OWNER S MANUAL DSP bit Digital Sound Processor

Transcription

1 OWNER S MANUAL DSP bit Digital Sound Processor

2 DSP256manual 11/9/01 10:17 AM Page 2 DSP bit Digital Sound Processor Contents Congratulations on your purchase of the DSP you have purchased one of the finest compact sound processors on the market today. This unit was developed using the expertise of professional sound engineers and working musicians. You will find that your new NADY AUDIO sound processor has superior performance and greater flexibility than any other sound processor in its price range. Please read this manual carefully to get the most out of your new unit. FEATURES 16 essential effects programs including ultra smooth, clean, clear hall, room, plate and gated reverbs; chorus; flanging; delays; combination chorus/reverb; and even rotating speaker effects Each program offers 16 parameter adjustments for a total of 256 discrete effects variations Easy to use, the DSP-256 offers input, output, mix, program and variations select controls Date of Purchase Dealer s Name 1/4 stereo I/O and bypass (for footswitch control) connectors AC adapter (supplied) Housed in a small, rugged, easily portable, all-metal 1/3 rackspace rack mountable or tabletop package DSP-256 is versatile, affordable and sounds great - perfect for live performance, multitrack recording and mix down, and project studios Address Warning...4 Installation Inspection...5 Desktop Use...5 Rackmounting...5 Controls, Connections, and Operation Front Panel Controls and Use Input Level Control...6 Mix Level Control...6 Output Level Control...7 Peak Level LED...7 Program Select Control...7 Variations Select Control...7 Rear Panel Connections and Use Power Jacks...8 Bypass Jacks...8 Input (Left/Mono &Right) Jacks...8 Output (Left & Right) Jacks...9 Setup and Operation Connecting Directly to an Instrument...10 Connecting Directly to a Mixer Console...10 Typical Connections 1. Mono In, Mono or Stereo Out Stereo Using Mixer Inserts Using a Mixer s Master Outputs...12 AC Power Hookup...12 Line Conditioners...13 Program Descriptions Reverb Effects Concert Hall Reverb (3 Programs)...14 Room Reverb (3 Programs)...14 Plate Reverb (2 Programs)...15 Reverb Decay Variations Adjust...15 Pitch-Based Effects Flange...15 Chorus...15 Chorus/Reverb...16 Flange/Reverb...16 Rotary...16 Pitch-Based Variations Adjust...16 Delay Effects Delay...17 Delay/Reverb...17 Delay Variations Adjust...17 Tremolo Tremolo Variations Adjust...17 Troubleshooting Guide...18 Specifications...19 Service...Back State Zip Serial # 122 3

3 DSP256manual 11/9/01 10:17 AM Page 4 Warning Installation ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR 4 An equilateral triangle enclosing a lightening flash/arrowhead symbol is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure which may be of sufficient magnitude to constitute a risk of electric shock. An equilateral triangle enclosing an exclamation point is intended to alert the user to the presence of important operating and service instructions in the literature enclosed with this unit. IMPORTANT SAFETY INSTRUCTIONS When using this electronic device, basic precautions should always be taken, including the following: 1. Read all instructions before using the product. 2. Do not use this product near water (e.g., near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, etc.). 3. This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling. 4. This product, in combination with headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 5. The product should be positioned so that proper ventilation is maintained. 6. The product should be located away from heat sources such as radiators, heat vents, or other devices (including amplifiers) that produce heat. 7. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. Replace the fuse only with one of the specified type, size, and correct rating. 8. The power supply cord should: (1) be undamaged, (2) never share an outlet or extension cord with other devices so that the outlet s or extension cord s power rating is exceeded, and (3) never be left plugged into the outlet when not being used for a long period of time. 9. Care should be taken so that objects do not fall into, and liquids are not spilled through, the enclosure s openings. 10. The product should be serviced by qualified service personnel if: A. The power supply cord or the plug has been damaged. B. Objects have fallen into, or liquid has been spilled onto the product. C. The product has been exposed to rain. D. The product does not appear to operate normally or exhibits a marked change in performance. E. The product has been dropped, or the enclosure damaged. 11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All other servicing should be referred to qualified service personnel. To ensure years of enjoyment from your NADY AUDIO DSP 256 sound processor, please read and understand this manual thoroughly before using the unit. INSPECTION Your DSP 256 was carefully packed at the factory in packaging designed to protect the units in shipment. Before installing and using your unit, carefully examine the packaging and all contents for any signs of physical damage that may have occurred in transit. (Note: Nady Systems is not responsible for shipping damage. If the unit is damaged, do not return to us, but notify your dealer and the shipping company immediately to make a claim. Such claims must be made by the consignee in a timely manner.) CONTENTS: Instruction manual DSP 256 (verify that the same serial number is same as shown on shipping carton) AC Power supply adapter Warranty Card DESKTOP USE The DSP 256 may be placed anywhere safely as needed where it will not fall or be possibly damaged. Attach the rubber feet provided to the bottom of the unit if the unit is placed on a surface you wish to protect from damage. (Note: The DSP 256 itself doesn t generate any magnetic or hum fields, but it may pick up hum or noise from fields generated by power amplifiers. If it does, re-position the unit to eliminate the noise. Since the DSP 256 adapter may generate hum fields, locate it away from other audio equipment or wiring as much as possible.) RACK MOUNTING The DSP 256 has single rack height, and up to three DSP 256s may be mounted sideby-side in a standard universal 19 equipment rack available from various rack manufacturers or your music dealer. See AC Power Hookup on page 12 for information regarding avoiding grounding problems when rackmounting, if they should arise. 5

4 DSP256manual 11/9/01 10:17 AM Page 6 Controls, Connections, and Operation Front Panel Controls and Use (8) (12) (13) (9) Output Level Control This sets the DSP 256 output level fed to the amplifier or mixer. For optimum signal to noise and to minimize possible distortion, this control is typically set at 75%, but you can adjust as needed in your application. (10) Peak LED This displays the signal level being processed by the DSP 256. If the signal level is at overload, this LED will light red continuously and you might begin to hear the signal distort. Back off the INPUT CONTROL (7) until the LED lights only occasionally. (7) (9) (10) (11) (11) Power LED This is lit whenever the DSP 256 s power adapter is plugged in. Before using the DSP 256 it is best to familiarize yourself with the functions of all the controls and connections. After you have set up your unit in your application, you should refer back to these descriptions to fully optimize your operation of the DSP 256. (7) Input Level Control This sets the level going into the DSP 256. It controls both the Left and Right Input levels simultaneously. In order to achieve the maximum signal-to-noise ratio, you must properly set the input and output levels, typically at 75% of full for both the input and output level controls. This will decrease the possibility of overload distortion and minimize background noise. Turn down this control or decrease the volume of the source (instrument, mixer send, etc.) if the PEAK LED (10) on the DSP 256 lights more than just occasionally. If the connected mixer or amplifier distorts, turn the OUTPUT LEVEL (9) down. For more detail on level setting, see page 10. (12) Program Select Control This selects your desired program. The DSP 256 offers 16 preset effects algorithms, designed for optimum usefulness for any effects applications from guitar setups to studio recording. To audition these programs, turn the control to scroll through each of the 16 presets. (13) Variations Select Control Use this control to edit any of the sixteen DSP 256 programs. Depending on the PRO- GRAM (12) selected, the function of this control will change. For example, it will adjust delay length on a Delay program, amplitude modulation rate on the Tremolo program, etc. (Note: The VARIATIONS knob is always active. Since the previous setting will remain the same during program changes, you will need to re-adjust this knob when you change to a new program.) (8) Mix Control This sets the balance between the direct signal coming into the input and the effects generated by the DSP 256. Turn the control to the right to hear more effects; turn it to the left to hear more of the source signal. Keeping this control somewhere in the center will result in a blend of dry and wet signal. The setting you choose depends on the application and desired result. For example, when using the DSP 256 between a guitar and the guitar amp, the control setting should typically be somewhere in the middle, balancing the effects with the sound of the source instrument. On the other hand, if the DSP 256 is connected to a mixing console s Aux Send, the control should be set all the way to the right (effects only) so that the balance can be controlled from the board. 6 7

5 DSP256manual 11/9/01 10:17 AM Page 8 Rear Panel Connections and Use (5) (6) (3) (4) (1) (2) The DSP 256 s LEFT INPUT jack (1) is also normalized internally to the RIGHT INPUT jack (2), so if you only connect a single mono cable to the LEFT INPUT jack, it will also be routed to the RIGHT INPUT. However, if anything is connected to the RIGHT jack, this normalized connection will be broken; in this case the LEFT INPUT jack will feed only the LEFT INPUT, and the RIGHT INPUT jack feeds only the RIGHT INPUT. Also, the RIGHT INPUT jack is NOT normalized to the LEFT. (3) & (4) Output (Left & Right) Jacks These 1/4 unbalanced phone jacks connect to devices such as the effects returns, channel inputs or inserts on a mixing console or power amplifier inputs. For mono applications, use the LEFT (3) output. (5) Power Jack This is a plug for connecting the Nady 9VAC power supply adapter (supplied). The DSP 256 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60Hz). (Note: The correct power supply must be used AT ALL TIMES - any other power supply might create a fire risk and/or permanently damage your unit. This damage would NOT be covered under your warranty.) (6) Bypass Jack This is a 1/4 phone jack for connecting to an effects bypass footswitch. You can bypass the effects in two ways, thus allowing the direct signal to pass through the DSP 256 unchanged: Turn the MIX (8) control all the way to the left Connect a footswitch to this jack and press the footswitch. Each time this footswitch is pressed, the Bypass mode will turn on and off alternately (1) & (2) Input (Left/Mono & Right) Jacks These 1/4 unbalanced phone jacks connect to sources such as the effects sends of mixing consoles. They may be used with nominal input levels from -20dBV (guitar level) to +4dBu. 8 9

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7 DSP256manual 11/9/01 10:18 AM Page Using Mixer Inserts If your mixer has Channel Insert jacks, you can insert the DSP 256 in the signal path of that channel after its input amplifier (and EQ on some mixers) and before its fader. Consult your mixer manual for understanding the proper way to utilize your DSP256 in this application. It will also provide the necessary wiring information for connecting your unit. After you ve made the proper connection, set the desired wet/dry balance using the DSP 256 s MIX (8) control. The INPUT (7) and OUTPUT (9) controls of the DSP 256 should be set for unity gain so that the volume remains approximately the same when the Insert jack is either plugged in or removed from the mixer. INSERT LEFT OUTPUT LEFT INPUT 4. Using a Mixer s Master Outputs If you want to add effects to everything on the mixer, connect the DSP 256 between the mixer s outputs and the amplifier s or recording machine s input. Connect the Left and Right Master Outputs of the mixer to the LEFT/MONO (1) and RIGHT (2) inputs of the DSP 256. Then connect the LEFT (3) and RIGHT (4) outputs of the DSP 256 to a stereo amplifier or to two input channels of another mixer (for sub-mixing applications). 2. The DSP 256 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60Hz). Insert the Power Supply Adapter into the 9VAC (5) input on the rear panel of the DSP 256 and plug the adapter into an AC outlet. The Power On LED (11) will illuminate, and the unit is ready for operation. 3. Turn on the power of the connected amplifier or mixer and adjust their settings as necessary. (Note: Nady Systems, Inc. cannot be responsible for problems caused by using the DSP 256 or any associated equipment with improper AC wiring or voltage.) (Note: The DSP 256 has no need for safety grounding as it has no power supply ground. It is powered by an external low-voltage adapter with an internal transformer isolated for safety. As with most unbalanced equipment, signal ground is connected to chassis ground at the input and output jacks. Be aware that if you rackmount the DSP 256 with metal rack railing it would share a common ground with the other equipment in the same rack. If you develop hum or noise problems with this unit, you should switch to non-conductive rack rails or rack isolators to avoid ground loops.) Line Conditioners Although the DSP 256 is designed to tolerate typical voltage variations, the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. The Nady Audio PCL-800/810/815 Power Line Conditioners offer advanced filtering and are the most cost effective way to ensure quietest operation of your DSP 256. LEFT LEFT OUTPUT Power Amp AC Power Hookup After making your connections, follow this procedure: 1. Before turning on the DSP 256 power, check that: All connections have been made correctly The volume controls of the amplifier or mixer are turned down 12 13

8 DSP256manual 11/9/01 10:18 AM Page 14 Program Descriptions Reverb Effects (8 Programs) Reverb consists of a variety of distinct echoes (reflections), each of different delay length. Over time, each echo s amplitude and timbre decays according to the unique characteristics of the acoustic space, such as sound location, distance and reflectivity of the walls and numerous other factors. The result is that there are many types of reverb, each with its own sound. The following types of reverberation are available with the DSP 256: Concert Hall Reverb (3 Programs) This algorithm simulates large concert halls, which are typically large rooms with many reflective surfaces. The complex echoes produced sound rich with a very noticeable change in timbre as the reverb decays. A classic versatile reverb, the Concert Hall programs sound good on vocals, drums, and acoustic, orchestral, and electric instruments. Hall 1 - A large, bright hall program specially suited for vocals, guitars or drums Hall 2 - A warmer hall program. Select a long delay for added depth and character with acoustic guitars and pianos. Hall 3 - This medium-sized hall program features a 12ms pre-delay before the reverb starts-perfect for that extra big rock snare drum, but also great on electric guitar and all vocals. Room Reverb (3 Programs) Offering the sound of a medium-size studio room, this algorithm has a bigger sound than a hall reverb, with added punch perfect for both rock and dance music. With reflective attack and smooth decay, the rich sound of this reverb is ideal for keyboards, drums and guitars. Room 1- This reverb simulates a highly reflective studio room with a pronounced early reflection slap-ideal for making drums sound big and enhancing acoustic instruments, especially with the decay turned up. Room 2- This program is ideal on the studio for livening up dry tracks such as synths or acoustic mixes. Room 3- Simulating a warm studio room, this program is perfect for acoustic guitars and classical instruments. 14 Plate Reverb (2 Programs) This algorithm simulates a classic echo plate, typically a 4 by 8 suspended sheet of metal with transducers at either end popularly used in the 70 s to produce reverb. Its lush, transparency is ideal for the classic rock sound, especially on vocals, guitars and piano. Plate 1 - A classic plate bright reverb sound particularly suited for vocals. Plate 2 - A warmer reverb-ideal for adding sustain on strings and acoustic guitar. Reverb Decay Variations Adjust The reverb decay determines how long the reverb will sound before it dies away. A longer reverb decay simulates an increased room size. High-energy dance and rock music usually use shorter decays, and jazz, ballads, and classical music generally utilize longer reverb decays. Pitched-Based Effects (5 Programs) The DSP 256 can produce layered sounds that are far more complex than the input signal by altering its pitch and delay characteristics in several different ways. For example, the signal can be split into two parts, the pitch of one altered and then the two mixed back together so that the effect results from the difference between the dry original and the wet effects signals. Generally it s advisable to start such effect mixes at equal strengths for these two signals by setting, for example, the MIX (8) control at 50% for the DSP 256 on an instrument setup, or raising the effects return on a mixer. Flange - Flanging was originally done by intermittently slowing down one of two tape machines by applying hand pressure against the flanges of the tape supply reels both playing the same program in synchronization. This resulted in the characteristic flanging jet airplane sound caused by varying phase cancellations occurring at different frequencies. The flanging produced by the DSP 256 is specially intensified by splitting the signal into four parts with a stereo dry signal and a separate delay section for both left and right channels with one channel flanging up while the other channel flanges down. Chorus - Chorusing is similar to flanging, but modulates the delayed signal over a much longer delay 15

9 DSP256manual 11/9/01 10:18 AM Page 16 Delay Effects (2 Programs) range (typically >12 ms). In addition, the signal is split into four parts with a dry signal and a separate detuning section for both left and right channels that is modulated by an LFO (low frequency oscillator) that causes the detuning to vary, further increasing the chorus effect. The DSP 256 s chorus produces a wider stereo image than regular stereo choruses because it is a true stereo chorus with individual LFOs, set to vary differently, controlling the left and right sides. This results in a constant chorus rate difference between the left and right sides, and thus, because the chorus processes the left and right sides individually, the stereo imaging will be maintained. Chorus/Rev - This multi-effect program combines stereo chorus with a large room reverb. Flange/Rev - This multi-effects program offers a layered stereo flange/large room reverb. Both Chorus/Rev and Flange/Rev are ideal for keyboards such as synths and electric pianos as well as guitars. Rotary - The Rotary effect simulates rotating speakers originally used during the 60 s with both organs and guitars to produce the unique Lezlie sound, characterized by multi-layered tonal timbre changes. The rotary effect produced by the DSP 256 sounds authentic and with speed changes will slowly ramp to the new speed rather than change abruptly, just as the Lezlie would do mechanically. (Note: Always turn the Variations control all the way to the right when using the Rotary program.) Delay is often utilized to add a depth to sound that is cleaner than that offered by reverb effects. Whereas reverb consists of numerous echoes of varying length, which can color sound, delay is purer and less muddy as it only has a distinct reflection repeat. Delay - This program provides a delay of up to 1000 ms.which can be adjusted in terms of delay and decay times. It is great for adding clean space effect to vocals and instruments. Delay/Rev -This program combines a room reverb with different delay presets. Delay Variations Adjust For the delay programs the VARIATIONS CONTROL (13) sets the time between the input signal and the first delay tap. Tremolo (1 Program) Tremolo is a long-popular effect for enhancing sustained electric piano or guitar chords, much like natural vocal vibrato. It is produced by amplitude modulating the signal. Tremolo - This program is normally used 100% wet so that the direct sound does not cover the amplitude modulation of the tremolo. Tremolo Variations Adjust For the tremolo program the VARIATIONS CONTROL (13) sets the amplitude modulation rate. Pitch-Based Variations Adjust On the chorus and flange programs, the VARIATIONS CONTROL (13) functions as a rate adjust, setting the speed of the chorus or flanging sweep. Increasing the chorus rate simultaneously decreases the depth, thus maintaining a constant pitch shift. On the Rotary program, the VARIATIONS CONTROL (13) adjusts the speed of the Leslie motor. On the Flange/Rev and Chorus/Rev programs, the VARIATIONS CONTROL (13) edits the reverb decay time

10 DSP256manual 11/9/01 10:18 AM Page 18 Troubleshooting Guide If you experience problems while operating the DSP 256, please use the following table to locate possible causes and solutions before contacting Nady Service Department for assistance. SYMPTOM CAUSE SOLUTION The Power LED does not light when the unit is powered on. Unit does not respond to front panel controls. Hum or noise from output. No power. Unknown Ground loop, unshielded cables. Check that the power cable is plugged in properly. Power down and power up again. Try different power outlet or different audio cables. Specifications SYSTEM PERFORMANCE Frequency Response... ±2dB from 20 Hz to 20 KHz Signal-to-Noise Ratio...>82dB linear, 20 Hz - 22 KHz Distortion... 1 KHz (-10dBV) Crosswalk... <90dB below full scale INPUT Number of Channels...2 Format...1/4 unbalanced Sensitivity...-10dBV Maximum Level...+10dBV Impedance...1M Ω/channel stereo, 500K?/channel mono A/D - D/A CONVERSIONS A/D converter...18-bit Sigma-Delta D/A converter...18-bit Sigma-Delta No audio. Noisy sound. Bypass function is on with Mix turned 100% wet. Too low output level. Too low input level. Too low output level and Aux Return on mixer is up full. Turn the Mix control to the left or press the Bypass Footswitch. Turn the Output control to the right. Turn up the Input Level control. Turn Output up and reduce Aux Retrun level on mixer. OUTPUT Number of Channels...2 Format...1/4 unbalanced Maximum Level dbu Output Impedance... <500Ω FRONT PANEL Controls...INPUT, MIX, OUTPUT, PROGRAM, VARIATIONS Indicators...Power LED, Peak LED REAR PANEL Input (LEFT/MONO, RIGHT)...1/4 2-conductor Output (LEFT, RIGHT)...1/4 2-conductor BYPASS...1/4 1-conductor (accepts normally open/closed) (Momentary footswitches) Power...AC 9 Volt Power Transformer Adapter Distorted sound, Peak LED lit. Too high input level. Turn down the Input Level control. EFFECTS Processor Speed MIPs (million instructions per second) Internal processing resolution...52-bit accumulator Factory Present Programs (ROM)...16 Factory Variations for each Present Program (ROM)...16 Delay memory milliseconds Reverb effects...concert Hall, Room, Plate Delay effects...mono Delay, Delay/Rev Pitch effects...stereo Tremolo, Stereo Chorus, Stereo Flange, Flange/Rev, Chorus/Rev, Rotary 18 SIZE Dimensions x 4.6 x 1.7 (131 x 116 x 44mm) Weight...3 lbs (0.90 g) The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications for this unit, including design and appearance, are subject to change without prior notice. 19

11 SERVICE FOR YOUR NADY AUDIO PRODUCT (U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via telephone at (510) , or at (International) For service, please contact the NADY AUDIO distributor in your country through the dealer from whom you purchased this product. DO NOT ATTEMPT TO SERVICE THIS UNIT YOURSELF AS IT CAN BE DANGEROUS AND WILL ALSO VOID THE WARRANTY. NADY SYSTEMS, INC SHELLMOUND STREET, EMERYVILLE, CA Tel: Fax: