USER GUIDE - The Snowfields

USER GUIDE - The Snowfields
USER GUIDE
Soundcra
СО) DELTA
Contents
Introduction
Introducing the 200 Delta 2
Precautions and safety instructions 3
Connections 4
Installation 6
Module block diagrams 10
Dimensions 11
Configurations | 12
Module descriptions, specifications and operation
Standard input 14
Deluxe input 16
Dual line input 18
Stereo input 20
Group output 22
Master output 24
Delta Specification 26
Warranty 27
Glossary 28
© Soundcraft 1989 Issue 4
DC) DE LTA
Introduction
,
— ен
ntroducing the 200 Delta |
—_—
The 200 Delta series comprises a range of input module, output module
and frame options that lets you configure the console for a wide variety
of applicaticns. The only constraint on the selection and positioning of
modules is that any console must have a master module (2 channels
| width) which must be fitted at the right hand side of the console, and that
any group output modules fitted have to be positioned immediately to the
left of this.
A Should you wish to replace or add extra modules, please
contact your authorised Soundcraft dealer, who can supply the
modules and change the configuration without voiding warranty.
The system has four group mixing buses, allowing the inclusion of up to
four group output modules, together with the main stereo mix bus, which
: gives the L+R outputs from the master section. Six Auxiliary send buses
are provided, giving six independent outputs with master level controls.
The master section also contains a monitor switcher which lets you
monitor the desk output, an external (stereo) 2-Track return, or a Pre
Fade Listen (solo) signal accessing all inputs and groups.
| Precautions and safety instructions 3
Precautions and safety instructions
General precautions
Avoid storing or using the mixing console in conditions of excessive heat
| or cold, or in positions where it is likely to be subject to vibration, dust or
moisture. Do not use any liquids to clean the fascia of the unit: a soft dry
"brush is ideal. Use only water or ethyl alcoho! to clean the trim and
scribble strips. Other solvents may cause damage to paint or plastic
parts.
Avoid using the console close to strong sources of electromagnetic
radiation (e.g. video monitors, high power electric cabling): this may
cause degradation of the audio quality due to induced voltages in
connecting leads and chassis. For the same reason, always site the
console power supply away from the unit.
- In all cases, refer servicing to qualified personnel.
Handling and transport
The console is supplied in a rugged cardboard box. If it is necessary to
move it any distance after installation it is recommended that this
packing is used to protect it. Be sure to disconnect all cabling before
moving. If the console is to be regularly moved (e.g. for touring) we
recommend that it is installed in a foam lined flight case. At all times
avoid applying excessive force to any knobs, switches or connectors.
Power supplies and cabling
| A Always make sure that the power supply has been set to the
same source voltage as the mains supply.
Consoles with up to 28 channel slots (up to 24 input) are powered by
the Soundcraft CPS150 PSU, and are fitted with a 5 way SRC DC power
input connector.
Consoles with 36 channel slots (32 input), and 24 input consoles with 16
, or more stereo inputs are powered by the Soundcraft CPS450 PSU, and
are fitted with a 10 way SRC DC power input connector.
Always use the power supply and power cable supplied with the mixer:
“the use of alternative supplies may cause damage and voids the
warranty; the extension of power cables may result in malfunction of the
| mixing console.
A Always switch the power supply off before connecting or
disconnecting the console power cable, removing or installing
modules, and servicing. In the event of an electrical storm, or large
mains voltage fluctuations, immediately switch off the PSU and
unplug from the mains.
Connections
| Wiring conventions
|
The standard 200 Delta console uses two different types of audio
| connector, 3 pin XLR (diagram 1) and '/." three pole (A gauge or stereo)
jacks. The latter are used in two different configurations, see diagrams 2
and 3. The rear frame of the console has standard apertures fitted with
blanking panels. Your Soundcraft dealer can supply a variety of mount-
ing plates to fit these, with EDAC (ELCO) multiway connectors, together
with looms to link them to the modules. Refer to options list on page 26
for details and part numbers.
1 MICROPHONE INPUTS GROUP AND MIX OUTPUTS
LÀ
O GROUND (SCREEN)
COLD (QUT OF
PHASE SIGNAL)
HOT (IN
Socket (Female) PHASE SIGNAL) Plug (Male)
2a '/:" Stereo Jack Plug used as balanced input: line inputs and tape returns
-
Tip - HOT (IN PHASE SIGNAL) ——— <M |
Ring — COLD (OUT OF PHASE SIGNAL) _
Sleeve - GROUND (SCREEN)
2b '/:" Stereo Jack Plug used as ground compensated or unbalanced output: direct outputs,
auxiliary send outputs and control room monitor outputs
Tip - HOT (SIGNAL) < ]
Ring - GROUND SENSE |
Sleeve - GROUND (SCREEN)
3 ‘l«" Stereo Jack Plug used as insert send/return
Tip - RETURN FROM < |
EXTERNAL DEVICE
Ring - SEND TO EXTERNAL DEVICE —]
Sleeve - GROUND (SCREEN)
E. Connections 5
: Connections
L — — — — -— - -
Signal levels
It is important to supply the correct input levels to the console, otherwise
- signal-to-noise ratio or distortion performance may be degraded; and in
extreme cases damage to the internal circuitry may result. Likewise, on
all balanced inputs avoid sources with large common mode DC, AC or
| RF voltages, as these will reduce the available signal range on the
inputs. Note that 0dBu = 0.775V RMS.
The microphone input is designed for use with balanced low impedance
(150 or 200 ohm) microphones.
| 4 DO NOT use unbalanced microphones or battery powered
| condenser microphones with the +48V phantom power switched
on: degraded performance or damage to the microphone may
result.
The sensitivity of the microphone input is variable from -2dBu to -70dBu
(for +4dBu at the Stereo Mix outputs), and the maximum input level
(balanced) is 20dB above the set sensitivity—that is, with the gain
control at minimum, the maximum input level is +18dBu. Although the
“microphone input can thus handle some line level signals, we don't
recommend this, since the source may be unduly loaded by the low
(2Kohm) input impedance, or be damaged by the +48V phantom power.
; The line input has a sensitivity variable between -20dBu and +10dBu,
| and can also handle a maximum input level up to 20dB above the set
| value. Note that the maximum input level for unbalanced inputs is 4 or 5
! dB less than that for balanced signals, so very high level unbalanced
| signals (e.g. loudspeaker outputs of power amplifiers) may cause distor-
tion. The input impedance is approximately 20Kohms, and thus high
impedance sources (e.g. electric guitars) may be loaded too heavily.
* Such sources are best fed through an external DI (Direct Inject) box to
| the microphone input.
| The main outputs of the console (e.g. Stereo mix, group outputs, aux
sends) have a nominal output level of +4dBu, and an impedance of
750hms. The Stereo mix and Group outputs also have the facility to
. Switch the operating level to -10dBV to allow easy interface to domestic
and semi professional equipment. These outputs will deliver full level
| (+21dBu unbalanced, +27dBu balanced) into loads of greater than
600ohms. Secondary outputs, such as channel insert sends and channel
direct outputs (all unbalanced) have a nominal output level of -2dBu and
a slightly higher output impedance of 200ohms, and will only deliver the
full output level of +21dBu into load impedances of greater than 5Kohms.
Installation
|
Examples of use
The diagrams opposite and overleaf show typical applications of a 16
| input 200 Delta in PA, recording and keyboard mixing situations. Such
examples are of course only an indication of possible systems, the exact
setup being determined by your own system requirements and the
configuration of the console.
,
Public Address installation
Use as the front-of-house console in a sound reinforcement system.
Microphones covering drums, guitars, vocals and a DI box for the bass
guitar are fed to mic inputs 1 to 12. Stereo input modules are fitted to
positions 13 to 16, and receive the outputs from an on-stage keyboard
mixer and three stereo effects devices. The output from AUX 1 and AUX
2 feed power amplifiers to provide on-stage monitoring, whereas the
outputs from AUX 3 through AUX 5 feed effects processors. The stereo
' mix outputs feed the main power amplifiers for the house speaker
system.
| EFFECTS UNITS
AUX
SEND 3
AUX L
SEND 4
Sous " MICROPHONES
did
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STAGE MONITOR SPEAKERS MAIN SPEAKER SYSTEM STEREO KEYBOARDS MIX
Eight Track Recording
р
Mixer in an eight-track recording system. Microphones and line sources
(keyboards, Direct Injected instruments, etc) are fed to the input
channels, which are routed to group outputs 1...4 as required. The group
outputs feed tracks 1 to 4 and 5 to 8 in parallel, and the outputs from the
multitrack machine are monitored through the returns on the groups. The
stereo mix outputs feed the 2-track mastering recorder, which can be
monitored through the 2-track return. AUX 1 feeds an amplifier driving
artistes headphones, whilst AUX 3 to 6 are used as effects sends.
8 TRACK TAPE MACHINE
MICROPHONES
DOI
COKIN
свв ВОО
CONTROL ROOM LINE LEVEL SOURCES
MONITOR SPEAKERS
9
Keyboard mixer Installation
| On-stage rack mounting keyboard mixer. Two synthesisers, two
| expanders, a sampler, a foldback send from the main PA and two stereo
| effects processors are connected to the inputs. AUX 3 and AUX 4
| outputs feed the inputs of the effects devices. The stereo MIX outputs
| are fed to the front of house console, the control room outputs feeding
| the local monitor amplifiers.
EFFECTS PROCESSORS
AUX 3
EFFECTS RETURNS
AUX 4
TO FRONT OF © a] SYNTH 1
HOUSE CONSOLE - 28 ALO ? 5 6 iE
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FR oon OF ?—Forpeack
87654321 AL
MONITOR CONSOLE Tram | | sue
AMP EXPANDER 1
EXPANDER 2
MONITOR SPEAKERS
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10 |
Module block diagrams
| A
STANDARD
INPUT
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MICLINE AMP (FE MF HF
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OPTION
PEAK LED
STERCO MIX
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AUX 1-6 BUSES
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INPUT
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INPUT AMP 3 BAND EQ
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STEREO LINE | 2% PEAKLED 0
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INPUT INPUT À LEFT 0
INPUT 8 LEFT |
POST FADE
MOND SUM
INPUT A RIGHT d
AMP
INPUT B RIGHT 0 INPUT AMP 3 BAND STEREQ EQ : | Г
[Mix]
GROUP OUTPUT a 1
PANPOT 0
UPPER TAPE Ц [ont]
RETURN 0
LOWER TAPE 0 e $
RETURN 5
2 BAND EQ |
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CR MON y “9 PAD
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11
Dimensions
| Delta Desk Outline Dimensions
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32 — 1298
32 - 1222
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Delta Rack Outline Dimensions
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Configurations
8 Input Frame
12
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200\DE LTA
Module descriptions,
specifications and
operation
Standard input module
A
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Channel input
1 The +48V switch switches 48V
phantom power to the microphone
input, for use with phantom
powered condenser microphones
“and DI boxes.
: 2 The GAIN control adjusts the
! sensitivity of both the mic and line
inputs. The microphone input is
adjustable from -2dBu to -70dBu,
and the line from +10dBu
to-20dBu.
3 The LINE switch selects the line
input to the channel; the default is
MIC.
Equaliser
: 4 The standard input channel is
provided with a 3 band equaliser
comprising shelving HF and LF
controls, and a peaking MID
control, with a frequency control
that allows the selection of centre
frequencies between 300Hz and
5KHz. Centre detents on the
controls indicate the positions for a
flat response. Immediately after the
insert point. This jack on the rear
connector panel allows the routing
of the channel signal through an
external processing device.
EQ section in the signal path is the .
Auxiliaries
5 Four auxiliary send controls are
provided. AUX 1 and AUX 2 are
fed from a post EQ, pre fader
signal, so that the send level is not
‘affected by the channel fader,
allowing the easy creation of for
. example foldback mixes unaffected
| by changes in the main mix.
AUX 3 and AUX 4 are fed post
EQ, post fader, so their level
follows the channel output level set
by the fader. Their output can be
routed to Aux sends 5 and 6
instead of 3 and 4, by using the 5-6
switch.
Frequency Response Curves of the Equaliser
dB
20000 - >
15.000
10.000
5.0000 — à
0.0
-5.000
-10.00
-15.00
-20.00 . . Edo.
20 100
1
Frequency /Hz
10K 20K
Routing
|6 The PAN control determines the
relative levels sent to the L/group1/
group3 and R/group2/group4
; buses. In the centre, equal levels
are sent to both sides (with a
4.5dB level drop relative to fully
clockwise or anticlockwise).
Rotation fully anticlockwise sends
full level to the left/odd buses,
cutting the send to the right/even
buses; rotation fully clockwise does
the opposite.
10 The routing switches select
which buses the post fade, post
pan signal is fed to. Each switch
enables one Left/Right pair of
buses, hence the 1-2 switch sends
: the signal to groups 1 and 2, the 3-
4 switch to groups 3 and 4, and the
MIX switch to the stereo mix
outputs. We recommend that any
unused channels are unrouted to
maximise the audio performance of
the console.
Channel status
7 The PEAK LED indicator lights
| when the post EQ signal reaches a
level of 4dB below the clipping
(severe distortion) point of the
channel. If this lights any more
than momentarily on transients in
the signal, the input GAIN should
| be reduced.
8 The red illuminated PFL switch
feeds the post EQ, pre fader signal
to the CR monitor outputs (or
headphones jack), via the CR
Monitor level control, replacing the
signal currently feeding those
outputs. The red PFL LED
adjacent to the monitor control on
the master module will light to
indicate the monitoring status. PFL
signals from different sources will
be summed.
9 The ON switch enables the post
EQ, post insert channel signal
path: when “off”, all auxiliary sends
and routing outputs are muted. We
“recommend that you switch all
unused channels “off”, to prevent
: unwanted noise being added to
- any parts of the mix.
11 The channel fader is the main
: level control of the channel, and is
“along throw type to enable rapid
¡ and accurate control of the channel
output level. When mixing, you'll
get optimum headroom and signal-
to-noise ratios by keeping the fader
at about the unity gain (0) mark:
avoid running the input GAIN too
high, and the fader commensu-
rately low, since this gives very
little headroom. Similarly, running
the input GAIN very low, and the
fader fully up (10dB of gain) will
increase noise levels, and does not
give any available increase in gain
on the fader should the source
signal level drop unexpectedly.
Rear Connector Panel
MIC 1/P
Line 1/P
Insert
Tip
Ring
Sleeve
Screen
Hot
Cold
Hot
Cold
Screen
Return
Send
Ground
(Screen)
15
Standard input module
Specification
Microphone Input Electronically balanced, transformer option.
Input impedance >2Kohms
Maximum input before clipping +18dBu
Sensitivity range -2 to -70dBu for +4dBu O/P
CMAR >80dB at max gain
Equivalent input noise, 200R source <-127.5dBu at full gain
Line Input Electronically balanced.
Input impedance >10Kohms
Maximum input before clipping +27dBu
Sensitivity range -20 to +10dBu for +4dBu O/P
CMRR >40dB at 1KHz
Equivalent input noise, 40R source <-93dBu at unity gain
Equalisation
Boost/cut range +/-15dB
Break frequencies: HF 12KHz shelving
MF 0.3 - 5KHz peaking with Q = 1.5
LF 60Hz shelving
General
Insert send nominal level -2dBu, unbalanced
Insert send maximum output +21dBu into >5Kohms
Insert return impedance 10Kohms
Mute switch rejection >90dB at 1KHz >90dB at 10KHz.
Fader rejection >B0dB at 1KHz >75dB at 10KHz.
Panpot rejection >85dB at 1KHz >80dB at 10KHz.
Routing rejection >93dB at 1KHz >85dB at 10KHz.
Aux send rejection >85dB at 1KHz >80dB at 10KHz.
THD 0.008% at 1KHz
0.04% at 10Khz
Refer to appendix for measurement notes and conditions.
eg” Deluxe input module
—— ¡Channel input Equaliser Auxiliaries
o ov 5% GAIN |
Г 2 1 The +48V switch switches 48V ¡6 The deluxe input channel is 1 Four auxiliary send controls are
“АЕ ой 3 phantom power to the microphone | provided with a 4 band equaliser | provided:
— — input, for use with phantom comprising shelving HF control, a | AUX 1 and AUX 2 are factory fitted
4 powered condenser microphones — | shelving LF control with a VLF with a link selecting a post EQ, pre
5 and DI boxes. rolloff, and two peaking mid fader signal. This can be changed
fa] TT frequency controls: LO MID with a | to either a pre EQ, pre fade, or
Ltr 2 The GAIN control adjusts the frequency control that allows the | post fade sourcing if desired: see
. 00 sensitivity of both the mic and line | selection of centre frequencies | the 200 Delta technical manual for
Sn inputs. The microphone input is between 150Hz and 2.5KHz, and details. AUX 3 and AUX 4 are fed
adjustable from -2dBu to -70dBu, | RI MID with a frequency control post EQ, post fader, hence their
"СУ - and the line from +10dBu to - giving centre frequencies between level follows the channel output
ы =. | 20dBu. 600Hz and 10KHz. Centre detents ; level set by the fader. Their output
; / HP on the controls indicate the can be routed to Aux sends 5 and
NN 3 The LINE switch selects the line | positions for a flat response. The | 6 instead of 3 and 4, by using the
В — 6 input to the channel; the default is | whole EQ section can be switched | 5-6 switch.
es 12 mic. into the signal path by the EQ
a A switch. immediately after the EQ
A ib 4 The switch reverses the section in the signal path comes
я ; phase of the selected input, to the insert point. This jack on the
a x compensate for different wiring rear connector panel allows the
: standards, and conflicting micro- | routing of the channel signal
Ne phone placement. through an external processing
— device.
ke, AUX 5 The [] highpass filter switch Routin
O: inserts a 100Hz second order 9
пи (12dB/octave) highpass filter in the 8 The PAN control determines the
Or ra signal path immediately after the relative levels sent to the L/group1/
5 Y , : input amplifier. This 5 especially group3 and R/group2/group4
, Oi aux |_- 7 | useful Ч ero ne buses. и ve centre ven levels
, : proximity effect experienced wi are sent to both sides (with a
= | directional microphones, and 4.5dB level drop relative to fully
O! AUX eliminating low frequency ‘spill’ and | clockwise or anticlockwise).
; Ret ; interference. Rotation fully anticlockwise sends
: Frequency Response Curves of the Equaliser fufl level to the lef/odd buses,
—— a. cutting the send to the right/even
O! РА 8 Do A os Е РЕЦ buses, and rotation fully clockwise
Ok 9 15.000 rs HA |. A „14 does the opposite.
ем TT in ALL LAL
o oe | | Zi 12 The routing switches select
[0 — о = Но» + ; | which buses he post fade post
_ | MN DT | pan signal is fed to. Each switc
9 = 12 75008 о i 7 : 15 enables one Left/Right pair of
=] 110.00 TY UN buses, hence the 1-2 switch sends
_ -15.00 —— i the signal to groups 1 and 2, the 3-
-20.00 д ; 4 switch to groups 3 and 4, and the
— 13 Frequency /Hz MIX switch to the stereo mix
=F SB HF and LO MID sections | ее outputs. It is recommended that
JL | | | | ' | | ° any unused channels are unrouted
’ PETE NG | to maximise the audio performance
dE 10.000 — | р AN of the console.
7 A 5.0000 = + * 1 >
be MA | т — <<
JE 500 — RAE
“Ur. -10.00 — y A LL
© 15.00 HS AH
O 0 | o i mt 10K 20K
Channel status
9 The PEAK LED indicator lights
when the post EQ signal reaches a
level of 4dB below the clipping
(severe distortion) point of the
channel. If this lights any more
than momentarily on transients in
the signal, the input GAIN should
: be reduced.
| 10 The red illuminated PFL switch
feeds the post EQ, pre fader signal
to the CR monitor outputs (or
headphones jack), via the CR
Monitor level control, replacing the
signal currently feeding those
outputs. The red PFL LED
adjacent to the monitor control on
the master module will light to
indicate the monitoring status. PFL
signals from different sources will
be summed.
11 The ON switch enables the
path: when off, all auxiliary sends
except those selected pre-EQ, and
ali routing outputs are muted. We
recommend that you switch all
unused channels “off”, to prevent
unwanted noise being added to
any parts of the mix.
13 The channel fader is the main
level control of the channel, and is
a long throw type to enable rapid
and accurate control of the channel
"output level. When mixing, you'll
get optimum headroom and signal-
to-noise ratios by keeping the fader
at about the unity gain (0) mark:
avoid running the input GAIN too
high, and the fader commensu-
: rately low, since this gives very
little headroom. Similarly, running
the input GAIN very low, and the
fader fully up (10dB of gain) will
, increase noise levels, and does not
give any available increase in gain
on the fader should the source
: signal level drop unexpectedly.
| Rear Connector Panel
MIC 1/P
Line 1/P
post EQ, post insert channel signal :
Insert
Direct O/P
Tip
Ring
Sleeve
Tip
Ring
Sleeve
Screen
Hot
Cold
Hot
Cold
Screen
Return
Send
Ground
Screen
Hot
Signal
(Ground)
Ground
(Screen)
17
Deluxe input module
Specification
Microphone input Electronically balanced, transformer option.
Input impedance >2Kohms
Maximum input before clipping +18dBu
Sensitivity range -2 to -70dBu for +4dBu O/P
CMRR >80dB at max gain
Equivalent input noise, 200R source — <-127.5dBu at full gain
Line Input Electronically balanced.
Input impedance >10Kohms
Maximum input before clipping +27dBu
Sensitivity range -20 to +10dBu for +4dBu O/P
CMRR >40dB at 1KHz
Equivalent input noise, 40R source <-93dBu at unity gain
Equalisation
Boost/cut range +/-15dB
Break frequencies : HF 12KHz shelving
HMF 0.6 - 10KHz peaking with Q = 1.5
LMF 0.15 - 2.5KHz peaking with Q = 1.5
LF 60Hz shelf with VLF rolloff at 30 Hz
Highpass filter -3dB at 100Hz, 2nd order
General
Insert send nominal level
Insert send maximum output
Insert return impedance
Direct output nominal level
Direct output maximum output
-2dBu, unbalanced
+21dBu into >5Kohms
10Kohms
-2dBu, unbalanced
+21dBu into >5Kohms
Mute switch rejection >90dB at 1KHz >90dB at 10KHz.
Fader rejection >80dB at 1KHz >75dB at 10KHz.
Panpot rejection >85dB at 1KHz >80dB at 10KHz.
Routing rejection >93dB at 1KHz >85dB at 10KHz.
Aux send rejection >85dB at 1KHz >80dB at 10KHz.
THD 0.005% at 1KHz
0.015% at 10KHz
Refer to appendix for measurement notes and conditions.
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The dual line input module |
comprises two identical channels,
|
|
|
each outputting to the stereo mix
bus. |
Channel input
1 The GAIN control adjusts the
sensitivity of the line input from
+10dBu to -20dBu.
Equaliser
| 2 Each dual line input channel is
provided with a 3 band equaliser
comprising shelving HF and LF
controls, and a peaking MID
control, with a frequency control
that allows the selection of centre
frequencies between 300Hz and
5KHz. Centre detents on the
controls indicate the positions for a
flat response. (EQ Plot diagram)
| Frequency Response Curves of the Equaliser
dB
20.000 -
15.000 Но
| Po
10.000 ---+—! +++
a
5.0000 — —----—:
Frequency /Hz
| Auxiliaries
3 Four auxiliary send controls are
provided:
AUX 1 and AUX 2 are factory
linked to be fed from a post EQ,
pre fader signal, which can be
changed to a post EQ, post fade
signal if desired: see the 200Delta
technical manual for details. AUX 3
and AUX 4 are fed post EQ, post
fader, so their levels follow the
channel output level set by the
fader. Their output is normally
routed to Aux sends 3 and 4, but
can be changed to Aux sends 5
and 6 by internal switches: again
see the technical manual for
details.
Routing
4 The PAN control determines the
relative levels sent to the L and R
outputs. In the centre, equal levels
are sent to both sides (witha 4.5
dB level drop relative to fully clock-
wise or anticlockwise). Rotation
fully anticlockwise sends full level
to the left/odd buses, cutting the
send to the right/even buses;
rotation fully clockwise does the
opposite.
Channel status Rear Connector Panel
5 The red illuminated PFL switch
feeds the post EQ, pre fader signal
. to the CR monitor outputs (or
headphones jack), via the CR
Monitor level control, replacing the
signal currently feeding those
outputs. The red PFL LED
adjacent to the monitor control on
the master module will light to
indicate the monitoring status. PFL
signals from different sources will
' be summed. PE
6 The ON switch enables the post
EQ signal path: when ‘off, all |
auxiliary sends and L/R outputs
are muted. We recommend that
you switch all unused channels
‘oft’, to prevent unwanted noise
being added to any parts of the VPA&B Tip Hot
mix. Ring Cold
Sleeve Ground
(Screen)
7 The rotary channel fader (VOL)
is the main level control of the
channel. When mixing, you'll get
optimum headroom and signal to
noise ratios by keeping the fader
at about the unity gain (7) mark:
avoid running the input GAIN too
high, and the fader commensu-
rately low, since this gives very
little headroom. Similarly, running
the input GAIN very low, and the
fader fully up (10dB of gain} will
increase noise levels, and does not
: give any available increase in gain
on the fader should the source
signal level drop unexpectedly.
19
Dual line input module
Specification
Line Input Electronically balanced
Input impedance
Maximum input before clipping
Sensitivity range
CMRR
Equivalent input noise
Equalisation
Boost/cut range
Break frequencies:
General
Mute switch rejection
Fader rejection
Panpot rejection
Aux send rejection
THD
>10Kohms
+27dBu
-20 to +10dBu for +4 O/P
>40dB at 1KHz
-20 to +10dBu for + 4dBu otput.
+/-15dB
HF 12KHz shelving
MF 0.3 - 5KHz peaking with Q = 1.5
LF 60Hz shelving
>90dB at 1KHz >85dB at 10KHz.
>85dB at 1KHz >80dB at 10KHz.
>60dB at 1KHz >80dB at 10KHz.
>80dB at 1KHz >75dB at 10KHz.
0.005% at 1KHz
0.03% at 10KHz
Refer to appendix for measurement notes and conditions.
Stereo input module
—15.00
; | 20.00.
Channel input
1 The GAIN control adjusts the
sensitivity of the line inputs of both
channels from +10dBu to -20dBu.
2 The B switch selects the
alternative B line inputs. These
may be fitted with an RIAA
preamplifier, to enable the direct
connection of magnetic phono
cartridges to the mixing desk: see
appendix for ordering details.
3 The MONO switch sums Left +
Right inputs and feeds the
channel with the resultant mono
signal. The BAL control will then
act as a pan control.
4 The LEFT [@] switch reverses
the phase of the left channel, for
situations where a phasing error
has occurred.
Equaliser
5 The stereo line input channel is
¡ provided with a 3 band equaliser
comprising shelving HF and LF
controls, and a peaking MID
control, with a frequency control
that allows the selection of centre
frequencies between 300Hz and
3KHz. Centre detents on the
- Controls indicate the positions for a
flat response.
: Auxiliaries
6 Four auxiliary send controls are
: provided:
AUX 1 and AUX 2 are factory
linked to be fed from a post EQ,
prefade mono sum signal, which
can be changed to a post EQ, post
fade mono signal if desired: see
the 200 Delta technical manual for
details. AUX 3 and AUX 4 are
factory linked to be fed a post EQ,
- post fade mono sum, but this can
be changed so that the left channel
feeds Aux 3 (Aux 5), and the right
. channel feeds aux 4 (Aux 6). Their
output is normally routed to Aux
sends 3 and 4, but can be changed
to Aux sends 5 and 6 by the 5-6
switch.
: Frequency Response Curves of the Equaliser
| dB
20.000 |
15.000
10.000
5.0000
0.0
-5.000
-10.00
20 100
1K
Frequency Hz
|
10K 20K
Routing
7 The BAL control determines the
relative level of the L and R
channels. In the centre, the equal
levels are sent to both sides (with a
4.5dB level drop relative to fully
clockwise or anticlockwise).
Rotation fully anticlockwise sends
full level to the left/odd buses,
cutting the send to the right/even
buses, and rotation fully clockwise
does the opposite.
11 The routing switches select
which buses the post fade, post
pan signal is fed to. Each switch
enables one Left/Right pair of
buses, hence the 1-2 switch sends
the signal to groups 1 and 2, the 3-
4 switch to groups 3 and 4, and the
MIX switch to the stereo mix
outputs. It is recommended that
any unused channels are unrouted
to maximise the audio performance
of the console.
Channel status
8 The PEAK LED indicator lights
when the post EQ signal reaches a
: level of 4dB below the clipping
| (severe distortion) point of the
: channel. If this lights any more
: than momentarily on transients in
the signal, the input GAIN should
: be reduced.
`9 The red illuminated PFL switch
| feeds the post EQ, pre fade mono
sum to the CR monitor outputs (or
headphones jack), via the CR
Monitor level control, replacing the
signal currently feeding those
outputs. The red PFL LED
adjacent to the monitor control on
the master module will light to
indicate the monitoring status. PFL
signals from different sources will
. be summed.
10 The ON switch enables the
post EQ signal path: when off, all
: auxiliary sends and LR outputs
are muted. We recommend that
you switch all unused channels
‘off’, to prevent unwanted noise
being added to any parts of the
Mix.
12 The stereo 100mm fader is the
main level control of the channel,
giving rapid control of the levels of
both channels simultaneously.
When mixing, you'll get optimum
headroom and signal-to-noise
ratios by keeping the fader at
about the unity gain (0) mark:
avoid running the input GAIN too
high, and the fader commensu-
rately low, since this gives very
"little headroom. Similarly, running
the input GAIN very low, and the
fader fully up (10dB of gain) will
on the fader should the source
signal level drop unexpectedly.
| Rear Connector Panel
increase noise levels, and does not :
give any available increase in gain
All Inputs
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Specification
21
Stereo input module
Line Inputs Electronically balanced.
Input impedance
Maximum input before clipping
Sensitivity range
CMRR
>10Kohms
+27dBu
-20 to +10dBu for +4 O/P
>40dB at 1KHz
Equivalent input noise, 40R source <-93dBu at unity gain
Equalisation
Boost/cut range
Break frequencies:
RIAA option
Input impedance
Signal-to-noise ratio
Sensitivity
Headroom
Crosstalk
Response accuracy
General
Mute rejection
Fader rejection
Balance pot rejection
Routing rejection
L/R crosstalk
THD
+/-15dB
HF 12KHz shelving
MF 0.3 - 3KHz peaking with Q = 1.0 min
LF 60Hz shelving
47Kohms//220pF
86dB below 5mV 1/P
5mV at 1KHz at max gain
+21dB
<-40dB at 1KHz
+/-0.5dB, with IEC amendment to LF
response, and subsonic filter
>90db at 1KHz >85db at 10KHz.
>80dB at 1KHz >80dB at 10KHz.
>85dB at 1KHz >80dB at 10KHz.
>90dB at 1KHz >85dB at 10KHz.
<-75dB at 1KHz <-65dB at 10KHz.
0.004% at 1KHz
0.015% at 10KHz
Refer to appendix for measurement notes and conditions
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Group output module
Return
bus.
11
! 2 Lower return: this input is fed
from the group output or if the RET
switch is pressed, an external
return signal. It feeds the stereo
fader .
ho
GROUP
QUTPUT
RET SELECTED
RETURN SIGNAL
1 Upper return: this input feeds an
external signal onto the stereo mix
(11) follows the lower return source
selection, and is link selectable for
peak or average ballistics: see the
200 Delta technical manual for
| details. The SUB switch converts
the group into a sub-group, feeding
the group mix signal directly to the
stereo mix via the return PAN
control. 1f the SUB and RET
switches are both pressed, then
the return signal is routed to the
group mix, which is in turn routed
to the stereo mix: thus the return
signal is under control of the group
| NORMAL OPERATION METER
RETURN SIGNAL
GROUP
SUM AMP FADER
GROUP
SUM AMP FADER
Equaliser
Auxiliary
4 Each return is provided with a 2- : 5 The AUX 1 control gives a pre
band equalizer, the centre
fade feed to Auxiliary send 1,
: detented controls giving shelving | enabling the return signals to be
characteristics at 8KHz (HF), and | sent to a foldback mix.
mix bus. The LED bargraph meter
Y
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GROUP $
OUTPUT Ё U
60Hz (LF).
>— GROUP OUTPUT
Routing
6 The PAN control sets the
position of the return signal across
the stereo mix.
SUB SELECTED METER
4 PAN
MIX L
RETURN SIGNAL {>{w +— — b B —Gmm—m — ,
> MIX R
GROUP |
SUMAMP FAGER |
GROUP > HF + > GROUP OUTPUT
OUTPUT
SUB & RET SELECTED METER
vo
RETURN SIGNAL > [eo
‘ —]
SUMAMP GROUP PAN
Y
FADER MIX L
GROUP —> Y
> GROUP OUTPUT
Frequency Response Curves of the Equaliser
‘ [d8
' 120.000. ВО
|| |
10.000
|
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200
5.0000 |:
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20
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-20.00 - | ‘1
Frequency /Hz
==
Do 1 |
1
|
1
Channel status | Rear Connector Panel
3 Group fader: this 100mm fader
controls the level of the group mix
& Group output. The nominal
| output level may be set at either
ı +4dBu or -10dBV by an internal
switch: see the 200 Delta
|
Technical manual for details.
|
|
7 The VOL control determines the
level of the return signal. |
8 The red illuminated PFL switch
| feeds the post EQ, pre fader signal
| to the CR monitor outputs (or
headphones jack), via the CR
Monitor level control, replacing the
signal currently feeding those
outputs. The гей РАС LED
adjacent to the monitor control on
the master module will light to
signals from different sources will
be summed.
9 The ON switch enables the
return signal. If the return is not
being used, it should be switched
¡ “off, to obtain the best noise
performance from the console.
10 An insert point is provided in
the signal path of the group so that
indicate the monitoring status. PFL ¡ an external processing device can
Group O/P Pin1 Ground
(Screen)
Pin2 Hot
Pin3 Ground
sense (cold)
Tip Hot
Ring Cold
Sleeve Ground
(Screen)
Tip Return
Ring Send
Sleeve Ground
(Screen)
23
Group output module
Specification
Group Output Unbalanced, ground compensated.
Insert send nominal level -8dBu
Insert send maximum output — +21dBu into >1Kohms
Insert return impedance 10Kohms
Nominal output level +4dBu/-10dBV, selectable
Maximum output level +21dBu into >6000hms
Output impedance 750hms
Group - group crosstalk <-80dB at 1KHz
Fader rejection >80dB at 1KHz
Bus residual noise <-93dBu
Mix bus noise <-80dBu
Typical mix noise <-75dBu
THD 0.003% at 1KHz
0.007% at 10KHz
Tape/eftects returns Electronically balanced.
Input impedance >10Kohms
Nominal input level +4dBu/-10dBV, selectable
Maximum input level — +21 above nominal
Equalisation 15 dB boost/cut range
HF 8KHz shelving
LF 60Hz shelving
Meter 20 segment LED bargraph.
Response: Peak or average reading
Rise time to -1dB: 150msec (average)
4msec (Peak)
Decay time to -20dB: 250msec (average)
1.2 sec (Peak)
Accuracy relative to 0dB +/-1dB.
Calibration range 0dB= -2dBu....+20dBu
(output nom. level = +4)
Refer to appendix for measurement notes and conditions
|
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HEAD
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|
Master output module
E :
Auxiliaries
1 The auxiliary send master level
controls set the output level of the
auxiliary send mixes: the output
level can be conveniently moni-
tored using the aux send AFL
switches. Optimum noise perform-
ance will be obtained with the send |
: controls on the input channels :
“turned up far enough to give a
; peak output level (metered using
: the aux send AFL switch) of +16
with the output level control at unity
gain (7 on the scale). The output
level should then be turned down
to suit the input level of the device
the send is driving.
Master Outputs
2 Insert points are provided in the
stereo mix signal path to enable
the insertion of external processing
devices in the signal path.
3 The master output faders
control the level of the stereo mix
output. In order to preserve
headroom, they should normally be
- run in the top 10dB of their range.
: IF the stereo output is feeding a
device which requires a lower input
leve! (e.g. a domestic tape
recorder), the reference level of the
output and 2-track return level
should be changed using the
internal switch: see the 200 Delta
technical manual.
Monitoring
4 Provision is made to monitor the
stereo mix output, the PFL signal
and the 2 track return (see
Ancillary Connector Panel). The
CR MON jacks on this panel are
available to drive on external
power amplifier/loudspeakers,
alternatively stereo headphones
can be plugged into the front panel
jack: this will mute the CR MON
outputs. The level is set by the
MONITOR LEVEL control.
Selection of the two TRK switch
routes the 2 track tape return
inputs to the monitors. Selecting a
PFL switch on any input will
automatically switch the monitoring
to the PFL signal, overriding the
Mix/2 track selection.
Output meters
5 The stereo output meters
; automatically follow the monitor
selection of mix/2 track/PFL,
though the meter reading is
independent of the MONITOR
LEVEL. The meter reading is
relative to the operating level
selected (see 3 above).
' Oscillator
6 A 1KHz oscillator is provided,
which feeds a sine wave output of
up to +16dBu to all groups, the
stereo mix and aux buses, at a
level set by the OSC LEVEL
control. The oscillator is enabled
by the ON switch, and is overrid-
den by the selection of the talkback
: switch.
Talkback
1 Talkback can be routed to either
aux send 1 and 2 (1-2 switch), or
to all buses (ALL switch). An
integral mic is provided, flush
. mounted behind the front panel,
with an associated gain control TB
"GAIN. In order to avoid acoustic
feedback, the CR monitor outputs
. are attenuated ("Dimmed") by
. approximately 20dB when talkback
to Aux 1-2 is selected, and muted
when talkback to ALL is selected.
Rear Connector Panel
©”
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e AUX
©
Master Fascia Rear Connections
Mix O/P's Pin1 Ground
* (Screen)
Pin2 Hot
Pin3 Cold
Mon OP Tip Hot
Aux O/P's Ring — Ground
sense (Cold)
Sleeve Ground
(Screen)
Mix Inserts Tip Return
Ring Send
Sleeve Ground
(Screen)
4 4
© © © ©
Ancillary Connector Panel
CR MON
O/P's Tip Hot
Ring Ground sense
(Cold)
Sleeve Ground
(Screen)
"2TRK Tip Hot
| TAPE Ring Cold
Returns Sleeve Ground
| (Screen)
25
Master output module
Specification
Auxiliary Send Outputs Unbalanced, ground compensated.
Nominal level +4dBu
Maximum output level +21dBu into >600R
Output impedance 750hms
Master gain control range +10...-85 dB
Mix bus noise <-80dBu
Aux - Aux crosstalk (all but one fed signal) <-80dBu at 1KHz
THD 0.003% at 1KHz
0.006% at 10KHz
Mix L&R Outputs Electronically balanced.
Insert send nominal level (unbal) — -8dBu
Insert send maximum output +21dBu into >1Kohms
Insert return impedance 10Kohms
Master fader rejection >80d8 at 1KHz
+4dBu/-10dBV selectable
+27dBu into >6000hms
Stereo mix output Nom. level
Stereo mix maximum output
Output impedance 750hms
CMRR >40dB at 1KHz
L/R crosstalk <-80dB at 1KHz
THD 0.003% at 1KHz
0.006% at 10KHz
Mono output level (unbal) +1dBu
Mono maximum output level +21dBu into >6000hms
Monitor outputs and switching
CR Mon nominal output level +4dBu
Maximum output level +15dBu into >5Kohms
Output impedance 2500hms
Headphone nominal output level +10dBu
+20dBu into 6000hms
+15dBu into 50ohms
+4 dBu into 8ohms
Headphone output maximum level
2-track return nominal level +4dBu/-10dBV switchable
2-track return maximum level +25dBu
2-track return to mix crosstalk <-85dB at 1KHz
Oscillator
Max level at group/mix O/P +16dBu
Frequency 1KHZ +/-10%
Distortion <1% THD
Meter 20 segment LED bargraph.
Response: Peak or average reading
Rise time to -1dB: 150msec (average)
4msec (Peak)
Decay time to -20 dB: 250msec (average)
1.2 sec (Peak)
Accuracy relative to 0dB +/-1dB
0dB= -2dBu....+20dBu
(output nom. level = +4)
Calibration range
5 a 1 |
5 Delta Specifications
: Group Output
Mix Output
Aux Output
Standard Input
to Mix Output
Deluxe Input
to Line Output
Oscillator to
CROSSTALK
Channel Muting
| NOISE
Measured @ 1 kHz.
TOTAL HARMONIC DISTORTION
Measured @ +20 dBu, 10 Hz to
! 80Khz Bandwith, Unweighted
1 kHz: 0.003%
1 kHz: 0.003%
1 kHz: 0.003%
1 kHz: 0.008%
1 kHz: 0.005%
: Group Output @ +16 dBu
Maximum Fader Attenuation
Panpot Isolation (Active Pan)
Routing (Channel to Groups)
Maximum Aux Send Attenuation
Mic, Input 2 Max Gain, CMRR
Line Input @ Unity Gain, CMRR
| Mix Bus Noise (M Channels
Routed, Faders Down)
Typical Mix Output Noise
(16 Channels Routed)
Aux Bus Noise (16 Inputs)
FREQUENCY RESPONSE
Mic or Line Input
to Any Output
INPUT & OUTPUT LEVELS
Mic Input Max Level
: Line input Max Level
Insert Send Max Level
¡ into 5K Q
20 Hz to 20 kHz
10 kHz: 0.007%
10 kHz: 0.006%
10 kHz: 0.006%
10 kHz: 0.04%
10 kHz: 0.015%
1 kHz: <1%
>80dB
>80d8
>85dB
>90dB
>80dB
>80dB
>40dB
Measured 22 Hz to 22 kHz Bandwidth, Unweighted
Mix Input @ Max Gain,
EIN with 200 ® Source
Line Input @ Unity Gain,
EIN with 40 © Source
—127.5 dBu
—93 dBu
—80 dBu
~75 dBu
—78 dBu
+0, —0.5 dB
+18 dBu
+27 dBu
+21 dBu
Typical Pertormance Figures Measured On 16 Channel Console
Insert Send Nominal Level
- Direct Output Max Level
into 5K Q2
Direct Output Nominal Level
. Group Output Max Level
into 600 Q
Group Insert Nominal Level
Group Output
Nominal Levels
Aux Output Max Level
| into 600 Q
| Aux Output Nominal Level
Mix Output Max Level
into 600 Q
Mix Insert Nominal Level
| Mix Output Nominal Levels
| internal Operating Levels
i Oscillator Max Level @
Group Output
Headphones Output Max Level
into 600 Q
INPUT & OUTPUT IMPEDANCES
Mic Inputs
- Electronically Balanced
. (Transformer Option)
Line Inputs Electronically:
Balanced
R.ILAA. Inputs
Insert Sends
Insert Returns
Outputs
| METERING
+ 20 Segment LED Bargraph
. Selectable, Peak or Average Reading
'0' dB = —2 dBu to +20 dBu
Calibration Range
Accuracy Relative to ‘0’ dB
"INPUT & OUTPUT LEVELS continued
—2 dBu
+21 dBu
—2 dBu
+21 dBu
—8 dBu
-10 dBV or +4 dBu
+21 dBu
+4 dBu
+27 dBu
—8 dBu
-10 dBV or +4 dBu
—2 dBu
+16 dBu
+20 dBu
>2 k Q
>10k Q
220 pF, 47 k Q
75Q
10k Q
713 Q
+/- 1dB
For full details of measurement conditions and
further specifications, please contact your
local Soundcraft dealer.
Warranty
27
. Soundcraft means Soundcraft Electronics Ltd.
End User means the person who first puts the equipment into
regular operation.
Dealer means the person other than Soundcraft (if any) from whom
the End User purchased the Equipment, provided such a person is
authorised for this purpose by Soundcraft or its accredited
Distrubutor.
Equipment means the equipment supplied with this manual.
. If within the period of twelve months from the date of delivery of
the Equipment to the End User it shall prove defective by reason
only of faulty materials and/or workmanship (but not faulty
design) to such an extent that the effectiveness and/or usability
thereof is materially affected the Equipment or the defective
component should be returned to the Dealer or to Soundcraft and
subject to the following conditions the Dealer or Soundcraft will repair
or at its option replace the defective components. Any components
replaced will become the property of Soundcraft.
. Any Equipment or component returned will be at the risk of the End
User whilst in transit (both to and from the Dealer or Soundcraft) and
postage must be prepaid.
. This warranty shall only be available if:
a) the Equipment has been properly installed in accordance with
instructions contained in Soundcraft's manual; and
b) the End User has notified Soundcraft or the Dealer within 14
days of the defect appearing; and
C) no persons other than authorised representatives of Soundcraft
or the Dealer have effected any replacement of parts
maintenance adjustments or repairs to the Equipment; and
d) the End User has used the Equipment only for such purposes as
Soundcraft recommends, with only such operating supplies as
meet Soundcraft's specifications and otherwise in all respects in
accordance with Soundcraft's recommendations.
. Defects arising as a result of the following are not covered by this
Warranty: faulty or negligent handling, chemical or electro-chemical
or electrical influences, accidental damage, Acts of God, neglect,
deficiency in electrical power, air-conditioning or humidity control.
. The benefit of this Warranty may not be assigned by the End User.
. End Users who are consumers should note their rights under this
Warranty are in addition to and do not affect any other rights to which
they may be entitled against the seller of the Equipment.
- Glossary
auxiliary send
balance
clipping
CR (control room) monitors
dB (decibel)
DI (direct injection)
equaliser
foldback
frequency response
(sub) group
headroom
highpass filter
line level signals
pan (pot)
peaking
PFL (pre fade listen)
rolloff
an output from the console comprising a mix of signals from channels
and groups derived independently of the main stereo/group mixes.
Typically the feeds to the mix are implemented on rotary level controls.
the relative levels of the left and right channels of a stereo signal.
the onset of severe distortion in the signal path, usually caused by the
peak signal voltage being limited by the circuits's power supply voltage.
loudspeakers used by the operator (engineer) in the control room to
listen to the mix.
a ratio of two voltages or signal levels, expressed by the equation
de = 20Log10 (V1/V2). Adding the suffix ‘u’ denotes the ratio is relative
to 0.775V RMS.
the practice of connecting an electric musical instrument directly to the
input of the mixing console, rather than to an amplifier and loudspeaker
which is covered by a microphone feeding the console.
a device that allows the boosting or cutting of selected bands of
frequencies in the signal path.
a feed sent back to the artistes via loudspeakers or headphones to
enable them to monitor the sounds they are producing.
the variation in gain of a device with frequency.
an output into which a group of signals can be mixed.
the available signal range above the nominal level before clipping
occurs.
a filter that rejects low frequencies.
signals at a nominal level of —10 to +6 dBu, coming from a low
impedance source.
abbreviation of ‘panorama’: controls levels sent to left and right outputs.
an equaliser response curve affecting only a band of frequencies i.e.
based on a bandpass response.
a function that allows the operator to monitor the pre fade signal in a
channel independently of the main mix.
a fall in gain at the extremes of the frequency response.
Glossary
shelving
spill
talkback
transient
29
an equaliser response affecting all frequencies above or below the
break frequency i.e. a highpass or lowpass derived response.
acoustic interference from other sources.
the operator speaking to the artistes or to tape via the auxiliary or group
outputs.
a momentary rise in the signal level.
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