混音器说明书

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Peavey PV6 和 PV6BT 紧凑型混音器操作手册说明书

操作手册PV®6 和 PV®6BT紧凑型混音器这里介绍世界级无功放混音器性能的新台阶，所有新型 PV 系列混音控制台具有 Peavey 参考质量的话筒前置放大器，实现了惊人的 0.0007% 总谐波失真，使 PV 系列混音器很适合各种现场或录音应用。

PV 6 BT 包含2个参考质量话筒前置放大器声道、2个用于录音的直接输出、2个立体声道、戴蓝牙无线输入的媒体声道、高质量数字音效、媒体流 USB 输出、48伏幻电、双可选控制室输出、压缩、单声道集成可选吉他前置放大器、每个带旁通声道都有的3-频带均衡、每个声道具有音效电平、信号削波指示器和一个立体总 LED 滑线电桥。

该款具有惊人多样化的混音器适用于音乐工作室及现场应用，它的现代功能特性，如蓝牙等，可无缝连接几乎任何“智能”设备。

直接输出能轻松连接大多数录音用 DAW 接口；另外 PV 6 BT 可以直接发送音频流到电脑。

均衡旁通让您按下按钮即可比较均衡信号和原始信号。

压缩则控制具有难度的信号。

Peavey 独有的吉他整形特别为吉他调整均衡和前置放大器。

所有新型PV 系列混音器代表顶级性能和价值.功能特性（两种模型）：• 2 个组合 1/4" 平衡 / XLR 输入静音器™ 前置放大器• 立体声 1/4"/ 3.5mm 输入声道，带输入增益、均衡、音效发送和环绕 / 平衡• 可切换 1/4" / RCA (/ 仅Bluetooth PV6 BT )立体声输入，带输入平衡和电平控制• 所有声道具有3-频带均衡• 2 个具有Peavey’s 独家 Mid-Morph的声道• LED 削波和信号出现指示• 话筒声道的均衡旁通• 双可选控制室输出• 全球48伏幻象电源• 1/4”平衡主立体输出• 耐用控制台设计• 带启动开关的立体声压缩器• 每个声道立体声环绕控制• 2 个直接输出声道• 立体声 USB-B 音频流输入和输出• 高质量总 LED 滑线电桥• 音乐工作室质量的耳机输出• Peavey 独家集成 1 兆欧吉他输入• 带电平控制的控制室输出• 电吉他预整形开关• 外部通用输入电源PV6BT 其他功能特性• 蓝牙无线立体声音频输入• Efx 静音开关仅适用于 PV6 ：• Efx 总电平馈送平衡 1/4” 输出安装注意事项：本设备和任何可燃面之间必须具有下列间距：8”, 各侧面：12”, 背面：12"电平EFX 混音的主输出电平控制。

混音器模型手册说明书

15 W10572158 Screw
16
24450 Link, Latch
17
Knob and Lever
Assembly
W10471367 Chrome
18
16910 Pin, Hinge
19
Pedestal
(Refer to Color Variation Parts Page)
20
Head Lock
11 W11175138 Gear, Center Bevel Pinion
12
240026 Shaft, Vertical Center
13 240018-1 Pin, Agitator Shaft
14 9705443 Pin, Grooved
15
240684 Gasket, Transmission
28 4160474 Shaft, Center Agitator Assembly
29 7101P115-60 Screw
30 9708652 Screw
31 W11134949 Screw
32 W10903540 Gear, Pinion
33 9706090 Washer
34
Planetary
(Refer to Color Variation Parts Page)
16 67500-55 "O" Ring
17 W10323378 Washer
18
Lower Gear Case
(Refer to Color Variation Parts Page)
19 9708651 Screw
20
243368 Shaft, Agitator

Soundcraft Signature Series混音器说明书

Part No: 5055924 E & OE 01/2015Soundcraft, Harman International Industries Ltd.,Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UKT:+44(0)1707665000F:+44(0)1707660742E:*********************Soundcraft USA, 8500 Balboa Boulevard, Northridge, CA 91329, USAT:+1-818-893-8411F:+1-818-920-3208E:*************************Also available: Signature Series Multi-track versions with multi-channel ultra-low latency USB audio interface -L E G E N D A R Y B R I T I S H S O U N DAnalogue Mixers with legendary Soundcraft ®, Lexicon ® and dbx ® signal processingSignature 10Signature 12Signature 16Signature 22Channels10121622Soundcraft ® Ghost Preamps 681216Soundcraft ® Sapphyre EQ 3-band(1 band of swept mids)3-band(1 band of swept mids)4-band(2 bands of swept mids)4-band(2 bands of swept mids)dbx ® Limiters on inputs 2248Lexicon ® Effects Single Engine Single EngineSingle EngineDual EngineUSB Interface 2-in/2-out 2-in/2-out (14-in/12-out on 12 MTK)2-in/2-out 2-in/2-out(24-in/22-out on 22 MTK)Auxes 3345Subgroups 0 2 mono/1stereo 4 mono/2 stereo 4 mono/2 stereo Faders60mm60mm100mm100mmDrawing on over 40 years experience in live sound mixing, the Signature Series combines a superb analogue control surface with the unrivalled British sound of Soundcraft in a powerful, compact, professionally spec’d mixer.Built tough for trouble-free performance night-after-night, Signature Series mixers deliver great sounding results thanks to high-grade Ghost ® preamps, the most musical EQ in the business, pristine Lexicon ® effects and powerful dbx ® dynamics - all designed to let you discover your Signature sound.Compact analogue mixing - your Signature soundFrom humble beginnings in London more than 40 years ago and still designed and engineered in the UK, Soundcraft defined the term ‘British sound’ in live sound mixing consoles. Acclaimed Ghost mic preamps and our Sapphyre ® ‘British’ equaliser ensure the Signature range carries the Soundcraft signature sound today.The legendaryBritish sound Eliminate fuss by connecting instruments direct to your mixer. Removing the need for DI boxes or additional hardware, Signature Series mixers make it simple to get a great instrument channel sound using the switchable Hi-Z inputs, optimised for acoustic guitars, electric guitars and basses.Switchable Hi-Zinstrument inputs Powered byIt’s no secret that great sound starts with a great microphone preamp. Inheriting technology from our top-of-the-line professional consoles, our acclaimed Ghost mic preamp delivers stunning audio fidelity and class-leading performance, with high headroom, wide dynamic range and superb signal to noise ratio.Iconic Soundcraft ® Ghost Mic Preamps We understand the importance of reliability. Every night, Soundcraft consoles run the biggest shows in the world. With a robust metal construction and premium-quality components, Signature Series mixers are built to withstand the rigours of extensive use and deliver years of maintenance-free operation.Built tough for the long haul Enabling simple playback andrecording, Signature Series mixers are loaded with a 2-channel USB audio interface, ideal for playing music from a computer and capturing a stereo mix of a live performance or rehearsal. Signature Series mixers also include Ableton Live 9 Lite DAW software. MTK models feature multi-channel, ultra-low latency USB audio interface.Easy playback and recording via USB Key features• H igh-Performance 10-, 12-, 16- and 22-input small format analogue mixers with onboard effects• Iconic Soundcraft ®Ghostmic preamps with ultra-low noise performance• R enowned Soundcraft ® Sapphyre British EQ with sweepable mid-bands per channel • L exicon ®Effects Engine featuring award-winning Reverbs, Delays, Chorusesand Modulations• dbx ® Limiters (High-ratio Compressors) on input channels • 2-in/2-out USB audio playback and recording• Switchable Hi-Z inputs for guitars, basses and other instruments • Hi-Pass Filters (low-cut) and 48V Phantom Power on all mic channels • C omprehensive Soundcraft ® GB Series audio routing • S mooth premium-quality faders• Robust metal construction for tour-grade build quality and reliability • Internal universal power supplyTo get every element sounding great in your mix, from the kick drum to the lead vocal, you need a great EQ.Famed for its musical sound andunmistakable ‘British’ quality, Signature Series mixers feature our highly regarded Sapphyre ® EQ. Signature 10 & 12 feature a 3-band EQ with sweepable mid. Signature 16 & 22 feature a 4-band EQ with dual-sweepable mid bands.Soundcraft ® Sapphyre British EQNeed effects? You’ve got Lexicon ®. With the Signature Series you don’t just get generic, dull processing algorithms. The Lexicon ® Effects Engine (Dual-Effects Engines on Signature 22 and 22 MTK) powers your mix with studio-grade Reverbs, Delays, Choruses and Modulations, designed to add a truly professional edge to your productions.Award-winning Lexicon ® effectsGiving you maximum flexibility, Signature Series mixers featurecomprehensive Soundcraft ® GB Series audio routing with flexible pre/post switching on each Aux and subgroups with powerful routing and switching options as well as dedicated outputs.Flexible Soundcraft ®GB audio routing L E G E N D A R Y B R I T I S H S O U N DIncludes。

Numark DM1090 双声道混音器用户指南说明书

Professional Disc Jockey Products DM1090 STEREO MIXER OWNER’S MANUALNUMARK INDUSTRIESDM1090DM1090CAUTIONFOR USA & CANADIAN MODELS ONLYTO PREVENT ELECTRIC SHOCK DO NOT USE THIS (POLARIZED) PLUG WITH AN EXTENSION CORD, RECEPTACLE OR OTHER OUTLET UNLESS THE BLADES CAN BE FULLY INSERTED TOPREVENT BLADE EXPOSURE.SAFETY INSTRUCTIONS1. Read Instructions - All the safety and operating instructions should be read before this product is connected and used.2. Retain Instructions - The safety and operating instructions should be kept for future reference.3. Heed Warnings - All warnings on this product and in these operating instructions should be followed.4. Follow Instructions - All operating and other instructions should be followed.5. Water and Moisture - This product should be kept away from direct contact with liquids.6. Heat - Avoid placing this product too close to any high heat sources such as radiators.7. Power Sources - This product should be connected to a power supply only of the type described in these operating instructions, or as marked on the unit.8. Power Cord Protection - Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed on or against them. When removing the cord from a power outlet be sure to remove it by holding the plug attachment and not by pulling on the cord. 9. Object and Liquid Entry - Take care that objects do not fall into and that liquids are not spilled into the inside of the mixer.10. Damage Requiring Service - This product should be serviced only by qualified personnel. If you have any questions about service please contact Numark at the number(s) shown on the back cover of this manual.11. Grounding or Polarization - Precautions should be taken so that the grounding or polarization means built into the mixer is not defeated.12. Internal/External Voltage Selectors - Internal or external voltage selector switches, if any, should only be reset and re-equipped with a proper plug for alternative voltage by a qualified service technician. Do not attempt to alter this yourself. NOTE: This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. Electrical equipment should NEVER be kept or stored in damp environments.Please record the serial number of your unit as shown on the back of the chassis as well as the name of the dealer from whom you purchased the unit. Retain this information for your records. Please return the warranty card enclosed to register your mixer with us.MODEL: DM1090PURCHASED FROM:_________________________SERIAL NUMBER:__________________DATE OF PURCHASE:________________________DM1090NUMARK DM1090 STEREO MIXERINDEXSafety Information Page 3Product RegistrationIntroduction Page 5FeaturesPrecautions Page 6Front Panel Diagram Page 7Guided Tour of Features Page 7Operating InstructionsRear Panel Diagram Page 11Connection Diagram Page 13Specifications Page 14Block Diagram Page 15Warranty and Service Page 16DM1090CONGRATULATIONS!You have purchased the D M1090 Stereo Mixer by Numark. This equipment featuresall new circuitry and the latest in manufacturing and design technology to give yougreater quality and better reliability than ever before. The D M1090 brings to you thefinest quality of DJ equipment available today.Thank you for buying Numark DJ products!FEATURES...Mixer features include:•User replaceable assignable ALPs™ crossfader• 5-band graphic equalizer with In/Out switch• Master and Booth level controls•Neutrik™ “Combo” connector allows 1/4” or XLR plugto be used for DJ Mic• Dedicated DJ Mic and Second Mic Channel with 2 Band EQand Talk-over dual control• Split cue headphone monitoring with cross-fader• Stereo/Mono switch on the Master•Tape Out for direct recording.• Powerful stereo headphone output• Push button cueing• High-end performance audio signal• 12V BNC light connectorDM1090DM1090 IMPORTANT INFORMATION...Please read this entire manual before connecting the DM1090 to your system.For optimum performance:• Always make sure that AC power is OFF while making any connections.• Do not use excessively long cables (i.e. over50ft/14m) Be sure plugs and jacks are tightly mated. Loose connections can cause hum, noise or intermittents that could easily damage your speakers.• Never use spray cleaners on the slide controls. Residues cause excessive dirt build-up and this will void your warranty. In normal use slide controls can last for many years. If they malfunction (usually because of a dirty or dusty environment) consult a professional technician.• Never attempt to make any adjustments or repairs other than those described in this manual. Take the DM1090 to your dealer or to an authorized Numark Service Center.A NOTE ON CABLES:Make the input and output connectionswith readily available low-capacitancestereo cables. Quality cable makes a bigdifference in audio fidelity and punch. Seeyour Numark dealer or an electronics oraudio specialist store if you are not surewhich cables to get.SYSTEM PRECAUTIONS• Use appropriate cables throughout your system: Quality shielded audio cables and terminated shielded video cables, low-capacitance preferred. Speaker cables must be 14-gauge minimum; 12- or 10-gauge is better.• Reliability will be enhanced through the use of banana connectors on the speaker wires. Observe correct speaker wire polarity. If in doubt, consult your Numark dealer or a qualified technician.• Take care to connect only one cable at a time. Pay attention to the color-coded, labelled Input and Output jacks.• ALWAYS remember: “TURN AMPS O N LAST AND OFF FIRST”. Begin with master faders or volume controls on minimum and the amplifiergain/input control(s) down. Wait 8 to 10 seconds before turning up the volume. This prevents transients which may cause severe speaker damage.• Use restraint when operating controls. Try to move them slowly. Rapid adjustments could damage speakers due to amplifier clipping.• Avoid amplifier “clipping” at all costs: this occurs when the red LEDs (usually on the front panel of most professional power amplifiers) start flashing. “Clipping” is when the power amplifier is distorting and working beyond it’s limits. Amplifier distortion is THE major cause of speaker failure.• To prevent fire or shock hazard, do not expose the unit to rain or moisture. Never place cans of beer, soda, glasses of water or anything wet on top of the mixer!DM1090DM1090 FRONT PANEL DIAGRAM...1234567891011121314151617181920GUIDED TOUR OF FEATURES AND OPERATING INSTRUCTIONS...Please read this entire manual before you begin operation.INSTALLATION AND OPERATIONStudy the Connections Diagram on page 13. First,connect all stereo input sources. Next connect your microphone(s) and monitor headphones. Make sure all faders are at "zero" and the unit is off. Finally, connect the stereo outputs to the power amplifier(s) and/or audio sources. Plug the D M 1090 into AC power. Now you are ready to switch it on.The DM1090 is divided into five functional blocks: Input,Crossfader, DJ Mic, Master/Zone Output, and Equalizer. It is important to learn how each of these work.CHANNEL INPUTS/CONTROLS SECTION 1. Channels 1, 2, & 3 Input Toggle Switches select which source will be live to that channel based on what you have connected to the rear panel input section.2. The Input Faders are low-noise, low-impedance, high-quality, smooth Alps™ faders. These control individual source levels in the mix.3. Channel Cue Assign . The C u e pushbuttons are used to route channel audio to the Monitor Section .The channel faders do not control the C u e send volume.CROSSFADER SECTION4. The Crossfader Assign knob to the left of the crossfader lets you choose which input channel will be heard when the crossfader is in the far left position.5. The Replaceable Crossfader achieves clean segues between the two selected input channels."Hard left" selects the channel set up of the Assign Left knob. In this example it is Channel 1. "Hard right" selects the channel set up on the Assign Right knob. In this example it is Channel 3. With the crossfader centered both assigned channels are live. Use the crossfader for fast and seamless segues from one selected channel to the other.To turn off the crossfader simply turn both knobs all the way to the left.Note: The crossfader is user replaceable in case of failure.Simply unscrew the two large screws which hold it in place,lift it out and disconnect it’s cable. Re-attach the new crossfader and screw the mounting plate back onto the unit - you’re back in business!6.The Crossfader Assign knob to the right of the crossfader lets you choose which input channel will be heard when the crossfader is in the far right position.DM1090DJ MIC SECTIONThe D M1090 has an extremely flexible DJ Mic channel. The Talkover function reduces the level of the music while leaving the DJ Mic at normal volume.7. Neutrik™ “Combo” connector allows connection of either a 1/4” jack or an XLR jack for the DJ Mic 1. This is ideal for connecting an XLR gooseneck directly into the mixer.8. Treble and Bass Controls fine tune the tone of your voice on both mics through the sound system. The controls are detented for setting tone "flat". For best results, use a dynamic cardioid microphone.9. The DJ Mic 1 Fader controls the DJ Mic volume for the Neutrik™ “Combo” connector.10. The Mic 2 Fader controls the Mic volume for the1/4” connector on the rear of the mixer.11.Mic Off/On/Talkover Switch.O f f turns off Mic 1O n turns on Mic 1Talkover turns down the input level of your musicsources from Channels 1-4.Talkover is very useful for making announcements without adjusting any levels.Try using this feature for audience participationwhen you want the music to temporarily ceaseand the audience to be heard - “YEAH!”MASTER/BOOTH OUTPUT SECTION12. The Stereo Master Fader controls the overall output level.13. Stereo/Mono toggle adjusts the Master output for the operation selected.14. The Booth Level controls speaker volume for a remote zone or booth monitors. If you do not use booth monitors the output can feed a tape deck, another amplifier, another mixer or a satellite speaker system. Note: This can also be used to supply line level audio to a lighting controller or to lights that are sound activated. CONTRACTOR'S NOTE: Booth Level provides zone control in installations where there are two separate rooms, or a bar and dance floor, for example. Remote zone volume should be controlled from the D M1090.15. Stereo Auto Peak Hold Level Indicator. This fast, accurate stereo meter tracks the output level. The red LEDs for +3dB, +5dB and +8dB hold program peaks for a second or two. With peak metering, it's OK to be "in the red" as long as +5dB or +8dB aren't constantly lit. Set the crossover, equalizer and power amp inputs to avoid distortion at each step in the audio chain. Proper attention to the peak meter results in the punchiest possible sound without audible distortion.DM1090EQUALIZER SECTION16. 5-Band Stereo Graphic Equalizer(EQ). EQ compensates for differences in source material sound quality. In ultra-compact mobile systems this EQ can be used to tailor the sound to the acoustical requirements of the room. Center frequencies are 63Hz, 250Hz, 1kHz,4kHz and 16kHz. Faders have a center detent for an accurate "flat” response.Below is a typical "house" EQ curve. Notice how the knobs above "0" balance out the knobs below. Start with this setting if you've never used a graphic EQ before:Below is an example of a poor EQ curve because it cuts the output volume down by 6-10dB. You have to compensate by running the Master output higher:Below is the worst sort of curve to use because you are using EQ to add volume. With exaggerated boost you can easily run your power amplifiers into “clipping” and damage your speakers.GENERAL EQ HINTS• Boost the 63Hz band for deep bass tones and solid kick drum sound. Use sparingly because this dramatically increases demand on power amplifiers and could drive them into “clipping” .• Cut slightly at 250Hz and more at 1kHz for extra clarity. Note: Cutting is preferable to boosting.• Boost 16kHz for a little "sizzle".• As a general rule, less equalization is better!17. Equalizer On/Off. This controls whether your final output will be routed through the EQ or not.MONITOR SECTION18. The Monitor section includes the Program Mix control, the Headphone Volume control and the Headphone Jack. Connect headphones with a standard 1/4" stereo plug. The C u e audio is sent to the headphone amp using the Cue Assign Pushbutton and the Pgm Mix control. The Program Mix controls the amount of program audio in the headphones so that beats can be matched exactly and segues are smooth when a song is cued.19. 12V BNC Connector allows a 12 volt gooseneck lamp to be connected directly to the mixer. This light is readily available from your Numark dealer.20. Power Switch and Power-On LED.DM1090DM1090DM1090 REAR PANEL DIAGRAM ...REAR PANEL: INPUTS AND OUTPUTS 1. AC Cord. See safety precautions on page 3 for proper treatment of the power cord.2. GND is the grounding lug for turntables 1 and 2(phono inputs on Channels 1 and 2). Always use this connection (your turntable cable should have a grounding wire).3. The Stereo Main Outputs are low-impedance RCA connectors controlled by the Master fader.4. The Stereo Zone Outputs are low-impedance unbalanced RCA jacks controlled by the Zone Level control.5. The Tape Outputs are low-impedanceunbalanced RCA jacks which output the program mix and allow you to connect any recording device.6. Mic 2 is a high-impedance 1/4” input.7. Channels 1-3 Line Inputs are unbalanced RCA jacks. The Line Input is selected with the toggle switch on the front panel.You can connect stereo audio from HiFi VCRs, cassette and reel-to-reel tape decks, DAT machines, CD players,laser discs, tuners, even synthesizers or other mixing consoles.N O T E : Plug mono audio sources into both Left and Right inputs using a “Y” cable connector.8. Phono Inputs on Channels 1 and 2 useunbalanced RCA jacks. Your input signal is fed directly to the D M 1090's high-quality RIAA phono pre-amplifiers so use this position only for moving magnet cartridges. Line level sources will overload the sensitive phono pre-amps and will sound very bad, so always be sure to toggle the line/phono switch over to line before connection of line sources.DM1090 DM1090 CONNECTION DIAGRAM...DM1090SPECIFICATIONS...INPUTS:Line:10kΩ input impedance80 mV rms sensitivity (for 1.22 V output)Mic:10kΩ input impedance balanced/unbalanced2.5 mV rms sensitivity (for 1.22 V output)500 mV rms max inputPhono:47kΩ input impedance1.5 mV rms sensitivity @ 1 KHz (for 1.22 V output)OUTPUTS:Line:9V rms max (+20 dBm)Headphone Amp: .5 watt into 47ΩDistortion less than .01%EQUALIZER:5-Band Stereo Graphic EQBand centers 63Hz, 250Hz, 1KHz, 4KHz, 16KHz +/- 12 dBSIGNAL TO NOISE RATIOS (vs. maximum output):Line:Better than 85 dBMic:Better than 72 dBPhono:Better than 83 dBFREQUENCY RESPONSE:Mic:20 Hz- 15k Hz +_ .5 dBLine:20 Hz- 20k Hz +_ .5 dBPhono:+_ 1 dB except for controlled attenuation of -3 dB@ 20 Hz to reduce rumble and feedbackTALKOVER ATTENUATION:variable from no cut to -16 dBPOWER CONSUMPTION:20 Watt typical, 28 Watt with full headphone outputDM1090 BLOCK DIAGRAM...Professional Disc Jockey ProductsWarranty and Service Information Numark Industries, LLC and Numark International, Inc. (hereafter “Numark”) warrants each new product manufactured and/or supplied by it to be free fromdefects in material or workmanship under conditions of normal use and service for 360 days, beginning on the date of purchase from an authorized Numark Dealer,but not to exceed 2 years from date of shipment by Numark.The Numark obligation under this warranty is limited to repairing or replacing, at its option, the product or part(s) therein; which upon examination by Numark shall appear to be defective or not up to factory specifications; providing the Numarkproduct is returned (transportation prepaid) to Numark.Numark shall not be liable for any damages, consequential or otherwise, resulting from the use and operation of this product and makes no other warranty(s) either express or implied on this product, including any warranty of merchantability.This warranty does not extend to any of our products which have been subjected to misuse, neglect, accident, incorrect wiring not our own, improperinstallation, or use in violation of instructions furnished by us, nor extended to units which have been repaired or altered outside of our factory, nor to cases where the serial number thereof has been removed, defaced, or changed, nor to accessories used therewith not of our own manufacture. Numark reserves the right to makechanges or improvements in its products, during subsequent production, withoutincurring the obligation to install such changes or improvements on previouslymanufactured equipment.To place this warranty into effect, the enclosed WARRANTY REGISTRATION CARD must be returned to Numark Industries, LLC within thirty (30) days afterdate of purchase.This warranty gives you specific legal rights, and you may also have other rights which vary from state to state.Some states do not allow the exclusion or limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you.EQUIPMENT TRANSPORTA Return Authorization number should be obtained from Numark through theaddresses or phone numbers below.It is the customer’s obligation, when returning faulty equipment, to properly pack the Numark equipment in its original packaging. Failure to do so mayinadequately protect the equipment in transit and, therefore, jeopardize thecustomer’s warranty. The defective Numark equipment should be sent, FREIGHT PREPAID with Return Authorization number to:NUMARK INDUSTRIES11 Helmsman RoadNorth Kingstown, RI 02852 USA Attention: Service Department Telephone: +1 (401) 295-9000 Fax: +1 (401) 295-5200 E-mail:*****************。

Peavey PV-10AT 紧凑型混音器说明书

操作手册LEVELminmax HIGHLOW 0-+-+PANR LEFXAUXLEVELCOMPGAINMAIN OUTPUTSSTEREO INFSAUX SENDMAIN L+R112345/67/8DIRECT OUTRL LLRRUSB ASOLO/MAINCONTROL ROOMSOLO/MAINUSBHEADPHONE/SOLO/MAINDIRECT OUTSOLOSOLOSOLOSOLOSOLOSOLOSOLO56R LR L109RLRLEFX SELECTMEDIA SELECT DIGITAL EFFECT/MEDIA PLAYBACKUSB MEDIA PLAYBACKEFFECts mediaDIRECT OUTDIRECT OUTHI PASSMIC MUTEMUTEDIGITALMEDIA CHANNELRECORD LEVELTO CONTROL ROOMANALOGMEDIA CHANNELRL EFXAUXSTEREO IN LEVELENABLEA/B SELECTB/RECKOSMOS-CUSB A USB B BluetoothMONO (SUM)STEREOA B/REC10 INPUT STEREO MIXERWITH DIGIT AL EFFECTS, MEDIA PLA YBACK AND BLUETOOTHEQ BYPASSEQ BYPASSEQ BYPASSEQ BYPASSON/OFFMID-MORPH-+LEVELminmax HIGHLOW 0-+-+PANR LEFXAUXCOMPGAIN2HI PASSMID-MORPH-+LEVELminmax HIGHLOW 0-+0-+PANR LEFXAUXGAIN3HI PASSMID-MORPH-+LEVELminmax HIGHLOW 0-+-+PANR LEFXAUXGAIN4HI PASSMID-MORPH-+LEVELminmax HIGHLOW 0-+-+BALR LAUXGAIN5/6MIDLEVELminmaxHIGHLOW 0-+-+0-+0-+BALR LAUXGAIN7/812345/67/8MIDPV 10ATPV 10ELECTRIC GUIT AR PRE-SHAPE9/109/10POWERMUTEMUTEMUTEMUTEMUTEAuto-TUNEAuto-TUNEATATPV®10AT 和 PV®10BT紧凑型混音器恭喜购买了 Peavey PV®10AT 或 PV®10BT 紧凑型混音器。

Azden FMX-22 双通道可移动音频混音器说明书

FMX-222-Channel Portable Audio MixerThank you for purchasing an Azden product.Please read this manual thoroughly before using thisproduct.○1 POWER INDICATOR: When the power switch (○12)Is on, the LED will light in green. When the battery level becomes too low for proper operation, the LED will turn red. When this happens, replace the batteries with fresh “AA” alkaline batter-ies.○2 CHANNEL 1& 2 INPUT LEVEL CONTROLS: Each knob controls the input volume level of the microphone connected to the corresponding input (○9). Zero is the lowest (quietest) setting while 10 is the highest (loudest). ○3 CHANNEL 1 & 2 OUTPUT SELECTORS: Let you select the output of each channel between LEFT, CENTER and RIGHT. ○4 MASTER LEVEL CONTROL: This knob controls the overall volume level of all connected sources (microphone and/or line -level devices).○5 CHANNEL 1 & 2 LIMITER SWITCHS: Each input channel has a switchable limiter. After setting the input volume level, turn this switch on. The limiter circuit will be activated and reduce the possibility of overload distortion from very loud sounds without affecting normal sound volume. If you prefer the overall sound quality of the mixer without the limiter circuit engaged, leave this switch off.○6 INPUT PEAK LEVEL INDICATOR: When the mixer detects signal overload and distortion, this LED will light in red. Lower the input level by turning the corresponding input level control (○2) counterclockwise. ○7 CHANNEL LEFT & RIGHT OUTPUT LEVEL INDICATORS: These indicators will show the output volume level of the CH L and CH R outputs (○13&○14). When the indicators show red, reduce the volume level by turning the input level control knobs (○2) or the master level control knob (○4). ○8 BATTERY COMPARTMENT: Open the lid by lifting it while pushing the tab.● Safety Instructions* It is very important to read and understand this manual completely before use. Keep this manual for future refer -ence. * When connecting/disconnecting cables and/or changing the phantom power setting or input level settings, turn theinput level control knobs to zero or power switch off.* When the phantom DC48V power is not needed, make sure the phantom switch is in the off position. * Before turning the phantom DC48V switch on, make sure your condenser microphone is designed to handle 48V DCor the microphone may be damaged. Check the microphone’s manual or with the manufacturer.* Do not use other batteries than “AA” alkaline batteries. Do not mix fresh batteries with used ones. * Remove the batteries if the mixer will not be used for a long period of time to prevent battery fluid leak. ● Front Control Panel● Side Panels○9CHANNEL 1 & 2 XLR INPUTS: Connect the 3-pin XLR output of a microphone, wireless receiver or line level audio compo-nent to CH 1 and/or CH 2. Push the XLR connector into the input jack until it locks. To remove the XLR connector, press the “PUSH” tab while pulling the connector out.○10INPUT LEVEL SELECTOR: The following 2 settings are available for each channel: MIC HI: maximum -5dBu (2kΩ)MIC LO: maximum -21dBu (2kΩ)○11PHANTOM DC 48V SWITCH: Each channel has its own phantom DC 48V power setting. When using a dynamic micro-phone, make sure that the corresponding phantom DC 48V switch is in the OFF position. When using the condenser micro-phone that requires 48V DC external power, turn the corresponding phantom DC 48V switch ON. When you turn the phan-tom DC 48V switch ON or OFF, make sure to turn the volume level control knobs (○2) zero or turn the power switch (○12) OFF.○12POWER SWITCH○13 & ○14CHANNEL LEFT & RIGHT XLR OUTPUTS: Connect a cable from these outputs to the MIC or LINE input of your cam-era or audio recorder. The outputs accept a standard 3-pin female XLR connector.○15STEREO MIC OUTPUT: This mini-connector (3.5mm) output is designed for video cameras or audio recorders with mini-connector mic-level inputs. This output is stereo (dual-channel) and unbalanced. It is recommended to use a stereo-to-stereo mini cable (not included) to connect this output to the input of your video camera or audio recorder. Because theFMX-32a is equipped with low-impedance XLR inputs and a mini-connector output, users of cameras/audio recorders withmini-connector inputs can now use high-quality microphones with XLR outputs.○16 MONITOR PHONES OUTPUT JACK: A 1/4” (6.3mm) jack for headphones.○17LEVEL VOLUME CONTROL: Controls the volume level of the monitor phones output (○16). Zero is the lowest and 10 is the highest setting.○18EXTERNAL DC IN CONNECTOR: To power the mixer with external 12V DC power. An optional AC adaptor, part number BC-27, is available. For information, visit AZDEN CORPORATION200 Valley Road, Suite 101, Mt. Arlington, NJ 07856Phone: 1-973-810-3070 Email:******************* Web Site: Printed in USALIMITED TWO -YEAR WARRANTYAzden Corporation warrants, to the first purchaser, that the Azden brand product purchased is free from defects in material and workmanship. Azden’s sole obligation under this warranty shall be to provide, without charge, repair or replacement (at Azden’s sole discretion), within two years from the date of purchase. The cost to ship a failed product to and from Azden or to its dealer shall not be covered by this warranty. A dated receipt acts to establish the date of purchase and is all that is required for warranty service.This warranty is the sole and exclusive express warranty given with respect to the product and all other warran-ties, expressed or implied, are hereby excluded. Neither Azden, nor the dealer who sells this product, is responsi-ble for indirect, incidental or consequential damages.This warranty does not extend to any defect, malfunction or failure caused by misuse, abuse, accident, Act of God, faulty hookup, unauthorized modification, connecting this product to equipment for which this product is not intended or defective associated equipment. Please read your owner’s manual carefully.● SpecificationsIINPUT LEVEL: Max Input Level Max Gain Input ImpedanceMIC LO -20dBu +58dB 2kΩMIC HI -3dBu +42dB 2kΩMAX OUTPUT LEVEL:CH L & CH R: +15dBu (5kΩ) UNBALANCED OUTPUT: -20dBu (2kΩ) MONITOR OUTPUT: +1.5dBu (32Ω) FREQUENCY RESPONSE: 20 - 20,000Hz (+0/-0.5dB)NOISE LEVEL: -119dBuT.H.D.: Less than 0.005% (1kHz, +19dBu)PHANTOM POWER: 48V ±1.5VPOWER SOURCE: 4 “AA” Alkaline batteries/DC 12V 200mABATTERY DURATION: Up to 15 hours in continuous useDIMENSIONS: 145mmL x 120mmW x 53.5mmH / 5 11/16”L x 4 3/4”W x 2 1/8”HWEIGHT: 670 g / 23.63 oz (without batteries)。

Rane MLM 103 混音器操作手册说明书

Manual-1MLM 103MIC/LINE MIXEROPERATORS MANUAL WEAR PARTS:This product contains no wear parts.MLM 103 CONNECTIONINPUTSThe MLM 103 has ten balanced Euroblock Inputs. Use only shielded cable. For best noise rejection use two-conduc-tor-plus-shielded wire, even for unbalanced operation.Connect the non-inverting (positive) audio lines to the “+”terminals, and the inverting (negative) lines to the “–”terminals. Connect the shields to the “ground” terminals.For those installations where the MLM 103’s internal shield-to-chassis connection causes interference, connect the shields directly to chassis PEM nuts directly above each pair of Euroblock connectors. Be sure to bite through the paint with the star washer and keep the shields wrapped around the audio conductors as mush as possible. For the “theoretical”best ElectroMagnetic Interference (EMI) immunity, connect the shields at both ends of the cables. (For more informationon connections, see RaneNote 110, “Sound System Intercon-nection” later in this manual or on Rane’s web site.)MONO INPUTS 1-6 can accept either mic or line level sources. When connecting line level signals, push the rear panel button in for LINE. For mic signals, be sure the button is in the MIC (out ) position.STEREO INPUTS 7/8 and 9/10 accept line level stereo and mono sources.OUTPUTSThe MLM 103’s OUTPUTS (and DIRECT OUTPUTS)are balanced. The same wiring conventions as the Euroblock Inputs apply.QUICK STARTIf you don't get any further, at least read this section to get the best gain structure out of the MLM 103.INPUTS 1 through 6 may be microphone or line level. The choice between the two is made by setting the Input’s LINE push-button on the rear panel.Push the PHANTOM POWER button (when needed) for each pair of Inputs.Using a screwdriver, adjust the TRIM for each Input so that the front panel OL LED illuminates only occasionally during extreme peaks. The three-band Equalizer settings will influence this, so keep an eye on the OL when making EQ adjustments. Now adjust the LEVEL for each Input.Assign each Input to the desired Output by pushing any combination of the A , B , or AUX ASSIGN buttons.INPUTS 7/8 and 9/10 are stereo line level Inputs.Assign each stereo input to the desired output as follows:When the A/B ASSIGN button is engaged and the MONO button is not engaged, INPUT 7 (or 9) is routed to the A Output, while INPUT 8 (or 10) is routed to the B Output.When the both the A/B ASSIGN and MONO buttons are engaged, both Inputs of 7/8 (or 9/10) will route to both the A and B Output.The AUX ASSIGN button is always a mono mix of the stereo channel.FRONT PANEL DESCRIPTIONቢ Equalizer level controls are used to contour the frequency response of the desired Input.ባ Mic/Line OUTPUT ASSIGN buttons. When the A button is engaged, the Mic/Line Input’s audio is routed to Output A.When the B button is engaged, the Mic/Line Input’s audio is routed to Output B. When the AUX button is engaged, the Mic/Line Input’s audio is routed to the Aux Output. Any (or all) of the ASSIGN buttons can be engaged simultaneously.ቤ Mic/Line INPUT LEVEL controls 1-6 determine the amount of signal to be delivered to the assigned Outputs.ብ Mic/Line OVERLOAD LED monitors the signal level before and after the Equalizer.ቦ Stereo Line OUTPUT ASSIGN buttons. When the A/B assign button is engaged and the MONO button is not engaged, Input 7 (or 9) is routed to the A Output, while Input 8 (or 10) is routed to the B Output. When both the A/B ASSIGN and MONO buttons are engaged, both Inputs of 7 and 8 (or 9 and 10) will be routed to both the A and B Output. The AUX ASSIGN button is a mono mix of the stereo Inputs.ቧ Stereo Line INPUT LEVEL controls 7/8 and 9/10 determine the amount of stereo or mono line signal to be delivered to the assigned Outputs.ቨ Stereo Line OVERLOAD LED monitors the signal levels after the Equalizer and after the line gain stage.ቩ Output Meters indicate the overall levels of Outputs A, B and the AUX Output. The Meters are “peak hold”.ቪ A, B and AUX OUTPUT LEVEL controls set the Output Level for A, B and AUX Outputs.ቫ POWER LED lights whenever adequate power is applied to the unit.Manual-2Manual-3REAR PANEL DESCRIPTIONቢ MIC/LINE INPUT TRIM controls 1-6 adjust the input gain of the Mic/Line Inputs. The gain range for Mic level is 15 to 60 dB. The gain range for Line level is 0 to 12 dB.ባ LINE/mic INPUT buttons 1-6 switch the sensitivity and input impedance for either a microphone or line input. Mic level is selected when the button is in the “out” position. Line level is selected when the button is in the “in” position.ቤ MIC/LINE INPUT connectors 1-6 are balanced Euroblocks that connect either microphone or line signals.ብ PHANTOM POWER button applies 12 volt phantom power to each pair of Mic/Line Inputs.ቦ STEREO LINE INPUT connectors 7/8 and 9/10 are pairs of balanced Euroblock connectors, to accommodate stereo or mono line level signals.ቧ PRE/post MIX LEVEL DIRECT OUTPUT buttons . When this switch is in the “in” position, the Direct Output signal is not affected by the Input’s Level control. When this switch is in the “out” position, the Direct Output signal is affected by the Input’s Level control.ቨ DIRECT OUTPUTS are balanced Euroblocks that directly connect each Mic/Line Input signal to other audio devices as needed. These Direct Outputs are post-Equalizer.ቩ A, B and AUX OUTPUT connectors. One 6-post balanced Euroblock connects the A mix and the B mix to other audiodevices as needed. The other 3-post balanced Euroblock connects the AUX mix to other audio devices as needed.Manual-4©Rane Corporation 10802 47th Ave. W., Mukilte o WA 98275-5098 TEL (425)-355-6000 FAX (425)-347-7757 WEB 104195MLM 103 OPERATIONMONO MICROPHONE/LINE LEVEL INPUTS 1-6The rear-panel MIC/LINE INPUT TRIM adjusts the input gain of these Inputs, before the front panel LEVEL controls.When an Input’s LINE/mic button is in the “out” position (Mic Level), the gain range is 15 to 60 dB. When an Input’s LINE/mic button is in the “in” position (Line Level), the gain range is 0 to 12 dB.First, input some “loud” source material (like a pop metal or disco CD, give a kid a mic, etc.) Then, using a screwdriver,adjust the TRIM for each Input so that the front panel OL LED illuminates only occasionally during extreme peaks. The 3-band Equalizer settings will influence this, so keep on eye on the OL when making EQ adjustments.Push the PHANTOM POWER button (when needed) for each pair of Inputs. If the LINE/mic button is engaged (Line Level), Phantom Power is automatically defeated for that Input. The PHANTOM POWER button activates 12 volts which is sufficient power for all but the most esoteric condenser mics. If in doubt, check the manufacturer’s microphone specs.Assign each Input to the desired Output by pushing any combination of the A, B or AUX ASSIGN buttons.The LEVEL of each Input can now be adjusted as needed without danger of blowing your speakers, or scaring the neighbors, whichever you deem worse.STEREO LINE LEVEL INPUTS 7/8 and 9/10When a stereo source (CD, DVD, cassette, etc.) isconnected to Inputs 7/8 (or 9/10), the routing is as follows:When the A/B ASSIGN button is engaged and the MONO button is not engaged, INPUT 7 (or 9) is routed to the A Output, while INPUT 8 (or 10) is routed to the B Output.When both the A/B ASSIGN and MONO buttons are engaged, a mono mix of INPUTs 7/8 (or 9/10) will be routed to both the A and B Outputs.The AUX ASSIGN button is always a mono mix of the stereo channel.OUTPUT LEVELSAfter all of the Mic/Line and Stereo Input Levels have been adjusted and routed, adjust the OUTPUT faders so the Meters peak average around 0 to +2.。

SRM 6302 8302 功放混音器用户手册说明书

6Owner's Manual for SRM 6302 / 8302 P/N 050804REV AFender Musical Instruments7975 North Hayden Road, Scottsdale, Arizona 85258 U.S.A.Fender knows the importance of sound reinforcement. From the simple box-top mixer to today's professional touring concert systems, the need to communicate, to make the connection between the performer and the audience is foremost in Fender's mind.Perhaps no other single piece of gear can make or break your band's sound.You see, your sound system is more than just a combination of dials, wires and speakers. It is an integral part of the audio chain and should be treated with special care and attention to detail.At Fender, we know what building quality musical instruments and sound reinforcement equipment is all about. In fact, many of the world's best sounding electric musical instruments and sound reinforcement equipment proudly wear the Fender name.Whether you need a simple box top powered mixer for your Saturday afternoon jam, or a professional full-size concert system, Fender has the sound reinforcement equipment to meet your needs. Likewise, your decision to purchase Fender pro audio gear is one you will appreciate with each performance for years to come.Wishing you years of enjoyment and a heartfelt thank you,Bill SchultzBill SchultzChairmanFender Musical Instruments Corporation150 Watts per Channel at 4ΩAssignable Dual Power Amplifiers9-Band Assignable Graphic Equalizer with 30mm Sliders3-Band Equalizer per Input Channel+48V DC Phantom PowerIndividual Channel Effects Level Control Both 1/4 inch Phone TRS and 3-Pin XLR Female Input ConnectorsPatch Points for Line Level Output and Power Amp Inputs and Outboard Gear Full-bodied Spring Reverb The SRM 6302 / 8302: a dual 150 watt professional powered mixer from your friends at Fender®Pro Audio. We are sure you will find your new SRM 6302 / 8302 to be both a unique and effective sound reinforcement product, providing years of trouble-free service.With ease of setup in mind, the integrated mixer/amplifier design of your SRM 6302 / 8302 makes it a complex and versatile unit, yet simple to operate. Enclosed in a boxtop style cabinet, your SRM 6302 / 8302 features individual channel preamps, an assignable dual power amplifier, +48V DC phantom power, a 9-band graphic equalizer, line and mic level channel inputs, a patch bay and much, much more. With 1/4 inch TRS phone jacks, 3-Pin XLR female input jacks and stereo RCA input jacks, your SRM 6302 / 8302 can accommodate almost any input connection and signal level.Ideal for live music, churches, auditoriums, hotel conference or meeting rooms, your SRM 6302 / 8302 is suitable for a wide variety of sound reinforcement applications. With its assignable dual power amplifier, your SRM 6302 / 8302 can feed your main front of house speakers while simultaneously providing power for stage monitors. Its front panel patch bay makes using outboard effects gear and signal processing equipment a snap. Moreover, the patch bay provides easy access for adding or rerouting power amplifiers. Designed to meet the most demanding needs of audio professionals,your SRM 6302 / 8302 will provide years of reliable, trouble-free service, day in and day out. Please read through this owner’s manual in order to more thoroughly understand the operation of your SRM 6302 / 8302.WARNING:- TO REDUCE THE RISK OF FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE.- NO USER SERVICEABLE PARTS INSIDE, REFER SERVICING TO QUALIFIED PERSONNEL ONLY.- ALLOW AT LEAST 3” (7.6 cm) AROUND THE UNIT FOR PROPER VENTILATION.- THIS UNIT MUST BE EARTH GROUNDED.SRM 6302/ 8302 PROFESSIONAL POWEREDMIXERF.TAPE/EFFECTS RETURN TO MONITOR -Adjusts the tape/effects signal level sent to the monitor mix from either the Effects In or Tape In jacks. Rotating the knob clockwise increases the tape/effects signal sent to the monitor mix.G. TAPE/EFFECTS RETURN TO MAIN - Adjusts the tape/effects signal level sent to the main mix from either the Effects In or Tape In jacks. Rotating the knob clockwise increases the tape/effects signal sent to the main mix.H. MAIN - The main output volume control of the SRM 6302 / 8302. Any adjustments to this control will affect the signal level at the Main Out, as well as, PA1 and PA2 depending upon the PA2 Assign switch position and patch bay configuration.well as, PA1 and PA2 depending upon the PA2 Assign switch position and patch bay configuration. L. EFFECTS - Adjusts the signal level present at the Effects Out / Footswitch jack, as well as, the signal driving the reverb. Rotating the knob clockwise increases the amount of tape/effects and reverb drive signal. When the knob is set at 0, there is no effects drive signal.M. REC OUT - Adjusts the tape out signal level of the SRM 6302 / 8302. (The Main Out signal feeds this control.) Rotating the knob clockwise increases the output level. When the knob is set at 0, there is no signal level output.O. TAPE IN - Unbalanced phono (RCA) input jacks designed for use with a tapeplayer, CD player, etc. These jacks sum the stereo left and right input signal to a mono signal useful for playingprerecorded music. Thetape/effects return to main andtape/effects return to monitor control the volume to these buses respectively.P. TAPE OUT - Unbalanced phono (RCA) output jacks designed for use with a tape recorder. They produce a mono signal. The rec out knob controls the tape out signal level.Q. PA 1 OUT / PA 2 OUT - These are speaker level output jacks designed to feed your main or monitor speaker enclosures. Remember, the minimum impedance load is 4 ohms . Connecting a load of less than 4 ohms may result in unsatisfactory performance such as overheating to the point of thermal shutdown. PA 1 Out jacks are intended for the main speakers. The use of the PA 2 Out jacks depends on the position of the PA 2 Assign switch.(See item E on page 5).R.POWER SWITCH -Turns the AC power ON and OFF. When the switch is in the OFF position, the SRM 6302 / 8302 is completely shut down.S. SUPPLY CORD - This is a grounding type supply cord to reduce the possibility of shock hazard. Completely unwind the cord from its cord wrap to prevent blocking air flow to the transformer. Be sure to connect the cord to a grounded receptacle. DO NOT ALTER THE AC PLUG.TAPE INPUT / OUTPUT JACKSPOWERONOFFRREAR PANEL OUT INL RTAPE O P SPARALLEL SPK JACKS150W4Ω MIN TOTALPARALLEL SPK JACKS150W4Ω MIN TOTALPA 2OUT PA 1OUTQParallel or series are the two basic ways which multiple speakers can be connected to a single power amplifier. When speakers are connected in parallel, their combined impedance decreases. For speakers wired in series the opposite is true, their combined impedance increases. Also, when speakers are wired in series, higher impedance speakers in the series draw more power from the amplifier than do speakers in the series with lower impedances. When speakers are wired in parallel, the opposite is true.At Fender®, we recommend connecting multiple speakers in parallel for several reasons. First, if one speaker fails, the others will continue to operate. Second, because in a series connection one speaker affects the output of the other speakers, unpredictable frequency response is a concern. Third, most speaker cabinets are already wired for parallel connections making parallel connections the most common wiring method.When using your SRM 6302 / 8302, be sure that the minimum load connected to each channel is 4 ohms. Below are two charts demonstrating how to calculate both parallel and series impedance.Additionally, power and audio signal cables are the most common sources of sound system failure. Well made and carefully maintained cables are essential to the reliability of the entire sound system. If long speaker cables are required, it is important to ensure the cable is sufficient to transfer all of the available amplifier power to the speakers rather than absorbing the power itself. As a rule of thumb, larger wires are better as they conduct more power to the speakers (larger wire has smaller gauge numbers).Below are two charts listing speaker wire gauges and recommendations for best results.*Example - If the speaker wire lengthrequired is between 25-50 feet (7.60-15.25 meters) and the speakerimpedance is 8Ω, the minimumrecommended speaker wire gauge is 16.100'-UP(30.5 m-UP)50'-100'(15.25-30.5 m)*25'-50'(7.60-15.25 m)10'-25'(3.05-7.60 m)0'-10'(0.00-3.05 m)SPEAKER WIRE GAUGESPEAKER IMPEDANCE [z]SPEAKERWIRELENGTHAWGResistance in Ω per foot(30.5 cm) @ 77º F (25º C)1816141210.00651.00409.00258.00162.001028.000640.831.322.103.325.278.3810121412141614*16181618181818184Ω*8Ω16ΩCross-Section[mm ]2The SRM 6302 / 8302 has a variety of connectors on its input / output panels. Below is a chart listing the various types and their pin outs.Before using the SRM 6302 / 8302,please read and follow the steps listedbelow:1. IMPORTANT Heed all safety warnings when operating the SRM 6302 / 8302.2. Make sure the power switch is in the OFF position and all volume levels are in the 0 position.3. Next, plug the supply cord into a power source with the correct voltage.5. Connect the speaker cables from the SRM 6302 / 8302 PA out jacks to the input jacks of the speaker cabinets.6. Connect the cord(s) from any outboard gear, microphones or other signal source(s) to the appropriate input jack(s) on your SRM 6302 / 8302's.7. First, turn all outboard gear, instruments and other equipment ON, then the SRM 6302 / 8302.8. Increase volume controls and effects level controls to their desired levels, listening for feedback or ringing.9. When shutting down the SRM 6302 / 8302, turn OFF the SRM 6302 / 8302 first then any additional outboard gear, instruments or other equipment. For more detail on setting up your SRM 6302 / 8302, please refer to the diagrams on pages 10 thru 13.Jack MICINPUTS Style Connection Pin OutBalancedInputXLRFemalePin 1 = GNDPin 2 = POSPin 3 = NEGPA 1, PA 2, EFFECTS INPUTS 1/4" TSTip = Input SignalSleeve = GNDLINE INPUTS 1/4"TRSTip = POS SignalRing = NEG SignalSleeve = GNDTAPE IN / OUT DualRCAInner Ring = SignalOuter Shell = GNDFOOTSWITCH1/4" TSTip = SignalSleeve = GND BalancedInputUnbalancedInputSwitchUnbalancedInput /OutputMAIN, MONITOR, EFFECTS OUTPUTSTip = Signal OutputSleeve = GND1/4" TS UnbalancedOutputTip = SignalSleeve = GNDPA 1, PA 2 OUT 1/4" TS SpeakerOutputGround loops are one of the mostcommon causes of hum and buzz insound reinforcement systems and otheraudio products. A ground loop usuallyoccurs if the separate pieces ofequipment are plugged into different AC circuits. Also, if the audio wiring is placed too close to the power cords, hums or buzzes can bleed into the system. Still, improperly maintained power and audio cables are yet another cause of bothersome noise. In order to help minimize stray hums and buzzes, here are some helpful hints.1. Keep all electronics connected to the sound system on the same electrical circuit.2. Keep audio signal cables away from the ACpower cords.3. Use balanced cables when applicable.4. Always plug the SRM 6302 / 8302 into agrounded AC electrical outlet.5. Be sure to use properly maintained cords andcables with the SRM 6302 / 8302.The SRM 6302 / 8302 is covered ingenuine Tolex®for long life and lastinggood looks. To clean the cabinet, use asponge with a light soapy solution.Avoid spilling any liquids on the operatingsurface, heat sink, grille, volume and tone controls,switches and line cord. ALWAYS unplug the SRM6302 / 8302 before cleaning it or approaching it withfluids. Before plugging in the SRM 6302 / 8302 waituntil the unit has completely dried.If the SRM 6302 / 8302 is set up butdoes not function, please check thefollowing items:• Is the SRM 6302 / 8302's power cord properlyplugged into an electrical outlet?• Is there power at the outlet?• (If applicable) does your instrument have power?• Are the volume control knobs on the SRM6302 /8302 turned above the 0 position?• Are the volume control knobs on your instrumentsturned above their minimum position?• Is the mic/instrument properly plugged into theSRM 6302 / 8302?• Is the mic/instrument turned on?• Are your audio cables frayed, cut or damaged?• If using a condenser mic, is the phantom powerturned on?• If using an outboard gear, are the cordsproperly connected?• Is there power to the outboard gear?• Are the levels on your outboard gear above theirminimum positions?If after checking all of the above the SRM 6302 /8302 is still not performing correctly, consult yourauthorized Fender Service Center.DESIGNATION TYPE PR 332 Array PART NUMBER071-6321-000 (120 V)071-6321-030 (240 V) Aust071-6321-040 (230 V) UK071-6321-060 (230 V) EuroPOWER SPECIFICATIONS120V version: 120V AC, 60 Hz, 900W230V version: 230V AC, 50 Hz, 900W240V version: 240V AC, 50 Hz, 900WPRE-AMPLIFIER SECTIONMIC INPUT IMPEDANCE 1.8 kΩLINE INPUT IMPEDANCE18.2 kΩMIC INPUT SENSITIVITY7 mVLINE INPUT SENSITIVITY65 mVCHANNEL TONE CONTROLS Low +/- 15 dB @ 30 HzMid +/- 15 dB @ 750 HzHigh +/- 15 dB @ 15 kHzGRAPHIC EQUALIZER+/- 12 dB @ 63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k and 16 kHzOVERALL AMPLIFIER-3 dB @ 10 Hz to -3 dB @ 50 kHzFREQUENCY RESPONSE(Line In @ 10 mV)PHANTOM POWER+46.5 V DCPOWER AMPLIFIER SECTIONPOWER OUTPUT150W per channel, <0.05% T.H.D. + noise @ 1 kHz into 4 ΩRATED LOAD IMPEDANCE 4 ΩINPUT SENSITIVITY 1.25 V R.M.S.INPUT IMPEDANCE22 kΩDELTACOMP™RANGE20 dBDIMENSIONS Height:12 in 30.5 cmWidth:21 in53.3 cmDepth:11.75 in29.8 cmWeight:35 lbs15.9 kgPRODUCT SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE.A PRODUCT OF:FENDER MUSICAL INSTRUMENTS CORP.DESIGNATION TYPE PR 332PART NUMBER071-8321-000 (120 V)071-8321-030 (240 V) Aust 071-8321-040 (230 V) UK 071-8321-060 (230 V) EuroPOWER SPECIFICATIONS120V version: 120V AC, 60 Hz, 900W 230V version: 230V AC, 50 Hz, 900W 240V version: 240V AC, 50 Hz, 900WPRE-AMPLIFIER SECTIONMIC INPUT IMPEDANCE 1.8 k ΩLINE INPUT IMPEDANCE 18.2 k ΩMIC INPUT SENSITIVITY 7 mV LINE INPUT SENSITIVITY65 mVCHANNEL TONE CONTROLS Low +/- 15 dB @ 30 HzMid +/- 15 dB @ 750 Hz High +/- 15 dB @ 15 kHz GRAPHIC EQUALIZER +/- 12 dB @ 63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k and 16 kHz OVERALL AMPLIFIER -3 dB @ 10 Hz to -3 dB @ 50 kHzFREQUENCY RESPONSE (Line In @ 10 mV)PHANTOM POWER+46.5 V DCPOWER AMPLIFIER SECTIONPOWER OUTPUT150W per channel, <0.05% T.H.D. + noise @ 1 kHz into 4 ΩRATED LOAD IMPEDANCE 4 ΩINPUT SENSITIVITY 1.25 V R.M.S. INPUT IMPEDANCE 22 k ΩDELTACOMP ™RANGE20 dB DIMENSIONSHeight:12 in 30.5 cm Width:21 in 53.3 cm Depth:11.75 in 29.8 cm Weight:36 lbs16.3 kgPRODUCT SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE.。

TOA 1000系列混音器说明书

S TEREO MIXERSTOA 1000 seriesOPERATING INS TRUCTIONSM-1264M-1212ET H E LIG H TNING FLAS H WIT H ARROWH EAD WITH IN A TRIANGLE IS INTENDED TO TELL TH E USER TH AT PARTS INSIDE TH E PRODUCT ARE A RISK OF ELECTRIC S H OCK TO PERSONS.T H E EXCLAMATION POINT WIT H IN A TRIANGLE IS INTENDED TO TELL TH E USER T AT IMPORTANT OPERATING AND SERVICING INSTRUCTIONS ARE IN T H E PAPERS WIT H T H E APPLIANCE.Please follow the instructions in this manual to obtain the optimum results from this unit.We also recommend you to keep this manual handy for future reference.CAUTIONTO REDUCE TH E RISK OF ELECTRICAL S H OCK, DO NOT REMOVE COVER.NO USER SERVICEABLE PARTS INSIDE.REFERSERVICING TO QUALIFIEDSERVICE PERSONNELTOA CorporationCONTENTSHandling PrecautionsGeneral DescriptionFeaturesNomenclature (Front Panel)Nomenclature (Rear Panel)Input Transformer MountingPhantom Power SupplyInput and Output SpecificationsBlock Diagrams and Level DiagramsSpecificationsAccessoriesAppearanceHANDLING PRECAUTIONSOperating voltage is 120V AC ± 10% (120 V version) or 220-240V AC ± 10% (220-240 V version).Avoid using the power voltage exceeding these ranges.Do not expose the unit to corrosive chemicals or salt water. Also, keep your beverages away from the unit because they may be spilt.When there is a failure, refer the unit to qualified service personnel.Observe the following polarity of the XLR connector:Pin #1: Ground, Pin #2: Cold, Pin #3: HotGENERAL DESCRIPTIONThe TOA M-1264 is a 19" rack-mountable stereo mixer with multiple inputs and outputs. Inputs can be expanded by using the M-1212E expansion unit.FEATURESSix monaural inputs (expandable using the M-1212E), four stereo inputs and one auxiliary stereo input.One each of output: stereo, group (L/R), stereo sum, monitor (L/R), AUX, and headphone.A compressor built in each monaural input minimizes signal distortion caused when there is an extremely largeinput. The activation of the compressor can be indicated by a compressor activation lamp.Motorized stereo/group output volume controls can be remotely adjusted from a control device. The adjusted control position is indicated on the control device.The M-1212E can function as a sub-mixer because it has mixing outputs (stereo L/R, group L/R, AUX, and cue).Phantom power (+24V DC) can be supplied to each monaural input.A channel switch with an "easy-to-see" indicator provided for each input improves the signal-to-noise ratio andsimplifies operations.4-step stereo/group send selection switch (stereo to group/group to stereo bus/group to post-stereo output control/ OFF).A 3-step input level selection switch (LINE/MIC/MIC (H PF)) allows selection of either a line or microphonelevel input for each monaural input. The MIC (HPF) position cuts undesired frequencies using a highpass filter.Electronically-balanced monaural input can be changed to a transformer-balanced input using an optional input transformer.Security cover.NOMENCLATURE [Front Panel][M-1264] (Main unit)[M-1212E] (Expansion unit)L/C/R assign switch [L/C/R]Bus assign switch [ASSIGN]Aux assign switch [AUX]Cue switch [CUE]Input level controlChannel switch/indicatorStereo output level control [STEREO]Adjusts the level to send out a mixed input signal from the stereo bus to the stereo output. This control can be remotely operated.Group output level control [GROUP]Adjusts the level to send out a mixed input signal from the group bus to the group output. This control can be remotely operated.Sum output level control [SUM]Adjusts the stereo sum output signal level.Aux output level control [AUX]Adjusts the level of signals going to the AUX output.Monitor output level control [MONITOR]Adjusts the level to transmit a signal from the stereo bus or cue bus to the monitor output and headphone output.Cue indicator [CUE]Lights when any cue switch is pressed, indicating that the cue bus signal is being sent to both the monitor and headphone outputs. If the indicator is off, the stereo bus signals are sent to both outputs.Headphone jack [PHONES]Outputs the signal adjusted with the monitor output level control. Connect a headphone with 8 ohms or higher impedance.Power indicator [POWER]Power switchTurns on the power when this switch is pressed (the power indicator lights). To turn off the power, press this switch again (the indicator is extinguished).L/C/R assign switches [L/C/R]Assign each monaural input signal to L, R, or both L and R lines of the group or stereo bus selected with the bus assign switch _ .Bus assign switches [ASSIGN (ST/GR)](ON:bus.group/stereogrouptheAssign the monaural input signal adjusted with the input level control toorOFF: stereo)Aux assign switches [AUX]Send the input signal to the AUX bus.Cue switches [CUE]Send the input signal to the cue bus regardless of the position of the channel switch , allowing monitoring of the signal at the headphone or monitor output.Input level controlsAdjust each input signal level.Channel switches/indicatorsSend the input signal to the bus selected with both the L/C/R assign switch _ and bus assign switch © or with the AUX assign switch . At the same time, the corresponding channel indicator lights green for monaural inputor yellow for stereo input. If the monaural channel indicator lights red, this indicates that the corresponding compressor is activated. In such cases, adjust the input level using the input level control, as required. (The compressor is activated when the signal level exceeds +17 dB.)NOMENCLATURE [Rear Panel][M-1264] (Main unit)[M-1212E] (Expansion unit)Input level selection switches [LINE/MIC/MIC (HPF) ]Set each monaural input level for Line, Mic or Mic with highpass filter.Monaural input XLR connectors [MONO INPUT 1~6 (M-1264) /1~12 (M-1212E) ]This electronically-balanced input can be changed to the transformer-balanced type using an optional input transformer. (Refer to the section "Input Transformer Mounting" on page 8.) Phantom power (+24V DC) can also be supplied to each input.Stereo input RCA jacks [S TEREO INPUT 1~4 L/MONO, R]Unbalanced stereo input.Auxiliary stereo input phone jacks [ST BUSS IN L/MONO, R]Unbalanced stereo input to send signals to the stereo bus.Bus-link input terminal [BUSS LINK IN]Connects to the M-1212E's bus-link output for monaural input expansion. (For connection, use the cable supplied with the M-1212E.)Sum output XLR connector [SUM OUT]Electronically-balanced stereo sum output.AUX output phone jack [AUX OUT]Unbalanced AUX output.Monitor output phone jacks [MONITOR OUT L, R]Unbalanced monitor output.Stereo output XLR connectors [S TEREO OUT L, R]Electronically-balanced stereo output.S tereo/group send selection switchFour-step selection switch.• STEREO TO GROUP position: Sends the stereo bus signal to the group bus.• OFF• GROUP TO STEREO(PRE) position: Sends the group output signal to the stereo bus.• GROUP TO STEREO(POST) position: Sends the group output signal mixed with the stereo signal adjusted with the stereo output level control to the stereo output.Group output phone jacks [GROUP OUT L, R]Unbalanced group output.Remote terminals [REMOTE]Used for remotely operating the stereo output level control and group output level control. There are four following terminals:UP : While this terminal and COM terminal are shorted, the level control rotates clockwise.DOWN : While this terminal and COM terminal are shorted, the level control rotates counter-clockwise.COM : Common terminalPOSI : The voltage of 0 to +5V DC is output between this terminal and COM terminal depending on the knob setting (0-10).Note : Do not leave the UP and DOWN terminals shorted for longer than necessary.Fuse and fuse holderWhen replacing, be sure to use the specified type and ratings of fuse to avoid the risk of fire. (1.5 A/250 V for 120V AC version, and T315 mA/250 V for 220-240V AC version)AC power cordGround loop break switchThis switch, when set to "LIFT" position, breaks a hum-generating ground loop formed when the unit is connected to external components. Normally, set this switch to "NORM" position.Bus-link output terminal [BUSS LINK OUT]Connects to the M-1264's bus-link input terminal.Bus-link input terminal [BUSS LINK IN]Connects to other M-1212E's bus-link output terminal for monaural channel expansion. (For connection, use the cable supplied with the M-1212E.)Stereo mixing output phone jacks [S TEREO MIX OUT L, R]Unbalanced stereo bus mixing output.Group mixing output phone jacks [GROUP MIX OUT L, R]Unbalanced group bus mixing output.AUX mixing output phone jack [AUX MIX OUT]Unbalanced AUX bus mixing output.Cue mixing output phone jack [CUE MIX OUT]Unbalanced cue bus mixing output.INPUT TRANSFORMER MOUNTINGCAUTIONTH ESE SERVICING INSTRUCTIONS ARE FOR USE BY QUALIFIED PERSONNEL ONLY. TO AVOID ELECTRICSH OCK, DO NOT PERFORM ANY SERVICING OTH ER TH AN TH AT CONTAINED IN TH E OPERATINGINSTRUCTIONS UNLESS YOU ARE QUALIFIED TO DO SO. REFER ALL SERVICING TO QUALIFIED SERVICEPERSONNELThe M-1264's (M-1212E's) monaural inputs are electronically balanced.They can be made transformer-balanced inputs using the optional input transformer LT-101 or LT-102.How to mount the input transformerSet the power switch to OFF and remove the power cord from a wall outlet.Remove the unit's case by loosening six side panel screws (three each on both sides) and two rear panel screws.Fix two sleeves to the bottom chassis using screws, then mount the transformer to the sleeves using other screws. (The sleeves and screws are supplied with the transformer.) When stacking two transformers due to the number or arrangement of channels, use the sleeves supplied with the M-1264 (M-1212E).When changing the inputs 1, 3, 5, etc. located in the upper section, detach connector from CN-104 connector, connect the detached connector to the transformer connector , and connect the transformer lead tothe CN-104. When changing the inputs 2, 4, 6, etc. in the lower section, detach connector from CN-105 connector, connect the detached connector to the transformer connector , and connect the transformer lead tothe CN-105.Replace the case.MONO INPUTCH-1 (CH-2)[Note] *1: For the upper inputs.*2: For the lower inputs.Top view Bottom chassisSleeves supplied withthe M-1264 (M-1212E)Sleeves suppliedwith the optionaltransformerSide viewMatching Transformer S pecifications* 0 dB = 0.775 Vrms** Specifications are subject to change without notice.PHANTOM POWER SUPPLYCAUTIONTHESE SERVICING INSTRUCTIONS ARE FOR USE BY QUALIFIED PERSONNEL ONLY. TO AVOID ELECTRIC SH OCK, DO NOT PERFORM ANY SERVICING OTH ER TH AN TH AT CONTAINED IN TH E OPERATING INSTRUCTIONS UNLESS YOU ARE QUALIFIED TO DO SO. REFER ALL SERVICING TO QUALIFIED SERVICE Phantom power (+24V DC) can be supplied to each monaural input using the internal phantom power switch.Set the power switch to OFF, and remove the power cord from a wall outlet.Remove the unit's case by loosening six side panel screws (three each on both sides) and two rear panel screws.Set the phantom power switch of the desired input to ON.Replace the case.[Precautions]:To avoid electric shocks, do not touch the unit's internal components except when installing the input transformer and setting the phantom power switch.Leave the phantom power switch in the OFF position for inputs not receiving the phantom power. (The unit is factory-preset as shown in the figure below.)ModelImpedanceFrequency response Constant loss DistortionLT-10110k :10kWithin ± 0.15 dB (30 Hz~20 kHz)Within 1.5 dB (1 kHz)0.2 % or less (50 Hz / +5 dB*)LT-102600 : 600Within ± 0.15 dB (30 Hz~20 kHz)Within 1.5 dB (1 kHz)0.2 % or less (50 Hz / +5 dB*)Upper switch Lower switchUpper inputs (CH-1, 3, 5, ..)Lower inputs (CH-2, 4, 6, ..)M-1264 (M-1212E) rear panelPERSONNEL.INPUT AND OUTOUT SPECIFICATIONSInput/Output LevelLine Monaural Input MicMic (with HPF)-10 dB -60 dB -60 dB -10 dB +4 dBStereo Input (L, R)Auxiliary Stereo Input (L, R)Stereo Output (L, R)+4 dB Sum Output+4 dBGroup Output (L, R)+4 dB Monitor Output (L, R)+4 dB AUX Output+4 dBMixing Output (M-1212E)Stereo MixingGroup MixingAUX MixingCue Mixing+4 dB+4 dB+4 dB+4 dBImpedance Connector50 k1 k1 k50 kXLR 3-pin connectorRCA jack10 k Unbalanced phone jack600or more(Matched load)XLR 3-pin connector600or more(Matched load)1 k1 k1 kUnbalanced phone jack1 k1 k1 k1 kUnbalanced phone jackBLOCK DIAGRAM AND LEVEL DIAGRAM[M-1212E]SPECIFICATIONSModel M-1264M-1212ETotal Harmonic DistortionNoise Level(IH F- A) Maximum voltagegain Compressor (monaural input) Power consumption Dimensions Weight0.15 % or less (Monaural Input to Stereo Output +4 dB*, 1 kHz)0.01 % or less (Stereo Input to Stereo Output, +4 dB*, 1 kHz)(1)When all volume controls are inminimum position.Stereo Output : - 100 dB or less(2) When the stereo volume control is inmaximum position and all other controlsin minimum position.Stereo Output :—98 dB or less (Only M-1264 used)—92 dB or less (Both M-1264 andM-1212E used)(3) When the stereo volume control and onemonaural input level control are inmaximum position, and all other controlsin minimum position.Stereo Output : -62 dB or less(1) When all volume controls are in minimumposition.Stereo Mixing Output : -94 dB or less(2) When one monaural input level control isin maximum position and all othercontrols in minimum position.Stereo Mixing Output : -62 dB or lessMonaural input (Mic) to stereo output : 64 dBMonaural input (Line) to stereo output : 14 dBStereo input to stereo output : 14 dBActivation signal level : +17 dB or moreCompression ratio : 10:1 (Compression curve : Soft knee)25 W (120V AC version)28 W (220-240V AC version)26 W (1 20V AC version)28 W (220-240V AC version)482.6 (W) x 88.4 (H) x 311.8 (D) mm (18.82" x 3.45" x 12.16")5.2kg (11.47lb.)0 dB = 0.775 Vrms.Specifications are subject to change without notice. ACCESSORIES[M-1264]Security cover x 1Security cover fixing screw x 2Fuse (250 V, 1.5 A) (for 120V AC version) x 1Fuse (250 V, T315 mA) (for 220-240V AC version) x 1 Rack mounting screw x 4Transformer mounting sleeve x 6Warranty card (for USA and Canada) x 1Operating instructions x 1[M-1212E]Security cover x 1Security cover fixing screw x 2Fuse (250 V, 1.5 A) (for 120V AC version) x 1Fuse (250 V, T315 mA) (for 220-240V AC version) x 1 Rack mounting screw x 4Transformer mounting sleeve x 12Bus-link cable (1 m) x 1Warranty card (for USA and Canada) x 1Operating instructions x 1FrequencyResponse20Hz~20kHz(+0,-1.5dB)APPEARANCE [M-1264][M-1212E]133-12-150-2B。

Numark TTM 56S混音器操作人员手册说明书

Manual-1TTM 56SPERFORMANCE MIXEROPERATORS MANUAL Quick StartCongratulations! You are the proud owner of an exceptional per-formance instrument. Experienced turntablists will find the TTM 56S comfortable and familiar. The TTM 56S has many unique features which are mastered quicker if you read the manual. Right! We know you can’t resist jumping right in, but please read at least this portion of the manual . It will help you get a good start.About the faders: The program faders and crossfader are magnetic, non-contact faders . This means No travel noise – No bleed – Ever! The electrical performance of the faders is unaffected by use. Old habits are hard to break, but you really don’t have to mess with these faders. The magnetic faders in this mixer are very different from what you are used to. Be sure and read the Q and A section on page Manual-6.Special Features:• KILL switches behave like transform controls, to quickly cut a signal in or out. Be sure these switches are up to get sound!• Separate CONTOUR controls for each fader and the crossfader allow continuous adjustment from smooth blend to fast cut.• The CHANNEL SWAP switch allows the left-hand or right-hand fader to control PGM 1 or PGM 2.• Auxiliary Inputs and Outputs, with independent level controls, give session mixing ability.WEAR PARTS: This product contains no wear parts.AUX Inputs may be used for a drum machine, keyboard, etc.AUX Input comes in after the Crossfader and after the FlexFX loop.AUX Outputs may be used for recording, booth monitoring, or a second zone. AUX Output is the same mix as the Master.• FlexFX ™ allow individual assignment of PGM 1, PGM 2 or both to the effects loop. The effects loop is post-fader . You get great results when using the program faders or crossfader with reverb or other delay effects. For instance, reverb and echo tails are still heard after the fader is off. The WET /DRY pan lets you control how much of the effect is in the mix.• Three-band Accelerated-Slope™ EQ allows full cut of each band. The EQ engage switches lets you A/B compare or quickly transform the EQ effect.• Two 10-segment meters provide Dual-Mono-Cue or Stereo-Master operation.• Yes, we included a power switch on the rear.The flexibility of the TTM 56S can result in some initial confusion. The CHANNEL SWAP switch, KILL switches, REVERSE switches, Faders and Crossfader are all different ways to cut the signal. We recommend trying one thing at a time. Check that the KILL switches are ON (up position). Make sure the CHANNEL SWAP switch (and its yellow LED) is off . Start by changing the Contour of each fader, one at a time. See the diagrams on page Manual-5 to understand the fader responses under different settings, with REVERSE on and off.Once you understand the controls, start creating!Rear Panel Hook-up PowerThe TTM 56S features an internaluniversal switching power supply thatoperates on any AC mains 100 to 240VAC, 50 or 60 Hz (most places inthe world). All that is required whentraveling is the appropriate IEC linecord available in each country. Theuniversal supply is a major plus for thetraveling DJ. The POWER switch isjust above the power connector. Youknow what to do with this, but leave itoff until everything is connected. InputsPGM 1 and PGM 2 each have twoinputs, each assignable PHONO orLINE. For a turntable input withRIAA compensation, push the cor-responding switch up to PHONO. Forall other sources such as CD or MP3players, push the corresponding switchdown to LINE.PHONO GROUNDS provideindependent ground connect pointsfor turntables. It is very importantthat each turntable have a very goodground connection to one of theseterminals. The thumbscrews will comeoff if they are over-rotated, so be care-ful not to spin them off and lose them.AUX IN may be used with a drummachine, groovebox, sampler, or another mixer’s output for session mix. This Input is mixed after the Cross-fader and FlexFX loop.MIC INPUT is a balanced input specifically designed for a dynamic mic (a condenser mic will not work).1-CONDUCTOR SHIELDED CABLE1-CONDUCTOR SHIELDED CABLET=SENDR=RETURNS=SHIELD++SENDRETURN++SHIELD SHIELDSHIELDSend/Return Cable WiringEffects LoopsMIC EFFECTS insert jack is un-balanced. It is wired for ¼" TRS,meaning Tip=Send, Ring=Returnand the Shield or Sleeve. This is anindependent Effects Loop for the Mic.There is no engage switch, so the Micsignal is always processed when youhave a plug inserted and an effects boxconnected. If you are connecting to aneffects processor with a Send/Returnjack, a single TRS cable will work.If your effects processor has separateSend and Receive jacks, you need a“Y” cable. You can buy a Send/Returncable from your local music store, oryou can make one of your own, asshown below.FlexFX EFFECTS jacks are unbal-anced mono ¼" TS (Tip and Sleeve).This stereo loop is used for outputto (send) and input from (return) aneffects processor. The SEND jacks pro-vide the output to your effects proces-sor. The RETURN jacks provide inputfor the signal returning from youreffects processor. If you have an effectsdevice with a single ¼" TRS, tip=send,ring=return jack, you need a “Y” cable,as shown below.OutputsAUX OUT may be used for recording,booth monitoring, a second playbackzone, or connecting another mixer forsession mix. AUX OUT is the samesignal as the Master Mix with its ownLevel control.MASTER OUT includes two setsof stereo outputs: The ¼" TRS jacksprovide balanced (Tip-Ring-Sleeve)output. Use this balanced outputwhenever driving equipment with abalanced input, or when running dis-tances greater than 10 feet (3 meters).Never use a mono ¼" Tip/Sleeve (noring) plug in this jack. Use the RCAunbalanced outputs for shorter runsconnecting to unbalanced devices. Seethe RaneNote “Sound System Inter-connection” if you need to convertbetween balanced and unbalanced orrun long distances.Manual-2Manual-3Mic SectionMIC LEVEL sets the gain of the Mic Input. The range is off to +44 dB. There is no engage switch, so set the Mic Level to zero (0) when you aren't using it. The Mic Input mini-mum gain is 26 dB, so a line-level mic source (such as a wireless receiver) must be padded.The OL indicator lights 6 dB before clipping. Adjust the Mic Level so the OL indicator flashes only when you really shout into the mic.MIC HIGH and LOW tone controls provide as much as 12 dB of boost or 12 dB of cut. These controls have no effect when the controls are set to their center detent (12 o'clock).range). The range of control is +6 dB to Off (full kill). The center detent po-sition leaves this filter inactive. Use for small tonal changes or to cut midrange signals.LOW tone controls affect frequen-cies below 300 Hz. The range is +6 dB to Off (full kill). The center detent position leaves the filter inactive. These filters influence signals below the vocal range. Use to adjust or eliminate bass beats.PAN controls adjust the Left and Right balance of PGM 1 and PGM 2.using the program faders or crossfader with reverb or other delay effects. The effects loop provides separate stereo send and return jacks. The green indi-cator lights when FlexFX is engaged for either Program.WET/DRY pan control lets you set the amount of effect in the mix. DRY equals no effect, WET gives maximum effect.Output LevelsMASTER control sets the level for both the unbalanced and balanced Master Outputs.AUX OUTPUT control sets the level going to the Auxiliary Outputs.AUDIO PRECISION vs -20-18-16-14-12-10-8-6-4-202468101214161820AMPL(dBr)201001k10k 50kFREQ(Hz)Low +12, High +12Low 0, High 0Low -12, High -12Combined response of the Mic tone controls Program SectionsPGM 1 inputs are sent to the left side of the crossfader. (with the Fader 1 Reverse switch out and LED off )PGM 2 inputs are sent to the right side of the crossfader. (with the Fader 2 Reverse switch out and LED off )SOURCE switches select which inputs are assigned to each of the Programs. PGM 1 can switch between inputs 1 and 2. PGM 2 can switch between inputs 3 and 4.GAIN controls adjust the signal level before it gets to the Faders. Set the Gain controls to indicate an average signal level of +4 on the meter with the program faders set to maximum. Don't use the Gain controls to set the output e the Main Level control to set the output level. This is a very simple thing, yet makes a huge difference in mixer performance.FadersThe program faders and crossfaderare magnetic, non-contact faders. Thismeans No travel noise or bleed ! Theelectrical performance of the fadersis unaffected by use. The programfaders and crossfader each have theirown Contour and Reverse (hamster)controls. Magnetic faders are very dif-ferent from what you are used to. ReadMaintaining Magnetic Faders onpages Manual 8-9.CHANNEL SWAP switch allowsthe left-hand or right-hand Fader toalternately control PGM 1 or PGM 2.(Don't confuse with the REVERSEswitches, see below.)CONTOUR controls allow smooth,continuous adjustment of contour. Therange of control is from SLOW blendto FAST cut, adjustable independentlyfor each fader and the crossfader. Seethe illustrations on the next page.REVERSE switches change the direc-tion of the faders. When a Reverseswitch is engaged on a PGM fader,up is down and down is up (hamster).When the Reverse switch is engagedon the Crossfader, PGM 1 goes to theB side and PGM 2 goes to the A side. MetersMeters provide switchable true stereoMaster Mix or dual-mono PGM1 /PGM2 indication of Pre-Program fad-er signal levels. Ten-segment resolutionis provided with a one second, peakhold. Use the meter to set the GAINcontrols. With the program fader set tomaximum, the input GAIN should beset to indicate an average level of about+4 dB.• The headphone output of the TTM56S delivers very high volume.• To avoid pain, never put headphoneson your head before plugging them in.• Always start with the PHONES Levelturned down, and then turn it up.• Because of the high current and lowoutput impedance, never short oneHeadphone CueingPHONES Level control sets the out-put level of the headphone amplifier.MASTER / CUE switch is used toselect the headphone monitor source:Use MASTER (out) to rehearse yourperformance. This signal is the same asthe Master Out, but is not affected byManual-4Manual-5Fader ResponseChannel faders and Crossfader illustrating the effects of the Reverse and Contour controls.Manual-6Maintaining Magnetic FadersThere are no electrical contacts to clean!The faders in the TTM 56S are designed with materials highly resistant to corrosion and most chemicals. While the faders will handle millions of operations, they may become dirty over time. Bad things may be spilled or sprayed into the faders. In either case, the faders are not damaged and the sound quality is unaffected. Cleaning is only required to maintain the feel of the faders .The faders are self-lubricating and with normal use, should not require additional lubrication. If you wish, you can use a light silicone lubricant rated for use with electrical parts. This will help maintain the feel. We recommend Caig DeoxIT FaderLube F100 spray lubricant.Order DeoxIT® F100 from CAIG Laboratories, Inc. 12200 Thatcher Ct. Poway, CA 92064 Phone 858-486-8388 Fax 858-486-8398 Web Never use a heavy lubricant or grease . Doing so will notdamage the faders, but can undo the feel. If grease was used, it may be removed by following the cleaning instructions. Light lubrica-tion is possible with the Lexan plate on. A couple of drops or a short spray are all that is required. Make sure the products you use are suitable for use with electrical parts that contain plastic.Magnetic Slider Rail Cleaninga. Move the carrier all the way to one side.b. Use a soft lint-free cloth to wipe off rails.c. Add a drop of silicone lubricant (or quick spray from aerosol) to the center of each rail.d. Move the carrier back and forth to distribute lubricant.e. Do not bend torsion spring or touch sensors.Magnetic Fader Q and AQ: Will I damage the faders if I spray them with bad stuff or spill bad things in them?A: No . The faders in the TTM 56S are designed with materials highly resistant to corrosion and most chemicals. There are no electrical contacts to clean or damage . While bad things may change the feel of the faders, bad things will not affect the sound. To clean faders that have had a bad thing put in them, follow the simple instructions on page Manual-8.Q: Can I install magnetic faders in any other mixer?A: Sorry . The connectors may be similar, but the circuits are very different. Connecting the faders to anything other than the in-tended cable in the TTM 56S could permanently damage them.Q: Can I install other faders in my TTM 56S?A: No . The cable connections are specially designed for Rane mag-netic faders.Q: Can I install a different magnetic fader in my mixer or swap the position of my faders?A: No . In order to achieve the highest possible accuracy, each magnetic fader is factory calibrated for the location in which it was shipped. For information about replacement or calibration, contact Rane Customer Service. If you remove the faders for cleaning, make sure you mark them. This helps you to put them back in the same location.Q: Is the same fader used in the TTM 56 as the TTM 56S?A: Yes . We finally get to say yes.Manual-7Fader RemovalFor more effective cleaning and lubrication, follow the directions outlined below:1. Required tools: #1 Philips screwdriver and a pair of clean hands.2. Disconnect the power.3. Remove the fader caps by pulling them away from the Lexan faceplate.4. Remove the four 4-40 screws attaching the Lexan faceplate.5. Remove the Lexan faceplate. See the picture and instructions. The fader rails are now accessible for normal cleaning and lubrication.6. If more thorough cleaning is required, or the fader needs replacing, remove the fader by removing the two #4 screws securing it.7. NOTE: Do not disturb the position of the small sensors at each end of the Fader . If you do, make sure the parts are standing straight before reinstalling.8. NOTE : In order to achieve the highest possible accuracy, each magnetic fader is factory calibrated for the location in which it was shipped. If you remove all the faders for cleaning, make sure you mark them . This helps you to put them back in the correct location.9. Disconnect the ribbon cable, noting the orientation of the red stripe.10. Sugary liquids spilled into a fader may be removed by thoroughly rinsing the part in hot water. Removal of grease or other stubborn debris may require alcohol or contact cleaner.11. Make sure the part is clean and dry before lubricating or reinstalling.12. To reassemble, reverse the disassembly procedure.13. Problems? Contact Rane Corporation customer service at 425-355-6000.Mark the location the ribbon:PGM1 PGM2 XFADERRemove the ribbon, the red stripe.TorsionManual-8©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 USA TEL 425-355-6000 FAX 425-347-7757 WEB 111500TTM 56S Block DiagramP G M L E F TP G M L E F TU TT P G M L E F T P G M L E F TL。

AtlasIED WTSD-MIX31K 3x1 混音器产品说明书

S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/203x1 Mic/Line/BT/AUX Mixer with Optional Dante ® Audio Network InterfaceWTSD-MIX31KFeatures• Indoor or Outdoor Use• Power Supply and WTSD-PWBOB Interface Included • XLR Balanced Mic or Line Input with Level Control• 3.5mm Stereo Actively Summed Input with Level Control • Commercial Grade Bluetooth Input with Level Control • Wall Plate Mounted, Fits Into Most 2-Gang Boxes • Uses Industry Standard Cat5/6 Wire • DC Bus with Peak Indicator• High Gain Balanced Line Output for Long Distance Applications Up to 400ft• 125Hz /12dB Low Cut Filter for Mic / Line • Local Mute or VOX Mute• Remote Trigger Output for Remote Amplifier Turn On • System Priority Mute Function • Input Signal & Peak Indicators • Energy Saving Auto Sleep Mode • Pairing Connect / Disconnect Switch• WTSD-COVER Water Resistant Stainless Steel Locking Cover (Optional)• WTSD-PWHUB Receiver with Limiter and Isolated Relays & Emergency Mute (Optional)•TSD-DAC2i Analog to Dante ® Digital Audio Transmitter (Optional)Applications• Indoor / Outdoor Sports Complexes • Schools - Gymnasiums, Rally Areas • Hotel Ballrooms• Community Multi-use Facilities •Industrial FacilitiesGeneral DescriptionModel WTSD-MIX31 is a 3x1 Mic / Line / Aux / Bluetooth analog mixer that features a balanced microphone / line input and an auxiliary 3.5mm and Bluetooth summed input with a balanced line output. TheWTSD-MIX31 utilizes commercial grade Bluetooth technology featuring ultra low noise levels, long range connectivity, no auto connect and quick disconnect bump feature. Selection between mic or line level for the XLR input is done via front panel switch. The high gain mic inputs incorporate user enabled Phantom Power for condenser microphones system priority button can mute building wide BGM systems to isolate the room. An adjustable VOX feature allows for AUX input background audio to be muted when announcing is present. The AUX input is a stereo 3.5mm jack and is electronically summed to achieve the bestaudio performance. Separate level controls for each input provide control for the audio mix needed.A basic WTSD system consists of four elements; a WTSD mixer, Cat5/6 cable, inline 24V DC power supply and an end point break outboard / hub. All four are included with the purchase of a WTSD mixer except for the Cat5/6 cable. A 2-gang box is all that is needed to complete an installation. There are two versions of the WTSD end points offered. The WTSD-PWBOB comes with each unit and features a balanced audio output with signal, mute, system priority and power LEDs and 12V DC logic output for remote system muting or power sequencing. The WTSD-PWHUB is sold separately and features level control at the system head end, input limiting, isolated relay outputs to trigger system priority muting or system power activation, and an emergency mute port. The WTSD features an energy saving auto sleep function that can shut off the audio system when not in use after approximately 1 hour. As soon as the WTSD mixer senses an audio signal, the WTSD sends a command down the bus to wake the system up.The WTSD-MIX31 analog audio BUS can easily be converted to an Audinate Dante ® digital signal by interfacing with the optional AtlasIED TSD-DAC2i converter. The WTSDs are uniquely designed to fit into most 2-gang electrical boxes and utilize industry standard Cat5/6 cable for power, control, and audio. The WTSDs deliver high quality audio hundreds of feet by the use of a low noise / high gain preamp design and balanced audio bus. The proprietary low voltage bus is designed so that up to 3 WTSD mixers can be daisy chained on the same bus cable run while allowing for independent mixer operation. Each WTSD incorporates separate level controls for each input, a local mute, system priority override and an auto sleep function.The optional WTSD-COVER stainless steel weather resistant locking security cover with gaskets is available for tamper proof indoor oroutdoor applications.The PCBs are weather treated to reduce corrosion in damp environments. With the PCB treatment and the WTSD-COVER accessory, the installation will have protection against the environment and tamper protection for years of continuous operation.S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20WTSD-MIX31 Cat5/6 Interface with a PWBOBNote: 400ft max cable distance from WTSD-PWBOB to WTSD-MIX31.Note: Up to three WTSD mixers can be on the same PWBOB bus.S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20WTSD-MIX31 In Series with a WTSD-MIX41 on the Same Cat5/6 BusNote: The WTSD-MIX31 & WTSD-MIX41 can be combined onto the same bus. Maximum bus combine length is 400 ft.Note: The WTSD-MIX41 can use standard XLR plates for separate input locations.S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20WTSD-MIX31 with a WTSD-PWHUBIn some applications, the WTSD-PWHUB can be used in place of a WTSD-PWBOB. The advantage of using a WTSD-PWHUB over a WTSD-PWBOB is that the WTSD-PWHUB has a variable gain control at the rack, a variable hard limiter, auto sleep and system priority override relay contacts instead of voltage triggers. It also provides an emergency override GPIO port to interface with fire / evacuation systems. In this example, the WTSD-PWHUB uses the auto sleep relay to turn the main room amplifier On / Off.WTSD-MIX31 With Optional T SD-DAC2i Dante ® Network Audio InterfaceThe WTSD analog audio BUS can easily be converted to an Audinate Dante® digital signal by interfacing a WTSD-PWBOB or WTSD-PWHUB with the optional AtlasIED TSD-DAC2i. The PoE powered TSD-DAC2i transceiver has two channels of network audio and will support two separate WTSD systems.S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20Features• Balanced Audio Output• Power Supply 24VDC Injector • System Peak GPIO • Sleep Mode GPIO • Priority GPIO• RJ45 - Cat5 or Cat6 Interconnect • On Indicator• LED Indicators for Sleep Mode, Priority, System Peak, Signal Indicator •Din-rail MountingRJ45 Cat5 or 6 to WTSDSystem Peak 1VDC Sleep Active 22VDC Priority Active 12VDCPower Supply Inputto Amp InputWTSD-PWBOB Features - DC Power Injector / T rigger Control / Audio InterfaceThis module is the interface between WTSD mixers and supplies DC power to the WTSD bus.Dimensional DrawingsDimensions with Optional WTSD-COVER4.33"(110mm) 2.5"(64mm)4.37"(111mm)S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20Block DiagramRJ45 OUTINWTSD-MIX31AWP BLOCK DIAGRAMBalanced Mono Mix BUS INMIC-LINE PUSH SW ON FRONT PANEL. WHEN IN LINE MODE,S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20WTSD-PWHUB - DC Power Injector / Audio Interface / Emergency OverrideAccessoriesTSD-DAC2i – Balanced Analog Audio to Dante ® Digital Audio ConverterWTSD-COVER - Lockable Weather Resistant Stainless Steel CoverS o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d . d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20Note 1: Current draw, watts and BTU is based on 1 WTSD. For each additional WTSD added in series, add the additional draw. Example: 2 WTSD = 104mA, 3 WTSD's = 156mA of DC Current draw.Note 2: Electrical box requirements - For additional information refer to manual for recommended box types.©2020 A t l a s S o u n d L P . T h e A t l a s “C i r c l e A ”, S o u n d o l i e r , a n d A t l a s S o u n d a r e t r a d e m a r k s o f A t l a s S o u n d L .P . I E D i s a R e g i s t e r e d T r a d e m a r k o f I n n o v a t i v e E l e c t r o n i c D e s i g n s L L C . A l l r i g h t s r e s e r v e d .A l l o t h e r T r a d e m a r k s a r e p r o p e r t y o f t h e i r r e s p e c t i v e o w n e r s . N o e n d o r s e m e n t i s i m p l i e d . D u e t o c o n t i n u a l p r o d u c t d e v e l o p m e n t , s p e c i f i c a t i o n s a r e s u b j e c t t o c h a n g e w i t h o u t n o t i c e . A T S 005997 R e v D 1/20The wall mount mixer shall include one 24VDC-1A power supply along with one RJ45 break out box (WTSD-PWBOB) that interfaces the power supply and proprietary Cat5 or Cat6 bus to Phoenix balanced audio output. The break out box shall include +12VDC signal outputs with LED indicators for Priority Active, Sleep Active (22VDC), and System Peak, to use for external device control. The wall mount mixer shall have dimensions (HxWxD) shall be 4.37" x 4.34" x 2.5" (111mm x 110mm x 64mm) and fit a standard 2 gang wall plate fastener pattern. The wall mount mixer shall have an optional stainless steel all weather locking security cover (WTSD-COVER). The wall mount mixer shall be the AtlasIED Model WTSD-MIX31.Architect and Engineer SpecificationsThe wall mount mixer shall control and mix three input signals and deliver an audio balanced line output to an RJ45 terminated Cat5 or Cat6 cable up to 400 feet to feed a remote head end amplifier.The wall mount mixer shall have separate level controls, Mic / Line and Aux, with signal LEDs for each input to control the audio mix needed. The wall mount mixer shall have a front panel selectable XLR Balanced Microphone or Line Input control and a 3.5mm Auxiliary stereo summed input that shall overtake the Bluetooth signal when terminated. The Auxiliary input shall have a commercial grade Bluetooth input with a stereo summed input. The Bluetooth shall be connected and disconnected by front panel Pairing button with indication. The Mic input shall have a DIP switch selectable Phantom Power with indication and 125Hz low cut (HPF) filter. The Mic input shall have an adjustable VOX feature to allow for AUX input background music muting when announcing is present. The wall mount mixer shall have a Frequency Response of 20Hz - 20KHz +/- 1dB; THD .06% @1KHz; Signal to Noise: Line to Line -85dBV; Mic to Line -70dBV .The wall mount mixer shall be capable of being combined with up to three WTSD mixers using the RJ45 Cat5 or Cat6 proprietary bus loop-thru connectors. The output bus shall have a System Peak LED to indicate when the total system mix headroom is exceeded. The wall mount mixer shall have a front panel latching local output Mute with indicator. The wall mount mixer shall have a DIP switch defeatable automatic Sleep function with Active or Sleep front panel indication. The Sleep function shall engage when an audio signal is not present on any local input for approximately one hour.。

Yamaha LPA552 音频混音器说明书

Printed in JapanFor details please contact:LPA552• Specifications and appearance subject to change without notice.• All trademarks and registered trademarks are property of their respective owners. Windows ® is a trademark of Microsoft Corporation. Macintosh ® is a trademark of Apple Inc.Nuendo ® is a trademark of Steinberg Media Technologies GmbH. Pro Tools ® and Digidesign ® are trademarks of Avid Technology Inc. Adat is trademark of Alesis Corporation.Tascam, TDIF are trademarks of Teac Corporation.ANALOG INPUT CHARACTERISTICS*1. MIDI IN can use as TIME CODE IN MTC.ANALOG OUTPUT CHARACTERISTICSDIGITAL INPUT CHARACTERISTICSDIGITAL OUTPUT CHARACTERISTICSCONTROL I/O CHARACTERISTICSSPECIFICATIONS* Total Harmonic Distortion is measured with a 6dB/octave filter @80kHz.**Hum&Noisearemeasuredwitha6dB/********************;equivalenttoa20kHzfilterwithinfinitedB/octaveattenuation.LIBRARIESNumber of factory presetsNumber of user librariesEffect library (EFFECT 1–4) 53 75Compressor library 3692Gate library 4 124EQ library 40 160Channel library 2 127Input patch library 1 32Output patch library 132Still Small and Professional —Now with VCM EffectsBuilt-in VCM EffectsYou simply won’t find another digital console that offers this level of performance flexibility in a package this compact and affordable. The 01V96VCM will comfortably fit in the space and budget of the small studio whiledelivering sonic quality, effects, control, and compatibility that are second to none.CHANNEL STRIP• REV-X Hall, REV-X Room, and REV-X Plate programs are provided,with new parameters such as room size and decay envelopes thatoffer unprecedented definition and finer nuance control.• The REV-X Hall and REV-X Room programs have a very open sound,while REV-X Plate delivers a brighter tonality that is ideal for vocals.• All models deliver dense, warm reverb that does not interferewith the natural timbre of the source.REVERB• Compressor 276 (mono)/Compressor 276S (stereo):Recreate the fast response,frequency characteristics, andtube-amp saturation of themost in-demand analogcompressors for studio use.• Compressor 260 (mono)/Compressor 260S (stereo):Features faithfulmodeling of thesolid-state VCA and RMS detection circuitry of the late 70’sfor live sound reinforcement applications.• Equalizer 601:Delivers the unique characteristics of70’s analog EQ circuitry, featuringgraphical editing capability on both theconsole and PC displays.Engineer interviews — Steve LevineRecording and mixing engineer, worked for many artists including Culture Club, The Beach Boys, Honeyz, and Gary Moore.The Birth of VCMThe Team and the Technology Behind the SoundSuper High Fidelity24 bit/96 kHz Performance TakesDigital Sound To the Next LevelDigital audio technology has come a long way since theearly days of 16 bits at 44.1 kHz — a format that many considered to bethe reason for “harsh”, “cold” sound. The entire industry is now settling on24 bit/96 kHz digital operation for significantly superior sonic quality. The01V96VCM does give you a choice — you can work at 44.1 kHz, 48 kHz,Mixing Versatility24 Analog & Digital Channel Inputs ...Expandable to 4020-bus ConfigurationSurround PanningAdvanced Input FunctioningChannel Strips With Precision 100-mm Motor FadersSelected Channel ControlsFast, Flexible Digital PatchingAdvanced Solo FunctionsEffects & Advanced User InterfaceInternal Effects Fully Support 96-kHz ProcessingTop-quality Compression, Gating, EQ and DelayADD-ON EFFECTS Capabilityconsole’s built-in effects for expanded processing capabilities. ADD-ON Connection with 96 kHz Recorders & WorkstationsAdvanced Layer and Bus OperationFader ModeLayer Switching for Fast Access to 32-channel, Aux/Bus Fader + User-assignable ConfigurationScene & MemoryScene MemoryEnhanced User InterfaceLarge LCD PanelDisplay AccessData EntryExpandable Data LibrariesUser Defined KeysEnhanced Integrated DAW ControlVersatile I/O FacilitiesRear PanelBuilt-in ADAT Optical Interface01V96VCM Cascade LinkSTUDIO MANAGER Version 2 Software IncludedEditing windows with enhanced controllabilitySTUDIO MANAGER Version 21. Music Production with CubaseAlthough simple to set up, a system like this can provide advanced recording and production capability. Cubase 4 running on a personal computer interfaces to the 01V96VCM via a single USB cable for comprehensive transport and function control, while audio is transferred between the 01V96VCM and the audio interface via both the 8-channel optical ADAT interface (allowingsimultaneous 8-channel recording at 96 kHz) and the 2-channel SPDIF interface for maximum routing and mixing versatility. VCM effects can be applied while recording or during mixdown.2. Concert and Event SoundSound reinforcement applications generally require much more input and outputcapacity than studio production. If a single 01V96VCM won’t do it, try cascading two 01V96VCM consoles — you now have up to 80 input channels plus plenty of output channels and processing capacity to handle house sound and monitoring. The built-in dynamics and VCM effects can be a tremendous advantage in this type of application, too.Application ExamplesMusic production, sound reinforcement, broadcast, theater ...in nearly every application, the 01V96VCM has the performance and versatility to work wonders.Guitar etc.Audio Interface (ADAT I/O)FirewireUSB Onboard ADAT in/outOptical CableMicsComputer Cubase 401V96VCM01V96VCM01V96VCM Keyboard and synthesizer3. Small Multi-Purpose Hall InstallationCapable of providing solutions not only in the soundreinforcement and recording environments, the 01V96VCM is also widely used in fixed installations similar to that shown, and has already gained an excellent reputation in the industry for this type of application. In this example, the 01V96VCM provides a mixing solution for a multi-purpose hall suitable for small-scale exhibitions, conventions, concerts, and other similar gatherings. This hall features a pair of hardwired FOH C112VA speakers, multiple ceiling speakers used for background music and public announcements, and MSR100 speakers that can be setupwhenever needed for monitoring during concerts. And even in situations where all of these speakers must be used together, the 01V96VCM — with its main Stereo Out complemented by four additional OMNI OUT channels — can cope with ease.With the 01V96VCM, you also benefit from the flexibility and convenience only delivered by digital consoles — for example, the Scene Recall function allows settings for a wide range of different applications to be instantly loaded, while User Defined Keys provide one-touch shortcuts to oft-used functions. What's more, as the acclaimed REV-X reverb from the SPX2000 effect processor and the Channel Strip package of VCM compressor and equalizer effects are pre-installed, audio quality rivaling even that of live-music clubs with vintage outboard gear costing tens of thousands of dollars can easily be achieved. With thisstunning range of choice functions packed into such a compact body, the 01V96VCM is just the ticket for fixed installations.Q2031BOMNI OUT 1OMNI OUT 2OMNI OUT 3OMNI OUT 4RABAB L ST OUT Output InputMONITORQ2031BABAB Output InputMIDI and Signals (Cascade Link)MSR400MSR400MSR400MSR800W MSR400MSR400MSR400MicsC112VA C112VA Wireless MicsVideo AudioCeiling-mounted projectorCeiling SpeakersWired MicsMSR100MSR100MicsF.O.HUp to 80 inputsScreen01V96VCMNOTE PCP-3500S CD player DVD playerHigh-impedanceamplifierWireless Mic ReceiverVideo selectorSetup only when neededfor monitoring.Digital I/O CardsCan handle 24 bit/96 kHz by double channel mode MY16-AE 1616AES/EBU Can handle 24 bit/96 kHz by double channel mode MY16-AT 1616ADAT Can handle 24 bit/96 kHz by double channel mode MY16-TD 1616TASCAM Can handle 24 bit/96 kHz by double channel modeMY16-CII 1616CobraNet MY16-ES641616EtherSound MY16-MD641616MADI Maximum 5 NodesCan handle 24bit/96kHz by double channel modeMY16-mLAN 1616mLAN MY8-AE9688AES/EBU Sampling Rate Converter for inputMY8-AE96S 88AES/EBU Can handle 24 bit/96 kHz by double channel mode MY8-AE 88AES/EBU Can handle 24 bit/96 kHz by double channel mode MY8-AEB 88AES/EBU(AES-3id)Can handle 24 bit/96 kHz by double channel mode MY8-TD 88TASCAM Can handle 24 bit/96 kHz by double channel mode MY8-AT88ADAT MY8-DA96–8Analog Out MY4-DA–4Analog Out AuviTranAVY16-ES 1616EtherSound AVIOM16/o-Y1–16A-Net AVIOM 6416Y21616A-Net OPTOCORE YG21616OptocoreWaves Y96K DA Cards Third Party CardsBlock DiagramDimensions[2TR IN DIGITAL][INPUT](13-14)[SLOT][INPUT](1-12)[INPUT](15)[INPUT](16)AUX1-8INSERT SENDAUX1-8INSERT SENDAUX1-8INSERT SENDAUX1-8INSERT SENDWhen 96 kHz FX3, 4 cannot be used.MASTER STRIP PACKAGE (AE-021)• Employs VCM technology to recreate both the analog circuitry and tape characteristics that shaped the sound of open-reel tape recorders.• The Open Deck provides models of four machine types: Swiss ’70, Swiss ’78, Swiss ’85, and American ’70. You can even combine different record and playback decks for a wider range of variation.• You also have a choice of “old” and “new” tape types, tape speed, bias, and EQ settings that can vary the “focus” of the sound, distortion, and saturation characteristics.The names of programs or menus incorporated in ADD-ON EFFECTS are for descriptive purposes only. Reference to product names, trademarks, artists and songs is made for the sole purpose of identifying products and sounds studied for modeling and describing the sound nuances Yamaha attempted to create through use of its proprietary technology. Such reference does not constitute representations that they physically possess equal qualities, and does not imply any cooperation or endorsement by such manufacturers or artists. The products, trademarks are the property of their respective owners.The Waves Y96K DSP expansion card adds renowned Waves signal processors to compatible Yamaha digital consoles and workstations.The Y96K processor package includes the Renaissance Compressor and EQ, TrueVerb reverb, L1 Ultramaximizer, SuperTap delay, and DeEsser. These processors are all available in addition to the console’s on-board effects.VINTAGE STOMP PACKAGE (AE-051)ADD-ON EFFECTSCan handle 24 bit/96 kHz by double channel mode MY8-ADDA968–Analog MY8-AD968–Analog In Can handle 24 bit/96 kHz by double channel modeMY8-AD248–Analog In MY4-AD4–Analog InAD/DA Card AD Cards8 in / 8 out, Effects and ADAT I/O。

Pulse CMX-DSP系列混音器用户手册说明书

CMX-DSP Compact Mixers CMX4-DSP, CMX8-DSP, CMX12-DSPIntroductionThank you for choosing a Pulse CMX-DSP series mixer. This product has been designed to offer reliable, high quality mixing for stage and/or studio applications with unfailing consistency. In order to gain the best results from this equipment and avoid damage through misuse, please read and follow these instructions and retain for future reference.Warning:To prevent the risk of fire or electric shock, do not expose components to rain or moisture.If liquids are spilled on the surface, stop using immediately, allow unit to dry out and have checked by qualified personnel before further use.Avoid impact, extreme pressure or heavy vibration to the unit.There are no user serviceable parts inside the mixer – refer all servicing to qualified personnel.Safety•Check that the supplied adapter and connectors are in good condition and the mains supply voltage is correct.•Ensure signal leads are of good condition without shorted connections (especially when using phantom power)•Do not use the USB connector as a general purpose power source or charger.•Do not allow any foreign particles to enter the console through connectors or control aperturesPlacement•Keep out of direct sunlight and away from heat sources.•Keep away from damp or dusty environments.•Ensure adequate access to controls and connectionsCleaning•Use a soft cloth with a neutral detergent to clean the casing as required•Use a soft brush to clear debris from the control surface•Do not use strong solvents for cleaning the unit.Control Panel1.Stereo channel L + R 6.3mm jack inputs2.Stereo channel Left + Right RCA inputs3.Left + Right Recording RCA outputs4.Auxiliary output 6.3mm jack5.Effect output6.3mm jack6.Headphones output stereo 6.3mm jack7.Global phantom power switch & indicatorbo XLR/jack mic/line inputs9.Audio compressor rotary adjustment10.Channel insert TRS 6.3mm jack11.Channel Gain control12.High frequency EQ control13.Channel Pan or balance control14. Mid frequency EQ control15.Low frequency EQ control 16.Channel auxiliary level control17.Channel effect level control18.Channel fader19.L+R balanced main output XLR20.L+R balanced main output TRS jack21.DSP programme select22.Output level and power indicators23.DSP effect on/off switchB/SD player transport controls25.Headphones level control26.DSP effect time control27.Master AUX send level28.DSP effect level control29.Master Effect send level (internal or output)30.Master faderRear Panel31.12Vac 1500mA power adaptor input32.SD card slot for digital audio playerB input for digital audio playerConnectionBefore connecting to amplifier or other equipment, turn down all volume controls to avoid loud noises which may cause damage to other equipment. Always switch amplifier power on last in line with volume levels down.Using good quality 6.3mm jack or XLR leads (balanced or unbalanced), connect L + R main outputs from the mixer to the amplifier, recorder or whichever equipment is to receive the main mix output. If phantom power is to be used, press the “+48V PHANTOM” switch in. Connect microphones, DI boxes and other balanced low impedance audio inputs to the mono channels using a quality XLR lead.Connect high impedance and line level signals to the mono inputs using a 6.3mm jack lead. For the stereo channel, connect left and right line level signals via 6.3mm jack or RCA leads (unbalanced). If this channel is to be used as mono, connect to the left jack input only. Channel inserts may be connected to individual processing equipment like EQ or compressors. These connections completely interrupt the signal flow and divert to the external processor before returning to the channel for volume adjustment via the channel fader. This requires a stereo to 2 x mono jack lead – the 2 mono ends are send and return connections, the stereo connection is wired as per below.Recording equipment can be connected via the “REC” outputs using a twin RCA lead and the 6.3mm jack AUX output can be connected to monitoring or external processing equipment if required. Individual levels can be adjusted to the AUX output via the individual channel AUX controls. Overall auxiliary send level is governed by the master AUX control.If the internal DSP effects are not required, a send can be connected from the “EFFECT” jack output to and external effect unit, whereby the EFF channel controls act as individual level controls to the EFFECT output (same as for AUX output) Overall effect send level is governed by the master EFFECT level control.With all faders down, connect the supplied AC adapter to the 12Vac input and to the mains supply (ensure correct supply voltage) – the power LED will illuminate (if phantom power is selected, this LED should light also)CheckingTest each channel’s gain level by making the loudest expected sound into it and increasing the GAIN control until the red PEAK LED starts to light. Then back the GAIN control off slightly until the PEAK LED hardly lights at all.Test the main mix output by increasing the MAIN master fader and selected channel faders whilst making sound through the channel(s) – the L + R output LED ladders should begin to show the output as it varies up and down.Connecting a pair of headphones to the PHONES stereo 6.3mm jack is a good way of checking the mix output, remembering to gradually increase the PHONES level control.Turn down all faders and then switch power on to connected equipment (amplifier last in line) and increase volume levels. Gradually increase MAIN and channel faders again and the sound should be heard through the speakers or be indicated on the recording equipment.OperationMono channels have a COMP control which varies the amount of audio compression applied to the signal. Fully down (anti-clockwise) gives no compression and fully up (clockwise) gives maximum compression to the signal, making quieter sounds louder and louder sounds quieter whilst boosting the signal. This limits the dynamic differences in a signal and is especially useful for vocals and some instruments where the sound level can vary greatly.Each channel has a 3-band EQ (LOW/MID/HIGH), which can be used to balance the mix of frequencies and emphasise certain aural characteristics in the signal. Adjust these as required, noting that and overall increase may require an equivalent reduction of the GAIN control to compensate (otherwise clipping may occur from EQ boost).Use the PAN control to position the channel input either to the left or right side of the stereo field. This can be useful to help separate and define sounds within a mix but be aware that extreme settings can be counter-productive by removing the channel from certain listening positions.Use the AUX control to feed the correct amount of the channel signal to the AUX output. This routing is “Pre-fader” and is independent from the channel fader setting.The EFF control feeds a part of the signal to the internal DSP effects. Overall controls for TIME and LEVEL are on the right-hand side of the control surface - these can be adjusted as required.If external effects are to be used, plugging a jack lead into the EFFECT output defeats the internal DSP effects and acts as a mono line level “send” to the external effect unit. The output(s) from the external unit will need to be “returned” via a mono or stereo channel and added to the mix, whereby the channel fader takes the place of the overall EFFECT return level control.Channel faders should be used to adjust the individual levels in the mix and the MAIN fader is for overall level. Turn down amplifier levels when changing any connections or powering down the mixer to avoid speaker damage.USB featuresThe USB and SD card connection is for the internal media player, which can offer playback of compressed digital audio files through the stereo channel.When a USB pen drive or SD card with such files on is connected via the rear panel, the player recognizes this and automatically begins playback through the stereo channel.Transport buttons are situated next to the output LEDs on the top panel to control USB/SD playback as shown below…Play/PauseNext/ForwardSpecificationsModel CMX4-DSP CMX8-DSP CMX12-DSP Power Supply 12Vac 1500mA (included)Phantom Power Switchable +48V (XLR inputs) Frequency Response 20Hz - 20kHzMic/Line inputs (bal/unbal) 2 x XLR/jack 6 x XLR/jack 10 x XLR/jack Stereo Input (unbal) 6.3mm jack/RCA (-8 to +15dB / +13 to +60 parallel) SNR: Mic Inputs 120dB E.I.N.SNR: Line Inputs 95dB E.I.N.SNR: Stereo Input 96dB E.I.N.EQ: High 10kHz, ±15dBEQ: Mid 700Hz, ±15dBEQ: Low 50Hz, ±15dBEffects 16 preset programme DSP engine Outputs: Main (L + R) XLR/6.3mm jack (+28dBu balanced / +22dBu unbalanced) AUX, EFF, REC out unbalanced 6.3mm jack (+22dBu)Phones Output +15dBu stereo 6.3mm jack Dimensions (mm) 60 x 190 x 230 60 x 270 x 230 60 x 350 x 230 Weight 2.09kg 2.42kg 2.75kg DSP effect programmes1. Small Hall 9. Analog Delay2. Large Hall 10. Chorus Verb3. Small Room 11. Stereo Chorus4. Bright Room 12. Flanger5. Thin Plate 13. Phaser6. Large Plate 14. Gated Reverb7. Spring Reverb 15. Flange Verb8. Multi-tap Delay 16. Vocal EchoTroubleshootingEnsure power adapter is working and connected properly No power LED on control panelEnsure mains outlet voltage is OK and as stated on adaptor Check input signals and condition of connection leads Check jack is connected to input and not channel insert Check GAIN is not too low on channel input Check channel fader is not fully down Check MAIN fader is not fully downDisconnect channel insert (if used) and check for correct wiring Power LED is on butno other LEDs and no output For condenser mics, turn down MAIN fader and check +48V is onCheck output connections to amplifier or recorder Power and VU LEDs lit but no output Check amplifier or recorder levels are not turned fully downPress PLAY on transport controlsCheck memory device is connected properly (remove and re-insert)Check file types – standard compressed digital audio files required USB/SD player willnot play audio frommediaCheck memory device works on a PC or Mac for standard playbackVolume range lacking Check COMP control is not turned up too highCheck level of input signal is not too high Reduce channel GAIN and EQ settings Reduce channel and MAIN faders levelsEnsure Hi-Z line level input(s) not connected via XLR Check output levels of equipment connected via channel insertsCheck AUX and EFFECT level controls and reduce if necessary Check for high gain recording of media files on USB/SD Output is very loud or distorted Check input gain level on recorder or recording software Check input audio source level is not too lowEnsure low impedance line or mic signal is not connected via jack Increase channel GAIN control and EQ settings if turned downIncrease channel and MAIN faders levelsCheck output levels of equipment connected via channel inserts Check for quiet recording of media files on USB/SDOutput is working butat very low levelCheck input gain level on recorder or recording software Face microphone away from speakers and monitorsReduce channel GAIN level and EQ level(s)Reduce AUX and/or EFFECT levelsFeedback (loudsquealing or howlingfrom mics)Reduce channel and/or MAIN fader levelsErrors and omissions excepted.Copyright© 2014. Pulse。

迈克罗尼克 M-100 双路混音器说明书

21Owner’s ManualOwner’s ManualSpeciﬁ cationsFrequency Response :Mic Input to any Output: (Trim at 0 dB):+0, –1 dB 20 Hz to 20 kHz Line/CD Input to any Output: ±0.5 dB20 Hz to 20 kHzPhono input to any Output:±1 dB of RIAA EQ curveDistortion (THD and IMD):THD @ Main Output, 20 Hz to 20 kHz Mic Input @ 30 dB Gain: Less than 0.0075%Line/CD Input @ 0 dB Gain:Less than 0.0075%Phono Input:Less than 0.01%THD @ Phones Output, 20 Hz to 20 kHz Line Input @ 0 dB Gain: Less than 0.03%SMPTE IMD @ +4 dBu Output:Mic Input @ 30 dB Gain:Less than 0.008%Line/CD Input @ 0 dB Gain:Less than 0.008%Common Mode Rejection Ratio (CMRR):Mic Input (Gain = maximum)Greater than 60 dB@ 1 kHzCrosstalk:Adjacent Inputs or Input to Main Output: Less than –85 dB @ 1 kHzNoise Characteristics:Equivalent Input Noise (E.I.N.) (20 Hz to 20 kHz):Mic Input (150 Ω source impedance): Less than –123 dBu Phono Input (500 Ω/500 mH source impedance):Less than 0.3 µVCD/Line Input (150 Ω source impedance): Less than –110 dBu Dynamic Range (Main Out):Greater than 100 dBMaximum Input Levels (rated at 1% THD):Mic Input (Gain @ minimum):+9 dBuCD and Line Inputs (PGM Gain = 0 dB):+22 dBu FX I nput: +22 dBuPhono Input:78 mV @ 1kHzInput/Output Characteristics:Input Gain Control Range:Mic Input: +13 dB to +63 dB PGM Input: OFF to +13 dB FX Return:OFF to +13 dBAppendix C: Technical InfoInput Impedance:Mic Input: 2.4 k Ω balanced CD/ Line Input: 20 k Ω balanced FX Return: 20 k Ω balancedPhono Input:47.5 k Ω shunted with 200 pFMaximum Output Levels:XLR Main Output: +22 dBu RCA Main Output: +22 dBu Booth Output: +22 dBu FX Send: +22 dBuPhones:15 volts rms into 8Ω (28 watts)Output Impedance:Main XLR/RCA Output: 150 ΩBooth Output: 150 ΩFX Send: 150 ΩPhones:25 ΩEqualizationMic Channel Low: ±15 dB @ 80 Hz Mid: ±***********High: ±15 dB @ 12 kHz PGM ChannelLow: +10/–inf dB @ 300 Hz Mid: +10/–inf dB @ 1 kHz High:+10/–inf dB @ 4 kHzVU Meters12-segment pre-fader PGM meters 12-segment pre-fader Main Mix metersOL (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –300 LED = +4 dBuMic Input Signal Present LED (Sensitivity):–20 dBucontinued22d.2 DJ Mixerd .2 2-c h a n ne l D J M i x e rAC Power Requirements:Power Consumption:20 wattsUniversal AC Power Supply: 100 VAC – 240 VAC,50-60 HzPhysical Dimensions and Weight:Height: 15.49”/393.4 mm (including knobs and connectors)Width: 10"/254 mmDepth: 4.62”/ 117.3 mm (including knobs and connectors) Weight: 11 lb/5 kg (with FireWire card)The d.2 mounting slots are compatible with the Odyssey Battle Bridge. This consists of two L brackets which bolt to the d.2 and allow you to ﬁ t it securely between two turntable cases. See for more details.Optionsd.2 FireWire Interface CardLOUD Technologies Inc. is always striving to improve our prod-ucts by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these speciﬁ cations at any time without notice.“Mackie,” and the “Running Man” are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective hold-ers, and are hereby acknowledged.©2005 LOUD Technologies Inc. All Rights Reserved.。

Citronic Z44R 多功能混音器用户手册说明书

Z44R Multi-Purpose Rack Mixer953.020User ManualFeatures:∙ 2 balanced microphone inputs∙Lo-cut rumble filters∙3-band EQ per Mic channel∙Switchable 48V phantom power∙ 2 x A/B selectable stereo line inputs∙2-band EQ per Line channel∙Foot-switchable DSP Reverb or ext. FX∙ 4 stereo zones with selectable line outs∙Emergency mute contacts∙Suitable for live vocalist PA∙Suitable for 4-zone installation∙Ideal karaoke add-on for DJIntroduction:Thank you for choosing the Citronic Z44R multi-purpose rack mixer. This product has been designed to offer a versatile and wide range of functions to meet many different applications. In order to achieve the best results from this equipment and avoid damage through misuse, please read and follow these instructions and retain for future reference.Warning:To prevent the risk of fire or electric shock, do not expose any part of the unit to rain or moisture.If liquids are spilled on the surface, stop using immediately, allow unit to dry out and have checked by qualified personnel before further use.Avoid impact, extreme pressure or heavy vibration to the unit.There are no user serviceable parts inside the mixer – refer all servicing to qualified service personnel.Safety ∙ Check that the supplied mains lead is in good condition and the supply voltage is correct. ∙ Ensure signal leads are of good condition without shorted connections (especially when using phantom power) ∙ Do not allow any foreign particles to enter the console through connectors or control aperturesPlacement ∙ Keep out of direct sunlight and away from heat sources. ∙ Keep away from damp or dusty environments. ∙ When rack-mounting, avoid placing heavy units above the Z44R and ensure all connectors are accessibleCleaning ∙ Use a soft cloth with a neutral detergent to clean the casing as required ∙ Use a soft brush to clear debris from the control surface ∙ Do not use strong solvents for cleaning the unit.Front PanelRear PanelApplicationThe Z44R can be configured to serve a variety of applications. Deciding upon the particular setup should be the first step in order to ensure all signal leads are connected properly. Some suggested combinations are shown below.1. DJ Add-on Vocal MixerFor DJs who want the option to host karaoke events, the Z44R offers 2 extra microphone channels with genuine DSP reverb effect and 2 extra switchable line sources (for laptop, CD+G players, MP3 players etc). Adding these extra features takes up just 1U of rack space and can be configured as a sub-mixer into the main DJ console or as the main mixer to offer more stereo outputs…2. Compact PA HeadThe Z44R can be rack-mounted in combination with a power amplifier and/or a wireless receiver to form a PA head for driving passive speaker cabinets. This keeps the format extremely compact for solo/duo performers who only require 2 microphone inputs and up to 2 stereo sources up to whatever power is needed…3. Zoning InstallationThe Z44R can operate as the main control for a venue installation, feeding up to 4 stereo zones. Both microphone inputs feed to all outputs (for public address and emergency announcements), whereas the 2 line channels are switchable per zone…ConnectionBefore connecting to amplifier or other equipment, turn down all volume controls to avoid loud noises which may cause damage to other equipment. Always switch amplifier power on last in line with volume levels down.Use good quality 6.3mm jack signal leads to connect OUT 4 outputs from the mixer tothe amplifier or powered speaker(s). Further zones or outputs can be served byconnecting OUT 1, 2 and 3 to other amplifiers or active speakers using good quality RCAleads.Connect microphones, DI boxes and other balanced low impedance audio inputs tothe MIC/LINE combo inputs using good quality XLR leads. Alternatively, connecthigh impedance and line level signals to the combo inputs using 6.3mm jack leads.(+ additional rear jack input for MIC/LINE 1). If phantom power is to be used forcondenser mics, press “+48V” switch and connect using balanced XLR cables.Connect stereo line level sources to the LINE 3 and LINE 4 channels via the Left + Right Jackor RCA connections on the rear panel. These can be switched between, offering a selection of2 sources for either channel.If the internal DSP reverb effect is to be operated remotely, connect a latching foot switch to therear panel F/S jack. Alternatively, this can switch the feed from an external unit, which should beconnected via the FX LOOP. To do this, connect a jack lead from the SEND to the external effectunit and its left & right outputs to RETURN L+R.In an installation scenario, building regulations may require the sound system to be muted if the firealarm is triggered. The green MUTE contacts on the rear panel will kill all channels except MIC 1 if thecontacts are shorted. This can be patched in to the venue fire alarm panel to kill all music in the eventof a fire, leaving the main microphone active for emergency announcements.Operation1. MIC/LINE channels 1 and 2∙Turn all MIC level and LINE LEVEL controls to minimum (2, 5, 8 & 10)∙Set LO, MID and HI (20 & 23)controls to the centre position and turn FX down (19 & 22)∙Switch on the power on the right side of the front panel. (33)∙Check each microphone input, gradually increasing GAIN (4 & 7) until the red Peak LED flashes (3 & 6) and then back off the GAIN until only the green Signal LED lights up∙Gradually turn up the OUT volume controls (13, 14, 15 & 16) part way∙Increase the MIC/LINE 1 and 2 LEVEL controls (2 & 5) to the desired level, taking care to avoid distortion or feedback from the microphones.∙Adjust LO, MID and HI controls to set the desired bass, middle and treble content for each MIC/LINE input ∙If effects are to be used, temporarily unplug the foot switch (if used) and increase the DEPTH control (28) on the front panel. Gradually turn up the FX control(s) (19 22) for the relevant MIC channel(s) and adjust the TIME (12) control to set the desired length of reverb effect. Plug the footswitch back in and use to switch the effect in/out.∙For some microphones, it can be beneficial to “roll-off” the very low frequencies caused by handling and vibration to the microphone body. If required, press in the Lo-cut Rumble Filter switch (18 & 21) on themicrophone channel to reduce this type of noise.2. Stereo LINE channels 3 and 4∙For LINE 3 and 4 channels, check which pair of inputs the signal is plugged into - jack (A) or RCA (B) – and set accordingly via the Source Select switches (24 & 26) on the front panel∙Press in all of the OUT line selectors (29, 30, 31 & 32)∙Set HI and LO controls (25 & 27) to the centre position∙Play the stereo line signal into the relevant channel and increase the LEVEL (8 & 10) control as required∙Adjust HI and LO controls to set the desired bass and treble content of the stereo line channels3. Stereo OUTs 1 - 4∙Adjust the OUT volume controls (13, 14, 15 & 16) so that the red Peak LEDs do not light constantly∙Press out any line selectors (29, 30, 31 & 32) for any stereo inputs which are not required to be fed through any output (MIC/LINE inputs are always fed to all outputs)Note: for further troubleshooting, refer equipment to qualified service personnel for testing© Citronic 2011。

迪伯利·音频工作室 MP 22z 混音器说明书

Manual-1OPERA TORS MANUAL MP 22zCLUB MIXERQUICK STARTIf you won’t read the manual (we know how it is) here are a few basic “plug it in and get signal thru it” facts. TheMP 22z has all unbalanced RCA connectors, except for the XLR & ¼" Mic Inputs, ¼" Mic Loop, and the balanced ¼" TRS Master Outputs. Be sure your amplifier is off while making connections. On the front panel, set all controls to the middle of their travel. Set all pushbuttons to their out position, slide the MASTER LEVEL all the way down. Turn the INPUT SELECT switch for Channel A or B to an Input with material playing. Turn your amplifier on. Now slowly turn up the MASTER LEVEL and see the material on the meters and hear it from the MASTER OUTPUT jacks.There are two places where you can get lost. If you bring a phono signal into PH/LN 1 or 2 be sure to keep the LINE/PHONO switch set to PHONO ; likewise when using a CD player be sure this switch is set to LINE . If you plug into the MASTER LOOP RETURN the signal path thru the unit is broken, since these are switching jacks. They are looking for the return from an outside device that got its signal from the MASTER LOOP SEND , so only use these when you canmake a complete loop.WEAR PARTThis product contains the following wear part subject to the ninety (90) day warranty period described on page Service-1: (1) Active Crossfader Assembly F 60.With the CROSSFADER CONTOUR set to fullcounter-clockwise position, it operates as a typical constant-power crossfader. Set to clockwise position, the crossfader has the very steep slope as indicated in Figure 1 to the right.Now that was a pretty quick start, right?Never connect anything except a Rane RS 1 to thething that looks like a red telephone jack on the rear of the MP 22z. This is an AC supply and requires some special attention if you do not have an operational power supply exactly like the one that came with your unit. Consult theRane factory for a replacement or substitution.Figure 1. Crossfader Contour controlManual-2FRONT PANEL DESCRIPTIONቢ Front panel MAIN MIC input: Use this XLR connector for connecting a balanced microphone of any impedance.ባ MIC EQ controls: Adjust the frequency contour of both Microphone Inputs. They have no effect on any other Inputs.Positioning these controls to the “12 o'clock” position turns the Mic EQ off .ቤ CHANNEL A & B EQ ENGAGE switches: Engaging this switch enables the Channel Equalizer to function. In the out position, the Equalizer is bypassed.ብ CHANNEL A & B EQ level controls: These four rotary controls, when enabled with the EQ ENGAGE switch, are used to contour the frequency response of the selected Input Channel. This is not designed to be the only Equalizer in the system,this is intended to provide EQ between varying program materials. We recommend an external graphic equalizer for best overall system sound, connected between the MASTER OUTPUTS and the amplifier.ቦ CUE A or CUE B switches: Engaging any single or combination of CUE pushbuttons sends any program present at the respective Channel's INPUT SELECT selector to the Headphone and meter cue sections. The yellow LEDs adjacent to each CUE select button illuminate when the switch is engaged. Not recommended for beat sync lights. See Operating Instruc-tions on page Manual-6.ቧ INPUT SELECT A & B: These four position rotary switches provide Input selection between the various phono/line inputs for their respective mixing Channels.ቨ AUX LEVEL control: Adjusts the input Level from the AUX LINE IN jacks.ቩ ZONE LEVEL controls: Adjust the output Levels of ZONE 1 and ZONE 2.ቪ PEAK dBu CUE/PROGRAM meter: Can switch between two display modes. See ቫ below.ቫ Meter CUE/PROGRAM switch: In the out position, the meter indicates Master Program output level in PEAK dBu in LEFT and RIGHT stereo. In the in position, mono CUE level is displayed on the LEFT side and mono Program level is displayed on the RIGHT side.ቭ REMOTE MIC ENGAGE switch: When pressed, ENGAGES the REMOTE MIC Input. The adjacent red LED flashes whenever the switch is pressed in, signalling that the Main Mic is on.ቮ MAIN & REMOTE MIC OVERLOAD indicator: Monitors both Microphone Inputs, before and after the MIC EQ. It lights whenever these levels exceed 4 dB below clipping. Occasional flickering is normal; however, it should not be allowed to light steadily.ቯ MAIN MIC ENGAGE switch: When pressed, ENGAGES the MAIN MIC Input. The adjacent red LED flashes whenever the switch is pressed in, signalling that the Main Mic is on.ተ MAIN MIC LEVEL control: Adjusts the Level of the front panel MAIN MIC Input.ቱ REMOTE MIC LEVEL control: Adjusts the Level of the rear panel REMOTE MIC Input.ቲ CROSSFADER CONTOUR control: Allows adjusting the “shape” of the CROSSFADER response from a gentle curve for smooth, long running fades, to the steep pitch required for top performance cut and scratch effects. See Figure 1 on page Manual-1.ታÿA & B Input Channel faders: Control the Levels of the Input selected on each Channel.ቴ ACTIVE CROSSFADER: Controls the relative level of the Inputs assigned to the A and B Channels. When this fader is at its far left, only Channel A is heard from the Outputs. As the fader is moved toward the right, the volume of Channel B is increased. When the fader is centered, both Channels deliver equal volume. As you might expect, at the far right only Channel B is heard from the Outputs. In the unlikely event of Crossfader trouble, See Replacing the Active Crossfader below. See Figure 1 on page Manual-1 for response curves of various contour settings.ትMASTER LEVEL fader: Determines the final Level at the MASTER and ZONE OUTPUTS. Unity gain is around “6”.ቶ HEADPHONE PAN control: Serves two purposes. When the Headphone Mode switch (see ) is in STEREO mode, this controls the relative levels of the Cue and Program mixed together in Stereo. When the Mode is switched to MONO, this controls the balance between Mono Cue in the left earcup and the Mono Program in the right.HEADPHONE LEVEL control: Clockwise rotation of this rotary control increases the Headphone drive Level.HEADPHONE mode switch: In the out position, this switch feeds Stereo Cue and Program to both earcups. In the in position the headphone circuit provides Mono Cue to the Left ear and Mono Program to the Right ear.HEADPHONE Output jack: A ¼" tip-ring-sleeve stereo jack delivers signal to stereo headphones.POWER “ON” indicator: Illuminates when the MP 22z is connected to an appropriate power source (see Rear Panel ተ).FADER CLEANINGWith heavy use in harsh environments, the faders may need lubrication. This treatment extends longevity and can make used faders as good as new. The fader assembly must be removed from the MP 22z for proper cleaning. We recommend any of the following cleaning solutions:Caig Cailube MCL 100% spray lubricantCaig Cailube MCL 5% spray cleanerCRC 2-26Order CaiLube MCL® from:CAIG Laboratories, Inc.12200 Thatcher Ct.Poway, CA 92064Phone 619-486-8388Fax 619-486-8398Web REPLACING THE ACTIVE CROSSFADERThe Crossfader may be removed without any disassembly of the MP 22z itself, and may be performed while the unit is operating with no interruption of the audio signal.F 60 and F 45 Fader Kits are available from your local retailer or the factory. The kit includes full assembly includ-ing knobs, ribbon, and face plate.1. Remove the two (2) outer screws attaching the crossfaderassembly to the front panel.2. Pull the Crossfader Assembly forward and unplug theribbon from the connector on the bottom board.3. Proceed with Cleaning Instructions, or install the replace-ment assembly by reversing the above instructions. CLEANING INSTRUCTIONS1. Hold the fader assembly away from the mixer.2. Position the fader at mid-travel.3. Spray cleaner/lubricant into both ends of the fader.4. Move the fader over its full travel back and forth a few times.5. Shake excess fluid from the fader assembly.6. Wipe off excess fluid.Manual-3Manual-4REAR PANEL DESCRIPTIONቢ REMOTE MIC/LINE INPUT: This ¼" tip-sleeve Input is for wireless mics or other high-impedence sources.ባ MICROPHONE LOOP jacks: These ¼" tip-sleeve connectors are for inserting external signal processing in the micro-phone circuit only. These jacks do not effect the other Inputs.ቤ PHONO GROUND screw: This can facilitate your hum chasing, buzz eliminating experiments, providing a place to connect those extra wires coming out of the turntables. See Chassis Grounding , next page.ብ PHONO/LINE 1 & 2 INPUTS: These stereo Inputs are switchable from a PHONO (RIAA) stage for magnetic cartridges to a LINE level Input suitable for any line level device such as a CD player. Each Input may be adjusted with its TRIM control for level matching purposes if desired.ቦ LINE 3, 4, 5 & 6 INPUTS: These stereo pairs of RCAs connect LINE level Inputs only. Each Input may be adjusted with its TRIM control for level matching purposes if desired.ቧ MASTER LOOP SEND & RETURN: These stereo pairs of RCA connectors allow inserting external signal processing in the Master, Zone and Headphone circuits. This feature does not affect the operation of the MIC or AUX INPUTS. These are switching jacks—always finish the loop when connecting send or return. Only connect to a device that is capable of returning signal back to the MP 22z.ቨ AUX LINE INPUT: This stereo pair of RCA connectors is an extra set of LINE level Inputs with an independent front panel LEVEL control (see Front Panel, ቨ).ቩ TAPE OUTPUT: These line level RCA Outputs are intended for use with a tape recorder, but not necessarily restricted to that purpose. You may be creative. These Outputs are not affected by the MASTER LEVEL fader.ቪ MIC & AUX TO TAPE OUT switch: In the YES position the Mic and Aux signals along with all Inputs are routed to the TAPE OUTPUT. In the NO position only program material from Inputs 1 through 6 appear at the TAPE OUTPUT.ቫ MIC & AUX TO ZONE 1 switch: In the YES position the Mic and Aux signals along with all Inputs are routed to the ZONE 1 OUTPUT. In the NO position only program material from Inputs 1 through 6 appear at the ZONE 1 OUTPUT.Note: Mic and Aux signals are never routed to the ZONE 2 OUTPUT.ቭ ZONE OUTPUTS: These are stereo pairs of line level RCA Outputs with independent front panel OUTPUT LEVEL controls (see Front Panel, ቩ) and are not affected by the MASTER LEVEL control.ቮ MASTER OUTPUTS: These balanced ¼" TRS (tip-ring-sleeve) Outputs connect to a balanced equalizer or amplifier.Though not recommended, unbalanced ¼" TS (tip-sleeve) cables may be used for short runs (under 3 meters [10 feet]) to an amplifier with unbalanced inputs. See RaneNote 110 “Sound System Interconnection” for wiring recommendations.ቯ Chassis ground point: This screw is provided for connection to chassis ground if required. See Chassis Grounding on the next page.ተ POWER input connector: This is not a telephone jack! Connect an 18 volt AC center-tapped transformer only. Use only aRane model RS 1, shipped with the unit, or other RS 1 compatible power supply approved by Rane.MP 22z CONNECTIONWhen first connecting the MP 22z to other components, leave the power supply for last. This gives you a chance to make mistakes and correct them without damaging your fragile speakers, ears and nerves.All of the line level inputs are unbalanced RCA connec-tors. Inputs PH/LN1, LINE 3, LINE 4 and LINE 5 appear on Channel A; while PH/LN2, LINE 4, LINE 5 and LINE 6 each appear on Channel B. The only restriction is the assignment of the Phono Inputs, one per Channel A and Channel B. So for you phono only users, Inputs are pretty simple; Phono 1 is on Channel A and Phono 2 is on Channel B. If you bring a phono signal into PH/LN 1 or 2 be sure to set the appropriate Line/Phono switch to PHONO. Like a mic input, a phono requires a lot of gain plus RIAA equalization.The Aux Line Input has its own Level control on the front panel and sums with the other signals before the Master and Zone Level controls.The Main Mic Input on the front panel allows use of a gooseneck mounted microphone. The connector is rotated such that a right angle connector may be used when connect-ing via mic cable. The Remote Mic Input is located on the rear panel and has enough range on it's Level control to accommodate mic or line level inputs. The Mic Loop has an unbalanced ¼" TS (Tip/Sleeve) Output (send) and a separate ¼" TS (Tip/Sleeve) Input (return). The effect in this Loop affects both Mics simultaneously.Inserting plugs into the Master Loop Return breaks the signal path thru the unit unless they contain the return from an outside device that got its signal from the Master Loop Send. In other words, these are switching jacks—only use a stereo effects device that passes signal completely patched through.The Mic and Aux can be switched to appear or not appear on the Zone 1 Output, and the Mic and Aux can be switched to appear or not appear on the Tape Output, determined by the YES/NO switches on the rear panel.If you are connecting balanced devices (3-conductor) to either the Input or Output of the MP 22z, consult the included RaneNote “Sound System Interconnection” for proper wiring procedures.IMPORTANT NOTECHASSIS GROUNDINGIf your system exhibits excessive hum or buzzing,there is an incompatibility in the grounding configurationbetween units somewhere. Your mission, should youaccept it, is to discover how your particular system wantsto be grounded. Here are some things to try:1. Try combinations of lifting grounds on units thatare supplied with ground lift switches or links.2. If your equipment is in a rack, verify that all chassisare tied to a good earth ground, either through the linecord grounding pin or the rack screws to anothergrounded chassis like the amplifier.3. Units with outboard power supplies do not groundthe chassis through the line cord. Make sure that theseunits are grounded either to another chassis which is earthgrounded, or directly to a known ground by means of awire connected to a screw on the chassis with a starwasher to guarantee proper contact.Please refer to Rane Note 110, “Sound SystemInterconnection” included with this manual for furtherinformation on system grounding.Manual-5OPERATING INSTRUCTIONS INITIAL OPERATIONFor starters, connect a CD player to LINE 1 Input and set the PHONO/LINE switch to LINE. If a turntable is used, set this switch to PHONO. Make sure all faders are set to zero, the MIC and EQ are disengaged (switches out) and all rotary controls are either fully CCW (LEVEL controls) or in their center detents (EQs), whichever applies. Leave the rear panel INPUT TRIMS at full CW (factory preset). Switch the Channel A INPUT SELECT to PH/LN 1. Simultaneously raise the Channel A fader and the MASTER LEVEL fader. Before you cover much travel on the faders you should begin to hear the results. If you do not, shut everything down and recheck your connections, power to the mixer (look for the yellow POWER light) and ancillary devices (EQs, crossovers, power amplifiers, etc.) Once you have established an output from whatever is connected to LINE 1, go ahead and try the other Inputs.INPUT FADERSThe Input Channel faders should be set near their maxi-mum levels to preclude requiring excessive gain from the Output stage. Achieve optimum noise performance by running the majority of the gain on the Input stages. Taking the least amount of gain on the Output stage ensures that the system doesn’t have to amplify the unavoidable noise generated by the input buffers and summing amplifiers. INPUT TRIMSThe TRIMS allow various devices to drive each Input equally. If you have two CD players, you might want to play the same CD on each player. Now lower the TRIM on the louder player (the other one should be up all the way) so the MP 22z meter peaks match for both players. You can use a similar method with the same recording on different formats to match a turntable to a CD, or a cassette to a CD or video deck. If your source has an Output VU of its own, push the Input Channel fader all the way up, set the MASTER LEVEL control to “6” (unity gain), and adjust the TRIM so that both meters reach 0 dB at the same time.HEADPHONE CONTROL (CUE) SYSTEMFirst, you must have signal present at one of the Inputs. (Well, at least you do to make sure it works.) Depressing the CUE switch for the respective Input Channel presents this signal to the headphone amplifier. An LED illuminates next to the Input CUE switch, attesting to the fact that it is pushed down. There are two choices of listening to the CUE. With the STEREO/MONO switch down, you get Mono Cue in the Left ear and Mono Program in the Right, and PAN controls the amount of each. With this switch up, you get Stereo Program in both ears or Stereo Cue in both ears, depending on the rotation of the PAN control. The overall volume is then controlled by the HEADPHONE LEVEL control.When a CUE is active at either Input Channel, and if the Meter CUE/PROGAM switch is down, the monoed Cue signal is routed to the LEFT side of the PEAK dBu Meter, while monoed Program is displayed on the RIGHT. This is useful to match a source before it is faded in to the level of the program currently playing, or for visual beat matching. USING THE CROSSFADERThe volume of the two Input Channels begins from the faders on Channels A and B. Their outputs are under the control of the Crossfader. When in its left-most position, only Channel A appears at the Outputs. In the center, both Chan-nels are present in equal levels, and only Channel B will be heard once the far right is reached. With the CROSSFADER CONTOUR set to the full ccw position, the sound pressure level does not change as this transition progresses. See Figure 1 on page Manual-1 for response curves.MICROPHONE OPERATION.Connect the mic to the appropriate connector. Leave the MASTER LEVEL fader in roughly the same location as it was for the music that’s been playing, press the MIC EN-GAGE switch (notice the flashing LED) and adjust the MAIN MIC (or REMOTE MIC) LEVEL. The tonal balance may be adjusted via the MIC EQ controls. Modifying the sound of the mic in this way won’t affect the EQ of the music in the system. The three Equalizer sections (Mic and Input A and B Channels) are totally independent. When the mic is not in use, release the MIC ENGAGE switch again to its up position, extinguishing the LED. Should the microphone preamp become overloaded, the red LED Overload light illuminates. If this is a problem, lower the appropriate MIC LEVEL control and increase the level of the MASTER LEVEL fader to restore desired microphone level.ZONE OUTPUTSThe ZONE OUTPUTS are additional stereo Outputs with their own ZONE LEVEL controls that can be routed to amplifers that feed the bar, another tape recorder, etc. If you would like the MIC and AUX signals to be removed from the ZONE 1 OUTPUT place the rear panel switch in the NO position. In the YES position, you will get MIC and AUX signals in ZONE 1.©Rane Corporation 10802 47th Ave. W., Mukilteo WA 98275-5098 TEL (425)355-6000 FAX (425)347-7757 WEB 103293Manual-6。

Rolls 微电子混音器说明书

Note: Channels Two through Ten are identical. Channel Two - Ten Section Bal: Adjusts the relative level of the channel signal to the Right and Left outputs. Aux: Adjusts the amount of signal sent to the Auxiliary Output. Level: Adjusts the overall signal level of the channel. Clip: When lit, indicates clipping of excessive level into the channel.
DESCRIPTION
FRONT PANEL
Channel One Pan: Adjusts the relative level of the microphone signal to the Right and Left Outputs. Aux: Adjusts the level of signal sent to the Auxiliary Output. Mic Level: Adjusts the signal level of the microphone preamp circuitry. Clip: When lit, indicates clipping of excessive level into the channel.
the Phantom Power connected.
Hale Waihona Puke pwrCONNECTION / OPERATION
INPUT CONNECTION EXAMPLE

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安度专业混音器
ART-880安装与操作说明
目录
包装配置105
技术参数95开启与调试8
5系统连接图7
4后板接口说明6
4面板功能简介5
3产品适用范围4
3产品介绍3
3主机安装要求2
2安全注意事项与服务1
2亲爱的顾客：
感谢您对本公司的支持并使用本公司研制生产的ART -880八路智能混音器。

保您对本产品的正确使用，请仔细阅读本说明书，并妥善保管，以备参考。

为确
1条
1套1份1张1本
检查设备安装无误后，即可进行调试操作，将所有的旋钮都调至最小位置，然后把优先设置开关全部打至“OFF ”位置(出厂默认设置),打开电源开关,电源指示灯(红色)亮起,混音器即通电,对着其中一支话筒(如input1)说话，逐渐调大与其对应的旋钮（如gain 1）使音频输入指示灯逐渐亮起（绿色）直至打开第1～２个红色指示灯的位置为至，即为较合适的门限电平，然后调大总输出旋钮，达到了您所需求的输出音量，依据此方法逐支调试，即设置完毕。

但由于话筒的型号、品牌不同，相应的灵敏度也不一样，环境也有所不同，所以门限电平的调节可根据实际情况适当增大后减小，使语言正常，顺畅为准。

(仅供参考，实际指标以实物为准，如有变动，恕不另行通知。

）
内容数量
ART -880
电源适配器
串机线安装配件
产品合格证
产品保修卡
产品指导手册 8、开启和调试
9、技术参数
10、包装配置
1台1只
(1)、严禁非专业人员打开机盖维修，否则免费保修服务将终止。

如产品有问题，请与经销商或我司技术支持及售后服务中心联系，具体细节，参见保修卡。

(2)、在使用本机连接电源插头时，请确认所连接的电源电压是否和本机标示的电压一致。

在连接系统时，请关闭本机电源。

插入或拨出电源线时，务必握住电源线的插头，不要直接拉扯电源线。

为了避免不可预料的情况，在长时间不使用本机时，将电源插头拨出。

(3)、请将机器安装在通风良好的地方和位置，不要在机器附近放置会大量发热的设备，以免影响本机的正常工作。

(4)、请将机器设备放置在较干噪的地方避免雨淋或接触潮湿的物体，确保安全。

(5)、设备上不应放置诸如花瓶一类装满液体的物品。

(6)、本手册之内容如有更改，均以实物为准，恕不另行通知。

安装设备前请仔细阅读本说明书和了解机器的标示，主装入标准机架时，为使设备运行达到最佳状态及避免机器过热。

电源的连接: 本机适合使用AC220/50Hz的交流电源,请使用随机附送的电源变压器连接到AC220V的交流电插座上，并确保使用的插座有良好的接地线。

机可单独安装或叠放于机架上；如
安所有ARTTOO(安度)产品将享受一年的免费保修服务(非人为损坏)同时将实行产品的终身跟踪服务：在保修期内机件如有发生故障，经本公司维修工程师证实属于正常使用情况下发生的，将可免费获得维修及零配件更换的服务，如超过保修期的售后服务，我们会适当的收取零件及维修费用，当你在安装和调试歌夫系列产品过程中，有任何的疑问，可联系当地经销商，由经销商提供技术支持。

亦可直接向我们的技术支持或售后服务中心寻求支持。

我们将热情为你服务。

2、主机安装要求
()
图1
ART-880 八路智能会议混音器的具备优先设置、顺序发言等多种模式，同时也具备监听功能。

ART-880作为自动混音器能最大限度地消除或减弱各种会议场所中的不良反馈，使其反馈降低到最低程度。

能把复杂的工程安装调试程序变得非常简单。

尤其是在会议室，能把常见的回输“啸叫”问题得到最大限度的解决。

由自动混音器组成的会议系统，是理想的系统解决方案。

产品特点:
1、优先设置：可以随意设置优先通道的位置,可从1-8进行设置。

当优先设置通道（ON ）发言时，其它通道(OFF)的发言会自动关闭。

当全部开关设置为(ON)时则为讨论模式.
2、本机有三种模式供选项卡择使用：优先发言模式、顺序发言模式、集体讨论模式。

3、串联扩展：每台自动专业混音器均有（）串机接口，如需要扩展设备时，只要用随机配送的串机线，按要求将两机串接起来，就可轻松实现扩展功能。

串接使用时各项功能不变。

4、48V 幻象供电：八路平衡输入均提供幻象供电，令外接话筒顺利工作。

如果话筒不用供电的，也可将48V 关闭。

5、音量控制：每路话筒输入音量均单独控制，可调节各路音量均达到一置，
6、输出端子：平衡输出端子（输出电平为-50dB ）可接入各种调音台或具备有平衡输入端子的扩音设备：非平衡输出端子（Φ6.3插座输出电平为0dB ）可接入各种具此输入接口的扩音设备或调音台。

7、线路输入：AUX 输入端子可适用于其它设备的输入信号。

如广播接收机的信号输入等。

8、电源供给：使用外接随机配送的交流变压器，输入24V 交流低压，确保电力供应。

CFL-880LINK IN LINKOUT
电源开关
一通道指示灯八通道指示灯七通道指示灯六通道指示灯五通道指示灯四通道指示灯三通道指示灯二通道指示灯八通道音量钮七通道音量钮六通道音量钮五通道音量钮四通道音量钮三通道音量钮二通道音量钮监听耳机插口监听音量旋钮5、面板功能简介
该系列产品适用于各种多功能会议厅，中小型会议室。

会场、训练场所等专业场所使用。

4、产品适用范围
3、产品介绍
1、摄像跟踪控制接口：摄像跟踪控制器，例如GS1600或GS-2600
2、串机输入和串机输出接口：用于扩展机使用的输入（LINK IN）和输出（LINK OUT）
的连接口。

3、平衡输出端子：用于连接平衡输入的功放或调音台。

4、非平衡输出端子：用于连接不平衡输入的功放或调音台。

5、辅助输入接口：用于辅助音源输入，例如背景音乐等。

6、平衡输入接口：1-8路音频信号输入接口。

接入8路有线麦克风
7、电源插座：通过电源适配器（AC24V）连接到AC220V/50Hz。

7、系统连接图
ART-880可通过专用电缆（随机附件）串机的方式扩展，达到您所需的话筒数量，各项功能和设置方法不变。

安装方式如图所示。

把应配接的设备如图连接完毕后即可进行调试.。