TL Audio A3 - Manual (Page 20)

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The optional digital output will allow high quality 24-bit A/D conversion of the Ebony
A3 mono output on a coaxial SPDIF connector. The DO-2 can feed directly into
digital recorders such as Digital Multitrackers, Hard Disk Recorders, DAT Recorders,
Minidisk and CD-Recorders, bypassing any A-D conversion stages on the way. When
connecting the DO-2’s SPDIF output it is advisable to use cables less than 5 metres in
length and of high quality. The digital output can be used simultaneously with the
Ebony A3’s analogue output.
In Use
Having connected the Ebony A3, it’s time to put it into action! Here’s a simple step-
by-step guide:
1. We’ll assume that a condenser microphone is connected to the Ebony A3 mic input,
and the +48V phantom power is engaged. The first stage is then to set up the gains of
the Ebony A3. With the compressor, EQ and gatestages switched out, start with the
Ebony A3 input gain at minimum and output gain at 0dB.
2. Gradually bring up the Ebony A3 input gain until the Drive LED illuminates with
the chosen source material - this should also generate a healthy reading on the Ebony
A3 VU meter (when set to ‘I/P’). Then switch to meter ‘O/P’ and check that around
0VU is being produced, and adjust the output level control if necessary.
3. Try engaging the 30dB pad and 90Hz filter switches. You should notice that the pad
greatly reduces the mic gain and the filter reduces the LF response of the mic (try
those ‘B’ and ‘P’ letter sounds as outlined in operation section).
4. Now depress the Compressor ‘On’ switch, and using the compressor controls you
will need to adjust settings to suit the instrument you are listening to. A good starting
point is set the Attack and Release to ‘Fast’, Ratio to 1:3, Knee to ‘Soft’, and
Threshold to +20dB.
5. As you start turning the Threshold control clockwise towards 0dB, the Ebony A3
meter should now register that some gain reduction is taking place. Aim to get around
a maximum 3-4dB of gain reduction occurring as a starting point, by lowering the
Threshold further if necessary. You should also notice that increasing the Ratio setting
causes more gain reduction to occur.
6. When gain reduction is taking place, you should notice that the output level is
reduced. By switching the compressor ‘in’ and ‘out’, you can compare the levels and
the subjective sound quality of the original and compressed signals. With the
compressor active, use the Gain Make- Up control to set the level so that when
disabling the compressor, there is no level drop. This way you can A/B the original
and compressed signals without the levels changing.
7. At this stage if you are unfamiliar with compression you should experiment with