Art TPS Manuale utente

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

V3Variable 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 TPShybrid 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 MPput 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 TPSis 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 TPSextends 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 V3even

more powerful. The TPSalso 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 TPSmay 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 TPShas 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 TPSare 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 TPScan 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 TPSwhen 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 TPSfeatures 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 TPStube 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 OPLcircuitry 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 OPLis 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

TPSwill 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 TPSare 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 TPSas 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 TPSis one of the most versatile preamplification systems

available. Through use of the V3technology, numerous instruments

can be processed by the TPSsystem. 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 V3dial 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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