Elysia Karacter 500 Manuale utente

karacter 500

And now for something completely dierent

The karacter 500 is a box full of vibrant colors. It covers a

complete spectrum including mastering-grade saturation,

tube-inspired distortion and glorious destruction. Gone are

the days when only racks full of outboard gear could achieve

these elusive and highly desirable styles of tonal coloration...

This all-in-one solution oers two separate channels which

can be set up for dual mono, linked stereo or linked and un-

linked M/S operation. Integrated mix stages for parallel signal

processing and the unique Color Control add to its remarkable

exibility.

The entire unit is designed with discrete class-A topology,

so even the most lo- sounds will benet from the karacter’s

high-end touch. Enhance your tracks or decimate everything –

it’s a matter of karacter.

Enjoy countless hours of fun with this marvelous machine!

Compatibility ..............................................3

Installation ................................................3

Controls ...................................................4

Connectors ................................................6

Mastering-Grade Saturation ................................7

Tube-Inspired Distortion ...................................8

Glorious Destruction .......................................9

Mid/Side Processing ..................................... 10

M/S Mode ............................................... 11

Appendix................................................ 12

Deutsches Handbuch . . . 16 Manuel Français ... 30

Compatibility

The karacter 500 module requires installation into an API 500

series compatible rack frame (not included). It needs the pow-

er supply and the audio connectors provided by this frame,

and cannot be used for its intended purpose by itself.

The current consumption is 210 milliamperes (105 mA per

slot) at +/- 16 volts DC. This is actually more than some other

500 series modules consume as a result of the discrete class-A

design of the karacter 500’s audio path.

Most API 500 compatible racks meet this requirement with-

out problems, but there might be a limit on how many units

can be installed in a single rack. In case of doubt, please check

with the manufacturer of your specic rack.

Installation

Just follow these easy steps to install the karacter 500 module:

1. Switch your API 500 series compatible rack o and discon-

nect the power cable from mains.

2. Insert the module into two free slots of your rack. Make sure

both PCB connectors match with the rack connectors.

3. Gently push the module in place – do not use any excessive

force!

4. Tighten the front panel with four screws provided by your

rack manufacturer.

5. Connect your XLR audio cables (see page 6 for more info)

and power up your rack.

That should do it. Have lots of fun with your karacter 500!

Controls

Drive

Determines the overall intensity of saturation/distortion/de-

struction. Clockwise means more.

Color

Changes the harmonics-frequency relation. Middle is at; turn

left for more dub and right for more shred.

Gain

Sets the amount of output gain. This controller can both cut

(turn left) and boost (turn right) the level. Middle is at.

Mix

Blends the direct and the processed signal in any desired rela-

tion. Left = 100% dry, right = 100% wet.

M/S Mode

Switches from Stereo to M/S processing. The left controllers

and bottom switches control the Mid, the right controllers and

top switches process the Side.

Turbo Boost

Provides an additional kick for truly wild distortion (only avail-

able in FET Shred mode).

FET Shred

Switches from mastering-grade saturation (LED o) to tube-

inspired distortion (LED on).

Left/Right On

Activates a channel or switches to hardwire bypass.

Stereo Link

Links both channels for processing stereo sources (left con-

trollers and bottom switches become the master for both

channels). Linking the channels also works in M/S mode. It

might seem a little odd, as the behavior seems to be exactly

the same as in linked stereo mode. It can still have its benets,

though, as the inevitable divergences between left and right

channel which are caused by natural component tolerances

will be reduced in this mode, because here the side informa-

tion of both channels is processed in a single audio path.

Connectors

Audio outputs (+4 dBu)

Pin assignment balanced: 1ground 2hot (+) 3ground

Pin assignment unbalanced: 1ground 2hot (+) 3idle

Audio inputs (+4 dBu)

Pin assignment balanced: 1ground 2hot (+) 3cold (-)

Pin assignment unbalanced: 1ground 2hot (+) 3ground

Mono operation: Connect either one or both of the input and

output pairs 1and 2for single or dual mono channel use.

Stereo operation: Connect both inputs and outputs 1and 2–

the choice which channel is left and which is right is up to you.

h1 2 3 4 5 6 7 89 ...

Harmonics Waveform

Mastering-Grade Saturation

In this mode, the karacter 500 generates gentle Total

Harmonic Distortion (THD) with a soft characteristic

curve, resulting in symmetrical clipping. Your sound

gets fatter but stays intact – the perfect color for busses, stems

and complete mixes.

Stereo Link Dual Mono

h1 2 3 4 5 6 7 89 ...

Harmonics Waveform

Tube-Inspired Distortion

In FET Shred mode, the behavior of the karacter 500

changes drastically. The sound instantly reminds of

tube ampliers, with a wide range of asymmetrical

distortion. It’s a good idea to make extensive use of the Color

controller – there are so many nuances to discover...

Stereo Link Dual Mono

h1 2 3 4 5 6 7 89 ...

Harmonics Waveform

Glorious Destruction

Now, this is pushing the envelope. The Turbo Boost

option is only available in FET Shred mode and works

best at high Drive levels. It shifts the operating point

of the distortion circuit and generates even more asymmetri-

cal wave forms. Hit your samples hard!

Stereo Link Dual Mono

Mid/Side Processing

M/S technology is commonly known as a variant of

stereo miking.This technique uses a microphone with

cardioid pattern for the middle signal (M) and another

one with bi-directional pattern with an oset of 90° for the

side signal (S). The main advantage of this technology is its

mono compatibility. FM radio stations use M/S technology for

transmitting stereo signals exactly for this reason.

To create M/S signals, the left and right channel of the stereo

sum are added to generate the mid (M), whereas the side (S) is

created by subtracting the right from the left channel:

M = L+R S = L-R

To decode an M/S signal back into stereo again, M is added to

S for the left channel and S is subtracted from M for the right

channel:

L = M+S R = M-S

The integration of an M/S encoder and decoder into an audio

processor generates new potentials that classic stereo devices

can hardly oer. One of the main advantages is the possibil-

ity to process the middle and side signals separately. This way

you can make the center sound more solid without corrupting

the original stereo spectrum, for example.

Of course it is also possible to enhance the presence of the

side signals in an already nished mix. The stereo width can

be inuenced fast and eectively, too, and it is also possible to

process specic parts of a mix that could not be selected in a

stereo mix as precisely as it is possible in M/S mode.

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