Rupert Neve Designs MBT Introduce Shelford Channel User Guide

MBT Introduce Shelford Channel

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Specifications

• Transformer-based, class-A microphone preamplifier
• Inductor EQ section
• Diode bridge compressor
• SILK harmonic saturation
• Custom transformer-coupled output stage
• Double the operating voltage of vintage designs

Product Usage Instructions

1. Getting Started

The Shelford Channel is a versatile tool for recording vocals,
instruments, or processing line-level signals. To begin:

1. Ensure the unit is powered on and connected to your audio
   interface or mixer.

2. Select the desired input source using the MIC/DI/LINE
   switch.

3. Adjust the TRIM control to set the input level.

2. Using the EQ Section

The inductor EQ section allows you to shape the tonality of your
audio. Here’s how to utilize it effectively:

• Engage the EQ section using the EQ IN switch.

• Select the desired frequency range using the LOW FREQ and MID
  FREQ switches.

• Adjust the boost or cut using the LF, MID, and HF
  potentiometers.

3. Compressor and Saturation

The diode bridge compressor and SILK harmonic saturation are key
elements in adding warmth and dynamics to your sound:

• Adjust the compressor settings using the TIMING switch.
• Engage SILK saturation for added color and character to your
  audio.

4. Additional Controls

Explore other controls like HPF, POLARITY, and GND LIFT to
further customize your signal processing.

Frequently Asked Questions (FAQ)

Q: How do I engage phantom power on the Shelford Channel?

A: To engage phantom power, press the 48V switch located on the
front panel.

Q: What is the purpose of the SILK harmonic saturation

feature?

A: SILK saturation adds harmonics to the audio signal, enhancing
warmth and vintage character.

Q: Can I use the Shelford Channel for both recording and live

sound applications?

A: Yes, the Shelford Channel is suitable for both studio
recording and live sound reinforcement due to its versatile
features.

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Shelford Channel
User Guide

Table of Contents
2 Introduction 3 Controls 6 Best Practice Tips 8 Starting Points
Introduction
The Shelford Channel is the culmination of over 50 years of innovative design from Rupert Neve. It features a new transformer-based, class-A microphone preamplifier, a “best-ofthe-classics” inductor EQ section, a tone-packed diode bridge compressor, SILK harmonic saturation, a custom transformercoupled output stage, and double the operating voltage of Rupert’s vintage designs.
This carefully selected combination of features makes the Shelford Channel a powerful tool for recording vocals or direct signals, or for processing line- level material of any type. As with any piece of our gear, we encourage experimentation at every turn’ to become more familiar with what the Shelford Channel is capable of. We’ve provided some usefulstarting points’ on page 8 for a variety of applications to speed up the discovery process and help you get amazing results a little faster.
2

Front Panel Controls

SIGNAL LED that illuminates GREEN when signal is present and
RED when near clip point
MIC/DI/LINE Push-button switch that selects the Mic/DI input
or line input
THRU Passive loop 1/4″ out of the DI input signal

TRIM Continuously variable +/- 6dB level control

LOW FREQ 4-position rotary switch that selects the corner (shelf) or center (peak)
frequency

HPF Push-button switch that engages the variable high pass filter

EQ IN
Push-button switch that engages the inductor EQ section

MID HI Q Push-button switch that reduces the Q width when pressed in
MID FREQ 6-position rotary switch that selects the center (peak) frequency
8K/16K Push-button switch that adjusts the corner (shelf) or center frequency (peak) of HF band

SHELFORD
CHANNEL

0dB

THRU

MIC / DI

SIGNAL

LINE

30 36 42

24

48

-6 TRIM+6

18

54

12

60

DI

GND LIFT

6 0dB 66

48V

MIC GAIN

HPF 100 20Hz 250Hz HPF FREQ

EQ IN 0

100 220 60 35
LOW FREQ

MID HI Q 900 1K8

8K

400

3K5

220

7K5 16K

0

0

MID FREQ

-15 +15 LF

LF PEAK

-15 +15 MID

HF PEAK

-15 +15 HF

-2 -18
-25

DI 1/4″ jack for direct injection
(DI) or instrument inputs
GND LIFT Push-button switch that separates the DI audio signal ground from chassis ground
MIC GAIN 12 position rotary switch that
controls the microphone preamp gain in 6dB steps
48V Push-button switch
that engages 48V Phantom Power

LF 31-detent potentiometer that controls the amount
of boost or cut within a range of +/- 15dB

HPF FREQ 31-detent potentiometer that adjusts the cutoff frequency for the high pass filter within a range of 20Hz to 250Hz

POLARITY Push-button switch that inverts the phase of the input signal

LF PEAK Push-button switch that toggles between shelf mode (out) or
peak mode (in)

HF 31-detent potentiometer that controls the amount of boost or cut within a range of +/- 15dB
HF PEAK Push-button switch that selects between shelf mode (out) or peak mode (in)
MID 31-detent potentiometer that controls the amount of boost or cut within a range of +/- 15dB

3

Front Panel Controls (continued)

TIMING 6-position rotary switch that adjusts the
compressor attack and release times
HPF to S/C Illuminated push-button switch that engages
the compressor side-chain high pass filter
RATIO 6-position rotary switch that adjusts the compressor ratio from 1.5:1 to 8:1
COMP IN Push-button switch that engages the compressor
section

PRE EQ Push-button switch that puts the compressor before the EQ when engaged
FAST Illuminated push-button switch that speeds up all compressor time constants by 30%

VU METER Illuminated VU meter displays output level or gain reduction
PEAK Peak LED warns when signal levels are peaking 3dB below clip point

VU SELECT Push-button switch that toggles between metering the compressor output level (OUTPUT) and gain reduction (REDUCTION)

3K5 7K5 0
-15 +15

COMP IN

3:1 4:1 HPF to S/C MED MS

PRE EQ

2:1

6:1

MF

SLOW

1.5:1

8:1

FAST

AUTO

-2

+6

50

RATIO

TIMING

-18

+12

0

S/C

LINK

-25 +20 INSERT -6 +20

THRESHOLD

GAIN dB

0

100

BLEND %

FAST

VU SELECT

OUTPUT REDUCTION
RED / BLUE

SILK MIN MAX TEXTURE

VVUU
Illuminated meter/power indicator
RUPERT NEVE DESIGNS

PEAK

THRESHOLD 31-detent potentiometer that controls the compressor threshold range from +20dBu to -25dBu

TEXTURE 31-detent potentiometer that controls the amount of SILK harmonics when SILK is engaged

S/C INSERT Push-button switch that engages the S/C Insert SEND & RETURN jacks on the rear panel for external side-chain processing
GAIN 31-detent potentiometer that
controls the compressor make-up gain within a range
of -6dB to +20dB

SILK IN Push-button switch that toggles through the three available SILK modes: OFF, RED & BLUE
BLEND 31-detent potentiometer that controls the wet/dry mix of the compressed signal (100%) and the input signal (0%)
LINK Push-button switch that engages stereo compressor link mode

4

Rear Panel

POWER IEC standard 3-pin AC Power outlet
100-240VAC 35 Watts Max

CAUTION Risk of Electric Shock Disconnect from outlet before removing cover

POWER
100-240 VAC 50/60Hz 35 Watts

Rupert Neve Designs, LLC Model 5035

MADE IN USA

LINK TS Jacks that allow multiple Shelford channel side-chain signals to be linked
together for stereo compression

SIDE CHAIN SEND Compressor side-chain insert send TS jack for connecting to the input
of an external processor (ex: EQ)

LINE OUT -6dB LINE OUT
LIFT GND

SIDE CHAIN

LINK

SEND

RETURN

COMPRESSOR

MIC IN Balanced XLR input that can be
utilized for MIC level signals

LINE IN

MIC IN

GROUND LIFT Slide switch that lifts the internal audio
ground from chassis ground to minimize ground loops
LINE OUT Main line output using a custom Rupert Neve Designs transformer

SIDE CHAIN RETURN Compressor side-chain insert return TS jack for connecting to the output of an external processor (ex: EQ)
-6dB OUT -6dB balanced XLR output using a custom Rupert Neve Designs transformer

LINE IN Balanced XLR input that can be utilized for LINE level signals

5

Best Practice Tips
On Phantom Power / +48V
Please double-check whether the microphone being used requires +48V to operate. Engaging +48V with a microphone that does NOT require it (ex. ribbon mic) may potentially damage the microphone. Also, it is best to connect any microphone and also mute studio monitors and/or headphones BEFORE engaging the +48V button on the Shelford Channel. Pressing this button can produce a loud pop or click that may damage studio monitors and/or headphones if they are unmuted.
On Gain Staging
To get maximum color’ from the Shelford Channel, each section can be driven to find the harmonicsweet spot’. However, it is possible to push the unit too far by moving beyond this sweet spot and into undesirable clipping distortion. Please consider the following when exploring the Shelford Channel saturation possibilities: 1. Boosting any or all of the EQ bands increases the overall gain of the input source. Try lowering the input trim when your source
is approaching clip points. 2. In many instances it is best to keep the MIC GAIN at a modest volume and use a combination of the Input TRIM and the EQ band
boosts to saturate the Diode Bridge Compressor and/or the variable SILK sections. 3. When applying gain reduction on the compressor, the GAIN control can be adjusted to to make up for the loss in average signal
level. Since the GAIN control is applied after the compressor circuitry, it can also be useful when experimenting with the SILK saturation circuit to dial in just the right amount of saturation, with or without compression. 4. Using the high pass filter to roll off only the lowest frequencies (ex. below 40-50Hz) of an input source can greatly increase the overall headroom of the unit. Low frequency information can take up a considerable amount of potential headroom. Rolling off the lowest frequencies often provides more flexibility when experimenting with harmonic saturation.
6

Best Practice Tips
On Compression
The Diode Bridge Compressor was painstakingly refined to accentuate the non- linear characteristics of the classic diode bridge circuit while also interacting with the custom transformer output stage. The result is a flavorful compressor with loads of attitude and sonic possibilities. Please consider the following when experimenting with the Shelford Channel compressor: 1. While the VU meter can be used to double-check the amount of gain reduction when the compressor is engaged, it is best to first
critically listen to the compression kicking in and to utilize the COMP IN/OUT button to compare different settings quickly. 2. The HPF to S/C’ button routes the compressor control signal through the high pass filter located in the Input section. This feature can be used to filter out the lowest frequencies of the source so they remain uncompressed. Low frequencies contain a large amount of energy and often cause a compressor towork too hard,’ decreasing the perceived depth or beef’ of a signal. By filtering out the low frequencies the compressor will then be focused only on the mid and high frequencies which should increase the perceived loudness of the source being compressed. On Using the -6dB Output The additional -6dB output on the Shelford Channel can be utilized in a variety of ways. 1. The Line output and the -6dB output on the rear panel are always active, meaning they both pass signal simultaneously. This can be used to record the same signal twice with the second recording being asafety’. 2. One output can be sent directly to a recording device while the other output is routed to an additional processor (EQ, compressor, delay, etc) before also being recorded, allowing for a dry’ andwet’ recording to be captured simultaneously. 3. The -6dB output can be used when driving the different sections of the Shelford Channel harder to achieve larger amounts of harmonic saturation without clipping the recording device.
7

Starting Points
DISCLAIMER:
The following pages contain many Starting Points’ for Shelford Channel settings we suggest you try with common input sources. Whilestarting points’ or `presets’ can certainly be useful when exploring a new piece of gear, we also encourage you to think of them merely as inspiration, not blueprints. There’s nothing wrong with processing to the extreme or not processing at all, as long as the sound you achieve serves the music well. Please keep in mind the following variables that can all play an enormous role in the quality and characteristics of the sounds being sent to/from the Shelford Channel: · Microphone selection & placement · Type of musical instrument(s) · Type of recording medium(s) · Different AD/DA converters · Different types of monitoring systems
“Technology must always be in service of the song & performance. Our job as engineers is to use our creative gifts to help reproduce the full breadth of emotion and meaning as intended by the musicians such that the listener can have a more powerful experience.” -Rupert Neve
8

VOCALS
MALE VOCAL ­ LARGE DIAPHRAGM CONDENSER MIC, SINGER 1-2 FT AWAY FROM MIC

SMOOTH

INPUT: MIC IN —> OUTPUT: LINE OUT MIC GAIN: 42dB HPF IN: HPF FREQ set to ~110Hz EQ IN: LOW FREQ set to 220Hz & LF Boost +2 to +3dB, MID FREQ set to 1K8 & MID Boost +1 to +2dB, HF FREQ set to 8K & HF Boost +1 to +2dB

COMP IN: RATIO set to 2:1, THRESHOLD set to +8 to +10dB GAIN set to +6 to +7dB, TIMING set to FAST, BLEND set to 100%, FAST IN SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-4dB of gain reduction

MALE VOCAL ­ LARGE DIAPHRAGM CONDENSER MIC, SINGER 1-2 FT AWAY FROM MIC

PUNCHY

INPUT: MIC IN —> OUTPUT: LINE OUT MIC GAIN: 48dB, TRIM set to -1dB HPF IN: HPF FREQ set to ~90Hz EQ IN: LOW FREQ set to 220Hz & LF Boost +1 to +2dB, MID FREQ set to 1K8 & MID Boost +3 to +4dB, HF FREQ set to 8k & HF Boost +2 to +3dB

COMP IN: RATIO set to 4:1, THRESHOLD set to 0 to +2dB GAIN set to -2 to 0dB, TIMING set to MS, BLEND set to 70%, FAST IN SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 6-8dB of gain reduction

FEMALE VOCAL ­ LARGE DIAPHRAGM CONDENSER MIC, SINGER 1-2 FT AWAY FROM MIC

SMOOTH

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 42dB HPF IN: HPF FREQ set to ~85Hz EQ IN: LOW FREQ set to 220Hz & LF Boost +2 to +3dB, MID FREQ set to 900Hz & MID Boost +2 to +3dB, HF FREQ set to 16k & HF Boost +1 to +2dB

COMP IN: RATIO set to 2:1, THRESHOLD set to +8 to +10dB GAIN set to +6 to +7dB, TIMING set to FAST, FAST IN SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-4dB of gain reduction

9

FEMALE VOCAL ­ LARGE DIAPHRAGM CONDENSER MIC, SINGER 1-2 FT AWAY FROM MIC

PUNCHY

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 48dB, TRIM set to -1dB HPF IN: HPF FREQ set to ~80Hz EQ IN: LOW FREQ set to 220Hz & LF Boost +1 to +2dB MID FREQ set to 1.8kHz & MID Boost +3 to +4dB, HF FREQ set to 8k & HF Boost +2 to +3dB
BASS GUITAR
ACTIVE BASS ­ VOLUME MAX, EQ FLAT

COMP IN: RATIO set to 4:1, THRESHOLD set to 0 to +2dB GAIN set to 0 to +2dB, TIMING set to MS, BLEND set to 70%, FAST IN SILK IN: RED, TEXTURE set to 75% Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 6-8dB of gain reduction
CLEAN

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 18dB HPF IN: HPF FREQ set to ~35Hz EQ IN: LOW FREQ set to 100Hz & LF Boost +1 to +2dB, MID FREQ set to 220Hz & MID Cut -2 to -3dB
ACTIVE BASS ­ VOLUME MAX, EQ FLAT

COMP IN: RATIO set to 2:1, THRESHOLD set to +8 to +10dB GAIN set to +2 to +4dB, TIMING set to MED
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-5dB of gain reduction
AGGRESSIVE

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -1 to -2dB HPF IN: HPF FREQ set to ~35Hz EQ IN: LOW FREQ set to 100Hz & LF Boost +1 to +2dB, MID FREQ set to 900Hz & MID Boost +6 to +8dB

COMP IN: RATIO set to 4:1, THRESHOLD set to -2 to -4dB GAIN set to +10 to +12dB, TIMING set to MF, BLEND set to 75% SILK IN: RED, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 6-8dB of gain reduction

10

PASSIVE BASS ­ VOLUME MAX, EQ FLAT

CLEAN

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 18dB HPF IN: HPF FREQ set to ~35Hz EQ IN: LOW FREQ set to 100Hz & LF Boost +2 to +3dB, MID FREQ set to 1.8kHz & MID boost +1 to +2dB, HF FREQ set to 8k & HF Cut -2 to -3dB
PASSIVE BASS ­ VOLUME MAX, EQ FLAT

COMP IN: RATIO set to 2:1, THRESHOLD set to +6 to +8dB GAIN set to +8 to +10dB, TIMING set to MED
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-5dB of gain reduction
AGGRESSIVE

INPUT: DI — OUTPUT: -6dB LINE OUT MIC GAIN: 24dB HPF IN: HPF FREQ set to ~35Hz EQ IN: LOW FREQ set to 100Hz & LF Boost +2 to +3dB, MID FREQ set to 1.8kHz & MID boost +1 to +2dB, HF FREQ set to 8k & HF Cut -1 to -2dB
GUITAR

COMP IN: RATIO set to 4:1, THRESHOLD set to +8 to +10dB GAIN set to +1 to +2dB, TIMING set to MF, BLEND set to 75% SILK IN: RED, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 7-9dB of gain reduction

ELECTRIC GUITAR (SINGLE COIL) ­ VOLUME MAX, TONE MAX, PICKUP SELECTOR ON POSITION 2

CLEAN

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to ~80Hz EQ IN: MID FREQ set to 1.8kHz & MID Boost +2 to +3dB HF FREQ set to 8kHz & HF Boost +1 to +2dB

Keep an eye on the VU meter and the Red PEAK LED meter to avoid unwanted clipping.
11

ELECTRIC GUITAR (SINGLE COIL) ­ VOLUME MAX, TONE MAX, PICKUP SELECTOR ON POSITION 1

CLEAN

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to ~80Hz EQ IN: MID FREQ set to 900Hz & MID Cut -2 to -3dB HF FREQ set to 8kHz & HF Boost +2 to +3dB

Keep an eye on the VU meter and the Red PEAK LED meter to avoid unwanted clipping.

ELECTRIC GUITAR (SINGLE COIL) ­ VOLUME MAX, TONE MAX, PICKUP SELECTOR ON POSITION 1

TWANG

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to ~80Hz EQ IN: MID FREQ set to 900Hz & MID Cut -2 to -3dB HF FREQ set to 8kHz & HF Boost +2 to +3dB

COMP IN: RATIO set to 4:1, THRESHOLD set to +4 to +6dB GAIN set to +2 to +4dB, TIMING set to MF
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-5dB of gain reduction

ELECTRIC GUITAR (HUMBUCKER) ­ VOLUME MAX, TONE MAX, PICKUP SELECTOR IN MIDDLE

CLEAN

INPUT: DI — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -4 to -5dB HPF IN: HPF FREQ set to ~80Hz EQ IN: LOW FREQ set to 220Hz & LF Cut -2 to -3dB, MID FREQ set to 3.5kHz & MID Boost +1 to +2dB HF FREQ set to 8kHz & HF Boost +4 to +6dB

Keep an eye on the VU meter and the Red PEAK LED meter to avoid unwanted clipping.
12

ACOUSTIC GUITAR (DYNAMIC MIC) ­ MIC POINTED AT 12TH FRET, 2-3 FEET AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 60dB HPF IN: HPF FREQ set to ~80Hz EQ IN: LOW FREQ set to 220Hz & LF Cut -2 to -3dB, MID FREQ set to 400Hz & MID boost +1 to +2dB, HF FREQ set to 8k & HF Boost +2 to +3dB

COMP IN: RATIO set to 2:1, THRESHOLD set to 0 to +2dB GAIN set to +6 to +7dB, TIMING set to MED SILK IN: RED, TEXTURE set to 50%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 2-3dB of gain reduction

ACOUSTIC GUITAR (LDC MIC) ­ MIC POINTED AT 12TH FRET, 2-3 FEET AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 48dB HPF IN: HPF FREQ set to ~80Hz EQ IN: LOW FREQ set to 220Hz & LF Cut -2 to -3dB, MID FREQ set to 400Hz & MID boost +1 to +2dB, HF FREQ set to 8k & HF Boost +1 to +2dB

COMP IN: RATIO set to 2:1, THRESHOLD set to +6 to +8dB GAIN set to +6 to +8dB, TIMING set to MED, BLEND set to 75% SILK IN: BLUE, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 2-3dB of gain reduction

DRUMS
KICK DRUM (DYNAMIC MIC) ­ MIC POINTED AT RESONANT HEAD, ~1 FOOT AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 24dB, TRIM set to -1 to -2dB EQ IN: LOW FREQ set to 60Hz & LF Boost +1 to +2dB, MID FREQ set to 1.8kHz & MID boost +1 to +2dB, HF FREQ set to 8k & HF Cut -1 to -2dB

COMP IN: RATIO set to 2:1, THRESHOLD set to 0 to -2dB GAIN set to +3 to +4dB, TIMING set to MF, BLEND set to 75% SILK IN: BLUE, TEXTURE set to 30%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-5dB of gain reduction

13

KICK DRUM (DYNAMIC MIC) ­ MIC POINTED AT RESONANT HEAD, ~1 FOOT AWAY

PUNCHY

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 30dB EQ IN: LOW FREQ set to 100Hz & LF Boost +3 to +4dB, MID FREQ set to 1.8kHz & MID boost +4 to +5dB

COMP IN: RATIO set to 3:1, THRESHOLD set to -2 to -3dB GAIN set to +4 to +5dB, TIMING set to MF SILK IN: BLUE, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 5-7dB of gain reduction

KICK DRUM (LDC MIC) ­ MIC POINTED AT RESONANT HEAD, ~1-2 FEET AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 30dB, TRIM set to -1 to -2dB EQ IN: LOW FREQ set to 100Hz & LF Boost +1 to +2dB, MID FREQ set to 1.8kHz & MID Boost +2 to +3dB

COMP IN: RATIO set to 2:1, THRESHOLD set to 0 to -2dB GAIN set to 0 to +1dB, TIMING set to MF, BLEND set to 75% SILK IN: BLUE, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-4dB of gain reduction

KICK DRUM (LDC MIC) ­ MIC POINTED AT RESONANT HEAD, ~1-2 FEET AWAY

PUNCHY

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 30dB, TRIM set to -3 to -4dB EQ IN: LOW FREQ set to 100Hz & LF Boost +3 to +4dB, MID FREQ set to 400Hz & MID Cut -2 to -3dB

COMP IN: RATIO set to 3:1, THRESHOLD set to 0 to -2dB GAIN set to 0 to +1dB, TIMING set to MF, BLEND set to 70% SILK IN: BLUE, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 5-7dB of gain reduction

14

METAL SNARE DRUM (DYNAMIC MIC) ­ MIC POINTED AT BATTER HEAD, ~1 FOOT AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 36dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to 100Hz EQ IN: MID FREQ set to 900Hz & MID Cut -2 to -3dB, HF FREQ set to 8k & HF Boost +1 to +2dB

COMP IN: RATIO set to 3:1, THRESHOLD set to +2 to +4dB GAIN set to 0 to +2dB, TIMING set to MED, BLEND set to 60%, FAST IN SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 4-5dB of gain reduction

METAL SNARE DRUM (DYNAMIC MIC) ­ MIC POINTED AT BATTER HEAD, ~1 FOOT AWAY

SLAPPY

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 42dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to 100Hz EQ IN: MID FREQ set to 900Hz & MID Cut -1 to -2dB, HF FREQ set to 8k & HF Boost +2 to +3dB

COMP IN: RATIO set to 4:1, THRESHOLD set to +2 to 0dB GAIN set to 0 to +1dB, TIMING set to MED, BLEND set to 70%, FAST IN SILK IN: RED, TEXTURE set to 75%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 4-6dB of gain reduction

WOOD SNARE DRUM (DYNAMIC MIC) ­ MIC POINTED AT BATTER HEAD, ~1 FOOT AWAY

CLEAN

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 30dB HPF IN: HPF FREQ set to 100Hz EQ IN: MID FREQ set to 900Hz & MID Boost +1 to +2dB, HF FREQ set to 8k & HF Boost +3 to +4dB

COMP IN: RATIO set to 3:1, THRESHOLD set to +2 to +4dB GAIN set to -1 to 0dB, TIMING set to MF, BLEND set to 75%, FAST IN SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 5-7dB of gain reduction

15

WOOD SNARE DRUM (DYNAMIC MIC) ­ MIC POINTED AT BATTER HEAD, ~1 FOOT AWAY

SLAPPY

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 42dB, TRIM set to +1 to +2dB HPF IN: HPF FREQ set to 100Hz EQ IN: MID FREQ set to 220Hz & MID Boost +2 to +3dB, HF FREQ set to 8k & HF Boost +2 to +3dB

COMP IN: RATIO set to 4:1, THRESHOLD set to 0 to +2dB GAIN set to -2 to 0dB, TIMING set to MS, BLEND set to 70%, FAST IN SILK IN: RED, TEXTURE set to 75%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 5-7dB of gain reduction

MONO OVERHEAD (LDC MIC) ­ MIC ~3-5′ ABOVE THE DRUM KIT, POINTED AT TOP OF KICK DRUM

BALANCED

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 24dB HPF IN: HPF FREQ set to ~50Hz EQ IN: LOW FREQ set to 220Hz & LF Cut -2 to -3dB, MID FREQ set to 400Hz & MID Cut -1 to -2dB, HF FREQ set to 16k & HF Cut -1 to -2dB

COMP IN: RATIO set to 2:1, THRESHOLD set to +8 to +10dB GAIN set to 0 to +2dB, TIMING set to MED SILK IN: RED, TEXTURE set to 25%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 3-5dB of gain reduction

MONO OVERHEAD (LDC MIC) ­ MIC ~3-5′ ABOVE THE DRUM KIT, POINTED AT TOP OF KICK DRUM

CRUSH

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 30dB, TRIM set to -1 to -2dB HPF IN: HPF FREQ set to ~50Hz EQ IN: MID FREQ set to 400Hz & MID Cut -2 to -3dB, HF FREQ set to 8k & HF Cut -1 to -2dB

COMP IN: RATIO set to 6:1, THRESHOLD set to 0 to +2dB GAIN set to +3 to +4dB, TIMING set to MED, FAST IN SILK IN: RED, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 10-12dB of gain reduction

16

MONO OVERHEAD (RIBBON MIC) ­ MIC ~3-5′ ABOVE THE DRUM KIT, POINTED AT TOP OF KICK DRUM

BALANCED

INPUT: MIC IN — OUTPUT: LINE OUT MIC GAIN: 42dB, TRIM set to -3 to -4dB HPF IN: HPF FREQ set to ~50Hz EQ IN: MID FREQ set to 900Hz & MID Cut -1 to -2dB, HF FREQ set to 8k & HF Boost +2 to +3dB

COMP IN: RATIO set to 4:1, THRESHOLD set to 0 to +2dB GAIN set to 0 to +2dB, TIMING set to MED, BLEND set to 70%, FAST IN SILK IN: RED, TEXTURE set to 75%
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 4-6dB of gain reduction

MONO OVERHEAD (RIBBON MIC) ­ MIC ~3-5′ ABOVE THE DRUM KIT, POINTED AT TOP OF KICK DRUM

CRUSH

INPUT: MIC IN — OUTPUT: -6dB LINE OUT MIC GAIN: 48dB, TRIM set to -1 to -2dB HPF IN: HPF FREQ set to ~50Hz EQ IN: MID FREQ set to 900Hz & MID Cut -3 to -4dB, HF FREQ set to 8k & HF Boost +1 to +2dB

COMP IN: RATIO set to 6:1, THRESHOLD set to 0 to +2dB GAIN set to 0 to +2dB, TIMING set to MED SILK IN: RED, TEXTURE set to MAX
Adjust MIC GAIN, Input TRIM, THRESHOLD & COMP GAIN as needed to achieve 10-12dB of gain reduction

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