USER’S MANUAL
version 1.0
© 2005, PreSonus Audio Electronics, Incorporated.
All rights reserved.
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TABLE OF CONTENTS
1 Overview
1.1 Introduction
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1.2 Features
2 Controls & Connections
2.1 Front Panel Layout
2.3 Back Panel Layout
2.4 Power and Ground
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3 Operation
3.1 Input Sources
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3.2 Microphones
3.3 Instruments
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3.4 Line input
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3.5 Hook up diagrams
1. Two Microphones
2. Bass Guitar (two channels)
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3. Keyboards, Syths, Drum Machines 11
4. Stereo buss signal conditioning
3.6 Applications
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1. Piano
2. Electric Guitar
3. Acoustic Guitar
4. Bass Guitar
5. Drum Overheads
6. Snare Drum
4 Technical
4.1 Block Diagram
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4.2 Specifications
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1 OVERVIEW
1 . 1 I N T R O D U C T I O N
Thank you for purchasing the PreSonus ADL 600. The ADL 600 utilizes the
highest quality components to insure optimum performance for an infinite period
of time. We believe the ADL 600 to be an exceptional-sounding microphone
preamplifier and an exceptional value. We encourage you to contact us at 1-800-
750-0323 with any questions or comments you may have regarding your
PreSonus equipment. PreSonus Audio Electronics is committed to constant
product improvement, and we value your suggestions highly. We believe the
best way to achieve our goal of constant product improvement is by listening to
the real experts, our valued customers. We appreciate the support you have
shown us through the purchase of this product.
Please pay close attention to how you connect your ADL 600 to your system.
Improper grounding or bad cables are the most common cause of noise
problems found in studio or “live” sound environments.
We would like to suggest that you use this manual to familiarize yourself with the
features, applications and correct connection procedure for your ADL 600 before
trying to hook it up to your system. Thank you, once again, for buying our
product and may we wish you good luck, and enjoy your ADL 600!
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OVERVIEW
1 . 2 F E A T U R E S
The following information is a summary of your ADL 600’s features:
All Tube, Dual Transformer Microphone Pre-Amplifier. Your ADL 600 is
a discrete Class A high voltage all tube, dual-transformer microphone
preamplifier designed for high gain (+73dB), high headroom (+30dB), low
noise (-100dB S/N ratio) and ultimate sonic performance – great for all types
of recording applications.
•
Microphone Input / Instrument Input / Line Input. Three different
types of inputs are provided on the ADL 600 for maximum flexibility. You
can connect microphones, instruments, keyboards as well as run your
entire mix through the ADL 600 during mix-down or mastering for signal
conditioning.
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Variable Microphone Input Impedance. This feature enables you to
“tune” your microphone – experiment with different input impedances to
create different sounds from your microphones. Changing the input
impedance can be the perfect solution for a given recording application.
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+48 Volt Phantom Power. The ADL 600 has +48V phantom power
available. This assures optimum performance of your condenser
microphones that require phantom power.
-20dB PAD. A -20dB pad is available for reducing the in-coming signal
level. This pad provides a more manageable signal from high output
devices or extremely loud sources (drums) giving greater control over
the in-coming signal to avoid clipping or distortion during recording.
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•
•
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Polarity Invert. Use the phase invert switch to combat phase
cancellation with other open microphones.
Hi-Pass Filter. To reduce unwanted low-frequency boom, or room
rumble.
VU Meter. The analog VU meter provides an accurate reading of the
output level.
LED Metering. Eight segment LED meters for detecting peaks and fast
transients of the output level.
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2 CONTROLS & CONNECTIONS
2 . 1 F R O N T P A N E L L A Y O U T
The front panel of the ADL 600 is laid out so that if you split the front panel
down the middle the controls and metering for channel 1 are on the left hand
side and the controls and metering for channel 2 are on the right hand side.
The following is a description of the controls for each channel:
INPUT: Selects the input source (Instrument, Line, or Microphone) The
microphone input has four different input impedance values to select from (1500,
900, 300 and 150 ohms). As the ADL 600’s impedance is lowered, different
filtering effects can result delivering a tailored sound for a particular application.
When using the Line input, the following microphone preamplifier features are
bypassed: +48V, -20dB PAD and input impedance.
HP FILT: Three position rotary switch to select the frequency for the HIGH PASS
FILTER (40Hz, 80Hz and 120Hz). When the FILTER switch is engaged all
frequencies below the selected HP FILT setting are attenuated (dropped) by
12dB. This filter can be handy in live and studio applications. For example, a high
pass filter can help to reduce the “boominess” or “muddiness” of a vocal and
improve the overall clarity.
GAIN: Eight-position industrial grade rotary switch providing 35dB of gain in 5dB
steps. TRIM: Variable potentiometer (+/-10dB) to offer fine trim adjustment to the
final stage of the ADL 600.
INSTRUMENT: ¼” TS connector. When an instrument is plugged into the
instrument input, the microphone preamplifier is bypassed and the ADL 600
becomes an active instrument preamplifier.
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CONTROLS & CONNECTIONS
+48V: The 48 volts supplied by way of the XLR connector, provides power for
condenser mics and any other devices requiring continuous phantom power
through the XLR input. This power is supplied at a constant level to prevent any
degradation of audio quality.
XLR connector wiring for Phantom Power
Pin 1= GND
Pin 2= +48V
Pin3= +48V
POL INV: Reverses the polarity of the signal. Use the phase invert when
recording with more than one open microphone to combat phase cancellation
between microphones.
-20dB PAD: Engaging the PAD switch provides 20dB of attenuation. This is a
very useful feature for reducing the level coming into the ADL 600 and thus
preventing the signal from clipping or distorting. This may occur due to high
output level from a microphone or other device. Padding the input serves to
provide increased “headroom” for the operator while lessening the likelihood of
signal overload.
HP FILTER: Engages the high pass filter set with the HP FILT control.
VU METER -6dB: Decreases the VU meter by 6dB. This can help you meter
loud input sources if your VU meter is “slamming” or is pegged.
POWER: Turns your ADL 600 ON/OFF.
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CONTROLS & CONNECTIONS
2 . 2 B A C K P A N E L L A Y O U T
Connectors
All Input and Output connectors are transformer balanced. XLR with the following
wiring standard:
XLR
PIN 1 GND
PIN 2 High (+)
PIN 3 Low
(-)
NOTE: The LINE INPUT does not pass signal unless the INPUT selector switch
is set to LINE on the front panel.
2 . 3 P O W E R A N D G R O U N D
AC POWER: Your ADL 600 accepts a standard IEC cord. Note: The input power
voltage is set at the factory to correspond with the country in which it was
shipped..
CHASSIS GND LINK: By removing the metal strap attached by two phillips head
screws, the electrical ground from the chassis is lifted. The ADL will then find a
common ground. This is helpful if you hear a ground hum caused by a ground
loop.
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3 OPERATION
3 . 1 I N P U T S O U R C E S
The ADL 600 can be used with a variety of input sources: microphones,
instruments and line level devices.
3 . 2 M I C R O P H O N E S
The ADL 600 works great with all types of microphones including dynamic,
ribbon and condenser microphones. Dynamic microphones and ribbon
microphones are generally lower output devices and require no external power
source. Condenser microphones are generally more sensitive than dynamic and
ribbon microphones and typically require external +48V phantom power.
Microphone Input Impedance
You can adjust the input impedance on the ADL 600 to match or “tune” a
particular microphone to achieve a desired sound. Most microphone
preamplifiers have a fixed microphone input impedance of 1000 to 2000 ohms.
The ADL 600 has four different impedance values to select from: 50, 150, 900
and 1500 ohms.
As the impedance on the ADL 600 is lowered, a resistive load is put on the
microphone. This will not damage a microphone. However lowering or raising the
impedance can create subtle coloring and filtering effects and can be a perfect
solution for a particular application.
3 . 3 I N S T R U M E N T S
You can connect a variety of instruments via the Hi-Z INSTRUMENT input on the
front panel of the ADL 600 including: acoustic and electric guitars, bass guitar as
well as older keyboards with Hi-Z instrument level output such as the Rhodes
keyboard.
3 . 4 L I N E I N P U T
Line input is included on the ADL 600 to be used as a preamp/signal conditioner
for line-level devices such as keyboards, drum machines and sound modules.
You can also use the line inputs for running your mix through the ADL 600 to give
it an extremely full, rich character.
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OPERATION
3 . 5 H O O K U P D I A G R A M S
The following hook up diagrams are provided to give you a few examples in
connecting your ADL 600 for various recording applications:
1. Two Microphones
2. Bass Guitar (one channel direct, one channel w/ mic’d bass amp)
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OPERATION
3. Keyboards, Synths and Drum Machines
4. Stereo buss signal conditioning during mix-down or stereo mastering
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OPERATION
3 . 6 A P P L I C A T I O N S
The following are a few two-channel recording applications for you to get you
started in using your ADL 600. These are by no means the only way to record
these instruments. Microphone selection and placement is an art form. If you
would like more information, visit your library or local bookstore as there have
been many books published on recording techniques.
1.
Piano – Place one microphone above the high strings and
one microphone above the low strings. Experiment with
distance (the farther back the more room you will capture.)
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OPERATION
2.
Electric Guitar – Place a dynamic or ribbon microphone an
inch or two away from the speaker of the guitar amplifier.
Experiment with exact location. If you are recording an amp
with multiple speakers experiment with each one to see if
one sounds better than the others. Place a condenser
microphone approximately six feet away pointed at the
amp. Experiment with distance. Also experiment with
inverting the phase of the room microphone to check for
phase cancellation (select the “fuller” sounding position.)
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OPERATION
3.
Acoustic Guitar – Place a small diaphragm condenser
microphone pointed at the 12th fret approximately eight
inches away. Place a large diaphragm condenser
microphone pointed at the bridge of the guitar
approximately twelve inches from the guitar. Experiment
with distances and microphone placement. Another popular
method is using an XY microphone placement with two
small diaphragm condenser microphones. (see drum
overheads photo on page xxx).
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OPERATION
4.
Bass Guitar (Direct and Speaker) Plug electric bass guitar
into a passive direct box. Connect instrument output from
the passive direct box to a bass amplifier. Place a dynamic
microphone an inch or two away from the speaker and
connect microphone to ADL 600 microphone input. Connect
the line output from the passive direct box to LINE INPUT
on the ADL 600. Record separate channels. During mixing
you can blend the direct and amplifier signal to taste.
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OPERATION
5.
Drum Overheads (XY example) – Place two small
diaphragm condenser microphones on an XY stereo
microphone holder (bar). Position microphones so that each
microphone is at a 45 degree angle pointed down at the
drum kit approximately seven or eight feet up. Experiment
with height.
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OPERATION
6.
Snare Drum – (top and bottom) Place dynamic microphone
pointed at the center of the snare making sure drummer will
not hit it. Place small diaphragm condenser microphone
under the drum pointed at the snares. Experiment with
microphone placement of both microphones. Also
experiment with inverting the phase of the bottom
microphone.
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4 TECHNICAL
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TECHNICAL
4 . 2 T E C H N I C A L S P E C I F I C A T I O N S
Input Impedance
Microphone ............................................. Selectable, 150/300/900/1500 Ohm
Balanced Line ......................................................................................2KOhm
Instrument ........................................................................................100KOhm
Maximum Input Level
Microphone (1500Ohm, +20dB Pad out) ...............................................+5dBu
Microphone (1500Ohm, +20dB Pad in) ...............................................+25dBu
Balanced Line ......................................................................................+30dBu
Instrument ............................................................................................+30dBu
Gain Range
Microphone (1500Ohm, +20dB Pad out) ................................... 18dB to 72dB
Balanced Line ...........................................................................-12dB to 40dB
Instrument ...................................................................................-5dB to 42dB
Noise Floor (all inputs, minimum gain) ............................-95dBu (A-weighted)
Microphone Equivalent Input Noise (EIN) .....................-125dBu (A-weighted)
Frequency Response ..................................................10Hz to 45KHz +/- 1dB
Maximum Output Level ...........................................+23dBu (@ 0.5%THD+N)
Output Impedance ............................................................................. 600 Ohm
Tube Complement (per channel) ........................................1-12AT7A, 2-6922
General
Power (Factory Configured) .................................115 or 230 VAC / 100Watts
Dimensions ................................................... 3.5" (H) X 17.0" (D) X 19.0" (W)
Weight ...................................................................................................... 28 lb
As a commitment to constant improvement, PreSonus Audio Electronics,
Inc. reserves the right to change any specification stated herein at any
time in the future without notification.
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