6, 8,10,12,16 CHANNEL MIC/LINE MIXER OWNERS MANUAL

6, 8,10,12,16 CHANNEL MIC/LINE MIXER OWNERS MANUAL
6, 8,10,12,16 CHANNEL
MIC/LINE MIXER
OWNERS MANUAL
OPTIONAL USES FOR INSERTS
WARNING:
CAUTION
POWER
CH1
CH2
SERIAL NUMBER
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK. DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AC IN / FUSE
AVIS:
REPLACE WITH THE SAME TYPE FUSE AND RATING.
CAUTION: DISCONNECT
SUPPLY CORD BEFORE CHANGING FUSE. ATTENTION:
CH3
CH4
AUX
SEND
CH5/6
MIC
MIC
MANUFACTURING DATE
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE.
MIC
MIC
LINE
LINE
LINE
INSERT
INSERT
INSERT
INSERT
1
2
-10
PHONE
L/MONO
R
3
-10
TRIM
HI
0
TRIM
HI
0
12KHz
56
-10
+4
TRIM
HI
L
L
0
12KHz
0
12KHz
LEFT
RIGHT
R
R
G1
REC
G2
GROUP OUT
-10
+4
TRIM
HI
OUT
78
-10
+4
MAIN
TAPE ON
R
4
-10
+4
FOR USE AS AN EFFECTS LOOP
(TIP=SEND, RING=RETURN)
RETURN
TAPE IN
+4
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
CH7/8
L/MONO
LINE
STEREO
PLUG
MONO PLUG
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
POWER
+4
TRIM
HI
0
12KHz
TRIM
HI
0
12KHz
+48V
12KHz
PHANTOM
-15
+15
-15
0
+15
-15
0
MID
+15
-15
0
MID
2.5KHz
+15
-15
0
MID
2.5KHz
+15
-15
0
MID
2.5KHz
+15
MID
+
2.5KHz
10
0
MID
2.5KHz
2.5KHz
7
4
-15
+15
-15
0
+15
-15
0
LOW
-15
0
LOW
80Hz
+15
-15
0
LOW
80Hz
+15
-15
0
LOW
80Hz
+15
2
0
LOW
80Hz
+15
LOW
80Hz
0
80Hz
2
GRAPHIC EQUALIZER
63Hz
-15
+15
0
-15
+15
0
SEND/
EFF
-15
+15
0
SEND/
EFF
-15
+15
0
SEND/
EFF
-15
+15
0
SEND/
EFF
-15
150Hz 400Hz
4
1KHz 2.5KHz 6.4KHz 15KHz
7
+15
0
SEND/
EFF
+12
SEND/
EFF
+12
10
20
-15
+15
-15
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
+15
-15
PAN
0dB
+15
PAN
0dB
0
-12
L
R
L
R
L
R
L
R
L
PHONE LEVEL
PAN
R
L
-12
R
+15
L-R
L-R
L-R
L-R
L-R
L-R
L-R/
G1-2
G1-2
G1-2
G1-2
G1-2
G1-2
G1-2
G1-2/
L-R
dB
dB
10
5
5
5
5
5
5
5
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
10
dB
10
dB
10
PEAK
dB
10
5
PEAK
dB
10
PEAK
dB
10
5
PEAK
dB
10
PEAK
dB
10
5
PEAK
dB
10
A. INPUT CHANNEL SECTION
2~3
B. STEREO CHANNEL SECTION
4~5
C. MASTER SECTION
6~7
D. MIXER OUTPUT SECTION
8
E. POWER SECTION
9
F. INSTALLATION
9
G. CONNECTIONS
10~11
H. APPENDIX
12
I. BLOCK DIAGRAM
13
Ultra low noise 6,8,10,12,16 - Channel Mic / Line Mixer
2, 4, 6, 8, 12 Mono Input Channels with gold plated XLRs and balanced Line Inputs
Ultra-low noise discrete Mic Preamps with +48 V Phantom Power
2 Stereo Input Channels with balanced TRS Jacks
Extremely high headroom - offering more dynamic range
Balanced Inputs for highest signal integrity
Ultra-musical 3-band EQ on all channels
Peak LEDs all Mono and Stereo Channels
1 Aux Send per channel for external effects and monitoring
Built in digital multi effect
2-Track Inputs assignable to Master Mix Output
Highly accurate 10 segment Bargraph Meters
Separate Master Mix Outputs
SAFETY INSTRUCTIONS
CAUTION:
To reduce the risk of electrical shock, do not remove
the cover (or back). No user serviceable parts inside;
refer servicing to qualified personnel.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: To reduce the risk of fire or electrical shock, do not
expose this appliance to rain or moisture.
This symbol, wherever it appears, alerts
you to the presence of uninsulated
dangerous voltage inside the enclosure
- voltage that may be sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts
you to important operating and maintenance instructions in the accompanying
literature. Read the manual.
1
A. INPUT CHANNEL SECTION
CH1
1. BALANCE INPUT (MIC)
Electronially Balanced inputs acceptable a standard XLR male
connector.
+ 48V Phantom Power available on each input Mic socket.
and this switch is on Rear Phantom Power.
2. LINE INPUT
The unbalanced Mic input is provided for the use of an unbalance
mic and is designed to accept an unbalanced high impedance
input signal.
(This use for connection Deck, Turntable, Keyboard etc..)
1
MIC
2
LINE
3
INSERT
3. INSERT
The INSERT is a break point in the input channel signal path. It
allows the signal to be taken out from the mixer, through an
external equipment such as a compressor, and then back to the
mixer to continue the final mix output.
1
-10
4
+4
4. TRIM
This has a function which adjusts the input sensitivity of each
channel in order to input the constant level of the signal.
12KHz
5
5. HI EQ
This control gives you up to 15 dB of boost or cut at 12KHz and
above, and it is also flat at the detent. Use it to add sizzle to
cymbals, and an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to
reduce sibilance, or to hide tape hiss.
6. MID EQ
Short for “midrange”, this knob provides 12 dB of boost or cut,
centered at 2.5KHz, also flat at the center detent. Midrange EQ is
often thought of as the most dynamic, because the frequencies
that define any particular sound are almost always found in this
range. You can create many interesting and useful EQ changes
by turning this knob down as well as up.
2
TRIM
HI
0
-15
+15
0
MID
2.5KHz
6
-15
+15
7. LOW EQ
8. AUX /EFF
This is normally derived after the EQ and channel fader (POST
FADE, POST EQ), and is therefore follow any changers in fader
level. They are normally used to drive effects processing units
which are fed back into the mixer and which must fade out with the
input channel.
80Hz
7
-15
+15
0
The pan control sends continuously variable amounts of the post
fader signal to either the left or right and G1 or G2 main busses. In
the center position equal amounts of signal are sent to the left and
right or G1 & G2 busses.
SEND/
EFF
8
-15
+15
PAN
9
L
9. PAN
LOW
10
L-R
11
G1-2
R
13
dB
10. STEREO (L / R)
10
Push the switch, can use ST L-R fader.
During the stereo L-R switch pushed, you can't use ST L-R fader.
PEAK
This control gives you up to 15 dB boost or cut at 80Hz and below.
This circuit is flat (no boost or cut) at the center detent position.
This frequency reptesents the punch in bass drums, bass guitar,
fat synth patches, and some really serious male singers.
0
5
0
11. GROUP 1-2
Push the switch, can use GROUP 1-2 fader.
During the G1-2 switch pushed, you can't use stereo L-R fader.
5
12
10
20
12. CHANNEL FADER
This is function to adjust the volume of signal connection into each
channel and adjust the volume of output, together with master
fader. Normal operating position is at the “O” mark, providing 4dB
of gain adove that point, if required.
30
40
50
60
13. PEAK
A red LED indicates a signal level at the insert return point,
premaster fader, It illuminates at approximately 5dB below clipping.
3
B. STEREO CHANNEL SECTION
CH5/6
14. LEFT (MONO) / RIGHT
Line with connection 1/4 jack as line input of L, R stereo and input
the signal of balance line level. If the signal input into the input
terminal of left side, output the mono output to left & right side. If
the signal input the input terminal of right side, output into the right
side only.
If each signal input the input terminal of left & right, output a stereo
of left & right.
L/MONO
14
R
15. TRIM
This has a function which adjusts the input sensitivity of each
channel in order to input the constant level of the signal.
56
-10
16. HI EQ
This control gives you up to 15 dB of boost or cut at 12KHz and
above, and it is also flat at the detent. Use it to add sizzle to
cymbals, and an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to
reduce sibilance, or to hide tape hiss.
15
18. LOW EQ
This control gives you up to 15 dB boost or cut at 80Hz and below.
This circuit is flat (no boost or cut) at the center detent position.
This frequency reptesents the punch in bass drums, bass guitar,
fat synth patches, and some really serious male singers.
4
TRIM
HI
0
12KHz
16
17. MID EQ
Short for “midrange”, this knob provides 12 dB of boost or cut,
centered at 2.5KHz, also flat at the center detent. Midrange EQ is
often thought of as the most dynamic, because the frequencies
that define any particular sound are almost always found in this
range. You can create many interesting and useful EQ changes
by turning this knob down as well as up.
+4
-15
+15
0
MID
2.5KHz
17
-15
+15
0
LOW
80Hz
18
-15
+15
19. AUX /EFF
This is normally derived after the EQ and channel fader (POST
FADER, POST EQ), and is therefore follow any changers in fader
level. They are normally used to drive effects processing units
which are fed back into the mixer and which must fade out with the
input channel.
0
SEND/
EFF
19
-15
+15
PAN
20
20. PAN
The pan control sends continuously variable amounts of the post
fader signal to either the left or right and G1 or G2 main busses. In
the center position equal amounts of signal are sent to the left and
right or G1 & G2 busses.
L
21
L-R
22
G1-2
R
21. STEREO (L / R)
24
dB
10
5
22. GROUP 1-2
0
Push the switch, can use GROUP 1-2 fader.
During the G1-2 switch pushed, you can't use stereo L-R fader.
23. CHANNEL FADER
This is function to adjust the volume of signal connection into each
channel and adjust the volume of output, together with master
fader. Normal operating position is at the “O” mark, providing 4dB
of gain adove that point, if required.
PEAK
Push the switch, can use ST L-R fader.
During the stereo L-R switch pushed, you can't use ST L-R fader.
5
23
10
20
30
40
50
60
24. PEAK
A red LED indicates a signal level at the insert return point,
premaster fader, It illuminates at approximately 5dB below clipping.
5
C. MASTER SECTION
SEND/EFF
25. SEND / EFFECT
25
When this button is up, Post signal work as
send signal.
When this button is down, post signal work
as EFFECT singal.
27
AUX SEND
0
28
+15
26. AUX SEND / RETURN
0
26
29
This is used for adjusting volume of AUX
sound, when sending and return AUX
singal to used jack.
30
31
+15
AUX RETURN
27. FND
GRAPHIC EQUALIZER
INDICATE 256 Digital multi Effects.
63Hz
1KHz 2.5KHz 6.4KHz 15KHz
+12
+12
0dB
0dB
-12
-12
28. Pre-set
Push more than 5 seconds, It
automatacally memorize the displayed
program number. Once Just Push M1.
M2. M3. M4, always display memorized
program.
150Hz 400Hz
32
29. UP TAPE SWITCH
One push, one program up push with more
than 5 seconds hi-speed program up.
30. DOWN TAPE SWITCH
One push, one program down, push with
more than 5 seconds, hi-speed program
down.
31. MUTE
Effect ON/OFF.
32. STEREO GRAPHIC EQUALIZER
2X7-band equalizer is provided for tone
control over each frequency, and for
precise high quality sound by final tone
control.
dB
dB
dB
10
10
10
5
5
5
0
0
0
5
5
5
10
10
10
20
20
20
30
30
30
40
50
60
40
50
60
40
50
60
33. EFFECT LEVEL
Using by this control, you can adjust signal
level of echo repeat & exteral effect.
34. OUTPUT MAIN FADER
(LEFT/RIGHT)
This is a master fader for adjustment for
volume of left/right output. Unity gain is
the top their travel.
6
33
34
35. POWER LED
The POWER LED will be turned on when strt working.
35
36. PHANTOM LED
POWER
36
The LED will be turned on when strt working.
+48V
37. PHANTOM POWER SWITCH
37
Depressing this switch applies 48V DC across all microphone
input channels connectors for remote powering of condenser
microphones.
PHANTOM
+
38. OUTPUTS LEVEL INDICATOR
10
7
This is level meter which shows output levels of left & right
channel condition on the way of operation, therefore, you
can see output condition thru this master level indication.
4
2
0
38
39. HEADPHONE LEVEL
2
This is a single volume control sends the level to be the
headphones and main monitors.
4
7
10
40. HEADPHONE SWITCH
20
When L-R/G1-2 switch up, could monitor stereo (L-R) output
signal when L-R/G1-2 switch down, could monitor group
(G1-2) output signal.
41. L-R/G1-2 SWITCH
This switch routes the G1-2 mix output to the STEREO bus,
allowing G1-2 bus to be used two mono subgroups mixed
down to a single output when stereo is not required.
42. OUTPUT GROUPS 1-2 FADERS
Using by this control, you can adjust G1-2 output level.
PHONE LEVEL
0
39
+15
40
L-R/
G1-2
41
G1-2/
L-R
MULTI EFFECTS PROGRAM CHART
REVERB
DELAY
EFFECTS
VOCAL1
VOCAL2
LARGE HALL
SMALL HALL
LARGE ROOM
SMALL ROOM
PLATE
TAPE REVERB
SPRINGREVERB
MONO
STEREO
FLANGER
CHORUS
REVERB + DELAY
REVERB + FLANGER
REVERB + CHORUS
PROGRAM
001-016
017-032
033-048
049-064
065-080
081-096
097-112
113-128
129-144
145-160
161-176
177-192
193-208
209-224
225-240
241-256
dB
10
5
0
5
42
10
20
30
40
50
60
7
D. MIXER OUTPUT SECTION
43
44
AUX
PHONE
SEND
48
MAIN
OUT
LEFT
RIGHT
RETURN
L
L
R
R
TAPE ON
TAPE IN
45
REC
46
G1
G2
GROUP OUT
47
49
43. AUX SEND/RETURN JACK
This can be used to connect all kinds of effect form outside.
44. HEADPHONE JACK
You can monitor working condition by sound thru the headphone.
45. TAPE ON SWITCH
This is the TAPE IN switch when switch down, and can make the TAPE IN signal input the
STEREO bus.
46. TAPE INPUT JACK
This jack is to be connected with cassette deck when playing back.
47. RECORD PIN JACK
This jack is to be connected with cassette deck when recording the mixed output.
48 MAIN OUTPUT JACK (LEFT / RIGHT)
In this product, the final confirmed sound can be send to main amplifier through XLR & 1/4 jack.
49. GROUP 1-2 OUTPUT JACK
There are to be output with the volume control against inputting signal into GRPS 1-2 board.
8
E. POWER SECTION
50. POWER SWITCH
Push marked (1), when you want to operate. The LED (SEE NO, 33) will be turned on when
working
51. POWER JACK
This is out of connect the power supply (2 X AC 120V or 230V) jack.
OPTIONAL USES FOR INSERTS
WARNING:
CAUTION
POWER
AC IN / FUSE
CAUTION:
SERIAL NUMBER
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK. DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE.
AVIS:
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE.
ATTENTION:
MANUFACTURING DATE
STEREO
PLUG
MONO PLUG
INSERT ALL THE WAY IN TO
THE "SECOND CLICK"
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP
(TIP=SEND, RING=RETURN)
51
50
50
52
POWER
SPEAKER OUTPUTS
RIGHT
LEFT
A
A
B
B
51
AC INPUT / FUSE
52. SPEAKER JACK
This is same functions as below but the using jack is different.
F. INSTALLATION
Experience tells us that the cables in a studio environment get tangled very quickly (inviting
mistakes).
+6
SURROUND
+3
+1
MODEL-DVP-3000
AMPLIFIER
DIGITAL
0
-1
-3
L
-6
dB
R
01
09
17
25
02
10
18
26
03
11
19
27
04
12
20
28
05
13
21
29
06
14
22
30
07
15
23
31
08
16
24
32
POWER
CH3
CH4
AUX
SEND
CH5/6
MIC
MIC
LINE
LINE
INSERT
INSERT
L/MONO
R
PHONE
MAIN
OUT
LEFT
RIGHT
RETURN
CH7/8
L/MONO
R
L
L
R
R
TAPE ON
TAPE IN
REC
TAPE
G1
G2
GROUP OUT
OUTPUT
L&R
INPUT
L&R
9
G. CONNECTIONS
You will need a lot of cables for different purposes - see the following figures to make sure you have got the
right ones. Unbalanced equipment may be connected to balanced inputs/outputs. Either use mono 1/4" jacks
or connect ring and sleeve of TRS jacks.
Headphones
Tip =
Left signal
Ring =
Right signal
Sleeve =
Ground / Shield
Tip
Ring
Sleeve
Strain relief clamp
Headphone connection
Output
Cable
Input
Ground
Pin 1
2
1
Pin 2 = (+) Signal
3
Shield
(+) Signal + Hum
(-) Signal + Hum
Pin 3 = (-) Signal
1
2
Positive
(+)Hum + Signal
Negative
(-)Hum + Signal
3
2 x Signal
RFI and Hum
Compensation of interference with balanced connections
10
= Signal + 6 dB
Unbalanced use of
mono 1/4" jack plugs
Balanced use of
stereo 1/4" jack plugs
Tip =
Signal
Tip =
hot (+ve)
Ring =
cold (-ve)
Sleeve =
Ground / Shield
Sleeve =
Ground / Shield
Tip
Tip
Sleeve
Ring
Sleeve
Strain relief clamp
Strain relief clamp
For connection of balanced and
unbalanced plugs, ring and sleeve have
to be bridged at the stereo plug.
Balanced use with XLR connectors
2
1
3
1 = Ground / Shield
2 = hot (+ve)
3 = cold (-ve)
1
Input
2
3
Output
For unbalanced use pin 1 and pin 3 have to be bridged
Different plug types
11
H. APPENDIX
Specifications
Mono Inputs
Mic Input
Bandwidth
Distortion (THD & N)
Mic E.I.N (22 Hz - 22 kHz)
TRIM range
electronically balanced, discrete input configuration
10 Hz to 60 kHz ± 3 dB
0.01% at +4 dBu, 1 kHz, Bandwidth 80 kHz
-129.5 dBu, 150 Ohm source
-117.3 dBqp, 150 Ohm source
-132.0 dBu, input shorted
-122.0 dBqp, input shorted
+10dB to +60dB
Line Input
Bandwidth
Distortion (THD&N)
Line level range
electronically balanced
10 Hz to 60 kHz ± 3 dB
0.01% at +4 dBu, 1 kHz, Bandwidth 80 kHz
+10 dBu to -40 dBu
Equalization
Hi Shelving
Mid Range
Lo Shelving
12 kHz +/-15 dB
2.5 kHz +/-15 dB
80 Hz +/-15 dB
Steroe inputs
Line Input
Bandwidth
Distortion (THD & N)
unbalanced
10 Hz to 55 kHz ±3 dB
0.01% at +4 dBu, 1 kHz, bandwidth 80 kHz
Equalization
Hi Shelving
Mid bell
Lo Shelving
Lo Cut (High Pass) filter
12 kHz +/-15 dB
100Hz -8KHz +/- 15dB, Q fixed at 1 oct
80 Hz +/-15 dB, Q fixed 2 oct
-3dB at 75Hz, 18dB / oct
Master Mix section
Max Output
Aux Send Max Out
Control Room Out
Signal-To-Noise Ratio
+22 dBu balanced
+22 dBu unbalanced
+22 dBu unbalanced
112 dB, all channels at Unity Gain
Power supply
Mains Voltages
USA/Canada
U.K./Australia
China
Power
6CH
2X150W(4Ω)
12
~ 120 V AC, 60 Hz,
~ 240 V AC, 50 Hz,
~ 220 V AC, 50 Hz
8CH
2X200W(4Ω)
10CH
2X250W(4Ω)
12CH
2X300W(4Ω)
16CH
2X300W(4Ω)
L
AUX RETURN
STEREO AUX RETURN
EQ
R
H MID LO
3-EQ
MID
L
STEREO INPUT
INSERTS
HI
3-EQ
LO
FADER
FADER
RETURN
BAL
PEAK
PAN
R
L
G1
G2
G1
G2
AUX
AUX
R
L
L
LINE
TRIM
R
G
MIC
+48V
1
G
PH
2
AU
X
7 EQ
7 EQ
REC
G2
R
G1
L
RETURN
SEND
DSP
FADER
MIAN
MONO INPUT CHANNELS
PHONE
PHONES
G2 OUT
G1 OUT
RIGHT
MAIN MIX
LEFT
R
TAPE IN
L
SEND
I. BLOCK DIAGRAM
13
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