D&R 4000 User Manual
Contents
1. LI B Aux The 4000 series offers in total 6 individual aux sends which easily allows for the most extensive remix sessions The aux sends are per pair switchable pre post the monitor channel fader Basically the 6 sends are wired pre post the monitor fader which makes it possible to have foldback as well as effect pre and post the multitrack machine e L gt LI Aux to Channel This switch connects all the 6 sends pre post the channel fader this being necessary in the remix mode Subgrouping Subgrouping in the 4000 console is done in a new way and demands a new way of thinking from the engineer The basic idea is to have subgroup amplifiers only where you need them This means that there is no group amplifier preceeding every multitrack channel as you might have been used to in conventional in line designs In the 4000 console there are only 4 subgroup amplifiers only 4 Yes only 4 but these 4 subgroups are fully floating You can switch them to the inputs as well as to the outputs anywhere in the console Imagine routing from channel 1 to channel 28 without patching this is possible in the 4000 series in the following way There are 4 switches for this novel routing system 2 for going to the subgroups and 2 for coming from the subgroups called to sub and from sub If you are not subgrouping the signal coming from the channel fader goes directly to the multitrack machine But2. Een beknopte lijst van de 4000 features 11 segment led bar per kanaal 48 V phantoom per kanaal aan uit schakelbaar phase reverse voor zowel mic als line ingang per kanaal extreem ruisarme mikrofoonvoorversterkers gecombineerde sync remix inputs op 4 dBu 10 dBV 100 Hz high pass filter 4 bands sweep equalizer 6 aux sends pre post fader schakelbaar floating subgroups sync en effectinputs per kanaal waardoor een dubbel aantal kanalen gemixed kan worden monitor mute en p f l kanaal mute en p f l 100 mm kanaal fader 60 mm monitor fader 2 inserts per kanaal multitrack outputs op 4 dBu of 10 dBV master sectie met 25 segments led bar en phasemeter 1 kHz line up toongenerator talkback met ingebouwde electret mikrofoon communicatie systeem 6 master aux sends met afl afluistering uitgebreide monitor sectie twee paar monitors schakelbaar mono en mute schakelaars twee stereo master recorders kunnen worden afgeluisterd 4 10 mogelijk 64 jacks modulair patchpanel alle connectors via xlr of stereo steek 6 3 mm
3. Switches you have a pre master subfader in the monitoring section By following the signal path in the block diagram the aforementioned situations will become clear Servicing Servicing a module is very easy Firstly remove all the in output jacks from the back of the channel Then unscrew the back panel and take it out of the console after having disconnected the XLR plug Now remove the 24 conductor molex flatcable and the 6 conductor flatcable Next step is to unscrew the module and take it out of the mainframe In the master section you have to unplug the power XLR plug before taking out the master module Summary It should now be apparent that the D amp R 4000 series in line consoles represent a novel approach to console design We should also like to bring to your attention the following facts Console construction is made from steel which gives an excellent shielding from crosstalk and external R F l or E M l noise As already stated this 4000 series is fully modular This means that any mainframe can accept 10 modules of 47 mm width The master module is twice this width As an example 1 mainframe can accept 8 infoutput modules and one master 4in output modules 4 blank panels and one master 6 in output modules 1 master and 2 patchpanel modules 2 mainframes can accept 16 in output models 1 master module 2 patchpanel modules i 3 mainframes can accept 24 in output
4. in staat de monitorsectie als effect return te gebruiken Hierdoor heeft U net zoveel effect returns als de tafel kanalen heeft De effect ingangen vindt U op de achterzijde van de mengtafel PFL en MUTE monitor Via de pfl schakelaar luistert U v r de fader naar het signaal dat komt vanaf de kanaalfader of van de meersporen recorder alsmede de effect ingang Deze pfl is auto type dat betekent dat de pfl automatisch de stereomaster van de monitor afschakelt en deze vervangt door het gekozen kanaal De mute toets onderbreekt het signaal komende van de multitrack sync of effect inputs De pfl wordt niet door de mute beinvloed FADER MONITOR In de monitor sectie is een kleine 58 mm carbontrack fader gemonteerd U heeft 10 dB versterking ter beschikking in de versterker die na de monitorfader volgt EQUALIZERS De equalizer van de series 4000 is niet gecompliceerd maar wel uitermate effectief De signaalweg is minimaal waardoor een uistekende signaal ruis verhouding verkregen wordt De viervoudige equalizer omvat het hele audiospectrum De laag hoogsectie heeft zijn kantelpunten op resp 60 Hz en 12 kHz De high mid toonregeling loopt van 1 tot 10 kHz terwijl de low mid een bereik heeft van 100 Hz tot 1 kHz De kantelpunten zijn zeer muzikaal ontworpen ze zullen U verrassen Mocht extra toonregeling nodig zijn een insertie punt is gemonteerd direct na de toonregelsectie De gehele toonregeling op een kanaal
5. sync signal as a guide as to where to start dubbing and he wants to hear himself before dubbing The set up for this situation is as follows Use another input channel and give the studio foldback from for instance aux 1 The musician now hears himself activate aux to channel first this channel s foldback facilities Route this signal to the multitrack and place the multitracks sync signal also on the aux 1 buss The musician will hear himself continuously before during and after going into the recording mode D Remix When all tracks have been recorded to full Satisfaction the final end mix will have to be made All the remix switches have to be activated and the master switch Aux to channel has to be activated too This is a basic set up for 8 16 24 tracks into 2 Ensure that unused channels have their master switches in the off position and that the muting switches in the monitoring section are in the mute mode to optimise signal to noise ratio Each channel monitor section light coloured has an effect return This can be used as an extra input in the remix These can be used in combination with the mic line inputs A 24 channel desk then provides 48 inputs Subgrouping in the remix is easily done by removing those signals from the master busses de activate the master switch which have to be subgrouped and routing them to the subgroups In those channels where you activate the from sub
6. 4000 SERIES USER MANUAL 1 AL INTRODUCTION The D amp R 4000 series is distinguishable from other desks employing in line mixing in various ways Firstly a word about how we ve achieved such technical excellence for such a competitive price We have employed a plug and flatcable wiring system which means that the individual channels are interchangeable with each other thus making the desk fully modular Another technical innovation which helps hold the price of the 4000 series down is a completely new way of routing which eliminates the need for the complicated switching and wiring circuits found on conventional desks leading to a saving of 150 switches on a 32 channel mixer A simple patch bay which facilitates very easy patching is also the result of our cost conscious design efforts The console itself is of a superb design the modules are mounted individually in aluminium U profiles with clear unerasable lettering protected by a polycarbonate film These profiles are set into the sturdy metal housing which has attractive wooden sides The well designed control lay out facilitates pleasant mixing without the confusion that usually arises from the array of knobs and switches found on mixing desks in general The mixers in the 4000 series rank among our finest products and are the result of 10 years research into mixing desk design which has led to many innovations and developments enabling us to offer you superb d
7. free phase reverse switch for mic line and remix signals entering the console extremely low noise electronically R F screened balanced mic amps simultaneous sync remix inputs for 4 dBu as well as 10 100 Hz high pass filter 4 band sweep eq of novel design without interacting control functions 6 aux sends pre post switchable and selectable from channel and monitor signal paths completely new free floating in outputs from subgroup amps making subgrouping to any multitrack channel possible with a minimum of switches simultaneous routing to master direct output and group summing amps possible sync and effect inputs per channel changing a 24 console into a 48 line input remix console monitor mute and p f l channel mute and p f l 100 mm channel fader 60 mm monitor fader 2 inserts per channel simultaneous multitrack feed outputs for 4 dBu and 10 dBV available master section with 25 segment led bars and phase correlation meter low distortion 1 KHz line up oscillator talkback with built in electret and routing communication system switchable via the a f l p f l System 6 master aux sends with individual selectable a f l Switches comprehensive control room monitor section with alternative monitor loudspeaker switching mono Switch and mute switching two stereo master recorders can be played back 4 dBu 10 inputs available modular 64 point patchbay modules all connections via XLR and jac
8. has priority over the line switch The remix input is combined with the sync input on the back of the console Gain The gain control acts for the mic amplifier as a feedback control and in the line remix mode as an input attenuator The mic gain ranges from 20 dB to 64 dB whilst providing an enormous headroom with a minimum of 40 dB Phase This phase reversal switch is active on both mic and line remix inputs which proves handy in all sorts of recording situations High Pass Filter The high pass filter is a fixed frequency filter with a 3 dB turn over frequency at 100 Hz The slope is 9 dB per octave Equalizers The equalizer stands out by virtue of its simple yet effective design with a minimum audiopath which guarantees a good signal to noise ratio It is of a parametric 4 band design which spans the whole audio spectrum The high shelves at 12 KHz and the low at 60 Hz The high midranges from 1 KHz to 11 KHz and the low midranges from 100 Hz to 1 KHz The lift and cut range of all 4 equalizer sections is 16 dB The point of turnover frequencies in this equalizer will pleasantly surprise you In the eventuality of still further equalisation being necessary there follows an insertion point which makes insertion of additional e q units possible The whole e q section is bypassable with a silent switch e x x 1 E L E LI E B L S B E H
9. kan d m v een bypass schakelaar overbrugd worden Een led geeft aan of zij al dan niet is ingeschakeld AUX De series 4000 heeft in totaal 6 effectsends te bieden welke ruim genoeg zijn voor de meest uitgebreide remixsessies Ze zijn per paar pre post de monitor fader schakelbaar Wanner de aux to channel wordt ingedrukt zijn de effectsends pre post de kanaalfader schakelbaar Staat deze schakelaar niet ingedrukt dan is het mogelijk pre post de monitorfader een signaal aan de muzikanten in de studio aan te bieden foldback Mede is het mogelijk een effectapparaat aan te sturen voor of na het signaal van de multitrack recorder AUX TO CHANNEL Deze schakeling zorgt ervoor dat alle aux sends pre post de kanaalfader schakelbaar zijn iets wat tijdens de remix sessie noodzakelijk is SUBGROUPING Het maken van subgroepen in de series 4000 gebeurt op een vrij onorthodoxe manier en verlangt een andere manier van denken van de technicus Het basisidee is om all n daar subgroepen te hebben waar men ze ook nodig heeft Dit betekent dat het mogelijk is op ieder gewenst kanaal een subgroep te vormen DER noemt dit FSS Floating Subgroup System Se series 4000 heeft 4 subgroep versterkers Dat is voldoende omdat de subgroepen dus overal inzetbaar zijn U kunt de subgroepen naar de ingangen maar ook naar de uitgangen overal in het mengpaneel schakelen De routing van het kanaal wordt verder beschreven onder het hoofdstuk Meerdere Signalen
10. master output similar to that just described This second output is intended for use with a second master machine Below these master outputs are the 2 stereo returns for the master machine These stereo jacks have an input sensitivity of 10 dBV on the tips and 4 dBu on the rings Below the stereo returns are the master inserts and two aux inserts and finally the 2 C R M jacks which deliver the C R M outputs Power supply connection is by means of a 5 way XLR connector The two earth connectors one below the power supply input socket and one in the patch bay are to be used when a patchbay is installed in the mainframe to prevent earth loops when patching Link the two points with a heavy earthing conductor caution test remove this panel for servicing this section Patchbay The patchbay is modular and has provision for 64 break patch points per module The connections between the patch points and the socket at the rear of the console are made via two printed circuit boards which have at the back molex pin connectors Patching is done as follows It is necessary to solder a stereo jack plug to one end of a twin screened lead in which each of the conductors is individually screened To the other end solder a two pin molex female connector You now have the standard 4000 series internal patchcord Now let s say for instance you want to wire the channel 1 insertion point to the patchbay To do this take a 4000 series
11. md oos ooz os oz oi gp NYa S 990 97 a ak teen OE 2 77 5 st H PN Ak Ald sea x coco n 26 ot 5 vo oz o pru yhy m 90 sor 2 o0ok b gt Bo e a M i CERTEN ba X ed er HVINIT 5 peeadg Jeded es U peeds Su2A ap i GPO H 05 Jues ueds a v UR BR 434338 2 R88 RN Em EEEKERN CETERI v v w A wus ZH AON3003u4 A A ides 0000 00002 00001 000 6002 000 oos ooz os ap neer p eh ye jer 2 aes EP u 0n 2 s die 7p IMMA vc a J 0 i omy do 0 7 5 saas oooh b Ej 0 0 i ECE EU 1 A ateg yayan n 2es ww peads Jaded 29s JO peedg BUM 8P l 712497 GPO 428 9 2242 uedS av LR R RORORORORORCR RRRRRRERRESEPERS ann nn nnn TE Y CERERI Y product safety This product is manufactured with the highest standards and is double checked in our quality contro department for rellability In the HIGH VOLTAGE section CAUTION e Never remove any panels or open this equipment No user servicable parts inside e Equipment power supply must be grounded at all times e Only use this product as described in user manual or brochure e Do not operate this equipment in high humidity or expose it to water o
12. om oversturing van het microfoonkanaal te voorkomen LINE De line schakelaar schakelt de microfooningang om naar line gevoeligheid en impedantie resp 10 dBu 20 dBu 10 kOhm REMIX In feite is de remix schakelaar niets anders dan een line schakelaar met een prioriteit boven de normale line ingang De remix input is gecombineerd met de sync input op de achterzijde van het paneel GAIN De gain regelaar regelt de mate van versterking of verzwakking van het aangeboden signaal De microfoongevoeligheid reikt van 20 dB tot 64 dB met een uitsturingsmarge van meer dan 40 dB PHASE De phase omkeerschakelaar werkt zowel op de microfoon als de op de line input HIGH PASS FILTER Het laag af filter heeft een vaste frequentie die ligt op 100 Hz De afval van het filter is 9 dB per octaaf Ongewenst laag kan op deze manier effectief worden weggefilterd Wij danken U hartelijk voor Uw keuze en het vertrouwen dat U in ons produkt stelt De DER series 4000 mengtafel is ontworpen door en voor professionele gebruikers Het geeft U een uniek in line consept in handen met een enorme flexibiliteit Onze reeds twaalf jaar lange ervaring in het ontwikkelen en produceren van geluidsmengtafels resulteerde in een betrouwbare en bedrijfszekere mengtafel Lees de gebruiksaanwijzing eerst aandachtig door om het volle profijt uit Uw mengtafel te halen Schroom niet om de aangewezen mogelijkheden te gebruiken de megtafel is er voor ontworpen
13. than one microphone or line signal has to be recorded on a single track or on two tracks for stereo a submix facility will be required On the 4000 series this can be done simply without patching The microphone or line signals will be processed as described under A except that one of the two sub switches must be activated If you push for 12 example routing switch to sub in channel 1 the signal will depending upon the position of the channel pan pot go to subgroup 1 and or 2 To bring the output of this subgrouped channel to multitrack channel 1 it is only necessary to activate the switch from sub 2 in channel 1 Now the subgrouped signal replaces the channel signal In this way you can route as many channels to the subgroup amps as you wish and connect the output to any multitrack input in the console wherever you like It is possible to make 2 stereo subgroups at the same time and to bring these to 4 multitrack channels If more subgroups are required you can use the 2 stereo subgroups as 4 mono subgroups by using the pan pots When taking signal from the subgroups note that odd numbered channels are fed by subgroup outputs 1 and 3 and even numbered channels by subgroup outputs 2 and 4 Sub Imagine you have a mix of 12 channels in perfect balance routed to track 1 2 and because the overall signal level is to high for the tape machine it becomes necessary to attenuate the mix This can be done as
14. to any output This system allows a great saving in switches electronics and labour when compared with the conventional 24 track routing system in a standard in line console Besides sending the signal to the subgroups it is also possible to feed the master section simultaneously Pan Pot As already described above this control with a 3 dB attenuation when set central pans the signal between the odd and even subgroups as well as left right master buss if selected Monitor Section The monitor section light coloured takes care of all the monitoring in the channel Sync The sync switch in the monitor section handles the sync switching of the multitrack recorder In the on position the monitor section in the channel is switched from the input to the ouput of the multitrack machine Effect The switch effect makes it possible to use the monitor sections as effect returns In this manner you have control over as many effect returns as the console has channels The effect inputs are on the back of the console P F L and Mute Monitor The p f l switch enables you to prefade listen to the signal coming from the channel or from the multitrack as well as from the effect input The p f l is of the autotype it switches automatically the stereo master from the monitoring and substitutes it for the activated channel Muting is done by cancelling the signal coming from the channel sync or effect inputs The p f l i
15. We have used the following wiring configuration On tip of the jack the 10 dBV signal is available and on the ring simultaneously the 4 dBu standard By connecting to the appropriate soldertag on the stereo jack plug you choose the tape level you are going to use The channel insert is the jack into which you can insert ancillary equipment such as compressors noise gates and other frequently used effect devices The tip is the send and the ring is the return The effect jack is there as an extra line level input in the remix situation The monitor insert is there to make possible extra equalizing or the insertion of other ancillary equipment in the monitoring section of the channel The calibration control is there to calibrate the level of the peak reading ledbar It is factory adjusted to indicate 6 dB down from the signal which is actually measured This way of calibrating a peak reading ledbar is common practice now a days Sons a EXE Q LI B g LI i Master Section The following describes from above to below the use and function of the master controls First there are the extremely precise 25 segment peak reading ledbars with both a positive and negative reading display The attack and decay characteristics conform to standards used throughout the world Below these ledbars is the phase correlation meter which is wired in parallel with the ledbar meters This precision inst
16. ass the pan pot and the group amps This is done simply by not activating any of the to and from switches In this way only the post fader channel amp is directly connected to the multitrack input There are two ways of monitoring the signal directly from the channel by pushing the master routing switch which leaves the monitor section free for other purposes the 2nd way is to use the monitor fader and its associated pan pot which feeds the signal directly to the master mix busses if the monitor mute is not activated It is an absolute necessity to mute every unused monitor channel in order to achieve best overall signal to noise ratio in the master mix busses This muting removes the mix resistors from the buss and thereby provides a lower noise gain In an unused channel the master switch has to be inactive to achieve best signal to noise performance When no effect switch is activated the led bargraph will read the signal going to the multitrack Aux sends can best be used pre post from the monitor fader In this configuration the aux sends are also available in the sync mode If you wish to monitor from the channel you have to push the aux to channel switch The standard way to record in one channel is to drive the multitrack machine as hard as possible and to monitor the signal through the small fader Both in the recording mode and in the sync mode B Multiple sources on one or two tracks When more
17. esks at very competative prices Design Highlights F E T switching is employed giving practically unmeasurable low distortion and a shut off in excess of 90 dB A completely new approach to limiting of above audio range frequencies through passive filtering instead of the standard active filtering gives this console as all our other designs an incredible transparancy through its absence of transient distortion By critically damping every integrated circuit at 40 KHz square waves we have achieved complete elimination of overshoot and or ringing and slewing At the mic inputs all the amplification is performed by discrete low noise transistors and throughout the signal path by Bi Fet op amps series TL 070 while the mixing amps utilise the reknowned industrial standard low noise audio op amp NE 5534 AN We have chosen for a minimum audiopath to achieve total transparancy Due to an excellent circuit design there is a minimum of crosstalk control interaction and this combined with the superb printed circuit board lay out contributes to a very stable and low noise product Power supply The power supply is housed in a 19 rack mounting case and consists of three fully independant and protected powersupplies with very low ripples A short rundown of the series 4000 possibilities 11 segment positive negative reading peak bargraph meter per in output channel 48V phantom powering switchable per channel click
18. follows De activate the from sub 2 switches in channel 1 2 and activate the same numbered switches in two other unused channels From these unused channels you can now patch from the monitor insert sends into another two unused channels In these two channels activate to sub 34 and activate the from sub 4 in channels 1 4 2 Sync The sync replay is done simply by activating the sync switch The monitor faders handle the sync replay signals C Overdub When a small part of an allready recorded track has to be re recorded several complications arise due to the fact that for monitoring and cueing purposes the track has to replayed in the sync mode before and after the part to be re recorded whilst during the re recording the channel should function as for normal recording as described under A When the recorder gives the input signal on its outputs if not in the sync or replay mode the following simple set up is preferred Process the microphone or line signal as under A but with the channel in the sync mode Now the engineer can listen to the sync signal coming from the machine which tells him at which moment he will go into overdub and as soon as the multitrack goes into the record mode he hears the musician playing or singing If the engineer would like to hear the musician also before and after the dubbing he only has to push the master routing switch On the other hand the musician himself has to hear the 13
19. g and isslatien input output transformers Replace fuses always with the same type and rating after the equipment has been turned off and unplugged If the fuse blows again you have an equipment failure do not use it again and return it to your dealer for repair And last but not least Be carefull not to touch a person being shocked as you yourself could also be shocked Once removed from the shock have someone send for medical help in mediately Always Keep the above mentioned information in mind when using electrically powered equipment HANDLEIDING SERIES 4000 nederlands PAN POT Deze knop bepaald per kanaal de plaats van het signaal in het stereo beeld Dat is van volledig links rechts tot elke positie ertussen Het signaal wordt dus verdeeld tussen de even en oneven subgroepen alsmede de links rechts masteruitgangen Wanneer de pan pot centraal staat wordt het signaal 4 5 dB verzwakt MONITOR SECTIE De monitor sectie is wit Het vergemakkelijkt de bediening en maakt het paneel overzichtelijker De volledige monitoring in een kanaal wordt door deze sectie geregeld SYNC De sync schakelaar in de monitorsectie bepaald het opnemen cq weergeven van de meersporen recorder in de monitorsectie Wanneer de schakelaar ingedrukt is geeft dit aan dat de monitor sectie in het kanaal automatisch wordt geschakeld van de ingang naar de uitgang van de recorder EFFECT De effect schakelaar stelt
20. kplugs DESCRIPTION OF CONSOLE CONFIGURATION Ledbar The 11 segment ledbar the first led indicates only that the power supply is on is a peakreading instrument indicating both positive and negative peaks which is absolutely necessary in modern recording The level calibration is adjustable from the back of the console with a multiturn preset potentiometer The ledbar reads all signals appearing before the insertion point of the monitor effect section Therefore all signals that are audible via monitor p f l This could be the multitrack input the multitrack sync output the multitrack remix or the effect input It is also possible to use the monitor section as an effect return without having to decouple the ledbar from the multitrack replay remix output Do not patch into the effect input but into the monitor insertion input with effect returns The ledbar continues to register the multitrack recorder Mic Below the ledbar section are the input circuit controls and switches The first being the per channel switchable 48V phantom power supply Below this is the 20 dB pad necessary for extremely high input signals on the mic input Line The line switch changes the XLR input to line level sensitivity and also changes the balanced mic input connection into an unbalanced line input The input sensitivity ranges from 10 dBu to 20 dBu Remix The remix switch which also activates line level input
21. let s say you want to stereo subgroup channel 1 to 8 to multitrack channel 1 and 2 This means that you need 2 subgroups because you want to do it in stereo The first thing you have to do is to bring the signals to the subgroups by pushing the switch marked to sub V2 you are using now subgroup 1 and 2 The pan pot determines the signal level sent to subgroup 1 and or 2 depending on its position left right or central The signals coming from channel 1 to 8 are now brought to subgroup 1 and 2 physically located in the master section But now you need them on multitrack channel 1 and 2 You only have to connect the 6 from E sub 1 2 from E sub 3 a to E sub 1 2 to E sub 3 a effect 170 7 4 10 mute 15 multitrack inputs to the outputs of the subgroup amps This is done by switching the from sub 2 switches As you can see it is very easy to bring this signal to any multitrack input or even more than 1 multitrack channel if you like another example you might want to bring channel let s say 9 10 to track 4 Push in in channel 9 10 the to sub 2 switch or to sub switch which ever one is available pan to the right and push the switch in channel 4 called from sub 2 or again from sub 34 if chosen You see this is a very flexible way of routing a signal through the console In fact it is possible to route without patching from any input
22. modules 1 master module 4 patchpanel modules All modules are fully interchangeable in the mainframe to realize any combination you have in mind Options Optional extra s are available if desired q on off leds p f l on off leds from sub on off leds monitor mute on off leds A L P S professional carbon track faders Penny amp Giles conductive plastic faders Stands Fader and Mute automation system SCORE Studio COmputer REmix Ordering Information Mainframe subframe channels master blindpanel patchpanel patch cords int patch cords ext faders opt leds e q leds p f l leds from sub leds mute stands system costs SPECIFICATIONS Notes Nominal operating level throughout the console is 0 dBu 0 775 v Nominal output level is 4 dBu 10 dBu Microphone electronically balanced R F suppressed frequency response referred to 0 dB at 1 kHz Preamplifier input impedance 2 kOhm 0 5 dB at 20 Hz 0 5 dB at 40 kHz at 110 kHz gain 64 dB to 0 dB 44 dB variable Harmonic distortion gain with 20 dB pad with 20 dBu input with 20 dBu input headroom min 40 dB Max input 20 dB 0 dBu output 20 dBu output noise 126 dB A weighting 0 0084 at 50 Hz 0 0086 at 50 Hz 0 0081 at 1 kHz 0 006 at 1 kHz 0 0095 at 10 kHz 0 018 at 10 kHz Line Remix input impedance 10 kOhm Harmonic distortion Amplifier gain from 10 dBu t
23. muscle it can af fect when the current is high enough Current can also be fatal when it causes the chest muscles to contract and stop breathing At what potential is current dangereous Well the first feeling of current is a tingle at 0 001 Amp of current The current between 0 1 Amp and 0 2 Amp is fatal Imagine that your home fuses of 20 Amp can handle 200 times more current than is neces sary to kill How does resistance affect the shock a person feels Atypical resistance between one hand to the other in dry condition could well over 100 000 Ohm If yeu are playing en stage your bedy is perspiring pefuse ly ysur bedy resistance is lewered by mere than 50 This is a situation im which current cam easily flew Current will flow when there is a difference in ground potential between equipment on stage and in the P A system Please do check if there is any potential be tween the housing of the mikes and the guitar synth amps which will be linked by your body on stage Imagine a guitar in your hand and your lips close to the mike A ground poten tial difference of above 10 volts is not unusual in improperly wired buildings it can possibly be as high as 240 volts Although removing the ground wire sometimes cures a system hum it will create a very hazardeous situation for the performing musician Always earth all yeur equipment by the greunding pin in yeur mains plug Hum lesps sheuld enly be cured by preper wirin
24. o infinity 0 dBu output 20 dBu output Evers 22 dB 0 0074 at 50 Hz 0 0074 at 50 Hz Equivalent input foise 0 0024 at 1 kHz 0 0016 at 1 kHz 96 5 dB 20 20 000 Hz 0 0058 at 10 kHz 0 0048 at 10 kHz frequency response referred to 0 dB at 1 kHz 0 5 dB at 8 Hz 0 5 dB at 140 kHz 3 dB at 400 kHz Equalizer 16 dB at 12 kHz distortion all filters unity gain all filters 16 dB Section Hv oum kHz to 11 kHz with 0 0074 at 50 Hz 0 0017 at 50 Hz actor 1 0 0 16 dB from 100 Hz to 1 kHz with Ergo tr factor 1 5 16 dB at 60 Hz high pass 100 Hz slope 9 dB per octave Overall sync effect input impedance 10 kOhm Performance sync sens 4 dBu 10 dBu Effect sens 0 dBu Output impedance 100 ohm on all outputs max output 22 dB into 1 kOhm and above NM Test condition One channel assigned to distortion noise ode and from groupbuss output microphone input loaded with a 150 ohm i ag x m output CO 20 000 Her Source mic preamp set for 30 dB gain 0 052 at 10 kHz group output 4 dBu frequency response referred to 0 dB at 1kHz 0 5 dB at 20 Hz and 20 kHz Mix frequency response noise 84 dB below 4 dBu 20 20 000 Hz Mode 0 5 dB at 17 Hz measured at the stereo buss outputs with from line inputs to stereo mix buss stereo master fader at max all channel outputs faders at full attenuation panpots at their ref to 0 dB at 1 kHz center positions 0 5 dB at 40 kHz 83 dB belo
25. op een of twee Sporen Dit zwevende subgroep systeem bespaart erg veel schakelaars en andere componenten vergeleken met andere in line mengtafels De bedrijfszekerheid wordt hierdoor allen maar vergroot Uiteraard is het mogelijk om naast de subgroepen de mastersectie gelijktijdig aan te sturen BESCHRIJVING VAN DE BEDIENINGSORGANEN LED BAR De 11 segments led bar de onderste led geeft aan of de tafel is ingeschakeld is een peak led bar die zowel positieve als negatieve peaken aangeeft iets wat absoluut noodzakelijk is in moderne studiotechnieken De level calibratie is instelbaar aan de achterzijde van het kanaal De led bar geeft de niveaus van alle signalen weer welke v r het insertiepunt van de monitorsectie de tafel binnenkomen Dat zijn dus alle signalen die U kunt beluisteren via de monitor pfl Dit kunnen zijn de multitrack input de multitrack sync output de multitrack remix of de effect input Het is ook mogelijk de monitor sectie als effectinput te gebruiken zonder dat de led bar wordt losgekoppeld van het recordersignaal Patch in dat geval niet in de effectinput maar in de monitor insertie jack Het blijft dan mogelijk het niveau van het recordersignaal af te lezen MIC Onder de led bar vindt U de bedieningsorganen van de microfoon ingang De bovenste schakelaar geeft de mogelijkheid de 48 V phantoomvoeding per kanaal aan uit te schakelen Hieronder bevindt zich de 20 dB schakeling welke gebruikt kan worden
26. patch cord Jack Molex plug the stereo jack into the insertion socket on channel 1 and connect the Molex female connector to the pins marked 1 on the Molex strip connector on the rear of the desk In this way you can bring any in output jack to the patchbay by means of simple external wiring and further it is an economical method which saves time 10 A Single source on single track Recording The microphone or line signal enters the in output channel at the point where the mic line push button will determine the input mode A gain control for the microphone and line signals is provided with additional 20 dB pad for the microphone signal Phase reverse can be used on both mic and line signals If necessary the 48 volt phantom powering can be switched on Firstly the signal goes through the high pass filter which can be switched in or out After passing through the high pass filter it enters the equalizer section which can also be bypassed After the e q the signal appears at the ancillary equipment jacksocket This provides a send and return path for the introduction of effects or other treatment of the signal The p f l switch monitors after the insertion point but before the mute switch Directly after the mute switch above the mute led is the long travel fader This fader sends the signal via the channel pan pot to the master group busses if activated In case of a single track recording it is better to by p
27. r other li quids e Check the AC power supply cableto assure secure contact e Have your equipment checked yearly by a qualified dealer service center e Hazardous electrical shock can be by carefully following the above rules avoided EXTRA CAUTION FOR LIVE SOUND Ground all equipment using the ground pin in the AC power supply cable Never remove this pin Ground loops should be eliminated only by use of isolation transformers for all inputs and outputs Replace any blown fuse with the same type and rating only after equipment has been disconnected from power If problem persists return equipment to qualified service technician se e o o Especially in sound equipment on stage the fllowing information is essential to know An electrical shock is caused by voltage and current actually it is the current that causes the shock In practise the higher the voltage the higher the current will be and the higher the shock But there is another thing to consider and it is resistance When the resistance in Ohms is high between two poles the current will be low and vica versa All three of these voltage current and resis tance ate important in determining the effect of an electrical shock Hawever the severity of a sheck is primarily determined by the amsunt ef current flowing through persen h A person feel a shock because the muscles in a body respond to electrical current and because the heart is a
28. rument indicates the exact phase relationship between two given signals A phase shift of 90 degrees or less is acceptable for mono compatability but above this out of green into red is unacceptable The phase meter registers a correct reading between 40 dBu and 20 dBu When presented with only one signal or with a signal below 40 dBu it switches itself off so avoiding any incorrect reading The oscillator is of the phase shift type which produces a low distortion 1 KHz sinewave When its switch is activated a 1 KHz tone is available at all the multitrack outputs at 4 dBu 10 dBV level which makes lining up machines a simple procedure Then there is the communication section WeatD amp R find good communication between the studio and control room an absolute necessity for the success of a recording session Therefore the 4000 series offers the possibility of comprehensive communication from the studio to the control room at all times and in all stages of a session It is also possible to speak from the control room to the studio via all outgoing lines by means of the aux outputs The slate switch makes it possible to put information on tape By use of the talkback switch the C R M is attenuated by 20 dB There is a high quality built in electret microphone for talkback purposes A high pass filter further increases the clarity Aux Masters The 6 aux masters with their a f l switches control the total outgoing level of
29. s not affected by muting Fader Monitor This small fader 58 mm travel is of the carbontrack type There is a 10 dB gain factor in the amplifier which follows the fader QGO 0 TO multitr feed effect P F L and Mute Channel The p f l and mute switches in the channels have the same functions as in the monitor sections The p f l does not interrupt the signal path The mute function has a led to indicate its function Fader Channel The channel fader is of the carbontrack type with a 100 mm length Standard is the Noble fader Options are A L P S and Penny and Giles There is also a 10 dB gain factor in the amplifier which follows the channel fader Mechanical Strength The mechanical strength of the individual modules is achieved by using a specially manufactured U type profile to which the printed circuit board is firmly secured Inputs Outputs Channel On the back of the console you will find the in outputs of the channels On top there is the XLR type input connector for the mic and line amp The mic amp is balanced and the line unbalanced Next there is the combined sync remix input which accepts two levels of 4 dBu the professional standard and the 10 dBV which is the semi professional standard now a days Multitrack Feed is the output of the channel which has to be plugged into the input of the multitrack machine On this socket also there are 4 dBu and 10 dBV levels available
30. the aux sends C R M C R M stands for Control Room Monitor and regulates the level of all the signals going to th control monitor A number of push button switches is found in the neighbourhood of the C R M switch The stereo 1 and 2 switch this switch makes it possible to select from 2 stereo sources instead of the master mix down The mono switch makes comparison between stereo and mono possible Mute cancels the monitor completely Alt mon stands for alternative monitoring It is possible with this switch to bring in another monitor system if one is connected The p f l a f l led indicates whether p f l a f l switches anywhere in the console have been activated Noble faders are standard but A L P S or Penny and Giles are available optionally Master Section In Outputs There are 21 in outputs on the master output section There follows a description of these from top to bottom beginning with the left hand row as viewed from the rear of the desk Firstly there are the Aux outputs 1 6 All the aux outputs are unbalanced at 4 dBu Then below the six aux jack sockets there is a seventh which is a balanced mic input for communication purposes The middle row of master outputs and the row on the right when viewed from the rear are as follows from top to bottom Firstly the master left right outputs with an output level of 10 dBV on the tip of the stereo jack and 4 dBu on the ring Next we have another
31. w 4 dBu 20 20 000 Hz 3 dB at 135 kHz with one channel fader at unity gain distortion no more than 0 009 at 1kHz headroom 22 dB output amp 18 dB Crosstalk neon mode Crosstalk on channel 2 referred to 4 dBu irect Assign between two channels both at 30 dB 4 dBu out ts m channel 1 150 ohm source on channel 2 10 kHz better than 74 dB input Mix Channel 1 is fed with 4 dBu fader Crosstalk on right master output Mode at unity panned to left Stereo master 100 Hz better than 77 dB fader at maximum 1 kHz better than 70 dB Channel 2 is terminated with a 20 ohm 10 kHz better than 63 dB source Fader at unity panned to right stereo master 15 Typical equalizer and filter curves 18 A 0000 00002 00001 000 0002 0001 oos 002 os oz o ge ov 02 5 wx a en cH ot s EPO 1 1 vor o2 0 vaas 0004 90 1 5 7 ssod 461y tag Pe BO t em PETTER DRESD PNG ee EN idi BV3NI1 5es wuw I peedg Jeded es QU 5 Buyin EP 9 91 GPO 05 egue uedS ev Se ee ee ee nnn mm KENNEN ENE MEENTE CEEE EECKERN v v A NS ZH AONSN 4 A NEE 0000 00002 0000 000 0002 2 p
Download Pdf Manuals
Related Search