4400 Owners Manual - Electro
Contents
1. is connected to the reverb system Whenever your final mix is going to be stereo use a Y cord to connect the effects output to both channels of the reverb The two reverb outputs are then run back into the mixer through their respective ef fects return jacks The stereo image created by the reverberation itself is very spacious when the signal is split like this The effect of separation can be further in creased by using slightly different reverb EQ on each channel of the 4400 try a few different settings to see what happens Hook Up to the Effects Send Receive Loop How to set it up 1 Set the input and output level controls at O System In Out switches In Reverberation Equalizer con trols to O and Reverberation Percentage controls to 100 2 Before feeding any signals to the reverb unit establish your basic mix Some settings may have to change later but a good basic mix is the foun dation 3 Set the effects return controls on the mixer at about half volume 4 Slowly advance the effects send controls on any channel to which you want to add reverb until you get the amount of reverb you want 5 Now balance the input and output levels on the 4400 by increasing the input level controls so the meters peak at O VU and then re set the output level con trols for the amount of reverb you wanted Setting the input levels for O VU will get the best performance from the 4400 and re setting the output lev2. E TACO 4400 REVERBERATION SYSTEM a gultan company Table Of Contents Subject M00082 Introduction Block diagram how and where the 4400 s circuits and controls affect the sound 4400 Control functions Input Level controls Drive Level meters System In Out switches Reverberation Equalizer Input Mute switch Reverberation Percentage mix controls Output Level controls 4400 Input and output connections How to use the 4400 Hook up to effects send receive loop Straight through hook up References Where to get more information Specifications the Tapco Warranty Warranty Registration card Authorized Customer Service Centers 3810 148th Avenue N E Redmond WA 98052 Phone 206 883 3510 G7 WSOWIP 1 Introduction The 4400 Reverberation System represents the new state of the art in low cost reverb systems The many design innovations incorporated into the 4400 have given it the kind of flexibility and quality you would ex pect only in systems costing many times more Com plete compatibility is inherent in the design of the 4400 so it can be used with all common sound equipment And like all Tapco products the 4400 is built to withstand the rigors of professiona use day in and day out in the studio and on the road Reverberation or reflected sound is a part of everything we hear So much so in fact that we are not even aware of the reverberant sound unless it s missing A room with very
3. He is responsible for a great deal of today s accepted microphone theory and design The book is a practical non theoretical reference manual for anyone in the audio industry The Technique of the Sound Studio by Alec Nisbett This is a handbook on radio and recording techniques but the principles described are equally applicable to film and television sound 264 pages 60 diagrams glossary indexed Modern Sound Reproduction by Harry F Olson This basic text covers amplifiers microphones loudspeakers earphones tape systems film sound tv and sound reinforcement the significant elements and systems of modern sound reproduction Employs simple physical explanations which are easily understood without special engineering training 328 pages We might suggest that instead of investing your hard earned bucks in any of these publications on our word alone go down to your library and look them over first That much at least is free 7 4400 Specifications eee eee ee Frequency Response straight through 10 Hz to 25 kHz dB 3Db 40kHz HARMONIC Distortion straight through 05 at 10dBm output IM Distortion straight through 05 at 25 volts P P output S N Ratio straight through better than BOdB Ref 1 volt in out S N Ratio 50 Reverb mix equalization set flat level controls at unity Power requirements 70 dB Ref 1 volt in out at 4 000 Hz 117 volts AC 60 Hz 10 watts nominal may be rew
4. OR Connect the line outputs of the mixer to the inputs of the 4400 and the outputs of the 4400 to the line inputs of the tape recorder 6 References Where to get more information Modern Recording Techniques by Robert Runstein published by Howard W Sams Co The complete modern text book of studio recording techniques Modern Recording is a bi monthly magazine from the Recording Institute of America MR covers equip ment techniques actual studio sessions etc This magazine is highly recommended to anyone interested in recording Modern Recording Recording Institute Publishing Inc 15 Columbus Circle New York N Y 10023 Recording Engineer Producer is another very good bi monthly magazine dealing with the recording arts Recording Engineer Producer P O Box 2449 Hollywood CA 90028 Basic Audio by Norman Crowhurst is available from the John F Rider Publishing Company This book is just what the title implies Microphone Primer by Jim Long available from Electro Voice 600 Cecil Street Buchanan Mich 49107 The basic guide to microphones The following are available from Sagamore Publishing Co Inc 1120 Old Country Road Plainview N Y 11803 DB Magazine an authoritative well known maga zine dealing with recording sound reinforcement and general audio topics Monthly Microphones Design and Application by Lou Burroghs The author was one of the two original founders of Electro Voice Inc
5. VERBERATION EQUALIZER NET oo ARI IRA A ee AutoPag FER OUTPUT LEVEL ular Control OUTPUT In Emphasis 40 a VA REVERBERATION i i PERCENTAGE i i Mix Control l H i el See a Es E NES i Dual Differential p Constant Current H i Se ie en ees SS EA RER 1 H 1 1 i i i H H a en nn ee SYSTEM IN OUT Switch Shown in senere 4 2 Block Diagram One channel shown This road map shows how the signals are routed within the 4400 As you read through the Owner s Manual refer to this diagram to see how and where the various controls and circuits affect the sound The System In Out switches send incoming signals to either the output jack or to the AutoPad Input Level control The AutoPad control allows you to match the gain of the 4400 s input circuitry to the output level of the preceding equipment The Drive Level meter reads the output of the AutoPad stage allowing you to op timize the levels at all times The Input Mute switch momentarily interrupts the in coming signals so that only the reverb decay is heard at the output With this spring loaded switch you can listen to the reverb decay alone as you fine tune the Reverberation Equalizer for the exact sound you need The ping pong effect that has always identified the sound of a spring reverb is caused by sharp high energy pulses that actually over drive the reverb tank The 4400
6. d left and hard right Make sure that the reverberation percentage control is at 100 and that the reverb EQ controls have relatively identical settings Make reverb intensity adjustments with the output level controls or at the board Additionally if you have some form of delay available digital or analog delay line or a 3 head tape machine you can use this to further improve the sound of your 4400A Patch the reverb or echo send of your board into the input of the de lay unit Patch the delay unit output into the 4400A input Adjust the delay unit for somewhere between 30 and 100 milliseconds of delay Sometimes a good ef fect can be obtained by adjusting the delay time so that the first reverb reflec tion occurs on the backbeat Make sure that your levels are correct for both the delay device and the 4400A Of course the 4400A can still be used as a two channel independent reverb unit Just use both input jacks and both output jacks That s all there is to it If you own a 4400 rather than a 4400A the above patches can still be used The only thing that is different is that you will need a wye Y cord to patch the two inputs together Other than that all other procedures and functions are the same ETICO TOOLS OF THE TRADE
7. els will match the 4400 s output level to the sensitivity of the mixer s effects return circuit 6 Use the Input Mute switch to cut off the reverb when you want to compare your program material both with and without reverb added Straight Through Hook Up The line outputs of the mixer preamp etc are con nected to the inputs of the 4400 and the 4400 s outputs are run to the line inputs of tape machine power amp etc How to set it up 1 Set the input and output levels on the 4400 to 10 Reverberation Percentage controls to O This will prevent the signals from being too loud at first Beware 2 Now feed your signals into the 4400 and adjust the input level controls so the meters peak at O VU 3 Increase the output level to a comfortable listening level then increase the Reverberation Percentage controls until you get just the right amount of reverb 4 Adjust the Reverberation Equalizer controls for the best sound You may have to re adjust the per centage controls 5 Switch the Input Mute switch to temporarily interrupt the incoming signal you will hear the reverb decay by itself This allows you to judge the reverb sound on its own merits for easier evaluation By alternately adjusting the EQ and muting the input you will very quickly find the best combinations of reverb EQ and percentage controls for any program material Hook up between mixer and recorder or power amp TAPE REC 4400
8. ic may not work at all for electric music This is because every kind of music has its own personality and demands its own kind of reverb If it were possible to design a room whose very size shape and hardness characteristics could be changed upon command you would have the same kind of flexibility you get with the 4400 Each channel of the 4400 has its own four band graphic equalizer This equalizer gives you the ability to adjust the quality of the reverb sound to perfectly match the rest of the music You can actually create the sound of nearly any room boosting the low end creates the illusion of a very large hall while more high end sounds like a smaller room This complete control capability allows you to really use the reverb without ever having it sound phony or contrived You can make the reverb sound so natural it almost goes unnoticed and that s the idea Your 4400 Reverberation System is the only really usable low cost reverb unit on the market Itis designed to provide all the functions you need for studiorecording home recording professional sound reinforcement and hi fi use If after reading the Owner s Manual you need more information do not hesitate to contact your dealer or Tapco s Customer Service Department The address and phone number are listed at the bottom of the Table of Contents page We ll do everything we can to help you get the most from your 4400 Bi Level Peak Sampling RE
9. ired for 220 v a c by internal connection Dimensions 6 5 high 19 wide 9 3 deep Weight 12 pounds OUTPUTS Maximum output leve 15dBm into 600 ohms 10 volts RMS into 5000 ohms or greater Output impedance 100 ohms INPUTS Maximum input level 15dBm average 20dBm on program peaks Input impedance 20K ohms REVERB SECTION Reverberation system Delay 30 milliseconds Decay 60dB at 1 9 seconds Reverb section adjustable frequency response Reverberation equalizer 15dB four bands Mix ratio adjustable from no reverb straight through to 100 reverb ADDENDA SHEET FOR 4400A The 4400A is an updated version of the 4400 The principal changes are 1 The reverb tanks have been changed to Accutronics Type 9 These have 3 springs in the delay channel and offer vastly improved sound 2 The pre and post equalization in the drive and pickup circuitry has been revised to optimize them for the new reverb tanks 3 The input jacks are normalled This facilitates operation in the one in two out mode without the use of wye Y cords Operation of the 4400A is the same as the 4400 The 4400A is at its best when used in the mono send stereo return situation Plug the effects or other send into the 4400A channel one input The internal normal connection on the input jacks will tie the iwo channels together at the input only Take the two outputs and patch them to two effects returns or inputs and pan them oppositely har
10. l controls fully boosted then it s not line level INPUT CONNECTORS 1 phone plugs are provided to allow you easy hook up to most audio equipment These are line level inputs which will accept 15 dBm 4 36 VRMS signa levels The input feeds directly to the variable gain input amplifier so you can control the reverb drive with the input drive level control on the front panel LINE LEVEI SIGNALS LINE LEVEL SIGNALS Q e N O O BLOCK DIAGRAM ONE CHANNEL ONLY ose INPUT OUTP JT INPUT OUTPUT our ObDD Y VARIABLE GAIN A UA TENTICLOP IEEE OUTPUT CONNECTORS 4 phone plugs are also used tor the output connectors to facilitate hook up ease These are line level outputs cap able of 10 volts RMS into a 5000 ohms or greater load Signal strength is controlled by the output level controls on the front panel NOTES 5 How To Use The 4400 There are really two basic ways to hook up the 4400 1 In the effects send receive loop of a mixer or 2 Straight through in the lines between the mixer and tape recorder or what have you Of course the separate effects loop hook up offers more precise con trol over the amount of reverb added from the sound of each input channel But for those systems that are not equipped with an effects buss the 4400 has built in Reverberation Percentage mix controls so you can add just the right amount of reverb to the overall sound The effects send output of the mixer
11. little apparent reverberation or am bience is usually thought of as being dead and this is what most recording studios sound like The whole idea behind modern recording methods is to eliminate as much room ambience as possible through acoustical deadening and close miking techniques This allows each sound source to be treated independently giving the recording engineer complete control over the quality of each instrument or voice But this same technique destroys the natural ambience to which we are so ac customed and leaves us with a very dry sound To make the recording sound real again to give it life we must now add reverberation And to capture the exact flavor demanded by a particular recording we must have complete control over the quality of the reverb signal That s what the 4400 Reverberation System is designed to do It has all the functions you need to create the perfect reverb sound for any situation The actual reverberant quality of a room is determined by its size shape and surface hardness Very large rooms have a more bassy sound because their in ternal volume produces a lower resonant frequency Very hard walls tend to reflect high frequencies more while softer walls absorb them Square rooms may echo while odd shaped rooms produce a smoother reverb decay These different qualities will actually determine the usefullness of a particular room As an example concert halls designed for classical mus
12. ntrols you can simulate the rever berant qualities of nearly any room and match the reverb quality of each individual piece of music INPUT MUTE momentarily interrupts the flow of signals into the 4400 When you are adding reverb by running your signals straight through the 4400 the Input Mute switch lets you hear the reverb decay by itself while you are adjusting the reverb equalization and percentage controls When you hear the reverb decay alone you can really tell how it sounds and how the equalizer and percentage controls can make it sound better When the 4400 is used in the effects send receive loop of a mixer like the Tapco 6200 A or B the In a foovovesjd PRETO put Mute switch can be used to evaluate the effect of the reverb on the composite signal When the in put is muted no reverb signal will be produced by the 4400 so only the dry signal will be heard from the mixer s outputs When the switch is released the reverb will again be produced and fed back into the main signal via the effects returns This way you can instantaneously compare the qualities of the signals both with and without the reverb REVERBERATION PERCENTAGE mix con trols set the amount of reverb that will be heard in the overall signal at the 4400 s outputs This control allows you to put the 4400 directly in the lines bet ween your mixer and tape recorder or any other line level equipment for that matter or to p
13. room like a tile bathroom The Reverberation Percentage mix controls govern the ratio of reverb sound and dry sound at the output and the Output Level controls set the loudness of the overall signal at the outputs 3 4400 Control Functions INPUT LEVEL controls are used to optimize the amount of energy applied to the reverb delay lines Remember the Input Level controls utilize Tapco s AutoPad gain control circuitry so the rever beration system can easily handle any input level from hi fi or professional equipment Don t be afraid to use the full range available from the Input Level controls when you need to The 4400 will provide its best performance when the drive level meters are running right up around O VU SYSTEM IN OUT switches direct the incoming signals to either the output jack system Out or to the Input Level AutoPad volume control stage For reverb set the switches to In for no reverb use the Out position DRIVE LEVEL meters measure the signal levels being fed to the pre driver circuits The meter is calibrated so a O VU reading corresponds to the optimum performance level throughout the system REVERBERATION EQUALIZER controls give you complete control over the tonal quality of the reverb signal only The reverb EQ has no effect on the dry signal and is not intended for use as a program equalizer This special four band graphic was designed specifically for use on reverb signals With the EQ co
14. s bi level peak sampling circuits and dual dif ferential constant current drive amplifiers have helped reduce the spring slap associated with most spring reverbs The bi level peak sampling circuit detects high energy pulses that would over drive the reverb tank and automatically lowers the gain of the pre driver circuit just enough to keep the signals within limits without disturbing normal level signals The sampling circuit gets its information from two different levels in the cir cuitry before the reverb tank the pre driver section and the high frequency pre emphasis section Hence the term bi level peak sampling circuit The dual differential constant current drive amplifier operates just like a small power amplifier The constant current characteristic makes the amplifier act as if it were holding the reverb tank in a tight grip smoothing out its irregularities and allowing the differential drivers to work more efficiently To the drive amp s output the input of the reverb tank looks just like a small speaker that s why the 4400 s drive circuits are really miniature power amplifiers The output of the reverb tank is fed to the four band Reverberation Equalizer with specially selected cen ter frequencies With this equalizer you can create the sound of nearly any room increasing the lows creates the illusion of a very large concert hall while boosting the highs creates the sound of a small hard surfaced
15. ut the 4400 in the effects send receive loop The reverb percentage mix controls should be set to 100 when the system is used in an effects loop When it s used between the mixer and recorder the con trols should be set for just the right amount of reverb in the total signal usually no more than 50 OUTPUT LEVEL controls govern the loudness of the 4400 s output signals In most cases these controls will be used to adjust the overall gain of the reverb system to unity no change Switch the In Out switches back and forth and compare the levels with the system in and out Then adjust the Output Level controls so the volume is the same no matter how the switches are set However if it s necessary to change the output level so equipment that follows the 4400 is not overloaded or to give following equipment enough level to work with make this change with the Output Level controls Do not attempt to get more output level by in creasing the input leve You may get distortion from the input circuits if you do But don t be afraid to use the output gain if you need it these are AutoPad volume controls POWER ON OFF truan r y Cai E om T He Ca powera ARVEABERATION SYSTEM CUTPUT CONTROL SECTION 4 4400 Input and Output Connections The 4400 is designed to be used with line level signals only As a general rule if the input level to the 4400 isn t hot enough to deflect the meters to O VU even with the input leve
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