Electro-Voice C-12 & C-8E Data Sheet

Electro-Voice C-12 & C-8E Data Sheet
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SPECIFICATIONS (Typical)
Frequency Response:
Mic input: =1.0dB,
20Hz to 20kHz
(150 ohm source, 44dB gain,
normal gain structure,
+ 4dBm at Stereo Outputs)
Line Input: =0.5dB,
20Hz to 20kHz
(14dB gain, normalized gain
structure, + 4dBm al
Stereo Outputs)
Maximum Output Level:
+ 18dBm (600 ohms)
Output Impedance:
175 0hms
(All outputs designed
to operate into 600 ohms
or greater load)
T.H.D.:
Mic Input: .5% at 20 Hz
15% at 50 Hz
05% at 100Hz
01% at TkHz
02% at 20kHz
(150 ohm source, 44dB gain,
normalized gain structure,
+ 4dBm at Stereo Outputs)
Line Input: .3% at 20 Hz
‚01% at 1kHz
02% at 20kHz
CCIF IM Distortion:
02% (19kHz 2 20kHz mixed 1:1,
normalized gain structure
+ 4dBm at Stereo Outputs
Mic or Line Inputs)
Equivalent Input Noise:
— 129dBV
(20-20kHz NBW, 40dB gain,
150 ohm source, measured
at Channel Patch Send)
Output Noise:
—BOdBY, 1 channel assigned
—72dBY, 12 channels assigned
—70dBV, 20 channels assigned
—E68dBY, 28 channels assigned
—67dBV, 36 channels assigned
—66dEV, 44 channels assigned
(20-20kHz NEW, 44dB gain,
normalized gain structure,
150 ohm source measured at Stereo Outputs)
Maximum Mic Input Level:
OdBu (.775Vrms)
Maximum Line Input Level:
+30dBu (25 Vrms)
Maximum Preamp Gain:
5098
Maximum Total Gain:
84dB, (mic input)
54dB, (line input)
Phantom Power:
+ 48VDC, requlated 60mA maximum current
Input Channel Equalizer:
+18dB at 50Hz, shelving
+12dB sweep range 300Hz
to 6kHz, peaking
+18dB at 15kHz, shelving
Dimensions: C-12 C-8E
W— 285" W—17
H— 9.5 H—95"
p— 29 D — 29
Dimensions
Without Wood: A
WwW —27" W— 15.7
H— 7.5" |1— 7.5"
D — 26.5” D — 26.5
Weight: 49 165. 33165
Power
Requirements: 120V 25W +
60Hz,
60W+
+ 100, 220, 240V 50H7 models available
“Transformer Balanced Outputs on C-12 are Factory Option Selected at Time of Order
37 IAPCO
a guitan company
C-12/C-8E
SERIES TWO
Sound Reinforcement and
Recording Mixing System
With Transformer Balanced
Inputs/Outputs*
DESCRIPTION & APPLICATIONS
The C-12/Series TWO is a compact, high
performance 12-in/4 Subgroup/Stereo and
Mono output mixer designed for musical,
speech, and theatrical sound reinforcement
and recording applications. À new Balanced
Output Option" uses highest quality
transformers and circuitry with XLR connectors
on all 10 outputs (Mono, L/A Stereo, 4
Subgroups, Monitor, Aux, and Hi Effects Sends)
for lowest noise and distortion. These may be
used either singly, or in any combination with
ine normally provided Unbalanced (¥4" phone)
outs. This variety of outputs and the versatility
provided by having access jacks at almost
every point inthe signal path makes the mixer
equally at home in broadcast, recording, or
production environments. The C-12/Senes TWO
is available with attractive solid oak end panels
and padded arm rest
INPUTS
Each of the 12 inputs are transformer balanced
and will accept microphone level as well as line
level signals. The Trim control adjusts the gain
of the input preamp to optimize headroom and
noise performance for a wide range of input
signals. The output of the preamp (line or mic)
and the input to the channe! Equalizer are
available at a half-normalled pair oi tip-sieeve
jacks labeled Channel Patching (receive
breaks normal, send does not). This may be
used for an insert point for additional channel
signal processing or as a signal take-off point to
another point in a complex system
The channel Equalizer is a 4 knob, 3 frequency
type. The High and Low frequency equalizers
are x 18dB shelving types at 15kHz and 50Hz
respectively. The Mid frequency peak or dip
equalizer is a = 12dB sweep frequency type
covering the range from 300 to 6kHz. The 414
octave range of the Midrange equalizer is
extremely effective in dealing with a wide range
of program material in a variety of situations.
Next inthe signal path is the Channel Fader
Mute switch, Channel Assign switehes, and the
Pan Pot. A 100mm long-travel Slide Fader is
Meter Bridge
The four illuminated level indicators are
mounted above the main console surface and
are angled for easy operator viewing. Each
indicator is a high quality, full-wave, average
responding meter, closely conforming to
ANSI standards for VU indicators. More than
twenty signals can be sampled and displayed
on these meters using the appropriate func-
tion switches (see Meter Switching under
Qutput Section).
Rear Panel
Stacking Inputs
Ya” phone jacks are conveniently provided
for connecting monitor, aux, effects, solo
(control and audio), sub-group outputs, and
left and right stereo buses from another
mixer for master slave” operation. These
jacks also provide an additional ine input
to the corresponding bus for cross patching
or effects returns
STACKING INPUTS
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Outputs
Va" phone jacks for monitor. aux, high level
effects send, low level effects send, mono, and
right stereo outputs
Effects Returns Sub Group Sends (Direct) and Returns
Ya” phone jacks will accept a wide range of The four "4" phone jacks provided can be
signals, from guitar level lo line level effects used for sub-group patching (effects, EQ,
signals. Both Returns A & B have a hi and limiting, etc.), when used in conjunction with
lo level input jack the four Ya" return jacks. Used alone, they
provide a direct output from each of the sub-
groups. The returns are normalled to the
send jacks and feed the pan pots at each of
the sub-groups. Inserting a plug into the re-
turns breaks the normal.
Output Section
Monitor Master Control
Sets overall output level of signals derived
from the input channel monitor sends.
Monitor Solo Switch
Allows monitor bus signals to be soloed
through the headphone solo system.
Aux Master Control
Sets overall output level of signals derived
from the input channel aux sends. Can be
used for additional monitor mix, effects, or
independent feed
Aux Solo Switch
Allows aux bus to be soloed
Effects Master Control
Sets overall level of signals derived from the
input channel effects sends.
Effect Solo Switch
Allows effects bus to be soloed.
Meter Switching
Allows switching of signals to each pair of
meters. Meters 1 & 2 can be switched to mon-
itor Sub 1 & 2, or the solo and mono culpuls.
Meters 3 & 4 can be switched to monitor Sub
3 & 4 or the L and R stereo outputs
Solo Level Control
Sets overall level of solo bus signals heard
on headphones and/or the main mix. At the
CAL. mark, solo bus levels are referenced
to"O” Vu so internal operating levels may be
observed on all input channels, sub, and
send masters
Solo Status Led
Indicator lights to conveniently show when
any of the solo switches have been engaged.
Solo to L/A Stereo (Mains) Switch
Routes all solo bus signals to the L/R stereo
outputs. Used for PA. sound checks, studio
monitor routing, etc.
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Effects Return—A, Level Control
Sets volume level in L/R stereo mix of all
signals fed to the corresponding input ¡ack
on rear of unit.
Effects Return—A, Pan Control
Places the effects return A signal within the
stereo panorama.
Effects Return—B, Level Control
Sets volume level in L/R stereo mix of all
signals fed to the corresponding input jack
on rear of unit.
Effects Return—B, Pan Control
Places the effects return B signal within the
stereo panorama.
Headphone Level Control
This control adjusts headphone level from
off to painfully loud when used with head-
phones from 8 Ohms to 2k Ohms impedance.
Phantom Power Led
Indicates activation of the +48V Phantom
Power suppiy
Stereo Master Control
Controls overall outpul level of the L/A stereo
(mains) mix and the mono mix.
Sub Section
Solo Switches (Sub)
Allows the corresponding sub-group output
signal to be soloed through the headphone
solo system.
Pan Controls (Sub)
Each control places the corresponding
sub-group output signal within the stereo
panorama of the L/R stereo master
Sub Level Controls
The four sub-group level controls determine
the overall volume of their respective group.
The 100mm slide fader controls are active
instead of passive, so the lowest noise and
best headroom performance are preserved
throughout the system.
C-8E EXPANDER C-12/Series Two Block Diagram — --—-—-—-—-—-—-—-—-—-—-—-
DESCRIPTION & APPLICATIONS
Forthose applications requiring more
than twelve (12) inputs, the C-8E
Expander unit is available. Up to four
(4) Expanders may be cascaded to
add multiples of eight inputs to the
basic C-12, giving 12, 20, 28, 36, or 44 i:
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amplifiers, phantom and bipolar power pa
supplies. The usual interconnect point
in the signal flow is at the master epi
console s Stacking inputs, but the RR A
C-BE may also be connected to the
line input of an input channel. Each /
C-8E has Stacking Input jacks allowing
an additional C-8E or C-12 to be
interconnected or ‘stacked.
Interconnection is via eleven (11)
standard Ya" phone plug patch cords
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Expanders can not only be used to
acd inputs, but can be used as
submixers (with drums or keyboards
for example), as monitor mixers, or as
remote units feeding a C-12 in another
location. The independent power
supplies (for AC and phantom power)
allow tha C-8E to "stand alone” ata
convenient distance away. e DMT Выль
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LIMITED WARRANTY
TAPCO warrants the materials,
workmanship and proper functioning
of its products for a period of one full
year from the date of original
purchase. If any defects are found in
the materials or workmanship of
TAPCO products, or if the product
ceases to properly function within
one year from the date of first 1 1 1
purchase, TAPCO will repair or Ce
replace any non-conforming of $ 55
materials through the nearest En
TAPCO authorized warranty service
center.
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The purchaser must return the
product to the TAPCO authorized
warranty service center, freight
prepaid. À list of these warranty
service centers is available from any
TAPCO authorized dealer. Claims
must first De sent to any TAPCO
authorized warranty service center.
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Warranty registration cards must be
completed and mailed to TAPCO
within 30 days of purchase. All
correspondence with TAPCO should
include purchaser's phone number
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Specifications subject to change
without notice.
In Canada: In Europe: In Australia
Ey ТАСС) Guiton Industries Lid EVSA Electro-Voice Australia PTY-LTD
| Box 520 340 Herbert Street Romerstrasse 3 174 Taren Point Road
agu tan company Gananoque, Ontario 2560 Nidau Taren Point, Australia 2229
Canada K7G ZV1 Switzerland
3810 1481h Ave. NE Redmond WA 98052 Form EDS-12802
provided for smooth and accurate control. An
active fader configuration optimizes the
operating headroom and noise level to the fader
setting. The Channel Fader Output is available
at the Channel Direct Output. The channel
"Clip" LED monitors two critical points for
overload: the microphone preamp and channel
fader output (post EQ). The LED is
peak-stretched for maximum visibility.
The five (5) Assignment switches allow
selection of the four (4) Subgroups and/or the
Stereo Master. A given channel may be panned
between any even and odd Subgroup by
depressing both appropriate Assignment
switches. Direct assignment via the Pan control
to the Stereo Master section gives increased
flexibility by allowing the Subgroups to be
delegated to a non-related function, such as
recording or as mono subgroups that are
panned into position in a stereo mix created by
direct assignment.
The three (3) Sends have access to two points
in the signal path: Mic Preamp Output, just after
the Channel Patch return jack (pre fader) or the
Channel Fader Output (post fader). The Monitor
send is connected to the pre fader point and the
Effects send is connected to the post fader
point. The Aux send is able to access either of
the two points by means of a center detented,
center off pot (much like a cross-fader).
UTILIZING THE SOLO SYSTEM
The Solo System allows the console operator,
and in a special circumstance, the audience, to
monitor any Input, Subgroup, or Send from
within the console. The Solo System may be
assigned to one of the four (4) VU meters for
monitoring. Calibration is such that "0" VU
observed on the Solo VU meter is the design
center level for that point. The headphone
amplifier monitors the Solo System, and with
nothing soloed, the input to the Stereo Master
control feeds the phones. A special feature of
the Solo System is the ability to assign the Solo
output to the main console outputs (Left, Right,
Mono). This greatly enhances the usefulness of
the Solo System. For example, in a sound
reinforcement application, a single microphone
may be isolated from the rest during a test
(sound check) or during performance (MC's
mic during a stage change). In a recording
application, soloed sources may be routed to
the control room monitors (left and right main
outs) as is customary.
OUTPUT SECTION
The Output section is comprised of all the bus
mixing amplifiers, their master gain controls,
the Solo system, its associated headphone
amplifier and console power supply. Each of
the ten (10) mixing amplifiers (4 Subgroups,
Stereo, 3 Sends and Solo) has a direct (wild)
voltage input designated "Stacking" allowing
interconnection of other mixers capable of
+4dBm output or the C-8E Expander(s).
Compatible Phantom Powering (+48W) is
provided for condenser microphones of almost
any type. The Phantom Power Supply has
sufficient current to operate all twelve (12)
inputs simultaneously. A single master on/off
Phantom Power switch is provided on the front
panel with an LED indicator.
OUTPUTS
A large part of the flexibility of the C-12/Series
TWO comes from the unique configuration of
the four Subgroups, Stereo and Mono Qutputs.
Each of the four Subgroups is pannable
between the two Stereo outputs. Additionally,
the Direct Stereo assign and the two Effects
Returns mix to this point. The Stereo Outputs
are then mixed equally for the derived Mono
output. The four Subgroups may be isolated
from the Stereo outputs in any combination by
Input Section
Mic Input — Rear of Unit
À standard 3-pin XLR connector for balanced low impedance
Microphone Inputs is provided.
Line Input — Rear of Unit
A standard Ya" phone jack is provided for line level signals.
Minimum input level to set a nominal channel send level of OdBu
is 77TmV rms, or —=20dBu. The input impedance is 20k ohms.
Channel Patching
Convenient Vs” phone jacks are used to insert external processing
gear in an individual channel, and/or for direct outputs.
Send/Return insert points are before the channel fader and after
the channel EQ.
Channel Outputs
This Ya" phone jack provides a post-EQ and post-fader signal for a
direct send for multi-track recording, as an individual cue or effects
send, or for a patch to another point in the mixer.
Mic/Line Switch
Allows you to select either a line level input (switch in"), or balanced
microphone input (switch out).
Clip Indicator, Trim Control
Trim adjusts gain of first preamp stage in input channel, for both Mic
and Line inputs. Clip (Peak) indicator LED lights when an overload
condition occurs, in either the first stage or in EQ and fader stage.
Monitor
Monitor Control is a pre-fader, pre-EQ send that provides a separate
mix for monitoring, or an independent bus send.
Aux
AUX Control is designed to be used either pre- or post-fader and
EQ to provide an additional mix for monitors, cue, effects, reverb, etc.
Effects
Effects Control is a post-fader, post-EQ send most often used in
conjunction with the Effects Return in the output section to provide
a mix for external effects devices.
Equalization Controls
Frequencies of 3-Band EQ section have been selected for widest
range of musical equalization. There are =18dB shelving-type bass
(50Hz) and treble (15kHz) controls, and an adjustable-frequency
midrange control ( =12dB peak/dip-type). Midrange sweep control
can set frequency to be equalized anywhere from 300Hz to 6kHz.
Three EQ controls have a center-detent with grounded center taps,
so equalizers are totally out of circuit when centered.
Sub (Channel) Assign Switches
Sub Assign Switches route the signals from the input channels directly
to sub-groups 1,2, 3, or 4. Any input channel may be fed to any or all
sub-masters by using the proper switch or combination of switches.
Stereo (Mains) Assign Switch
Routes any input signal directly to the L/R Stereo Master
bypassing the sub-groups, and may be used Sim Nanaousiy with
the Sub Assigns for live recording, etc.
Pan Pot
Positions the input channel signal between any odd-even
combination of sub-groups or within the stereo panorama between
the L/R stereo outputs.
Mute
Allows muting of post-fader functions of input channel including
channel output, aux (post) output, effects output, sub-assign, and
L/R stereo assign. Does not affect pre-fader or solo functions.
Solo
When depressed, allows post-fader monitoring of the input
channel. It pre-empts headphone monitoring with the individually
selected signal(s).
Channel Fader
Active channel level control (100mm travel) adjusts volume of
channel in overall mix. AutoPad™ circuitry maximizes headroom
and S/N ratio while providing the same kind of smooth acting taper
and overall attenuation as a passive fader
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inserting plugs into the half-normalled
Subgroup Return jacks. The input channels
have simultaneous access to both the Stereo
Master outputs as well as the Subgroups, which
allows the Subgroups to be used independently
of the Main Stereo output (i.e. for an isolated
feed). Whether Balanced or Unbalanced, the
Subgroups have OdBm and the Stereo/Mono
sends have +4dBm nominal outputs, with
+ 18dBm peak capability.
Output Section
Monitor Master Control
Sets overall output level of signals derived
from the input channel monitor sends.
Monitor Solo Switch
Allows monitor bus signais to be soloed
through the headphone solo system.
Aux Master Control
Sets overall output level of signals derived
from the input channel aux sends. Can be
used for additional monitor mix, effects, or
independent feed.
Aux Solo Switch
Allows aux bus to be soloed
Effects Master Control
Sets overall level of signals derived from the
input channel effects sends.
Effect Solo Switch
Allows effects bus to be soloed.
Meter Switching
Allows switching of signals to each pair of
meters. Meters 1 & 2 can be switched to mon-
itor Sub 1 & 2. or the solo and mono outputs.
Meters 3 & 4 can be switched to monitor Sub
3 & 4 orthe L and R stereo outputs.
Solo Level Control
Sets overall level of solo bus signals heard
on headphones and/or the main mix. At the
CAL. mark, solo bus levels are referenced
to"0" Vu so internal operating levels may be
observed on all input channels, sub, and
send masters.
Solo Status Led
Indicator lights to conveniently show when
any of the solo switches have been engaged.
Solo to L/R Stereo (Mains) Switch
Routes all solo bus signals to the L/R stereo
outputs. Used for PA. sound checks, studio
monitor routing, etc
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Effects Return—A, Level Control
7” Sets volume level in L/R stereo mix of all
signals fed to the corresponding input ¡ack
on rear of unit.
Effects Return—A, Pan Control
Places the effects return A signal within the
stereo panorama.
Effects Return—B, Level Control
- Sets volume level in L/A stereo mix of all
signals fed to the corresponding input jack
on rear of unit.
Effects Return—B, Pan Control
Places the effects return B signal within the
stereo panorama.
Headphone Level Control
„ This control adjusts headphone level from
off to painfully loud when used with head-
phones from 8 Ohms to 2k Ohms impedance.
Phantom Power Led
7” Indicates activation of the +48V Phantom
Power supply
Stereo Master Control
~~ Controls overall output level of the L/A stereo
(mains) mix and the mono mix
Sub Section
Solo Switches (Sub)
Allows the corresponding sub-group output
signal to be soloed through the headphone
solo system.
Pan Controls (Sub)
Each control places the corresponding
sub-group output signal within the stereo
panorama of the L/R stereo master
Sub Level Controls
” The tour sub-group level controls determine
the overall volume of their respective group.
The 100mm slide fader controls are active
instead of passive, so the lowest noise and
best headroom performance are preserved
throughout the system.
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USING THE BUS SENDS
All three (3) Bus Sends (Monitor, Effects, and
Aux) have +4dBm nominal output with
+ 18dBm peak capability (Balanced or
Unbalanced). The Effects send has a second
output (Unbalanced only) 20dB below the main
effects output for easy interface with various
types of musical instrument equipment.
The flexibility of the Sends is limited only by the
imagination of the operator. For example, in a
church installation, the pre fader Monitor send
might feed the choir and pulpit foldback
system, the pre or post fader Effects send could
feed a distributed 70V system for the lobby, cry
room and external areas, The Main Stereo
outputs would feed the central stereo house
system. A secondary system for people with
hearing impairment could be fed from the Mono
output.
In a multi-use auditonum system, the Monitor
and Aux sends could drive an on-stage
foldback system, while the four Subgroup
outputs might feed either a 4-track recorder or
even a 4-channel stereo reinforcement system.
The Stereo outputs could be used for a 2-track
recorder or, of course, the main house system in
a traditional 2-channel stereo setup. The Effects
send is left over for an additional foldback, tape
recorder, or reverb send.
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