JoeMeek VC1QCS Studio Channel Mic Preamplifier
The NEW JOEMEEK VC-1QCS is a 2U 19-inch rack unit with a the new Current Sense Microphone Pre Amplifier, a JOEMEEK Compressor, an Instrument Pre-Amp, a JOEMEEK Enhancer, De-esser and a full channel of the Joemeek Meequalizer "EQ". In addition, the VC1Q offeres a 24 bit 96K digital SPDIF output. All you need is the optional VC1QD card that plugs into the back of the VC1Q for digital operation. This box will knock your socks off and simply can't be matched by anything on today's market in it's price range!
It's
best to think of the Studio Channel as six separate pieces of equipment:
1) The Microphone amplifier.
2) The Compressor.
3) The Enhancer.
4) The Equalizer
5) The De-esser
6) The Gain Make Up Amplifier
THE
MICROPHONE AMPLIFIER.
The microphone amplifier takes the audio signals from any microphone and
amplifies them up to 'line' level; that is, from a few millivolts, up to about a
volt. This function is not too difficult and the microphone amplifiers on normal
professional mixers do it quite well; BUT they cut costs and corners. The
JOEMEEK Studio Channel has an uncompromising old fashioned approach, it uses a
transformer at the input to provide the lowest possible noise and distortion. By
using the finest components available for the purpose, and with proven high
overload amplifier design developed over many years, the performance is
startlingly good. The JOEMEEK Studio Channel is designed for the best condenser
microphones and it is particularly good with Neumann, Sony, BPM by Studiotechnik,
Microtech Gefell, AKG, CAD, Audio Technica and many others.
Dynamic or ribbon microphones should be used with the phantom power turned off,
then full advantage can be taken of the extreme low noise performance of this
amplifier. Some capacitor microphones can produce enormous output voltages when
placed close to a loud sound source. To eliminate any possibility of overload
under these conditions, a 20dB pad switch is fitted.
PHASE SHIFT and QUALITY:
It's Fletcher Company theory that 'big' sounds are only possible if the
recording channel keeps the response and phase of the lower frequencies flat and
under control. To achieve this, the J0EMEEK Studio Channel has an extended
frequency range down below 20Hz. This ensures that there are no sudden phase
shifts in the low end. The proof of the theory is that the sound from the Studio
Channel is characteristically full bodied and rounded in character. Such extreme
LF response can often bring its own problems so a 'subsonic' (High Pass) filter
can be switched in with a front panel push-button. A push button is provided on
the front panel to reverse the phase of all audio signals (mic and line).
BALANCED AND UNBALANCED.
The JOEMEEK Studio Channel is designed to be used in the best recording
studios where most (if not all) interconnections are 'balanced'. Balanced
operation means that the audio is carried on two wires working in opposite
phase. Then should any interference appear on the 'line', it will be effectively
canceled out Both of the main inputs (Microphone and Line) and the line output
are accurately balanced to get the best advantage from true balanced operation.
The Compressor:
The compressor is a photoelectric device where the sound triggers light emitting
diodes which in turn control the resistance of a photo sensitive resistor. This
form of compression used to be common in the 60's and 70's but has been
superseded by so called 'improved' voltage controlled amplifiers. The advantages
of the older system are that distortion is virtually eliminated, noise is
extremely low while overload margin is extremely good. The disadvantages are
that the design is more difficult to produce cheaply and, according to those who
judge equipment by specifications and not by listening, the older design is less
flexible in operation and more difficult to use! Using 1990's electronics for
the control circuitry, Ted Fletcher has recreated the compressed sound of the
60's; a sound that was unlikely ever to be heard again. Totally unlike a modem
compressor, it can pull voices forward, help with internal mix balance, and add
'presence' to the sound as well as controlling recording volume levels. But its
main and unique attribute is it's ability to produce the characteristic 60's
compressed exciting sound without losing the transient sparkles that are such a
feature of good digital recording.
THE COMPRESSOR; TECHNICALLY.
To get the best use out of the compressor it is necessary to understand the
basic physics and what it is designed to do. A LIMITER is a device which stops
the output of a signal path going above a predetermined level. A COMPRESSOR is a
device which reduces the dynamic range of program material.
WHAT IS A COMPRESSOR?
A perfect compressor is an amplifier where the input/output ratio is
constant: So using a 2:1 compressor, increasing the input by 2dB gives a
corresponding 1dB increase in the output. Early compressors which used variable
mu thermionic tubes or photoelectric devices only approximated true compression
over a limited range. They had a soft 'threshold' where compression started and
held to a predictable ratio up to a certain level, then they returned to a more
linear amplification allowing transients through. This is in stark contrast to
modem VCA compressor/limiters where designers latched onto the idea that a
compressor should be entirely linear in its compression characteristic
(regardless of the sound produced) and thought it 'sensible' to combine the
functions of compressor and limiter to 'stonewall' any and all signals above a
certain level. The musical effect is that VCA compressors sound muddy and flat,
while the historic compressors sound lively and retain sparkle. But all
compressors change the sound to some extent. The JOEMEEK Studio Channel
compressor adds 'punch' and 'bite' without the dull muddiness of all others.
It is advisable to keep compression to a minimum during recording. The most
effective way of using compression is during the mixdown process. There can be
no rule as to the correct amount of compression for any particular program
material. Compression (particularly the JOEMEEK compressor) is a creative effect
for the producer. In rock music, it is possible to use considerable amounts of
compression (10dB or more) and still for the effect to be slight. in classical
recording, conventional compression is frowned upon but the JOEMEEK compressor
can be used to great effect if handled gently.
WHAT IS AN ENHANCER?
An enhancer (or exciter) adds a particular type of sparkle to sounds,
particularly voices. It appears to create brightness from sounds that were
'flat'. The enhancer in the JOEMEEK Studio Channel (in common with the other
JOEMEEK enhancer) works by picking off the higher frequency part of the sound,
compressing and dynamically altering it, filtering off the original sound and
remixing the resulting harmonics back with the signal. It adds high frequency
sparkle, making singing voices sound more present and exciting without some of
the other hissy effects you get from simply turning up the HF equalizer. It is
the supreme 'suck-it-and-see' device. Used properly it can create beautiful
sounds. Overused it can be horrible.
USING THE ENHANCER.
Once a signal is going through the Studio Channel, press the 'ENHANCE'
push-button (which changes the 'en' LED from green to red), turn up the 'DRIVE'
control until the Enhance LED just starts to change color or brighten on peak
sounds. Turn up the ENHANCE control until the sharpening of the sound is
obvious, then adjust the 'Q' control and the 'DRIVE' control to get the required
effect. Like the Compress control, the ENHANCE control just adds the enhancement
so if it is turned to minimum there is no effect. Once the effect is audible,
experiment with the three controls to set the desired sound, the controls are
very much interdependent and musically related. 'DRIVE' affects the depth and
'tone' of the enhancement. RESONANCE or 'Q' affects the length of the high
frequency harmonic after the syllable that created it. CAUTION. If in any doubt
at all, leave enhancement till the mixdown; its easy to put on but impossible to
take off!
NOISE IN THE ENHANCER.
Under many normal conditions of use, the enhancer has the effect of
amplifying selected narrow frequency bands in the upper mid range. The danger is
always to overuse the enhancer This has the effect that any noise sounds
particularly 'scratchy'. The problem is that the existence of these frequencies
is common in quality recording. The effect can be reduced to almost nothing with
careful use of the drive and enhance controls; but it does take practice.
The
Enhancer section of the VC1Q is also a De-Esser. A de-esser is used to remove
sibilance from vocals.
THE EQ
The EQ section is one complete channel from the VC5 "Meekqualizer"
• TREBLE CONTROL Approx 18dB lift and cut at the shelving frequency of 8KHz. (fixed)
• MID CONTROLS Approx 16dB lift and cut at 600Hz to 3.5KHz sweep variable. 'Q' value of the mid frequencies varies (increases) with frequency. 'Q' at 600Hz approx 1.2 at 3.5KHz approx 2.5.
• BASS CONTROL Approx 18dB lift and cut at the shelving frequency of 100Hz. (fixed).
• In/out switch (bypass) with indicator
• Unique sound, totally unlike any digitally modeled plugin or analog project studio console EQ on the market.
INPUTS.
The Studio Channel is optimized for the three main types of inputs found in
recording studios. XLR microphone inputs are on the front and rear of the unit.
On the rear of the unit, the line input is balanced. On the front of the unit
there is an unbalanced 'instrument' input.
FILTER. A high pass filter push button removes extreme rumble frequencies if
required.
PHASE
REVERSE. Reverses signal phase
VU METER The LARGE illuminated meter is switchable between reading audio
input, and gain reduction (compression)
THE COMPRESSOR COMPRESSION CONTROL EXPLANATIONS.
'COMPRESSION' adds gain to the compression sidechain and so increases
compression.
'RATIO' sets the ratio of compression, 5 position switch as used in the
SC2.2 Stereo Compressor
'ATTACK' sets the time that the compressor takes to act.
'RELEASE' sets the time during which the path gain returns to normal after
compression. Generally, the longer the time, the less obvious the compression.
BALANCED
OUTPUT The line level output from the studio channel is electronically
balanced on both XLR and 1/4" outputs with a discrete "floating"
circuit. The circuit performs like an audio transformer.
POWER. The VC1QCS is mains powered dual voltage and is fitted with a ground
lift switch on the rear panel.
THE TECHNICAL SPECIFICATION.
MICROPHONE INPUT: XLR input 3kohm approx. to suit 200 ohm microphones. Current
Sense Impedance matching. Switchable 48V phantom. Input level from-70dB to 0dB.
LINE INPUTS: 10K I/O impedance floating balanced. Instrument input 150K
impedance unbalanced. Mix input 10K impedance unbalanced.
OVERLOAD MARGIN: 30dB on mic and line inputs in normal operation.
GAIN: Line in -6dB to 24dB
Instrument in 0dB to 35dB
Mic in 15dB to 70dB
Insert gain 0dB
Mix in gain 0dB
NOISE: Line in 80dB below operating level
Mic in
125.5dB below input at 50dB gain 20Hz to 20khz.
HARMONIC
DISTORTION: Generally within 0.02% rising to approx. 0.14% at 4dB above nominal
output level. 2nd harmonic predominant.
AMPLITUDE
FREQUENCY
RESPONSE: Line in 6Hz to 20khz within 0.5dB
Mic in 8Hz to 20khz within 1dB
High pass filter 3dB down at 25Hz, 12dB per octave.
FILTER: High pass filter switch. Operates at 25Hz at 12dB per octave.
OUTPUTS: High level balanced 50 ohm + 4dBu for 0VU (variable)
Max. Output approx. + 26dBu XLR Low level TRANSFORMER balanced 200 ohm -20dBu
Insert, Tip and Ring jack socket. 400 ohm -10dBu output 22K ohm input.
COMPRESSOR: Photoresistive servo operated
Ratio minimum approx. 1.5 to 1
Ratio maximum approx. 8 to 1 variable.
Attack time 1mS min. 7mS max. (variable).
Release time 200mS min 3.5S max. (variable).
ENHANCER Performance details not released.
POWER 3.4 Watts. IEC socket for power cable.
HOUSING 2U rack mounting totally enclosed aluminum case.