digitech vcs-1 manual

digitech vcs-1 manual

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digitech vcs-1 manualThe lightning flash with arrowpointThe exclamation point in an equilateral triangle indicates that it isThese symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit yourself. Refer allOpening the chassis for any reason will voidDo not get the unit wet. If liquid is spilled onReplacement fuse covers can be obtained fromWater and Moisture: Appliance should not be used near water (e.g. near aPOWER SOURCES: The appliance should be connected to a power supplyGROUNDING OR POLARIZATION: Precautions should be taken so that thePOWER CORD PROTECTION: Power supply cords should be routed so thatSERVICING: To reduce the risk of fire or electric shock, the user should notAll other servicing should be referred to qualified service personnel. CAUTION: To reduce the risk of fire replace only with same type fuse. ATTENTION: Utiliser un fusible de recharge de meme type. CAUTION: To reduce the risk of fire replace LAMP with manufacturers recommended part ( Refer to service literature)Conformity. Operation is subject to the following two conditions:Operation ofB digital device, pursuant to Part 15 of the FCC Rules. These limits areThis equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, thereNotice For Customers If Your Unit Is Equipped With A Power Cord.GREEN and YELLOW - Earth. BLUE - Neutral. BROWN - Live. As colours of the cores in the mains lead of this appliance may not correspondThis equipment may require the use of a different line cord, attachment plug,Connect thisBrown. Black. Neutral. Blue. White. Earth Grnd. Green. WARNING: If the ground is defeated, certain fault conditions in the unit or inSevere injury or death can then result if the chassisManufacturer’s Address. Supplementary Information.http://www.stevis.cz/files/brother-printer-2140-manual.xml

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The product herewith complies with the requirements of the Low Voltage Directive. IVL Technologies Ltd.Victoria, B.C. Canada V8M 1Z6DigiTech VCS-1 Dynamics ProcessorSafety:Amendment 2 (1989). Amendment 3 (1992)Victoria, B.C. Canada V8M 1Z6. December 12, 1996. Peter George, Vice President of Engineering. European Contact: Your local DigiTech Sales and Service Office or. International Sales Office. Amherst, New Hampshire 03031, USA Tel (603) 672-4244 Fax (603) 672 4246Table of Contents. Introduction.1. Connection Examples.2. Rear Panel.3. Wiring Scheme.3. Line Input.3. Level Switch.3. Line Output.4. Front Panel.5. Output Control.5. Clip LED.5. Tube Gain Control.5. VU Meter.5. Trim Adjustment.6. De-ess Control.6. Peak Limiter.7. Compressor Controls.7. Meter Function Switch.8. Auto Switch.8. Knee Switch.8. Process Switch.8. Stereo Link Switch.8. Application Notes.9. Specifications.13. Signal Flow Diagram.15Thank you and congratulations on your purchase of the Digitech VCS-1. This product was developed to give you precise control over dynamics in digital recording, analog recording and live performance. The VCS-1 also has an adjustable-gain vacuum tube stage with analog VU metering and. LED peak indication. The compression circuit is comprised of the latest solid state VCA components available. ThisThe attack and release timing is based on theThe vacuum tube amplification stage in the VCS-1 is a classic, high plate-voltage design utilizing aA parallel-triode arrangement is employed, in addition to a fully-regulatedThe premiumgrade 12AX7A vacuum tubes used in the VTP-1 are manufactured in Russia, and hand tested andPrecision 1 metal-film resistors are used throughout the audio path to ensure performance stabilityFeaturesThe following diagrams show a few ways in which the VCS-1 can be used.Pin 3 is cold, carrying the negative polarity and pin 1 is the shield.When the switch is in the -10VCS-1.http://www.camminando-insieme.it/userfiles/brother-printer-2170w-manual.xml Consult your manual on any device connected here if you are unsure of which setting isSidechain processing is used to accomplish frequency-sensitive compression, keyed gating and ducking.The center detent indicates unity gain. Provided,The output level can be adjusted toYou would also reduce the output level to retain unity levels whenIn either case, you shouldCritical points in the audio path are monitored so that clipping cannot occur in any one stage.As you increase the TUBE GAIN you will increase the amount of tubeIf you have the TUBE GAIN control set to a level causingThe following shows how each display mode is selected. G.R. mode. VU meters are calibrated in Volume Units to give an average signal level reading. The key term hereWhile VU meters generally show an accurate level for a synthesizerSee the Application Notes section at the end of this manual for more information on VU metering.This is preciselyTo adjust, set the MeterVU mark.Turning the control clockwise raisesFor example, if you have set the threshold to -20 dBu,The gate is fully open or “off”The indicator LED shows that the gate is closed.The reasoning behindA slight attenuation will reduce, but notLess gate attenuation will also make the opening time as fast asIf the attenuation is set to 0 attenuation the gate is inactive regardless ofWhen the De-ess control is turned clockwise, a program peak above the 4.5 kHz knee frequency will cause the de-esser to quickly “duck” the audioBecause the gain reduction is broadband (all frequencies) this is optimizedThe LED shows when sibilants are being attenuated.This feature is essential for digital recording andIn the furthest clockwise position, the limiter is off. Turning theThe LED shows when peak limiting occurs andThe Green (-) LED shows thatNote: The legend around this control are calibrated for the Hard Knee setting. When youCompression is expressed as a ratio to showFor example, a ratioThis can preserve punch while keeping levels under control.https://formations.fondationmironroyer.com/en/node/8384 Faster attack times tend to cause a more obvious compression effect.The VCS-1 uses a true logarithmic timing circuit calledThis timing curve evokes the “classic”The TLC timing is most transparent at longerWhen this switch is in the Output position and the channel is activeSwitching the. Process switch to Bypass while in the Output position causes the VU meter to display input level. Further information on setting levels with the VU meters is available in the Applications section.Auto switch is “In”, the attack and release timing will depend on the changing dynamics of the inputAuto circuit can also be used to reduce fast release time distortion on signals with sustained low frequency content such as bass guitar.As the audioThis results in more natural sound even with higher ratiosNote: The Threshold control is calibrated for Hard Knee. When using Soft Knee you will needWhen in the Bypass position, the. Output and Tube Gain controls are bypassed and all dynamics circuitry is removed from the audioThe Bypass functionIt is also importantThe Stereo Link circuit assesses relative power of the left and right channels of stereo input material. When this switch is in the In position, theBecause Channel 1 is theWith Stereo Link engaged:Vocals. Unless the vocalist you are recording has exceptional microphone control, some compression isA generally accepted practice, is to use a light compression ratioA side effect of vocal compression is that it raises the level of lip smacks,Another side effect of compression is the increased levelDrums. Compression on drums is very effective in increasing punch without adding level or EQ. Bass drumThese settings will letUsing the Soft knee settingBass. Bass guitar is a particularly dynamic instrument. This is especially noticeable when the Bass is. Without compression you can end up with peaks that distort andSwitch in the Auto setting and start with a ratio of 4:1.http://greenandtelco.com/images/brief-editor-manual.pdf Auto is best for reducing release time chattering on sustained bass notes but you can switch to manual as long as the release time is set fairly long. With higher ratios you can increase the apparentThe sound of a pick onMixdown. Assuming your individual tracks were lightly or not compressed to tape, you can consider adding aA note of caution though: good mastering isBe careful not to overdo it. Compression can, however help greatly when you are making cassette dubs from DAT. Cassettes cannot handle dynamicsA good setting to start with is with Auto onPeak Limiting. Peak limiting is an important asset during live-to-digital recording. Input levels set at the beginningBecause 0 VU is referenced differently from one manufacturer to another. For additional protection, you can engage theGating. One of the most basic uses of a gate, is to reduce the noise floor raised by compression. Other applications include removing unwanted low level sounds from instrument and vocal tracks as well asMore creative use of a gate involvesThis is discussed in the Sidechain section below. De-essing. The De-esser in the VCS-1 is optimized for vocal applications where gain reduction is applied onVocal tracks that require de-essing are usually the result of. These techniquesYou should start by setting the de-ess attenuation to 6dB and evaluate the full length of the programIn this way you can experiment with the optimum frequency by boosting individual frequencies until you find the correct one. Because sibilance and vowels generally do not occur together, the De-esser is a broadband-type thatSidechain. The most common application of the sidechain is to insert an equalizer with certain frequenciesAn EQ in the sidechain does not affect theBoosting frequencies above 4 kHz produces the classic “de-essing”Sidechain can also be used to adjust the response of the gate in the VCS-1.https://www.taxiserviceh24.com/wp-content/plugins/formcraft/file-upload/server/content/files/16287967807e21---Calculus-6e-early-transcendentals-solutions-manual-pdf.pdf A common usage is toThe line output of the VCS-1 is fed to another mixer channel at a slightlySustained sounds from a synthesizer canRun a synth tone such as noise, or a pure sine wave into the line input of the VCS-1 and out to aThis “trigger”This is used often in hotels where the level of background music is reduced when an announcerIt is also used in the studio to reduce the level of sustained effects such asThe audio signal youUnderstanding VU Meter and Clip LED Readings. The functions of the VU Meter and Clip LED combine to give an excellent indication of averageBecause the VCS-1 is unity gain device, the VU meter is mostly used in gain reduction mode toIf you plan to use the VU meterThe meter level. Should you need to add gain to a weak input signal or increase level lost to compression, you mayYou can increase the Tube GainThe Clip LED lights. While this is generally the amount of headroomIn this case, you shouldSignal-to-Noise Ratio. Frequency Response. Inputs. Connectors. Input Impedance. Maximum Input Level. Outputs. Connectors:Compressor. Threshold Range. Ratio. Threshold Characteristic. Manual Attack Range. Manual Release Range:Soft or Hard knee. Manual or AutoVariable, program dependentThreshold Range. Attack Time. Release Time. Typically Source Exif Data: File Type: PDF. File Type Extension: pdf. PDF Version: 1.2. Linearized: No. Page Count: 19. Create Date: 1998:05:18 14:25:15. Producer: Acrobat Distiller 3.02 for Power Macintosh. Creator: QuarkXPress?: AdobePS 8.5.1. Author: Randy Thorderson. It has both that classic warm tube sound along with solid state VCA technology, giving it accurate and clean level control.Please check the fields highlighted in red.Currency. Please contact them to ask about shipping. It has both that classic warm tube sound along with solid state VCA technology, giving it accurate and clean level control. Works great, but sometimes the VU meters are kind of sticky especially when its cold. Strictly a cosmetic issue.cuakeobinhduong.com/upload/files/collins-maintenance-manuals.pdfPlease check the fields highlighted in red. Has anyone done this allready, then please let me know. Both company's told me that the have no paperwork, so who has it then, if they dont have it? I have one too and I think its amazing for tracking. A poor mans LA2A. I might have a circuit or had one, I'll get back to you. They sent a circuit, but it was only for the mains. I'm trying to track down the company but it was nearly 2 years ago. I got it really cheap, brand new and thought it was going to be a piece of junk. Have you read the review in SOS mag. It gets a big thumbs up. These units didn't really take off but they sound brilliant to my ears. I'll find something I'm sure. Even if someone bought the brand name, they are too busy selling new gear to care about the stuff made before the change of ownership. Were you just changing the input arrangement to get more character? So will ask them what they have, is a company in my own country and i didn't know that it exist. For HG yes it is easy to change the digitech, the only problem you have is that there is no space inside anymore so you have to do it outside.Post some pics when you have time ok? But the sound is great. Dont know for the foto's, have no camera and have no scanner, but will try to get pictures from a friend who has them, but it can take some time because it is build back in a case with extra aircontrol and is a lot a work. Rugged smooth and Colourful sounding tube compressor remarkably.fast great for drums and percussion with de-esser exellent for taming cymbals and such. Also has a smooth gate and brick wall limiter. Works well on a drum buss kills a pro vla in that department. Ships with manual and US power cord as it takes 120v and will need a step down power transformer. Used but decent condition.https://hellnocancershow.com/wp-content/plugins/formcraft/file-upload/server/content/files/1628796928d625---calculus-5e-solution-manual.pdf Happy biddingOn 12-Feb-19 at 09:39:30 GMT, seller added the following information: This auction is for the VCS- 1 not the VTP - 1On 12-Feb-19 at 10:27:34 GMT, seller added the following information: The first line of the description is incorrect but eBay locks the description after a bid has been received.You are the light of the world. Do some research and you will find they weren't built by Digitech but a canadian company that spent too much making these and eventually sold their remaining stock off to Digitech who quickly slapped their name on the unit for sale purposes. These were built with high grade components, not cheap chinese stuff. Highly sought after and compared to La2a. All 5 units have the same problem and that is VU meters that are jumpy or not working right. They still perform excellent and it may be the way I've been using them. They are a tad bit tricky to get used to operating but they really squash just right esp on drums. Want a zep drum sound. Working condition but sticky VU's. Sold as is.selling only to lower 48 states of the USAJust an added note regarding the comparison to the La2A compressor:Ebay won't let me change the description but I wanted to clear this up. La2a comp is killer stuff and VERY pricey. I searched online before I bought my first VCS-1 and read a lengthy review on a recording forum from a guy who owned a real La2a compressor and sold his pricey unit off after That's what I was going to include in the listing but forgot. I've been recording since 1988 if that means anything. Also For Drip Electro.https://opalsolar.com.au/wp-content/plugins/formcraft/file-upload/server/content/files/16287969dbc433---Calculator-ti-86-manual.pdf And although programming the TSR-24S does require some education from the manual, the whole process of creating your own programs from scratch can be grasped in a relatively short period of time, thanks to a front panel that is quick to learn. Four knobs at the far right adjust left input level, right input level, the main output level and the output level at the auxiliary outputs. Your post will be moderated. Your email address will not be shown or linked. (If you have an account, log in for real time posting and other options.). This amount is subject to change until you make payment. For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab This amount is subject to change until you make payment. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab Delivery times may vary, especially during peak periods and will depend on when your payment clears - opens in a new window or tab. Learn more - opens in a new window or tab See the seller's listing for full details. All Rights Reserved. User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. Advanced G'day ( Sign in to bid or buy) eBay Deals Coles on eBay Help Sell Watch List Expand Watch list Loading. Something went wrong.User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. So EVERY TSR-24 can and should be upgraded to TSR-24S. So EVERY TSR-24 can and should be upgraded to TSR-24S.Please check the fields highlighted in red.Currency. For a better experience, please enable JavaScript in your browser before proceeding. It may not display this or other websites correctly. You should upgrade or use an alternative browser. Distortion and Distortion a little louder with some delay for leads. I had used a 2101 for FX only a few years ago.cuacuonbinhduong.com/upload/files/collins-kws-1-manual.pdf I recalled the 2101 being pretty noisy and I don't need the preamp section so I looked for a 2120 or TSR-24S. Found a TSR first. Initially I bought a used Rocktron Xpression as it was the newest ( most modern ), candidate though lacking in some areas. The Rocktron died on me immediately so I picked up a TSR-12 ( couldn't find a TSR-24S in time for a gig I had booked ), used it live and liked it. The Rocktron Xpression sounded OK. Reverb seemed a bit grainy and mid-heavy and the Rotary effect, which was a big selling point to me, seemed a bit bland. I hated the interface too. Turn one knob to get to the effect, the other knob to pick the parameter you want to adjust and ANOTHER knob to actually adjust the parameter. You talk about knob tweakin. In all fairness, I'm picky about stuff like that. The Rocktron was OK but not for me. I also tried a Zoom 9030 and it just sounded too.The Zoom had tons of effects but only 3-5 parameters even for the most complex effects. Never did find a 2120 I could afford. The Lexicon MX-350, Yamaha SPX-1000 only let you use 2 effects at a time and Reverb or Delay were usually one of the 2. The TC G-Major II was better about how many you could use at once but the routing options were very limited. I had a G-Major ( v.1 ) and it sounded too polished to me. I looked at the GSP 1101 too and it wouldn't let you use 2 modulation effects at a time either. It compromised this by allowing you to use the 1 modulation effect you wanted before or after the amp loop though. Again, the parameters for every effect were very minimal here too. Even used the GSP-1101 was 2x what I paid for the TSR-24S. I wanted an effects processor that had the ability to chain redundant effects ( like 2 Choruses or a Phaser and Flange, etc. ), allow routing and had good control in terms of parameters for the effects and MIDI CC control. The TSR-24S does all that. I've been using the TSR-12 for a while and it covers most of my FX needs as is. I'll report back at some point once I get the TSR-24S back. FWIW - When I used the TSR-12 live, I didn't even use the noise gate in it. It was really quiet, even on my high gain channel. I suspect the TSR-24S will be similar. I don't remember it being any problem to program, so the TSR should be even easier. Obviously devices like the Zoom G3 are way easier to use but so far as I know, they don't do near as much. However, if you find the Zoom G3 hard to use, the TSR-24S may cause wrist-slitting tendencies. If you're into AxeFX's and the like, it's like switching from running shoes to hiking boots.: ) The only issue I have with the interface on the TSR-24S is that with the smaller screen, things like 'Linking' require a little more cerebrum, at least, if you wanna get all fancy and use mixers and run frequency divided fx as I do. I've not tried any of them yet though. If you just want to run a phaser and a delay or a chorus and a reverb, you don't even have to mess with algorithms and linking. Most of the presets and algorithms are complex but if all you want is a chorus and a reverb, there's probably already a preset or algorithm in there you can tweak. I find myself constantly going for the 3 'quick buttons' that are under the 2101 display but they're vertical and on the right of the display of the TSR-24S. I guess it's ingrained in me.On the TSR-12 I've been using recently, I've noticed that the lack of the TSR-24S's data knob is a pain in the ass. You just gotta hold the up or down button down to scroll through settings ranges. The scrolling speeds up the longer you hold it though. The data knob makes that stuff MUCH faster. Also, on the TSR-12, the 'quick keys' do double duty and are in a different spot altogether so that throws me a bit but I've also switched from the TSR-12, to the TSR-24S and back to the TSR-12 in one month and will go back to the TSR-24S once it's fixed so I'm kinda S.O.L. on that. My guess is that the programming difficulty, combined with relatively poor factory presets is what doomed the unit to obscurity. Want a preset with 3 echoing pitch shifters. Need a quad panning multi chorus shimmerverb. You can do stuff like this, and much, much more, tying your creations together with panners, and multichannel mixers to your heart's content. Virtually every control you see in the menu can be linked to midi and controlled in real time if you like, giving you unprecedented control over shaping your sound from a midi foot controller (like the also discontinued PMC-10) or the like. With great power comes great responsibility, and learning how to control all of this makes for a steep learning curve, especially for someone not inclined to futz with the nuts and bolts of stuff like this. The audio quality is good to pretty good, and the noise generated is pretty low if it's set up correctly (remember this thing's 20 years old). And yes, you WILL want the unit with an expander card installed, as the internal processor runs out of juice pretty quickly when you start to create. Thumbs up, if you're brave! If you wanted to go nuts, you could go mono into the Left input, out stereo from the Main outputs ( to 2 different amps perhaps? ) and then from one amp's FX send to the Right input, thru the desired fx and out stereo via the Aux outputs. I've not tried anything like this yet. I did run the TSR-12 into the front of an Epi Valve Jr combo and it sounded pretty good until the Jr started getting really distorted. Delays started to sound like crap then, which is to be expected. When I get the TSR-24S back, I'll do more experimenting. It's what I do. I've had both and the tsr24 is way long in the tooth. On a budget, I'd go with the Mpx-1. I haven't found any practical application for reverse delay or ring mod in my music. I have a EHX Hazarai pedal that'll do looping, ring mod and reverse delay should I ever care to experiment with them. I rely on my tube amp. The MPX-1 that BK-Amps suggests might be another consideration but I don't know what they sell for used. I know in the MPX-1 you can route the FX in any order but I see in the manual that the EQ options are pretty minimal and it doesn't look like you can use the same kind of effect more than once. Curiously, the Overdrive is listed in the Modulation effects block.? Does that mean you can't use OD and chorus. Might be worth a read of the manual for you. It's hard to beat a good tube amp. I had a Mesa Triaxis and 2:Ninety amp for years but I feel that my VHT Pittbull sounds far superior than anything I ever got out of the Triaxis.I spent a fair amount of time the last few days exploring mine. The verbs on it are intense and with being able to make your own algorithms, it's very capable. It pushes your imagination. I'm so used to stomps I'm constantly reminding myself 'Oh yeah, you can actually do that on this thing' when I concoct whacky routing schemes or effects combinations. Stuff like having a Phaser on the Left and a Flanger on the Right and having them automatically pan back and forth. I was trying to replicate a Leslie by splitting the signal into low and high frequencies and using different Tremolo's and Panner's and Choruses on one half of the frequencies. I haven't gotten around to trying to go 4-cable-method with it but I think you'll be hard pressed to find anything newer, as cheap, that can do all this stuff and sound as good. As I recently discovered, there is a significant lag when switching patches which the 2nd processor allegedly fixes. I just got rid of my TSR-24S in favor the TSR-12 I used while it was being fixed. I tried the TSR-24S 4-cable-method. It killed the guitars tone in front of the amp. The TSR-12 was nearly transparent in front of the amp or after. I did come up with a pretty wicked Leslie-ish sound though. I used a High-Pass filter and a Low-Pass filter to split the signal into low and high frequencies. I routed Low's and Highs into a mixer panning Lows to the Left, the Highs to the Right. Then, I ran each through it's own Phaser and Chorus set to higher rates for the High freq's and lower rates for the low freq's. I got sounds from Leslie cab to Uni-Vibe to Uni-Vibe through a Leslie cab. In stereo it was colossal. Mono it was a bit over-done. Took LOTS of tweaking. Unfortunately I didn't have any way to save those settings. I would most certainly have kept the TSR-24S if it weren't for the switching issue but my primary use for it and the TSR-12 is live FX. I was looking for a nice Colorsoud poweboostish pedal and came across the TC Spark Booster which is on sale in my country, so is it a good pedal to replicate the colorsound powebooster. I am on a tight budget, the Boss BD2 and EHXs Crayon are quite expensive here. So another alternatives are the Mooer Blues mood or Flex boost (digging info from the comment section), which i can order them from Aliexpress, where also I found pedals that look like a powerbooster like the Caline CP-18 and Caline CP-54, but people say that those are a BB preamp clones (BB is different from powerbooster right?). Also is it true that the Tube Driver and Colorsound Powerbooster are the same circuit, you mention it in the EHX crayon review? The Hot Wax, which was the one I was reviewing, is a dual overdrive pedal with a Hot Tubes and Crayon featured in one. These will double nicely as your Power Boost and Tube Driver respectively. The Spark Booster is an all clean booster with different mid range options. It’s not that suited as a Power Boost. The Blues Mood can do a Power Boost and you might want to check out the Hustle Drive (OCD) for Tube Driver tones. The BB is more of a high gain Marshall type of pedal. I often used it in the last years to have a look and to get more information on this or that. So many thanks for everything, keep on. My assumption is, it was played with the Esquire (workmate), and DG switched later in song to the Strat. But I am interested only in the sound of the first guitar nodes, it sounds huge and thick, I can not hear much flanger or chorus out there, the Esquire sounds thick anyway (see below, I know that), but there must be an effect behind on the sound. Distortion more than fuzz. Unbelievable Reverb additional to delays. This thickness of sound, is there a characteristic pedal to hear and used. Can someone hear it. What do you think, how was achieved such broad sound (at the beginning).