Focusrite TwinTrak Pro Mode D'emploi page 15

Q. Does the TwinTrak Pro support wordclock?
A. Yes, via a BNC connector. See Wordclock on page 10 for more information on
setting up wordclock connections on the TwinTrak Pro.
Q. What are the key compressor features?
A. The TwinTrak Pro's optical compressor is a Class A device and uses the same
circuit design as the VoiceMaster Pro, but with the addition of hard- and soft-knee
settings as well as a side-chain input. The compressors can operate independently ('dual
mono') or as a linked true stereo pair.
Q. What is latency-free monitoring and who needs it?
A. Latency is the bane of every native DAW user's life. When tracking overdub vocals
or a guitar track for example, an audible delay occurs. When recording, this delay is
doubled (delay en route to hard disk + delay returning to monitoring circuit.)
Focusrite's latency-free monitoring section eliminates latency by integrating the DAW
monitoring into the circuit of TwinTrak Pro. The end result is tracking on a par with
DAW systems featuring built-in DSP (and costing many thousands of dollars more).
Q. Is the TwinTrak Pro mic pre a Class A design? What does that mean?
A. Yes, it's the Class A award-winning mic pre used in the VoiceMaster Pro and all
other Platinum range products. The TwinTrak Pro thus allows audio to be processed
in a more linear fashion; put simply, the TwinTrak Pro's mic pre is able to reproduce
all the detail of the input source without distortion or unwanted colouration.
Q. I heard that Class A devices generate a lot of heat. Is that something to
worry about?
A. Absolutely not - all Class A devices do indeed run warm, it's a direct function of
the way they enable audio to be passed transparently, and the TwinTrak Pro has been
designed specifically to deal with this kind of situation. However, the usual Class A
device rules apply, so it makes sense to put your TwinTrak Pro at the bottom of your
rack, leave a 1U space above it, and leave the back of your rack mount case open
when using the rack to ensure good ventilation.
Q. Does the TwinTrak Pro have an instrument input?
A. Yes, on the front panel, so you can connect a guitar, bass or other instrument
directly to the unit with no need for a DI box.
Q. What are some of TwinTrak Pro's other monitoring capabilities?
A. A separate hardware processor (e.g. reverb) can be connected to the back of
TwinTrak Pro. Much as one would experience in a pro studio, the performer could
then have a "wet" reverberated signal in their headphones while tracking. The circuit
allows mixing of wet vs dry signal, of the tracked signal vs pre-recorded material level,
and overall output level.
Q. Is the TwinTrak Pro only suitable for recording vocals?
A. No, the TwinTrak Pro is suitable for recording many other sound sources too, such
as electric guitars and bass (via its INSTRUMENT inputs). It is also ideal for
applications such as recording the spoken word, live sound applications, radio and TV
broadcast, dubbing, post production and can be used as a stereo buss compressor.
Q. What is the difference between +4 dBu and –10 dBV?
A. These are different signal operating levels. +4 dBu usually refers to professional
equipment and –10 dBV usually refers to semi-professional or consumer equipment. It
is important to make sure that any two or more devices connected to each other are
operating at the same signal level. If the +4 dBu output of a device feeds the –10 dBV
input of another device, this may cause the second device to overload. Alternatively, if
the –10 dBV output of a device feeds the +4 dBu input of another device, the second
device may receive a signal level which is too low (i.e. too quiet). -10 dBV devices are
usually connected using a mono 1/4" jack. This is known as an 'unbalanced'
connection. +4 dBu devices are usually connected using a TRS (stereo) 1/4" jack, or
XLR. This is known as a 'balanced' connection.
Q. Should I use balanced connectors with my TwinTrak Pro?
A. Yes, where possible. The line level analogue input is balanced, operating at +4 dBu.
The TwinTrak Pro provides both balanced (+4 dBu) and unbalanced (-10 dBV)
output connectors. See the REAR PANEL CONNECTIONS section on page 3 for
more information on connecting the analogue line level inputs and outputs.
Q. What is a 'side-chain'?
A. A side-chain is any signal that controls the action of the compressor. Usually the
audio signal is split in two, with one part becoming the side-chain and controlling the
compressor, and the other part of the audio signal being treated by the compressor. A
side-chain insert allows much greater creative flexibility than if the audio signal alone is
controlling the action. The most common way to use a side-chain is to EQ the part of
the audio signal that is sent to the side-chain. Frequencies are either cut in order to
stop the compressor reacting to particular frequencies, or boosted in order to make the
compressor react more to particular frequencies. This is known as 'frequency-conscious
compression'.
Q. How might I use the COMPRESSOR SIDE-CHAIN INSERT?
A. The main use of a side-chain insert is to use EQ to make the compressor react
differently. For example, if you were putting drums through your TwinTrak Pro then
you might find that the kick drum is causing the compressor to react the most, causing
audible 'pumping' of the drums as the compression level rises after each kick drum and
then is 'squashed' again. If this is undesirable, you could use the side-chain EQ to filter
off some of the lower frequencies, reducing this effect. (Sometimes this effect is
desirable, so you may wish to boost the low frequencies in order to emphasise this
effect!)
ENGLISH
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