIN THRESHOLD COMPGAIN THRESHOLD COMP GAIN THRESHOLD COMPGAIN 7 THRESHOLD COMP GAIN INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LEVEL LEVEL LEVEL LEVEL LEVEL v LEVEL LEVEL 180 80 H8 80 80 2 H8 80 H8 3 x gt 3 E gt z E E gt z gt 0 EA LS 0 JG LS 07 9 0 Lo Y J 60 8 o8 JG 3 9 OG 9 10 5 5 nd oO ATTACK 00 ATTACK RELEASE 0 ATTACK RELEASE OC O ATTACK RELEASE 0 RELEASE O ATTACK RELEASE ATTACK RELEASE ATTACK RELEASE Er 6 Q 0 03 03 6 Q 0 03 03 E 2 1 FOr 6 _ O 6 O 0 03 6 s 0 03 03 6 0 03 EN ae 2 1 ER C 3 20 20 f ala 0 0 E E 20 f C m 400 400 400 2400 400 400 40 O WU 2ms 0dB 7 2ms 0dB 2ms 2s 0dB 2ms 2ms 0dB 7 2ms 2s OdB 0dB 7 2ms 25 OdB GATE HOLD EMI RANGE GATE HOLD EMI RANGE GATE HOLD RANGE GATE HOLD EMI RANGE GATE HOLD RANGE GATE HOLD 89 RANGE GATE HOLD RAIS RANGE GATE HOLD HAS
2. DO NOT EXPOSE THIS EQUIPMENT TO DRIPPING OR SPLASHING AND ENSURE THAT OBJECTS FILLED WITH LIQUIDS SUCH AS VASES ARE PLACED ON THE EQUIPMENT THE MAINS PLUG OF THE POWER SUPPLY CORD SHALL REMAIN READILY OPERABLE ED 1 H Telex Communications UK Limited Klark Building Walter Nash Road Kidderminster Worcs DY11 7HJ England Tel 44 1562 741515 Fax 44 1562 745371 www ktsquareone com EU DECLARATION OF CONFORMITY We Telex Communications UK Limited of Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ declare that sample of the following product Product Type Number Product Description Nominal Voltage s Current Freq Square ONE Dynamics Analogue Dynamic 115V AC 300mA 50 60Hz Processor 230V AC 150mA to which this declaration refers is in conformity with the following directives and or standards Directive s Test Standard s 89 336 EEC Electromagnetic Compatibility Directive amended by 92 31 EEC amp 93 68 EEC 73 23 EEC Low Voltage Directive amended by 93 68 EEC Generic Standard Using EN55103 Limits and Methods EN50081 1 Class B Conducted Emissions PAVI EN55103 Electrical Safety EN60065 7 Edition gt Date 22 December 2005 6 0 v PREIS VENTER Name Simon Harrison Authority Research and Development Director Telex Communications UK Limited Attention Where applicable the attention of the spec
3. gt Features The Square ONE Dynamics analogue dynamics processor performs dynamic compressor and gate functions and has the following features Eight clearly labelled channels each one comprising Control knobs for adjusting Threshold Compressor Gain Attack Release Gate Hold Ratio Range and Side Chain Frequency Hard Knee and Vintage switches used in combination to provide four compressor modes Swept frequency side chain filter with Filter In and Narrow switches Solo External Key Compressor Gate and Bypass switches Input and Attenuation level LED meters in the ranges 40dB to 18dB and 2dB to 20dB respectively to show how the outboard processing is performing LEDs for enabled disabled status indication on some switches Each channel has a processor that can perform as either a compressor or gate Compressor can operate in RMS or peak sensing type vintage modes Each mode has hard knee or soft knee options The vintage mode emulates the performance of old classic valve type compressors Other types of compression available are 10 0 wide bandwidth frequency conscious compressor Hi Q narrow bandwidth frequency conscious compressor also known as a de esser Limiter Intelligent threshold shift i TS to reduce chattering within the gate Stereo or multi channel operation provided by Link switches between channels Variable frequency band pass filter that acts on the side chain s
4. 5 a 20 O O O O O O O O O O 200 O O O 2 SE 5 E E gt Ps A E 77 o 1 2 Date SIGNAL PROCESSING BY DEFINITION Application Square ONE Dynamics 41 Service information The service manual for this equipment is available for purchase Please contact your local distributor for details Routine maintenance To help keep your Square ONE Dynamics unit in good working order and to make sure it gives you optimum performance we recommend that you carry out the following about once every month Clean the unit as detailed in Cleaning the unit on page 42 Check controls for freedom of operation As the controls are self cleaning this operation will help to prevent them from sticking Check functionality of all controls that is pushbuttons LEDs etc Check functionality of equipment Cleaning the unit Switch off the unit and electrically isolate it from the mains before cleaning Clean the unit using a dry lint free cloth Do not use harsh abrasives or solvents When cleaning the unit take great care not to damage control knobs pushbuttons etc Checking replacing the mains fuse The equipment must be independently isolated from the mains voltage supply before any attempt is made to change or check the protective fuse The fuse and its cover must always be replaced before the equipment is reconnected to th
5. The microphone is less selective in its pick up being sensitive to all sounds within its range and coverage angle For example a microphone set to pick up the snare drum of a drum kit will pick up every other drum and cymbal to some extent and probably the bass guitarist as well When several microphones are positioned on the kit each one giving a good sound on its own particular drum they will all pick up unwanted instruments as well making the sound less clear Square ONE Dynamics 27 gt One solution to this problem is to use noise gate on each microphone The gate will reduce the output from the microphone to almost zero when the drum is silent yet will open practically instantaneously when the drum is played As the sound from the drum decays the gate will close again and reject noise from the rest of the kit c 9 T 5 CIAS 1 i bla S 0 Snare ds 2 z Signal without gating m Threshold level g Background noise Signal with gating Output signal d Time I l BD Gate closed Open Gate closed Open Gate closed Figure 16 Effects of noise gate on each microphone The threshold level represents the sound level at which the gate will open Any sound exceeding the threshold triggers the gate Sounds at lower levels leave the gate closed and the microphone will be almost completely silent Gate operation To use the Square ONE Dynamic
6. Microphones used at a fairly high gain setting for example on a string section will pick up a lot of background noise These should be gated too to improve PA clarity Noise gates on the drum mics will also improve the sound of the kit Conference PA In a conference or business presentation PA system there may be several microphones in use simultaneously Since each microphone is placed at some distance from the speaker s mouth the gain setting on the console will be quite high Background noise such as outside traffic or air conditioning will be picked up and amplified causing a considerable reduction in the signal to noise ratio of the system The solution is to gate each microphone individually using the Square ONE Dynamics Square ONE Dynamics 29 Interfacing with the console The Square ONE Dynamics is optimised for use at line level therefore to gate microphone the input to the Square ONE Dynamics has to be taken from the console preferably from the channel insert point send The output from the Square ONE Dynamics comes back to the channel insert return By connecting the Square ONE Dynamics at this position in the signal chain its operation is unaffected by the use of any of the console controls except Input Gain The Square ONE Dynamics may if desired be connected via an auxiliary send and return but if the aux send on your console is post EQ then operation of the EQ will alter the overall signa
7. square ONE dynamics operator aalo a V e square one dynamics OPERATOR MANUAL Klark Teknik Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ England Tel 44 1562 741515 Fax 44 1562 745371 Email klarkteknik infoQuk telex com Website www ktsquareone com Square ONE Dynamics Processor Operator Manual DOC02 SQ1DYNAMIC Issue B August 2006 Telex Communications UK Limited In line with the company s policy of continual improvement specifications and function may be subject to change without notice This Operators Manual was correct at the time of writing E amp OE A na 70 NI E 5 j o fa 7 m R dor Gu we 10 IMPORTANT SAFETY INSTRUCTIONS The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to 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 The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in the literature accompanying the product Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry cloth Do not block any of the ventila
8. Service information on page 42 Installation This unit is designed for mounting in any 19 EIA standard rack Four rack mount holes in the front panel are provided for rack mounting and are designed to fully support the weight of the unit in the rack Note Avoid over tightening the rack mount screws as this could damage the front panel The position of the unit will depend upon how it is to be used However when positioning the unit avoid placing it where the control knobs may be damaged by being accidentally knocked or snapped off Also try to avoid placing the unit directly near or on any power distribution units or power amplifiers Connecting the power cable Making sure that the mains power at the power outlet is off connect the mains cable supplied with your Square ONE Dynamics to the mains power outlet and then to the mains socket at the rear of your unit Square ONE Dynamics 7 Getting started e Connecting the audio cables Making sure that all equipment is switched off connect your Square ONE Dynamics to the rest of your audio equipment as shown in the following subsections For more details on balancing see Balanced unbalanced audio on page 37 Channel I O pin outs Balanced I O Pin 2 Hot signal Pin 3 Cold signal EN O 2 Hot signal Pin 3 Cold signal 3 Pin 1 Screen Ground Unbalanced I O Pin 2 Hot signal Pin 1 Screen Ground not connected at unbalanced end Pin 3 Ground
9. Single channel connections on rear of unit Input Male XLR gt RE 77 Console Output Female XLR 1 2 8 Male XLR Ring Sleeve 2 1 3 li Female XLR Figure 3 Insert send return 1 4 TRS connector XLRs wiring details Powering up the unit To power up the unit switch on the power at the mains power outlet The POWER LED on the front of the unit will illuminate to indicate that power is on Your unit is now ready to operate IS ERR MERMIK 10 Square ONE Dynamics Front panel Front panel The front panel of the Square ONE Dynamics has eight similar channel sections each with set of controls comprising control knobs switches some with LED on off indicators and meters In addition there is master side chain solo in place SC SOLO IN PLACE switch and POWER LED for power on off indication Adjacent channels can be linked via intermediate LINK switches Figure 4 Front panel For the scale ranges of the control knobs please refer to Technical specification on page 39 All of the switches on the front panel are of the latching pushbutton type and have two positions in and out as shown in the diagram right To clearly identify switch settings switches that enable disable functions for example the GATE switch are described as enabled when the switch is set to the in position and disabled when set to the out position These switches each have an associa
10. 12 Compression ratio graphs of 2 1 12 1 At a compression ratio of up to 2 1 the effect is mild and suitable for the subtle compression of vocals or of a complete mix At 3 1 compression is becoming stronger and more noticeable Ratios between 3 1 and 5 1 are suitable for the compressor sound which is used as an effect in its own right Higher ratios are used for the control of extremely peaky signals IS ERR MERMIK 24 Square ONE Dynamics Hard knee and soft knee The point where the slope of the compressor curve changes is knows as the knee The Square ONE Dynamics can be set to operate as either hard knee or soft knee compressor each one being either vintage or RMS the effects of both can be seen in Figure 13 Hard knee and soft knee graphs In hard knee mode the compressor operates as soon as the input signal reaches threshold level imposing the new ratio selected via the RATIO control knob on the signal This mode is useful as a brick wall limiter which stops transients without affecting the lower level signals It can also be used at lower ratio levels so that the compression slope is not too narrow and none of the compressive punch is lost 10 1 10 1 Threshold Threshold 1 1 Hard knee Soft knee Output signal Output signal Increasing input signal level Increasing input signal level Figure 13 Hard knee and soft knee graphs Soft knee compression gives a more gradual transit
11. 400 400 400 2400 400 400 2ms 0dB 2ms 2s 0dB ee 048 2ms 0dB 2ms 0dB 2ms 2s 0dB GATE HOLD 9409 RANGE GATE HOLD AI RANGE GATE HOLD MAMO RANGE GATE HOLD RE RANGE GATE HOLD RIO RANGE GATE HOLD Re RANGE GATE HOLD Nile RANGE GATE HOLD MAI RANGE ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN DEPTH LCOMP DEPTH LCOMP DEPTH COMP DEPTH COMP DEPTH COMP DEPTH COMP DEPTH COMP DEPTH COMP C one 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE POWER 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 4 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 4 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE dynamics iJ 19 Q O 2 2 E Fal 6 O 6 6 O 200 800 6 O 200 800 6 O 200 800 6 O 200 800 200 800 l 200 800 A O O D 80 8 80 FILTER NARROW FILTER NARROW 8O FILTER NARROW 80 FILTER NARROW a 80 FILTER NARROW 9 FILTER NARROW FILTER NARROW FILTER NARROW E 100 WO 100 O O 100 i 3 100 O O nO Q A O O DO he 20 98 h 20 40H l k 20 98 16k 20 98 dk M 20 98 2C 40HZ l k 20 98 Tek SIDE CHAIN SIDE CHAIN SIDE CHAIN D SIDE CHAIN 4 SIDE CHAIN SIDE CHAIN SIDE CHAIN 40 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY SOLO EXTKEY KO SOLO EXT KEY SOLO EXTKEY SOLO EXTKEY A SOLO EXT KEY SOLO EXT KEY
12. Q frequency conscious compressor de esser In the Hi Q frequency compression mode the compressor operates at selected frequency over narrow bandwidth rather than over the whole signal Also known as the de esser mode this method of compression be used for effects such as de essing and de popping see De essing on page 26 To set up the compressor for Hi Q operation activate the side chain filter for narrow bandwidth by enabling the FILTER and NARROW switches then select the required frequency using the SIDE CHAIN FREQUENCY control knob Limiter A limiter is essentially an extreme form of compressor that only affects signals above a selected threshold level dB This is particularly useful for limiting only peaks in the signal while leaving the rest of the signal alone A limiter acts as a last check on signal level If the level goes over threshold fast acting high ratio compression is applied to bring it back within bounds To set up the Square ONE Dynamics as a limiter select compressor to operate in vintage and hard knee mode with attack set to fastest and the ratio set at infinity to one Adjust release to suit programme and set threshold as required Threshold level m i ___A _ _ Oo gt Unprocessed a signal n Time Threshold level _ _ _ Oo gt Limiting T gt U Time Figure 9 Compression limiting signal level graphs Square ONE Dynamics 21 Threshold Attack If a compressio
13. RANGE j ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN ATTEN AN DEPTH LCOMP DEPTH LCOMP DEPTH LCOMP DEPTH LCOMP DEPTH LCOMP PERTH L COMP DEPTH COMP DEPTH COMP 2 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE 20 MODE POWER Be Anania 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE 40 VINTAGE HARD KNEE y a x ES 6 O 200 800 6 Na 200 800 6 O 200 800 6 VU 200 800 6 O 200 800 6 O 200 800 6 O 200 800 6 O 200 800 hl 80 80 80 80 80 80 80 FILTER NARROW FILTER NARROW FILTER NARROW FILTER NARROW FILTER NARROW 7 2 FILTER NARROW a FILTER NARROW FILTER NARROW e 100 Oy yx 100 Q 00 f R 100 O 00 FX EN 100 Cy 100 ry O 10C f O C 2O 40Hz l k 2 4 20 98 fa M 20 40 lk V 4 20 98 Tok 20 tee V M 20 98 2 20 40H 5 A po fe 2 if N SIDE CHAIN SIDE CHAIN SIDE CHAIN SIDE CHAIN sipE CHAIN SIDE CHAIN SIDE CHAIN 2 SIDE CHAIN A mu 14 FREQUENCY 14 FREQUENCY 14 C FREQUENCY 14 C FREQUENCY 14 C FREQUENCY 14 FREQUENCY 14 FREQUENCY 14 FREQUENCY SOLO EXT KEY SOLO EXT KEY SOLO EXT KEY SOLO EXTKEY Rd SOLO EXTKEY SOLO EXTKEY E SOLO EXTKEY SOLO EXTKEY l6 J Oo EXTKEY ni je gt GATE BYPASS GATE BYPASS GATE BYPASS A GATE BYPASS GATE BYPASS A GATE BYPASS GATE BYPASS GATE BYPASS 180 BO 180 BO BO 5 Y a
14. at unbalanced end Pin 2 Hot signal Pin 3 Ground at unbalanced end Pin 1 Screen Ground not connected at unbalanced end MERITI i Square ONE Dynamics Getting started Side chain EXT KEY inputs electronically balanced side chain inputs on stereo 1 4 TRS connectors Inserting mono jack plug will automatically unbalance the input ae To EXT KEY socket e o LR rear of Square ONE Female X Tip 2 i Rin gt TT Ta 9 O e Female XLR Sleeve Dynamics unit Figure 1 Side chain EXT KEY input connection details Sleeve Console Sleeve ground shield Tip hot Strain relief clam Ring Cold Figure 2 1 4 TRS connector wiring details Square ONE Dynamics Getting started e Connecting to unbalanced equipment Ideally you will be making the best use of the Square ONE Dynamics s low noise high headroom balanced inputs by connecting to similarly balanced equipment However if you do have to connect to unbalanced devices the following wiring is recommended for best results see Figure 3 Connect the ve pin 2 of the balanced connection to the ve terminal on the unbalanced connector Connect the ve pin 3 of the balanced connection to the common ground terminal on the unbalanced connector Connect the ground pin 1 of the balanced connection to the common ground terminal on the unbalanced connector
15. for compressing sung vocals but V H K which can still be aggressive enough to limit transients when needed The knee curvature also slightly reduces the adaptive nature of the RMS detection thus providing a little more manual control of the envelope timings than is the case with the compressor set for hard knee and RMS HE Compressor hard knee and RMS With only HARD KNEE switched in the compressor operates in a more clinical way with a more defined transition between under threshold and over threshold this is better suited to limiting style compression A small amount of soft knee is still retained keeping the sound reasonably natural but without any modification of the envelope occurring Thus attacks are a little more aggressive but the adaptive nature of the RMS detection is still allowed to operate to its fullest extent This mode is good for natural sounding limiting of speech Compressor hard knee and vintage With the VINTAGE and HARD KNEE switches both switched in the compressor operates with more precise envelope control and again with a more defined transition between under and over threshold This mode uses faster peak sensing not RMS like many older compressor designs with exponential attack and release This produces aggressive compression that gives good fast control and or limiting of extremely dynamic material It can also be used to add colour to low frequency signals making it ideal for controlling instruments s
16. more punchy and driving Adjusts the time taken for the compressor to respond to an over threshold signal The shape or style of the attack is selected from one of the four modes mentioned in Compressor on page 19 making the compressor more adaptable for differing creative and corrective applications BLORE MERNIK 22 Square ONE Dynamics Release Adjusts the time the compressor takes to recover after the programme material falls back below threshold Both attack and release also respond to changes in programme level that remain over threshold For example signal that reduces in level but remains above threshold will still trigger release However this case it will only be partial release because the compressor is still required to generate gain reduction albeit for the new lower signal level Release time plays very important role in compression During periods of high signal level gain is reduced When the signal level falls below the threshold the gain will increase at rate determined by the RELEASE control knob If the release time is short the gain will rise quickly A long release time will mean that the gain will stay at its reduced level only recovering gradually see Figure 11 Compression fast and slow release signal envelope graphs Input signal Threshold Signal level Output signal Time Fast release Input signal Threshold Signal level i Output signal Time Slow rele
17. useful for thickening thin sounding instruments and compensating for less than perfect microphone technique Try RMS and soft knee mode default for using high ratios between 4 1 to 2 1 with medium attack Sung vocals Try the compressor in RMS mode with the ratio at 2 1 making sure the attack is not too fast as you may lose intelligibility Be careful not to apply excessive gain reduction when working with live PA as you may find the compressor hunting for level and causing gain problems in the foldback mix De essing Setting the compressor to respond to a specific bandwidth of high frequency audio can reduce excessive sibilance in vocals see Hi Q frequency conscious compressor de esser on page 21 and De essing on page 26 for further details RLORE TERNI 34 Square ONE Dynamics Applications Spoken word With the compressor set to RMS and soft knee use high ratios for example 5 1 Be careful not to compromise intelligibility by using an attack that is too fast as audio information that helps us identify consonants may be lost Gating When using noise gates try experimenting with the attenuation depth for more subtle gating Bear in mind that 20dB of attenuation is equivalent to switching the pad in on your console s mic amp Removal of background noise from electronic sources Gating can be used typically when an electric guitar with noisy effects pedals is set at high gain On the appropriate channel ins
18. 17 11 MERI Using the Square ONE Dynamics e Solo bus You can monitor the side chain during the performance using the dedicated SOLO OUTPUT To do this connect the SOLO OUTPUT to a spare input channel line return FX return etc on your mixing console Enabling any SOLO pushbutton will route that processor s side chain monitor to the SOLO OUTPUT allowing monitoring of the side chain filter without interrupting the audio output of the processor If the solo in place SIP mode is active the SC SOLO IN PLACE LED will illuminate In this mode the side chain monitor signal will replace the audio output when SOLO is enabled The rear panel of the Square ONE Dynamics includes a solo bus with input and output XLRs This allows multiple units to be linked in series so that a group of units can all apply solo signal to a common solo bus The final solo bus output will be taken from the last unit in the chain Units with SIP enabled do not apply signal to the solo bus The signal from the solo bus input XLR to the solo bus output XLR always operates even when the unit is in SIP mode External key For most applications the Square ONE Dynamics is triggered by the level of the incoming signal Sometimes it can be useful to use a different signal to trigger the gate this signal is known as an external key Particularly in the case of drums a very reliable trigger can be obtained by taping a contact microphone to the shell of the drum using
19. Net 4 4 kg Shipping 5 5 kg Due to a policy of continual improvement Klark Teknik reserves the right to alter the function or specification at any time without notice RLORE TERI 40 Square ONE Dynamics Crib sheet 15 15 10 20 15 15 10 20 N I5 15 10 20 I 15 15 10 20 15 15 10 20 e 15 15 10 20 15 15 10 20 5 i C COLI C C _ 50 25 0dB 30 50 25 OdB 30 50 25 OdB 30 50 25 OdB 30 50 25 OdB 30 50 25 OdB 30 50 25 OdB 30 50 25 OdB 30 SC SOLO THRESHOLD COMPGAIN THRESHOLD THRESHOLD COMP GAIN 525010 lt lt THRESHOLD COMP GAIN THRESHOLD COMP GAIN THRESHOLD COMP GAIN THRESHOLD COMP GAIN THRESHOLD COMP GAIN LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT LINK INPUT INPUT LEVEL LEVEL LEVEL sad LEVEL LEVEL LEVEL LEVEL 180 80 80 2 80 480 480 480 FEE gt 3 So gt 3 gt gt 3 pe gt 0 JG Y 9 O JG LS 6O RH od Lo 07 9 LS 60 O LS O 000 ATTACK RELEASE 0 ATTACK RELEASE 0O ATTACK RELEASE 00 ATTACK RELEASE 0 RELEASE 00 ATTACK RELEASE 00 ATTACK 00 ATTACK RELEASE 6 Q E 60 6 Q 0 03 03 15 2 1 60 03 2 1 60 0 03 03 2 1 6 C O 0 03 2 1 6 003 6 0 03 03 a eo E Y Y 20 20 PO d 20 5 n 20 20 ot 400 400
20. SOLO EXT KEY A SOLO EXT KEY _ 1 At CO 160 ______ 60 60 GATE BYPASS 60 BYPASS x GATE BYPASS 55 GATE BYPASS lt GATE 55 GATE 55 18 80 180 180 180 _ 090 C E 200 O O 20 O C O 205 O 1200 O 2 Z 2 iS 1 i t o MERNIK Location Date SIGNAL PROCESSING BY DEFINITION Ap p lication O 6 O 200 800 6 200 800 GATE BYPASS 80 15 15 10 20 27 15 15 10 20 m 15 15 10 20 eS 7 7 50 25 0dB 30 50 25 048 30 50 25 OdB 30 50 25 0dB 50 25 OdB 50 25 0dB 50 25 OdB 50 25 0dB THRESHOLD COMP GAIN 55010
21. USE HARMFUL INTERI 2 THIS DEVICE MUST ACCEPT ANY INTERFERENCE REC D INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION VOLTAGE 100 240V e OUTPUT OUTPUT OUTPUT AC 50 60Hz 35W FUSE 5x20mm T3 15A L250V TO REDUCE RISK OF FIRE REPLACE WITH SAME TYPE OF CE i O J MOUNT IN RACK ONLY il Figure 5 Rear panel RGR TERI 14 Square ONE Dynamics Audio connections Please refer to Connecting the audio cables on page 8 for pin assignments 1 EXT KEY socket For 1 4 TRS balanced jack socket per channel 2 Channel INPUT socket Female XLR connector 3 Channel OUTPUT socket Male XLR connector 1 4 SOLO BUS OUTPUT socket Male XLR connector SOLO BUS 5 SOLO BUS INPUT socket Female XLR connector pad 5 2 4 3 Mains supply 1 IEC socket Auto voltage sensing switch mode power supply that SUPPLY operates where the nominal mains hired tele voltage is in the range 100V AC to AC 50 60Hz 35W 240V AC T3 15A 12507 2 TO RHDUCE RISK OF FIRE REPLACE WITH SAME TYPE OF CE drawer Contains the er 2 mains fuse at the rear of a two compartment drawer The front compartment provides room for a spare Always replace the mains fuse with the 1 2 3 4 same type and rating see Checking replacing the mains fuse on page 42 for details 3 Supply voltage and fuse specifications Details of the supply voltage and the mains fuse are printed here 2 Fuse w
22. according to the source of audio ELERE 26 Square ONE Dynamics ce The gate function on the Square ONE Dynamics not only allows you to minimise or eliminate unwanted low level noises but also gives you creative possibilities by providing the tools to artistically restructure the dynamics of a signal Principles of gate operation The gate closes when the input signal falls below threshold position 1 in Figure 15 Gate function This cuts off the output signal altogether until the gate opens again position 2 in Figure 15 Gate function when the input signal goes over threshold Input signal Output signal Music signal Signal level Signal level Threshold Time uv Signals in Signals in Signals in this range this range this range muted muted muted Time Figure 15 Gate function You would normally set the gate threshold below the lowest level of the performance so as not to lose any of the performance but eliminating any of the unwanted hum low level noise etc Creative use The human ear is connected to an extremely sophisticated organ for processing incoming audio information the brain Even in situations where there are many sound sources we seem to be able to tune in on the sounds we want to hear and reject others This is sometimes known as the cocktail party effect where it is possible to pick out one person s voice even at a distance from may conflicting conversations
23. alanced circuit is that the unbalanced circuit can never be balanced whereas the circuit designed to be balanced can be improved by careful component selection and layout In conclusion unbalanced lines are more susceptible to noise so that cable runs should be short Whereas balanced circuits offer good rejection of noise induced equally on both wires that is they offer high common mode rejection and allow long cable runs Principles of balanced audio A balanced audio signal comprises three components Hot wire contains positive voltages Cold wire contains negative voltages Ground wire at zero volts and surrounds hot and cold wires A single ended unbalanced signal must be converted into a balanced one This is done by splitting the signal in two passing one half through the hot wire while the other is phase reversed into a negative mirror image before being sent through the cold wire After passing through the balanced cable the balanced signal is converted back using a CMR circuit This reverses the phase of the cold ve signal back to normal ve before being mixed with the hot ve signal Since any noise picked up by the cable will have the same polarity in both the hot and cold signal wires it will cancel itself out when the cold signal is phase reversed back and mixed with the hot Square ONE Dynamics 37 Balanced unbalanced audio e Connecting balanced and unbalanced equipment For a balanced cable to
24. amplitude and opposite phase on both input terminals referenced to ground As a specification CMR is usually stated as a dB ratio at a given frequency Balanced audio Balancing refers to the type of input or output signal connection An unbalanced connection has two signal carrying conductors one of these is the cable shield or ground which is used for signal return A balanced connection has three conductors two for signals and a shield that is connected to earth Neither of the signal wires is grounded and each is driven with equal voltage but of opposite polarity it is important that each of these wires has the same source impedance Because the signal conductors on the balanced connection are at the same impedance and of opposite polarity they are better able to cancel and therefore reject interference and noise pick up It is standard practice to use balanced connections for long cable runs for example to amplifiers or for cables carrying sensitive or low level signals for example microphones A balanced line requires electronics and typically employs connectors of the XLR and 1 4 TRS jack plug types No actual circuit can ever be perfectly balanced due to inherent differences in the signal paths caused by the fact that no two resistors or transistors are identical and the signal paths cannot exactly mirror one another So each circuit can only be balanced to a certain degree However the difference between a balanced and an unb
25. annels 1 and 2 all eight channels are identical m OUTPUT SC SOLO IN PLACE FILTER BYPASS m MODE sa 9 dB 3 MODE COMP GAIN VINTAGE HARD KNEE 200 mim 800 EXT KEY 40Hz 16k SIDE CHAIN FREQUENCY 03 60 3 25 0dB TH RESHOED ATTAGK RE LEASE GATE HOLD AI RANGE square INPUT LEVEL OUTPUT dynamics 89 0 Q E NARROW FILTER 9 EXT KEY O BYPASS ATTEN DEPTH Je UNK182 40 i 6O 80 100 110 140 80 200 VI NTAGE HARD KNEE gen 9 MODE COMP GAIN GATE 50 25 2ms 2s THRESHOLD ATTACK RELEASE GATE HOLD Kano RANGE PRE GAIN i LINK TO DYN SOLO BUS GATE SIDE CHAIN SOLO BUS 4087 i EXT KEY SIDE CHAIN i gt FREQUENCY i 0 03 E i OUTPUT D gt or i LINK TO DYN 3 LINK TO DYN 3 SOLO BUS IS ERR MERMIK 36 Square ONE Dynamics Balanced unbalanced audio Balanced unbalanced audio The electronically balanced input and output connections of the Square ONE Dynamics have the benefit of high common mode rejection CMR which eliminates externally induced interference such as mains hum etc Balancing is especially useful when long cable runs are used between pieces of equipment CMR is the ability of a balanced input to reject the part of the incoming signal that has the same
26. arning information Details replacing the mains fuse with the same type is printed here Square ONE Dynamics 15 RLORK Using the Square ONE Dynamics e Using the Square ONE Dynamics The Square ONE Dynamics is a dynamics processor that utilises premium quality high precision components to achieve a high degree of accuracy and control The Square ONE Dynamics has been designed primarily for creative use as front of house FOH or monitor However it is just as effective when used in the studio while broadcasting or recording The Square ONE Dynamics processors offer in a compact unit control over the dynamic range for creative and also corrective purposes The natural sounds of everyday life which can be caused by anything from say the falling of a leaf to the roar of a jet engine vary extremely widely in sound level This variance is known as the dynamic range and is the difference expressed decibels dB between the loudest and quietest sounds in a piece of audio such as music or speech or that can be reproduced by a piece of audio equipment without distortion The human ear has an automatic gain control that enables it to accommodate all of the sounds ranging from the threshold of hearing to near the threshold of pain a dynamic range of approximately 120dB However a dynamic range of this magnitude even if it were possible in audio equipment is not required in practice for comfortable listening A sound pres
27. ase Figure 11 Compression fast and slow release signal envelope graphs The setting of the correct release time is a compromise If is too short background noise can cause effects often known as breathing and pumping A release time that is too long results in a signal that is not compressed but merely reduced in level For effective compression the release time must be set as short as possible before modulation of the background noise becomes too noticeable The ATTEN DEPTH gain reduction meter will show how much actual compression is occurring If it is steady there is little active compression just a steady state reduction in level The faster the meter level moves up and down the harder the compressor is working Square ONE Dynamics 23 Ratio Ratio is the strength of compression above the threshold level and controls the amount of compression applied to signals that are over threshold Ratio is expressed as ratio of signal level changes from input to output for example when the compressor is set to 2 1 every 2dB input level change will only generate 1dB output level change assuming the signal levels are over threshold As can be seen from the graphs in Figure 12 Compression ratio graphs of 2 1 and 12 1 the higher the ratio the greater the effect 20 20 Output level dB Output level dB Input level dB Input level dB 2 20 10 10 0 20 10 10 20 10 10 20 20 2 1 12 1
28. control knob Adjusts the time it takes N EN the compressor recover the gate to close after the 5 e MESS 10 programme material falls back below threshold FREQUENCY 11 P SOLO EXT KEY depending on which is selected 55 6 RATIO RANGE control knob Adjusts the amount of compression ratio or gain reduction range applied to signals below threshold depending on which is selected 7 Blue POWER LED Illuminates to indicate that mains power is being applied to the unit 13 12 8 FILTER switch Used conjunction with the NARROW switch and SIDE CHAIN FREQUENCY control knob to provide a variable frequency band pass filter that acts on the side chain signals This switch enables switch in or bypasses switch out the filter 9 NARROW switch Changes the bandwidth from wide switch out to narrow switch in see Item 8 above 10 SOLO switch with yellow LED Enabling the SOLO switch with SIP disabled sends post filter side chain audio to the solo bus output If EXT KEY switch is enabled the solo signal will be sourced from the EXT KEY input jack instead of the input signal Please be aware that if you enable the SOLO switch with SIP enabled the side chain signal is routed directly to the output RLORE TERNI 12 Square ONE Dynamics Front panel 11 EXT KEY switch with yellow LED Enables the external key signal via the EXT KEY input jack which replaces the incomi
29. d to give the appropriate repeats IS ERR MERMIK 32 Square ONE Dynamics ce By adjusting the release time the synthesiser will appear to play a perfectly timed sequence of notes which will add interest and rhythm to the arrangement Sustained synthesiser note Signal level Pulse from drum machine Time Signal level Time Synthesiser 16th notes Signal level Time Figure 20 Envelope shaping In a similar way a bass drum may be beefed up by using it to key a low frequency tone produced by a synthesiser or even the console oscillator and mixing this gated tone with the original drum sound A snare drum may be given added bite by keying high frequency noise Gating vocals In a recording studio vocals usually need to be gated to remove studio ambience headphone noise breaths etc This is best done after the vocal has been committed to the recording medium otherwise it may be possible to gate out accidentally something which should have been recorded If gating is carried out as the vocal is being recorded it is important not to gate the signal before it is fed to the vocalist s headphones Many vocalists find a gated headphone feed distracting and it makes it more difficult to find the right note to come in on Square ONE Dynamics 33 Applications e Applications Your Square ONE Dynamics processor can function as a multi mode compressor or gate As most dynamics processing is a matter of personal ta
30. e extremely large currents that could burn out equipment and wiring if shorted All testing and servicing must ONLY be carried out by approved service engineers We strongly recommend that for safety and to optimise the life and performance of the equipment the mains cable plug is removed from the power outlet when the equipment is not to be used for extended periods of time or during electrical storms When removing the equipment s electric plug from an outlet always hold the plug itself and not the cable Pulling out the plug by the cable can damage it Never insert or remove an electric plug with wet hands Handling the equipment Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it When lifting or moving the equipment always take its size and weight into consideration Do not insert your fingers or hand in any gaps or openings on the equipment for example vents Avoid inserting or dropping foreign objects such as paper plastic metal etc into any gaps or openings on the equipment for example vents If this happens turn off the power immediately and unplug the power from the AC outlet Then have the equipment inspected by the manufacturer s qualified service personnel Square ONE Dynamics 3 Safety precautions e Installation Before installing the equipment Location Make sure the equipment is correctly connected to the protective earth conductor of the mains v
31. e mains voltage supply Only use the correct replacement type when changing the fuse Fuse specification is printed on the rear cover To remove the fuse pull out the fuse drawer see Mains supply on page 15 Then prise out the fuse from the furthest compartment the nearest compartment is for a spare fuse a small flat bladed screwdriver may be useful for this Insert new or existing fuse in the furthest fuse compartment and close drawer After replacing a fuse check that the unit is working properly IS ERR MERMIK 42 Square ONE Dynamics ERIE SIGN AL PROCESSING BY DEFINITION Klark Teknik Klark Teknik Building Walter Nash Road Kidderminster Worcestershire DY11 7HJ England Tel 44 1562 741515 Fax 44 1562 745371 Email klarkteknik info uk telex com Website www ktsquareone com Be Heard 2005 Telex Communications Inc
32. el DEN NI 777 777 XxX lt U Unprocessed signal Time Oo gt E Threshold level DEN Aon 777 7 5 gt lt U 3 1 Compression above threshold Time Oo gt E Threshold level SS NE EE U With make up gain added Time Figure 8 Compression signal level graphs Square ONE Dynamics 19 Modes of operation The compressor has been designed to operate as root mean square RMS sensing type or sensing type compressor Basically this means that the unit s circuitry responds to either the effective average value of the signal s waveform or its peak value The peak sensing type mode of compression has been designed to emulate the qualities and performance of vintage valve type compressors The two main compressor modes each operate in one of two modes hard knee or soft knee Thus giving the four following compressor modes selectable using the VINTAGE and HARD KNEE switches shown right in combination Nez HARD k Compressor soft knee and RMS default setting With both the VINTAGE and HARD KNEE pushbutton switches switched out see left the compressor behaves in the default soft knee and RMS mode This gives the slowest and most subtle feel to the compressor envelopes The soft knee curvature combines with the adaptive RMS attack and release times to produce gentle envelope curvatures that are ideal
33. ert your Square ONE Dynamics s processor enable gate mode and with just the unwanted noise present turn the threshold up until the gate closes Set long hold and release times so that the gate does not close on decaying notes but gates the noise rather that closing abruptly Please don t be tempted to set extremely fast attack times this is an electronic instrument so we want to avoid ultra fast transients that is the high energy peak at the beginning of waveforms Try setting the side chain filter so that gate is more sensitive to the frequency spectrum of the instrument Most noise problems will have predominantly high frequency content Drums and percussive instruments Ideally to obtain the best results you would set the threshold as low as possible to utilise the gate s fastest possible attack However in practice the threshold setting is dictated by the noise floor level that is adjacent drums cymbals etc A solution is to use the side chain filter so that the gate is more sensitive to the bandwidth you want to hear Do this by adjusting the narrow filter setting to tune the gate to specific frequency Then use the side chain solo facility to help set the filter you can do this without interrupting the audio by monitoring from the solo bus output via spare input on your mixing console Square ONE Dynamics 35 Audio signal path Audio signal path The following diagram shows the path of the audio signal for ch
34. et up is shown in Figure 14 De essing connections diagram In this case the compressor will react whenever there is a sibilant thereby reducing the gain for the duration of the sibilant and cleaning up the vocal sound Ext s c input EXT KEY Channel insert point ep Mic zie E Ib Send 1 4 TRS jack iy Mic input channel Input routed to groups Male XLR OUTPUT dy n HA Female XLR 5 e Return Insert send channel 1 channel 2 Line in Console Single channel connections on rear of unit Figure 14 De essing connections diagram De popping is the removal of the burst of sound at the start of vocals when the mic is held too close to the singer s mouth The de essing compression technique can be used to remove these sounds and also to compensate for a boomy bass or other situations where a band of frequencies is occasionally obtrusive For de essing we recommend that you set the side chain frequency to about 10kHz While towards the other end of the frequency range an initial setting of 100Hz would be a good starting point for de popping As the filter operates between 40Hz and 16kHz there are numerous creative styles of frequency conscious compression available where the compression threshold has a higher sensitivity to audio in the selected bandwidth From the initial settings you can use your judgement and experience to adjust the side chain filter frequency to obtain the best results
35. ich may generate electrical noise Audio connections To ensure the correct and reliable operation of your Square ONE Dynamics only high quality balanced screened twisted pair audio cable should be used XLR connector shells should be of metal construction so that they provide a screen when connected to the unit and should have Pin 1 connected to the cable screen IS ERR MERMIK 4 Square ONE Dynamics Safety precautions Radio frequency interference Class B device 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 a residential installation 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 determined 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 Reorient or relocate the receiving antenna Increase the separation between the equipment and receiver Connect the equipment into an outlet on a circuit different from that to which the
36. ifier purchaser installer or user is drawn to special limitations of use which must be observed when these products are taken into service to maintain compliance with the above directives Details of these special measures and limitations to use are available on request and are available in product manuals Company registration No 2414018 A Subsidiary of Telex Communications Inc O Contents Welcome Safety precautions Safety warnings General precautions Power Handling the equipment Installation Location Audio connections Radio frequency interference Class B device Electric fields Operation Safety equipment Optional equipment Special accessories Features Getting started Unpacking Checking the mains fuse Installation Connecting the power cable Connecting the audio cables Channel I O pin outs Side chain EXT KEY inputs VMO O NNNNNNAGUUVUVUVUUNSNNHWUUNNN E Connecting to unbalanced equipment 10 Powering up the unit 10 Front panel 11 Rear panel 14 Audio connections 15 Mains supply 15 Using the Square ONE Dynamics 16 Stereo and multiple channel operation linking 17 Solo bus 18 External key 18 Square ONE Dynamics i KLORE MERNIK gt Compressor 19 Principles of compression 19 Modes of operation 20 Compressor soft knee and RMS default setting 20 Compressor hard knee and RMS 20 Compressor hard knee and vintage 20 Compressor soft knee and vintage 20 Lo Q frequency conscious compressor 21 Hi Q freq
37. ignals Solo bus for monitoring the side chain filter during the performance via electrically balanced input and output via female and male XLR connectors Each channel has electrically balanced input and output via female and male XLR connectors and also a 1 4 TRS balanced jack socket for External Key input Mains supplied via an IEC socket on rear panel Fuse drawer contains easily replaceable mains fuse with a compartment for a spare IS ERR MERMIK 6 Square ONE Dynamics Getting started Getting started Observing the guidelines in Safety precautions on page 2 carry out the following to get your Square ONE Dynamics unit fully operational Unpacking Carefully unpack your Square ONE Dynamics equipment package Then please inspect the Square ONE Dynamics unit carefully for any signs of damage that may have occurred during transit and notify the courier immediately if you discover any Check the contents of your Square ONE Dynamics equipment package If there are any parts missing incorrect or faulty please contact your local distributor or Klark Teknik at the address at the front of this manual Please retain the original packing in case you should need to return the equipment to the manufacturer or supplier or transport or ship the unit later Checking the mains fuse Before installing the equipment you need to make sure that the mains fuse fitted is of the correct type and rating for your unit To do this refer to
38. ion between up to ratio change over at threshold The ratio value of signals approaching threshold increase exponentially in proportion to the input signal level At threshold the ratio level becomes that selected via the RATIO control knob Soft knee is useful on high ratio compression or limiting as it less obtrusive than hard knee The difference in the effect produced by hard knee and soft knee compression is more noticeable at higher ratios Side chains Each channel of the Square ONE Dynamics has a side chain input for the compressor In normal use the amount of compression or expansion is related to the dynamics of the input signal The side chain allows the signal passing through the unit to be controlled by the dynamics of another separate signal Connection to the side chain input is made via the rear panel jack sockets see Connecting the audio cables on page 8 Square ONE Dynamics 25 De essing De essing is an important compression technique that uses the side chain for reducing sibilance de popping or removing specific resonances from instruments for programmed material Many singers have high level sibilants that is the s sh or ch sounds in vocals which detract from their performance Equalising the signal will reduce the sibilants but also make the overall vocal sound dull However by compressing only when there is an excessive level of high frequencies the sibilants can be removed selectively A typical s
39. kets Impedance 20k Ohms Maximum input level 22dBu Common mode rejection Typically 60dB at 1kHz SOLO BUS Input One Type Analogue electronically balanced female XLR Input impedance 20k Ohms Maximum input level 22dBu Common mode rejection Typically 60dB at 1kHz SOLO BUS Output One Type Analogue electronically balanced male XLR Output impedance lt 60 Ohms Maximum input level 22dBu Signal drive capability lt 600 Ohms Output balancing Typically 40dB at 1kHz Performance Frequency response 0 5dBu input to output 20Hz to 20kHz Dynamic range gt 117dB 22Hz to 22kHz unweighted Noise floor 95dBu 22Hz to 22kHz unweighted Compressor Threshold 50dBu to 25dBu Ratio Scale infinity to 1 1 with scale markings 5 1 and 2 1 Attack Scale fast to slow 100us to 20ms Release Scale fast to slow 50ms to 2 5s Gain Scale OdB to 30dB Operating modes Four Gate Threshold Scale 50dB to 25dB Range Scale infinity to OdB Attack Scale fast to slow 10us to 10ms Release Scale fast to slow 2ms to 2s Hold Scale 2ms to 25 Filter Side chain filter Scale 40Hz to 16kHz Terminations Audio 3 pin XLRs male and female and 1 4 TRS balanced jack sockets Power Square ONE Dynamics KLARR TE Technical specification Power Voltage 100VAC to 240VAC 10 Requirements Frequency 50Hz to 60Hz Consumption 35W Dimensions Height 133 mm 5 25 3U high Width 483 mm 19 Depth 200 mm 7 7 8 Weight
40. l level and the Threshold level of the Square ONE Dynamics will probably need adjustment Another alternative is connection to the group insert point of the console This is useful when many inputs are mixed down to a smaller number of outputs A given number of gates can achieve a greater coverage Channel insert point EXT KEY Return Input Male XLR Female XLR Console Single channel connections on rear of unit Figure 17 Effects of noise gate on each microphone IS ERR MERMIK 30 Square ONE Dynamics Using gates with compressors One of the most important applications noise gate is the reduction of noise emphasised by the action of compressors When any signal is compressed the highest levels are reduced but the lowest noise levels remain the same This effectively decreases the signal to noise ratio By gating the signal before it enters the compressor the noise can be eliminated before it has chance to be exaggerated by the compressor action Some engineers prefer to connect the gate after the compressor This reduces any slight noise produced by the compressor itself but since the dynamic range of the signal is less when it leaves the compressor setting the correct threshold level may take a little longer Alternatively the uncompressed signal may be parallelled to the external side chain input and this external key used to trigger the gate Channel insert point Two channels on rear of
41. l operation linking Using the intermediate LINK switches adjacent channels can be linked in all modes for stereo or multi channel operation Linked channels form a group the lowest numbered channel in the group being the master and the other group members are slaves The master channel s settings override those of the slaves with the exception of bypass solo ext key and side chain filter which still act independently The slave filters ext key and solo still function when linked because the slave channel side chain is summed with the master and any other slaves in the group You can have more than one group at any time Figure 6 Examples of channel linking shows some typical group configurations and illustrates that the master is always the lowest numbered channel within the group square Example 2 dynamics ORLARK YO 1 and 2 linked FRE Example 4 linked linked 1 to 8 linked Figure 6 Examples of channel linking The audio input to the master channel and any slaves in the link are all used to control the action of the dynamic processor The channel with the highest signal level will have the most effect on the linked group As all the VCA controls are also linked together the attenuation or gain applied to the linked channels in the group will always be identical Each slave s gain reduction meter ATTEN DEPTH will track its group master channel exactly Square ONE Dynamics
42. ld shift i TS on page 29 Once the signal is detected as below threshold this control defines a waiting period before the gate starts to close 19 ATTACK control knob Adjusts the time it takes the compressor to respond or the gate to open after an over threshold signal depending on which is selected 20 LINK switch with yellow LED Each adjacent pair of channels has an intermediate LINK switch that when enabled links them together see Stereo and multiple channel operation linking on page 17 Square ONE Dynamics 13 Rear panel Rear panel The rear panel provides the power and audio connections for the Square ONE Dynamics You will also find important information such as warnings and cautions power supply and fuse specifications safety and compliance standards markings etc printed on this panel The correct mains lead for the country to which the unit was shipped is supplied with the unit Audio input and output connections for each of the eight channels which are identical and the SOLO BUS are electronically balanced and clearly labelled Audio connections for channel 8 and the SOLO BUS are shown in Audio connections on page 15 PANE 15 051 DESIGNED AND ENGINEERED IN ENGLAND ASSEMBLED IN CHINA SOLO BUS D PRO N AGAINST RISK OF INPUT ALUE FUSE INDICATED SIBLE DE M ME TYPE G D COMPLIES WITH PART 15 OF THE FC PERATION IS SUBJECT TO THE FOLLOWING CONDITIONS 1 THIS ICE M CA
43. n effect is required together with limiting of high level transients two channels of the Square ONE Dynamics may be cascaded The output of Channel 1 compression is fed to the input of Channel 2 limiting which gives powerful two stage control over gain 20 Output level dB Below the compression threshold the signal is unaltered In the example shown in Figure 10 Limiting and compression graph the first 2 4 threshold is compressed mild 2 1 ratio Whereas at the second threshold it is firmly limited at a ratio of 20 1 Input level dB 0 1 20 Figure 10 Limiting and compression graph The compression threshold is the point at which the compressor begins to operate Signals that exceed this point that is go over threshold will be affected by compressor actions However signals below the threshold do not trigger any compression but may still be affected by compression releases from previous over threshold signals If the compressor is being used as a limiter the threshold level is the level at which the limiter begins to operate Attack sets the time it takes for the compressor to respond once the threshold has been exceeded Attack may be set so that the initial transient of the instrument passes through unaltered or set to a faster value so that the very start of the sound is compressed Particularly with drum sounds careful adjustment of attack time can make the sound
44. ng compressor signal as the source feed for the side chain The side chain circuits control the gain reduction 12 BYPASS switch with red LED Enables a bypass condition whereby the VCA remains in circuit fixed at unity gain The gain reduction meter continues to operate with BYPASS enabled 13 switch with green LED This switch selects channel operation as compressor mode switch disabled or gate mode switch enabled 14 SIDE CHAIN FREQUENCY control knob Selects the frequency at which the band pass filter acts on the side chain signals see Item 8 above The filter can be used to make the compression frequency selective Additionally there is solo function see Item 10 above that places the filtered side chain onto the compressor s solo bus output or optionally the main output SIP mode 15 ATTEN DEPTH meter dB Dedicated attenuation depth gain reduction meter that displays the amount of attenuation being applied by the compressor or gate depending on which mode is selected The meter comprises 10 LEDs scaled from 2dB to 20dB in 2dB increments The compressor gain control will not affect the gain reduction meter reading 16 HARD KNEE switch Used in combination with the VINTAGE switch to provide four compressor operating modes see Compressor on page 19 17 VINTAGE switches See HARD KNEE above 18 GATE HOLD control knob Minimises chattering in conjunction with internal hysteresis see Intelligent thresho
45. oltage supply of the system installation through the mains lead Power to the equipment must be via a fused spur The power plug must be inserted in a socket outlet provided with a protective earth contact The electrical supply at the socket outlet must provide appropriate over current protection Both the mains supply and the quality of earthing must be adequate for the equipment Before connecting up the equipment check that the mains power supply voltage rating corresponds with the local mains power supply and that the mains fuse is of the correct type and rating Ideally a cool area is preferred not in close proximity to power distribution equipment or other potential sources of interference Do not install the equipment in places of poor ventilation Do not install this equipment in a location subjected to excessive heat dust or mechanical vibration Allow for adequate ventilation around the equipment making sure that its vents are not obstructed To prevent excessive heating of the equipment avoid mounting it directly above power amplifiers or other devices that radiate significant amounts of heat such as radiators and heaters Keep the equipment out of direct sunlight Where necessary use fan cooled racks Make sure that the mains voltage and fuse rating information of the equipment will be visible after installation Do not use the equipment in the vicinity of electrical devices such as computer monitors or mobile phones wh
46. quare ONE Dynamics 1 Safety precautions e Safety precautions Before installing setting up or operating this equipment please ensure that you have read and fully understand all of this section and the IMPORTANT SAFETY INSTRUCTIONS at the front of this manual This equipment is supplied by a mains voltage that can cause electric shock injury The following special limitations must be observed in order to maintain safety and electromagnetic compatibility performance Safety warnings This equipment is fitted with a 3 pin power socket For safety reasons the earth lead must not be disconnected Signal OV is connected internally to the chassis To completely disconnect this equipment from the AC mains unplug the mains lead from the power outlet Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids such as vases are placed on the equipment To prevent shock or fire hazard do not expose the equipment to rain or moisture To avoid electrical shock do not remove covers Refer servicing to qualified personnel only The power supplies even the DC ones have a high current General precautions The following information gives basic safety precautions that should be observed to reduce the risk of fire electric shock and personal injury Only properly trained service personnel familiar with this manual and with the generally applicable safety regulations should service the e
47. quipment e Safety instructions detailed in the manual should be understood and properly implemented In the event of ground loop problems disconnect the signal screen at one end of the connecting cables Note that this can only be done when the equipment is used within a balanced system e Never operate damaged equipment and never operate equipment with damaged cables Any part that is damaged should be properly repaired or replaced This must be done by a fully trained and authorised service engineer Observe all warnings cautions etc on any part of the equipment e Do not remove hide or deface any warnings or cautions IS ERR TERI 2 Square ONE Dynamics Safety precautions Power THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH THE MAINS EARTH DISCONNECTED This unit should only be operated with the power supply connected to ground via the ground in the mains connector The internal power supply is a switch mode type that automatically senses the incoming mains voltage and will work where the nominal voltage is in the range 100VAC to 240VAC A single fused IEC mains inlet is provided on the rear panel The correct lead for connection in the area to which the unit was shipped is supplied with the unit The equipment should only be plugged into the mains outlet using the supplied lead Please note that the power supply contains LETHAL VOLTAGES greatly in excess of the mains voltage and that its rails can produc
48. r live sound reinforcement with applications in both front of house and monitoring situations Other possible areas for use include broadcasting the recording studio and installation The Square ONE Dynamics provides a wide variety of easy to use controls for precise manipulation of compression parameters These enable you to for example alter the character of an instrument being processed or make sounds seemingly louder but without distortion Other features include gating for creative and corrective applications and channel linking for stereo or multi channel operation Your Square ONE Dynamics forms an integral part of the Square ONE range which was conceived by Klark Teknik to offer audio professionals a suite of easily accessible high performance audio equipment designed to provide no compromise sonic quality with a feature set that offers all essential facilities and functions It represents the very best of British design and engineering combined with contemporary efficient manufacturing methods and will give you many years of reliable service All this is backed up of course by the standard Klark Teknik three year warranty Please take the time to complete and return the registration card or fill in the Warranty Registration Form online by visiting our website at www ktsquareone com and to obtain the best results with a minimum of effort also read this operators manual Finally enjoy your Klark Teknik Square ONE Dynamics S
49. receiver is connected Consult the dealer or an experienced radio TV technician for help Electric fields Caution In accordance with Part 15 of the FCC Rules amp Regulations changes or modifications not expressly approved by the party responsible for compliance could void the user s authority to operate the equipment Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal 20Hz to 20kHz the signal to noise ratio may be degraded Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions 3V m 90 modulation Operation To avoid electrical shock never operate the equipment with the covers removed Safety equipment Never remove for example covers housings or any other safety guards Do not operate the equipment or any of its parts if safety guards are ineffective or their effectiveness has been reduced Optional equipment Unless advised otherwise optional equipment must only be installed by service personnel and in accordance with the appropriate assembly and usage regulations Special accessories To comply with part 15 of the FCC Rules any special accessories that is items that cannot be readily obtained from multiple retail outlets supplied with this equipment must be used with this equipment do not use any alternatives as they may not fulfil the RF requirement Square ONE Dynamics 5
50. s in gate mode first ensure that the GATE switch is enabled and then set the threshold attack hold and release times to suit the programme Set attenuation depth using the RANGE control knob and use the side chain filter to tune the gate to open at a selected frequency in wide or narrow modes The attack characteristic of the gate is exponential which ensures that even at extremely fast attack settings the attack envelope seamlessly blends into the audio waveform This prevents the creation of any undesirable audio artifacts clicks Threshold This is the gate operating point Signals that go over threshold will open the gate while signals that go below threshold will close the gate In both cases gate opening closing occurs over a period of time which is dependent on the envelope attack and release control settings Attack Attack is the time taken for the gate to open after an over threshold signal The shape of the attack is fixed and has been carefully tailored to produce a transparent gating action FLORE MERNIK 28 Square ONE Dynamics Release Range ce Release is the time taken for the gate to close after the programme material falls back below threshold The shape is crucial to the sound and has been tailored to produce the most transparent possible gating action Controls the amount of gain reduction that is applied to signals below threshold Although the gain reduction can be infinite it is often better to back i
51. ste and preference these application notes are provided as a guide only Experimenting in unconventional areas can often yield interesting and useful results Always remember be creative with your Square ONE Dynamics and have fun Compression The Square ONE Dynamics s compressor can perform various compression styles for different applications Drums and percussive instruments Drums require consistent slow attack times to thicken the sound Try the compressor in RMS and soft knee default mode using low ratios between 1 5 1 to 2 1 with threshold set low Stringed acoustic instruments Acoustic instruments benefit from subtle processing Settings that are too aggressive can sound unnatural Try the compressor in vintage and soft knee mode using high compression ratios with a slow attack Stringed electric instruments Here the compression process can become an integral part of the instruments sound Try aggressive compression after ok ing it with the musicians on electric and bass guitars use RMS and soft knee mode default for adaptive compression or try the vintage mode to add colour Electronic instruments Electronic keyboards sound modules and PC audio typically have their audio already compressed If you are using your Square ONE Dynamics s compressor for automatic level control between different patches try vintage and hard knee mode using fast attack combined with slow release times Brass instruments Compression is
52. sure level SPL of 96dB would in a domestic environment almost certainly annoy the neighbours While at the other end of the dynamic scale a typical ambient noise level of at least 40dB SPL makes it impossible to use very quiet levels in recorded or broadcast sound media So it is almost always necessary to compress the dynamic range of natural sounds to fit them into a window usually about 30dB to 40dB suitable both for the equipment and for comfortable listening Another factor that must be considered is background noise All of the sounds that we want to listen to whether natural or electronically processed are accompanied by a certain amount of unwanted background noise such as the rustle of musicians turning the pages of the score in the studio Even if in the final programme the noise level is below the ambient noise of the listening area it may still be heard and is therefore undesirable The compressor and gate both of which are described more fully later are valuable tools for the control of the dynamic range By using the compressor artistically the sounds of instruments and voices can be altered and a mix of instruments can be compressed to give a tighter dynamic effect by reducing the dynamic range of any instrument or programme source Whereas the gate can remove unwanted background clutter and also has artistic uses ELERE 16 Square ONE Dynamics Using the Square ONE Dynamics Stereo and multiple channe
53. t off slightly With this type of setting the background noise and spill remain relatively constant and become less noticeable because they do not switch in and out with the gate Intelligent threshold shift i TS Music PA i TS operates in conjunction with GATE HOLD see Item 18 on page 13 to reduce chattering within the gate Chattering is the undesirable condition that occurs when signals especially low frequency ones are very close to the gate threshold In this situation the gate can become indecisive and repeatedly open and shut on the programme i TS ensures that the gate remains open by automatically adjusting the threshold downwards as the signal goes over threshold When the signal actually falls below threshold that is the temporarily adjusted threshold the i TS resets ready for the next gate opening This improved decision making ensures that gating is rock solid and attacks start instantly and consistently even on signals that go slightly over threshold i TS is particularly useful for low frequency material and instruments with oscillating or unpredictable decay envelopes The more microphones mics there are in a public address PA system the more background noise and stage clutter will be picked up and amplified unless noise gating is used The most significant improvement in clarity will be obtained by gating those microphones that are used least often for example the mic used only occasionally by a backing vocalist
54. ted LED that illuminates to show when the switch enabled Switches that work in combination are described as either in or out for example FILTER and NARROW Switch positions Front of unit as viewed from above Square ONE Dynamics 11 Front panel e 1 INPUT LEVEL meter dBu Dedicated peak 1 2 3 reading six segment audio level LED meter that monitors the input XLR level at all times no matter how the controls are set 2 THRESHOLD control knob Adjusts the 20 4 operating point for the compressor gate depending on 56 NM which is selected LINK Ren COMP GAIN IN PLACE LEVEL 3 COMP GAIN control knob Adjusts compressor 19 18 P 4 5 gain also known as the make up gain so that the level 0 60 KER of the outgoing compressed signal can be matched to the 0 ATTACK RELEASE incoming uncompressed signal E 03 T PR 4 SC SOLO IN PLACE switch with red LED 18 60 4 6 Master solo in place SIP switch with red enabled ap disabled LED indicator When enabled all the SOLO GATE HOLD RANO RANGE switches change function so that no signal will be 17 lese 7 sent to the master solo output bus and the side 16 HL iL C_L POWER chain signal will be sent directly to the output XLR VINEE dd ESTES on the same channel when the SOLO button is 15 eee Ce 3 pressed thus replacing the dynamics output signal 14 a X mio C lh FILTER NARROW 5 RELEASE
55. the clean signal it produces to trigger the gate An example of this set up is shown in Figure 7 Typical set up for external key operation Ext s c input Channel insert point contact mic Ha snare mic 1 4 TRS jack o snare mic el dI ol 5 Input se Contact mic E Mic inputs CY Male o I Female XLR Console Single channel connections on rear of unit Figure 7 Typical set up for external key operation FLORE MERNIK 18 Square ONE Dynamics Compressor Principles of compression One of the principal uses of compression is the control of level in vocals Many singers train for years to achieve the degree of breath control necessary for an even tone and expressive performance Whereas other vocalists rely on an instinctive voice production technique which may need technological assistance to maintain a consistent level that sits correctly in the programme The level of a vocal may vary widely As shown in the typical example in Figure 8 Compression signal level graphs the unprocessed signal has a large dynamic range between the highest and lowest levels Applying compression reduces the highest levels thus reducing the dynamic range while leaving the signal below threshold relatively unaltered Because the peak level of the signal is now lower make up gain is added to restore the original peak level The result is a much more controlled and usable sound Oo gt c Threshold lev
56. tion 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 11 12 Lo 14 15 16 17 Only use attachments accessories specified by the manufacturer Unplug this apparatus during lightning storms or when unused for long periods of time Refer all servicing to qualified personnel Servicing is required when the apparatus has been damaged in any way such as power supply 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 Use the mains plug to disconnect the apparatus from the mains WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE
57. uch as the bass guitar B lt A Compressor soft knee and vintage With only VINTAGE switched in the compressor employs a dual time constant linear attack profile The soft knee blurring of threshold occurs once more as in RMS mode although the effect is greatly accentuated This produces extremely subtle attack and release curves during the onset of compression that are largely independent of the envelope control settings As the compressor is driven harder signals go further over threshold the soft knee effect reduces gradually returning manual control of the attack and release times to optimise capture of larger transients etc Thus like the RMS modes this compressor mode is very adaptive making set up of the envelope controls relatively easy However the peak sensing increases harmonic overtones adding a valve like brightness and sparkle to the programme and producing extremely natural and lively sounding compression of acoustic instruments lt BLORE VESTRE 20 Square ONE Dynamics Lo Q frequency conscious compressor In the Lo Q frequency compression mode the compressor operates selected frequency over wide bandwidth rather than over the whole signal To set up the compressor for Lo Q operation activate the side chain filter for wide bandwidth by enabling the FILTER switch and disabling the NARROW switch then select the required frequency using the SIDE CHAIN FREQUENCY control knob Hi
58. uency conscious compressor de esser 21 Limiter 21 Threshold 22 Attack 22 Release 23 Ratio 24 Hard knee and soft knee 25 Side chains 25 De essing 26 Gate 27 Principles of gate operation 27 Creative use 27 Gate operation 28 Threshold 28 Attack 28 Release 29 Range 29 Intelligent threshold shift i TS 29 Music PA 29 Conference 29 Interfacing with the console 30 Using gates with compressors 31 Instrument synchronisation 22 Envelope shaping 32 Gating vocals 33 Applications 34 Compression 34 Drums and percussive instruments 34 Stringed acoustic instruments 34 Stringed electric instruments 34 Electronic instruments 34 Brass instruments 34 Sung vocals 34 De essing 34 Spoken word 35 TERNI ii Square ONE Dynamics O Gating 35 Removal of background noise from electronic Sources 55 Drums and percussive instruments 395 Audio signal path 36 Balanced unbalanced audio 37 Balanced audio 37 Principles of balanced audio 37 Connecting balanced and unbalanced equipment 38 Technical specification 39 Crib sheet 41 Service information 42 Routine maintenance 42 Cleaning the unit 42 Checking replacing the mains fuse 42 Square ONE Dynamics iii KLORE MERNIK 3 TERNI IV Square ONE Dynamics O Welcome Thank you for purchasing a Klark Teknik Square ONE Dynamics The Square ONE Dynamics is a user friendly high performance eight channel analogue dynamics processor designed fo
59. unit L Male XLR Male XLR LE EA Console Female XLR Female XLR Output Patch cable Figure 18 The use of gating with compressors Square ONE Dynamics 31 gt Instrument synchronisation Sometimes it is necessary to synchronise the attack of two instruments Often bass guitar must be made to synchronise precisely to the regular beat of the bass drum This can be done by passing the bass guitar through the gate and using the bass drum as the external key Guitar Amplifier E Send Channel insert point pw ne e 2 zd 1 4 TRS jack Return CYN e mu OE Mic inputs Male XLR OUTPUT g Female XLR P com Console Single channel connections on rear of unit Figure 19 Instrument synchronisation Envelope shaping rhythmic pulse of 8th or 16th notes going all the way through song is a common musical device This could be a sequenced synthesiser but a more interesting method is possible using the Square ONE Dynamics The synthesiser is set up to provide continuous sustained notes changing according to the harmony of the song perhaps being processed by a chorus unit before passing through the gate A drum machine or sequencer is programmed to produce a regular chain of 8th or 16th notes This is used as the key input to the Square ONE Dynamics an alternative source of 8th or 16th note pulses is a live bass drum with added echo time
60. work as required it must be connected between a sender circuit that splits and phase reverses a single ended audio signal and a receiver circuit that first switches the phase of the negative signal back to normal and then mixes it with the positive If the signal entering a balanced cable is not balanced the cable itself can still be used if you don t use a CMR circuit afterwards but it will take up noise just like any ordinary cable An unbalanced audio signal entering a CMR circuit for example a mixer input will be cancelled out To turn a balanced signal into an unbalanced one without using a CMR circuit short the cold ve signal to ground However the resulting audio signal will be a little weaker than normal as it is only made up of the positive signal half Note On balanced circuits the hot signal is also known as ve and in phase while the cold signal is also known as ve and out of phase IS ERR MERMIK 38 Square ONE Dynamics Technical specification Technical specification Inputs Eight Type Analogue electronically balanced female XLRs Pin 2 hot Impedance 10k Ohms Maximum input level 22dBu Common mode rejection Typically 80dB at 1kHz Outputs Eight Type Analogue electronically balanced male XLRs Pin 2 hot Minimum load impedance 2k Ohms Source impedance 60 Ohms Maximum output level 22dBu EXT KEY Inputs Eight Type Analogue electronically balanced jack soc

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