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TC electronic SDN BHD Gold Channel user manual Foreword, Microphones as Ears

Models: Gold Channel

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FOREWORD

Microphones as Ears

by Bruce Botnick

I've always felt that microphones were colors on a sound painter's palette. Colors that can be used to bring out the many sounds that we record and help us to create different textures used in the mix.

Many recording engineers have their favorite microphones and don't necessarily use the same favorite on the same instrument in all applications. In creating the sound field, the mixer will look at the instrumentation, the microphones available, and make his choice based upon what he knows will work and what he hears in his imagination.

Equating Imagination when it comes to recording music is like comparing the improvisational work of a fine musician. You have to know your tools by heart in order to be free enough to dream in full three dimensional stereo and color.

Back in the early days of hi-fi, monaural long playing records, when I was really, really young; I can remember hearing people breathing on recordings. Hearing the rosin of the bow on the strings of a violin. The fingernails of a pianist on the ivories. I could never hear that on old 78's as a majority of the microphones used up till the 1950's were ribbons. Radio Recorders had basically only ribbons, RCA 44's and 77's, with a couple of Telefunken U47's mixed in. Their consoles were like most of that day in that the mic preamps had built-in pre eq to compensate for the lack of high frequencies that are inherent in ribbon microphones. As the industry started moving forward with condensers, those consoles with their pre eq provided the seminal sounds that we grew up on. The mixers now had the revolutionary Telefunken/Neuman U47, Km 53,54's and U67's. The Sony C37 which was a less expensive and somewhat sweeter version of the U47 and the now famous Telefunken ELM-251 and AKG C-12's. Sound became hi-fi. Then came dynamic microphones, or did they precede? I have seen dynamic microphones used in the strangest ways for reasons that never made sense and they worked great. The most common usage has been on live vocals, loud amplified instruments, drums and percussion. Not hi-fi in comparison to a condenser, but able to do things that you can't do with a condenser. Such as; using a Shure 56, 57 or 58 as a hammer to drive nails into a stage and still be useable by a singer later in performance. Swinging the mic in a ever increasing arc, hitting concert promoters in the head as well as guitar amps. The speed and impact should destroy those hardy mics, but they keep on doing their thing, day in and day out. Try that with a $5,000 condenser and see how far your money will go.

Since hi-fi was such a new thing, everything about it was of interest and this information was on the back of hi- fi albums. This was an unyielding source of inspiration. If the sound of a U47 close mic'd on Miles Davis' trumpet sounded great and romanced me, that was what I would use when and if I got the chance to record a jazz trumpeter. The amazing thing is the human memory. When I did get the opportunity and used the U47 it

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TC electronic SDN BHD Gold Channel user manual Foreword, Microphones as Ears
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Gold Channel specifications

TC Electronic SDN BHD has established itself as a pioneer in audio technology, and one of its standout products is the SDN BHD Gold Channel. This innovative device is designed for professional audio applications, particularly in live sound and broadcast environments. The Gold Channel is revered for its exceptional sound quality, versatility, and user-friendly interface, making it a go-to choice for audio engineers and musicians alike.

At the heart of the Gold Channel is its advanced signal processing technology. It features a high-quality preamp that provides a clean and transparent sound, essential for capturing the nuances of live performances. The preamp is complemented by a robust equalization section, allowing users to shape their sound with precision. The three-band EQ offers both high and low shelving controls, as well as a parametric mid-band, facilitating a wide range of sonic possibilities.

Another significant feature of the Gold Channel is its dynamic processing capabilities. It incorporates a powerful compressor that helps manage dynamic range effectively. Users can achieve everything from subtle compression to more aggressive limiting, ensuring that audio levels are consistent and professional. The onboard de-esser helps eliminate sibilance, making vocals smoother and more polished.

In addition to these core features, the Gold Channel also includes an excellent built-in digital effects processor. This allows users to add reverb, delay, and modulation effects directly within the channel strip, streamlining the mixing process. The intuitive controls make it easy to dial in effects quickly, which is particularly beneficial in fast-paced live settings.

Connectivity options are another strong suit of the Gold Channel. It features multiple input channels, including XLR and TRS, accommodating a variety of microphones and instruments. The outputs are equally versatile, providing balanced and unbalanced options for seamless integration with other audio equipment.

Furthermore, the Gold Channel boasts robust build quality, designed to withstand the rigors of live performances. With a sleek metal chassis and reliable components, this device is built for longevity.

In summary, the TC Electronic SDN BHD Gold Channel combines high fidelity sound, advanced processing features, and practical connectivity options into a single, powerful package. Its remarkable flexibility makes it an essential tool for audio professionals dedicated to delivering outstanding sound quality in any setting. Whether in the studio or on stage, the Gold Channel stands out as a premier audio solution.