SOUNDCRAFT USER GUIDE
SOUNDCRAFT
USER GUIDE
• Soundcraft Electronics 1995
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. ZM0078-03
Information in this manual is subject to change without notice and does not
represent a commitment on the part of the vendor. Soundcraft Electronics shall
not be liable for any loss or damage whatsoever arising from the use of
information or any error contained in this manual.
No part of this manual may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, electronic, electrical, mechanical,
optical, chemical, including photocopying and recording, for any purpose
without the express written permission of Soundcraft Electronics.
It is recommended that all maintenance and service on the product should be
carried out by Soundcraft or its authorised agents. Soundcraft Electronics cannot
accept any liability whatsoever for any loss or damage caused by service,
maintenance or repair by unauthorised personnel.
Harman International Industries Ltd.
Cranborne House
Cranborne Road
Potters Bar
Herts.
EN6 3JN
England
Tel:
Fax:
01707 665000
01707 660482
Table of C ontents
1. Introduction
1.1
Introduction
1.2
Warranty
1.3
2. Installation
2.1
Dimensions
2.2
Installation
2.3
Precautions and Safety Instructions
2.4
A Typical Installation
2.6
Connections
2.7
Setting Up
2.10
Removing And Replacing Modules
2.11
Removing And Replacing The Cross Fader
2.12
Jumpers
2.13
3. System Block Diagram
3.1
4. Mic/Line Input Module
4.1
Mic/Line Input Module
4.2
Stereo Input Module
4.5
Master Module
4.9
1. Introduction
Introduction
Precautions and Safety Instructions
Introduction
1.1
Introduc tion
The D-MIX1000 is designed as a high performance mixer for the professional DJ.
Front panel controls are kept to a minimum to give a clear and uncluttered
appearance while providing sufficient flexibility and choice to meet individual
requirements.
The design of mixer allows for installation in standard 19" rack mountings,
occupying 8U of height, or for dropping through a desktop.
The mixer provides complete freedom of layout, with interchangeable mono and
stereo input modules. The Master module may be located anywhere in the frame
to allow for individual preferences. All connections are on the underside of the
mixer for easy access when mounted through a desktop.
Module Options
Frames may be fitted with a choice of modules as follows:
•
Mono Mic/Line Input module with insert point and 3-band EQ. Two Mono
input modules are fitted as standard.
•
Stereo Input module, with two switched stereo sources, one of which may be
internally configured with RIAA equalisation for turntables. The modules
are set with RIAA equalisation active as standard (factory fitted). Six stereo
inputs are fitted as standard.
A Master module is fitted as standard, containing main outputs, monitoring, master
faders and metering.
Metering
Power Supplies
1.2
The mixer is fitted with two meters:
•
Main Left/Right outputs
•
Monitor/Cue, normally displaying L-R or Aux mix unless a Cue switch is
pressed, when the meters display the Cue signal.
The console requires the DCP100 power supply.
Introduction
Warranty
1
Soundcraft is a trading division of Harman International Industries 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 Distributor.
Equipment means the equipment supplied with this manual.
2
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 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 replace the defective components. Any components
replaced will become the property of Soundcraft.
3
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.
4
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 Soundcraft’s
recommendations.
Introduction
5
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.
6.
The benefit of this Warranty may not be assigned by the End User.
7.
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.
1.3
1.4
Introduction
2. Installation
Installation
2.1
Dimens ions
125.00mm
4.92"
482.60mm
19.00"
underside
&
connectors
355.60mm
14.00"
14.00mm
0.55"
21.20mm
0.83"
MAX KNOB HEIGHT
1.22mm
0.05"
84.30mm
3.32"
25.40mm
1.00"
442.00mm
17.40"
2.2
Installation
Ins tallation
The D-MIX1000 is designed for reliability and high performance, and is built to the
highest standards. Whilst great care has been taken to ensure that installations are
made as troublefree as possible, care taken at this stage, followed by correct setting
up will be rewarded by a long life and reliable operation.
Wiring Considerations
A For optimum performance it is essential for the earthing system to be clean and
noisefree, as all signals are referenced to this earth. A central point should be
decided on for the main earth point, and all earths should be ’star-fed’ from this
point. It is recommended that an individual earth wire be run from each electrical
outlet, back to the system star point to provide a safety earth reference for each piece
of equipment.
B Install separate mains outlets for the audio equipment, and feed these
independently from any other equipment.
C Avoid locating mains distribution boxes near audio equipment, especially tape
recorders, which are very sensitive to electromagnetic fields.
D Where possible ensure that all audio cable screens and signal earths are
connected to ground only at their source.
Power Supply
Always ensure that you use the correct PSU for your mixer. The D-MIX1000 uses
a DCP100 power supply.
Warning!
Installation
Before switching on your D-MIX1000 console, check that the mains
voltage selectors on the power supply unit is set to the correct
mains voltage for your area, and that the fuse is of the correct rating
and type. This is clearly marked on the case of the power supply.
Do not replace the fuse with any other type, as this could become a
safety hazard and will void the warranty.
2.3
Prec autions and S afety Ins truc tions
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 alcohol 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 power supply away from the unit.
Caution! In all cases, refer servicing to qualified personnel.
Handling and Transport The console is supplied in a strong carton. 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 we
recommend that it is installed in a foamlined flightcase. At all times avoid applying
excessive force to any knobs, switches or connectors.
Power Suppies & Cables Always make sure that the power supply unit (PSU) has been set to the same voltage
as the mains supply.
Always use the power supply and 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.
Warning! Always switch the power supply off before connecting or
disconnecting the mixer 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.
Always ensure that you use the correct PSU for your mixer. The D-Mix1000
requires a DCP100 supply.
2.4
Installation
S ig nal L evels
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 inputs are designed for use with balanced low impedance (150 or
200 ohms) microphones.
The Phones output is a 3-pole "A" gauge jack, suitable for high impedance
headphones (400ohms), and will appear to be low if domestic 8ohm headphones
are used.
Caution! Do not use unbalanced microphones or battery powered condenser
microphones without isolating the +48V phantom power: degraded
performance or damage to the microphone may result.
The sensitivity of the Mic inputs is variable from -16dBu to -70dBu, with a
maximum input level of +4dBu. The Mono Line Input sensitivity is variable from
-46dBu to +8dBu with a maximum input level of +22dBu.
The Stereo Input is provided with a gain trim of +/-10dB, with a maximum input
level of +22dBu.
The main outputs of the mixer (Left/Right) are balanced at a nominal level of 0dBu.
Maximum output level is +26dBu into 600 ohms.
Installation
2.5
2.6
AUX
RETURN
AUX
SEND
START
RECORD R
OUTPUT
SUB BASS
OUTPUT
INPUT 1
RIGHT (RIAA)
BOOTH
OUTPUT
MONO
OUTPUT
LEFT
OUTPUT
RECORD L
OUTPUT
INPUT 2
RIGHT
INSERT
S/LIGHT
OUTPUT
RIGHT
OUTPUT
INPUT 1
LEFT (RIAA)
INPUT 2
LEFT/STR
LINE
INPUT
MIC
INPUT
START
INPUT 1
RIGHT (RIAA)
INPUT 1
LEFT (RIAA)
INPUT 2
RIGHT
INPUT 2
LEFT/STR
START
INPUT 1
RIGHT (RIAA)
INPUT 1
LEFT (RIAA)
INPUT 2
RIGHT
INPUT 2
LEFT/STR
A Typic al Ins tallation
Installation
C onnec tions
Wiring conventions
The D-MIX1000 uses various different types of audio connector: 3-pin XLR , 1⁄4"
3-pole jacks and RCA phono connectors. This section describes how to connect
external equipment to the console. Correctly-made cables of the proper type will
ensure peak performance from your mixer.
Mono Input Module
Mic Input
The mic input accepts XLR-type connectors and is designed to suit a wide range of
BALANCED or UNBALANCED low-level signals, whether from delicate vocals
requiring the best low-noise performance or close-miked drum kits needing
maximum headroom. Professional dynamic, condenser or ribbon mics are best
because these will be LOW IMPEDANCE. While you can use low-cost HIGH
IMPEDANCE mics, you do not get the same degree of immunity to interference on
the microphone cable and as a result the level of background noise may be higher.
If you turn the PHANTOM POWER on (J1 on the PCB fitted to position B) the
socket provides a suitable powering voltage for condenser mics.
DO NOT use unbalanced sources with the phantom power switched on. The voltage
on pins 2 & 3 of the XLR may cause serious damage.
The input level is set using the SENS Knob.
Line Input
Balanced
Unbalanced
Hot (+ve)
Signal
Cold (-ve)
Gnd/Screen
Gnd/Screen
Gnd/Screen
Tip
Ring
Accepts 3-pole "A" gauge (TRS) jacks, or 2-pole mono jacks which will
automatically ground the "cold" input. Use this input for sources other than mics,
such as tape machines or CDs. The input is BALANCED for low noise and
immunity from interference, but you can use UNBALANCED sources by wiring
up the jacks as shown below, although you should then keep the cable lengths as
short as possible to minimise interference pick-up on the cable. Note that the ring
must be grounded if the source is unbalanced. Set the input level using the SENS
knob.
Sleeve
Insert Point
Signal Send
R e t u rn
Signal Return
Se nd
Gnd/Screen
The unbalanced, pre-EQ insert point is a break in the channel signal path, allowing
limiters, compressors, special EQ or other signal processing units to be added in the
signal path. The Insert is a 3-pole "A" gauge jack socket which is normally bypassed.
When a jack is inserted, the signal path is broken, just before the EQ section.
Tip
Ring
Sleeve
The signal from the channel appears on the RING of the plug and is returned on the
TIP.
Inserts
Installation
2.7
C onnec tions
Input 1 Stereo Inputs
The Input 1 sockets accept phono jacks. The Inputs are UNBALANCED. Input 1
Signal may be used for tape machines, CDs or turntables. If they are used for turntables
Gnd/Screen
then the inbuilt RIAA input filters must be selected. This is done by setting the
module jumpers J1 and J2 to position A. See Page 2.13 for jumper details.
Unbalanced
Signal
Input 2 Stereo Inputs
Gnd/Screen
These Inputs are UNBALANCED. They accept 2-pole mono jacks. These may be
used for sources such as tape machines or CDs. Mono sources can be fed to both
paths by plugging into the Left jack only.
Tip
Sleeve
Start Socket
Outer
Contact
The Start socket accepts phono plugs. A switch contact closes between the screen
and the centre contacts in the module whenever the modules ON switch is depressed.
Center It may be used to remote start a turntable or tape machine etc. Consult the hand book
Contact for the turntable or tape machine to see if it has remote start capabilities.
Under no circumstances must the mains be placed on these
contacts.
Record Left & Record Right Outputs
The Record outputs may be connected via two phono plugs, one for the left signal
and one for the right signal.
Gnd/Screen
2.8
Signal
Installation
C onnec tions
Outputs Left & Right
The left and right outputs are on 3-pole XLR sockets, wired as shown on the left.
They are balanced outputs, allowing long cable runs to balanced amplifiers and other
equipment.
From D-Mix 1000
Signal +
Screen
(a) Balanced Connection
To External Device
Signal -
1. Screen
3. Cold (Signal -)
From D-Mix 1000
Signal +
(b) Unbalanced Connection
Input
To External Device
2. Hot (Signal + )
Screen
GND
Signal -
Experience has shown that sometimes it is better
not to connect screen at external device end.
Mono Output & Sub Bass Output
The Mix and Aux outputs are on 3-pole a gauge jack sockets, wired as shown on
the left and below, and incorporate ground compensation which helps to avoid
ground loops and their associated hums and buzzes when feeding into unbalanced
equipment.
Signal
Ground Sense
From D-Mix 1000
Ground Compensated
Output
Signal +
(a) Balanced Connection
To External Device
Screen
Screen
From D-Mix 1000
Ground Compensated
Output
Signal +
Screen
Ground Sense
(b) Unbalanced Connection
To External Device
Ground Sense
Experience has shown that sometimes it is better
not to connect screen at external device end.
Outputs
Installation
2.9
C onnec tions
Left Signal
Booth & Headphone Outputs
Right Signal
Ground
Signal Send
Gnd/Screen
The DJ Booth and Headphone outputs are connected via 3-pole "A" gauge jacks.
Sound To Light Output
Gnd/Screen The Sound to Light output can be connected via 3-pole "A" gauge jack.
Tip
Ring
Sleeve
Signal
Signal
Ground
Aux Send
The Aux Send can be connected via 3-pole "A" gauge jack.
Aux Return
Left Ret
Right Ret
The Aux Return can be connected via 3-pole "A" gauge jack.
Ground
2.10
Installation
S etting Up
You will probably use your D-Mix1000 with a wide range of different types of
sound source, and these will be at varying signal levels. It is important to set the
SENS control correctly to give the best performance. If the input level is too high
the signal will distort as it overloads the channel and causes clipping. If it is too low
the level of any background hiss will be more noticeable and you may not be able
to get enough signal level to the output of the mixer. This is illustrated in the diagram
below.
Clipped
Signal
Noise
If the signal is too high, clipping distortion
may occur.
Signal
Noise
If the signal level is too low it may be masked
by the noise.
Set up the Stereo/Line channels as follows:
(1) Plug in the chosen source (e.g Turntables, CDs).
(2) Set the Master faders up fully.
(3) Provide the chosen source with a typical signal level and press the CUE button
just below the fader. The signal level should now be shown on the CUE bargraph
meter.
(4) Adjust the SENS until the meter is just reaching the yellow LED (0dB) at a
typical maximum source level with a steady signal. This leaves enough headroom
to cope with peaks in the signal without distortion.
(5) Adjust each channel in the same way.
(6) With your amplifier and speakers connected, set the amplifier by using the
amplifiers gain control to give the level that will be required in actual use.
(7) All the levels should now be set correctly to avoid clipping etc.
Installation
2.11
R emoving A nd R eplac ing Modules
Removing Modules
Each Input Module is secured to the D-Mix1000 frame by two screws, the Master
module is secured by four screws.
Remove the screws using a cross-head screw driver.
Turn the console on to its underside, so it is face down. Here the connectors can be
located. Remove the screws holding in XLRs and the nuts holding the jack sockets
in. You may find it helpful to refer to the black sticker on the console to make sure
you are removing the correct components for the module which you require.
Slowly turn the console back over to its original position, the module should now
be free for removal.
Lift the module a few inches out from the desk frame, just enough so the ribbon
cable is exposed. Gently ease off the loom connector from the bottom of the PCB.
The module should now be completely free from the desk.
Replacing modules
Line the module up so it can slot easily into the desk frame and connect the ribbon
cable back onto the PCB.
Turn the console onto its underside and replace XLR fixing screws and Jack socket
nuts.
Turn the console back to its original position and replace the module fixing screws
situated on the face of the module.
The module should now be securely fixed to the console.
It is important to note that the modules may be configured to the users requirements
but caution must be taken not to damage the main wire loom. Be careful not to trap
the loom between any of the modules.
2.12
Installation
R emoving A nd R eplac ing The C ros s F ader
With a cross-head screw driver, remove the two Cross Fader fixing screws. These
are labelled numbers 1 and 2 on the diagram.
Gently lift out the fader, being careful not to apply too much force on the wire loom
connecting the Cross Fader to the console.
Gently ease the plug off of the Cross Fader PCB. This is shown as number 3 on the
diagram below.
The Cross Fader should now be free for removal.
To replace the Cross Fader follow the instructions above in the opposite order.
Installation
2.13
J umpers
Several functions on the D-Mix1000 may be altered by internal adjustment of
jumpers on the PCBs.
Mic/Line Input Module Jumper Options (SC3451)
J1A
Fit to disable +48V phantom power to the Mic input XLR. (Default)
J1B
Fit to enable +48V phantom power to the Mic input XLR.
J2A
Fit in position A to enable Voice-Over. (Default)
J2B
Fit in position B to disable the Voice-Over.
J3
Fit in position A for Aux source pre-fade. (Default)
Fit in position B for Aux source post-fade.
The black rectangles on the diagrams below show jumper positions.
Stereo Input Module Jumper Options (SC3452)
2.14
J1,2A
Fit to enable RIAA equalisation on Line 1. (Default)
J1,2B
Fit to enable -10dBV (Non-RIAA) input level on Line 1.
J3,4
Fit in position A for Aux source pre-fade. (Default)
Fit in position B for Aux source post-fade.
Installation
3. System Block Diagram
System Block Diagram
3.1
D-Mix1000 S ys tem B loc k Diag ram
3.2
System Block Diagram
4. Mic/Line Input Module
Description & Operation
Specification
Mic/Line Input Module
4.1
Mic /L ine Input Module
1
2
3
Input Stage
Two inputs are provided to the module, one microphone level input on an XLR
connector, and one line level on a 1/4" stereo jack. The MIC input has +48V
Phantom Power available for condenser microphones which may be activated by
setting an internal jumper on the circuit board.
A pre-EQ Insert Point is also provided for the addition of a limiter or other signal
processor to the input channel.
1 The LINE switch selects the Line input when pressed and the Mic input when
released. An LED in the switch illuminates when the Line input is selected.
4
5
6
7
8
9
2 The SENS (Sensitivity) control adjusts the level of the selected input, and
should be set up carefully to ensure a good signal to the rest of the mixer. If it is
set too high the signal will distort as it overloads the channel and causes clipping.
If it is set too low the level of any background hiss will be more noticeable and you
may not be able to get enough signal level to the output of the mixer.
Equalisation
3 The Equaliser (EQ) allows precise manipulation of the sound, particularly to
improve the sound of microphone sources where the original sound is often far from
ideal.
Three EQ bands are provided, giving 10dB of boost or cut at frequencies of 100Hz
(LF), 3.5kHz (MF) and 8kHz (HF).
4 The EQ may be switched in and out of circuit by the EQ switch. An integral
LED illuminates when the EQ is in circuit (switch pressed). Toggling this switch
on and off allows an instant comparison between the equalised signal and the
untreated signal.
5 An AUX feed is provided for use with an effects unit, reverb or as an additional
output from the mixer. The AUX control sets the send level from the channel, and
this is mixed with the signal from any other channels required before being sent to
the Aux Send output jack at an overall level set by the Master module AUX SND
control. The send from the channel may be selected as pre- or post fader by changing
the position of internal jumpers.
10
6 The PAN control sets the amount of the channel signal feeding the Stereo Mix
output, either directly or via the A/B Crossfader (see Channel Output below),
allowing you to move the source smoothly across the stereo image. Turning the
control clockwise moves the source progressively to the right in the stereo image,
and turning the control anticlockwise moves the source to the left.
7 The large illuminated ON switch activates the channel when pressed, and mutes
the channel when released. If the Aux Send is selected as pre-fade, the ON switch
will not affect the Aux signal, but will mute it with the main channel output if
selected as post-fade.
11
4.2
Mic/Line Input Module
8 The PEAK LED warns the DJ of excessive signal level in the channel before
distortion occurs. The signal is sampled just after the EQ section, and illumination
of the LED will indicate that the input sensitivity is set too high, or that the EQ
settings are too extreme.
Channel Output
9 The channel signal may be assigned directly to the main L/R mix, or may be
switched to either the A or B side of the Crossfader which enables smooth transitions
between selected sources. The routing switches are interlocking.
10 The output signal level from the channel is set by the long-travel FADER. If
the channel input is selected to MIC, moving the fader from the end stop will also
cause the DJ Booth monitors to be muted when a Cue is active, to prevent feedback.
11 The large illuminated CUE switch enables the pre-fade channel signal to be
routed to the DJ’s headphones and the booth monitors if required. The mono
channel signal is sent equally to both sides of the stereo Cue mix, and is not affected
by the position of the Pan control.
Jumper Options
Rear Connector Panel
Mic/Line Input Module
J1A
Fit to disable +48V phantom power to the Mic input XLR. (Default)
J1B
Fit to enable +48V phantom power to the Mic input XLR.
J2A
Fit in position A to enable Voice-Over. (Default)
J2B
Fit in position B to disable Voice-Over.
J3
Fit in position A for Aux source pre-fade (Default)
Fit in position B for Aux source post-fade
4.3
Specification
Microphone Input
Electronically balanced
Input impedance
Maximum input level
Sensitivity range
E.I.N.
2kΩ
+4dBu
-70dBu to -16dBu
-128dB, 150 ohm source
Line Input
Electronically balanced
Input impedance
Maximum input level
Sensitivity range
20kΩ
+22dBu
-46dBu to +8dBu
General
Frequency Response
Distortion, Line In to L-R Output
4.4
+0,-1.0dB, 20Hz to 20kHz
0.005% @ 1kHz
Mic/Line Input Module
Stereo Input Module
Description & Operation
Specification
Stereo Input Module
4.5
S tereo Input Module
1
2
Input Stage
3
Two switched stereo inputs are provided to the module, one on 1/4" stereo jacks
and one on RCA phono plugs. The inputs would typically be used for CD players,
DAT machines or VTRs, and Line 1 input may also be reconfigured by changing
internal jumpers to provide RIAA equalisation for turntables. A remote start facility
is included for controlling turntables, CD players or other equipment.
1 The LINE 2 switch selects Line 2 input when pressed and Line 1 input when
released. An LED in the switch illuminates when the Line 2 input is selected.
2 The GAIN control trims the level of the selected input by +/-10dB to
compensate for different sources.
4
5
6
7
Equalisation
3 The Equaliser (EQ) allows correction of the sound, to enhance poor recordings
or compensate for different room acoustics. Since the sources which would
typically be connected to the stereo inputs will generally be of reasonable sound
quality, the EQ controls on these inputs have less range than the similar section on
the Mono input modules, giving more subtle control.
Three EQ bands are provided, giving 6dB of boost or cut at frequencies of 100Hz
(LF), 3.5kHz (MF) and 8kHz (HF).
4 The EQ may be switched in and out of circuit by the EQ switch. An integral
8
9
LED illuminates when the EQ is in circuit (switch pressed). Toggling this switch
on and off allows an instant comparison between the equalised signal and the
untreated signal.
5 A mono AUX feed is provided for use with an effects unit, reverb or as an
additional output from the mixer. The AUX control sets the send level from the
channel, and this is mixed with the signal from any other channels required before
being sent to the Aux Send output jack at an overall level set by the Master module
AUX SND control. The send from the channel may be selected as pre- or post fader
by changing the position of internal jumpers.
10
6 The BAL (Balance) control provides +/-6dB level adjustment for the signal
feeding the Stereo Mix output, either directly or via the A/B Crossfader (see Channel
Output below), allowing compensation for imbalance in the source signal.
7 The large illuminated ON switch activates the channel when pressed, and mutes
the channel when released. If the Aux Send is selected as pre-fade, the ON switch
will not affect the Aux signal, but will mute it with the main channel output if
selected as post-fade. Pressing the ON switch also provides an isolated contact
closure on the remote START phono socket to control external equipment.
8 The PEAK LED warns the DJ of excessive signal level in the channel before
distortion occurs. The signal is sampled just after the EQ section, and illumination
of the LED will indicate that the input gain is set too high, or that the EQ settings
are too extreme.
11
4.6
Stereo Input Module
Channel Output
9 The channel signal may be assigned directly to the main L/R mix, or may be
switched to either the A or B side of the Crossfader which enables smooth transitions
between selected sources. The routing switches are interlocking.
10 The output signal level from the channel is set by the long-travel FADER.
11 The large illuminated CUE switch enables the stereo pre-fade channel signal
to be routed to the DJ’s headphones and the booth monitors if required.
Jumper Options
J1,2A
Fit to enable RIAA equalisation on Line 1 (Default).
J1,2B
Fit to enable -10dBV (Non-RIAA) input level on Line 1.
J3,4
Fit in position A for Aux source pre-fade (Default).
Fit in position B for Aux source post-fade
Rear Connector Panel
Stereo Input Module
4.7
Specification
Line Inputs
Input impedance
Maximum input level
Sensitivity range
Noise
20kΩ (RIAA 47kΩ)
+22dBu
-46dBu to +8dBu
-80dB
General
Frequency Response
Distortion, Line In to L-R Output
4.8
+0,-1.0dB, 20Hz to 20kHz
0.005% @ 1kHz
Stereo Input Module
Master Module
Description & Operation
Specification
Master Module
4.9
7
8
4
5
6
9
12
10
11
3
1
13
14
15
16
2
4.10
Master Module
Mas ter Module
The Master module incorporates the mix amps for the stereo and Aux busses, master
level control for the mixer outputs and provides the DJ with headphone or
loudspeaker monitoring and level display on high quality vacuum display bargraph
meters.
Main Outputs
1 Two long travel Master FADERS control the final output level of the Stereo
mix and a Mono sum of the Left/Right outputs.
2 The input channels are provided with routing switches which allow the signal
to be sent directly to the Stereo Mix, or to one side of the A/B CROSSFADER,
which then feeds the main outputs via the master faders (see above). When the
Crossfader is fully to the left the ‘A’ output is active, and channels may be preset
silently to the ‘B’ side of the Crossfader. Moving the Crossfader from A to B
produces a rapid and smooth transition to the preset sources. The process can then
be repeated with sources preset on the ‘A’ side.
Ducking
3 A selected mono input can be assigned (by setting an internal link on the input
module) to operate in conjunction with the master module to give an automatic
VOICE OVER facility for the DJ’s microphone. When the VOICE OVER switch
is pressed, if the selected mono input is switched to MIC, the mic signal will activate
the ducking system on the master module and dim the active output of the
Crossfader. The dim threshold is adjusted by an internal preset. Any channels
assigned directly to the Stereo Mix are unaffected.
Aux Send and Return
4 The Aux signals from the channels are mixed and sent to the Aux Send jack at
an overall level set by the AUX SND control.
5 The stereo Aux Return enables effects or other additional sources to be mixed
directly to the Stereo Mix at a level set by the AUX RTN control. The Aux Return
will be dimmed by the Voiceover system when active, and is mixed into the stereo
output before the master fader.
6 The Aux Return signal may be monitored by pressing the illuminated CUE
switch, which feeds the signal to the DJ headphones or Booth loudspeakers if Auto
Cue is active (see below).
The Aux Send and Return are typically used for effects, reverb or as a zone input
or output.
Metering
7 A dual bargraph OUTPUT METER displays the level of the Stereo output.
The upper bar displays the Left output and the lower bar displays the Right output.
Master Module
4.11
7
8
4
5
6
9
12
10
11
3
1
13
14
15
16
2
4.12
Master Module
8 A dual bargraph MONITOR/CUE METER displays the level of the DJ’s
headphone feed. The upper bar displays the Left output and the lower bar displays
the Right output. The meter follows the selection of L/R or AUX as the source for
the headphones (see 13 below), and is replaced by the CUE signal when a Cue is
active, or a Split Cue when SPLIT CUE is selected (see 15 below).
DJ Booth Output
A DJ Booth output provides loudspeaker monitoring and cueing, and this is separate
from the DJ Headphones output.
9 The source for the DJ Booth output may be selected as either the L/R output or
the AUX output.
10 The level of the DJ Booth output is set by this rotary fader.
11 When AUTO CUE is pressed, the Booth output is replaced by any active Cue
signal. The original source is reinstated when the Cue is removed. The integral
LED illuminates when Auto Cue is active.
12 A mute signal is generated by any active output from a Mono input channel
which is switched to MIC and this is used to automatically mute the DJ Booth output
while that mic is ‘live’ to prevent howlround. The MUTE Led illuminates to show
when the output is muted.
DJ Headphones
A DJ Headphones output provides monitoring and cueing on headphones, and this
is separate from the DJ Booth loudspeaker output. The phones output is a 3-pole
"A" gauge jack, suitable for high impedance headphones (400 ohms), and will
appear to be low if domestic 8ohm headphones are used.
13 The source for the DJ Headphones may be selected as either the L/R output
or the AUX output. When a CUE is active, the selected source is replaced by the
Cue signal in stereo (see also SPLIT CUE below).
14 The level of the DJ Headphones is set by this rotary fader.
15 When SPLIT CUE is pressed, instead of the normal Headphones output being
replaced completely by an active Cue signal, the Cue feed appears in the right
earphone and a mono mix of the normal feed is heard in the left earphone, giving
the DJ continuous monitoring of the mixer output if required. The integral LED
illuminates when Split Cue is active. The Monitor/Cue meter follows the
headphone signal.
16 The headphones output is a standard 1/4" 3-pole jack.
Additional Outputs
The pre-fade Stereo Mix output is also fed to an unbalanced RECORD OUTPUT
on RCA phono connectors, and a ground compensated mono SUB-BASS output
via a 20Hz -80Hz filter.
A separate mono S/LIGHT OUTPUT is provided to drive sound to light
controllers.
Master Module
4.13
Rear Connector Panel
Specification
Output Levels
L-R output
+4dBu for 0VU nominal
(+26dBu max into 600 ohm)
Distortion
Line In to L-R output
0.005% @ 1kHz
Crosstalk
Channel to Channel
4.14
-85dB @ 1kHz
Master Module
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