Summit Audio Established 1978

Basic operation: After warm up (15 minutes), set the Gain Reduction control to 0 and adjust the Gain control for 0VU on the meter. Switch the attack to slow and the release to fast. Now adjust for the desired amount of gain reduction and recheck the output level. As the amount of gain reduction is increased, the processed audio follows a smooth reduction curve, thereby changing the compression ratio. In this way, compression may be easily controlled. If a large peak is detected, the unit will automatically increase the compression ratio to keep the audio output controlled. If a low compression ratio is desired, turn the gain reduction control until the meter indicates a small amount of gain reduction. If a higher ratio is desired, set the gain reduction control so the meter indicates a high amount of gain reduction. Try different attack and release settings, depending upon the program material and the desired effect. Tracking, live sound, mixing: Plug the TLA-100A into your mixing console's insert jack or patch bay. The TLA-100A also sounds great if inserted directly in line after the preamplifier. Compressing a stereo mix: Insert a 1/4" cable into two TLA-100A's link jacks, set the attack and release switches and gain reduction on both units to the same settings. Put both units in link mode. The channel with the strongest peak will override both units. De-essing: Plug a TRS insert cable into the side chain jack on the back of the TLA-100A. Plug the send (tip) of the insert cable to the input of an EQ, and the return (ring) of the cable to the EQ output. Boost the frequencies on the EQ that you want to compress (de-ess). Ducking: Send the output of the "lead" program material into the side chain input after inserting the TLA-100A on the "background" program material. Example: Send the output of a vocal mic into the side chain, with the TLA-100A inserted on the lead guitar track. As the singer uses the vocal mic, the lead guitar will decrease in amplitude.

Category: Basic Set Up Guides

What is a direct box? The TD-100 is both a direct box and an instrument preamp. A direct box or "DI" (direct inject or direct input) is used to take high impedance instruments and transform them into a balanced, low impedance output. Most professional consoles need a balanced, low impedance input and a DI translates an instruments high impedance, unbalanced output for recording and mixing. Use the balanced XLR output on the TD-100 to send your instrument to the console or other preamplifier. For example: keyboard out -> TD-100 instrument input -> TD-100 XLR output -> console microphone input What is an instrument preamplifier? Use the ¼" balanced TRS output on the TD-100 to go directly into your recording device (DAW, ADAT, tape machine, etc.). This output is already amplified, so there is no need to go to another preamp such as the microphone input on a console. This output is also useful for interfacing your instrument with compressors, EQ's, and other signal processors such as gates, expanders, filters, etc. For example: electric guitar out -> TD-100 instrument input -> TD-100 ¼" output -> TLA-50 input -> TLA-50 output -> FeQ-50 input -> FeQ-50 output -> tape input What makes the TD-100 so special? Summit Audio designed the TD-100 with two things in mind: great sound and lots of versatility. All the features on the TD-100 enhance the sound of your instrument, helping you get the perfect tone for your recordings and shows. We have selected the best components, relying on our 20 years of experience making the highest quality signal processors to choose great sounding and long lasting inputs, outputs, potentiometers, switches, and other components, making the TD-100 a highly valuable, fantastic sounding, and long lasting tool for your music. How do you use the TD-100 live? The TD-100 is perfect for playing live. It is made to interface your instrument with the front-of-house and monitor sound consoles with either a low level (microphone) or high level (line) output. To insert the TD-100 between your instrument and your amp, just run your instrument into the TD-100 and run another ¼" cable from the direct instrument output into you amplifier. Then, choose either the XLR mic level or ¼" line level out to run into the snake or stage box to run to the front-of-house and monitor consoles. For example: acoustic guitar out -> TD-100 instrument input -> TD-100 XLR output -> XLR mic level input on stage box plus ¼" direct instrument output into your amp on stage How do you use the TD-100 in a recording studio? Using the TD-100 in a recording studio will give your recordings a warm yet clear tone. By utilizing the ¼" line level output, you can bypass any other preamplifying stage such as a console, thereby lowering the noise floor, and enabling you to run much longer cable runs without significant signal loss. If you need to monitor into the console at the same time, simply run the XLR output into the console and monitor from there while recording from the ¼" TRS balanced output. For example: bass out -> TD-100 instrument input -> TD-100 ¼" TRS balanced output -> compressor input -> compressor output -> DAW interface input How do you select the right input impedance? The impedance selector on the TD-100 front panel varies the amount of loading or impedance on the ¼" instrument input. You can check the output impedance on your instrument by reading the instruments manual. Try moving the loading control until it sounds right; your ears will be the best judge. Note: the loading control does not affect the direct instrument output. How do you use the TD-100 as a practice headphone amp? Just plug your headphones into the ¼" headphone output on the back of the TD-100 and your instrument into the input on the front and use the gain control and the volume control on your instrument to get the right volume level. How do you mount the TD-100? Use the SRK-100 from Summit Audio to mount one or two TD-100's. They will also fit into a standard rack shelf although they tend to sag under the weight of these pieces. How and when should you change your tubes? We have seen 10,000 hours and more out of our vacuum tubes without signal degradation. We accomplish this by regulating the heater voltage to the tubes, greatly increasing their life, something of a rarity if this industry. So, time is not as much of an issue as is sound. If you hear a ringing sound in your audio or when you rap your knuckles on the front, the tube is going microphonic. If you hear an increase in the noise floor, the tube may need to be replaced. Contact us if you need new tubes, we can help.

Category: Basic Set Up Guides

What is a passive EQ? A passive equalizer uses no amplifier in the filter circuit, it uses inductors and high value capacitors to filter the sound. The result is very musical overtones and excellent phase coherency. How do I hook up my FeQ-50? The FeQ-50 has both -10dB (on ¼") and +4dB (on XLR) inputs on a single combo connector. Four outputs are supplied, +4dB XLR Tube and Solid State as well as -10dB ¼" TRS Tube and Solid State. For example: 2BA-221 XLR out -> FeQ-50 XLR input -> FeQ-50 XLR Tube output -> recording device input How can I send the outputs of the FeQ-50 to multiple places? All four outputs on the FeQ-50 are active at the same time so send them where you want! For example: 2BA-221 XLR output -> FeQ-50 XLR input -> FeQ-50 XLR tube output -> DAW input; FeQ-50 XLR solid state output -> TLA-50 input -> TLA-50 output to DAW input; FeQ-50 ¼" solid state output -> monitor input for no latency monitoring I don't hear the HPF working when I switch it on; is it working? The high pass filter on the FeQ-50 is a rumble filter only. It is set at 30Hz with a gentle 6dB per octave rolloff. If you don't have a bunch of low frequency rumble making your sound muddled you probably won't hear it working. How do you mount the FeQ-50? Use the SRK-100 from Summit Audio to mount one or two FeQ-50's. They will also fit into a standard rack shelf although they tend to sag under the weight of these pieces. How and when should you change your tubes? We have seen 10,000 hours and more out of our vacuum tubes without signal degradation. We accomplish this by regulating the heater voltage to the tubes, greatly increasing their life, something of a rarity if this industry. So, time is not as much of an issue as is sound. If you hear a ringing sound in your audio or when you rap your knuckles on the front, the tube is going microphonic. If you hear an increase in the noise floor, the tube may need to be replaced. Contact us if you need new tubes, we can help.

Category: Basic Set Up Guides

Basic setup: Plug the EQF-100 directly into the insert jack or after the main outputs on the mixing console. Put the insert send into the XLR input, and the XLR output back into the insert return of the desired channel. If outboard preamps are being used, try sending the output of the preamp into the EQF-100. This EQ is also perfect before or after a compressor, and for side chain effects such as de-essing. Boosting a frequency: Select which frequency you want to boost, put the Boost/Cut/Bypass switch to plus and increase the gain. Use the bandwidth control to affect more or less of the surrounding frequencies. A lower number on the bandwidth knob means a narrower bandwidth. If the frequency you want to boost is on the high or low band, set the Shelving/Resonant switch to resonant. Setting up a low or high filter: Set all four Boost/Cut/Bypass switches to Out. Adjust the two filter settings to the desired frequencies. Notch filtering: Find the approximate frequency to be attenuated (low, mid-low, mid-high, high). Set the bandwidth to wide (ten), the Boost/Cut/Bypass switch to Cut (minus), and the filter type to resonant (high and low bands only). Turn the gain all the way up (for the highest amount of cut) and start narrowing the bandwidth. Use the frequency select and bandwidth to narrow in on the frequency to be attenuated. Decrease the gain knob (decreasing the amount of cut) until the frequency is cut with the least effect on the surrounding frequencies. Low or high shelving: Set the low or high EQ sections to shelving filter. Select the frequency where roll-off or boosting is to begin. Select plus or minus on the Boost/Cut/Bypass switch and turn up the gain knob to cut or boost above the high frequency selected or below the selected low frequency.

Category: Basic Set Up Guides

Tracking, live sound, mixing: For tracking, plug the output of the microphone preamp into the input of the DCL-200 or use the insert jack on the preamp. For more of the DCL-200 sound, turn down the output on the preamp and use more of the make-up gain on the DCL-200. When mixing with the DCL-200 in the studio or for live sound, insert the DCL-200 on the main inserts or after the master output, or use on the inserts on individual channels for compressing single instruments. Compressing a stereo mix: Plug the DCL-200 into the main inserts of your mixing console or from the master outputs. Set the DCL-200 into Link mode to run in stereo. The AC Threshold, Slope, Attack, and Release controls on channel one (the top channel) will operate both channels. The bypass switches, meter switches, and the gain controls will need to be set for each side. De-essing or other frequency-dependent compressing: Plug a TRS insert cable into the side chain jack on the back of the DCL-200. Plug the send (tip) of the insert cable to the input of an EQ, and the return (ring) of the cable to the EQ output. Boost the frequencies on the EQ that you want to compress (de-ess). Ducking: Send the output of the "lead" program material into the side chain input after inserting the DCL-200 on the "background" program material. Example: Send a secondary output of a vocal mic into the side chain, with the DCL-200 inserted on the over-all music track. As the singer uses the vocal mic, the music will decrease in amplitude. This is perfect for broadcast use when the DJ needs to speak over music, or a lead guitar plays a solo over the rhythm track in mixing.

Category: Basic Set Up Guides

Basic tracking: Plug the input source into the correct input jack (mic into the back mic input jack, line level into the ¼" balanced line input jack on back, or an instrument in the Hi-Z input jack on the front). Plug the main XLR +4dB Tube output jack into the recording device. Use the solid state gain and tube output together to get the sound and level you want to record. Choosing the right mic input impedance: Inside the manual is a basic list of microphones and their corresponding output impedance. Generally, mics are looking for AT LEAST four time their output impedance value. In general, turn the impedance control all the way up to 10k Ohms to start with and turn the impedance down to get the sound you desire or for an effect. You can get a lot of different tones with some microphones this way. Some microphones are impervious to the preamp's impedance; check their manual for details. Using the microphone and line/Hi-Z input simultaneously: Plug a microphone into the mic input and an instrument into the Hi-Z input (or line level device like a CD player into the line input). Get individual levels with the solid state input gains and overall level and tone with the tube output control. The 2BA-221 mixes the two signals into a single output. Using the 2BA-221 with the TLA-50 or another compressor: There are two ways to use a compressor with the 2BA-221. 1. Insert jack. Use a standard insert cable (1/4" TRS jack to two jacks) and plug the balanced side into the insert jack, the output (tip send) into the input on the compressor and the output of the compressor into the return (ring return). With the TLA-50, use the XLR in and out to avoid overloading the input. 2. Output. Send the main output of the 2BA-221 into the input of the compressor, then the output of the compressor into the recording device or sound system. Using the 2BA-221 as a solid state preamp: Plug the signal source into the 2BA-221 (mic, line, or Hi-Z) and use the solid state input gain to get the signal level. Use the Stack Out on the back for a -10dB level solid state output. Please note that this output is polarity reversed from the input. The insert jack can also be used by plugging an unbalanced ¼" cable from the insert to the recorder or sound system. Using multiple outputs for zero latency monitoring: All inputs and outputs on the 2BA-221 are buffered and available at the same time. Use the +4dB Tube output into your DAW's input and use the -10dB tube output to your monitor mixer to monitor you 2BA-221 without the DAW's latency. Mounting the 2BA-221: Use the SRK-100 from Summit Audio to mount one or two 2BA-221's. They will also fit into a standard rack shelf although they tend to sag under the weight of these pieces.

Category: Basic Set Up Guides

After selecting his choice for a microphone for the singer, he sends the output from his chosen preamplifier into the input of the TLA-100A. He sets the gain to around 3, attack and release at medium (center position) and the meter select to Reduction. He sets the Gain Reduction until the meter shows just a slight compression, 1-2dB max. Check out the videos for more information.

Category: Basic Set Up Guides

Send the output from a microphone preamplifier such as the 2BA-221 into the XLR +4dB input on the TLA-50 and the XLR output into the input to your live sound or recording system making sure that input is set up for +4dB level input (if it is set for -10dB only, use the TRS 1/4 inch output instead). Set the gain on the TLA-50 to 3, set the attack and release controls to medium (middle position) and the meter to Reduction. Increase the Gain Reduction control until the meter is reading around 3-4 dB of gain reduction.

Category: Basic Set Up Guides

Plug your microphone into the back XLR jack and the XLR Tube Output jack into your live sound or recording device input, making sure that input is set up for +4dB level input (if it is set for -10dB only, use the TRS 1/4 inch output instead). If your mic requires phantom power, turn it on with the power switch. Turn up the Tube Output gain to about 1 o'clock, turn the mic impedance (Ώ) to 10k, turn the Filter to On and set the High Pass control to 12:00, turn up Mic Gain while singing until you get occasional yellow lights on the meter and you are getting a proper sound level though your system. If you hear distortion even though the meter is not lighting red, turn on the pad switch and turn up the Mic Gain control.

Category: Basic Set Up Guides

Vocals: turn DriveBus master output level and drive level all the way down to get initial levels TouchPatch: Pre-Dyn-DriveBus Preamp: Gain around 12:00, so orange LEDS just start lighting at loudest voice Pad 0, polarity +, 48V on for condenser off for dynamic or ribbon mics HPF on 60Hz, output tube If you hear distortion even though the meter is not lighting red, turn on the pad switch Dynamics: Classic mode Gain +2 Threshold 4, so 1-3 lights on meter light attack and release 4 DriveBus: tube mode, output 5, turn up drive to get record level (Variations: for rap, hip-hop, hard rock and metal set compressor to Tight mode, turn DriveBus output down and Drive up until you get the amount of drive you like, all the way to distortion).

Category: Basic Set Up Guides

With a 002, there are two ways to set this up. You can run from the XLR output of the 2BA-221 into one of the 1/4" inputs on the 002 (NOT the XLR input, this is the mic pre input) and turn the switch on the back to take a +4dB level. Or, run a balanced 1/4" TRS cable from the 1/4" TRS output of the 2BA-221 into one of the 1/4" inputs on the 002 and set the switch to accept -10dB inputs. For the 003, use the +4dB XLR output into one of the 1/4" TRS inputs as the 003 only takes +4dB levels.

Category: Basic Set Up Guides

TD-100 1/4" balanced output -> TLA-50 XLR input, XLR output -> FeQ-50 XLR input, XLR or 1/4 balanced tube or solid state output -> _________ As you can see, you will need to get a 1/4" TRS to XLR male cable to use the TD-100 into the TLA-50. From there, it's a standard XLR cable into the FeQ-50, and then whatever output you need into your amp, or recording device, or however you're using your system.

Category: Basic Set Up Guides

Simply go into the line input on the preamp, that bypasses the preamp circuitry on the MPC-100A. There is still gain, but it takes out the majority of the circuitry for a less colored signal.

Category: Basic Set Up Guides

There are several different methods for using the TLA-50 with your system. One, if you are using an external preamp with your microphone, you can send the output of the preamp into the TLA-50, then the output of your TLA-50 into a line level input on your interface. If you want to use the TLA-50 after something was recorded, you will need to set it up as an insert. First, check the manual on the interface and check to see if your line level inputs (not the mic preamp inputs) and outputs take +4dB or -10dB levels. If they're +4dB, use the XLR in and out on the TLA-50. If they're set up for -10dB, use the 1/4" input and output on the TLA-50. Then plug the TLA-50 into an input and output, for example, #4 in and out. Then, in your software, select, as an insert, I/O #4. This will send the signal to the TLA-50 for processing, then back to the same channel.

Category: Basic Set Up Guides