TC electronic SDN BHD Guitar NDY 1 User Manual

NDY -1  
NOVA  
Dynamics  
USER’S MANUAL  
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TABLE OF CONTENTS  
ADDITIONAL FEATURES  
INTRODUCTION  
Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . .3  
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4  
Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17  
APPENDIX  
Technical Specifications . . . . . . . . . . . . . . . . . . . . . .18  
SETUP EXAMPLES  
Mono + Dual Processing . . . . . . . . . . . . . . . . . . . . . .5  
Single Input – Dual Output . . . . . . . . . . . . . . . . . . . . .6  
Pre and Post Processing . . . . . . . . . . . . . . . . . . . . . .7  
Dual Inputs – Single Output . . . . . . . . . . . . . . . . . . . .8  
OPERATION  
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9  
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10  
Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10  
Compression Basics . . . . . . . . . . . . . . . . . . . . . . . . .11  
Compression Parameters . . . . . . . . . . . . . . . . . . . . .11  
Suggested Settings – Compressor . . . . . . . . . . . . .14  
Noise Gate Basics . . . . . . . . . . . . . . . . . . . . . . . . . .15  
Noise Gate Parameters . . . . . . . . . . . . . . . . . . . . . .15  
Suggested Settings – Noise Gate . . . . . . . . . . . . . .16  
TC Electronic, Sindalsvej 34, DK-8240 Risskov – [email protected]  
English Version  
Manual revision 1.1 – SW – V 1.0  
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3
Prod. No: E60508511  
INTRODUCTION  
NOVA Dynamics – Contents Under Pressure  
A high quality dual engine compression and noise gate stomp box, packed with never before seen functionalities:  
NOVA Dynamics sets new standards for floor-based dynamics control. Its dual engine design offers a variety of setup  
and control options that allow you to tailor NOVA Dynamics to fit your rig. Use the two engines for different  
compression settings or switch between stomp compression for that classic “squash” and TC’s advanced multiband  
compression for subtle, studio-style dynamics control. You can even split the NOVA Dynamics’ two engines, allowing  
you to use a compressor in front of your amp and a noise gate in your amp’s effects loop for true noise reduction of  
high gain signals. The Dry Blend feature lets you blend your dry signal in with the compressed signal. This gives you  
an optimized attack without eating into the dynamics. At the same time, the automatic input gain adjustment on both  
engines provides perfect settings for e.g. both a Strat and a Les Paul at the flick of a switch.  
Brings control to any guitar rig  
NOVA Dynamics Features  
2 Compressor Modes: Studio and Stomp  
Noise Gate  
Dual Engine Design  
Dry Blend – Parallel Compression  
Flexible Routing  
Auto Input Gain Adjustment  
Precise Gain Reduction Meter  
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4
SETUP EXAMPLE: MONO + DUAL PROCESSING  
In this setup, the two engines can be used  
individually or serially. You can use two  
compressors, two noise gates, or one of each at  
the same time.  
Connect your guitar to input A of the NOVA  
Dynamics.  
Connect output A of the NOVA Dynamics to  
the input of your guitar amp.  
Activate engine A and/or B and select the  
desired compression type and/or noise gate  
algorithm.  
That’s all!  
Note: For best signal to noise ratio, calibrate the  
pedal according to the level of the input signal.  
For further information, refer to this manual’s  
“Calibration” section.  
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5
SETUP EXAMPLE: SINGLE INPUT – DUAL OUTPUT  
In this setup, the guitar signal on input A is  
fed to both engines A and B. This means that  
the two channels are processed 100 %  
separately.  
Please note that this is not a stereo setup.  
Connect your guitar to input A of the  
NOVA Dynamics.  
Connect output A of the NOVA Dynamics  
to the input of one amp.  
Connect output B to the input of another  
amp.  
You can now use the two engines like two  
completely separate pedals for processing  
your guitar’s sound.  
Note: For best signal to noise ratio, calibrate  
the pedal according to the level of the input  
signal. For further information, refer to this  
manual’s “Calibration” section.  
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6
SETUP EXAMPLE: PRE & POST PROCESSING  
In this example, we are using the two engines  
of NOVA Dynamics in two different places in a  
signal chain. One engine is used in front of the  
pre-amp for compression, while the other is  
being used in the effects-loop as a noise gate.  
Connect your guitar to input A of the NOVA  
Dynamics.  
Connect output A of the NOVA Dynamics to  
the amp’s regular input.  
Connect the “Send” jack of the effect loop to  
input B of the NOVA Dynamics.  
Connect output B of the NOVA Dynamics to  
the “Return” jack of the effects loop.  
Note: For best signal to noise ratio, calibrate the  
pedal according to the level of the input signal.  
You will love the fact that each engine of the  
NOVA Dynamics has its own individual level  
calibration. For further information, refer to this  
manual’s “Calibration” section.  
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7
SETUP EXAMPLE: DUAL INPUTS  
In this setup, we utilize the NOVA Dynamics’  
auto-sensing inputs to connect two guitars at  
the same time. This allows for individual level  
calibration of the inputs, which is a great  
advantage if e.g. you want to use two guitars  
which have very different output levels due to  
different pick-up configurations. This might be  
the case if there are passive single coils on  
one guitar and active humbuckers on the  
other. Furthermore, you save an A/B switch  
in your setup.  
Connect two guitars to the inputs A and B  
of the NOVA Dynamics.  
Connect output A of the NOVA Dynamics  
to the input of your amp.  
Be sure to turn down the volume  
potentiometer on the guitar not currently  
in use.  
Note: For best signal to noise ratio, calibrate  
your guitars individually. For further  
information, refer to this manual’s  
“Calibration” section.  
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8
OVERVIEW  
A output  
B
A
input  
B
power  
thresh level/damp  
thresh level/damp  
GAIN  
RED  
-2  
-4  
-6  
-8  
attack  
ratio/rel  
attack  
ratio/rel  
-10  
-12  
-16  
-20  
-24  
studio  
stomp  
n.gate  
min  
med  
max  
studio  
stomp  
n.gate  
min  
med  
max  
A B  
HOLD  
to calib  
HOLD  
to calib  
algorithm dry blend A/B toggle algorithm dry blend  
NDY1  
NOVA DYNAMICS  
DUAL COMPRESSOR + NOISE GATE  
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9
OPERATION  
CONNECTIONS  
Switches  
1 – Power  
4 & 5 – On/Off Switches  
The NOVA Dynamics requires 12V DC 300 mA. Use  
the power supply provided in the product box.  
In “normal” mode (when the A/B button is turned off),  
these switches operate as standard on/off switches for  
engines A and B.  
In “A/B” mode (when the A/B button is lit), you can  
toggle between engine A and B simply by pressing  
either switch A or B.  
2 – Input Jacks  
These are ¼" mono jack connectors for signal input.  
NOVA Dynamics operates as two independent pedals  
with various possible combinations. Two different  
guitars can be connected to inputs A and B.  
Always use input A if you connect only one guitar.  
When a guitar or other signal source is connected to  
input B, inputs A and B can be calibrated individually.  
3 – Output Jacks  
These are ¼" mono jack connectors which carry the  
signals from channels A and B.  
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10  
OPERATION  
Compression Basics  
Compressor Parameters  
A compressor is used to control the dynamic content of  
a signal. It can be used either for leveling out the  
signals dynamics (thus letting your guitar sound stand  
out clearer), or for immediately recognizable sustaining  
effects.  
6 – Threshold  
Range: -40 dB to 0 dB  
The THRESHOLD knob on the NOVA Dynamics pedal  
is equivalent to what is called “sustain” on many other  
pedals. Basically it sets the threshold level where the  
compressor kicks in. The lower the threshold, the less  
input level the compressor needs to start compressing  
and the more sustain you will get. Turn the  
THRESHOLD knob counter-clockwise for more  
compression (= lower threshold) and clockwise for less  
compression.  
Illustration - Signal Compression  
7 – Level  
Any degree of compression, and especially “heavy”  
compression, will cause a reduction in output volume.  
Use the LEVEL knob to compensate for this or to even  
boost the signal.  
8 – Attack  
The Attack time is the response time of the  
Compressor. The shorter the Attack time, the sooner  
the Compressor will reach the amount of compression  
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11  
OPERATION  
set by the Ratio parameter. Turn the ATTACK knob  
counter-clockwise for “squashing” the signal more and  
clockwise for a more subtle compression.  
The “Studio” compressor mode uses so-called  
multiband compression (in this case, three bands), that  
you would normally only find in expensive studio  
compressors. This 3-band compressor allows  
individual processing of low, mid and high-end  
frequencies. The advantage of this technique is that  
e.g. a loud, pumping bass figure is processed  
separately and therefore won’t influence the mid and  
high-end frequencies.  
9 – Ratio  
This parameter determines how hard the signal is  
compressed – see the illustration on the previous  
page. Turn clockwise for more extreme compression.  
For more information, refer to this manual’s  
“Suggested Settings” section.  
“Stomp” (Compressor):  
10 – Meter  
The “Stomp” compressor mode gives you the kind of  
hard compression typically associated with stomp box  
compressors. Use this mode if you aim for an audible  
compression effect with either a “twang” or a “popping”  
sound.  
In Compressor Mode, the meter indicates the current  
attenuation (compression) of the signal while you are  
playing. In Noise Gate Mode, the meter indicates the  
amount of attenuation of the signal when the gate is  
active.  
11 + 14 – Algorithm  
Use these switches to select the algorithms for the two  
channels. The options are:  
Gate:  
In Gate Mode, the engine acts as a noise gate.  
Read more in the manual section: “Noise Gate”.  
Studio (Compressor):  
This is a subtle compression type. It ensures that your  
guitar is present with a constant level in the mix.  
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12  
OPERATION  
12 + 15 – Dry/Blend  
16 – Clipping indicators  
If these LEDs flash you have a too hot signal  
somewhere in the signal processing.  
The Dry/Blend function allows you to use parallel  
compression. Basically, this means splitting the signal  
in two and compressing only one part of the signal.  
With the DRY BLEND switch, you can cycle through  
three predefined levels of blend and “off”.  
LED A flashing - the input level for input A is too hot.  
Recalibrate the pedal.  
Choose between the following settings:  
LED B flashing - the input level for input B is too hot. If  
you are using dual input mode (two instruments) -  
recalibrate input B. If you are using Engines A+B in  
serial - reduce the output level of Engine A using the  
LEVEL knob.  
Off:  
No blend  
Min: 75 % wet and 25 % dry  
Med: 50 % wet and 50 % dry  
Max: 25 % wet and 75 % dry  
The Dry Blend function is especially useful for creating  
hard sustaining compression without sacrificing the  
natural attack.  
Both LEDs flashing - recalibrate and reduce the  
general level on both Engines A and B.  
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13  
SUGGESTED SETTINGS  
This section is a short guide on how to achieve  
different kinds of compression and gating with NOVA  
Dynamics. In these examples, we will only look at a  
single engine. Start out by setting all controls at a 12  
o’clock (center) position. This is always an excellent  
starting point.  
Notice that the calibration of the pedal and the general  
output of your pick-ups has a huge influence on where  
the Threshold knob should be positioned.  
Sustaining compression  
with natural attack  
Set Type to Stomp and  
experiment with the three  
Dry Blend options.  
Gentle Compression:  
E.g. for clean chords.  
Set TYPE to “Studio”  
Compressor – Suggested Settings  
Heavy Squash for  
Country & Funk:  
Set type to Stomp and set  
Dry Blend to off  
All-round compression  
Set TYPE to “Studio”  
Sustaining compression  
Set TYPE to “Stomp”  
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14  
OPERATION  
Furthermore it is worth noticing that the NOVA  
Noise Gate Basics  
Dynamics Gate offers 4 modes of Noise Gate  
selectable via the DRY BLEND button. From full-range  
mode to three tuned 3-band Noise Gate modes.  
The NOVA Dynamics Noise Gate is used to attenuate  
the signal when you are not playing your guitar. This  
way, you can mute hissing, humming and other noise  
coming from cables, pedals etc. Of course, a noise  
gate can only cancel noises from equipment which is  
located before the gate in the signal path.  
Illustration - Noise Gate  
Please note that a noise gate is not the ultimate  
solution to noise problems. You should always try to  
avoid noise in the first place! Noise can be introduced  
by a number of factors. Poor cables, poorly shielded  
single coil pickups and power supplies placed too close  
to signal cables are common problems that you can  
work around by experimenting.  
However, a certain amount of noise will always be  
present in any guitar setup. The NOVA Dynamics  
Noise Gate can help you attenuate this noise when  
you are not playing. Be careful, though, when setting  
the Threshold and Release parameters. A Threshold  
set too high may result in the Gate not opening when  
you play the guitar softly. A Release time set too slow,  
may result in the gate cutting into the attack phase of  
the signal.  
Noise Gate Parameters  
6 – Threshold  
The Threshold point determines at what point the Noise  
Gate should start dampening the signal.  
Start by setting the THRESHOLD knob to the “min”  
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15  
OPERATION  
position (fully counter-clockwise) and set all other  
controls to “12 o’clock” (center) position. Now turn up  
your guitar’s volume potentiometer, but do not play.  
Then turn up the THRESHOLD knob to the point  
where the gate starts dampening you signal.  
should open when you are playing your guitar. For  
guitar setups it is very common to use very fast attack  
times. Turn ATTACk counter-clockwise for faster attack  
times.  
9 – Release  
7 – Damp  
Release is the time it takes for the Noise Gate to reach  
the attenuation specified by the Damp parameter when  
the signal drops below the Threshold point. In other  
words: with Release, you determine how fast the gate  
should close when you stop playing. Slow release  
times are achieved by turning the knob clockwise and  
results in a very natural sounding fade out. A faster  
release time is achieved by turning the knob counter-  
clockwise and is typically used for hard-rock and metal  
where the gate needs to close very fast.  
This parameter determines how hard the signal should  
be attenuated when the signal level falls below the set  
Threshold. Now you may think that you should always  
go for maximum dampening. However, bear in mind  
that you should also strive for a smooth transition from  
the “gated/attenuated” stage to the “open” stage. The  
more dBs that are released when the Gate opens, the  
more obvious the gating effect becomes. This means  
that you will have to experiment to fine-tune the Noise  
Gate to your sounds – there is no “one-size-fits-all”  
setting.  
12 – Dry Blend function in the Noise Gate  
Dry Blend mode off (no LEDs):  
Select this mode for a full-band Noise Gate.  
8 – Attack  
Attack is the time it takes for the Noise Gate to release  
the gain reduction of the signal after the level of the  
input signal has exceeded the Threshold. In other  
words: With Attack, you determine how fast the gate  
Dry Blend modes; Min, Mid & Max:  
These modes process low, mid and high frequencies  
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16  
OPERATION & SUGGESTED SETTINGS  
Noise Gate simple setup procedure:  
individually and allows more gentle gating compared to  
the full-band mode. This is achieved by letting certain  
frequency areas of the dry signal pass, even when the  
gate is active.  
Dry Blend is excellent for reducing/removing significant  
noise without sounding un-natural. Noise Gate with Dry  
Blend activated works great when the gate is used in  
an amp’s effects loop or after hi-gain distortion pedals.  
Start out by setting all controls in 12 o’clock  
position  
Turn up the guitars volume pot without playing  
Now tweak the THRESHOLD knob until you find  
the exact point where the desired attenuation of the  
noise is achieved  
Experiment with the three Dry Blend modes  
Note that “Min”, “Mid” and “Max” refers to Dry Blend  
and therefore “Min” mode provides the most  
attenuation, “Max” mode provides the least.  
Noise Gate – Suggested Settings  
13 – A/B toggle  
When the A/B switch is off (not lit), you can switch off  
channels A and B as if you were using two separate  
pedals. When the A/B switch is on (LED green), you  
can toggle between channels A and B simply by  
pressing the A or B switch. To completely bypass the  
pedal, press the switch of the currently active channel.  
Gentle Noise Gate  
Dry Blend set to “max”  
Heavy Noise Gate  
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17  
INPUT LEVEL CALIBRATION  
guitar. When there seem to be no more changes,  
the pedal is calibrated.  
Your NOVA Dynamics pedal is per default set to work  
well right out of the box – just as any other “stomp box”  
pedal. However, you can optimize the performance of  
the NOVA Dynamics pedal’s AD/DA converters by  
calibrating the input sensitivity.  
Follow the step-by-step guide below for EACH of the  
engines** – especially if you are using one engine  
before the amp and one after the amp as described in  
the “Pre & Post” setup example on page 7.  
Press any key to exit.  
The pedal is now calibrated.  
*
By “loudest”, we mean the sound with the highest dynamic  
content. This is most likely a clean sound, as by definition  
overdrive sounds are compressed – i.e. they have less  
dynamics.  
** In single engine mode (nothing connected to input B), only  
Engine A can be calibrated.  
Automatic Calibration  
Calibration of the input sensitivity should be set  
according to the expected maximum input level.  
Therefore, you should always start by turning on  
boosters and other signal-attenuating equipment  
that has been placed before the NOVA Dynamics  
pedal in the signal chain.  
Press and hold the ALGORITHM button, for the  
engine you intend to calibrate**, until all Meter  
LEDs (-2 to -24) are lit.  
Manual Calibration  
If you prefer to change the input gain manually, you  
can.  
Press and hold the ALGORITHM switch of the  
engine for which you intend to change the input  
gain.  
All meter LEDs are lit briefly. After that, a single  
LED will stay lit to indicate the current gain setting.  
Now turn the LEVEL knob and adjust the gain  
setting.  
Play with your loudest* sound for a few seconds.  
The nine LEDs will turn off one by one. How many  
LEDs are turned off depends on the output of your  
Press any key to exit.  
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18  
TECHNICAL SPECIFICATIONS  
Analog Inputs  
Connectors:  
Input Type  
Environment  
¼" phone jacks w. mono-sense  
Single ended  
Operating Temperature:  
Storage Temperature:  
Humidity:  
32° F to 122° F (0° C to 50° C)  
-22° F to 167° F (-30° C to 70° C)  
Max. 90 % non-condensing  
Impedance:  
1 MOhm  
Max. Input Level:  
10 dBu @ 12V supply  
General  
Finish:  
Analog Outputs  
Connectors:  
Anodized aluminum front  
Plated and painted steel end caps  
130 x 130 x 55 mm  
¼" phone jacks w. mono-sense  
10 dBu @ 12V supply  
Balanced/Single ended w. ground sense  
0 Ohm  
Max. Output Level:  
Output Type  
Dimensions:  
Weight:  
Mains Voltage  
765 g  
Impedance  
100 to 240 VAC, 50 to 60 Hz  
(auto-select) AC wall adapter.  
AC adapter supplies 12 VDC  
minimum 0.3 A to pedal.  
<5 W  
Sense Input Impedance 225 Ohm  
Overall Data  
D to A Conversion  
A to A Delay  
24 bit, 128 x oversampling bitstream  
1.65 ms  
Power Consumption  
Dynamic Range  
106/98 dB, 20 Hz to 20 KHz  
@ Input level 16/-2 dBu, not A-weighted  
< -90 dB (0.0032 %) @ 1 kHz, I/O Level  
16 dBu, Load > 2400 Ohm  
+0.1/-0.2 dB, 20 Hz to 20 KHz  
< -100 dB, 20 Hz to 7 KHz, < -94 dB,  
7 kHz to 20 kHz  
Warranty  
Parts and labor  
1 year  
THD  
Frequency Response  
Crosstalk  
EMC  
Complies with:  
Due to continuous development, these  
specifications are subject to change  
without notice.  
EN 55103-1 and EN 55103-2 FCC Part 15,  
Class B, CISPR 22, Class B  
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19  
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