User manual FOCUSRITE LIQUID CHANNEL

[. . . ] ENGLISH LiquidControlTM Software Please visit www. focusrite. com to download the latest version of the free LiquidControlTM software application, for Mac OS X or Windows XP. The application allows you to edit The Liquid ChannelTM remotely, plus load, save and archive the mic-pre and compressor replicas and programs. The LiquidControlTM user guide is also available to download in PDF format. Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Important Safety Instructions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] Wordclock Input If using the unit's digital input, running at 176. 4 or 192 kHz and the Ext sync switch is set to wordclock input, then the unit can be set to lock to 88. 2/176. 4 kHz or 96/192 kHz respectively, depending on the clock source. Wordclock Output If using the unit's digital input and running at 176. 4 or 192 kHz, the unit's wordclock output can be set to ENGLISH 5. When using the LiquidControlTM software application with multiple Liquid ChannelTM units, each unit must be assigned a unique USB ID to allow it to be selected in the LiquidControlTM application. Turn the DATA wheel to change the USB ID value and press the DATA wheel once to enter the selected value. See the downloadable LiquidControlTM documentation for more information. If all units are to be controlled by the master, then the slave units must all have their `Slave Controls to Master' option in the Setup menu set to `Yes'. Ensure that the pre-amp and compressor replicas required by the program are loaded. If necessary use the LiquidControlTM application to upload the required Program and replicas to each unit. See the separate downloadable LiquidControlTM documentation for more information. If you wish to use two Liquid ChannelsTM with digital input/output at sample rates of 44. 1, 48 or 96 kHz, a stereo AES-EBU signal can be fed via a single AES connection (despite the fact that each Liquid ChannelTM is a mono device). To route stereo digital audio to a pair of Liquid ChannelsTM, first connect a suitable cable to the AES digital input of the first Liquid ChannelTM. Connect a pair of RCA (phono) to RCA (phono) cables between the DIGITAL LINK BUS output of the first Liquid ChannelTM and the DIGITAL LINK BUS input of the second Liquid ChannelTM, and between the DIGITAL LINK BUS output of the second Liquid ChannelTM and the DIGITAL LINK BUS input of the first Liquid ChannelTM. Then connect an AES cable from the AES digital output of the first Liquid ChannelTM to route the stereo AES signal to the signal's destination. See diagram 9 on page 15 (Digital in/out stereo for digital insert, 44. 1-96 kHz) for further detail. For multiple applications involving more than two Liquid ChannelsTM repeat this procedure for each pair of Liquid ChannelsTM. If wanting to use more than 2 units as AES pairs, the units cannot all be dynamically linked. The AES Linking option in the Setup menu on each unit must also be set appropriately ­ see page 9 for details. If using the LiquidControlTM application on an attached computer, assign each unit a unique USB ID using the `USB ID' option in the Setup menu (see page 9). To avoid confusion, we recommend using a USB ID that matches the machine number set in `Gain Linkage', i. e. `machine #2 (slave)' should have a USB ID of 2. 6. Linking Multiple Units Using the DIGITAL LINK BUS connectors, up to eight Liquid ChannelTM units may be linked, so that one `master' unit controls the compressor, mic-pre gain and other parameters of all connected `slave' units. This means you can use multiple Liquid ChannelTM units for perfectly matched stereo or multi-channel surround mixing applications. Connect an RCA cable from the DIGITAL LINK BUS output of the unit you intend to use as the `master' to the DIGITAL LINK BUS input of the first `slave' unit. [. . . ] Third order harmonic distortion is reduced at low gain, so this may be present when using a Hot replica, but not present if you just add second order distortion after the fact. There are also differences re: different loadings on the transformer occurring when driving high gain in at the front end, hence mic interaction changes occur. Surely we need to replicate all combinations of threshold, ratio parameters etc?A: Dynamic convolution, using a single set of impulses, emulates the sound of the signal path at all frequencies/levels. [. . . ]