ADA-STD1-manual 电路图.pdf

Stereo Tapped Delay STD-1 OWNERS MANUAL Originally written by ADA SIGNAL PROCESSORS, INC. Scanned and edited by Jur at 8th of november 2002. Original ADA logo edited and rendered by Barend Onneweer of Raamw3rk.) The version of this manual is copyrighted and may not be sold or placed on a website without permission of the editor. Release No.1 for RadioFans.CN 收音机爱 好者资料库 ADA STD-1 Stereo tapped delay owners manual Thank you for purchasing the A/DA Stereo Tapped Delay. By doing so, you have qualified yourself as an innovative user of state-of-the-art technology. Since analog delay technology first came to the consumer market in the early seventies, design engineers and manufacturers have steadily increased the performance and features available in signal processing equipment. We feel that the STD-1 represents the very latest in application of electronics to time-domain processing. Within the STD-1, many new circuit designs have been used which strive to retain maximum usefulness to both musician and recording engineer. Additionally, this design uses two integrated circuits new to the industry. The tapped analog delay line, which is the heart of this system, is a single 1C which provides capabilities for moderately long delays while simultaneously providing five additional signal taps at nonharmonic intervals along the delay line. The result is a single 1C which can serve as any one of six delay lengths, as well as using combinations of taps for more complex effects and ambience. This complex array of taps was originally designed to simulate the multiple repeats and random structures of acoustic reverberation. This is only one clue of the many uses you will find for the Stereo Tapped Delay. A second novel circuit incorporated into the STD-1 is a noise reduction system designed around the latest version of compressor/expander ICs. The new design allows for faster tracking of attack transients, while still minimizing pumping and tracking errors throughout its range of operation. The result is more accurate noise reduction with less coloration of your signal. This unit contains the equivalent of two full noise reduction systems (one compressor in the input circuit, one expander on each of the two outputs, and one expander in the regen- eration circuit) to ensure that the full system will be as noise-free as possible. While we are sure that you are anxious to put your new Stereo Tapped Delay to work in your latest musical ventures, we ask that you take the time to read through this manual as you set up and first experiment with the unit. There are many unique applications for this unit, and this manual will begin to open those doors for you. Once operation of the front panel is understood, only your experimentation and imagination should limit your application of the STD-1. Page: 2 of 13 RadioFans.CN 收音机爱 好者资料库 ADA STD-1 Stereo tapped delay owners manual SPECIFICATIONS Dynamic Range 93dB unweighted Equivalent Input Noise (EIN) -112 dBV (ref. .775 Vrms) Bandwidth, dry 10 Hz to 20KHz delay 20 Hz to 13.5KHz Distortion (THD) 1 KHz dry, 0 dBV 0.05% wet, 0 dBV 0.55% dry, +4 dBV 0.065% wet, +4 dBV 0.75% Input (Instrument Version) 40K ohm, single ended, 1/4 phone jack or 1 Megohm, FET input, single ended, 1/4 phone jack (switchable). Input (Studio Version) 40K ohm, single ended, 1/4 phone jack or 600 ohm, active balanced, XLR connector. Ouput (Instrument Version) Two single ended, 1/4 phone jacks, drives 600 ohm. Output (Studio Version) Two, single ended, 1/4 phone jacks, drives 600 ohm or two, 600 ohm balanced, transformer coupled, XLR connectors. Maximum Input Level +20 dBV, 40K ohm, single ended or balanced +6 dBV, 1 Megohm Maximum Output +20 dBM Gain -15dB to+27dB Delay Time Tap 1 1.3 ms to 6.5 ms Tap 2 2.2ms to 11 ms Tap 3 4.6 ms to 20 ms Tap 4 5.8 ms to 29 ms Tap 5 8.3 ms to 46.5 ms Tap 6 11.1 ms to 55.5 ms Sweep Rate 0.1 sec to 25 sec Sweep Modulation .01 sec to 0.5 sec Delay Time C.V. Input 0 to +5 volts Sweep Speed C.V. Input 0 to +5 volts C.V. Mix Output 0 to +5 volts Remote Switch Logic Grounding terminal engages Power 100-130 VAC. 50/60 Hz Power Consumption 12 watts Option A-Export 220-240 VAC 50/60 Hz B-Studio Studio Version (See above) Accessories CONTROL PEDAL A Dual Remote Footswitch Page: 3 of 13 ADA STD-1 Stereo tapped delay owners manual CONTROL FUNCTIONS HEADROOM. An 8-step LED meter with a 36 dB range displaying signal level relative to clipping level. INPUT LEVEL. A pad that accepts levels up to +20 dBV. INPUT IN. Engages or bypass the effect section of the STD-1 (remotely controllable). LED indicates effect is engaged. OUTPUT MIX A. Determines the mix between Buss A and Dry signal to Output A. OUTPUT MIX B. Determines the mix between Buss B and Dry signal to Output B. EFFECT LEVEL. Adjusts the effect output signal -15 dB to +27 dB. REGENERATION IN. Engages or bypasses the Regeneration section (remotely controllable). LED indicates Regeneration is engaged. REGENERATION LEVEL Controls the amount of the signal fed back to the input. REGENERATION HI-CUT. Reduces the high frequency content in the fed back signal. Adjustable from 12KHz to 800 Hz. REGENERATION TAP. Selects Tap 1, 3 or 6 as a source for the regenerated signal. TAP ASSIGN. Determines which of six Taps are to be routed to Buss A or B. DELAY FIXED. Provides a 1-5X continuously variable delay range from each Tap. DELAY C.V. MIX. Determines the proportion of the Sweep voltage and Fix voltage that controls the delay time. DELAY SWEEP. Varies the Sweep rate over the entire delay range at slow speeds (25 sec.) and automatically tapers its range at fast sweeps (.1 sec.). DELAY SWEEP Superimposes a continuously variable Sweep pat- MODULATION. tern over the regular Sweep and is disabled when turned fully counterclockwise. REAR PANEL FUNCTIONS C.V. IN DLY. A voltage controlled input that allows direct control of time delay with an externally applied voltage. C.V. IN SWEEP. A voltage controlled input that allows direct control of Sweep rate with an externally applied voltage. C.V. OUT. A buffered output from the C.V. Mix control. FOOTSWITCH. Allows connection of a remote dual footswitch for effect in/out and Regeneration in/out. Page: 4 of 13 ADA STD-1 Stereo tapped delay owners manual INITIAL SETUP To prepare the STD-1 for first use, set the front panel controls as shown above. In the following sections we will step through the front panel explaining the functions of all controls and providing descriptions of the range and applications of the numerous features available on the STD-1. Connect the signal source to the INPUT jack on the rear panel. If you are using the standard instrument version, note that you are provided with a HI/LO impedance matching switch to allow for use with a wide range of signal sources. Set this switch to the appropriate position for your instrument or, if you are unsure of the level generated by your instrument, set the switch to the HI position. On the Option B studio version of the STD-1, both low impedance balanced and mid impedance unbalanced connections are provided. Connect the appropriate input to the signal source, or to the Effects Send output of the studio console. For guitars (without preamps) use the HI impedance setting since it will not load down and damp the high frequency response of the guitar. Two outputs are provided, as one of the strengths of the STD-1 is the ability to generate complex stereo signals from a mono source. However, mono processing can still be accomplished through the use of only one output channel, either OUTPUT A or OUTPUT B. Again, note that the studio version allows for either balanced or unbalanced connections. In an instrumental setup, the most versatile output connection would be driving two amplifiers separated by enough distance to create the stereo motion or ambience effects. Using a two channel amplifier (such as a guitar amp with a normal and a reverb channel) can still create some interesting effects by setting each channel for different tone and effects levels. However, most effects wiff be more graphic through the use of a stereo reproduction system. In a studio environment the output connections become slightly more complicated depending on inputs available on your console, the effects you are creating, and many other factors. If you are using the Effects Send system as outlined above, you will need to work out an alternative for routing back into the console as true stereo. Most semi-pro consoles will only have a mono Effects Return input. If this is your case, try returning the STD-1 outputs to the AUX INPUTS. Most Auxiliary inputs have level controls which are useful as effects return levels. If your AUX INs are not available, look for direct BUSS INPUTS for the submix or output mix stages. If no such source is provided for a stereo effects return, you may be required to use two of the input channels as the return. In this last case, be sure to have all effects and monitor sends at minimum (at least until you become familiar with the operation of the STD- 1), and the pan controls at opposite extremes. One additional note to studio users: be sure to check the OUTPUT controls for MIX A and MIX B. In the majority of cases, the original dry signal will be routed to the output mix through internal routing. To avoid excessive dry signal level, lack of effect depth, or blurring of stereo image, the OUTPUT MIX controls should be set fully towards EFFECT. With inputs and outputs properly terminated, apply power to the unit by connecting to a grounded outlet and selecting the ON position of the rear panel power switch. The power indicator LED at the right of the front panel should now be on. If not, check your power source and the rear panel fuse. An 8-step HEADROOM LED meter is provided for accurate adjustment of the input signal relative to the clipping level. It is active whether or not the STD-1 effect is in. To properly set the levels for optimum dynamic range, adjust the INPUT LEVEL and OUTPUT EFFECT LEVEL as follows: Find the absolute loudest chord or passage that you will run into the STD- 1 and set the INPUT LEVEL control to just barely light the red 0 HEADROOM LED. Set the Page: 5 of 13 ADA STD-1 Stereo tapped delay owners manual OUTPUT EFFECT LEVEL initially fully-counterclockwise and listen to the output level when the INPUT IN switch is in the OUT or bypass position (down). Now push the INPUT IN switch up into the effect IN position and turn the OUTPUT EFFECT LEVEL clockwise until the output level matches the output level when the INPUT IN switch was down. Go back and forth to get a close level match. The STD-1 is now set-up for use. INPUT SECTION As your instrument or signal source is applied to the STD-1 input, you will notice the HEADROOM indicator beginning to flicker. Note that this is a true headroom indicator with the 0 dB position indicating the onset of clipping rather than the normal 0 dB operating level as on most devices. This allows for very careful monitoring of the effects level passing through the internal delay line. The type of signal being processed, along with various settings of the STD-1 front panel, will dictate the actual headroom allowance you will wish to observe. For example, transient or high dynamic instruments such as piano or drums will require more headroom than instruments such as horns or pre-compressed signals, which may be able to ride much closer to the clipping point. Note again that the HEADROOM indicator monitors the signal level entering the delay line, thus the REGENERATION LEVEL control will be able to affect the readings seen here. When performing real-time manipulation of the regeneration effects, always remember to monitor the HEADROOM indicator for possible overloads. With all of the above in mind, proceed with adjusting the INPUT LEVEL control for an appropriate deflection of the HEADROOM indicator. If you are using the instrument version of the STD-1 and are unable to achieve sufficient signal level, try changing the rear panel Input Impedance switch to the LO position. OUTPUT SECTION At this point you should be getting sound through your STD-1. Lift the Effect IN/OUT switch located in the INPUT section. Your source signal should sound noticeably fuller.more specifically you should be hearing slapback echo. Note that each of the two outputs has its own Tap Assignment buss, and here in the Output Section the MIX A and MIX B controls each allow mixing the respective Tap Assignment buss with any blend of the dry input signal. Page: 6 of 13 ADA STD-1 Stereo tapped delay owners manual Users of the instrument version will most commonly be mixing dry and effects signals in the center range of these controls. Studio users will find the unit most useful with the MIX controls fully towards Effect, so the processed signal can be remixed manually with the console Effects Return system. The adjacent EFFECT LEVEL control provides capabilities for balancing the overall level (both channels simultaneously) of the Effect against the adjusted Input level. This avoids overpowering effects levels when using footswitch or remote systems, as well as adjusting for Effects Return levels required by various consoles. REGENERATION SECTION This section operates much like the regeneration systems in standard delay lines.signals leaving the delay line are allowed to fold back to the input to generate more repeats for a reverb-like effect. Flip the Regeneration IN/OUT switch to the upper position; the LED should glow. The LEVEL control will now allow settings varying from 0 repeats to extended decays lasting several seconds. When using shorter taps on the delay line (see the next section), the regeneration system will act more as an emphasis or resonance control for flanging and chorusing. Most expensive studio delay systems provide complex capabilities for processing the signal in the regeneration path. This is due to the fact that acoustic reverb and echo signals are typically quite different from the original signal due to such factors as absorption of the room, reflective surface angles, whether there are people in the room, and much more. In the STD- 1, these factors can be simulated by rolling off the higher frequencies with the HIGH CUT control. With this control at minimum, the delayed signal is passed unprocessed for special effects, stereo reprocessing of mono signals, and other applications where full frequency response is desired. In the maximum position, all regeneration signal content above the mid- range frequencies is attenuated to recreate acoustic properties. The rightmost switch in this section determines where you select your regeneration signal. Since there are six taps from this delay line, and since you will be using different taps for audibly differe