Art TPS Bedienungsanleitung
Tube Preamp
System
Two Channel Voiced Valve Preamplifier
with Output Protection Limiting (OPL)
USER’S GUIDE
A R T
APPLIED RESEARCH AND TECHNOLOGY
The ART TPS
Tube Preamp System
TABLE OF CONTENTS
Introduction ......................................................................................... 2
Installation ........................................................................................... 3
AC Power Hookup ............................................................................. 3
Analog Audio Connections ................................................................ 3
Safety Precautions ............................................................................ 3
Controls and Indicators .......................................................................4
Input Control ...................................................................................... 4
+20 dB Gain Switch ........................................................................... 4
Phantom Power +48V Switch ............................................................ 4
Phase Reverse Switch ...................................................................... 5
V3Variable Valve Voicing Control .................................................. 5
VU Meter ........................................................................................... 6
Output Control ................................................................................... 6
Connections ........................................................................................ 7
Dual Purpose Input Jacks (Front)....................................................... 7
XLR Input Jacks (Rear)...................................................................... 7
XLR Output Jacks (Rear) .................................................................. 8
¼"Output Jacks (Rear)...................................................................... 8
Operation ............................................................................................. 9
Warranty Information ........................................................................ 11
Service ............................................................................................... 12
TPS Specifications ......................................................................... 13
INTRODUCTION
Thank you for purchasing an ART TPS(Tube Preamp System) - and
congratulations: You now own one of the most versatile preamplifiers
available. Offering a superb level of sound quality, the TPShybrid tube
and solid state circuit design, combined with a straightforward user
interface, quickly and easily gives you access to all of its features.
The original ART Tube MPput professional-caliber tube preamplification
into the hands of thousands of musicians and recordists that wanted great
tube tone in a compact and flexible package. The New ART TPSis the
first tube microphone preamplification system designed with recording
musicians in mind. It has been carefully designed, engineered and
manufactured to provide you with years of great sound and reliable service.
The TPSextends the range of applications by adding V3 (Variable
Valve Voicing) which will help you to quickly and easily record a variety of
instruments – including drums, keyboards, acoustic and electric guitars, and
more. We also feature OPL Output Protection Limiter to make V3even
more powerful. The TPSalso functions as a direct box, with impedance
matching and preamplification for instrument or line-level sources.
FEATURES:
• Dual Analog VU metering
• V3(Variable Valve Voicing) with OPL(switch selectable)
• Over 75 dB of gain
• Hand selected 12AX7A dual triode tube
• Balanced XLR inputs and outputs
• ¼"High impedance Instrument input and ¼"line level output
• +48V Phantom Power (switch selectable)
• Phase Reverse Switch
• Gain (+20dB) Switch
• Input Gain Control
• Output Level Control
• Fully shielded all-steel chassis
• Designed and developed in the USA
INSTALLATION
The TPSmay be used in a wide variety of applications and
environments. In a rack-mountable, all-steel enclosure, the units are
designed for continuous professional use. Mounting location is not
critical. However, for greater reliability we recommend that you not
place the units on top of power amps or other sources of heat. The
tube circuitry needs about a minute to “warm up” from a cold power up.
AC POWER HOOKUP
The TPShas an internal power supply designed to operate at 115
VAC @ 50 to 60 Hz. Units manufactured for use outside the United
States of America have been modified to comply with the required
electrical specifications.
ANALOG AUDIO CONNECTIONS
Audio connections to and from the TPSare balanced XLR (Pin 2 =
Hot (+), Pin 3 = Cold (-), Pin 1 = Ground) and unbalanced ¼"(Tip =
Hot (+), Sleeve = Ground). We recommend that you switch off the
+48V Phantom Power whenever changing connections to the XLR
input. The front mounted jacks can act as both a balanced XLR
connection, and an unbalanced ¼"connection.
SAFETY PRECAUTIONS
Warning: To avoid the risk of shock or fire, do not expose this unit to
moisture. Refer all servicing to qualified personnel. Do not remove the
metal cover; there are no user-serviceable parts inside. When
applicable, only use the power adapter that came with this unit or one
obtained from ART’s Customer Service Department.
CONTROLS & INDICATORS
INPUT CONTROL
The Input Control sets the amount of input gain of the TPS. Turn the
control clockwise to increase gain and counterclockwise to decrease
gain. You may control two ranges of gain with this control, +20 to
+68dB and +0 to +48dB. Selection of the gain range is made with the
+20dB gain switch.
NOTE: This control, along with the +20 dB Switch, is responsible for
any saturation of the tube. To change the tube character, utilize these
2 controls.
+20DB GAIN SWITCH
Use the +20dB Gain Switch to set the gain range of the input control.
When the switch is out, the unit operates in Normal mode. Depressing
the switch adds 20dB of gain. For microphone applications, where
more gain is needed, push the switch in. For hot line level inputs, set
the switch in the out position.
PHANTOM POWER +48V SWITCH
The TPScan power any microphone needing +48 volts DC Phantom
power. Phantom power is supplied to pins 2 and 3 of the XLR Input
jack when this switch is depressed. With the TPS, slowly apply and
remove the +48 volts, to prevent damage to microphones.
Be sure to turn down or mute the output of the TPSwhen engaging
or disengaging Phantom power. Additionally, when disengaging, allow
30 to 45 seconds for the power to completely discharge. Most
microphones will make a sound like air leaking from a tire when
Phantom power is disconnected, but some can make some very nasty
low rumbles and whines as well.
Dynamic microphones should not be affected or damaged if they are
plugged into a line where Phantom power is present. However, if the
mic doesn't need it, do not use it. Some things are best left untested!
PHASE REVERSE SWITCH
The Phase Reverse switch is provided to reverse the phase of the
signal. This switch works on Pins 2 and 3 of the XLR output jack and
also reverses the polarity of the ¼"output jack. In the Normal position,
the signal is in-phase. In the Reverse (or “in”) position, Pins 2 and 3
are reversed and the signal is changed to 180 degrees out of phase.
In multiple microphone applications, mic placement can affect the
phase of the signals. If two microphones pick up the same signal from
different locations, the result can be a hollow or frequency “shifted”
sound. In some cases it may sound as if an instrument disappears if it
happens to be 180 degrees out of phase. Depressing the Phase switch
can remedy this. In general, if your sound is “thin” or “out of position,”
try reversing the phase to correct the problem.
V3 – VARIABLE VALVE VOICING CONTROL
The TPSfeatures ART’s proprietary V3 technology. V3(which
stands for Variable Valve Voicing), provides optimized reference points
to begin the recording process for guitars, bass guitars, synths,
acoustic instruments, percussion and more.
ART engineers ran our preamplification circuit through a battery of
tests and real life studio conditions. Our goal was to create a processor
that would allow a user to have presets that were optimized for specific
recording applications. We set out to create a preamp that would be
nimble enough to handle both violins and kick drums, and nearly
everything in between.
We wanted to take the guessing out of the equation – and that is how
we developed V3. It’s simple, easy and it works really well.
For example, if you are recording an acoustic guitar, V3 has a preset
that has been optimized for that instrument. Once the preset is chosen,
the user can even fine tune the signal – which shows the true power of
V3 technology…it’s tweakable. V3 even features a multi setting, which
is useful for a wide variety of applications – like overhead micing,
broadcast and field recording.
This means that it is now quicker and easier than ever to make great
recordings! Musicians want to play, not spend hours adjusting knobs.
No other microphone preamp is as user-friendly as the TPS.
VU METER
The VU Meter gives an analog representation of the TPStube signal
level. Besides showing the average analog level, it is sensitive to
attack transients. When not using OPL, the VU Meter is a great
indicator of how hard you are running the tube. It also helps in setting a
consistent level as you change mics and instrument sources.
The VU Meter also reflects the impact of the OPLcircuitry on the
signal. For example, if the signal is “in the red” on the meter, the meter
will reflect the attenuation of the signal when the OPLis activated,
and the signal is brought out of the “red.”
OUTPUT CONTROL
The Output Control sets the output level of the TPS. When the
control is fully counterclockwise, there is no output. Turning the control
clockwise increases the level of the output signal. When setting the
Output level control, refer to the VU Meter for an accurate level leaving
the preamp.
CONNECTIONS
It is easy to interface the unit with a wide variety of equipment. The front
panel houses 2 dual-purpose ¼"/ XLR input jacks, and the rear houses
balanced XLR ins and outs as well as unbalanced ¼"outs. Standard ¼"and
XLR inputs and outputs make patching simple.
DUAL PURPOSE INPUT JACKS (FRONT)
The front mounted dual purpose jacks act as both balanced XLR jacks,
and unbalanced ¼"jacks.
The XLR Input jacks are primarily intended for microphone input, and
as such can furnish Phantom Power when needed. They can handle
up to +19 dBu signals, which is the hottest signal you would get out of
any microphone. For even hotter input signals, you should use the ¼"
input jack. The XLR Input jacks medium input impedance is extremely
flat over a wide frequency range, which allows it to be musically neutral
to virtually any microphone (one of the lesser known secrets – it’s why
the unit will always sound good!).
The ¼"Input jacks are for instrument and line level inputs. They have
high input impedance to minimize any loading effects on instrument
pickups. They can also handle up to +22 dBu signals for line level
signals.
XLR INPUT JACKS (REAR)
The rear XLR jacks function the same as the front ones, as they are
directly wired together, and both cannot operate simultaneously.
If the rear XLR input and its matching front ¼"input are both in use the
TPSwill sum the two signals, with the XLR slightly attenuating the ¼"
input. This is not normally suggested.
XLR OUTPUT JACKS (REAR)
The XLR Output jacks of the TPSare active balanced. You may use
them in an unbalanced configuration without harm to the output
circuitry. The XLR outputs can provide a hefty signal level (+28dBu) at
a low impedance, so make sure that you do not overdrive equipment
with sensitive inputs. When using it on the front end of a mixer, go into
the mixer’s line in or insert inputs and not necessarily into the mixer’s
microphone input, unless the mixer can pad that input’s level.
¼"OUTPUT JACKS (REAR)
The ¼"Output jacks are unbalanced and should be used for sending
signals to amps, processors, or other unbalanced configurations.
Both balanced and unbalanced output connections may be used
simultaneously. This is particularly useful when using the TPSas a
direct box for instruments or line level signals. Make sure that both
pieces of equipment connected to the preamp’s outputs are connected
to the same earth ground, beforehand, to avoid electrical shock.
If you experience a grounding hum when using both output connectors
(one to a console, one to an instrument amp) simultaneously, a ground
loop may be the problem. To remedy this problem, disconnect the
ground wire (pin 1) from the XLR cable plugged into the preamp’s
output. This interrupts the ground path and therefore breaks the loop.
Fill in the following information for your reference:
Date of purchase ___________________
Purchased from ___________________
SERIAL NUMBER ___________________
OPERATION
The TPSis one of the most versatile preamplification systems
available. Through use of the V3technology, numerous instruments
can be processed by the TPSsystem. Simply mic the instrument (if
acoustic), amp, or plug the instrument directly in to take full advantage
of V3 technology.
V3 Settings and their applications when processing:
When observing the V3dial from a clockwise perspective, the
following settings are:
Neutral Settings:
These are useful for uncolored, natural reproduction of sound.
6:00 - Neutral Flat
6:45 – Neutral Vocal (Microphone)
7:30 – Neutral Guitar Amplifier
8:15 – Neutral Bass Guitar
Warm Settings:
These are useful when warming a signal is desired.
9:00 – Warm Electronic Keyboard
9:45 – Warm Electric Guitar
10:30 – Warm Vocal Microphone
11:15 – Warm Valve
Warm Settings with OPL:
These are useful with high sound pressure levels, close proximity
micing, and spiky transients, as well as warming the signal.
12:00 – Warm OPL Multiple Applications
12:45 – Warm OPL Vocal
1:30 – Warm OPL Acoustic Guitar
2:15 – Warm OPL Piano
Neutral Settings with OPL:
These are useful with high spl’s, close micing and spiky transients, as
well as maintaining clarity.
3:00 – Neutral OPL Bass Guitar
3:45 – Neutral OPL Acoustic Guitar
4:30 – Neutral OPL Percussion
5:15 – Neutral OPL Limit
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