| |
WHY DIGITAL
The world has come to a point where almost all audio will end up
in a Digital format: CD, MD, DAT, CD-ROM, DVD, etc. Soon every studio
will use digital recording in one way or another. Therefore the need for
having your material converted directly to a digital format and processed
within the superior quality of the digital domain, is greater than ever.
WHAT IS THE GOLD CHANNEL
The Gold Channel is a digitally enhanced microphone preamplifier
and a signal refinement toolbox. Plug in your microphone, connect the
Gold Channels outputs to any analog or digital recorder, and safely
capture your signal as the best possible quality audio recording. Right
after the Gain stage of the Gold Channel, the signal will be converted
from analog to digital through 24 bit A/D converters.
Once inside
the digital domain, you have access to these famous TC Electronic algorithms:
Expanders
Compressors
Equalizers
De-esser
Dynamic Equalizer
Digital Radiance Generator
R.I.A.A. Phono EQ
MS Encoder/Decoder
Time Alignment
ALL IN ONE
The Gold Channel, with its 48-96kHz high-resolution processing tools,
is both a microphone preamplifier and a signal processor! With Mic/Line-level,
and Digital in and outs, youre able to refine your original
material, even after youve captured it, by sending your recorded
signal through the Gold Channels tools once again. You can even
use it to digitally bounce your processed tracks to other channels or
other recording devices.
TOTAL RECALL
When you set up the Gold Channel to match a specific instrument or
vocalist, you may want to keep those settings for later use. The Gold
Channel gives you Total or Partial recall of all settings, stored in any
of the presets that you choose. Alter one of the 100 Factory presets to
fit your taste and setup, store it in one of the 100 User presets or in
one of up to 999 User presets available via PCMCIA SRAM card. Storing
Presets like this will give your future recordings continuous refinement
and development, making it very fast and easy to get the same great sound
you accomplished at an earlier session.
TWO CHANNNELS
In real life recording sessions, you very often end up doing layer
recording, one instrument at a time. Even though you may only need one
high quality channel, Gold Channel gives you two linkable for stereo
operation to ensure that youve got the ultimate recording tools
right at your fingertips. Post recording mixing-board tweaking will be
kept to a minimum with its superior processing tools. The intuitive,
yet sophisticated, user interface (already known by TC users worldwide)
gives you easy access to everything you need. Like driving the sports
car of your dreams, this machine will make you smile from the day you
purchase it.
RECALL
Choose existing Factory Presets or do Partial Recalls of the various
Factory Presets that fit your recording session.
Store it in a User preset, name it, do a Total Recall of your precious
preset later and refine it even further to please your evolving taste
in sound.
I/O SETUP
The input & output sections Signal page shows the signal
path from input through inserts to output. The very intuitive user interface
gives you the best possible overview and makes instant connection changes
extremely fast and easy to perform.
GAIN
Plug in your microphone, select Auto Gain and press Enter. Let the
musician or vocalist play their instrument and when finished press Enter
again. The Auto Gain feature has now set the optimal gain level - its
that simple.
EQUALIZER
You can choose between two types of equalizers. A fully blown five
band Parametric EQ with frequency ranging from 20Hz to 20kHz, +/- 18dB
gain range and variable bandwidths. Very careful implementation, dedicated
limiters on each EQ band and the 96kHz option places it among the best
sounding EQs ever made - and it is digital! The second type emulates
classic analog equalizers, and delivers that particular EQ curve typical
of these oldies but goodies. Even the user-interface resembles the easy
to read knobs of the originals.
VINTAGE COMPRESSOR
The Vintage Compressor algorithm emulates the way classic analog
compressors work and it delivers that very sought after vintage warmth
and quality to your recordings.
DYNAMIC EQUALIZER AND DE-ESSER
The Dynamic EQ is in fact a De-esser with additional frequency range,
variable bandwidth, attack, release, etc. It helps you remove unwanted
frequencies dynamically, only affecting the peaks instead of carving a
hole in the overall sound.
MS ENCODER/DECODER
The MS Encoder/Decoder is often used in the Broadcast and Film industry.
The technique involves placing a cardioid or hypercardioid microphone
together with a figure-eight microphone to record the mid source (M) and
side information (S). This feature adds an impressive perspective to your
sound and the Gold Channel allows you to process the mono and stereo signal
separately.
ROUTING
The processing algorithms can be placed freely in any of the four
blocks available per channel. So if you want to refine the general EQ
before using the Dynamic EQ, or if you want to remove a vocalists
"esses" before running it through the vintage compressor, you
can do it in the Gold Channel.
To gain the benefits of high resolution processing at a resolution of
96KHz, you can either use one channel and gain access to 3 blocks or use
both channels with 1 block available per channel.
|
Analog
Line Inputs
|
|
Connectors:
|
XLR
balanced (pin 2 hot) |
|
Impedance
(balanced):
|
6.8 kohm |
|
Max.
Input Level (balanced):
|
22 dBu |
|
Sensitivity,
@ 12 dB headroom (balanced):
|
-10 dBu to 10
dBu |
|
Dynamic
Range (unweighted):
|
103 dB |
|
THD+N:
|
< -90 dB (0.003
%) @ 1 kHz, -3 dBFS |
|
Frequency
Response:
|
20 Hz to 20 kHz,
+0/-0.3 dB |
|
Crosstalk:(Line
to Mic. Pad 0), worstcase:
(Line to Line or Mic.Pad 20/40/60), worstcase:
|
< -65 dB,
20 Hz to 20 kHz
< -85 dB, 20 Hz to 20 kHz |
|
Common
Mode Rejection, RS=40 ohm:
|
> 60 dB @
50/60 Hz & > 70 dB @ 1 kHz |
|
A
to D Conversion:
|
24 bit (1 bit,
128 times oversampling) |
|
A
to D Delay:
|
0.8 ms @ 48 kHz |
|
Analog
Mic Inputs
|
|
Connectors:
|
XLR
balanced (pin 2 hot) |
|
Impedance
(balanced):
|
6.8
kohm |
|
Phantom
Supply:
|
48V
+/-10%, pin 2 & 3 through 6.81 kohm |
|
Max.
Input Level (balanced), Pad 0/20/40/60:
|
0:
-40 dBu, 20: -18 dBu, 40: 2 dBu, 60: 22 dBu |
|
Sensitivity,
@ 12 dB:
headroom (balanced):
|
0: -82 dBu to -52 dBu, 20: -52 dBu to -30 dBu
40: -30 dBu to 10 dBu, 60: -10 dBu to 10 dBu |
|
Dynamic
Range, RS = 200 ohm (unweighted):
|
0: > 56 dB, 20: > 88 dB, 40: >98 dB, 60: > 100 dB |
|
Noise
Figure, Pad 0, RS = 200 ohm:
|
<
1.8 dB |
|
THD+N:
|
0:
< -80 dB, 20/40/60: < -92 dB, -3 dBFS |
|
Frequency
Response:
|
0: 20 Hz to 20 kHz, +0/-0.9 dB,
20/40/60: 20 Hz to 20 kHz, +0/-0.3 dB |
|
Crosstalk:
(Mic., all Pad to Mic., Pad 0, worstcase:
Mic., all Pad to Mic.,
Pad 20/40/60), worstcase:
|
<-66 dB, 20 Hz to 20 kHz
<-82 dB, 20 Hz to 20 kHz |
|
Common
Mode Rejection, RS=40 ohm:
|
>
60 dB @ 50/60 Hz & > 70 dB @ 1 kHz |
|
A
to D Conversion:
|
24
bit (1 bit, 128 times oversampling) |
|
A
to D Delay:
|
0.8
ms @ 48 kHz |
|
Common
Mode Rejection, RS= 200 ohm:
|
>
60 dB @ 50/60 Hz & > 70 dB @ 1 kHz |
|
Analog
Line Outputs
|
|
Connectors:
|
XLR
balanced (pin 2 hot) |
|
Impedance:
|
40
ohm (Active transformer) |
|
Max.
Output Level:
|
20
dBu (balanced) |
|
Full
Scale Output Range:
|
-10
dBu to 22 dBu |
|
Dynamic
Range, 20 Hz to 20 kHz:
|
>
100 dB (Unweighted) @ Output Level > 6 dBu |
|
THD+N,
20 Hz to 20 KHz :
|
-86
dB (0.005%) @ 1 kHz, -6 dBFS |
|
Frequency
Response:
|
12
Hz to 20 kHz, +0/-0.6 dB |
|
Crosstalk:
|
<
-80 dB, 10 Hz to 20 kHz, typ. < -100 dB @ 1 kHz |
|
D
to A Conversion:
|
24
bit (1 bit, 128 times oversampling) |
|
D
to A Delay:
|
0.57 ms @ 48 kHz |
|
Digital
Inputs and Ouputs
|
|
Connectors:
|
XLR (AES/EBU),
RCA Phono (S/PDIF),
Optical (Tos-link, ADAT) |
|
Formats:
|
AES/EBU (24 bit),S/PDIF
(20 bit),
EIAJ CP-340, IEC 958, EIAJ Optical (Tos-link),
ADAT Lite pipe |
|
Output
Dither:
|
HPF TPDF dither
8-24 bit |
|
Word
Clock Input:
|
RCA Phono, 75
ohm, 0.6 to 10 Vpp,
30 - 50 kHz |
|
Sample
Rates:
|
44.1 kHz, 48
kHz |
|
Processing
Delay:
|
0.2 ms @ 48 kHz |
|
Frequency
Response DIO:
|
20 Hz to 23.9
kHz +0.01/-0.1 dB @ 48 kHz |
BACK
TO: INTRO Pg. 1, 2,
3; "The Rack"
[an error occurred while processing this directive]
|