Signature OneOwner’s Manual

www.oceanaudio.co.uk

Signature One - Owner’s Manual - Revision 1 - page 2

Contents

About the designer 3

Product Description 4

Connecting the unit 5

Operation 7

Trouble shooting 10

Technical Specifications / Warranty Card 11

Malcolm Toft Signature Series range 12

Signature One - Owner’s Manual - Revision 1 - page 3

Malcolm Toft started his career in the late 60’s as a recording engineer and was the first engineer to be employed at the famous Trident Recording Studios in London. Among his credits are the recording of David Bowie’s ‘Space Oddity’ album, James Taylor’s first album and three albums for T-Rex. He was also the mixing engineer on the Beatles ‘Hey Jude’ single. In 1972 Malcolm founded Trident Audio Developments Ltd. which went on to become a leading manufacturer of music recording consoles. One of the company’s earliest products was the Trident A Range which became a landmark both for it’s innovative operational features as well as the sound of it’s equaliser. Coming from a background of being a recording engineer rather than an electronics engineer, Malcolm has always designed with his ears rather than a text book and it is this coupled with over forty years experience that has enabled him to develop his own ‘philosophy of sound’ that is his trademark.

Malcolm has been designing recording consoles for over forty years and some of the artists who have recorded hits on his consoles include: Stevie Wonder, Herbie Hancock, Rod Stewart, Queen, David Bowie and Elton John. More recently, Radiohead, Muse, Dire Straits, Coldplay and Oasis have added their name to the list.

Malcolm was made a visiting professor by Leeds College of music in 2008 in recognition of his unique combination of experience as a recording engineer and console designer. It is this wealth of experience and pedigree that is brought to the design of the Malcolm Toft Signature Series.

Enjoy working with the Signature One

Best wishes

and the Ocean Audio team

Here are just a few artists, studios and bands whose names may sound familiar to you, and who have used, or are still using, consoles designed by Malcolm Toft.

Elton John - David Bowie - Queen - Lou Reed - Harry Nilsson - James Taylor - Carly SimonThe Eagles - The Beatles - T-Rex - Dire Straits - Bachman Turner Overdrive - Linda RondstatSupertramp - Thin Lizzy - George Harrison - Jeff Beck - Radiohead - Tony ViscontiRingo Star - Paul McCartney - Brian Eno - Supertramp - Chris De Burgh - Ian Anderson Amy Winehouse - The Manic Street Preachers - Ricky Nelson - Paul Weller - Oasis - MuseThe Chemical Brothers - Hard-Fi - The Nice - Rick Wakeman - Joe Cocker - The MoveAphrodite’s Child - Blood Sweat and Tears - The Nice - Phil Manzanera - The Record Plant LAThe Record Plant San Francisco - Chipping Norton Studios - Sarm Recording Studios Trident Studios - Liverpool Institute of Performing Arts - Leeds College of Music - Sound 80 MinneapolisArmin van Buuren - Lenny Kravitz - Dennis Ferrer - Vienna University of Performing Arts - Frank Sinatra - Genesis - Cherokee Studios Hollywood - Esplanade Studio New Orleans - and much, much more

About the designer

Signature One - Owner’s Manual - Revision 1 - page 4

Product Description The Signature One consists of a transformer coupled mic/line pre-amplifier, four band equaliser and FET based compressor. It provides all of the facilities associated with a classic analogue mixer ‘channel strip’.

The mic pre-amplifier has a custom designed input transformer which imparts its own sonic characteristic and the input stage utilises a Burr Brown amplifier. Because the mic input amplifier can be adjusted from –10dBm up to +60dBm, an input pad is not necessary to cope with high level signals.

The equaliser consists of four swept frequency ranges which provide comprehensive control from 40Hz to 15kHz. The high and low ranges are switchable between peaking and shelving to allow a greater range of tonality. The high frequency shelving is particularly useful in adding ‘air’ to the signal. Continuously variable boost and cut of plus or minus 15dB with a centre ‘0’ detent position in each range provides precise control of the amount of equalisation.

A separate continuously variable high pass filter with sweep from 30Hz to 350Hz completes the equaliser section. It has its own illuminated bypass switch so that it can be used independently (for example in conjunction with the mic pre-amplifier) without having to engage the rest of the equaliser section.

The compressor section uses a classic FET design to provide a very fast attack and release coupled to an almost ‘brick wall’ characteristic when the ratio is turned to maximum. FET’s were used in the classic UREI 1176 compressor and this unit therefore exhibits a similar sound. We added a ‘Wet/Dry’ control which makes parallel compression possible.

The high quality illuminated VU meter can be switched between indicating the amount of compression that is taking place or the output signal level.

A flexible arrangement of inputs and outputs means that the unit can be used in a number of configurations. Under normal circumstances the signal flows from the mic/line input through the equaliser and then to the compressor. With a signal plugged into the mic/line input and the output taken from the compressor, no other connections are needed. However, plugging into the output of one section makes just that signal available to be sent somewhere else. If nothing is plugged into the input of the following section, the signal continues through. So for example, if a signal is plugged into the mic/line input and a jack plugged into the mic/line output but nothing is plugged into the equaliser input, the mic/line signal is ‘tapped off’ the signal flow, but the main signal continues through the equaliser as well. If a jack is plugged in the EQ or compressor input, the signal coming from the previous section will not continue, but will be “broken”. This allows for each section to be used independently.

A flow diagram in the ‘Connecting The Unit’ section shows how the signal paths are connected.

Signature One - Owner’s Manual - Revision 1 - page 5

Connecting the Signature One

The rear panel of the unit provides an XLR connector for the mic input and ¼” jack connectors for the input and output of each of the other sections. All inputs and outputs are balanced and use the standard industry convention :

XLR connectors

Pin 1 : groundPin 2 : Hot / + Pin 3 : Cold / -

Jack connectors

Tip : Hot / +Ring : Cold / -Sleeve : ground

The balanced outputs are low impedance (typically 100 ohms) and designed to connect to a wide range of other equipment and to operate with long cable runs without signal degradation such as loss of high frequencies.

The line level balanced inputs are 20k ohms which is sufficiently high to match all connected professional equipment.

A standard IEC mains inlet is provided for AC mains power and the unit will operate from any AC source from 80 volts to 260 volts.

Please observe correct grounding procedures.The AC inlet earth should always be connected to a good quality electrical earth.

Signature One - Owner’s Manual - Revision 1 - page 6

All sections of the Signature One are connected in series to provide a complete “channel strip”.

Mic / line input >> Equaliser >> Compressor

But using the input connector of the equaliser and/or compressor “breaks” the signal path.As a result, each section can be used independently. Using the output connector of each section does not break the signal path.

This is a simple, and in our opinion, clever solution to offer full flexibility on the ways in which you can use the Signature One.

Connection examples :Example 1 - Standard channel stripTo use as standard channel strip, connect a source to the mic or line input.The compressor output serves as the master output, and should be connected to other equipment (like an input channel on a console, or directly to the input of your DAW). The signal goes through each of the sections of the Signature One.

Example 2 - Standard channel strip with split outputsSame as example 1, but in this case, we’ll also connect the mic/line output and the equaliser output to other equipment. This means we get three channels out of the Signature One :- Preamp out- Preamp + EQ out- Preamp + EQ + Compressor out

Example 3 - Independent useIn this example, we’ll connect all inputs and outputs. This effectively turns the Signature One in three separate units. A Mic/line preamp, an equaliser and a compressor. Each of these can be used independently and on separate channels. The sections are not linked to each other.

Example 4 - Alternative Channel StripConnect preamp output to compressor input.Connect compressor output to EQ input.The EQ output now becomes the master output of your channel strip. The channel strip now looks like this :Mic / line input >> Compressor >> Equaliser

Signature One - Owner’s Manual - Revision 1 - page 7

Operating the Signature One

As mentioned before, the Signature One offers three (or actually four if you count the high pass filter) sections.

Mic/Line input section :

As a starting point, make sure that the microphone gain control is at it’s minimum (fully anti-clockwise) position and that the line gain control is at it’s centre ‘0’ position.

The ‘Mic/Line,’ ‘Phantom Power’ and ‘Phase’ push buttons should be in their undepressed positions. All of these are illuminated when depressed, so not lit when undepressed.

To use the mic input, connect a microphone to the ‘Mic’ XLR connector on the rear of the unit. Depress the Phantom Power switch if the microphone requires +48 volt phantom power.The “Phase” switch reverses the polarity of the microphone input signal. (may be necessary when using two microphones being placed close together)

The microphone gain control should now be advanced clockwise until the desired signal level is achieved. The signal level can be metered via the VU meter by depressing the ‘Meter’ switch to be in ‘Input’ mode. The switch is located below the meter. Note that equaliser and compressor section should be bypassed to correctly meter the output of the mic/line amplifier.

To use the line input, connect a signal to the ‘Line’ jack on the rear panel and depress the ‘Mic/Line’ switch so that it illuminates. The ‘Line’ gain control can now be adjusted to obtain the correct output level and as with the microphone input, the VU meter can be used to check the signal level. The unit is designed so that a microphone and line level input can be connected to their respective inputs at the same time and the ‘Mic/Line’ switch will then make it possible to instantly switch between a microphone and line level signal each with it’s own pre-set level.

Reference the “connecting the Signature One” pages in this manual if you don’t want to use the Signature One as a channel strip but rather want to independently use the preamp section.

Signature One - Owner’s Manual - Revision 1 - page 8

Equaliser section :

As a starting point, first make sure that all of the boost and cut controls are in their mid way positions. You’ll notice a small click at the mid position, which denotes the 'flat', i.e. no boost or cut position. Turn the frequency sweep controls to their minimum positions (anti-clockwise) and undepress the shelving/peaking switches for the high and low frequency ranges. Depress the ‘IN’ pushbutton. It will illuminate to indicate that the equaliser is now in circuit. According to the programme material connected to the unit, choose a frequency in any one or more of the four sections and use the associated boost or cut control to either attenuate (anti-clockwise) or accentuate (clockwise). The high and low frequency peaking/shelving buttons can now be used to provide the required curve shape.

Reference the “connecting the Signature One” pages in this manual if you don’t want to use the Signature One as a channel strip but rather want to independently use the equaliser section.

High pass filter section :

A separate swept high pass filter is provided which has it’s own illuminated bypass switch. The high pass filter can be used independently from the rest of the equaliser circuit. When the equaliser section is bypassed, all electronics are switched out of circuit so that maximum signal integrity is maintained. By making the swept filter a separate facility, it can be used on it’s own (for example in conjunction with the microphone pre-amplifier) without the need for any further electronics.

The Signature One equaliser and high pass filter are designed to operate at zero gain. Whatever level is present at the input will also be present at the output. This is the case whether the equaliser is switched in or out (providing all boost/cut controls are in their mid position). If a large amount of accentuation (boost) is used on one section or more, it may be necessary to reduce the input of the device to which the equaliser is connected. As with the Mic/Line input, the VU meter can be used to check the signal level through the equaliser section to make sure that signal overload does not occur.

Signature One - Owner’s Manual - Revision 1 - page 9

Compressor section :

The compressor section utilises a FET (Field Effect Transistor) to achieve signal compression.FET devices very much have their own character. They are extremely fast to react so they are very effective on vocals to provide an even output level where the singer might not have very good ‘microphone technique’. (when a singer might be quiet during the verses of a song and then sing loudly during the chorus without backing away from the microphone.) Because the circuitry reacts very quickly to changes in input level, the loud passages can be ‘controlled’ very quickly so that the signal is of a similar level during the verse and the chorus.

In general, a FET Compressor can be used for deeper gain reduction than you would normally use with any compressor. The reason is that even at extreme settings, a FET compressor shows no trace of the pinched sound many other compressors make when you push them hard. This ability for strict gain control is not least useful on lead vocal tracks that need to be kept in the listener's face. The distortion also adds a nice grit to the voice, highly useable in rock mixes but in no way limited to that.Another common use for a FET compressor is in drum mixing, where many engineers use it on room microphones, overheads, across the entire drum buss or on the snare drum. Used this way, the FET Compressor has a way of bringing out a large, explosive sound. This is also an application where parallel compression is a useful technique, so we added the MIX control to facilitate this. But there are still many more uses for the FET compressor. Bass, acoustic guitars, pianos - bring out some edge or use the compressor's fastest attack setting to round off any transients.

Because the use of a compressor is very much a question of experimentation and trial and error, this operational description only gives a guide to operation rather than specific settings to use.

• As a starting point, set the ‘Threshold’ and ‘Output’ controls in their midway ‘0’ positions and all other controls at their minimum (fully anti-clockwise) positions.

• Set the ‘Mix’ control at it’s maximum position (fully clockwise). • Undepress the ‘Compressor In’ switch. • Switch the meter to ‘Input’ mode. We’re doing this to check the signal level.

The meter should read around it’s mid scale position with peaks just going into the red section. Even though the compressor is not in circuit, the input level can be set via the ‘Threshold’ control so that the desired signal level is read on the VU meter.

• Activate the compressor with the ‘Compressor In’ switch.Check the meter to make sure there is no change in signal level. If the signal level changes, adjust the ‘Output Level’ control to make up for any signal loss.

• Before starting compression, undepress the meter switch, so ‘Gain Reduction’ is selected.The needle of the VU meter should now be at ‘0’

• To start compression, turn the ‘Ratio’ control. The VU meter will move backwards (right to left) to indicate that compression is taking place and also the amount. The more the ratio control is advanced, the more compression will take place. The ‘Ratio’ control should therefore be advanced slowly as its effect will soon be realised.

• With large amounts of compression, the output level will reduce and so it may be necessary to increase the output level via the ‘Output Level’ control. This is also sometimes called ‘make up’ gain as a reference to making up for the level loss caused by compression.

• Use of the ‘Attack’ and ‘Release’ controls in conjunction with the ‘Ratio’ control will provide many different compression effects.

• A fast attack and fast release will cause “pumping” effects since the compressor will compress the signal quickly and release it quickly once signal level has dropped. To smooth out the pumping effect, advance the release control towards ‘Slow’.

• The ‘Mix’ control balances the signal coming out of the compressor between ‘Wet’ (compressed) and ‘Dry’ (uncompressed). This allows for Parallel Compression.

As mentioned earlier, use of a compressor is very much a question of experimentation. And like so many things in audio, there are not much fixed rules. So please experiment.

Reference the “connecting the Signature One” pages in this manual if you don’t want to use the Signature One as a channel strip but rather want to independently use the compressor section.If you need two channels of compression, then you may want to check out our Signature Two.

Signature One - Owner’s Manual - Revision 1 - page 10

Trouble Shooting

1) No Power.

Make sure the unit is connected to a suitable AC outlet providing between 80 and 260 volts. Check that the fuse (situated in the mains inlet socket) is the correct rating and that it has not failed. Make sure the illuminated mains switch (situated in the mains inlet socket) is in the on position (illuminated). A red LED on the front of the unit illuminates when the internal power supply is operating correctly.

2) No Signal.

Check that the connecting cables to the unit are wired correctly. If XLR cables are being used, try using the jack inputs with jack leads . If they work, it is likely there is something wrong with the cables. Try the reverse if jack leads are being used.

3) Hum on the Signal.

This is more than likely to be caused by a ground loop. Ground loop occurs when two pieces of equipment are connected to mains earth at different points. A small AC voltage becomes present because of resistance in the cables or a resistance in the two different AC earth points. This voltage is at mains frequency (50 or 60Hz) and becomes noticeable on the audio signal.

This can be eradicated or very much reduced by removing the shield of the signal cable on one of the two units connected together. This does not affect the safety grounding of the two items as they should still be connected to their AC earth points at the wall outlet via their respective AC power connectors. The Signature One is fully grounded in this respect and should always have an AC ground connected at the power inlet. The electrical safety of the unit will not be compromised by removing the signal shield, providing the equipment is properly earthed to the electrical supply.

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Technical Specifications

Input Impedance (microphone XLR) : >1.2K ohm transformer balancedLine Input Impedance (Jack) : >15K ohm electronically balancedOutput Impedance (Jack) : <100 ohm electronically balancedFrequency Response : ± 1dB 15Hz to 35kHzMaximum Output level : <+27dBm at all frequenciesDistortion (Mic Preamp & EQ): <0.05% T.H.D. +24dBu (output)Distortion (Compressor): <0.1% T.H.D. +24dBu (output)Maximum Level : >+28dBu at all frequencies EQ in or outNoise (Mic Preamp): <-126dBm (E.I.N. 20Hz - 20kHz)Noise (Equaliser): <-75dBm (EQ in, 20Hz - 20kHz)Noise (Compressor): <-68dBm (Compressor in, 20Hz - 20kHz)Nominal Operating Level : 0dBmDimensions : 19” rackmount, 3U

In accordance with our policy of continuing product improvement, we reserve the right to alter specifications without prior notice.

Signature One - Owner’s Manual - Revision 1 - page 12

Malcolm Toft Signature Range

Signature TwoDual Channel classic FET compressor with Variable Mix Control for parallel compression

Signature OneChannel strip with :

• Mic / Line Preamp with custom transformer• Mic gain range from -10 dB to 60 dB• Separate Line input with gain control• Phantom Power and Phase Reverse switch

• 30 to 350 Hz sweep hi-pass filter• 4-band classic Sweep Equaliser with Malcolm's Signature Sound

• High and low ranges switchable to peak or shelf• Overlapping frequencies, chosen to be extremely musical

• Classic FET compressor with Variable Mix control for parallel compression• Each section has separate input and outputs, and can be used independently

Signature Three• All discrete Inductive Equaliser• Two independent channels• Four bands per channel with switchable, overlapping frequencies:

• Low : 50, 80, 100, 150, 300, 600 Hz• Low mid : 125, 250, 500, 1K, 2K, 4K Hz• Hi mid : 2.5, 3, 5, 6, 7, 8 kHz• High : 8, 9, 10, 12, 14, 16 kHz

Check our website for more details

www.oceanaudio.co.uk