PreSonus RC500
Contents
1. Hz and 5 kHz Mid Band Gain Sets the attenuation of boost of the EO s mid freguency band The gain can be set between 16 and 16 dB High Band Freguency Sets the center freguency of the EO s high freguency band You can adjust the center freguency between 2 and 20 kHz High Band Gain Sets the attenuation of boost of the EO s high freguency band The gain can be set between 16 and 16 dB Overview Tutorial Resources 2 4 VU Meter and Controls High Band Shelf By default the high band of the EQ is a standard peak filter with a LG fixed O of 0 6 When the Shelf switch is engaged the high band functions as a RUCH shelving filter SHELF Y lt D CD EQ In Out Bypasses the EQ circuit in the signal chain 2 4 VU Meter and Controls VU Meter By default the analog VU meter displays the RC 500 s output level S D Meter GR This switch changes the VU metering to display the compressor s gain D reduction rather than the RC 500 s output level A MTR GR Y MTR OUT 2 5 Master Control Master Level Adjusts the overall output volume of the RC 500 between 80 dB and 4 10 dB MASTER 2 6 Physical Connections Instrument Input The 44 TS connector on the front panel is for use with a passive instrument guitar bass etc To use this input turn the Source Select switch to the Mic Inst position Power User Tip Passive instruments do not have an internal preamp an2. The threshold can be set from 25 to 20 dBu Power User Tip Your RC 500 compressor has a fixed ratio of 3 1 This ratio will work well for a wide variety of instruments If you would like more compression lower the threshold while raising the input level Lighter compression can be easily achieved by raising the threshold 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 the signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counter clockwise 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 compressing instruments that have a lot of low freguency components such as a 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 Compressor In Out Bypasses
3. 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 guestion 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 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 Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression Compression is a form of dynamic range gain control Audio signals have very wide peak
4. synths 10 kHz e vocals reduce e vocals reduce s sound s sound RC 500 Owner s Manual 4 Resources 41 Audio Specifications Input Impedance Microphone Line Instrument Maximum Input Level Microphone 20 dB Pad Out Microphone 20 dB Pad In Line Instrument Gain Range Microphone 20 dB Pad Out Line Instrument Performance Noise Floor All inputs minimum gain Microphone EIN 20 Hz 20 kHz Frequency Response Maximum Output Level Output Impedance EQ Type Q Low Band Mid Band High Band Compressor Type Attack Time Variable Release Time Variable Threshold Variable Ratio Fixed Physical Weight Dimensions W x H x D 1500 0 1kQ 1 MQ 0 dBu 20 dBu 18 dBu 0 dBu 20 to 70 dB 20 to 15 dB 5 to 50 dB 102 dBu AWtd 125 dBu AWtd 10 Hz to 25 kHz 1 dB 24 dBu 500 2nd Order Shelving 0 5 20 Hzto 400 Hz 400 Hz to 5 kHz 2 kHz to 20 kHz FET VCA with RMS based control Fast 0 5 ms to Slow 10 ms Fast 30 ms to Slow 500 ms 25 dB to 20 dBu 3 1 7 lb 3 oz 3 26 kg 19 482 6 mm x 1 72 43 6 mm x 7 69 195 3 mm Overview Hookup Tutorial Resources RC 500 Block Diagram 4 2 ssedAg AN SS 01 Jana Indj nQ O O R M g ms A DD UD PIW MO O D O x U 2 a a L U cc N lt r Overview Hookup Tutorial ssedAg duo O ZH 08 Q AJ gt L
5. 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 Overview Hookup 5 Resources 3 1 A Brief Tutorial on Dynamics Processing 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 performing 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 a the louder passages enough to be compatible with the overall performance CH How severely the compressor reduces the signal is determined by the compression ratio and comp
6. O I O OT I O U2IIMS ssed g dwo gt Game HO IIOH ZH 08 Jossaidwo gt Resources _ sseg UBIH e Uj luswnajsu saying 111 I UPIIMS l yous pees sau Duo I 924nos yndu I gP OZ Gaz I I I I I yotlms i I EE Ped gP OZ I UDHMS JBMOd WOJUEUd 16 RC 500 Owner s Manual RC 500 Recall Sheet 4 3 MAIAJSAQ dnyooH ELIOJNJ 4414HS Y Vdd Z NO Ud1L1SVW CO OLT OC N9L ACL 19 Ab HHZIIVNO3 AHI1HS Yv Vdd a NO HHLSVW 03H1 Olt 402 AC AS J91 AS T Ab AZL JE AZ J9 Ab H4ZT1Vnod S9241n0SoM SALON SALON 4414HS Y AVid 410 NO O1dH1 oop 00 OSL A11I1HS Yv AVid 440 NO OdMud 007 00 OSL 4SV1 114 A NI LNO HLW A GIOHSSYHL NIVD MOTIS 1Sv4 Yno NDYIWY os sz OZ oc 410 41410 A E SL 0c 09 ADVLLV MOTIS ISV4 S SS LSNI DIW 110 os Sv NO INI UdOSSJddWOJ dWVddd LSNI DIW LSILdV A ILLILDNOS J lVO 4SVJ13M AN LNO HLW A QGIOHS3HHL NIVD MOTS ISv4 VINO HDHIWW oz ec OZ oz GPOC A 87 220 ddO 1410 dd4O NO NO SL 0c 09 oE NO NO ADVLLV o MO1S isv4 e SS or ZHOS LISNI DIW 220 NO ANI I d4O NO 44O NO dOSSJddWODJ dWVddd LSNI DIW LSILdV JUL NOS J lVO 17 4 4 Troubleshooting 4 4 Troubleshooting No power MolAlOA 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 properl
7. RC 500 Channel Strip with Solid State Preamp Compressor and EQ Owners Manual 3 J PREAMP COMPRESSOR LIKE y v WnPresonus _ RA o E ZES OI Ot V i A i Wi ATTACK j d z A A e St K Je a 6 T o sA HS TALEADMT Ae jod 20 o a e Je E NW S WW PreSonus Table of Contents 1 Overview 7 1 1 Introduction 1 1 2 Summary of RC 500 Features 1 1 3 WhatsintheBox 2 2 Hookup 3 2 1 Input Controls 3 2 2 Compressor Controls 4 2 3 EQ Controls 5 2 4 VU Meter and Controls 6 2 5 Master Control 6 2 6 Physical Connections 6 2 7 Hookup Diagrams 8 2 7 1 Basic Recording Diagram 8 2 7 2 Advanced Recording Diagram 8 3 Tutorial 9 3 1 A Brief Tutorial on Dynamics Processing 9 3 1 1 Common Questions Regarding Dynamics Processing 9 3 2 Equalizers 17 3 2 1 WhatisanE0 77 3 2 2 Equalization Settings How to Find the Best and Leave the Rest 12 3 2 3 EQ Frequency Charts 12 4 Resources 15 4 1 Audio Specifications 15 4 2 RC500 Block Diagram 16 4 3 RC500 Recall Sheet 17 4 4 Troubleshooting 18 4 5 Warranty 19 RC 500 Owner s Manual 1 1 Introduction COMPRESSOR ER ra 4 H e KH Te F Hookup Thank you for purchasing the PreSonus RC 500 PreSonus Audio Electronics Inc has designed the RC 500 utilizing high grade components
8. ar and snare fullness e bass line clarity especially for softer playback levels e piano and horns warmth e fullness to low frequency instruments kick tom bass e vocal fullness e bass line clarity and punch e hard hitting snare and guitar 100 Hz 200 Hz 400 Hz 800 Hz e decrease kick and tom dullness e increase guitar clarity e lessen guitar boom e decrease guitar thinness e decrease muddiness in vocals and mid range instruments e decrease bass boom to increase clarity in the mix e lessen overly bright guitar overtones e decrease long bass overtones in cymbals e bass line clarity and punch 1 5 kHz e decrease dullness in guitars bass pluck acoustic electric guitar attack lower piano register attack vocal clarity vocal presence kick amp tom attack more finger sound on bass piano and acoustic guitar attack brighter rock guitar e adds distance to e softens a thin guitar e enhance background vocal breathiness e disguise vocals and guitars that are slightly out oftune background instruments kick 8 tom attack percussion attack reduce vocal dullness more finger sound on bass sharpness to synths rock guitars acoustic guitars piano MAMA 7 kHz brighten vocals acoustic guitar piano harder cymbals e breathier vocals e brighten cymbals string instruments flutes e more realistic samples and
9. ay 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 liguid 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 cooking and stirring the roux until it is a dark brown it should look like melted dark chocolate Be careful to not to get 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 Slowly add 1 quart of chicken broth and bring to a low boil stirring constantly 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 Add remaining chicken broth bay leaves and thyme Simmer for 30 minutes While gumbo is simmering debone and shred chicken and slice the andouille Add chicken and andouille to gumbo and return to a simmer Simmer for 30 45 minutes See DD NP M 0 Stir in frozen okra and parsley and bring to a rolling boil 1 Optional Crack one egg into a teacup and quickly pour into the boiling gumbo Repeat with the o
10. cies above it A high pass filter does the opposite passing all freguencies above the specified cut off freguency 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 freguency content accordingly Here s a guick 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 freguency band so if you are working on your kick drum mic start with the lowest band of the EO 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 freguency 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 instrument can or should have a full rich low end and a sharp attack If every instrument is EO 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 th
11. d 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 RC 500 risks damage to the circuit and is likely to produce a very loud and distorted audio signal So don t do that INSTRUMENT Mic Input The RC 500 mic preamp works great with all types of microphones including dynamic ribbon and condenser mics To use this input turn the Source Select switch to the Mic Inst position As previously stated in Section 2 1 if both the Mic and the Instrument inputs are connected the Mic input will be bypassed and the Instrument input will be patched through the signal path 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 MIC INPUT 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 reguire external 48V phantom power Always review your microphone s documentation and follow its recommended operating practices RC 500 Owner s Manual Line Input This balanced XLR connection can be used for line level devices such as keyboards drum machines and sound modules To us
12. ded to help you get the most out of your RC 500 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 uncompressed 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
13. e mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be guite literally numbed to that freguency range e Your memory is not 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 EO 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 3 2 3 EO Freguency Charts With every instrument there are freguencies that can be attenuated or boosted to add clarity or fullness Altering the wrong freguencies can make an instrument shrill muddy or just downright annoying The following two charts suggest freguency ranges that should be accentuated or downplayed for the most common instruments These are just suggestions the freguencies may need to be adjusted up or down depending on the instrument room and microphone RC 500 Owner s Manual Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost ee ee po 8 JRR SF esse mem EEEE KOJE RE e ERC EE mw ee ee Tm ema a A CIZEE 5 pam i MolAlOA dnyooH ms o ca S92Jn0SoM 14 3 2 Equalizers Table 2 e harder bass to low frequency instruments kick tom bass e guit
14. e this input turn the Source Select switch to the Line position Overview LINE INPUT Balanced Send This balanced 14 TRS output sends the source signal out of your RC 500 before the compressor EQ and Master Gain stages Use this output to insert an external processor into your RC 5005 signal path Power User Tip You can use the Balanced Send to record the unprocessed signal in addition to the compressed EOd signal This provides you with the flexibility of recording a dynamically processed and EOd source while giving you the option to add dynamics processing to your recorded unprocessed signal when mixing To do this simply connect the main output of your RC 500 to one input of your audio interface and the Balanced Send to a second output of your interface Tutorial RETURN Balanced Return This balanced 14 TRS input patches directly to the compressor stage of your RC 500 When using this input to insert an external dynamics processor you can bypass the compressor the EO or both Resources Power User Tip If you have an external preamp that you would like to use with your RC 500 s compressor and EO patch it to the Balanced Return rather than to the Line Input to completely bypass the first gain stage Output The RC 500 provides both balanced XLR and a4 TRS connections Both output connections are active all the time Power User Tip All input and output connectors are transformer balanced XLRs w
15. ent that you will enjoy your RC 500 ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for the RC 500 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 RC 500 expert In addition tutorials covering the basics of dynamics processing and equalization can be found in Section 3 of this manual 1 2 Summary of RC 500 Features e Transformer coupled high gain microphone preamp e Class A hybrid design with minimal signal path e Unbalanced 14 TS Instrument input on front panel e Balanced XLR Microphone and Line inputs on rear panel e Input Select switch e FET based compressor using hybrid detection methods with switching relays for hard bypass e 3 band semi parametric equalizer with switching relays for hard bypass e 48V phantom power 80 Hz rolloff and 20 dB pad e High grade components e Film capacitors e 1 tolerance resistors e Low distortion op amps 1 3 What s in the Box dnyooH VU meter with selectable Output Level and Gain Reduction display Master Fader output control Balanced Send and Return signals Balanced line level output on XLR and 14 TRS connectors Internal toroidal power supply Steel chassis 13 Whatsinthe Box In addition to this manual the RC 500 package con
16. er 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 32 4 2Al and 24 4 2AI 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 2AI and 16 0 2 have quasi parametric EQ which is semi parametric EO with a simple switchable O setting typically High and Low O Resources O is the ratio of center freguency to bandwidth and if the center freguency is fixed then bandwidth is inversely proportional to O meaning that as you raise the O you narrow the bandwidth In fully parametric EOs you have continuous bandwidth control and or continuous O control which allows you to attenuate or boost a very narrow or wide range of freguencies A narrow bandwidth higher O has obvious benefits for removing unpleasant tones Let s say the snare drum in your mix has an annoying ring to it With a very narrow bandwidth you can isolate this one freguency usually around 1 kHz and remove or reject it This type of narrow band reject filter is also known as a notch filter By no
17. hase 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 for where to return the unit for service All inguiries must be accompanied by a description 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 conseguential or other damages resulting from the breach of any express o
18. ith the following wiring standard Pin 1 GND Ka Ground Pin 2 High l Pin 3 Low LINE OUTPUT 4dBu XLR Power Switch Turn this switch to the position to power on your RC 500 The O position powers the unit down IEC Power Connection Your RC 500 accepts a standard IEC AC power cord E Note The input power voltage is set at the factory to correspond with the country to which the RC 500 was shipped M9IAJ9AO Jeuojn S92Jn0SoM 2 7 Hookup Diagrams 2 7 Hookup Diagrams 2 7 1 Basic Recording Diagram 7 O 50 60 Hz RETURN SEND e e e A e e 4 NI PreSonus AudioBox 1818vsL 24BIT 96 B2 0 Recording Interface ys te 6 9 9 9 9 9 9 1 3 5 7 Main Phones 9 9 9 9 O O O O 2 4 6 8 O 0000000 2 0000000 000 Mie Instrument PREAMP COMPRESSOR LINE l 45 50 10_0 AW P ri eSonus o 40 55 15 5 FAST See SLOW wg 30 Tb 60 20 T 15 MD 70 25 20 FAST SLOW THRESHOLD Y MTR OUT INV 2 20 O INSTRUMENT SR GAIN Acoustic guitar StudioLive 16 0 2 SE ine Left D Left Mono Left Mono t e Mi L jc Right 9 10 RC 500 Owner s Manual 3 Tutorial 3 1 A Brief Tutorial on Dynamics Processing The RC 500 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 inclu
19. ma EF h d i i l 8 e r d g l r M d d Wh PreSonus O SET A y e 18011 Grand Bay Ct Baton Rouge D e onus Louisiana 70809 USA 1 225 216 7887 Parth 820 RC50023 A www presonus com
20. o 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 10 3 2 Equalizers 3 2 1 Whatis an EQ Parametric EQ RC 500 Owner s Manual Your RC 500 is equipped with a 3 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 Overview 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 Hookup 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 sounds in a mix allowing them to both shine through the mix Tutorial 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 ov
21. phantom power reguirements 80 Hz Rolloff Your RC 500 is eguipped with a High Pass Filter The 80 Hz switch engages this filter causing all frequencies below 80 Hz to be attenuated by a slope of 12 dB octave Power User Tip A high pass filter attenuates all freguencies below the 80 Hz threshold Use this filter instead of the equalizer to remove unwanted low frequencies from your source signal For example the 80 Hz filter can be used to reduce the boominess or muddiness of a vocal and to improve the overall clarity of the signal Resources 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 RC 500 helping to prevent clipping and distortion from high gain sources Padding the input increases headroom and reduces the likelihood of signal overload Gain Your RC500 provides a gain range from 20 dB to 70 dB for the Mic preamp and 20 dB to 15 dB for the Line Input D ep jenon S JINOSJY 2 2 2 2 Compressor Controls Compressor Controls 25 720 THRESHOLD RELEASE Threshold Sets the threshold of the compressor When the signal s amplitude level exceeds the threshold setting the compressor engages Turning the knob counter clockwise lowers the threshold so that compression begins at a lower amplitude and more of the input signal is compressed
22. r 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 conseguential 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 products 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 19 Hookup Overview Tutorial Vi W U da o Vi W cc Dinner is Served Added bonus PreSonus previously Top Secret recipe for Chicken and Andouille Gumbo Ingredients e 1CAll Purpose flour e 34 C Vegetable Oil e 1 large onion diced e 1 small onion quartered e 6celery stalks diced e 1 large green bell pepper diced e 3 cloves garlic 2 minced 1 whole e 1 Ib link Andouille sausage e 4 Chicken leg quarters e 4qt water e 4 bay leaves e 1tsp thyme e 1 tsp Old Bay seasoning e 1 2 C frozen okra sliced e 4 C fresh parsley minced e 6 8 eggs optional Cooking Instructions 1 _ In a large pot combine whole chicken leg quarters water quartered onion Old B
23. ression 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 ms o ca 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 S92Jn0SoM 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 compressor 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 Bass guitar can be difficult t
24. tains the following jenon S DINOS IY IEC power cable RC 500 Owner s Manual 2 Hookup 2 1 Input Controls gt U gt Input Source Select The input Source Select switch allows you to choose between the signal sources connected to the RC 500 inputs It patches the selected input through the signal chain completely bypassing the other inputs MNE power User Tip The Instrument input is normalled through the Microphone input and will take precedence when both inputs are in use Because of this you can leave your favorite mic and line level source connected all the time and guickly patch in an instrument via the front panel when necessary 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 Tutorial 48V The 48 volt phantom power supplied by the XLR input on the rear panel provides power for condenser microphones and other devices reguiring continuous power This power is supplied at a constant level to prevent signal degradation WARNING In general phantom power is only reguired for condenser microphones and can severely damage some dynamic microphones especially ribbon mics Therefore switch phantom power off when not reguired by the device connected to the XLR input Consult the documentation that came with your microphone to verify its
25. tching out the offending freguency you can remove the problem without removing the instrument from the mix A narrow 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 freguencies The broad and narrow bandwidths high and low O 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 freguency 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 dnyooy Mala LW W S92Jn0SoM 12 3 2 Equalizers Shelving EO A shelving EO attenuates or boost freguencies 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 freguencies below the specified cutoff freguency while attenuating all the freguen
26. the compressor circuit in the signal chain 23 EQ Controls PEAK A SHELF RC 500 Owner s Manual Low Band Frequency Sets the center frequency of the EO s low frequency band You can adjust the center frequency between 20 and 400 Hz Low Band Gain Sets the attenuation or boost of the EO s low freguency band The gain can be set between 16 and 16 dB Low Band Shelf By default the low band of the EO is a standard peak filter with a fixed O of 0 6 When the Shelf switch is engaged the low band functions as a shelving filter Power User Tip A shelving EO attenuates or boosts freguencies above or below a specified cutoff freguency In practice these types of EOs are much like the treble and bass controls on a 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 freguencies above the specified cutoff freguency just like a treble control Shelving EOs can be used to make big changes to the sound very guickly by adding or removing an entire freguency range at once In contrast a peak EO offers continuous control over the center freguency of the band and over the level boost cut of the designated freguency band which makes it capable of more subtle changes Mid Band Freguency Sets the center freguency of the EO s mid freguency band You can adjust the center freguency between 400
27. ther 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 2013 PreSonus Audio Electronics Inc All Rights Reserved AudioBox CoActual DigiMax Eris FireStudio Nimbit PreSonus QMix Riff to Release Sceptre 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 Software Ltd Mac and Mac 0S 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 Temporal EQ and TO are trademarks of Fulcrum Acoustic 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 RC 500 Channel Strip with Solid State Preamp Compressor and EO Owner s Manual PREAMP COMPRESSOR ty on EQUALIZER a e d e OMPRESSOR a AT Au Tr EN Tu me ei L d Fa Y D a Ze NW d e 4 Be hy He d e d V A et Di a OI al pw E t 15 i j tk Sz NZS IS ZANE ZEN ZEN JN En d F a k a FREQ wy d Y Gei FREQ f y FREG d i m MASTER
28. to ensure optimum performance that will last a lifetime The RC 500 is a professional channel strip that includes a Class A solid state preamplifier with a unique hybrid design that combines the latest generation of low distortion operational amplifiers and low noise discrete transistors This design maintains the sonic qualities of Class A circuitry and benefits from the operational amplifier s characteristic repeatability in performance Tutorial The Class A preamp is combined with the same FET based compressor and semi parametric equalizer circuits found in the PreSonus ADL 700 making the RC 500 an excellent choice for professional studio applications Great for use with all types of microphones and instruments the RC 500 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 Resources 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 Electronics 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 confid
29. y Check the fuse on the back panel of the RC 500 Be sure to disconnect the power from the RC 500 before opening the fuse housing A blown fuse may look black on the inside or the wire inside might appear broken and a very black fuse indicates that something may have shorted out Try replacing the fuse with a new one Please refer to the information on the rear panel of your RC 500 to select the correct fuse If the fuse blows again please contact PreSonus to get your RC 500 repaired dnyooy Not passing audio If the RC 500 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 RC 500 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 RC 500 connected to a patch bay try connecting a source directly to the RC 500 to rule out a problem with the patch bay jemon SOJINOSOH 18 4 5 Warranty RC 500 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 purc
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