ADL 700 Owner`s Manual English
Contents
1. ADL 700 Channel Strip Owner s Manual ih FR ma ma Ma Mx A j it L f yi Fi ra Ki JA ja ah je ah a ae Ze taba k k A k k FAN ka po k A LEWEL ji Gain n GAN GAiM n a Wi TNE Fan 0 ik OU n C f J a rear Jaa TA Wha A MI PreSonus Important Safety Instructions A The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in this manual 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 humans CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE THE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL AN CAUTION To reduce the risk of electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no object filled with liquids such as vases shall be placed on the apparatus A CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs must be performed by qualified service personnel Read the2. 20 Hz to 250 Hz 16 dB 160 Hz to 2 kHz 16 dB 800 Hz to 8 kHz 16 dB 2 kHz to 20 kHz 16 dB 20 dBu to 30 dBu 1 1 to 4 1 Fast 0 5 ms to Slow 10 ms Fast 30 ms to Slow 500 ms Soft knee 20 ADL 700 Owner s Manual Resources ADL 700 Block Diagram 4 2 ADL 700 Block Diagram 4 2 TE jene andino VJ Q Kyuejod indy ow 1 YMS pi ssed g Jayiy ssedAg dwoj i l 1 DJS INN AOTE Jossa1dwoj mwe a aoci Aoze O zH08 ZH Ob D A NAN UDUIMS 124 Seq IH dWvddd Jezijenba IPW NA 3nduj juouunasuj 21 ADL 700 Owner s Manual Resources A ADL 700 Recall Sheet 4 3 ADL 700 Recall Sheet 4 3 Wadd 4H Day dWOD lt 04 SSvwdAq O3 Wad d1 dang dang Day Q Or Q O Wadd 4H Al ACL OZE ObZ SALON dWOD lt 04 SSWdAd O1 Wad 41 Dau Day Day Y CO O AC ACL OZE Ob SALON YO dd LAW YO Y4 LAW gP9 Y3 LIW 00OZOTAV Ne s oe L OL gP9 AILIWN OOZ OTAV Ne s oe L OL SSVdAd dWOD avd apoz ASVITIA AYLLY MOTS 1sv4 MOIS 1sva apINM OouvY MO en 0e LOL O eISNIZDIW ATLL SONOS SSVdAd dWOD avd apoz ASVITIA AYLLY MOTS 1sv4 MOIS 1sva apINM OLIVI UaT1OHSTJA 7 O LOL O eISNIZDIW ALL SONOS 0 ALldv10d ALIYWV10d oE WILL SE on LNAANNYLSNI Q 006 00SL Ila dH usii SNUOSO4
3. 125 Hz 80 Hz and below Bottom end String Bass 600 Hz 2 5 kHz Sharp attack 500 Ha 125 Hz and below A 120 Hz and below Muddy 400 600 HZ Lush and full 18 3 0 Tutorial 3 2 Egualizers Table 2 e harder bass to low frequency instruments kick tom bass e guitar and snare fullness e piano and horns warmth e fullness to low frequency instruments kick tom bass 50 Hz 100 Hz e increase guitar clarity e lessen guitar boom e decrease bass boom to increase clarity in the mix e vocal fullness e hard hitting snare and guitar 200 Hz e decrease muddiness in vocals and mid range instruments decrease long bass overtones in cymbals e bass line clarity especially for softer playback levels e bass line clarity and punch 400 Hz 800 Hz e decrease kick and tom dullness e decrease guitar thinness e lessen overly bright guitar overtones e bass line clarity and punch 1 5 kHz e decrease dullness in guitars vocal presence kick amp tom attack more finger sound on bass piano and acoustic guitar attack brighter rock guitar bass pluck acoustic electric guitar attack lower piano register attack vocal clarity 3 kHz 5 kHz e adds distance to background instruments e softens a thin guitar e enhance background vocal breathiness e disguise vocals and guitars that are slightly out of tune kick amp tom attack percussio
4. To use this input turn the Source Select switch to the Inst position Power User Tip Passive instruments do not have an internal preamp and should be plugged into an instrument input Active instruments have an internal preamp and a line level output and should be plugged into a line input Plugging a line level source into the instrument input on the front of the ADL 700 risks damage to the circuit and is likely to produce a very loud and distorted audio signal So don t do that INSTRUMENT NUT Mic Input The ADL 700 mic preamp works great with all types of microphones a I including dynamic ribbon and condenser microphones To use this input turn the Source Select switch to the any of the mic impedance positions Power User Tip Dynamic microphones and ribbon microphones which are a special type of dynamic mic are generally lower output devices that with few exceptions require no external power source Sending phantom power to a ribbon mic that doesn t require it can cause severe damage to the mic usually beyond repair Condenser microphones are generally more sensitive than dynamic and ribbon microphones and typically require external 48V phantom power Always review your microphone s documentation and follow its recommended operating practices 2 Hookup ADL 700 2 6 Physical Connections Owner s Manual Line Input This balanced XLR connection can be used for line level devices such as keyboards drum machine
5. or liquid has been spilled or objects have fallen into the apparatus or if the apparatus has been exposed to rain or moisture does not operate normally or has been dropped All PreSonus products in the USA should be serviced at the PreSonus factory in Baton Rouge Louisiana If your product requires a repair contact support presonus com to arrange for a return authorization number Customers outside the USA should contact their local distributor Your distributor s contact information is available at www presonus com 15 The apparatus shall be connected to a Mains power outlet with a protective grounding earthing connection 16 Where the Mains plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable EU Directives on the Protection of the Environment and Other Euro Stuff RoHS This product is compliant with the EU Directive 2011 65 EU for the Restriction of the use of Certain Hazardous Substances in Electrical and Electronic Equipment No lead Pb cadmium Cd mercury Hg hexavalent chromium Cr 6 PBB or PBDE is intentionally added to this device Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels REACh This product is compliant with the European Union Directive EC1907 206 for the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 1 of the chemical
6. slope which is the relationship between the output level and the input level For example if you have the ratio set to 2 1 then for every 2 dB of level increase above the threshold the compressor s output will only increase 1 dB The ratio can be set from 1 1 to 4 1 2 Hookup 2 3 EQ Controls 23 EQ Controls EQ BYPASS EQ gt COMP ADL 700 Owner s Manual Compressor Bypass Bypasses the compressor in the signal chain Make up Gain Compression usually results in an overall reduction of level The Make up Gain knob allows you to restore the pre compression level You can adjust Make up Gain from O dB to 18 dB Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning component of a signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counterclockwise triggers compression immediately when a signal exceeds the threshold The compressor attack time ranges from 0 5 ms Fast to 10 ms Slow Release Sets the release of the compressor which is the time the compressor takes to return the gain reduction back to zero no gain reduction after the signal level crosses below the compression threshold The compressor release time ranges from 40 ms Fast to 500 ms Slow Power User Tip Very short release times can produce a choppy or jittery sound especially when compressi
7. AST SLOW ADLO 700 s S Ae ae LEVEL INPUT GAIN ATTACK RELEASE GAIN GAIN GAIN GAIN a o o o 000000000 Oo INSTRUMENT POLARITY 20dB PAD COMP BYPASS METER METER GR LF PEAK EQ BYPASS EQ gt COMP HF PEAK POWER O 9 SI SI W PreSonus ADL 700 guitar WIK SUL TU WIK d TX condenser mic SYL 491X Q Mic 1 IO Right Left Main Output Left Right Monitor Output Power 100 240 VAC 50 60Hz ireWi Mono Main Right Left L gt gt a i e Ok e 2 Amp Fuse 10 2 Hookup ADL 700 2 8 Stereo Linking Two ADL 7005 Owner s Manual 2 6 Stereo Linking Two ADL 700s COMP LINK THRESHOLD COMP LINK 1 Connect a TRS cable to the Comp Link connection 2 Determine which unit you would like to be the of the back of both of the ADL 700s slave and turn its Threshold knob to the ST position ML TS LINKED LINKED 3 The Link LED will illuminate when Stereo Link 4 The compressor controls on the slaved unit will mode is enabled no longer have any effect on the audio 11 2 Hookup 2 8 Stereo Linking Two ADL 700s THRESHOLD 096 5 Use the Threshold Attack Release and Ratio controls on the master unit to adjust the compres sor setting for both units Adjust the Make up Gain as necessary on both units ADL 700 Owner s Manual THRESHOLD 6 When you want to disable Ste
8. Oy UIW Oo Ov LNAANNYLSNI OSI 00 INN 006 0051 0 oz tld dH LSILYV JV usi SNUOSO4 Oy NI UJIN LSILYV JV 22 22 4 Resources ADL 700 4 4 Troubleshooting Owner s Manual 4 4 Troubleshooting No power First make sure your unit is plugged in If it s connected to a power conditioner verify that the power conditioner is turned on and functioning properly Check the fuse on the back panel of the ADL 700 Be sure to disconnect the power from the ADL 700 before opening the fuse housing A blown fuse may look black on the inside or the wire inside might appear broken andavery black fuse indicates that something may have shorted out Try replacing the fuse withanew one The ADL 700 uses a 500 mA 250V time delay fuse for 100 120 VAC systems ora 250 mA 250V time delay fuse for 220 240 VAC systems If the fuse blows again please contact PreSonus to get your ADL 700 repaired Not passing audio If the ADL 700 appears to power on but it s not passing signal the lights are on but nobody s home first check all the cables connected to your ADL 700 and make sure that they are working correctly Also verify that the Source Select switch is set to the correct input and that the Gain and Output Level controls are set to provide enough amplitude for the signal If you have your ADL 700 connected to a patch bay try connecting a source directly to the ADL 700 to rule out a problem with the patc
9. ak filter with a fixed Q of 0 6 When it is disengaged the low band is a shelving filter Power User Tip A shelving EQ attenuates or boost frequencies above or below a specified cutoff frequency In practice these types of EQs are much like the treble and bass controls on your car stereo Like a bass control a low shelf filter will raise or lower the gain on all frequencies below the specified cutoff frequency A high shelf filter will raise or lower the gain on all frequencies above the specified cutoff frequency just like a treble control Shelving EQs can be used to make big changes to the sound very quickly by adding or removing an entire range of frequencies at once In contrast a peak EQ offers continuous control over the center frequency of the band and of the level boost cut of the designated frequency band which makes it capable of more subtle changes Low Mid Band Frequency Sets the center frequency of the EQ s low mid frequency band You can adjust the center frequency from 160 Hz to 2 kHz The low mid band has a fixed Q of 0 6 Low Mid Band Gain Sets the attenuation or boost of the EQ s low mid band The gain can be set between 16 and 16 dB High Mid Band Frequency Sets the center frequency of the EQ s high mid band You can adjust the center frequency from 800 Hz to 8 kHz The high mid band has a fixed Q of 0 6 2 Hookup ADL 700 2 4 VU Meter and Controls Owner s Manual High Mid Band Gain Sets the attenua
10. are drum in your mix has an annoying ring to it With a very narrow bandwidth you can isolate this one frequency usually around 1 kHz and remove or reject it This type of narrow band reject filter is also known as a notch filter By notching out the offending frequency you can remove the problem without removing the instrument from the mix A narrow 16 3 0 Tutorial 3 2 Equalizers Shelving EQ ADL 700 Owner s Manual bandwidth is also useful in boosting pleasant tones of an instrument such as the attack Take for instance a kick drum A kick drum resonates somewhere between 60 to 125 Hz but the attack of the kick drum is much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can achieve a punchier kick drum without overpowering the rest of the mix A broad bandwidth accentuates or attenuates a larger band of frequencies The broad and narrow bandwidths high and low Q are usually used in conjunction with one another to achieve the desired effect Let s look at our kick drum again We have a kick drum that has a great big low end sound centered around 100 Hz and an attack hitting almost dead on at 4 kHz In this example you would use a broad bandwidth in the low frequency band centered at 100 Hz and a narrow bandwidth boosted at 4 kHz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer A shelving EQ attenuates or boost frequen
11. bling you to get a wider variety of tonalities without using the EQ In general lower input impedance can produce effects that simulate a darker or more closed in tone Higher input impedance will produce a brighter or more open tone Gain This 8 position rotary switch provides 35 dB of gain in 5 dB increments Trim This variable potentiometer 10 dB allows you to make fine trim adjustments to the final preamp stage of the ADL 700 input 48V The 48 volt phantom power supplied by way of the XLR input provides power for condenser microphones and other devices requiring continuous power This power is supplied at a constant level to prevent any signal degradation WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 Ground Pin 2 48V Pin 3 48V 2 Hookup ADL 700 2 2 Compressor Controls Owner s Manual Polarity Invert Reverses the polarity of the signal Power User Tip Use Polarity Invert when recording with more than one open microphone to combat phase cancellation between microphones POLARITY 20 dB Pad The pad provides 20 dB of attenuation for the microphone preamp only Power User Tip The 20 dB pad reduces the signal level coming into your ADL 700 helping to prevent clipping and distortio
12. cies above or below a specified cutoff point Shelving equalizers come in two different varieties high pass and low pass Low pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating all the frequencies above it A high pass filter does the opposite passing all frequencies above the specified cut off frequency while attenuating everything below 3 2 2 Equalization Settings How to Find the Best and Leave the Rest Additional advice How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide e First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates primarily in a specific frequency band so if you are working on your kick drum mic start with the lowest band of the EQ Tune in the best sounding low end and move on to the attack It is not uncommon to hear an annoying ringing or a twang mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument e Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity e You can only do so much Not every instrumen
13. h bay ADL 700 emits noise when the front panel is tapped Tubes can become microphonic over time which is a fancy way of say they can begin to act like microphone and not a good one In this case one or more of the tubes will need to be replaced You ll need to contact PreSonus or a service professional to locate and replace the offending tube Hiss This is another common indication of a tube in need of replacement Again contact PreSonus or a service professional to locate and replace the offending tube 23 24 4 4 5 4 5 Resources Warranty Warranty ADL 700 Owner s Manual PreSonus Audio Electronics Inc warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase This warranty is enforceable only by the original retail purchaser To be protected by this warranty the purchaser must complete and return the enclosed warranty card within 14 days of purchase During the warranty period PreSonus shall at its sole and absolute option repair or replace free of charge any product that proves to be defective on inspection by PreSonus or its authorized service representative To obtain warranty service the purchaser must first call or write PreSonus at the address and telephone number printed below to obtain a Return Authorization Number and instructions of where to return the unit for service All inquiries must be accompanied by a descriptio
14. ial ADL 700 3 1 A Brief Tutorial on Dynamics Processing Owner s Manual 3 0 Tutorial 3 1 A Brief Tutorial on Dynamics Processing ADL 700 includes a custom FET Compressor What follows is an excerpt from a brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of your ADL 700 This tutorial will take you through the basics of dynamics processing 3 1 1 Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the ratio between the loudest possible audio level and the noise floor For example if a processor states that the maximum input level before distortion is 24 dBu and the output noise floor is 92 dBu then the processor has a total dynamic range of 24 92 116 dB The average dynamic range of an orchestral performance can range from 50 dBu to 10 dBu on average This equates to a 60 dB dynamic range Although 60 dB may not appear to be a large dynamic range do the math and you ll discover that 10 dBu is 1 000 times louder than 50 dBu Rock music on the other hand has a much smaller dynamic range typically 10 dBu to 10 dBu or 20 dB This makes mixing the various signals of a rock performance together a much more tedious task Why do we need compression Consider the previous discussion You are mixing a rock performance with an average dynamic range of 20 dB You wish to add an uncomp
15. n attack reduce vocal dullness more finger sound on bass sharpness to synths rock guitars acoustic guitars piano AL 7 kHz ADL 700 Owner s Manual brighten vocals acoustic guitar piano harder cymbals e breathier vocals e brighten cymbals string instruments flutes e more realistic samples and synths e vocals reduce e vocals reduce s sound un S sound 19 4 Resources 4 1 Audio Specification ADL 700 Owner s Manual 4 Resources 4 1 Audio Specification Input Impedance Microphone Balanced Line Instrument Maximum Input Level Microphone 15000 20 dB Pad out Microphone 15000 20 dB Pad in Balanced Line Instrument Gain Range Microphone 15000 20 dB Pad out Balanced Line Instrument Performance Noise Floor all inputs minimum gain Microphone Equivalent Input Noise EIN Frequency Response Maximum Output Level Output Impedance Tube Complement per channel EQ Type Q Low Band Low pass or Bandpass Low Mid Band High Mid Band High Band High pass or Bandpass Compressor Threshold Range Ratio Attack Time Release Time Curve Type 20 Selectable 150 300 900 15000 2kQ 1MQ 10 dBu 30 dBu 30 dBu 20 dBu 6 dB to 70 dB 20 dB to 40 dB 20 dB to 40 dB 95 dBu A weighted 123 dBu A weighted 10 Hz to 45 kHz 1 dB 28 dBu 0 5 THD N 500 1 12AT7A and 2 6922 2nd order shelving filter 0 55
16. n from high gain sources Padding the input increases headroom and reduces the likelihood of signal overload 20aB PAD High Pass Filter The high pass filter s frequency threshold can be set at 20 Hz 40 Hz 80 Hz or 200 Hz or it can be turned off completely The slope of the filter is 12 dB octave Power User Tip A high pass filter attenuates all frequencies below the set threshold Use this filter instead of an equalizer to remove unwanted low frequencies from your source signal 2 2 Compressor Controls Threshold Sets the threshold of the compressor When the signal s amplitude level exceeds the threshold setting the compressor engages Turning the knob counterclockwise lowers the threshold so that compression begins at a lower amplitude and more of the input signal becomes compressed assuming you have a ratio setting greater than 1 1 The threshold can be set from 20 to 30 dBu When Threshold is turned fully counterclockwise to the ST position all the onboard compressor controls except for the Make up Gain are bypassed and compression is controlled externally via the Link Connection For more information on stereo linking ADL 700s please see Section 2 8 Power User Tip Using the Link function will help to maintain the sources stereo image because the compressor for both the left and right side of the image will raise and lower the gain by the same amount Ratio The Ratio control sets the compression
17. n of the problem All authorized returns must be sent to the PreSonus repair facility postage prepaid insured and properly packaged PreSonus reserves the right to update any unit returned for repair PreSonus reserves the right to change or improve the design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a particular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage to property damage based on inconvenience or on loss of use of the product and to the extent permitted by law damages for personal injury Some states do not allow the exclusion of limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state This warranty only applies to p
18. namics Processing Owner s Manual The world s best mixing consoles offer compression on every channel because most instruments need some form of compression often very subtle to be properly heard in a mix Compression Demystified Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression Compression isa form of dynamic range gain control Audio signals have very wide peak to average signal level ratios sometimes referred to as dynamic range which is the difference between the loudest level and the softest level The peak signal can cause overload in the audio recording or sound reinforcement chain resulting in signal distortion A compressor is a type of amplifier in which gain is dependent on the signal level passing through it You can set the maximum level a compressor allows to pass through thereby causing automatic gain reduction above some predetermined signal level or threshold Compression refers basically to the ability to reduce by a fixed ratio the amount by which a signal s output level can increase relative to the input level It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing process by reducing the amount of level changes needed for a particular instrument Take for example a vocalist who moves around in front of the microphone while performi
19. nd gain reduction 1 3 What s in the Box In addition to this manual your ADL 700 package contains the following PreSonus ADL 700 Channel Strip 0006 6 El 606 62 VI PreSonus W 0 BA Ch CH 0 NS oO man IEC power cable 2 Hookup ADL 700 2 1 Input Controls Owner s Manual 2 Hookup 2 1 Input Controls a 151 pi ai sa an ja n ih i ii jk F a pa a a ii un i ii a Jo ae ko ite oe i s 1h gen kk ti ga ii na ko D D ri n Ni CD ri 4 NI i 4 l y ki fa a jo J n RD O ca Fea oh PAN T AAS L a kh a z007 pa i Figy an Fs woo an a Pe HF FILT T hashi THRESHOLD PATHI GAN aka a 4 d FREG FREQ FREQ fa 1 fa A j i j i t FREQ l 4 F A Lath DE S MIC Q 1500 900 Input Source Select The Input Source Select switch allows you to choose among all LINE 300 signal sources that you have connected to the ADL 700 inputs It patches the selected input through the signal chain completely bypassing the other two inputs The Input Source Select switch also provides a choice of four mic input impedances 15000 9000 3000 and 1500 INSTR 150 Power User Tip The output of your microphone and the input of any microphone preamp each have a specific impedance Measured in ohms impedance is a way of expressing a circuit s opposition to a signal attempting to pass through Lowering or raising the ADL 700 mic input impedance can create subtle coloring and filtering effects ena
20. nds in a mix allowing them to both shine through the mix The parametric EQ and semi parametric EQ are the most common equalizers found in recording and live situations because they offer continuous control over all parameters A parametric EQ offers continuous control over the audio signal s frequency content which is divided into several bands of frequencies most commonly three to seven bands A fully parametric EQ like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range of frequencies affected the center frequency of the band and the level boost cut of the designated frequency band It also offers separate control over the Q which is the ratio of the center frequency to the bandwidth A semi parametric EQ provides control over most of these parameters but the Q is fixed Some devices such as the StudioLive 16 4 2 and 16 0 2 have quasi parametric EQ which is semi parametric EQ with a simple switchable Q setting typically High and Low Q Q is the ratio of center frequency to bandwidth and if the center frequency is fixed then bandwidth is inversely proportional to Q meaning that as you raise the Q you narrow the bandwidth In fully parametric EQs you have continuous bandwidth control and or continuous Q control which allows you to attenuate or boost a very narrow or wide range of frequencies A narrow bandwidth higher Q has obvious benefits for removing unpleasant tones Let s say the sn
21. ng making the output level vary up and down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing the louder passages enough to be compatible with the overall performance How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a factor of two for signals that exceed the compression threshold As the compression threshold is lowered more of the input signal is compressed assuming a nominal input signal level Care must be taken not to overcompress a signal as too much compression destroys the acoustic dynamic response of a performance That said overcompression is used by some engineers as an effect with killer results Compressors are commonly used for many audio applications For example A kick drum can get lost in a wall of electric guitars No matter how much the level is increased the kick drum stays lost in the mud A touch of compression can tighten up that kick drum sound allowing it to punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be far outside the average level of the vocal signal Because the level can change continuously and dramatically it is extremely difficult to ride the level with a console fader A com
22. ng instruments that have a lot of low frequency components such as bass guitar Very long release times can result in an overcompressed or squashed sound All ranges of release can be useful however and you should experiment to become familiar with different possibilities EQ Bypass This switch bypasses the EQ When both the compressor and the EQ are bypassed the ADL 700 acts as a tube preamplifier only EQ gt Compressor When the EQ gt Compressor switch is engaged it places the EQ before the compressor in the signal path When it is disengaged the signal passes through the compressor before passing through the EQ Power User Tip Placing the compressor before the EQ allows you to make dramatic changes to the EQ settings without needing to alter the compressor setting However if you place the EQ before the compressor you can better control different frequencies achieving a more natural response The ADL 700 provides the flexibility to choose which signal flow is right for your application at any given time 2 2 3 LF PEAK 240 Hookup EO Controls 320 ADL 700 Owner s Manual Low Band Frequency Sets the center frequency of the EO s low frequency band You can adjust the center frequency from 20 to 250 Hz Low Band Gain Sets the attenuation or boost of the EQ s low band The gain can be set between 16 and 16 dB Low Band Peak When the Peak switch is engaged the low band of the EQ becomes a standard pe
23. oftware Ltd Mac Mac OS and Macintosh are registered trademarks of Apple Inc in the U S and other countries Windows is a registered trademark of Microsoft Inc in the U S and other countries Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the recipe which is a classic ADL 700 Channel Strip Owner s Manual m Q 4 N n A rI on xa w mat HP FILT Thai ian mi ON m CH poo W jo LINELL MHPUT GAN DAT Ye os FAZ ALUNAN ATTACK RELEASE a a rey AN 4 MK ree ey 4 Li no INSTRIIMENT POLARITY hig ala FAD COMP 6 YT PASS METER lt 6 PreSonus ADLG 700 li PreSonus 7257 Florida Boulevard Baton Rouge Louisiana 70806 USA 1 225 216 7887 www presonus com Part 820 PAS0017 D
24. on Dynamics Processing 14 3 1 1 Common Questions Regarding Dynamics Processing 14 3 1 2 Compression Demystified 15 Equalizers 16 3 2 1 Whatisan EQ 16 3 2 2 Equalization Settings How to Find the Best and Leave the Rest 17 4 1 4 2 4 3 4 4 4 5 Resources 20 Audio Specification 20 ADL 700 Block Diagram 27 ADL 700 Recall Sheet 22 Troubleshooting 23 Warranty 24 1 Overview ADL 700 1 1 Introduction Owner s Manual 1 1 Introduction Thank you for purchasing the PreSonus ADL 700 PreSonus Audio Electronics has designed the ADL 700 utilizing high grade components to ensure optimum performance that will last a lifetime The ADL 700 is a professional channel strip that includes a tube preamplifier with the same design as the award winning ADL 600 This discrete Class A tube preamp is combined with an FET based compressor and four band semi parametric equalizer making it perfect for professional studio applications Great for all types of microphones and instruments the ADL 700 has the sonic power and flexibility to achieve luscious vocals crystal clear acoustic guitars fat bass guitars dynamic acoustic piano cracking snares and much more We encourage you to contact us with questions or comments regarding this product You can reach us by email at support presonus com or call us at 1 225 216 7887 between 9 a m and 5 p m U S Central Time PreSonus Audio Electronic
25. pressor automatically controls gain without altering the subtleties of the performance A solo guitar can seem to be masked by the rhythm guitars Compression can make your lead soar above the track without shoving the fader through the roof 15 3 0 Tutorial 3 2 Equalizers 3 2 Equalizers ADL 700 Owner s Manual Bass guitar can be difficult to record A consistent level with good attack can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor give your bass the punch it needs to drive the bottom of the mix Your ADL 700 is equipped with a 4 band semi parametric EQ Here s a brief explanation of how an EQ functions as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes 3 2 1 What is an EQ Parametric EQ An equalizer is a filter that allows you to adjust the level of a frequency or range of frequencies of an audio signal In its simplest form an EQ will let you turn the treble and bass up or down allowing you to adjust the coloration of let s say your car stereo or iPod In recording equalization is a sophisticated art Good equalization is critical to a good mix When used correctly an equalizer can provide the impression of nearness or distance fatten or thin a sound and help blend or provide separation between similar sou
26. reo Link mode simply turn the Threshold knob on the slaved unit to any position other than ST You do not have to disconnect the TRS connection to disable Stereo Link mode ADL 1 ADL 2 ADL 1 ADL 2 45 PreSonus ws LINE ANg PreSonus s Oy 35 DO Hookup Hookup Diagram ADL 700 stereo Hookup Diagram ADL 700 stereo 151 21 50 60 240 320 DEDE OFF HP FILT 200 TRIM MIC Q 1500 900 45 50 GAIN 70 100 o 30 50 e LINE 300 40 55 vu di LINKED D FAST SLOW FAST SLOW ADL 8 700 ATTACK RELEASE GAIN TETTI 20dB PAD COMP BYPASS METER 6dB METER GR EQ BYPASS THRESHOLD RATIO ke en LF PEAK 50 60 240 320 HP FILT MIC Q 1500 900 nee FREQ GAIN GAIN LF PEAK EQ BYPASS INPUT INSTRUMENT METER GR 1 2k_ 2k 9 6 12 3 1 20 1 2 1 3 15 200 180 1 2k 900 5 310 1 1 4 R 20 7 3s 160 2k 800 8k FREG Oh GAIN EQ gt COMP 1 2k_ 2k 200 je TN DS 160 2k 800 FREQ GAIN EQ gt COMP ADL 700 Owner s Manual 4k 6k q FREQ O GAIN HF PEAK PreSonus ADL 700 OUTPUT COMP LINK iis PreSonus ADL 700 StL 491X PreSonus AudioBox 1818VSL 24BIT 96K USB2 0 Recording Interface VOODOVOE Mice tann Mic Line 4s PreSonus IE a e LINE INPUT MIC INPUT DO TRS XLRM 13 3 0 Tutor
27. ressed vocal to the mix The average dynamic range of an uncompressed vocal is around 40 dB In other words a vocal performance can go from 30 dBu to 10 dBu The passages that are 10 dBu and higher will be heard over the mix However the passages that are at 30 dBu and below will never be heard over the roar of the rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10 dB The vocal can now be placed at around 5 dBu At this level the dynamic range of the vocal is from 0 dBu to 10 dBu The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix allowing the vocal to sit in the track The same points can be made about any instrument in the mix Each instrument has its place and a good compressor can assist the engineer in the overall blend Does every instrument need compression This question may lead many folks to say absolutely not overcompression is horrible That statement can be qualified by defining overcompression The term itself must have been derived from the fact that you can hear the compressor working A well designed and properly adjusted compressor should not be audible Therefore the overcompressed sound is likely to be an improper adjustment on a particular instrument unless of course it is done intentionally for effect 3 0 3 1 3 1 2 ADL 700 A Brief Tutorial on Dy
28. roducts sold and used in the United States of America For warranty information in all other countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 USA www presonus com 24 Added bonus PreSonus previously Top Secret recipe for Chicken and Andouille Gumbo Ingredients 1 C All Purpose flour 34 C Vegetable Oil 1 large onion diced 1 small onion quartered 6 celery stalks diced 1 large green bell pepper diced 3 cloves garlic 2 minced 1 whole 1 Ib link Andouille sausage 4 Chicken leg quarters 4 qt water 4 bay leaves 1 tsp thyme 1 tsp Old Bay seasoning 1 2 C frozen okra sliced v4 C fresh parsley minced 6 8 eggs optional Cooking Instructions 1 Ina large pot combine whole chicken leg quarters water quartered onion Old Bay 2 bay leaves and 1 whole clove garlic Cover and bring to a low boil Simmer stock until chicken is falling off the bone Remove the chicken and set aside Discard the onion bay leaves and garlic reserving the liquid 2 In a heavy saucepan heat 1 Tbsp of the oil on medium high heat and brown the andouille until it is cooked through Set aside sausage for later 3 Inthe same saucepan add and heat remaining oil Slowly add flour 1 2 Tbsp at a time stirring continuously Continue cook ing and stirring the roux until it is a dark brown it should look like melted dark chocolate Be careful to not to get
29. s and sound modules You can also use the line inputs on two stereo linked ADL 700s to give a stereo mix an extremely full rich character To use this input turn the Source Select switch to the Line position LINE INPUT Comp Link Use this TRS connection to link the compressor stage of two ADL 700s Power User Tip You can leave your ADL 700s connected via the Comp Link jack at all times even if you only use the Stereo Link function occasionally Unless one of the units has its Threshold knob switched to the ST position the two units will act independently Output The ADL 7005 output jack employs a balanced XLR connection Power User Tip All input and output connectors are transformer balanced XLRs with the following wiring standard Pin 1 GND Pin 2 High Pin 3 Low IEC Power Connection Your ADL 700 accepts a standard IEC cord Note The input power voltage is set at the factory to correspond with the country to which the ADL 700 was shipped 2 Hookup ADL 700 2 7 Hookup Diagram ADL 700 mono Owner s Manual 2 7 Hookup Diagram ADL 700 mono 40 10 0 15 1 21 VWE a 15 10 131 25 1 20 80 20 20 12 1 31 3 15 OF o 10 t10 ST 30 11 4 1 A AF Z es 1 2k 900 5k 2 s 2k L F Doi 0 K 7 20 250 160 HP FILT TRIM THRESHOLD RATIO GAIN ae FREQ FREQ MIC Q 1500 900 45 50 aN 30 0 0 LINE 300 40 55 P 3 A E e l F Wii PreSonus s 150 35 oN Ti mou sa 3 A 30 65 FAST SLOW F
30. s is committed to constant product improvement and we value your suggestions highly We believe the best way to achieve our goal of constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us through the purchase of this product and are confident that you will enjoy your ADL 700 ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for the ADL 700 before connecting it to the rest of your studio gear This will help you avoid problems during installation and setup Throughout this manual you will find Power User Tips that can help make you an ADL 700 expert In addition tutorials covering the basics of dynamics processing and equalization can be found in Section 3 of this manual 1 Overview ADL 700 1 2 Summary of ADL 700 Features Owner s Manual 1 2 Summary of ADL 700 Features High voltage all tube Class A dual transformer design gt 73 dB gain Selectable microphone input impedance Switched Gain and variable Fine Trim controls Microphone instrument and line inputs with Source Select Ultra low noise 100 aB S N ratio Variable high pass filter Polarity invert 48V phantom power 20 dB pad Fully variable FET compressor with attack release threshold ratio make up gain and stereo link Four band semi parametric EQ Dual mode analog VU metering output a
31. s listed as hazardous chemicals in the REACh regulation WEEE This symbol on the product or its packaging indicates that this product must not be disposed of with other waste Instead it is your responsibility to dispose of your waste equipment by handing it over to a designated collection point for the recycling of waste electrical and electronic equipment The separate collection and recycling of your waste equipment at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment For more information about where you can drop off your waste equipment for recycling please contact your local city recycling office or the dealer from whom you purchased the product CE This product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility EMC Directive 2006 95 EC and the Low Voltage Directive 2004 108 EQ 1 7 1 2 1 3 2 1 2 2 2 3 2 4 2 5 2 6 2 7 2 8 2 9 3 0 3 1 3 2 Overview 7 Introduction 17 Summary of ADL 700 Features 2 What s in the Box 2 Hookup 3 Input Controls 3 Compressor Controls 4 EQ Controls 5 VU Meter and Controls 7 Master Controls 8 Physical Connections 8 Hookup Diagram ADL 700 mono 10 Stereo Linking Two ADL 700s 11 Hookup Diagram ADL 700 stereo 73 Tutorial 74 A Brief Tutorial
32. se instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry a cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Donot 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 and 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 10 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 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Servicing is required when the apparatus has been damaged in any way such as if a power supply cord or plug is damaged
33. t can or should have a full rich low end and a sharp attack If every instrument is EQ d to have the same effect it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity e Step away from the mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be quite literally numbed to that frequency range 3 0 Tutorial ADL 700 3 2 Equalizers Owner s Manual e Your memoryisnot what you think it is Comparing a flat EQ and the curve that you ve created allows you to see and hear exactly what you ve done So be honest with yourself Sometimes that EQ setting you ve been working on for 15 minutes is not the right choice so move on e Never be afraid of taking a risk The best EQ tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness Altering the wrong frequencies can make an instrument shrill muddy or just downright annoying The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments These are just suggestions the frequencies may need to be adjusted up or down depending on the instrument room and microphone Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost non Roma Electric Guitar 1 2 kHz Shrill Clarity 80 Hz and below Muddy 125 Hz Bottom end
34. the oil too hot or the flour will burn and you ll have to start over 4 Once roux has reached the correct color add diced onion celery green pepper and minced garlic Cook until vegetables are very tender Do not cover 5 Slowly add 1 quart of chicken broth and bring to a low boil stirring constantly 6 Transfer roux mixture to a soup pot and bring to low boil Do not cover the roux will settle on the bottom of the pot and burn 7 Add remaining chicken broth bay leaves and thyme Simmer for 30 minutes 8 While gumbo is simmering debone and shred chicken and slice the andouille 9 Add chicken and andouille to gumbo and return to a simmer Simmer for 30 45 minutes 10 Stir in frozen okra and parsley and bring to a rolling boil 11 Optional Crack one egg into a teacup and quickly pour into the boiling gumbo Repeat with the other eggs being careful not to cluster them too closely After all the eggs have risen back to the surface reduce heat and simmer 12 12 Correct seasoning with salt and pepper red white and or black if necessary 13 Serve over rice with potato salad Serves 12 2012 PreSonus Audio Electronics Inc All Rights Reserved AudioBox DigiMax FireStudio Nimbit PreSonus QMix StudioLive and XMAX are trademarks or registered trademarks of PreSonus Audio Electronics Inc Capture Impact Mixverb Presence RedLightDist SampleOne Studio One and Tricomp are trademarks or registered trademarks of PreSonus S
35. tion or boost of the EQ s high mid band The gain can be set between 16 and 16 dB High Band Frequency Sets the center frequency of the EQ s high frequency band You can adjust the center frequency from 2 kHz to 20 kHz High Band Gain Sets the attenuation or boost of the EQ s high band The gain can be set between 16 and 16 dB High Band Peak When the Peak switch is engaged the high band of the EQ becomes a standard peak filter with a fixed Q of 0 6 When it is disengaged the high band is a shelving filter RA amp HF PEAK 2 4 VU Meter and Controls VU Meter The analog VU meter displays the ADL 7005 output level When the Meter GR switch is enabled the VU meter will show the amount of gain reduction being applied by the compressor Meter 6 dB This switch offsets the VU meter by 6 dB which can help you meter loud input sources if your VU meter is slamming or pegged METER 6dB 2 Hookup ADL 700 2 5 Master Controls Owner s Manual Meter GR This switch changes the VU metering to display the compressor s gain reduction rather than the ADL 700 s output level di 4 g METER GR 25 Master Controls Level Adjusts the overall output volume of the ADL 700 from 80 dB to 6 dB Power Turns the ADL 700 on and off POWER 2 6 Physical Connections Instrument Input The 1 4 TS connector on the front panel is for use with a passive instrument guitar bass etc
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