6, 8,12,16 channel mic/line mixer owners manual

6, 8,12,16 channel mic/line mixer owners manual
6, 8,12,16 CHANNEL
MIC/LINE MIXER
OWNERS MANUAL
A. INPUT CHANNEL SECTION
2~3
B. MASTER SECTION
4~6
D. MIXER OUTPUT SECTION
7
E. POWER SECTION
8
F. INSTALLATION
8
G. CONNECTIONS
9~10
H. APPENDIX
11
I. BLOCK DIAGRAM
12
Ultra low noise 6,8,12,16 - Channel Mic / Line Mixer
6, 8, 12, 16 Mono Input Channels with sliver plated XLRs and balanced Line Inputs
Ultra-low noise discrete Mic Preamps with +48 V Phantom Power
Ultra-musical 3-band EQ on all channels
Peak LEDs all Mono Channels
1 Aux Send per channel for external effects
Built in digital multi effect (16 DSP OR 256 DSP)
2-Track Inputs assignable to Master Mix Output
Highly accurate 10 segment Bargraph Meters
1 Stereo master output and 1 Stereo Group output
(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
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
2
3
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.
4. TRIM
4
This has a function which adjusts the input sensitivity of each
channel in order to input the constant level of the signal.
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.
7. 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.
2
5
6
7
8. AUX
This is normally derived after the EQ section and channel fader
(PRE-FADER, POSE-EQ), and is therefore unaffected by the fader
position and routing status. This makes the send particularly
suitable for foldback or monitor feeds, which need to be controlled
separately from the main P.A. Mix. All pre-fader sends may be
selected internally to be PRE-FADER, PRE-EQ.
8
9
9. 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 fader out with
the input channel.
10
11
12
10. 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.
13
11. PEAK
A red LED indicates a signal level at the insert return point,
premaster fader, It illuminates at approximately 5dB below
clipping.
12. STEREO (L / R)
Push the switch, can use ST L-R fader.
During the stereo L-R switch pushed, you can't use ST L-R fader.
14
13. 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.
14. 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.
3
B. MASTER SECTION
15. AUX SEND
This is used for adjusting
volume of AUX sound, when
sending AUX signal to used
jack.
16. AUX RET
Controls the level of effect
input signal.
15
17. HEADPHONE LEVEL
This is a single volume control
sends the level to be the
headphones and main
monitors.
16
17
18. LINE IN LEVEL
You can adjust the volume of
line in signal by this when
connecting line in.
19. EFFECT LEVEL
Using by this control, you can
adjust signal level of echo
repeat & exteral effect.
4
19
18
20. EFFECT PROGRAMS
When adjust switch 21,22,23,
24 more effects are displayed.
Push more than 5 seconds, It
automatacally memorize the
displayed program number.
Once Just Push M1, M2, M3,
always display memorized
program.
21
20
21. Pre-set
25
24
22
26
23
22. UP TAPE SWITCH
One push, one program up,
push with more than 5 seconds
hi-speed program up.
23. DOWN TAPE SWITCH
One push, one program down,
push with more than 5 seconds,
hi-speed program down.
24. MUTE
Effect ON/OFF.
25. OUTPUTS LEVEL
INDICATOR
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.
26. POWER LED
The POWER LED will be turned on when start working.
5
27. PHANTOM LED
The LED will be turned on
when strt working.
28. STEREO GRAPHIC
EQUALIZER
2X7-band equalizer is
provided for tone control over
each frequency, and for
precise high quality sound by
final tone control.
27
29. LINE (1 / 2) CHANNEL
CONVERSION FADER
This is a fader to control the
conversion of LINE 1, LINE 2
stereo channel. When it's
pushed on the left side, LINE
1 channel is working; right
side, LINE 2 working. If it's on
the center, LINE 1 & LINE 2
are on working at the same
time & get the sam gain.
28
30
29
31
30. PHANTOM POWER
SWITCH
Depressing this switch applies
48V DC across all microphone
input channels connectors for
remote powering of condenser
microphones.
31. L-R/G1-2 SWITCH
This switch routes the G1-2
32
33
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.
32. OUTPUT GROUPS 1-2 FADERS
Using by this control, you can adjust G1-2 output level.
33. 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
C. MIXER OUTPUT SECTION
34
35
37
36
38
39
34. LINE INPUT JACK
This jack is to be connected with cassette deck when playing back.
35. AUX SEND/RETURN JACK
This can be used to connect all kinds of effect form outside.
36. HEADPHONE JACK
You can monitor working condition by sound thru the headphone.
37. RECORD PIN JACK
This jack is to be connected with cassette deck when recording the mixed output.
38. GROUP 1-2 OUTPUT JACK
There are to be output with the volume control against inputting signal into GGOUPS 1-2 board.
39. MAIN OUTPUT JACK (LEFT / RIGHT)
In this product, the final confirmed sound can be send to main amplifier through 1/4 jack.
7
D. POWER SECTION
40. POWER SWITCH
Push marked (1), when you want to operate. The LED (SEE NO, 26 will be turned on when
working
41. POWER JACK This is out of connect the power supply jack.
42. SPEAKER JACK This is same functions as below but the using jack is different.
43. FAN Use the switch, it can fan the heat out, protect amplifier against burning.
40
41
43
40
42
41
E. INSTALLATION
Experience tells us that the cables in a studio environment get tangled very quickly (inviting
mistakes).
TAPE
OUTPUT
L&R
INPUT
L&R
+6
SURROUND
+3
+1
MODEL-DVP-3000
AMPLIFIER
DIGITAL
0
-1
-3
L
POWER
8
-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
F. 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
= Signal + 6 dB
Compensation of interference with balanced connections
9
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
3
Output
For unbalanced use pin 1 and pin 3 have to be bridged
Different plug types
10
2
G. 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
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
~ 120 V AC, 60 Hz,
~ 240 V AC, 50 Hz,
~ 220 V AC, 50 Hz
Power
6CH
250W+250W
8CH
300W+300W
12CH
350W+350W
16CH
350W+350W
11
R
LINE IN
L
L
AUX RETURN
STEREO AUX RETURN
INSERTS
LINE
MIC
TRIM
HI
MID
3-EQ
LO
FADER
RETURN
PEAK
PAN
AUX
EFF
R
G2
G1
L
L
R
G
PH
1
G
+48V
2
AU
EF X
F
R
L
G2
7 EQ
7 EQ
G1
SEND
L
R
DSP
FADER
MIAN
12
FADER
GROUP
MONO INPUT CHANNELS
REC
PHONE
EFFECT
PHONES
G2 OUT
G1 OUT
RIGHT
MAIN MIX
LEFT
SEND
G. BLOCK DIAGRAM
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