CLUBMIX
OWNERS
MANUAL
Clubmix manual page 1
INTRODUCT I ON
The D&R ClubMix is an extremely compact and easy to handle 19" rack mountable mixing console which
incorporates all the necessary facilities for public address, and discotheques.
The ClubMix is the answer to all those situations where a versatile "high quality" modular mixer is needed.
A choice of two modules is available. Mic/line modules and a stereo line/phono module.
The 19" rack frame can accept a maximum of 10 input modules.
To become familiar with all the facilities of the ClubMix we suggest you to read this manual very carefully.
It will give you important information about the operation, installation and service of this high quality product.
D&R Electronica Weesp b.v.
Clubmix manual page 2
2.0 MONO INPUT CHANNEL
The ClubMix channels are either mono or stereo. The front panel controls only differ in a few functions. We
shall describe the mono and stereo channels separately.
'.
2.1 Mic/line input channel
The channel can operate in either the microphone or line input mode.
The microphone input is an electronically balanced transformerless design.
The input impedance is greater than 2 kOhms which will not cause any loading effects (signal loss) on today's
studio microphones. The line level input has an input impedance greater than 10k Ohms which is high enough
to interface with all available peripheral equipment, keyboards and CD players.
2.2 Mic/line switch
The line input is selected when the LINE button is depressed. The channel input is now connected to the
balanced line input jack. In the up-position of this switch the balanced microphone amplifier is connected to the
XLR input on the back of this module.
2.3 Mic/line gain
The microphone input can be varied between -12 dBu and -65 dBu of gain with a good overload margin. The
line input gain (the same control but with selected line input) can be varied between -40dBu and +0dBu. Both
the mic and line amplifiers have their own input connectors. The mic input is a balanced XLR connector. The
line input amp is balanced on a stereo jack.
2.4 Equalizer
The equalizer of the ClubMix is a very musical and versatile section with three controls to span the entire
audio spectrum.
2.5 High
16dB of boost or cut is available at 10kHz with a shelving curve, which means that when the desired amount
of boost or cut is achieved all frequencies from l0K and above are boosted or cut equally.
2.6 Mid
This control has a range of + and - 16dB with a "bell" curve. Having reached its maximum/minimum at its
center frequency (1kHz) the amplitude response returns to zero on either side of that frequency.
A plot from that response shows a bell shape. The bandwidth of that bell curve is fixed.
2.7 Low
The low control has a shelving characteristic, like the high control 16dB of boost or cut from 60Hz down.
Clubmix manual page 3
3.0 AUXILIARY SECTION
There are two AUX send controls on each module. The second aux control is on a concentric knob on top of
the already fitted control.
Aux sends
The standard auxiliary sends are set pre and post-fader. Aux 1 is post fader and AUX 2 is pre fader. The aux
sends are designed to be post equal izer and post insert point.
3.1 VOICE OVER
The "Voice Over" switch sends a postfader signal to the control circuitry located in the master section to
attenuate music signals in a controlled amount for compact presentation.
4.0 THE PANPOT
This control (with a 4.5 dB loss at its center point) pans the signal between the left and right master buss .
5.0 CUE/ON
The Cue switch (pre fader listen) enables you to listen to the channel signal before the fader without effecting
the normal signal path to the master outputs.
The ON switch activates the input module when depressed. The On switch also closes contacts at the start
jack at the back of the console.
6.0 CHANNEL FADER
The channel fader has a slide length of 100 mm and is manufactured to give an exceptionally smooth feel in
operation .
7.0 CHANNEL IN/OUTPUTS
Located on the back of the console .
7.1 MICROPHONE INPUT
This is the XLR input for balanced condenser or dynamic microphones.
pin 1 is ground,
pin 2 is hot (in phase)
pin 3 is cold (out of phase).
7.2 LINE INPUT
This is a 1/4" tip ring sleeve jack which is balanced. The tip is hot, ring is cold and the sleeve is wired to
ground. This input has a sensitivity of -40dBu to 0 dBu.
The impedance is 10k Ohms. I t will accept any Line output of tape recorders, keyboards, CD players and so
on.
Clubmix manual page 4
7.3 Insert
This is the channel insert (placed ahead of the channel fader ) . The tip is the input and the ring of the stereo
jack is the output, both at a level of 0dBu.
7.4 START CONNECTOR
On the back of the console is a stereo jack labeled START which is put there to control start function of mono
signal sources such as jingle machines. It can also be used as a red light indicator for broadcast purposes.
8.0 THE TRIPLE INPUT CHANNEL
Basically there is not much difference in use between the mono and the triple input stereo channel in
controlling the sound. The Line B input amp can be replaced by a stereo phono input with R.I.A.A. correction
amp (optional). All the other electronics in the channel are doubled to achieve a full stereo output with a
minimum of crosstalk. The panpot has been changed into a balance control to justify incorrect balanced
signals. This module is capable of mixing stereo line signals, stereo phono signals and balanced mic signals,
all in one module.
8.1 LINE A/B SWITCH
The line A/B switch selects which input jack is activated. The optional R.I.A.A. correction amp can be placed
on the pcb very easily by taking out the J2 jumpers and putting the small board up side down on the
connectors J2 and J4.
By doing this the Line B input becomes an R.I.A.A. corrected phono input. The sensitivity and frequency
response is now changed to amplify phono cartridges correctly.
In the up position of the Line A/B switch the triple input module can accept the signal from line A input. In the
down position the line B jack can now accept phono cartridges. The tip is wired to the left channel amps and
the ring to the right channel amps. The phone amp has a built in correction amplifier which follows the
standard R.I.A.A. frequency curve within
0.5 dB.
The gain control of the stereo channel adjusts the incoming level of the phono cartridge or the stereo line
input.
8.2 GAIN
The gain control of the stereo channel adjusts the incoming level of all connected sources to the line A/B and
Mic xlr connectors.
8.3 EQUALIZER
The equalizer of the stereo channel has the same characteristics as the one designed in the mono channels. It
consists of two shelving controls for high and low frequencies and a bell curve control for the mid frequencies.
(see description in mono channel)
8.4 AUX SENDS
The aux sends are factory set pre and post fader. The Aux 1 is postfader is mono and receives a summed left
right signal. Aux 2 is mono and wired pre fader and receives a summed stereo signal.
Clubmix manual page 5
8.5 CROSSFADER ASSIGN SWITCHES A/B
The two black switches labeled A and B are routing the output of the stereo module to the left(A) or Right (B)
side of the crossfader. In this way it is possible to crossfade between any module that is assigned to the
crossfader. It is possible to have multiple modules assigned to the crossfader section.
8.6 BALANCE CONTROL
This control is able to correct incorrect stereo balanced signals. It can even cancel one signal either left or
right.
8.7 ON SWITCH
The ON switch naturally switches the channel's audio on but it can also serve start functions of equipment.
There are several possibilities to start equipment connected to the start jack.
1. The On switch closes contacts
2. The Cue switch can start equipment
3. A fader start can do the job
4. The ON switch in series with the fader
5. The On switch in series with the fader and the Cue switch in parallel
It is up to you how you want this function to be active in your set up.
In the technical section we will explain how to achieve all these individual possibilities.
8.8 CUE SWITCH
The Cue switch brings the stereo signal pre-fader to the phones section for setting up channel levels and
checking out signal sources. The Cue switch is also able to start equipment when cueing only.
8.9 FADER
The stereo channel fader has a length of 100 mm. and is manufactured to give an exceptionally smooth feel in
operation. A start switch is optional and can be fitted when ordered in advance.
9.0 STEREO CHANNEL INPUTS
These are located at the back of the console and are accessible through jack sockets and an XLR connector.
9.1 LINE A
This is a stereo input for line level input signals with a sensitivity between -20dBu and +20dBu
9.2 LINE B
The line B input is a stereo jack socket accepting a quarter inch stereo plug. Tip is left and ring is right sleeve
is ground. If a mono signal has to be connected to the stereo channel it is necessary to short circuit both tip
and ring with each other. Note: If a mono jack plug is inserted only the left channel will function. The right
channel path input is shorted to ground.
The B input can also be converted to a Phono input as described before. The tip will be the left input and the
ring will be the right input.
Clubmix manual page 6
9.3 START
The start stereo jack connector is for connecting the start functions with external equipment.
If a fader start switch is fitted the tip of the stereo jack socket will short to the ring when the fader is up or the
ON switch is activated or the Cue switch.
10.0 MASTER MODULE
The master module of the ClubMix contains all the electronics for the summing of the left/right signals, the aux
signals, the crossfader signals, the Cue signals, the voice over signals, and the control room monitoring as
well as the power supply. The width of this module is four times the width of the channel module.
10.1 LED BARS
The ledbars are peakreading instruments with attack and release times confirming world standards. The 0dB
led lights when the output reaches +10dBu. This also conforms to studio standards. The peakreading ledbars
are calibrated -6dB down from the output of the console. The ledbars will indicate all levels heard in the
PHONES signal path.
If a different calibration is requested, two small holes below the ledbars allow for adjustment of the ledbar
sensitivity.
10.2 AUX SENDS
The aux. sends are the master controls of the outgoing level to the aux. outputs. Nominal level is +4dBu
ground compensated balanced at 100 ohm output impedance. There are two CUE switches to check the AUX
outputs post fader.
10.3 AUX RETURN
The aux return is a stereo line input for the program mixing amps, the Voice Over does not have any influence
on these because the Aux return is intended to return effects coming from mics from the mono channels that
control the Voice Over circuitry.
All signals are fed to the program mix amp and adjusted in level by the aux return control.
There is a CUE switch to listen pre fader Aux return.
10.4 VOICE OVER SECTION.
The Voice over section controls the level dynamically of the signals coming from the stereo channels.
Any Mic/Line channel where a voice over switch is activated is able to lower the program level (which are the
stereo signals coming from the stereo modules directly or through the crossfader section), in a controlled way.
This feature is used when announcing needs to be done without having to control all sorts of levels at the
same time. It also gives a very compact way of combining music with speech.
The amount of attenuation of the music signal can be controlled by the ATT control.
( A maximum of 20dB is possible).
The voice over switch activated the circuit when needed. The REL control below the ATT control controls how
fast the music returns to its original level after the control voltage from the mic/line modules has stopped. In
large buildings with back ground music and regularly announcements it is wise to set the REL(ease) control
halfway or even further to avoid having music between each word or line spoken.
Clubmix manual page 7
10. 5 LIGHT OUTPUT
The light output of the ClubMix is a transformer isolated output to control light equipment.
There is a source selector for choosing between Program (which is all that is send to the master) or Music
only. A level pot controls the output.
10.6 ZONE 1 OUTPUT
The ClubMix has three individually adjustable main outputs apart from the Light, Aux, Subbass and Phones
outputs.
The Zone 1 output is intended to be the main output of the console. It is a ground compensated balanced XLR
+4dBu output, which can be switched to mono.
The ZONE 1 output will give all signals send to the output through direct routing from the channels pan-pots
and balance controls, as well as all signals coming from the crossfader section. Both left and right outputs
have inserts for limiters and or graphic equalizers.
10.7 ZONE 2 OUTPUT
The Zone 2 output is a parallel output of the Zone 1 section and has the same signal sourcing.
The signal is taken "pre" inserts and fed to the Zone 2 stereo fader.
The FLW PHONES switch is designed to give the same signal as the is in the PHONES section. Some D.J.'s
prefer not to work with headphones and this is an ideal way of monitoring through loudspeakers. The output of
the ZONE 2 section is unbalanced on an XLR type connector with a level of +4dBu.
10.8 ZONE 3 OUTPUT.
The Zone 3 output is a +4dBu unbalanced output on a jack connector.
by the rotary knob and the balance between microphone channels and stereo channel can be set anywhere
between the two sources.
The level can be controlled and there is
10.9 PHONES
The Phones section has many useful possibilities which we will explain in detail.
The input source can be either the cue signals from the channels or the zone 1 or 2 outputs.
A Cue led indicates that anywhere in the console a Cue switch is activated which will in turn disconnect the
Phones section from the main output signal and redirect it to the selected Cue switch.
All stereo signals will be heard in stereo.
The SPLIT switch directs the program signal(everything that is coming from the channels) to the left and the
summed stereo cue signal to the right. This circuitry makes syncing of two input signals an easy task. The
program signal can be mixed into the Cue signal (if necessary), so the main signal will not disappear
completely when using the autocue function.
The Phones amplifier is capable of driving headphones extremely loud. It can handle headphones as low as 8
ohms.
10.10 CROSSFADER
The crossfader is fed by the assign switches in the stereo channels and makes crossings possible between
any of the assigned input channels.
Any D.J. knows what to do with these types of crossfaders.
Clubmix manual page 8
10.11 PUNCH SWITCHES
The punch switches control soft fet switches which silently mute one or two of the crossfader outputs, this
feature creates intermittent rhythmic effects needed in today's live d.j. performances.
10.12 POWER SUPPLY
The power supply, which is located in the master section, is a highly regulated circuit with a torroidal
transformer to minimize hum pickup.
The phantom power supply switch sets +48 volt on every microphone input , when the individual jumper
setting on the mic/line channels is set to receive the phantom voltage.
11.0 MASTER IN/OUTPUTS
Located on the back of the master module the master in/outs are quarter inch jack sockets and XLR type
connectors.
11.1 ZONE 1 OUTPUT
These outputs are ground compensated balanced which means that they behave like a balanced output but
without the doubling of output power related with servo balanced output amps.
The XLR type connector wiring is conform international standards, pin1 is ground, pin2 is hot, pin3 is cold.
11.2 ZONE 3 OUTPUTS
This output is an unbalanced output which is wired as follows pin1 is ground, pin2 is left signal, and pin 3 is the
right output signal.
11.3 SUBBASS OUTPUT
The Subbass output of the ClubMix is a +4dBu ground compensated balanced output which has a frequency
roll off above 150 Hz by a gentle 6 B per octave avoiding phasing errors.
The subbass output is directly fed from the Zone 1 output.
The Zone 1 output controls the level of the subbass output at the same time.
11.4 LIGHT OUTPUT
The transformer balanced light output has a level of +4dBu and is wired on a stereo jack plug with the
transformer winding between the tip and ring. It is important not to wire the ground of this jack to the light
equipment. By only wiring the tip and ring to the light equipment a separation of ground is guaranteed, which is
important for your safety.
11.5 TAPE OUTPUT
The tape outputs are derived just ahead of the master f aders and the inserts so the signal is unaffected by
adjustments of the master faders.
The tape output level is -10dBv with an impedance of 100 ohms.
This output can also be used to drive any other equipment necessary if there is a need for an extra output.
Clubmix manual page 9
11.6 AUX RETURN
The aux return is a stereo jack socket. The tip goes to the left program buss and the ring to the right program
buss.
A mono signal source has to feed both tip and ring simultaneously.
WARNING If a mono jack is used in the aux return jack, the right input will be shorted to ground and there will
be no signal in this return.
11.7 AUX SENDS
The aux sends are ground compensated output jacks wired as balanced outputs.
The tip is hot, the ring is the ground compensation, the sleeve is ground.
Output level is +4dBu at an impedance of 100 ohm.
11.8 INSERTS
The inserts are send and return signals on one jack. The ring is the send at 0dBu level at 100 Ohm. The tip is
the return with an input impedance of 10 kOhm which will slightly vary with the master fader settings.
12.0 POWER/FUSE
The power supply is primarily fused between the power supply cable and the power supply transformer.
For 220 Volt use the value is slow 3.15 Amp.
For 110 Volt use the value is slow 6.30 Amp.
Clubmix manual page 10
13.0 OPERATION
The ClubMix is designed to be the perfect answer to all stereo output mixing situations.
The console can accept a maximum of 10 input modules these can be mono and/or stereo modules.
13.1 STANDARD CONTROL SETTINGS
Before you switch on the ClubMix check whether you have a 110 Volt version or a 220 Volt version. This has
to match with your local voltage.
Before you apply voltage to the ClubMix put the switches and controls in the following settings:
Channels
Input/CUE switches
Gain controls
Equalizers
Aux sends
Panpots/balance controls
Faders
Up/down dependent upon connected
signal sources.
Fully counter clockwise.
12 o'clock position.
Fully counter clockwise.
12 o clock position
Fully down.
Master section
All controls
Faders
Fully counter clockwise.
Fully down.
13.2 Connector
Before you apply power to the ClubMix you have to wire up your system first.
To be of help with this job we will summarize all type of connectors with their associated wiring. Be very
careful with this wiring procedure.
Use professional soldering equipment to achieve professional results.
The quality of the solder joints and their isolation is tremendously important for the reliability of the whole
system.
MONO Channels:
XLR inputs
level : -65 dBu to -0dBu.
pin 1 : signal ground (shield)
pin 2 : signal high (in phase +)
pin 3 : signal low (out of phase-)
Line inputs
level : -20 dBu to +20dBu.
tip : signal high (in phase +)
ring : signal low (out of phase -)
sleeve : signal ground.
Inserts
(only mono mic channels)
level : 0dBu (0.775 Volt)
tip : return signal.
ring : send signal.
sleeve : ground.
Clubmix manual page 11
STEREO INPUT CHANNELS
XLR inputs
level : -65 dBu to -0dBu.
pin 1 : signal ground (shield)
pin 2 : signal high (in phase +)
pin 3 : signal low (out of phase-)
Line B inputs with R.I.A.A.
Phono inputs level : 2 - 5 mV.
tip : left.
ring : right.
sleeve : ground.
Stereo line inputs
level : -20 dBu to +20dBu
tip : left.
ring : right.
sleeve : ground.
START connector
level 24 volt 500mA max.
Shorts between tip and ring when activated
ZONE 1 Master outputs
level + 4dBu (1.22 Volt).
XLR connectors.
pin 1 : signal ground (shield)
pin 2 : signal high (in phase +)
pin 3 : signal low (out of phase-)
ZONE 2 LEFT/RIGHT
Level +4dBu (1.22volt) XLR connectors.
pin 1 : signal ground (shield)
pin 2 : Left
pin 3 : Right
SUBBASS OUTPUT
jack +4dBu at 100E
tip: in phase
ring: ground compensation
sleeve: ground
LIGHT OUTPUT
Jack +4dBu at 100 Ohm
tip: in phase
ring: out of phase
Sleeve: ground
ZONE 3 OUTPUT
Jack +4dBu at 100 Ohm
tip left.
ring : right.
sleeve : ground.
INSERTS
level : 0dBu (0.775 Volt)
tip : return signal.
ring : send signal.
sleeve : ground.
Clubmix manual page 12
TAPE OUTPUTS
level -10dBv (300 mv).
tip : left output signal.
ring : right output signal
sleeve : ground.
AUX RETURN
level : 0dBu-(775 mV)
tip : left input.
ring : right input.
sleeve : ground.
AUX SENDS
Jack connector level : + 4dBu (1.22 Volt).
tip: in phase.
ring: ground compensation
sleeve: ground
PHONES
Stereo jack, level : + 4du (1.22 Volt)
tip: left output
ring: right output
sleeve: ground
Clubmix manual page 13
14. INSTALLATION
Applying power
.
Before switching on the power supply of the ClubMix, check the main voltage of the supply by looking at the
sticker on the back of the console, and see whether the power cord matches the ones you are used to work
with. This also indicates that your ClubMix has been wired for correct voltage.
This should be 110 Volt for area's with voltage from 100 Volt to 120 Volt and 220 Volt for area's with voltages
between 220 and 240 volts.
Main voltages:
The main fuse should be 3.15 Amp. slow blow for 220 Volt, and 6.3 Amp 20 mm. slow blow for 110 Volts.
NOTE Do n o t replace the fuse with any other type, as this should become a safety hazard and will void the
warranty.
14.1 INTERFACE LEVELS
The ClubMix is prepared for interfacing with almost all available equipment.
One point of attention has to be made concerning the output. The outputs deliver a nominal +4dBu level,
which is sometimes too high for power amps rated at 300mV sensitivity for full output. In those cases you
should install an input attenuator at the power amps input to reduce this + 4dBu level by approximately 12dB.
Use a 2K2 series resistor and a 680 ohm shunt resistor across the amplifier inputs.
14.2 GENERAL WIRING PROCEDURES
To take full advantage of the excellent signal to noise ratio of the ClubMix it is necessary to carefully read this
part of the manual.
Hum, radio frequency interference buzzes and instability are often caused by improper wiring and inferior
grounding systems! Sometimes the incoming mains ground is not adequate for studio and a separate
technical ground has to be made for all the audio equipment.
Your electricity supply company will give you all the details to avoid insufficient safety regulations. There are
some ground rules to be followed.
All signals in a studio are referenced to ground. This ground has to be clean and free of noise. A central point
should be decided for the main ground point system and all grounds should be started f from this point .
The way your electricity company has daisy chained the ground in your situation is unsuitable for your studio.
The best way is to run a separate ground wire from each outlet to the system starpoint ground. This the safety
ground earth and screen reference for all your equipment.
A separate wire from all the equipment racks to the starpoint is nice to have in cases where the ground via
main plugs is not satisfying.
The starpoint should be located at the rear of the console or equipment rack .
All equipment has to be located as far as possible from the incoming mains distribution boxes.
Unbalanced equipment may need to be isolated from the rack to avoid
ground loops.
Clubmix manual page 14
14.3 SETTING UP THE INITIAL WIRING
First connect the power supply of the ClubMix to the console. All faders must be down and the Phones control
at 12 o'clock with a headphone set connected.
Connect the power amps or headphones to the Phones outputs and check for any hum buzz or interference. If
this is allright proceed.
b. Now the inputs can be wired up. Check every channel that is wired to your equipment individually. Carefully
listen for noise and/or hum.
c. Connect stereo tape recorders microphones and all other equipment one by one and all signal processors
one at the time and keep checking that your system stays clean. If not carefully check for a ground loop.
14.4 SHIELDING/EARTHING OF AUDlO EQUIPMENT
The shield of any audio connection should be connected at one end only. If not ground loops and high
frequency crosstalk will be the result.
Connect the shield as a general rule to the signal source end. In high R.F. area's it is wise to ground the other
end of shield via a 0.01 uf capacitor. This will be a short circuit at high frequencies but not at low frequencies.
Typical shielding situations:
Output
Input
Connec t
shield at
Unbalanced
Unbalanced
Unbalanced
Balanced
Balanced
Balanced
Unbalanced
Balanced
Differential
Unbalanced
Balanced
Differential
Source
Source
Source
Destination
Source
Destination
I is essential to study the signal flow chart carefully. This will help to isolate problems in the ClubMix. If you
follow the signal from input to output jacks it is possible to locate a fault.
If a fault is located, inform your dealer or us and we will assist you by phone. If this will not help return the
channel or master to your dealer, or the factory and we will be happy to repair it within 24 hours. Many faults
can be found by logical thinking and replacing integrated circuits, which is very easy. They are all socketed .
Clubmix manual page 15
15.0 WORKING WITH THE CLUBMIX
After you have wired up the ClubMix properly as described in earlier pages, it is time to switch on the unit. All
the control settings are as described under the heading "control settings". The ledbar will light up partly and
fall down slowly leaving the ON led on.
Now your ClubMix is ready to operate .
Push down the CUE button and adjust the gain control until the ledbars are reaching the zero dB position. Do
this for every channel where a signal is connected . Now that all basic adjustments are made you can mix all
the signals together.
Set the master faders fully open (10 position). Now bring up the channel faders with the right amount of level
needed for the perfect mix. You can now adjust the equalization until the right coloration of the sound has
been made. Please note that levels can increase i f you boost the equalizers because of this, it may be
necessary to go back and push CUE on each input and check the input gain as described before.
Optimum level in the channel is around 0db, this means a headroom of more than 22dB and a signal to noise
ratio of more than 78 dBr can be achieved . If levels are too high in the channels, you are giving up headroom
and improving signal to noise ratio .
This is a trade off . On the other hand, too low of a level in the channel will increase the headroom and
decrease the signal to noise ratio. When all your levels are set correctly you will maintain the excellent signal
to noise ratio the ClubMix offers.
This is the single most important thing in producing a clean, clear, and professional sound.
15.1 AUX SENDS AND RETURNS
The master aux send controls has to be turned fully clockwise and the aux return turned clockwise to a
desired level. Now turn the aux send controls on the individual channels until you hear the effect level you
require. You must watch the input and output level of the connected ancillary equipment as well.
15.2 PAN-POT/BALANCE
These controls let you set the position of the signal in the stereo image.
Note:
The pan pot has an attenuation of -4.5 dB in the middle to achieve a good panning range between left and
right. To make a proper level set-up you set the pan pot fully left or right, only then you can check the 0dB
positions on the channel and master faders.
On the stereo channel ) the center position on the balance control is the calibration position.
15.3 LEDBARS
In order to achieve optimum results we choose a peak-reading LEDBAR design. This means the meter is
calibrated 6dB down from the measured output . The 6db down calibration is an international standard and is a
good compromise between peak and average levels.
If any other setting is required we have designed the calibration trimmers close to the front panel so you can
adjust them yourself.
Clubmix manual page 16
15.4 PHONES
The headphone output is a stereo jack (tip-left ring-right) which is capable of driving 8 - 600 ohm headphones.
The output normally gives the stereo master signal but as soon as a CUE switch is activated this master signal
is automatically switched to this activated channel.
This signal can be stereo or mono depending upon the chosen channel (mic/line or stereo line).
15.5 OUTPUTS
Apart from the normal ZONE 1/2/3 Subbass and light outputs with their +4dBu level there are also tape
outputs. These tape outputs are not effected by the master faders and have a level of -10dBV and are in
phase with the main outputs. These tape outputs can also be used for driving lighting equipment.
16.0 REMOVING A MODULE
Switch off the power supply first. Remove the writing strip on top and bottom of the modules by simply taking
them from the front panels. They are hold down by magnetic tape.
Now remove the two module retaining screws which will allow to careful ly withdraw the module from the
console. First move the module backwards to take the jack connectors output their mounting holes and
remove the flatcable connector and XLR wiring by unplugging its 3 pin connector.
Now the module can be lifted out of the chassis. The same applies for the master module although there are
more screws and more f latcables connectors .
17.0 PRODUCT SAFETY
The product you just unpacked is manufactured with safety in mind and it is double checked in the quality
control department for reliability in its "high voltage section".
CAUTION
* Never open your equipment yourself there are no users serviceable parts inside.
* Opening the unit should be done only by a trained and qualified service technician, who is fully aware that
it can be dangerous to service a mains powered unit.
* Always G R O U N D t he unit.
* Only make use of the product in a way as is described in the manufacturers brochures and manuals, never
use it for other purposes than intended by the manufacturer.
* Never use this equipment in an environment with high humidity or expose it to water.
* Do not use this equipment in the rain, snow, or equivalent type of weather.
* Check your mains cord regularly and see if it is in safe condition with properly connected mains plugs on one
side and securely tightened in the equipment on the other side.
* Return your product yearly to your dealer to give it a safety check.
* The hazard of an electrical shock can be avoided by careful ly following the above mentioned rules.
Clubmix manual page 17
PLEASE CAREFULLY READ THE FOLLOWING INFORMATION
Especially in sound equipment on stage the following information is essential to know.
An electrical shock is caused by voltage and current, actually it is the current that causes the shock.
In practice the higher the voltage the higher the current will be and the higher the shock.
But there is another thing to consider and it is resistance . When the resistance (in ohms) is high between two
poles the current will be low and visa versa.
All three of these; voltage current and resistance are important in determining the effect of an electrical shock.
However the severity of a shock is primarily determined by the amount of current flowing through a person.
A person can feel a shock because the muscles in a body respond to electrical current and because the heart
is a muscle, it can be affected, when the current is high enough.
Current can also be fatal when it causes the chest muscles to contract and cause you to stop breathing. At
what potential is current dangerous? Well the first feeling of current is a tingle at 0.001 amp of current. The
current between 0.1 and 0.2 amp is fatal. Imagine that your home fuses of 20 amp can handle 200 times more
current than is necessary to kill.
How does resistance effect the shock a person feels? A typical resistance between one hand to the other in a
"dry" condition could be well be over 100.000 ohm. If you are playing on stage your body is perspiring
profusely and your body's resistance is lowered by more than 50% ! This is a situation in which current can
easily flow. Current will flow when there is a difference in ground potential between the housing of the mics
and the guitarsynth amps which will be linked by your body on stage.
Imagine a guitar in your hand and your lips close to the mic! A ground potential difference of above l0 Volts is
not unusual. In improperly wired buildings it can possibly be as high as 240 Volts. Although removing the
ground wire sometimes cures a system hum, it will create a very hazardous situation for the performing
musician.
ALWAYS GROUND all your equipment by the grounding pin in your mains plug. Hum loops should only be
cured by proper wiring and isolation input/output transformers. Replace fuses always with the same type and
rating after the equipment has been turned off and unplugged. If the fuse blows again you have an equipment
failure do not use it again and return it to your dealer for repair.
DO NOT TOUCH a person being SHOCKED. You could also be hocked, once removed from the stock have
someone send for medical help immediately.
ALWAYS KEEP THE ABOVE MENTIONED INFORMATION IN MIND
WHEN USING ELECTRICALLY POWERED EQUIPMENT.
Clubmix manual page 18
Conformiteitsverklaring
volgens ISO/IEC leidraad 22 en EN 45014
Naam fabrikant
Adres fabrikant
D&R Electronica Weesp b.v.
Rijnkade 15B, 1382 GS Weesp,
The Netherlands
verklaart dat het produkt
Naam produkt
Modelnummer
Produktopties
CLUBMIX
n. a.
n. a.
voldoet aan de volgende produkt specificaties:
Veiligheid
EN 60950: 1988 +A1, A2
EMC:
CISPR-22: 1985 / EN 55022: 1988 klasse B (*)
EN 50082-1: 1992
IEC 801-2:1991 / prEN 55024-2:1992 - 3kV CD, 8kV AD
IEC 801-3:1984 / prEN 55024-3:1991 - 3 V/m
IEC 801-4:1988 / prEN 55024-4:1992 - 0.5kV signaalkabels,
1 kV voedingskabels.
Aanvullende informatie:
Het produkt voldoet hierbij aan de eisen van de richtlijn voor;
Laag voltage 73 / 23 / EEG
EMC-richtlijn 89 / 336 / EEG.
(*) Het produkt is getest in een normale gebruiks situatie.
Clubmix manual page 19
Summary
In this manual we have tried to give you an oversight of all the possibilities the ClubMix offers you.
If there are any questions left do not hesitate to contact us or your dealer.
We wish you many years of enjoyable music.
D&R Electronica Weesp b.v.
Rijnkade 15B
1382 GS WEESP-The Netherlands
Phone ++31 294 418 014
Fax: ++31 294 416 987
E-mail: d-r.nl
Website: www.d-r.nl
Clubmix manual page 20
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