USA

Gardena, CA 90247
1845 W. 169th Street

DISTRIBUTED BY PMI AUDIO GROUP

JOEMEEK

Here TM

Stamp
Place

TM
mc2
PEAK 16 14 12 10 8 6 4 2 ON -24 -15 -9 -4 0 +4 +8 +12
STEREO OPTICAL COMPRESSOR GR VU
+2 +4 -4 3:1 10 0.3 +8 -30 S
0 0 +12 -2 +2
-10 2:1 5:1 +5 -25

2
1

mc
-2 +8 +4 5 50 -4 +4
-4 +9 -15 +3 +16 -20 -40 -6 +6
2
-8 +8
-6 +15 +oo -20 1:1 10:1 1 100 0.1 3 0 +20 -10 -50 M W
dB dBu ms sec dB dBu

INPUT COMPRESS SLOPE ATTACK RELEASE MAKE UP GR STEREO

GAIN GAIN COMP HOLD ON WIDTH ON

Joemeek User Guide

visit us on the web at joemeek.com

 TM

Joemeek is manufactured and

marketed under the direction of:

PMI AUDIO GROUP

USA: 1845 W. 169th Street
Gardena, CA 90247
toll free: 877-563-6335
fax: 310-323-0900
email: [email protected]

UK: Unit 4 Minerva Court

Woodland Industrial Estate
Torquay, TQ2 7BD
tel: +44 (0)1803-612700
fax: +44 (0)1803-612009
email: [email protected]
Written by Allan Bradford, MSc
4
Important Safety Information NOTE — This apparatus does not exceed the Class A/Class B
(whichever is applicable) limits for radio noise emissions from
digital apparatus as set out in the radio interference regulations
CAUTION of the Canadian Department of Communications.
.
ATTENTION — Le présent appareil numérique n’émet pas de
bruits radioélectriques dépassant las limites applicables aux
appareils numériques de class A/de class B (selon le cas)
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER prescrites dans le réglement sur le brouillage radioélectrique
SERVICING TO QUALIFIED SERVICE PERSONNEL. édicté par les ministere des communications du Canada.
These limits are designed to provide reasonable protection
The lightning flash with arrowhead symbol, within equilateral
triangle, is intended to alert the user to the presence of
against harmful interference in a commercial/residential
uninsulated “dangerous voltage” within the product’s installation respectively. This equipment generates, uses,
enclosure that may be of sufficient magnitude to constitute a and can radiate radio frequency energy and, if not installed
risk of electric shock to persons. and used in accordance with the instruction manual, may
The exclamation point within an equilateral triangle is cause harmful interference to radio communications. There
intended to alert the user to the presence of important is no guarantee that interference will not occur in a particular
operating and maintenance (servicing) instructions in the installation. If this equipment does cause interference to
literature accompanying the appliance. radio or television equipment reception, which can be
determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by any
WARNING: TO AVOID FIRE OR ELECTRIC combination of the following measures: (1) Relocate or
SHOCK HAZARD, DO NOT EXPOSE THIS reorient the receiving antenna (2) Increase the separation
between the equipment and the receiver (3) Plug the
APPARATUS TO WATER, RAIN OR MOISTURE. equipment into an outlet on a circuit different from that to
This appliance has a serial number located on the rear panel. Please
which the receiver is connected (4) Consult your dealer or
record the model number and serial number and retain them for your experienced radio/television technician for additional
records. assistance.
Model number CAUTION — Changes or modifications to this equipment
Serial number not expressly approved by the party responsible for
compliance could void the user's authority to operate this
equipment.

Important Safety Instructions

1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water. Do not expose to drips
or splashes. Do not place any objects filled with liquids, such as
vases, on the apparatus.
6. Clean only with dry cloth. 12. Use only with a cart, stand, tripod, bracket, or table
7. Do not block any ventilation openings. Do not install this specified by the manufacturer, or sold with the apparatus.
apparatus in a confined space such as a book case or similar When a cart is used, use caution when moving the
unit. Install only in racks designed for the purpose and in cart/apparatus combination to avoid injury from tip-over.
accordance with manufacturers’ instructions. 13. Unplug this apparatus during lightning storms or when
8. Do not install near any heat sources such as radiators, heat unused for long periods of time.
registers, stoves, or other apparatus (including amplifiers) that 14. Refer all servicing to qualified service personnel. Servicing
produce heat. is required when the apparatus has been damaged in any way,
9. Do not defeat the safety purpose of the polarized or such as power-supply cord or plug is damaged, liquid has been
grounding-type plug. A polarized plug has two blades with one spilled or objects have fallen into the apparatus, the apparatus
wider than the other. A grounding-type plug has two blades and has been exposed to rain or moisture, does not operate
a third grounding prong. The wide blade or the third prong are normally, or has been dropped.
provided for your safety. If the provided plug does not fit into 15. Apparatus designed with Class-I construction must be
your outlet, consult an electrician for replacement of the connected to a mains socket outlet with a protective earthing
obsolete outlet. connection (the third grounding prong).
10. Protect the power cord from being walked on or pinched 16. This apparatus may be equipped with a single-pole, rocker-
particularly at plugs, convenience receptacles, and the point style AC mains power switch. If so this switch is located on the
where they exit from the apparatus. front panel and should remain readily accessible to the user.
11. Only use attachments and accessories specified by the 17. The manufacturer reserves the right to change the
_ manufacturer. technical specification of the product without prior notice.
5
6
Statement of RoHS Compliance Statement of WEEE Policy
PMI Audio Group manufactures complete electronic products PMI Audio Group manufactures many complete electronic
which are covered by the European Union’s “Removal of products which are covered by the European Union’s “Waste
Hazardous Substances” directive 2002/95/EC (RoHS). This Electric and Electronic Equipment” directive 2002/96/EC
directive seeks to eliminate toxic substances from the (WEEE). This directive seeks to ensure that waste electric and
manufacturing process, such that when equipment is disposed electronic equipment is disposed of in an environmentally
of at the end of its life cycle, the materials it contains do not responsible manner, at the end of its life cycle. PMI Audio
contaminate the environment and pose health risks. Banned Group takes seriously its obligations under this directive to
substances are lead, mercury, cadmium, hexavalent take back WEEE-affected products and, from 13th August
chromium, polybrominated biphenyls (PBB) and poly- 2005, will mark all such products with the crossed-out wheeled
brominated diphenyl ethers (PBDE). Lead is used together bin symbol.
with tin in solder connections to reduce the melting point of
solder. Lead-free solder requires higher soldering
temperatures which in turn places greater thermal stress on
components.

RoHS
COMPLIANT
Pb Business to Business products: PMI Audio Group will cost-
neutrally take back WEEE-affected electric and electronic
equipment in this category, from 1st January 2006. PMI Audio
Group will work with disposal and recycling partners working
within the EU. The waste electric and electronic equipment can
PMI Audio Group takes seriously its obligations under the
then be turned over to a disposal and recycling companies in
RoHS directive and insists that its factories use only
the countries concerned.
components that are certified RoHS compliant, as well as lead-
free solder. In a very few cases the necessary components Business to Customer products: emerging electric and
may not yet be available to the world market but we work electronic equipment will be disposed of by local authorities'
continuously to eliminate any such exceptions at the earliest collection systems.
opportunity. Our printed Circuit Boards (PCB’s) and all Dual Use products: this equipment will be disposed of by local
soldered joints have been lead-free since 2005. authorities' collection systems.

Contents JOEMEEK reborn – the legend grows

mc2 Controls at a Glance...............................................8 & 9 The Next Generation of Joemeek studio processors represents a
quantum leap in the history of the Joemeek legend. Long regarded for
its "Big Sound", the original Joemeek gear was both revered and
Overview...........................................................................10 reviled for its somewhat "quirky" nature. Now we have taken the best
Preamplifier........................................................................10 of what made the Joemeek products sound great, refined it, distilled it,
Insert Point .........................................................................10 added to it and repackaged it.
VU Meter.............................................................................10 Properly and robustly engineered for predictable, controllable
Compressor........................................................................11 performance, the new range retains the famous Joemeek sound, with
its wide, flat frequency response extending from subsonic to
GR Meter............................................................................13
ultrasonic. It also uses genuinely low noise circuitry, with lots of
GR Hold..............................................................................13 headroom (immunity to overload). Accurate calibration and metering,
Stereo Width.......................................................................13 together with clear panel labelling, give you complete confidence in
what's going on. While some equipment pays lip-service to quality and
Outputs...............................................................................13
"professional rules" but fails to deliver, the Next Generation Joemeek
products are founded on good solid electronic and audio engineering,
Using the mc2....................................................................14 and withstand direct comparison with the very best names in mixers
and outboard gear.
Getting Connected...............................................................14
Using the Preamp................................................................14 The Joemeek range provides everything you need to get your
Using the Compressor.........................................................14 performance onto tape/disc.
Using the GR Hold...............................................................15
Using the Stereo Width.........................................................15 About the Designer
Using the insert Point...........................................................15
The Next Generation of Joemeek has been completely re-engineered
Troubleshooting................................................................16 by renowned audio electronics consultant Allan Bradford. With his
background in physics and 30 years experience with the design of
instruments, mixers, processors and amplifiers, Allan's unique range
Technical Specification.....................................................17 of expertise ensures that Joemeek remains at the forefront of music
technology.

7
8
mc2 Controls at a Glance

PEAK 16 14 12 10 8 6 4 2 ON -24 -15 -9 -4 0 +4 +8 +12

STEREO OPTICAL COMPRESSOR GR VU
+2 +4 -4 3:1 10 0.3 +8 -30 S
0 0 +12 -2 +2
-10 2:1 5:1 +5 -25

2
1

mc
-2 +8 +4 5 50 -4 +4
-4 +9 -15 +3 +16 -20 -40 -6 +6
2
-8 +8
-6 +15 +oo -20 1:1 10:1 1 100 0.1 3 0 +20 -10 -50 M W
dB dBu ms sec dB dBu

INPUT COMPRESS SLOPE ATTACK RELEASE MAKE UP GR STEREO

GAIN GAIN COMP HOLD ON WIDTH ON

INPUT GAIN – sets the amount of audio amplification. Too little gain and the resulting sound will be too quiet; too much and the signal could
become distorted.

PEAK LED – lights 6dB below clipping.

COMPRESS – sets the level of signal (or "Threshold") above which the signal starts to be compressed.

SLOPE – sets the compression ratio applied to signals above threshold.

ATTACK – sets how quickly the compressor responds to peaks above threshold.

RELEASE – sets the time taken for the signal to return to its normal size after compression. In general, the longer the time, the less obvious the
compression.

MAKE UP GAIN – restores the level of the signal after compression.

COMP – switch turns the compressor on. The LED lights when active.

GR HOLD – freezes Gain Reduction at a constant level during gaps in the programme material (ie: prevents the compressor gain rising).

GR Hold ON – switch turns the GR Hold function on. The LED lights when active and changes color to indicate Hold status.

STEREO WIDTH – varies the perceived with of the programme material from Mono, to normal Stereo, to extra Wide.

Stereo Width ON – switch turns the Stereo Width function on. The LED lights when active.

VU METER – 8-Led bargraph shows the output signal level in dB at any given moment.

GR METER – 8-Led bargraph indicates the amount of gain reduction in dB, which is taking place at any given moment.

mc2 STEREO COMPRESSOR DESIGNED IN THE UK FOR PMI AUDIO.

MADE IN CHINA.
NO USER SERVICEABLE PARTS.
EN55103 OUTPUT INPUT
REFER SERVICE TO QUALIFIED PERSONNEL.
www.joemeek.com
USE ONLY CORRECT
JOEMEEK POWER SUPPLY

POWER +4dBu
12V AC -10dBV RIGHT LEFT S/C INSERT RIGHT LEFT

INPUTS – Balanced line level inputs on ¼" TRS jacks.

S/C INSERT – unbalanced "Send and Return" jack allows you to patch other pieces of equipment, into the compressor's control circuitry.

OUTPUTS – Balanced line level outputs on ¼" TRS jacks.

+4dBu/-10dBv – switch selects the operating level of the ¼" jack outputs, either to the professional +4dBu level, or to the -10dBv semi-pro level.

9
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Overview Insert Point
The JOEMEEK mc2 is a professional studio-quality stereo compressor in This is simply an unbalanced "Send and Return" jack on the rear panel. It
a compact half-rack format. Simple to use yet extremely powerful, the mc2 allows you to patch other pieces of equipment into the compressor's
will bring out the best in any line-level stereo material and give the gloss of control side chain, such as an equalizer or filter. To use it you will need a "Y"
a professional studio production to all your performances. It can be used lead wired as follows:
both for recording, mastering and live work.
Tip: send
Think of the stereo mc2 as three separate items of equipment: Ring: return
Sleeve: ground
! A line-level stereo Preamplifier.
! A stereo JOEMEEK Optical Compressor. When no jack is inserted, the socket is internally linked, or "normalled", so
! A stereo Width Processor that the control signal flows uninterrupted.

Preamplifier VU Meter
The front end to the mc2 accepts any type of line level (ie: preamplified) The LED VU Meter shows signal level at the outputs. It covers the range
audio signal. The inputs are electronically balanced. Note: although the -24dB to +12dB in eight steps. Note that this is relative to the selected
Line inputs are not normally used directly with microphones, they may be operating level of "+4dBu" or "-10dBv". In other words if you have selected
suitable for some high output unbalanced microphones, such as battery "4dBu" and the meter reads "0", then you have +4dBu coming out of the
powered Electret types. output sockets. If you have selected "-10dBv" and the meter reads "0",
then you have -10dBv coming out of the output sockets.
The Line input jacks are balanced and wired as follows:
Tip: + (hot)
Ring: - (cold)
Sleeve: ground

The "Input Gain" control covers a range of amplification from -6dB to

+15dB. This enables the mc2 to be matched to sound sources at both
-10dBv to +4dBu operating levels. The PEAK LED lights 6dB below
clipping, so occasional brief flashes are OK but if it's on all the time you
need to back the Input Gain off!

Compressor of transients is less critical. Normally you should not hear a limiter
operating but if it is driven hard constantly, it can render a mix somewhat
flat and lifeless.
The hardest device to understand, yet one of the most useful, the
PhotoOptical Compressor is what gives Joemeek products their unique 4. Accommodation
character. Its job is to make quiet sounds louder and loud sounds quieter, The dynamic range of the human ear is phenomenal, extending from the
or in other words to reduce the dynamic range of the programme material. threshold of hearing (eg: a pin dropping onto soft carpet) to threshold of
It's a bit like manually riding the volume control, except the compressor pain (eg: standing next to a jet aircraft) - some 120dBA in all. By contrast,
does it automatically, responding far quicker and more accurately than you vinyl, cassette tape and radio broadcasts all have a dynamic range of
ever could by hand. The compressor is applied in several ways: about half that. Since the advent of the CD, the dynamic range of the
medium is far less of an issue and compressors are used more to give a
1. Make Sounds Stand Out certain "feel" to a production. AM and FM radio however, is still very much
Because compressors make loud sounds quieter, you can boost the compressed to fit its restricted dynamic range.
volume of the quiet bits without the loud bits getting even louder. That
means you can raise the average level of an instrument or vocal in the mix, 5. Modification
which has the effect of lifting it and bringing it forwards. This can actually A compressor can change the dynamics, or "envelope" of the track and it is
improve vocals for example, bringing them out in front of a mix, making here that the Joemeek Compressor excels!
them sound denser, more even, and more confident!
Types of Compressor
2. Crank Up The Volume Most compressors work in essentially the same way: a volume-controlling
Raising the average volume of whole mixes means they can be heard in element or "gain cell" is inserted into the audio signal path. The level of the
noisy environments, such as vehicles and factories. Boosting the average signal at any given moment is measured and that information is used to
level is what makes radio stations sound LOUD and the same technique is control the gain cell. So if the signal gets bigger, the volume is turned down.
used on TV commercials too, which is why they always seem annoyingly Various types of gain cell in common use include FETs, valves (tubes),
louder than the movie you were trying to watch! light-dependent-resistors (photoelectric), digital potentiometers and
voltage-controlled-amplifiers, better known as VCAs.
3. Protection
Fast response times are generally used to control brief transients. In other The mc2 Compressor is a unique recreation of the sort of photoelectric
words if an occasional peak sticks its head above a maximum permitted compressor used by record producer Joe Meek in the 1960's. Using
level, the compressor clobbers it; this is known as limiting and a modern components for consistency and reliability, it nonetheless
compressor designed solely for this purpose is known as a Limiter. reproduces faithfully the same punchy sound that was so characteristic of
Limiters are primarily used to protect recorders and monitor systems from the pop records of that time.
overload, radio transmitters from overmodulation, etc. The Joemeek
compressor is not primarily intended for this purpose as the Attack is not Compression Ratio
really fast enough to satisfy radio station requirements, although it is What?? OK, it's simpler than it sounds. If the input gets 10dB louder but the
generally good enough to protect recorders and monitors, where the effect output only increases by 5dB then the compression ratio is "2 to 1". If the

11
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input goes up 10dB but the output only goes up 1dB, then the compression ‘ATTACK' sets how quickly the compressor reacts to peaks above
ratio is "10 to 1". In a theoretically ideal compressor, this ratio is the same threshold. Turn this control anticlockwise for a quick response. Slower
for any size of signal above the threshold but for that to be true, the gain cell (clockwise) allows the fast leading edge of percussive sounds to pass
and its control circuitry must be perfectly linear over a very wide range. In uncompressed for a moment, before the compressor reacts to control the
practice only compressors based on VCAs and digital potentiometers are gain. This example of "changing the envelope" of a sound exaggerates the
likely to behave in this way. percussive nature of drums and other instruments. Settings around mid-
position are used where the compression needs to be less obvious. Vocals
Some compressors have a control to set the ratio anywhere between 1:1 for example, require Attack times around 10msec for natural sounding
(ie: no compression), and 20:1 (which would be regarded as a "brick wall results. Faster attack times (anti-clockwise) in conjunction with large
limiter"). In the mc2 the "Slope" or "Compression Ratio" is variable from 1:1 amounts of compression, result in extreme "pumping" effects.
(ie: no compression) to 10:1. Slopes around 3:1 are gentle for vocals while
higher slopes are hard for drums and guitars. However that's not all there is 'RELEASE' sets how long the compressor goes on squashing the sound
to it. for, once the signal has dropped below threshold. If it stopped instantly
there would be very noticeable modulation or "pumping" of the sound. So
Variable Ratio we may want it to stop compressing less abruptly and that is what the
In the Joemeek optical compressor the compression 'threshold' is not Release control is for. Generally, the longer the Release time, the less
clearly defined and the compression ratio varies with the amount of obvious is the compression. Of course some "pumping" might actually be
compression applied. Suppose the 'Slope' control is set to 5:1. For signals desirable as a special effect and that is another way in which the envelope
only just exceeding threshold, the ratio is little more than 1:1. As the of a sound can be modified. The mc2 Release is variable from 100mS up to
compressor is driven harder, the ratio rises to 5:1, at least up to a point. It is 3 seconds giving a wide variety of effects.
a feature of the Joemeek compressor that the compression ratio actually
reduces again during large transients and, adjusted correctly, this helps to 'MAKE UP GAIN' sets a static amount of amplification, to restore the level
retain brightness that is often lost with other types of compressor. This is of the signal after compression. Correctly adjusted, there will be no change
why vintage compressors often sound more lively than their modern in perceived volume as the 'COMP' in/out switch is operated.
counterparts.

Controls How the compressor behaves actually changes with program content and
‘COMPRESS' sets the level of signal (the "Threshold") above which the volume. So experiment with the controls with different kinds of material to
signal starts to be compressed. Turning the compression control clockwise discover the range and depth of effects that can be achieved. The 'COMP'
lowers the compression threshold, and drives the compressor harder. in/out switch allows comparison between compressed and uncompressed
sound (blue LED lights when active).
'SLOPE' sets the average compression ratio applied to signals above
threshold. Lower settings (anti-clockwise) have less effect. Turning the
control clockwise increases the ratio and makes the effects of
compression more dramatic. At maximum (10:1) the Joemeek compressor
effectively becomes a limiter.

GR Meter sense of space and depth to a mix. Depending on the mix, it may also
create a sense of improved clarity. The "Mid and Side" technique
employed widens stereo without the dreaded “hole in the middle” effect (ie:
The LED GR Meter provides an accurate reading of gain reduction in dB, at loss of center or bass components). Stereo widened in this way also
any given moment. remains mono compatible.

The 'ON' switch allows comparison between processed and unprocessed

GR Hold sound (LED lights when the 'STEREO WIDTH' control is active).

A problem with all compressors is that when the signal level falls below the
compression threshold, the gain rises to that set by the 'MAKE UP GAIN'
control. The result is that during gaps in the music, any background noise
Outputs
will be amplified, and may become noticeable and even downright
annoying! This could be counteracted by using a noise gate or expander CONNECTORS
gate but such devices introduce their own problems. The mc2's 'GR HOLD' Left and Right outputs are provided on TRS jacks. The adjacent switch
control works by freezing gain reduction at the level it was at just before the selects the output operating level to either +4dBu (suits most professional
signal dropped below the compression threshold. In this way there is no studio equipment) or -10dBv (suits semi-pro or hi-fi equipment). Check
overall increase in gain and the noise floor is preserved. with the handbook for whatever you are feeding, to find out which level is
required.
The adjacent 'ON' switch enables this feature and the LED lights when
active. This LED also changes color to indicate the status of the GR Hold. The jack outputs are balanced and wired as follows:
Green means a usable signal is present and the compressor is responding Tip: + (hot)
to the program material. Red means that the input signal has fallen below Ring: - (cold)
the selected threshold and the gain reduction is now frozen at its most Sleeve: ground
recent level.
Balanced or Unbalanced
To run the ¼" jack outputs unbalanced, just plug in mono jack plugs. This
Stereo Width increases the gain of the "+" signal by 6dB, so there is no drop in level
compared with balanced gear.

This control allows the width of the stereo image to be modified, from All outputs on all NextGen Joemeek products are properly balanced, which
mono, to normal stereo, to extra-wide stereo. is to say there is a signal on both pins! In this way the maximum possible
common-mode rejection of interference, can be achieved at the receiving
Wide stereo gives the impression of a bigger sound stage and a greater end.

13
14 POWER SUPPLY
Using the mc2
Connect the mc2 Power Supply to the AC connector on the rear panel and
switch on the mains supply. NB: Use only the 12V ac mains adaptor
GETTING CONNECTED supplied. Use of any other power supply may damage the mc2 and
will invalidate the warranty.
The figure shows the mc2 being used in a typical recording setup:

Using the Preamp

Turn the 'INPUT GAIN' control to minimum and connect the input source.
EQUALIZER / FILTER
MONITOR AMP (MONO)
Turn up the 'INPUT GAIN' until the sound registers on the VU Meter,
adjusting it so that the meter reads between "0" and “+4” on sound peaks.
When the red LED (labeled "Peak") lights, the mc2 is within 6dB of clipping.
Occasional flashes are OK but if it is on all the time, turn the Input Gain
down!

mc2 STEREO COMPRESSOR DESIGNED IN THE UK FOR PMI AUDIO.

MADE IN CHINA.
Using the Compressor
NO USER SERVICEABLE PARTS.
EN55103 OUTPUT INPUT
REFER SERVICE TO QUALIFIED PERSONNEL.
www.joemeek.com
USE ONLY CORRECT
JOEMEEK POWER SUPPLY
+4dBu
Start with the Compressor off and adjust the INPUT GAIN so that the VU
POWER
12V AC -10dBV RIGHT LEFT S/C INSERT RIGHT LEFT Meter reads around 0dB.

Set 'COMPRESSION' and 'ATTACK' fully anti-clockwise, with 'SLOPE'

and 'RELEASE' at mid-position. Press the 'COMP' switch and turn up the
'COMPRESSION' control until the compressor GR meter starts to read
4dB or 6dB on audio peaks. You should now be able to hear the
compressor working as the volume diminishes. Use the 'MAKE UP GAIN'
control to restore the signal to its previous (uncompressed) level. Alter the
RECORDER MIXER 'SLOPE' and listen to how the severity of the gain reduction changes. Try
changing the Attack and listen for percussive sounds getting louder.
! The insert point is being used to divert the compressor control signal Reducing the Attack and Release times should emphasize this even more
through an external graphic equalizer, for "frequency conscious" and the compressor should start to "pump" audibly.
compression.
! If you have a mixer with L-R Master sends and returns, this is a good The overall result of compression depends on the combined settings of the
place to connect the mc2, for both mastering and live work. Compress, Slope, Attack and Release controls. Experiment with different

combinations to discover what best suits the material you wish to However this process will take several minutes – long enough the cover
compress. Watch the GR meter and don't overdo things - it's possible to the noisy gaps in the program material, or between tracks of an album. At
apply 20dB of gain reduction before you realize it! the end of the recording, remember to fade out the signal before the noise
comes back!
Use the 'COMP' switch to make comparisons between compressed and
uncompressed signals.
Using the Stereo Width
Using the GR Hold With the 'STEREO WIDTH' control centered, normal stereo is maintained.
So with a stereo signal you should hear no difference.
Note that this works only in conjunction with the Compressor – it has no
effect on its own. It is for use with a noisy original signal, such as from Turning the control fully anticlockwise results in mono, ie: identical signals
cassette tape, guitar amplifiers or live recordings where a lot of unwanted come out of both left and right outputs. Turning the control fully clockwise
background noise is present. widens the sound stage to extra-wide stereo.

With a signal present, set the compressor to give a moderate amount of Use the adjacent 'ON' switch to make comparisons between processed
gain reduction and wait for gaps between the music or program material. and unprocessed sound. When widening the stereo image you may find
You should then hear the noise increase as the compressor's gain returns that “less is more” and it's better to keep the effect subtle.
to the level set by the 'MAKE UP GAIN' control. Next switch on the GR Hold
and repeat that section of the program. Adjust the 'GR HOLD' control until
the LED just changes from green to red when the music stops. Red means Using the Insert Point
that the input signal has fallen below the selected threshold and the
amount of gain reduction is being held constant. Green means that the
noise is still above the selected threshold and the compressor is still This unbalanced "Send and Return" jack allows you to patch other pieces
working, so raise the threshold by turning the control clockwise. of equipment, such as a graphic equalizer into the compressor's control
circuitry, for "frequency conscious" compression.
If the results are not obvious, try increasing the compressor's Release
time. If the gain reduction releases too quickly, the GR Hold may not If you boost certain frequencies with an external equalizer, those
capture it before the gain starts to rise again. Keep repeating the process frequencies are going to cause the compressor to respond more, ie:
until the desired effect is obtained and there is no increase in noise during squash the program material more. If you cut certain frequencies, the
gaps in the program. compressor will respond less to those frequencies. Uses for this can be
either creative or corrective.
Another thing to note is that this feature uses an analogue "sample and
hold" circuit to freeze the control voltage to the compressor. As with all such Imagine you are trying to even out the vocals in a mix, but the mix is bass-
circuits, the stored voltage will eventually decay away, then the heavy with the result that each bass note squashes the vocals. A modest
compressor's gain will increase and the noise will again become apparent. amount of bass-cut on the external equalizer will make the compressor

15
16
respond less to the bass, allowing it to do its job of controlling the vocals.

On the other hand, you might want to have a vocal or a drum beat
deliberately “duck” the rest of the mix for special effect. Tune the external
equalizer to the frequencies of the instrument you want to emphasize, then
adjust the 'COMPRESS' control so that the compressor only operates
when those frequencies are present.

Note that none of this external equalization is audible as such.

Troubleshooting
1) No Power (no lights work) 5) The Stereo Width doesn't work
! Is the power supply plugged in (both ends)? ! Is the 'ON' switch in (LED on)?
! Is the mains power on? ! Is only one input connected?
! Has a mains fuse blown? ! Is the programme material mono?

2) The Inputs don't work 6) Too much noise

! Is the source connected to the jack inputs on the back of the unit? ! Is the 'Input Gain' control too high (eg: the input signal is too small)?
! Is the 'Input Gain' control turned up? ! Is the noise already present in the input signal? (Try removing the
input).
3) The compressor doesn't work ! Is the 'Make Up Gain' control too high (eg: when lots of compression is
! Is the 'Comp' switch in (LED on)? being used)?
! Is the 'Compress' control turned up enough? ! Try using the GR Hold function to compensate for compressor-
! Is there enough signal, as set by the 'Input Gain' control, to drive the accentuated noise.
compressor?
! Is the 'Slope' control turned up enough? 7) Sounds distorted
! Is the 'Input Gain' control too high?
4) Too little or too much compression ! When using the compressor, is the Release control set too low?
! Turn the 'Input Gain' control up or down respectively, to adjust the ! Is the GR Hold on with the control set too low?
signal level to the compressor.
! Turn the 'Slope control up or down respectively.

Technical Specification
Input impedance Line: 20kohm
Pre-amp overall gain -6dB to +15dB
Common mode rejection 70dB
Equivalent input noise -95dBu (unweighted)
Distortion 0.001% (below Compressor
threshold)
Frequency response 10Hz to 70kHz (-3dB)
Maximum input before clipping +19.5dBu
Headroom before clipping +19.5dBu

Compression threshold -6dBu to +22dBu (variable)

Compression ratio 1:1 to 10:1 (variable)
Compressor attack time 1 msec to 100 msec
(adaptive)
Compressor release time 0.1 sec to 3 sec (adaptive)

GR Hold threshold -10dBu to -50dBu (variable)

Stereo Width range Mono / stereo / wide stereo

(variable)

GR Meter 8 segment bargraph

VU Meter 8 segment bargraph

Nominal output levels +4dBu/-10dBv

Output impedance 75ohm
Output Level switch 12dB attenuation
Noise Floor -95dBu (typical, with 0dB
Input and Make Up gain)
Power supply 12V ac mains adaptor
Power consumption 12W
Mechanical 220W x 44H x 180D (overall)
Weight 1 kilo

17
Notes

Joemeek Limited Warranty

THIS PRODUCT IS FOR PROFESSIONAL USE ONLY

PMI Audio Group warrants that all products will be free from defects in
material or workmanship:

A: For a period of one (1) year from the date of purchase (hereinafter the
labor warranty period). PMI Audio Group will repair or replace this
Product if determined to be defective. After the expiration of the labor
warranty period, the Purchaser must pay labor charges.

B: In addition, PMI Audio Group will supply, at no charge, replacements

for defective parts for a period of one (1) year from the date of purchase.
During the labor warranty period, to repair the Product, the Purchaser
must return the defective Product, freight prepaid, or deliver it to a PMI
Audio Group Service Center. The Product to be repaired is to be
returned in either its original carton or a similar package affording an
equal degree of protection. PMI Audio Group will return the repaired
Product freight prepaid to the Purchaser. PMI Audio Group is not
obligated to provide the Purchaser with a substitute unit during the
warranty period or at any time.

Conditions of Warranty such Product’s original identification (trademark, serial number)

markings have been defaced, altered, or removed. PMI excludes from
1. Notification of claims: Warranty Service: If Purchaser discovers that warranty coverage, Products sold AS IS and/or WITH ALL FAULTS and
the Product has proven defective in material or workmanship, then excludes used products which have not been sold by PMI to the
written notice with a full explanation of the claim shall be given promptly purchaser. PMI also excludes from warranty coverage consumables
by the Purchaser to PMI but all claims for warranty service must be made such as fuses and batteries, tubes, etc.
within the warranty period. If after investigation PMI determines that the
reported problem was not covered by the warranty, Purchaser shall pay 4. Proof of Purchase: The dealer’s dated bill of sale must be retained as
PMI for the cost of investigating the problem at it's the prevailing time- evidence of the date of purchase and to establish warranty eligibility.
and-materials rate. No repair or replacement by Purchaser of any
Product or part thereof shall extend the warranty period as to the entire 5. Grey Market: All warranties apply only to PMI Audio Group Products
Product. The specific warranty on the repaired part only shall be in effect purchased and used in the USA, and to PMI Audio UK Products
for a period of ninety (90) days following repair or replacement of that purchased and used in the UK, EU and all other countries outside of the
part or the remaining period of the Product warranty, whichever is USA. All warranties apply only to PMI Audio Group/PMI Audio UK
greater. Products originally purchased from an authorized PMI Audio Group/PMI
Audio UK dealer. PMI Audio Group/PMI Audio UK Product that was not
2. Exclusive Remedy: Acceptance: Purchaser’s exclusive remedy and purchased through an authorized and legitimate sales channel is
PMI’s sole obligation is to supply (and pay for) all labor necessary to considered "Grey Market". Warranties for PMI Audio Group/PMI Audio
repair any product found to be defective within the warranty period and UK Products purchased outside their respective territories will be
to supply, at no extra charge, new or rebuilt replacements for defective covered by the PMI Audio Group/PMI Audio UK Importer for that specific
parts. If repair or replacement fails to remedy the defect, then and only in country or region. Products originally sold to the USA market and
such an event, shall PMI exchange to Purchaser a new or reconditioned consequently resold overseas forfeit their warranty as do PMI Audio UK
unit. Purchaser’s failure to make a claim as provided in paragraph 1 Products sold outside of the UK and Europe. American PMI Audio Group
above or continued use of the product shall constitute an unqualified Dealers are expressly forbidden to export PMI Audio Group Products
acceptance of such Product and a waiver by Purchaser of all claims and PMI Audio UK Distributors and Dealers are expressly forbidden to
thereto. export to North, South, Central and Latin America. "Grey Market"
purchases are not covered by any warranty. In the case that a PMI Audio
3. Exceptions to Limited Warranty: PMI shall have no liability or Group/PMI Audio UK Product must be returned to the factory from
obligation to Purchaser with respect to any Product subjected to abuse, outside its respective territory, customer shall adhere to specific
negligence, accident, modification, failure of the end-user to follow the shipping, customs, and commercial invoicing instructions given with the
operating and maintenance procedures outlined in the users manual, Return Authorization as PMI Audio Group/PMI Audio UK will not be
attempted repair by non-qualified personnel, operation of the unit responsible for transportation costs or customs fees related to any
outside of the published environmental and electrical parameters, or if importation or re-exportation charges whatsoever.
Disclaimer of Warranty Owners Registration Card
EXCEPT FOR THE FOREGOING WARRANTIES, PMI HEREBY DISCLAIMS AND TO BE COMPLETED AT TIME OF PURCHASE
EXCLUDES OTHER WARRANTIES, EXPRESS OR LIMITED, INCLUDING BUT
NOT LIMITED TO ANY/OR ALL IMPLIED WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND/OR ANY WARRANTY WITH Name ________________________________________
REGARD TO ANY CLAIM OF INFRINGEMENT THAT MAY BE PROVED IN
SECTION 2-312(12) OF THE UNIFORM COMMERCIAL CODE AND/OR IN ANY
COMPARABLE STATE STATUTE. PMI HEREBY DISCLAIMS ANY
REPRESENTATIONS OR WARRANTY THAT THE PRODUCT IS COMPATIBLE Date of Purchase ________________________________
WITH ANY COMBINATION OF NON-PMI AUDIO PRODUCTS PURCHASER MAY
CHOOSE TO CONNECT TO THE PRODUCT.

Serial Number __________________________________

Limitation of Liability
THE LIABILITY OF PMI, IF ANY, AND PURCHASER’S SOLE AND EXCLUSIVE Dealer’s Name _________________________________
REMEDY FOR DAMAGES FOR ANY CLAIM OF ANY KIND WHATSOEVER,
REGARDLESS OF THE LEGAL THEORY AND WHETHER ARISING IN TORT OR
CONTRACT, SHALL NOT BE GREATER THAN THE ACTUAL PURCHASE PRICE
OF THE PRODUCT WITH RESPECT TO WHICH SUCH CLAIM IS MADE. IN NO
EVENT SHALL PMI BE LIABLE TO PURCHASER FOR ANY SPECIAL, INDIRECT, RETAIN FOR YOUR RECORDS
INCIDENTAL, OR CONSEQUENTIAL DAMAGES OF ANY KIND INCLUDING, BUT
NOT LIMITED TO, COMPENSATION, REIMBURSEMENT OR DAMAGES ON
ACCOUNT OF THE LOSS OF PRESENT OR PROSPECTIVE PROFITS OR ANY PLEASE DISPATCH AND RETURN
OTHER REASON WHATSOEVER.
YOUR REGISTRATION
Information in this User Guide is subject to change without notice. No part of this User Guide may be
reproduced or transmitted in any form or by any means, electronic, mechanical or by any other
TO JOEMEEK WITHIN 14 DAYS
means, for any purpose, without the express written permission of PMI Audio Group. OF PURCHASE
PMI Audio Group may have trademarks, copyrights or other intellectual property rights covering the
subject matter of this User Guide. Except as expressly provided in any written agreement from PMI
Audio Group, the furnishing of this User Guide is provided for the sole use of the authorized User (or
Specifications and model numbers are subject to
Service Agent where applicable) and does not give the User any license to use any trademarks, change without notice
copyrights or other intellectual property of PMI Audio Group.

PMI, PMI AUDIO, TED FLETCHER, MEEQUALIZER, STUDIO PROJECTS, JOEMEEK, TOFT
AUDIO DESIGNS, CURRENTSENSE, MEEKROPHONE, TRAKPAK and (If it Sounds Right... It is
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Copyright © 2005 PMI Audio Group. All rights reserved.

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What magazines do you read to inform your buying decision: (check all that apply)

1 1 MIX Electronic Musician 1 1 EQ Sound on Sound 1 Pro Audio Review 1 Recording 1 Pro Sound News 1 Audio MIDI