FMR Audio R-390B Manuel utilisateur

RNP8380 Really Nice Preamp

Quickstart Guide

V0.50

RNPQuickstartV050 Page 1 of 10

NTRODUCTION

Typically, this is where I’m supposed to congratulate you on your choice of buying our Really Nice

Preamp, but I’m not going to! I do, however, want to

THANK YOU!

We appreciate putting your trust and

hard-earned cash into one of our products (or at least giving us a shot by demoing them)! Even though

we’re very proud of our products, the point of it is to give you the opportunity to

make music

without

excessively draining your bank account nor making excuses for the sonic results!

Really Nice Preamp

What’s Cool!

Before you scurry off to work on your studio tan (although if you’re in a real hurry, see

See “Quickstart” on

page 4.

), I did want to point out to you some of the salient points about the Really Nice Preamp:

•

Lots’o’headroom —

These days, the trend is for microphones to increase their

output signal levels while reducing their output noise levels. This means either

employing a front-end pad and/or increasing the headroom of a micpre. We

decided to do the latter: at unity gain, the RNP 8380 has a clip point of +28dBu

(over 27 Volts peak-to-peak)! Even with a hefty microphone output, the RNP8380

should take what your mics have to give!

•

Fidelity —

As simple as the function of micpre is, most design engineers would

probably agree that it’s not one of the easier devices to design properly. There are

many ways to balance the sometimes conﬂicting design constraints. Unfortu-

nately, with the proliferation of integrated-circuit (IC) based micpres in recent

years, one of the typical casualties has been ﬁdelity. At this point, I won’t bore you

with the geeky details, but I want to assure you that ﬁdelity was

not

sacriﬁced

the RNP8380. Even though there are many micpres that are quieter, there are very

few that have the spurious-free (i.e., distortion-free) spectrum of the RNP8380

(Okay,

that

was a geeky detail...)! Now, more than ever, what you put into a

micpre is what you’ll get out!

•

Ugly box —

If you look beyond the RNP8380’s utiliterian ugliness, you’ll see that

we opted to throw the money we saved in cosmetics into the quality of the audio

electronics. I like having nice-looking gear as much as the next guy, but given the

choice between something that

sounds

nice versus

looks

nice, the sound wins out

every time!

•

Really Nice Compressor (RNC) inserts —

Each channel on the RNP8380 has an

unbalanced send/receive jack that allow you to connect an RNC1773 using a sin-

gle Tip-Ring-Sleeve (TRS) cable (per channel). Also, with proper cabling, you

could use this feature to balance any other unbalanced piece of gear. In addition,

with the right external conﬁguration, the RNP can provide a separate +22dBu

RNPQuickstartV050 Page 2 of 10

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unbalanced output

and

a +28dBu balanced output simultaneously to allow nifty

things like separate M/S decoding while tracking the M/S signal without decod-

ing!

•

Balanced/unbalanced operation —

Both the mic inputs and micpre outputs

are electronically balanced, differential signals. Want to run to/from unbalanced

sources? No problem, the RNP “automatically” adjusts...no special cabling

required!

•

Hi-Z DI inputs —

These inputs are designed to take a source, such as a passive

bass, and not “suck the tone” away from the instrument. This input features a

high-impedance (1M

Ω

), unbalanced 1/4˝jack.

•

Slowly-ramping 48V supply —

To reduce the chance of destroying mics con-

nected to the RNP that can’t tolerate +48V applied to them, we ramp up the

+48Volts slowly—just in case you accidently turn on the phantom supply with a

phantom-intolerant microphone attached to the RNP. In addition, this ramp helps

reduce “settling time” of the RNP’s servos (see Geek Stuff below) and reduces the

size of the output pops/clicks.

•

EMI-resistant —

By utilizing a third-order EMI ﬁlter at the front end speciﬁcally

designed to attenuate RF while giving a smooth audio performance up to 240kHz,

we’ve reduced the chances that you’ll have trouble with Radio Frequency (RF)

interfering with the RNP’s operation even at high-gain levels. When used with a

nominal 150

Ω

balanced source, this ﬁlter yields exceptional audio performance.

•

Output mutes —

During phantom engagement/disengagement and DI/mic

switching, we momentarily mute the output signals to reduce output pops &

clicks that may otherwise annoy you and others. This mute actually occurs before

the INSERT send signal so that even devices connected to the INSERT are spared

large pops & clicks.

•

Stepped gain control —

To allow precise gain-setting between multiple chan-

nels, we’re using a Grayhill 12-position switch to set the RNP’s gain.

•

Phase inversion control —

This is fairly standard stuff to allow you to accommo-

date any phase problems due to things like system cabling, etc. This control

inverts the polarity of the micpres output signal relative to the input.

•

Precision metering —

Three LEDs per channel are provided for accurate meter-

ing (signal presence, +18dBu and CLIP) of the insert “SEND” signal. In addition,

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the clip LED trips at 1dB below actual clip and stays on for 3 seconds to make sig-

nal-chain troubleshooting easier. The metering is digitally-calibrated and driven

by the internal microprocessor.

•

Flexible power supply requirements —

The RNP will run off of either AC or

DC as long as the voltage range is within 9-12V (and has a current capacity of at

least 1.5Amps). Polarity of the wallwart connection is unimportant so that you

don’t have to worry about that detail either! In addition, if you happen to connect

a wallwart that doesn’t have enough “OOMPH!” to power the RNP (like the

RNC’s wallwart), the RNP will tell you by periodically ﬂashing it’s front panel

LEDs!

•

Geek stuff —

An internal microprocessor provides control and monitoring of

many RNP internal activities: power supply operation, source (mic/DI) selection,

precision metering, push button control and phantom voltage control. The

preamp itself is a unique, full Class A self-biasing-fully differential-DC servoed-

trans-impedance-100MHz GBP-instrumentation amp with an input impedance of

Ω

. The RNP’s maximum level is +28dBu (differential mode) with an EIN of -

120dB. High common-mode impedances help reduce the effect of interfering

noise sources. Both phantom coupling caps and gain port voltages are indepen-

dently servoed.

What Sucks!

All right, I’m now going to violate a very important marketing/sales rule by telling you what I think sucks

about the RNP. Why? First, because any piece of studio gear is only a tool and

because nothing is perfect and

compromises always have to be made

. By giving you my perspective on the RNP’s shortcomings, at least you’ll

have some insights into the “Whys and Wherefores” about my choices. Let your ears and application

requirements be the ultimate guides:

•

The RNP uses a wallwart —

As I explain on our website for the RNC, the RNP

also uses a wallwart to: (a) reduce internal noise induction, (b) to make the

national/international regulatory compliance less costly, and, (c) to permit easy

adaptation of the RNP to countries other than the U.S. The upside is that we’ve

designed the RNP to use a range of wallwarts (see “What’s Cool!” above) instead

of the pain-in-the-ass one used on the RNC.

•

The RNP is relatively noisy when evaluated by lab measurement —

Many

micpres these days (including the cheap ones) have very low noise ﬂoors (EINs of

-127dB or better). The RNP’s EIN of -120dB is obviously not as “good” as these

others, BUT, I decided that the sonic character (or lack thereof)

and

a decent price

point were more important than the absolute noise ﬂoor. Why? First, many of the

RNPQuickstartV050 Page 4 of 10

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sought-after vintage micpre noise levels are much worse than the RNPs, so in

actual use, I concluded that many folks (particularly those “in-the-know”), when

a choice must be made, prefer tone to low-noise. Second, even though we have

internal versions of the RNP with a “competitive” EIN, we’d have to charge more

for the privilege of meeting lab measurements that few actual applications would

challenge. Third, the trend in microphone development has been to raise the out-

put level of microphones, thereby reducing overall gain requirements of external

micpres. Are there some applications that the RNP may be problematic? Yes. Will

most

of us encounter them? No.

•

The RNP has coarse gain steps of 6dB/step —

Under ideal circumstances,

when gain staging your signal path, you want to only use as much gain as neces-

sary to do the job. Too much gain and you possibly run out of headroom. Too

much or too little gain and you possibly get more noise than you’d like for a given

application. So, why not use a gain pot or a switch with more positions to allow

ﬁner gain steps? First, pots are notoriously inconsistent and imprecise for gain

setting (see John Hardy’s discussion of this) without using a two stage pot...one

stage for low gains and the other for high gains. That’s OK, but I personally don’t

like to have a “gain range” switch that can cause the gain to jump 30dB or more.

This is primarily ‘cause I’ve been known to inadvertently push the button at an

inopportune time (don’t tell anyone)! Second, 16 and more positions make for a

very expensive switch! In an ideal world, I’d have a switch with an inﬁnite num-

ber of steps to allow us to smoothly and precisely maximize the micpre’s dynamic

range...allowing us to exactly dial-in the gain we need without too much noise or

too low of a clip point. Given these situations, we’ve made the RNP go from 0dB

of gain with a clip point of almost +28dBu in twelve steps. Even though this

requires that we (the users) are more careful in setting the maximum gain before

clipping, at least it’s gain setting is a little less critical given the high clip point.

UICKSTART

Even for those of you who are very experienced, there are some different operational features that you

need to be aware of. To use the RNP right away, there are two things you must do:

• Connect the RNP

• Let the RNP stabilize after power-up

In more detail:

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Connect The RNP:

Connect the Source(s) —

The source microphone cabled to the RNP input(s) via

a standard XLR mic cable, or an unbalanced Tip-Sleeve 1/4˝connected from your

source(s) to the front panel-mounted Direct-Inject (DI) input jack. Remember,

when the DI jacks are used, the mic input XLR is disconnected from the preamp.

Connect the Output(s) —

The RNP output(s) need to be attached to your desti-

nation device. This may be done with either a standard TS 1/4˝plug or Tip-Ring-

Sleeve (TRS) 1/4˝depending upon whether you are feeding an unbalanced/non

differential device (TS cables) or a balanced/differential device (TRS cables). At

this point, you may use an appropriate mechanical choice for the interconnect

(e.g., TRS to XLR).

Connect the Insert(s) —

If you’re not using anything on the RNP inserts, then

you may leave the insert jacks unconnected. Otherwise, hook them up at this

point via either TRS cables—the Tip delivers the SEND signal, the Ring retrieves

the RETURN signal and the Sleeve provides the reference signal—or with an

appropriately wired “Y”-cable.

Connect the power supply —

Using only the provided power supply, connect it

now to the RNP power jack, then plug the power supply into a powered wall-out-

let.

You don’t have to do things in the order given above for everything to work. The above order is only a

suggestion.

Let the RNP Stabilize:

At this point, the RNP does things a little differently from other preamps that we’ve seen:

•

Blinking Phantom Power Lights —

After the front panel lights blink momen-

tarily, both channel’s both Phantom Power lights start blinking. This means that

the RNP is stabilizing its internal circuits for optimum performance.

•

SEND/Outputs muted —

While the Phantom Power lights are blinking, the

SENDs and MAIN outputs are muted to reduce pops/clicks.

•

SEND/Outputs un-muted —

After approximately 10 seconds, if everything

checks out internally, the Phantom Power lights will extinguish and the SENDs

and MAIN outputs will be un-muted. At this point, the level meters will also be

activated.

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We recommend—although this is not necessary for functionality—that you run the RNP for at least 5 min-

utes before using it in a critical application. This would allow all of the internal high-impedance circuit to

settle closer to their ﬁnal values and also the RNP’s internal temperature to stabilize. At this point, the

RNP is ready to rock!

**IMPORTANT NOTE**

The RNP is a class-A circuit that runs at about 6 times the quiescent current of

“typical” class-A preamps. Given that this extra power consumption is squeezed

into a small box,

the RNP deﬁnitely gets warm...particularly its extruded alu-

minum base

. Make sure that there’s plenty of ambient airﬂow around the unit

and it’ll happily amplify all day long.

RNPQuickstartV050 Page 7 of 10

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Figure 1: RNP Front Panel Connections and Controls

Control # Control Description

DI Input jack, 1/4¨ unbalanced,

Ω

input impedance

Polarity inversion switch & invert

“on” LED

Phantom power (+48V) switch

and phantom “on” indicator

Preamp gain switch, 12-position

in 6dB steps

Send output level meter, pre-

insert SEND level

Clip+18Sig Clip+18Sig

3630

(dB)

66 0

3630

(dB)

F M R A u d i o

RNP8380

Ch A

Really

Nice

Preamp

Ch B

+48V

Invert

Level

GAIN

+48V

Invert

Level

GAIN

Hi-ZHi-Z

1 5

432

RNPQuickstartV050 Page 8 of 10

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Figure 2: RNP Rear Panel Connections

Control # Control Description

XLR female mic inputs, pin #2

hot

Insert jacks, 1/4”, tip send, ring

receive

2.1mm coaxial power connector

Output jacks, 1/4”, tip hot, ring

cold

Power

9V-12V

≥1.5A

Mic A Mic B

GUZINTAS GUZOUTAS

A B

Insert Insert

Out Out

Tip

Ring=

=Snd

Rcv

Tip

Ring=

FMR Audio

www.fmraudio.com

!CAUTION

RISK OF ELECTRIC

SHOCK. DO NOT OPEN!

Only use power

supply provided

with unit!

RNPQuickstartV050 Page 9 of 10

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IGNAL

LOW

Referring to Figure 3, the signal ﬂow for the RNP is as follows:

MIC INPUT —

The XLR female connector accepts standard mic cable from a microphone. The polarity on

this connector follows current convention of pin#1 is reference, pin#2 is hot, and pin#3 is cold. The differ-

ential-mode impedance is approximately 5k

Ω

PHANTOM RESISTORS —

These two 6.81k

Ω

/1W resistors provide current to an attached condenser micro-

phone from a 2W, 48V low impedance driver. When phantom is not engaged, these two resistors are dis-

connected from the 48V driver and are “seen” by the microphone as a 13.6k

Ω

differential-mode

impedance.

EMI & OVERVOLTAGE PROTECTION —

A third order, passive ﬁlter is provided between the mic input and

the preampliﬁer stage to reduce RFI/EMI interference (cutoff frequency is approximately 240kHz). Also

Figure 3: RNP Block Diagram

EMI &

Over-V

Protection ØOver-V

Protection

±18V

+50V

Logic

EMI, Over-V

& Polarity

Protection

+48V

Driver

CPU

&

Signal

Conditioners

Channel 1 (Ch. 2 is identical)

Meter & Switches

"HiZ Input"

"Mic Input" "Source"

"Invert""Mute"

"Output"

"Insert"

(Tip = Send, Ring = Return)

(Tip = +, Ring = -)

"+48V Engage"

Switch &

Resistors

"Gain"

"Power"

Preamp/

Servos

01/09/02 Rev. --

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