Évaluations - 3, GPA: 3.7
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Facilité d'utilisation
Applications 10 SECTION 9 Maintenance 11 SECTION 10 Accessories 11 SECTION 11 Block Diagram 12 SECTION 12 Specifications 13 SECTION 13 Bibliography 14 Safety Instructions 15 WARNING: To avoid possible electric shock hazard, do not expose this appliance to rain or moisture. There are no user-serviceable parts inside. Refer servicing to qualified service personnel. Figure, 2-1 CONTROL LAYOUT REAR PANEL 1 section 1 FEATURE DESCRIPTIONS 1. INPUT SELECTOR. A three position switch to select which of the signals applied to the input connectors is to be routed to the preamplifier and fader. UNE/MIC: In this position, signal applied to the input phone jack on the rear panel is routed to the preamplifier. OFF: The input signals are shut off completely. TAPE: The signal applied to the TAPE connector on the rear panel is routed to the preamplifier. 2. INPUT LEVEL TRIM. When the input selector is set at Line/Mic position, this TRIM control adjusts gain of the preamplifier over a range of 0 to 50 dB. Clockwise: Maximum gain, which matches the nominal level of most microphones. Counter-clockwise: Minimum gain, for nominal line level of - 10dBV, or 0.3V r.m.s. When the input selector is set at Tape position, this TRIM control adjusts gain of the preamplifier over a range of 0 to 30 dB. Clockwise: Maximum gain of 20dB and thus mat- ches a level of - 30dBV (0.01V). Counter-clockwise: Minimum gain (0 dB) and thus matches a level of - 10dBV, or 0.3V r.m.s. 3. 4 CHANNEL BUSS SELECTOR. In combination with the pan control located directly beneath, this switch assigns the signal to the 4 channel buss output group. A-B: Ths signal will appear at output A or B or both, depending on the pan control position, and its final level determined by the left-most master fader. OFF: The signal is muted at this point. C-D: The signal will appear at output C or D or both, depending on the pan control position, and its final level determined by the right-most master fader. 4. PAN CONTROL. Distributes the signal in panoramic fashion between 4 channel buss outputs A-B or C-D as selected above. Counter-clockwise: To A only, if selected, or C only, if selected. Clockwise: To B only, if selected, or D only, if selected. Centered: Equally distributed to A and B, if selected, or C and D, if selected. All other intermediate positions of this control will vary the A-B level ratio or C-D ratio as graphically illustrated by the pointer. In typical monitoring arrangements, the acoustic image of the signal will be sensed to move or “pan” from left to right as the control is rotated C.C.W. to C.W. Extreme C.C.W. or C.W. settings enable you to route the signal to the selected buss only. AUX BUSS SEND CONTROLS. 5. INPUT SELECTOR. Signals to be sent to the auxiliary buss are selected by this switch. PRE: In this position, the input channel signal BEFORE the input fader and equalizer will be selected. POST: This selects input channel signal AFTER the input fader and equalizer. TAPE: Output of the tape recorder plugged into the “tape-in” connector on the rear will be selected. 6. GAIN POT. Controls the level of signal as selected above. 7. PAN POT. Positions the signal selected above between the left and right auxiliary busses, (as described in (4) above). PARAMETRIC EQUALIZER. 8. A two band parametric type equalizer offering wide range of tonal correction. The high frequency control adjusts resonance between 800Hz and 12kHz. The gain knob immediately below it adjusts the effectiveness over a range of ± 12 dB. The low frequency control adjusts resonance between 80Hz and 1,2kHz. Its attendant gain knob also adjusts the effectiveness of the selected frequency over a range of ± 12dB. For more information see Section 5. 9. OVERLOAD INDICATOR. A fast electronic circuit triggers this red LED indicator to show near overload in the input amplifier. When the red LED ignites, reduce the setting of the trim control accordingly. 10. INPUT FADER. This is the “active” input channel level control on your 350, If the trim control and other presets have been adjusted properly, the fader should typically be about 7 or 8 on the scale for best performance. As will become obvious in use however, you will have many occassions to change this setting, such as compensation for a performer temporarily moving off-mic, killing an unused input, or expressive fading of an instrument. The 7—8 setting should be considered nominal. OUTPUT SECTION. 11. FOUR CHANNEL BUSS MASTER FADER. These two faders control the overall output level of channels A-B, C-D as marked. 12. FOUR CHANNEL BUSS INPUT LEVEL. These controls give individual level control over the echo return or other signals applied via the “buss-in” jacks on the rear panel. MONITOR SECTION. 13. MONITOR SELECT SWITCH. With these pushbuttons, channel A,B,C, or D of the 4 channel buss, and the left/right output of the Aux buss can be applied to the monitor and headphone amplifier ...