Pro Tools HD new hardware 2010

Transcription

1 Pro Tools HD new hardware 2010 [Information sourced from the AVID website at digi-orientation ] Pro Tools HD Series Interfaces including the HD I/O, HD Omni, Sync HD, HD MADI and Pre were introduced in 2010, along with the Pro Tools HD Native system. The HD I/O and HD OMNI interfaces deliver outstanding sound quality for professional users. Engineered using state-of-the-art converter chips and filters, these have been designed to the highest standards so that these converters can capture and reproduce audio with stunning accuracy and they do compare extremely well with the finest third-party converters available from PrismSound, Apogee, and others. HD OMNI uses the exact same AD/DA converters, analog processing and power supply as the HD I/O so these two sound nearly identical although the HD I/O slightly has the edge due to the fact that the power supply is further decoupled from the analog and digital circuitry. You can still use legacy interfaces such as the 192, 96, or 96i with the latest Pro Tools HD systems using the cables available for adapting connectors from male DigiLink to female DigiLink Mini, and from male DigiLink Mini to female DigiLink. HD I/O Figure A7.1 HD I/O.

2 APPENDIX 7 Pro Tools HD I/O is a high-performance 2U rack-mountable Pro Tools HD Series audio interface designed to completely integrate with Pro Tools HD systems. While its sleek look resembles its prior generation interfaces, HD I/O has been completely redesigned on the inside with high-quality electronics, giving you pristine, best-in-class A/D and D/A conversion and the lowest possible latency. With three configurations to choose from and a modular design, you can expand and customize the interface according to your needs. Versatile digital I/O connections are provided on all interface configurations, with built-in sample rate conversion (SRC). The HD I/O configuration provides a good balance between analogue and digital inputs and outputs with eight channels of analogue I/O, eight channels of digital I/O, plus up to eight additional channels of digital I/O. The HD I/O Analog configuration provides 16 analogue I/O channels, plus up to 8 additional channels of digital I/O. Or you can go all digital with the HD I/O Digital configuration that provides 16 digital I/O channels, plus up to 8 additional channels of digital I/O. You can always expand your analog or digital I/O configuration later by simply installing an HD I/O option card into any empty bay (although the HD I/O Analog configuration cannot be expanded, as all four bays are already occupied). Whether you work with music or sound for picture, HD I/O gives you professional-grade audio quality, high performance conversion, and the flexibility to integrate with a variety analog and digital gear, so you can quickly adapt the interface to meet whatever need comes your way. A sonic improvement over its audio interface predecessors, HD I/O features premium A/D and D/A conversion, so you can achieve higher audio fidelity, extensive dynamic range, super-low jitter, and the absolute lowest possible latency in your sessions. With certain configurations, you also get built-in SRC and a soft clip feature for worry-free recording. And using Curv, a new built-in soft-knee limiter that catches even the fastest transients, you can track hotter signals and smooth out inconsistent levels from incoming sources. HD I/O and all other Pro Tools HD Series interfaces completely integrate with Pro Tools HD systems, so you get maximum performance, dependability, and control of your inputs, outputs, and routing right from your Pro Tools software

3 Pro Tools HD new hardware 2010 interface. You ll also get higher production quality and greater workflow flexibility than with previous Pro Tools interfaces. However, if you want to use your interface and Pro Tools HD cards with other DAW software, you can do that too, because all Pro Tools HD systems support Core Audio and ASIO drivers. NOTE Please be aware that you ll need Pro Tools HD 8.1 or higher software to use this interface. Rear Panel AES/EBU I/O via XLR connectors. Optical I/O for ADAT or S/PDIF I/O. RCA Phono connectors for S/PDIF I/O. BNC connectors for dedicated Word Clock and Loop Sync I/O. Figure A7.2 HD I/O rear panel. DB25 connectors provided on the installed I/O cards to allow external connectivity. Connects to Pro Tools HD through a DigiLink Mini connection (cable and adaptor included). HD I/O Configuration The perfect choice when you need a balance of analog and digital I/O for your music or post-production projects, with the option to expand your I/O. High-quality analog I/O: 8 analog inputs (using DB25) 8 analog outputs (using DB25)

4 APPENDIX 7 Versatile digital I/O: 8 channels of AES/EBU I/O (supports 192 khz single-wire and dual-wire) 8 channels of TDIF I/O 8 channels of ADAT I/O (supports S/MUX II and IV) Additional digital I/O: 2 channels of AES/EBU I/O (supports 192 khz single-wire) 2 channels of S/PDIF I/O 8 channels of ADAT I/O (supports S/MUX II and IV) One empty bay for I/O expansion HD I/O Analog Configuration The ideal choice for music productions get the maximum complement of analog inputs and outputs (can be customized by replacing a card, but not expanded). High-quality analog I/O: 16 analog inputs (using DB25) 16 analog outputs (using DB25) Additional digital I/O: 2 channels of AES/EBU I/O (supports 192 khz single-wire) 2 channels of S/PDIF I/O 8 channels of ADAT I/O (supports S/MUX II and IV) HD I/O Digital Configuration The ultimate choice for post-production studios and ideal if you need to interface with a digital mixer, dubber, or other digital infrastructure and want the option to expand the I/O. Versatile digital I/O: 16 channels of AES/EBU I/O (supports 192 khz single-wire and dual-wire)

5 Pro Tools HD new hardware channels of TDIF I/O 16 channels of ADAT I/O (supports S/MUX II and IV) Additional digital I/O: 2 channels of AES/EBU I/O (supports 192 khz single-wire) 2 channels of S/PDIF I/O 8 channels of ADAT I/O (supports S/MUX II and IV) Two empty bays for I/O expansion The Ultimate in Interface Flexibility As your needs grow or change, you can easily add more analog inputs, analog outputs, or digital I/O by installing an option card. You can install one option card in HD I/O and up to two in HD I/O Digital. While HD I/O Analog comes with the maximum four cards, you can customize your I/O by swapping out any card. HD I/O AD Option : Adds eight high-fidelity analog inputs (using DB25) HD I/O DA Option : Adds eight high-fidelity analog outputs (using DB25) HD I/O Digital Option : Adds eight channels each of AES/EBU (supports 192 khz single-wire and dual-wire), TDIF, and ADAT (supports S/MUX II and IV) I/O HD OMNI The HD OMNI interface incorporates professional microphone preamplifiers, I/O, and monitoring all-in-one unit. Figure A7.3 HD OMNI. Designed to completely integrate with Pro Tools HD, HD OMNI is an ideal choice for individual musicians, composers, post-production studios, and anyone else who demands top sound quality and the convenience of an allin-one interface.

6 APPENDIX 7 Using the HD OMNI you can capture pristine, high-resolution audio through premium-quality mic preamps and monitor your sessions in up to 7.1 surround. HD OMNI gives you best-in-class A/D and D/A conversion, mic preamps, the lowest possible latency, and a full monitoring section all in one compact interface. As the hub of any music studio, you can use HD OMNI to record high-quality instrument and vocal performances, while providing dedicated cue mixes for artists, and monitor the performance through a discrete mix. For postproduction, not only do you have overdub and Foley recording capabilities at your disposal, you can use HD OMNI to monitor mixes with up to 7.1 channels and fold down mixes from 7.1 to almost any channel configuration subset. HD OMNI features premium A/D and D/A converters (HD OMNI s 24-bit analogto-digital [A/D] and digital-to-analog [D/A] converters support sample rates up to 192 khz), so you can achieve higher audio fidelity, extensive dynamic range, super-low jitter, and the absolute lowest possible latency in your sessions. You also get built-in SRC. Soft Clip circuits protect against clipping on analog input, and using Curv, a new built-in soft-knee limiter that catches even the fastest transients, you can track hotter signals and be assured that any unexpected peaks in your input won t put you in the red. NOTE Pro Tools HD 8.1 or more recent versions of the software are required to use this interface. Flexible Monitoring Whether you want to listen in stereo or surround, monitor sound personally or set up a personal mix for someone else, or hear your work in headphones or on the big speakers, you can do it all with HD OMNI. Mix and monitor up to 7.1 surround (with fold down to stereo). You can hear how your mix sounds on different speakers using the Main and ALT speaker selections. Also, HD OMNI s input mixer allows low latency direct monitoring of a variety of incoming signals that can be configured in the Pro Tools Hardware Setup.

7 Pro Tools HD new hardware 2010 Set up an integrated cue mix for artists to monitor using the additional stereo CUE output path in Pro Tools for headphone monitoring from the front panel headphone jack. Or isolate yourself with your own headphone mix. And if you don t feel like launching Pro Tools or even turning on your computer HD OMNI features a built-in, customizable, 14-input persistent monitor mixer, so you can continue to monitor external sources, such as keyboards, drum machines, and digital music players, independently from your recording setup. HD OMNI and all other Pro Tools HD Series interfaces completely integrate with Pro Tools HD, so you get maximum performance, dependability, and control of your inputs, outputs, routing, and monitoring right from your Pro Tools software interface. You'll also get higher production quality and greater workflow flexibility than with previous Pro Tools interfaces. And if you want to use your interface and Pro Tools HD hardware with other DAW software, you can do that too, as all Pro Tools HD systems support Core Audio and ASIO drivers. Preamp Controls The front panel Channel 1 and 2 inputs provide high-quality Microphone- and Instrument-level preamps. These two preamp channels can be linked so that changing any parameter on either channel causes an identical change to the other preamp channel (this is useful for stereo sources). When unlinked, the parameters for each preamp can be set independently. The Input Type switch lets you select MIC, LINE, or INST for input on Channels 1 and 2. The corresponding LED lights to indicate which option is selected. When MIC is selected, the back panel MICROPHONE inputs are used for channel 1 and 2 input, unless an XLR cable is connected to the front panel CH1 or CH2 inputs, then the front panel connection is used. Remove the XLR cable from the front panel connector to regain use of the rear panel MIC connection. When LINE is selected, the back panel LINE IN 1 and 2 1/4-inch TRS inputs are used. When INST is selected, the front panel 1/4-inch TRS inputs are used. When Links 1 and 2 are disabled, the Input Type can be independently enabled (or disabled) on Channels 1 and 2 by pressing the PREAMP Encoder to select the desired channel.

8 APPENDIX 7 When the Input Type is set to LINE, the PREAMP is bypassed. Also, the preamps for the MIC/INST inputs do not change level when LINE is selected, so you can easily revert back to MIC or INST input. High-quality, low-noise analog I/O: 2 high-quality Mic/DI preamps (Channels 1 2) 2 combined XLR and1/4-inch TRS front panel inputs for microphone and instrument level input 2 XLR back panel microphone inputs 2 1/4-inch TRS Send and 2 1/4-inch TRS Return back panel jacks for hardware inserts on channels 1 and 2 8 channels of analog back panel output using a DB-25 breakout cable (sold separately) with variable output gain 2 channels of analog back panel output using TRS (Mirrors channels 1 2 or 7 8 on DB-25 connector) Front panel stereo 1/4-inch headphone jack Versatile digital I/O, with SRC: 8 channels of AES/EBU output (up to 192 khz Single Wire) using a DB-25 breakout cable (sold separately) 2 channels of AES/EBU XLR input (up to 192 khz Single Wire) 2 channels of S/PDIF RCA input and output (up to 192 khz) 8 channels of ADAT TOSLINK input and output Support for ADAT S/MUX Optical for sample rates of 88.2 khz, 96 khz, khz, and 192 khz. Support for two channels of S/PDIF Optical with sample rates of up to 96 khz. Real-time SRC on Digital Inputs 1 2 of either AES/EBU, S/PDIF, or Optical (S/PDIF) (SRC is not supported with ADAT S/MUX).

9 Pro Tools HD new hardware 2010 NOTE HD OMNI provides up to eight simultaneous digital input connections, but only provides up to four channels of simultaneous analog input for Pro Tools. However, it does provide eight simultaneous analog and eight simultaneous digital outputs. Rear Panel At the left of the rear panel there are two XLR microphone inputs, each with an associated pair of Send and Return Insert jacks that can be used to connect external processors such as EQ or compressors. Adjacent to these are four 1/4 jack line-level inputs. Figure A7.4 HD OMNI rear panel. Moving toward the right, there is a pair of TRS 1/4 jack sockets for output pair 1-2 or 7-8, followed by a pair of DB25 connectors that provide eight channels of analogue output and eight channels of AES/EBU digital output. To the right of these you will find an XLR for AES/EBU digital input and a pair of RCA jacks for S/PDIF I/O. Synchronization A pair of BNC connectors for Word Clock I/O is also provided for synchronizing HD OMNI with external Word Clock devices. Another pair of BNC connectors is provided for Loop Sync I/O for connecting additional Pro Tools HD interfaces and peripherals. Optical I/O Two sets of eight-channel Optical (TOSLINK) inputs and two optical outputs are provided.

10 APPENDIX 7 The Optical I/O on HD OMNI supports up to 24-bit audio, at sample rates up to 192 khz. The number of available Optical input and output channels varies with sample rate as described below: When used for ADAT, at sample rates of 44.1 khz and 48 khz, Optical Port A provides eight channels of audio input and output. Optical Port B is unused for input, but on output it mirrors Optical Port A (channels 1 8). When used for S/MUX 2, at sample rates of 88.2 khz and 96 khz (S/MUX 2), each Optical port provides four channels of audio. Optical In and Out 1 send and receive channels 1 4, and Optical In and Out 2 send and receive channels 5 8. For S/MUX 4, at sample rates of khz and 192 khz (S/MUX 4), each Optical port provides two channels of audio. Optical In and Out 1 send and receive channels 1 and 2, and Optical In and Out 2 send and receive channels 3 and 4. When using S/MUX, only the first optical port can be used to synchronize to external clock. Either set of Optical I/O ports can also be used for two-channel Optical S/PDIF input and output with support for sample rates up to 96 khz. HD OMNI can receive two channels of Optical S/PDIF when operating at sample rates of and 192kHz, but SRC is automatically enabled for this feature. The Optical (S/PDIF) option can be selected in the Pro Tools Hardware Setup dialog. DigiLink Two DigiLink Mini connectors are provided one each for the Primary Port and the Expansion Port to connect the HD Omni to the host computer. You can use the PRIMARY PORT to connect HD OMNI to your Pro Tools HD system via the included DigiLink Mini to DigiLink adapter cable. The PRIMARY PORT can send and receive up to 32 channels to and from a Pro Tools HD card. Channels (if active) are passed through to the EXPANSION PORT. However, note that HD OMNI only provides up to eight channels of input and output. When using HD OMNI in a system with multiple interfaces, it will provide eight channels of input and output on Pro Tools channels 1 8 or depending

11 Pro Tools HD new hardware 2010 on whether or not HD OMNI is connected directly to a Pro Tools HD card, or whether it is connected to the Expansion port of another Pro Tools HD peripheral (such as an HD I/O). Use DigiLink to DigiLink Mini adapter cables to connect HD OMNI to Pro Tools HD cards. You can also use DigiLink to DigiLink Mini adapter cables to connect older HD peripherals (such as 192 I/O) to the EXPANSION PORT of HD OMNI. The EXPANSION PORT lets you connect an additional Pro Tools HD audio interface to HD OMNI. The EXPANSION PORT passes channels to and from the expansion (or secondary) audio interface. This port is only available when HD OMNI is connected to a Pro Tools HD card (it is not available when the HD OMNI is connected to the EXPANSION PORT on another audio interface). NOTE Pro Tools only supports a single HD OMNI per system. Any additional HD OMNI peripheral connected to your Pro Tools system will not be recognized. SYNC HD The SYNC HD provides near Sample-accurate Lock for Pro Tools HD. Figure A7.5 SYNC HD. SYNC HD achieves near sample-accurate lock to serial timecode (through RS- 422), LTC, or bi-phase/tach signals, to keep even your largest Pro Tools HD and audio-video productions in total sync.

12 APPENDIX 7 It uses a high-fidelity, low-jitter master Word Clock that supports operations up to 192 khz, as well as standard pull-up/pull-down rates for film and video applications. SYNC HD supports all major industry-standard clock sources and timecode formats, including AES/EBU clock I/O; has SD and HD video reference in/ thru (tri-level sync with up to 1080p/60 fps); has a video program in/out with timecode window inserter and many other features; making it a must-have for Pro Tools HD professionals in commercial music and post-production facilities. Figure A7.6 Sync HD rear panel. The Loop Sync In and Out ports are standard BNC connectors that output a 1 Word Clock signal. Loop Sync should only be used to chain multiple Pro Tools HD peripherals together (audio interfaces and SYNC HD or SYNC I/O). NOTE Loop Sync is a dedicated clock loop for synchronizing multiple Pro Tools HD peripherals together (multiple audio interfaces, and/or a SYNC HD or SYNC I/O and one or more audio interfaces). Loop Sync uses a Word Clock signal based on sample rates of either 44.1 khz or 48 khz. As sample rate increases in the system, Loop Sync continues to operate at a base rate of 44.1 khz or 48 khz, depending on the higher rate. HD MADI HD MADI is a versatile MADI I/O interface for Pro Tools HD Series systems. You can use the HD MADI interface to integrate Pro Tools HD systems with MADI-equipped devices including routers and digital mixing consoles. Figure A7.7 HD MADI.

13 Pro Tools HD new hardware 2010 Front panel status indicators and global I/O signal LEDs allow instant verification and troubleshooting of signals, samplerate, and sync mode settings. The perfect solution for integrating Pro Tools HD into post-production and broadcast environments, HD MADI gives you great connection flexibility, fussfree use through built-in SRC, and the ability to send and receive up to 64 channels of audio between your Pro Tools setup and MADI devices up to 2 km (1.24 miles) away all with a single rack unit interface. MADI is an open protocol, and there are a wide variety of MADI-compatible devices available, including digital mixing consoles, mobile recording setups, and routers. With the HD MADI interface, you can easily add MADI devices directly to your recording setup, as well as integrate Pro Tools HD into broadcast and live sound environments. And because the interface supports both optical and coaxial connections, as well as 56- and 64-channel modes, you can connect to a wide variety of MADI devices from countless manufacturers without additional format converters. Forget about having to make sure your sample rates or the master clock match. HD MADI provides built-in SRC on all inputs and outputs, so you can simply plug in and go no converting sessions or down-sampling external MADI devices. And, because your audio output occurs simultaneously on both the coaxial and optical outputs, you can easily send audio to redundant systems without needing a splitter. HD MADI and all other Pro Tools HD Series interfaces completely integrate with Pro Tools HD, so you get maximum performance, dependability, and complete control of your signal flow right from your Pro Tools software interface. Key Features Maintain maximum audio fidelity up to 24-bit, 192 khz sample rate. Gain connection and routing flexibility through optical and coaxial connections: 2 MADI inputs (optical and coaxial) 2 MADI outputs (simultaneous optical and coaxial) Keep things in sync with versatile Clock support, including Internal, Loop Sync, Word Clock, AES/EBU, and MADI Built-in SRC (samplerate conversion) on all I/O channels

14 APPENDIX 7 Sync to external clock via dedicated BNC Word Clock and XLR AES/EBU connections when using SRC on output. Gain better device compatibility with 64-channel (non-varispeed) and 56-channel (Varispeed) support (at 48 khz) Integrate Pro Tools HD with MADI-equipped VENUE live sound systems for recording and Virtual Soundcheck Rear Panel At the left of the rear panel there are connectors for two MADI channels. Each of these has a pair of optical I/O connectors and a pair of BNC I/O connectors. Figure A7.8 HD MADI rear panel. The HD MADI connects to Pro Tools HD via two DigiLink Mini connections located in the centre of the rear panel. Each of these can carry up to 32 audio channels (cables and adaptors for these are included). To the right of these there is an XLR socket for the AES/EBU digital audio with a pair of associated BNC connectors for Word Clock I/O. An additional pair of BNC connectors for Word Clock I/O is also provided, along with a further pair of BNC connectors for Loop Sync I/O. PRE PRE is a remote-controllable, eight-channel mic preamp for Pro Tools HD or standalone use. Figure A7.9 PRE.

15 Pro Tools HD new hardware 2010 PRE features eight discrete, matched-transistor, hybrid mic preamp circuits, providing a transparent signal path that easily accommodates your mic, line, and direct instrument (DI) level inputs on its eight channels. The main advantage is that you can place PRE anywhere in your studio, thanks to its remote-controllable operation, which you can access through Pro Tools HD software or an Avid control surface. Also, because PRE also functions as a standalone device, you can get the same sonic quality when working with any third-party application or outboard sound module. Pro Tools HD Native Advanced Music and Post-Production Core System Figure A7.10 Pro tools HD native PCIe card. Overview The Pro Tools HD Native PCIe card enables you to run Pro Tools HD software with a lower-cost native solution using the host computer s processor rather than the dedicated DSP processors on Pro Tools HD TDM systems. Pro Tools HD Native is a new generation of PCIe-based Pro Tools core system that delivers guaranteed high track counts with the lowest latency and highest stability of any native system.

16 APPENDIX 7 Key Benefits Pro Tools HD Native allows you to create sessions with up to 192 audio tracks and up to 64 channels of I/O using a single PCIe card. Pro Tools HD Native offers the highest performance and lowest latency of any native digital audio workstation. Great for tracking using set-and-forget direct monitoring with the integrated low-latency monitor mode! It offers advanced automation, surround mixing, input monitoring, AFL/ PFL solo, destructive punch, and other professional features. Pro Tools HD Native features Automatic Delay Compensation on hardware and software inserts allowing you to achieve much better sounding mixes. Offers Pro Tools hardware users the flexibility to work with Mac or Windows, Pro Tools HD, or third-party software. Achieve ultimate audio quality with a Pro Tools HD Series interface Synchronize to timecode and video reference, with frame-edge accuracy, when using SYNC HD Share sessions with Pro Tools HD users without any loss of data Everything you need for professional music and audio production. With Pro Tools HD Native, you gain the power and creative tools to compose, record, edit, sequence, and mix studio-quality audio-at up to 192 khz resolution. Create complex compositions with the integrated Score Editor and MIDI production tools. Track sessions with extremely low latency. And gain inspiration and professional polish from over 70 included effects and virtual instruments. Expand Your Creative Palette In addition to the huge treasure trove of plug-ins, virtual instruments, and audio loops you get with Pro Tools HD software, you also get a powerful collection of sound processing and utility plug-ins to help you track and achieve bettersounding mixes. What s more, you can further expand your sonic palette with a wide range of RTAS/AudioSuite plug-ins, virtual instruments, and software options available from Avid and other third-party audio designers. Open up Your Workflow Use the included Pro Tools HD software and you ll maximize your productivity, efficiency, and creative potential, as well as gain unparalleled performance

17 Pro Tools HD new hardware 2010 and control of Avid audio and video interfaces, consoles, control surfaces, and live sound systems. But you can also use your Pro Tools HD Native hardware with other Core Audioand ASIO-compatible DAW software such as Logic, Nuendo, Live, Cubase, Reason, and Fruity Loops with support for 64 channels of I/O-opening up even more creative avenues. What you get: Pro Tools HD Native PCIe card Pro Tools HD software installation DVD Audio Loops DVD Training Video DVD ilok Twelve-foot DigiLink Mini cable for Pro Tools HD Series interface connection DigiLink to DigiLink Mini Adapter for older Pro Tools interface connection Pro Tools HD Native Specifications Host Card: 1 (PCIe) Mixer Resolution: 64-bit floating point Processing Resolution: 32-bit floating point ASIO/Core Audio Streams: 64 Supported Plug-in Formats: RTAS, AudioSuite Surround Mixer: Yes Automatic Delay Compensation: 48 khz Supported Channels/Tracks Maximum Channels of I/O: 64 Maximum Audio 48 khz / 96 khz / 192 khz: 192 / 96 / 36 Maximum Stereo Audio 48 khz / 96 khz / 192 khz: 96 / 48 / 18 Simultaneous Record Tracks: 192 Total Instrument Tracks: 128 Total MIDI Tracks: 256

18 APPENDIX 7 Total Auxiliary Tracks: 160 Total VCA Tracks: 128 Total Master Tracks: 64 Pro Tools HD Software Heat Priced at 355, Euro 420, $495. HEAT (Harmonically Enhanced Algorithm Technology) is a new software addon for Pro Tools HD software that adds euphonic qualities of analog consoles and outboard gear to the Pro Tools mixer. Developed with legendary analog/digital designer Dave Hill of Cranesong, HEAT is sonically superior to the analog emulation plug-ins on the market. Also, HEAT is not a plug-in, but rather it is built right into the Pro Tools mixer, where it changes the sound of the entire board and easily manipulated with a global control. HEAT is a separate add-on option for existing customers, and it will ship for free with new HD systems. NOTE HEAT is only available for Pro Tools HD systems. HEAT cannot be used with Pro Tools HD Native systems. The earliest version of Pro Tools software that it is compatible with HEAT is version 8.1, which, for Mac users, requires a model that uses an Intel processor and can run Snow Leopard. Figure A7.11 HEAT.

19 Pro Tools HD new hardware 2010 Drive The Drive control introduces a non-linear processing, emulating magnetic recording tape combined with harmonic information commonly found in analog gear. Turning the Drive control counter-clockwise emulates a tape based non-linear distortion (odd harmonic), starting with the third and fifth. As you increase the level on tape, or in this case the Drive control level, the harmonic content increases and higher frequency odd harmonics are added. The result is a sound that fattens up the bottom and midrange of a recording and smooths high frequency transients as you increase the process. Turning the Drive control clockwise has a more aggressive effect, while adding an even harmonic series commonly found in triode tube circuits to the aforementioned odd harmonic series. This can give the effect of prized tube microphones and other tube-based analogue gear. It should be noted that the harmonic structure changes with signal level and the amount of process being applied, just like it does in a tube and the analog world. Tone As with tape, there can be loss of high frequencies with respect to low frequencies if driven far enough, as the high frequencies start compressing sooner than the low frequencies. Under the hood, these losses are compensated for, and in the process adds detail, and can add some brightness, depending on the program material and its level. Moving the Tone control away from its default position will accentuate or de-accentuate the amount of detail and brightness. The effect of raising the tone control is different, depending on which direction the Drive control is turned in and the amount and character of the harmonic content is changed by this control in a non-linear fashion, unlike what a tone control in an equalizer would do. How to Use The process is level and program dependent. Although quite frequently a generalized setting will work for many sources, some settings that will work best for one source may not have the desired effect for another source. If you need a general-purpose setting try adding two steps of the Drive control (in either direction).

20 APPENDIX 7 Because we are not used to a musical device that changes harmonic content with a knob it will take a little ear training. It is good to be aware that the human ear loves a little harmonic generation. Once you are used to how the program material sounds with some processing, turning the process off can take the life out of your program material, even if you did not realize it was turned on. The amount of process can result in subtle changes or drastic changes depending on what the program is like, and how it was recorded. In this way, the difference between processing an analog or digital recording can be subtle or drastic. It may be easier to hear in material that is more open as opposed to material that is very dense. The amount of low-frequency information added will also affect how we hear the process Mike Collins