MANUAL. Bedienungsanleitung ENGLISH TUBE SAT EFFECTS BASS EQ MID EQ HI EQ BASS CUT. khz. ON ON ON db OUTPUT INPUT

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1 DIGITAL IN ANALOG IN : OFF... :. :. :. : : : 9 Bedienungsanleitung MID E HI E SLOW FILTER EFFECTS TUBE SAT INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MANUAL

2 St. Wendel August 99 Dear Recording Specialist, Thank you and congratulations for selecting the MindPrint EnVoice TM as your tool of choice in your quest for high-quality sound. The EnVoice combines a high-quality microphone preamplifier, an equalizer and a tube compressor in a single device; think of it as a complete outboard mixer channel strip. With the benefit of authentic tube tone, it will make your tracks come alive, adding natural analog warmth to your recordings. With the addition of the optional digital interface, it will fit right into your digital studio environment. The engineers of the EnVoice development team are specialists with years of experience in the fields of tube, audio, mixer and digital technology. These sound gurus have invested their full attention and energy to doing justice to the needs and wishes of recording fanatics all over the world. Modern recording equipment has achieved a very high standard over the last couple of years and prices have dropped to nearly universally affordable levels. Unfortunately, the potential of this equipment is often undermined by the poor audio quality of input signals, sadly inept converters and an absence of analog sound phenomena such as tape saturation and tube warmth. It is precisely these missing qualities and features that the EnVoice puts at your fingertips. To make the most of your talents and recording equipment, all you need to do is exploit them. This is a classic case of technology driving inspiration. You will be amazed at the difference: living, breathing analog warmth that will invigorate your recordings and live performances.

3 DIGITAL IN ANALOG IN : OFF... :. :. :. : : : MindPrint-EnVoice MID E HI E SLOW FILTER EFFECTS TUBE SAT 9 INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL Table of contents Layout of the EnVoice. Input Section. Parametric Equalizer. Tube Compressor. Output Section Controls. Input Section. Bass Equalizer 9. Mid Equalizer 9. Hi Equalizer 9. Tube Compressor 9. Output Section. Tubes and Mains Switch Connections. Microphone Input. Line Input. Line Output. Instrument Input. Digital Interface. AC Power Applications. The Purpose of the EnVoice. The EnVoice in Recording Situations. The EnVoice in Post-processing Applications. Versatile Connections for Recording and Processing. The EnVoice in Live Applications Tips and Tricks Technical Data Block Diagram

4 . Layout of the EnVoice. Input Section The EnVoice features a complete input section consisting of a line input designed for standard studio levels, an instrument input, and a microphone input with switchable phantom power for condenser microphones. You can also retrofit a digital input by installing the DI-MOD expansion module. Use the Gain control to adjust the input level. The switchable input/output level display gives you a visual reference which will help you dial in suitable settings. On the one hand, you want the input signal to be as high as possible, on the other, it should not exceed +. Please make sure that the top segment (red) of the LED meter does not illuminate even at signal peaks. In the signal path, the input stage is immediately followed by a bass cut filter. It lets you choose a limiting frequency of either or to suppress low-frequency rumble, such as the type produced by footsteps on stage or in the studio.. Parametric Equalizer The equalizer consists of one semi-parametric band each for bass and treble as well as one fully parametric band for mids. All three bands were implemented in the form of bell filters. These filters let you boost or cut frequencies by. Every band can be activated separately. When you switch a band on, its corresponding Status LED lights up. The center frequency of the lowest equalizer band is infinitely variable from to. You can't change the bandwidth commonly called uality or -factor default; however, when you cut the frequency band, the filter sweep is set to a lower value. In practice, you'll find that this feature will give you excellent results. What this means is that when you tweak the bass for a bigger bottom end, you will boost a broader band of frequencies. Conversely, when you are attempting to squelch background noise such as - AC hum, it will be suppressed in a very narrow band. The Mid band gives you a variable frequency between and, extending well into the bass and high ranges. This E is your universal sound-sculpting tool. Its variable bandwidth lets you dial in a -factor between. and to target cuts within a narrow band or boost frequencies on a broader scale. The Hi band covers a range of. to. When you dial in anything over, the center frequency of the filter lies outside of the range of human hearing. Its response is then similar to that of shelving filter, however, and does not influence the mids as drastically. The -factor or quality of the Hi frequency band is a default setting and remains the same regardless whether you boost or cut frequencies. When you use the compressor to shape signals, signals louder than the threshold point become quieter than they were, while softer signals, i.e. signals below the threshold point, remain unprocessed. After you have compressed a signal, you can tweak the level so that the louder parts again achieve their original level. The volume of the softer parts will also be amplified, making the entire track seem louder. Furthermore, the variation between loud and soft parts will be reduced, so that you achieve a more balanced, smooth soundscape. Vocal tracks are inherently extremely dynamic; you'll find, in most cases, that these won't integrate perfectly into the mix until you have compressed them. Compression Characteristic Output Compression is important, but you want it to be inconspicuous rather than obvious. For this reason the EnVoice employs "soft-knee" compession. With this characteristic, the compression rate is increased continuously until it is within the range of the threshold value. The signal level above this value is then compressed at the ratio that you determined. What this means is that even heavily compressed signals are not "crushed" into submission, but gently "squeezed" when the signal exceeds the threshold. In conventional compressors, most problems result from setting the compression rates improperly. To avoid such problems, the EnVoice has been equipped with an automatic rate control that is program-dependent. The attack and release times chosen by our engineers are fast enough to handle even percussive material. But there may be times when you want the compressor to use slower attack and release rates so as to allow the initial characteristic attack transients of the instruments to come through unaltered to achieve a more natural sound. In this case simply press the Slow button, and the EnVoice will automatically activate a lengthier attack and release. Soft Knee Characteristic Output Threshold : Compression normal Input Soft Knee Characteristic. Tube Compressor The compressor manipulates signals subtly. Although unobtrusive, you'll find it delivers impressive sounds. Powered by a high-quality THAT-VCA (Voltage Controlled Amplifier) tuned to interact with the tube, it generates uncolored compression as well as the typical overtone structure that you would expect from a premium tube device. The compressor kicks in at values above the setting determined by the Threshold knob. Adjust the compression ratio via the Compression knob. Every signal that exceeds the threshold value is dampened at the ratio that you determine. This type of attenuation is generally called gain reduction; its amount is displayed in a -segment LED ladder located above the compressor controls. Input Pressing the Filter button activates frequency-dependent compression, which is optimized for vocals. With the button pressed in, bass-heavy signals no longer cause the compressor to over-react. The result: silky, shimmering highs and improved treble response. For best results, experiment, especially with acoustic instruments! The "soul" of the compressor is definitely the tube, which has a considerable influence on its sound. Use the Tube Sat knob to dial in variable saturation levels. This knob gives you precise control over the amount of overtones that the tube generates, from few overtones at one extreme to clearly audible distortion at the other, and subtle increases possible all along the way. Normally, if you compress a signal heavily, its level is decreased, and the

5 tube doesn't have enough material to work with. To adjust for this fact, we installed a circuit which takes the Threshold setting that you selected into consideration, and automatically boosts the compressed signal back up to a suitable level. When you dial in higher saturation settings, keep in mind that while the Tube Sat and Threshold settings influence the amount of harmonics that are generated, the signal level also plays a key role. In order to achieve a consistent overtone structure when the signal is on the verge of clipping, you should experiment with higher compression rates in order to "prep" the signal optimally for the tube. When you dial in the right settings, compression and tube saturation mesh to a homogeneous whole, which will give your tracks just the right sheen. The LED (light-emitting diode) located below the tube window gives you a good visual indication of the Tube Sat effect. As the tube enters the saturation zone, the colour of the LED changes from green to yellow. When you start pushing the tube harder, the LED will turn red. If at this point, you drive the tube even harder, you will generate audible distortion. There may be times when you want to use the tube circuitry simply to add overtones and not particularly to compress the signal. If so, turn the Compression knob all the way to the left (counterclockwise, compression ratio :) so that the signal undergoes no dynamics processing at all. To deactivate the compressor fully, you must also turn the Threshold knob all the way to the left.. Output Section Use the Output Level knob to adjust the overall volume of the processed signal. Since compression is an effect that inherently reduces levels, if you're working with a heavily compressed signal, you'll have to boost it again after it has gone through the VCA. The Bass, Mid, and Treble controls, on the other hand, may significantly increase signal levels, which you have to compensate by reducing the Output Level. To dial in a suitable level, switch the signal level indicator in the input section to "Output" and adjust the Output Level knob so that the signal peaks at a maximum of +, and the red LED (+) does not illuminate. The Effects button switches the entire effect processing section on. The corresponding status LED indicates whether the section is off or on. If the effects are off, only the input section is active. The incoming signal is routed directly to the output, bypassing all other components. Since the Output Level knob influences the wet, or processed, signal exclusively it has no influence on the dry or unprocessed signal you can use the level indicator to set both signals to the same value. The best possible way to judge how the compressor is affecting the signal is by simply switching the effects off and on and comparing the dry and wet signals.. Controls The control elements of the EnVoice are arranged from left to right to reflect the signal flow.. Input Section DIGITAL IN ANALOG IN INSTR. GAIN Digital In / Analog In: This button activates either the digital or analog input. If the optional DI-MOD digital interface has not been installed, the digital input is of course unavailable. Mic In / Line In: Switches between the analog line input and the microphone input. When you select the digital input or plug a cable into the instrument jack, this button is disabled. Instr. Input: This input is suitable for all instruments with low signal levels, for example guitar or bass. It has the highest priority of all the EnVoice inputs. If a plug is inserted into this jack, the other inputs are automatically deactivated. Input Gain: Adjust the input level of the EnVoice here. This knob's setting affects all inputs. LED Ladder: This display indicates the level of the input or output signal, depending on the status of the Input/Output button. The yellow LEDs indicate the headroom of the EnVoice, the red LEDs the amount of distortion. Output/Input: This button switches the signal level display between the input and output signals. Bass Cut On/Off: Attenuates the bottom end to filter out unwanted low-frequency background noise that may have ended up on your recording, such as the footsteps of a vocalist or musician. Bass Cut / : This button selects whether the cut-off point for bass frequencies is or. For female vocals, the preferred setting will in most cases be. Since male vocals often contain frequencies that dip below, with these tracks you should generally set the limiting frequency to. OFF..

6 . Bass Equalizer On LED: Illuminates when the Hi E is activated. K: Adjusts the center frequency of the bell curve within a range of. to. B.. The lowest equalizer band is a semi-parametric circuit. Bandwidth is pre-set to be wider when you boost a frequency, and narrower when you cut it. : Adjusts the amount of cut or boost of the equalizer band within a range of +/-. Here the affected bandwidth is fixed you can't change the default setting.. Tube Compressor Bass E: This button activates the lowest equalizer band. On LED: Illuminates to indicate the bass E is activated. : Adjusts the center frequency of the bass band within a range of to. The tube compressor gives you the best of both worlds the precision of a high-quality semiconductor circuit with the silky sound that only vacuum tubes can deliver. Its novel circuitry design lets you control compression and tube saturation separately. : Adjusts the amount of cut or boost within a range of +/- for the bass E. Again, boosting affects a wider frequency band, cutting affects a narrow frequency band. :. :. : SLOW FILTER : :. :. Mid Equalizer TUBE SAT THRESHOLD : COMPRESSI MID E The midrange band is fully parametric. Due to its full complement of controls and broad range, it is eminently suited to handle practically any sound-shaping task you ask of it. Threshold: This knob adjusts the cutoff of the compressor within a range of - to +. Signals which exceed the threshold value are processed by the compressor. Depending on the threshold value that you dialed in, the signal is boosted before it is routed to the tube. Rotate the knob to the far left-hand position in order to deactivate the compressor. Mid E: This button activates the middle equalizer band. On LED: Illuminates to indicate the Mid E is active. K: Adjusts the center frequency of the bell curve within a range of to. : Controls the bandwidth or -factor of the bell curve. A maximum value of will give you a very narrow band within a range of / of an octave to work with. The lowest quality value is., which is equivalent to a very broad-band range of octaves : Adjusts the amount of cut or boost of the equalizer band within a range of +/-.. High Equalizer... HI E Our engineers decided to use a bell filter for the upper equalizer band. Consequently, you'll find that this E will often deliver more musical results than the more common shelving filters. Equipped with an ample control range, you can even dial in a center frequency outside the normal range of hearing. This type of setting produces a characteristic curve similar to a shelving filter. However, this type of bell filter E does not affect mid-range frequencies nearly as drastically. Hi E: This button activates the upper equalizer band. Compression: It determines the relationship between or ratio of the input and output levels of all signals which exceed the threshold value. A setting of : means that when the level of an input signal increases by, the output signal level increases by just. The control range starts at a ratio of : (no compression) to infinite. The latter is basically a limiter setting no further increase of the output level is possible. In order to deactivate the compressor, rotate the knob to the far left-hand position. LED Ladder: Indicates the attenuation or gain reduction of the signal. Tube Sat: It controls tube saturation within the compressor for all signals which exceed the threshold value. When you turn the knob up, harmonic overtones are generated. Slow: Switches the program-controlled compressor rate from fast to slow response. If you want to compress all signal peaks, chose the Fast option, when you want to preserve characteristic transients, go for the Slow setting. Slow On LED: When this LED lights up, Slow mode is active. When this LED is off, the compressor is in Fast mode. Filter: This button switches on the sidechain filter of the compressor. When the filter is activated, frequencies lower than have less influence on compression, which gives you a more balanced soundscape in the mid and high frequency ranges. Filter On LED: Illuminates when the filter is activated.

7 V~ / MAX. POWER CSUMPTI VA CAUTI! TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD D T EXPOSE THIS APPLIANCE TO MOISTURE OR RAIN. DO NOT OPEN CASE; NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO UALIFIED SERVICE PERSNEL. GROUND LIFT V PHANTOM MindPrint-EnVoice. Output Section In the Output section, you can activate and deactivate all effects at once. This section is also where you can adjusted the balance of levels between the dry and wet signals.. Connections With the exception of the instrument input, all connections are located on the EnVoice's rear panel. LINE LINE MIC R EFFECTS 9 LEVEL TUBE SAT Effects: It activates all three equalizer bands and the tube compressor of the EnVoice. When you set the Effects button to Off, only the preamp remains in operation On LED: It illuminates to indicate the effects are activated. Output Level: Controls the output level of the processed signal. When the effects are switched off, the signal is not influenced. This handy little tool lets you adjust the level of the processed signal so that it is equivalent to the level of the unprocessed signal. All you have to do is switch the Effects button on and off repeatedly to compare the two signals and tweak this knob until they end up with the same level.. Tube and Mains Switch At the heart of the EnVoice is a high-quality tube which is responsible for the unique sound of the compressor. Tube Sat LED: This tricolor LED indicates the tube saturation status. In normal operation, it will light up green. As soon as the tube is driven hard enough so that it is slightly saturated, the LED changes its color to yellow. When driven even harder, the tube produces audible distortion and the LED turns red. Tube: Not only does the warm red glow of the tube look attractive and valuable, the tube is also the "secret ingredient" of the great sound of the EnVoice. Depending on how hard you drive it, the type AX A tube will add anything from a touch of analog warmth to unmistakable tube saturation to your tracks. Mains Switch: In addition to switching the AC power supply on and off, the mains switch also activates the hard-wired bypass of the EnVoice. When the device is switched off, the Line In and Line Out circuits are coupled; the signal bypasses the device completely. The hard-wired bypass is also activated automatically in case of power failure or a power unit defect. This feature definitely enhances the safety of the device, particularly in broadcasting and live applications where you can't afford to have a circuit drop out on you. In the studio, the EnVoice can be removed completely from the signal path by simply switching it off; again, the signal is not routed through active components.. Microphone Input Connect your microphone to the Mic Input using a balanced XLR cable. If you are using a microphone that requires volts of phantom power, press the V Phantom button to activate the power supply. Do not connect any line-level devices to this input, as doing so could damage either the EnVoice or the device you connect to it.. Line Input The line input features a balanced XLR socket and a balanced. mm (/") jack. You can connect unbalanced cables to both input jacks. The pin assignments of the XLR jack comply with the international norm IEC -. In accordance with this norm, Pin is connected to the ground, Pin carries the positive signal and Pin the negative. If you are using an unbalanced circuit, be sure to bridge Pin and Pin. In the stereo /" jack, the positive signal is routed via the tip, the negative signal via the ring. The ground is routed via the sleeve. When you insert an unbalanced mono plug, the input automatically switches to an unbalanced operating mode.. Line Output As line outs, you also have balanced XLR and /" jacks at your disposal. When you insert an unbalanced mono /" plug, the output automatically switches to unbalanced operating mode. You can access both output jacks simultaneously; in which case the output of the EnVoice acts as a distributor or splitter. If you want to use both outputs, you must use balanced cables. Simultaneous use of the outputs in unbalanced operating mode is not permissible.

8 . Instrument Input The instrument input is the only connection located on the front panel of the EnVoice. The reason for this is simple enough easy access. For example, if you are processing a guitar signal, you'll find it much easier to plug the cord into the front panel. The sensitivity of this input was tuned specifically to take guitar and bass signals directly. With an impedance of megohm, the instrument input ensures that the pickup of your instrument is not dampened excessively. With the benefit of this input, you can, if desired, install the EnVoice into an instrument rack.. Digital Interface If you are planning to work with digital mixers or hard-disk recording systems, you have the option of retrofitting a digital interface to the expansion slot located on the rear panel of the EnVoice. HIS APPLIANCE PARTS INSIDE. DIGITAL IN ANALOG IN INSTR. GAIN OFF LIN If you encounter a ground loop, you can use the Ground Lift switch to sever the signal ground from the device's chassis ground. A ground loop is pretty easy to identify the device emits annoying hum. In this case, set this switch to the position where the noise is canceled out. Applications. The Purpose of the EnVoice Recording direct-to-disk In the recent past, hard-disk recording has achieved a level of quality totally unimaginable just a few years ago. Internal signal processing with a resolution of bits guarantees excellent audio quality. The number of channels and tracks is limited only by the ever advancing level of computing performance. The weakest link in the audio chain, and the major difference between a home setup and a top-notch recording studio, is the quality of the signal routed into the computer. Not even the most powerful software can bring signals back to life if their dynamics and expressiveness had to struggle through inferior components. Substandard microphone preamps and the less than impressive performance of inadequate converters in standard soundcards will definitely render a signal lifeless and dull. The EnVoice, with its high-performance input stage (and, if equipped with the DI- MOD, -bit converter) supplies an extremely high quality audio signal to the computer. It's important to realize that in the typical step-by-step overdub recording process that takes place in a digital studio, you don't need a -channel mixer and a battery of high performance converters and other gear costing over $, to come up with excellent results. With one or two EnVoice units, you can insure that the all-important input signals you start with are of the highest quality, thereby guaranteeing the best signal quality at every stage of editing and mixing all the way down the line. When you equip the EnVoice with the DI-MOD module, this upgrade gives you a digital input/output in state-of-the-art -bit format; and it is also compatible with all, and -bit devices. The sampling frequency is switchable from. to. When you synchronize via the input, the DI-MOD even works with every frequency between and. Since the S/PDIF interface supports two channels, but the single-channel design of the EnVoice requires just one of these, we made the analog input and output of the S/PDIF's second channel accessible externally via two /" jacks. You can use these jacks to connect a second EnVoice, and therefore you will not need to upgrade the second unit with its own dedicated digital interface.. AC Power Processing digital tracks When you retrofit the EnVoice with the DI MOD converter unit, you end up with a digital input as well as a digital output. This interface allows you to send any track from your system to the EnVoice, process it there via the parametric E and the tube compressor, and without any signal degradation whatsoever, patch it back to your computer as a digital signal. To reiterate the point, the EnVoice grants convenient, easy-to-handle access to the advantages of both digital and analog sound and lets you "heat up" chilly digital signals with true tube warmth and dynamics. The result: individual voices and instruments are highlighted sonically; you'll find that they end up sounding "up front" in your mix, without having to tweak the volume of the signals. In your attempt to come up with a balanced as well as transparent mix, you now own precisely the sound-sculpting tool that will help you get the job done. V~ / MAX. POWER CSUMPTI VA CAUTI! TO PREVENT THE RISK OF FIRE AND SHOCK HAZARD D T EXPOS TO MOISTURE OR RAIN. DO NOT OPEN CASE; NO USER SERVICEABL REFER SERVICING TO UALIFIED SERVICE PERSNE GROUND The LIFT EnVoice is connected to a wall outlet or mains supply via a standard power cable connected to the AC power socket.

9 MID E HI E EFFECTS TUBE... :. SAT... :. : SLOW FILTER DIGITAL IN. :... :. : 9... : ANALOG IN OFF INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MID E HI E EFFECTS TUBE... :. SAT... :. : SLOW FILTER DIGITAL IN. :... :. : 9... : ANALOG IN OFF INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MID E HI E EFFECTS TUBE... :. SAT... :. : SLOW FILTER DIGITAL IN. :... :. : 9... : ANALOG IN OFF INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MindPrint-EnVoice. The EnVoice in Recording Situations When you're recording vocals or acoustic instruments, the high-quality microphone preamp of the EnVoice will make the most of the sound that your microphone captures. With the equalizer, you can eliminate undesirable frequencies and throw a spotlight on those sounds you wish to emphasize. With the tube compressor, you will not only bring the vocal tracks under control - for compression is almost always needed when recording vocals - but you will also bring out the kind of fine details and delicate harmonics and the typically analog sound that only a tube device can deliver.. The EnVoice in Post-processing Applications If the signal was processed only minimally or not all during recording, you can also use the EnVoice during mixdown. For this purpose, use its line input and output to patch it into the insert bus of the mixing console. LINE OUT DIGI OUT During mixdown, you can use the EnVoice to shape the sound and dynamics of a signal to adapt it to your arrangement for the best audio results. This form of post-processing is much more flexible and thus preferable to altering the signal in real-time during recording. Connect the output of the EnVoice directly to the input of your recording equipment. You mixing console is thus bypassed completely during recording. This is desirable because every additional stage in the signal path degrades the quality of the signal. The features and functions of a mixer channel are not required for recording you have everything you need right there on the EnVoice. When you're working with a digital recording medium and you have installed the optional DI-MOD, you can link the EnVoice to your digital setup via the S/PDIF interface. If you are using some type of digital recording device, you can route the signal in digital form via the optional digital interface DI-MOD. What's more, the analog output can be used simultaneously for monitoring purposes. LINE OUT DIGI IN DIGI OUT During recording, we recommend that you go easy on signal processing with the equalizer and compressor so that you have a bit of leeway when you're editing and mixing the signal later. As you've probably already guessed, the EnVoice indeed comes in handy again during mixdown! Simply route the signal that you want to process via a digital interface from the hard disk system to the EnVoice. The processed signal is transported back to the hard disk system in digital form via the output of the DI-MOD and can be recorded there to another track. At the same time, the analog output is available for monitoring purposes. When you're inserting signals via the digital interface, the EnVoice (like every other digital device) adds to system latency in other words, it causes a minimal delay. The delay is no more than. ms, so this is normally not a problem. However, if you are using dry and wet parts of a given signal simultaneously or several channels for the same signal, you may encounter undesirable phasing effects caused by this delay. If you do run into this problem, compensate for the delay produced by the EnVoice using the track delay of your hard disk system or channel delay of your digital mixer.

10 MID E HI E EFFECTS TUBE... :. SAT... :. : SLOW FILTER DIGITAL IN. :... :. : 9... : ANALOG IN OFF INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MID E HI E EFFECTS TUBE... :. SAT... :. : SLOW FILTER DIGITAL IN. :... :. : 9... : ANALOG IN OFF INSTR. GAIN TUBE SAT THRESHOLD COMPRESSI LEVEL MindPrint-EnVoice. Versatile Connections for Recording and Processing With its many connection options and input selector buttons, you can connect the EnVoice so that you can use it for both recording and post-processing without having to go through the hassle of reconnecting cables or using a patchbay. In an analog environment, your setup should look like this: LINE OUT OUT GROUP OUT IN. The EnVoice in Live Applications Although the EnVoice was primarily developed for recording purposes, it actually wears many hats you'll find that it is an excellent tool for live applications. If you are the proud owner of a guitar rack system, you can patch it in post-preamp and pre-power amp to compress your instrument's signal. When you play gigs that you can't be bothered to tote your entire rig to, simply plug your guitar into the instrument input and feed the output signal directly to the mixing console; the EnVoice thus becomes a convenient tube DI box. For processing vocals, you can patch the EnVoice into a mixer insert just as you would an effects device, so that the amplified sound of your voice enjoys the benefits of those desirable tube characteristics. Tips and Tricks. Switching noise During recording, the microphone signal is routed through the EnVoice, then on to the mixing console, and from there, via a subgroup, to the desired track of the recorder. During playback, the signal is sent from the output of the recorder to the line input of the EnVoice and from there, to the channel strip of the mixer. Use the Mic In/Line In button to determine whether you want to use the EnVoice for recording or post-processing purposes. With the help of the DI-MOD expansion, you can exploit the versatile signal routing options of the EnVoice in a digital environment. Here your cable connections should resemble the setup in the following diagram: MITOR OUT LINE OUT DIGI IN DIGI OUT All of the EnVoice On buttons are real hardware switches. This means that, rather than just being deactivated, the processing stages are actually removed from the signal path. While removing unnecessary stages from the circuit enhances audio quality, these switches sometimes cause undesirable clicking or popping noises, which are produced by sudden surges in amplitude. Your best bet is to forget about switching individual equalizer bands or the entire effects chain on and off during recording or processing with the EnVoice.. Over-the-top distortion The tube compressor acts upon all signals that lie above the threshold value. Moreover, the saturation of the tube will fluctuate depending on how high the signal level is. To keep the saturation fairly even, the compressor should be used to keep the signal level as steady as possible. If you dial in a low threshold value and a high saturation level, the tube will be driven hard enough to produce fairly heavy distortion at signal peaks. In this case, you should increase the compression ratio to reduce these signal peaks. If you don't want quite this much signal processing, you should dial in lower threshold and saturation values. In this scenario, the microphone signal is also first sent to the EnVoice and then, in digital form, on to the hard disk system. During mixdown, the signal is routed from the hard disk system back to the EnVoice via the S/PDIF interface. Use the Digital In/Analog In button to determine if you want to use the EnVoice for post-processing or recording purposes. You can return the output signal of the EnVoice directly to the hard disk system via the digital output and have the computer's soundcard play it back via your computer system. Keep in mind that the signal is also sent to the analog line out of the EnVoice, so that you can simultaneously use it for hybrid systems with an analog mixer or for monitoring purposes.

11 Technical specifications Inputs : Connections: Input type: Input impedance: Sensitivity: Max. input level: XLR (pin = ground; pin = +; pin = -) and /" (tip = +; ring = -; sleeve = ground) electronically balanced and floating kohm + : Connection type: XLR (pin = ground; pin = +; pin = -) Input type: electronically balanced and floating Input impedance: kohm Sensitivity: - Max. Input level: - INSTRUMENT IN: Connection type: Input type: Input impedance: Sensitivity: Maximum input level: DIGITAL IN: E Section: : Switchable: Shelving frequency: Cut / : Slope: : Switchable: Center frequency: Boost: Boost slope: Cut: Cut slope: MID E: Switchable: Center frequency: Boost: Cut: Slope: HIGH E: Switchable: Center frequency: Boost: Cut: Slope: Effect Section: Switchable: /" (tip = +; ring = -); when occupied, takes priority over Line/ Mic switch unbalanced kohm - + only with optional DI- MOD (see below) on or off or, switch-selectable / oct. on or off adjustable from to / oct. / oct. on or off adjustable from to /oct. - /oct. (dependent on setting of -factor) on or off adjustable from to / oct. on or off Tube Section: TUBE SAT: Distortion: adjustable between.% and % Treble boost: from to between and (Tube Sat control) Compressor Section: THRESHOLD: adjustable between + and - COMPRESSI: adjustable from : to :infinity Attack/Release: switchable slow or fast Attack time (fast): ms Release time (fast): ms Attack time (slow): ms Release time (slow): ms FILTER: switchable on or off Frequency range: Compressor control circuitry becomes less sesitive to bass-heavy material from down, /octave Outputs: LINE OUT: Connections: Type Output: Output impedance: Max. output level: DISTORTI: Effect Section off: Effect Section on: FREUENCY RANGE: Effect Section off: -, ±. Effect Section on: -, ± DYNAMIC RANGE: Effect Section off: Effect Section on: XLR ( = ground; = +; = -) and /" (tip = +; ring = -; sleeve = ground) electronically balanced and floating Ohm +.%,, - Input and Output.%,, Input and Output.%, INSTR. IN, - Input and Output.%,, - Input and Output.%,, Input and Output.%, INSTR. IN, - Input and Output with TUBE SAT =,, - Input and Output,, Input and Output, INST IN, Input and Output,, - Input and Output 9,, Input and Output 9, INST IN, Input and Output All values unweighted. BYPASS: When power is removed from the unit, is hardwired to LINE OUT. General specifications: The unit is available in three versions: -volt, -volt, and -volt, Protection Class I Power supply fuse, internal max. current draw: max. power consumption: volts/ ma T volts/ ma T volts/ ma T ma ( 9 ma mit DI- MOD volts AC VA Dimensions: Width: mm (9") Height: mm (.") Depth: mm (9.") Rack dimensions: 9, U Depth in rack: mm (.") Protrusion of controls: mm (/") Weight: OPTI:. kg (. lbs.);. kg (. lbs.) with DI- MOD installed DI- MOD: S/P- DIF I/O-card, stereo