BIAMP 1642 (01) PDF MANUAL


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PDF Content Summary: MODEL 1642 MIXING CONSOLE OPERATING GUIDE BIAMP SYSTEMS, INC. 11000 SW llth Beaverton, OR 97005 P.0. Box 728 Beaverton, OR 97075 BIAMP SYSTEMS MODEL 1642 MIXING CONSOLE OPERATING GUIDE TABLE OF CONTENTS Page FEATURES OF THE 1642 CONSOLE SECTION I. INTRODUCTION SECTION II. BRIEF OPERATING INSTRUCTIONS Mic/Line Input Channels (1-16) Line Channels (17-18-19-20).' Submasters (1-2-3-4) Main Output Modules (Left & Right) Power Supply Rear Panel Features рол олон 12 14 SECTION III. SPECIFICATIONS 17 SECTION IV. 19 CONNECTIONS & BASIC SYSTEM SETUP Wiring a Basic Sound Reinforcement System Balanced Lines Unbalanced Lines Initial Setup of the 1642 Console Sound Check for a Live Performance w vuru WHO SECTION V. .. SUBMASTERS AND DIRECT -MAINS ASSIGNMENT Submasters Direct-to-Mains Assignment SECTION VI. MAINS & MASTERS, MONITOR & EFFECTS MIXING, SOLO Left & Right Mains Monitor, Echo & Aux Buss Masters Monitor Mixing Effects Mixing The Headphone Solo System OOOO OO OO OO 32 SECTION VIII. RECORDING AND OTHER INFORMATION Recording Complex Monitoring ا ب دیا ܙܕܬ ܝܬ -or -WILG FEATURES OF THE 1642 MIXING CONSOLE os WH ... Sewa , REST You can pushbutton select a Line or mic input from two jacks per channel. Extended range gain Trim controls on each channel lets you adjust input levels easily while preserving maximum signal-to-noise ratio... In addition to the L & R mains and the submasters, there are three sends on each mic input: 1 pre-fader pre-EQ (monitor), 1 post-fader post-EQ (echo), and I switchable (aux) that can be used for monitor, effects, echo or cue purposes. Four Equalization controls permit fast, positive, musical equalization. Each EQ control has a center detent position to quickly establish "flat" response. The 1642's Solo system allows you to monitor all major inputs and outputs using headphones or the solo VU meter. All submasters can be solo-monitored in stereo, thus simplifying a stereo mixdown and speeding balance adjustments before a live performance. Solo has 4 stages of priority so you can temporarily solo an important output, and then instantly return to the previously soloed channels, busses, etc. Mute switching is provided on input channels l-12 and submasters 1-4 CATERPIWA L IMU Direct assignment to L & R Mains on input channels 13-20 allows you to bypass the Submasters by sending the signal directly to the Stereo Mains. The "direct to mains" feature can be used to obtain up to four "single mic submasters" while the -1 four regular submasters remain free to control multiple mic assign ments -- the function for which they were designed. An added benefit of this "direct to mains" feature is that 4 track to stereo mixdown can be routed through input channels (benefitting from EQ, etc.) without going through submasters. Each input channel and the submasters has a Pan control. Odd-Even Pan assign switching on all the input channels lets you select the desired sub-master (in monaural or stereo). In addition, channels 13-20 can be assigned, via their Pan controls, to any submaster and/or the L & R mains. ........ Red and Green multi-function LEDs on the mic input channels signal various states (1) when any signal above -20 dB is present (i.e., when the channel is live) (2) when 12 dB of headroom remains, and (3) when signal level approaches the clipping (distortion) point. The LEDs simplify monitoring of each microphone channel, including its pre-fader input and output. 100mm faders provide the sensitive feel required for recording yet are not subject to self-movement from vibration, avoiding noise or drift in a live performance situation. Each of the four Line channels has switchable Line and Record inputs, and can be used for echo returns, remote or on stage mixers, tape deck returns, slate inputs, talkback microphone assignment and control, etc. Each of the four Echo Return inputs has its own solo button, buss assign buttons, pan control and return level control. Each of the four submasters has a fader and a pan control for L-R mains assignment. In addition, each submaster has an auxiliary input, a pair of direct outputs not subject to submaster muting, and a direct output with its own a post-submaster-fader level control. The submasters use the same type of faders as input channels 1-16. لو لم لا Four large, backlit VU meters can be assigned to provide accurate level indication of: L & R mains, submasters 1-4, solo and monitor outputs. Separate rotary master output controls are provided for the aux, monitor and echo mixing busses. The L & R mains use the same type of faders as input channels 1-16. The remote power supply includes regulated, short-circuit proof 48 V Phantom Power, with a phantom power On indicator on the console front panel. O A pair of high power stereo headphone amplifiers (4 Watts RMS into each side of a pair of 8 ohm phones) are built into the console. -2 SECTION I. INTRODUCTION N OW The BIAMP Systems Model 1642 fills the growing need for a flexible, roadworthy, high sound quality mixing console. We know because we consulted at great length with soundmen, recording engineers, dealers and customers before we designed this board. Their valuable input guided our production of this all-new, top performing console. mmmmmw w wwwwwwwwwwww U2 D D 001 0 The 1642 console not only incorporates new features, it also refines the standard ones in ways that enhance your abilities as an artist and technician. Check out features like direct-to-mains and submaster mixing, 4 bands of EQ, separate aux, monitor and echo busses, phantom power, 4 different echo/line channel returns, 4-stage priority solo circuitry, headphone monitoring, meter switching and patchable access to all busses. This console has the functions you want, and a whole lot more. It combines high quality components with the latest in semiconductor technology, and packages them in a sturdy, roadworthy package that is ideally suited to a variety of applications. thth thi . Only the finest components are used in the BIAMP 1642 console, including extra-large, mu-metal shielded input transformers that provide low noise and extended frequency response. The latest super low noise, high slew rate amplifiers (the same type found in professional recording studio custom consoles) optimize the board's gain bandwidth and virtually eliminate all traces of slew rate limiting and TIM (Transient Intermodulation Distortion). These components are mounted on G-10 epoxy filled fiberglass circuit boards, and housed in a heavy-gauge aluminum chassis that together establish this console's superb on-the-road durability without compromising size or weight. The textured Duracron finish with baked-on epoxy ink nomenclature ensures that the panels will stay hand some after months and years of tough professional use. The 1642's large, backlit VU meters are easy-on-the-eyes hour after hour, providing you with the level reference you are accustomed to seeing. U . No A 0. n DV 1 The Model 1642's remote power supply costs us more than an internal supply, but we feel the benefits are worthwhile: greater system reliability, lower noise, and improved serviceability. Consider that no matter how much money or engineering energy is spent to shield and ground an built-in power supply, performance improves when the power supply is removed to a remote location. Consider also that a mixer with a remote power supply can be made lighter, and can withstand greater shock and vibration than a mixer with a built-in power supply, so roadability is vastly improved. -3 While the Model 1642's capabilities give it very broad appeal, the console is in specifically designed for three major applications: 1. Live Sound Reinforcement The 1642's roadworthy construction and light weight make it easy to move around. Its excellent sound quality is an essential ingredient for satisfying the performers and the audience. Equally important, Biamp's human engineering aids soundmen by minimizing hassles in critical mixing situations. The bottom line is reliability -- our console is built to keep your show on the road. ta : 2. Live Sound Recording The same features that equip the 1642 for reinforcement also apply here, but that's not all. Consider features like one line and one mic input jack on each of the 16 "mic input" channels, 4 additional line-only input channels, a stereo buss (L&R mains) and 4-submaster busses, record In/Out jacks, and a super-flexible solo system. The result? Convenient and uncompromising location recording! 3. Studio Production Studio recording and mixdown consitutute one of the most demanding applications for any audio console. Perfor mance must be impeccable, since the same signals pass through the console many times, any distortion or noise would be multiplied. Hum is minimized by the outboard power supply. In addition, the 1642's advanced electronic technology, and its superior specifi cations fully qualify it for use in the studio. With features like 4-level priority solo, a choice of pre- and post-fader/EQ buss sends, and high-quality transformers for ground isolation, the 1642 is a console that does its job well and simplifies the engineer's job, too. For recording, fixed installations, on the road P.A., or broadcast and production uses, the new BIAMP 1642 does it all. This manual explains the function of each control, connector and indicator, and presents a few basic operating guidelines. We encourage you to read the manual, study the block diagram, and thoroughly familiarize yourself with the unit. As with any audio component or system, a solid understanding of the basics can only enhance the creative aspects of your work. manusa armudassaaremaaaaaaaaaaaaaaaaaaaaaaaaa SECTION II BRIEF OPERATING INSTRUCTIONS ........... MIC/LINE INPUT CHANNELS (1-16) .... .......... .......... ... . .. .... MIC/LINE SWITCH . With the button up, the channel is fed by the signal from the "mic in Low-Z" XLR connector. With the button down, the "line in" phone jack feeds the channel. (See the note in the TRIM control description below for more information on the "mic" and "line" input designations.) conne, . phone TRIM ... § . TRIM This rotary control continuously varies the input channel's gain from 0 dB (unity) at full clockwise rotation to 50 dB at full counterclockwise rotation (i.e., from line to mic sensitivity). TRIM works on both the channel's jacks, so the line input can actually accept any signal: high impedance microphones, tape outputs and high- or low-level lines. By reducing the gain rather than adding padding for higher level inputs, TRIM ensures optimum signal-to-noise ratio. 10 ont m OOOO m NOTE: Even though the TRIM control affects the line and mic inputs, it is not advisable to apply over $40 B line-level signals to the mic input since the mic transformer's core could become saturated, causing audible distortion regard less of the TRIM setting. "PRE/POST This switch changes the point from which the channel's Aux Buss control derives its signal. When the button is up, the AUX control is a post-fader, post-EQ send. When the button is down, the AUX control is pre-fader and pre-EQ. OD R . 02 H 3 w AUX BUSS This rotary control adjusts the amount of signal being sent from the channel to the aux mixing buss. In live sound reinforcement, the aux buss is useful as an extra monitor buss (switch the sends so they are pre-fader & EQ) or as an extra echo buss (swich the sends so they are post-fader & EQ). ECHO This rotary control adjusts the amount of signal being sent from the channel to the echo mixing buss. The echo send feed is post-fader and post-EQ. X2 Vw W MONITOR This rotary control adjusts the amount of signal being sent to the monitor mixing buss The monitor send feed is pre-fader and pre-EQ. This buss is handy for creating a mix for the stage monitor speakers in live sound reinforcement applica tions, or as a headphone cue send in recording or broadcast production work. COM w -5 SOOV USA CHANNEL EQUALIZER The equalizer consists of 4 controls, each providing plus or minus 15 dB of equalization boost or cut with a center detented "flat" response position. SSOS A SU HIGH: shelving EQ that reaches maximum at 12.5 kHz. HIGH MID: peaking EQ, band centered at 3.3 kHz. LOW MID: peaking EQ, band centered at 250 Hz. LOW: shelving EQ that reaches maximum at 80 Hz. SOLO Engaging this button allows you to monitor selectively the input channel lor several channels if more than one SOLO button is engaged). The solo signal is pre-fader, post-EQ. It affects what you hear in the headphones, but not what is fed to any other console outputs. Si SENSE WS MUTE (Channels 1-12) Engaging this button kills the post-fader output from channel, eliminating the input's contribution to the submaster, mains, monitor and echo send outputs. When the channel is muted, signal is still present at the pre-fader, pre-EQ channel output jack. Signal will be sent to solo (if SOLO is engaged) and to the L.E.D. input indicators. (P2 MAIN (Channels 13-16) On these 4 channels, the MUTE switch is replaced by a MAIN assign switch that routes the signal directly to the Left and Right mains via the channel's PAN control. Engaging the MAIN button bypasses the submasters and sends the signal directly to the L & R stereo mains. This "direct to mains" feature permits you to have up to 4 single mic submasters (i.e., channels 13-16) without using up any of the four regular submasters. Your normal submasters are thus free for the multiple-mic assignments they were designed to handle. The MAIN Switches can be used for 4-track to stereo mixdown where you have the advantage of channel EQ, echo, etc., yet do not go through the submasters. CHANNEL ASSIGNMENT Engaging any combination of pushbuttons 1 through 4 assigns the channel output to any or all of the four output busses. PAN Whenever one odd and one even output (or more) are assigned, PAN is automatically engaged. Panning to the left assigns signal to submaster mixing busses i and/or 3, and panning to the right assigns signal to busses 2 and/or 4. (The excep tion is when the MAIN button is engaged on channels 13, 14, 15 or 16; in that case PAN assigns signal directly to the L & R mains). -6 S u ccess. . . wwwwww O L.E.D. Two Light Emitting Diodes monitor the channel signal level just after the TRIM control (but ahead of all other channel level controls). The green light will indicate whenever a nominal level signal is present in the channel, regardless of fader level. If a high or overload (overdrive) level is present anywhere in the channel, the red light will indicate it regardless of any channel control setting (except TRIM, which can reduce the level.) The green L.E.D. flashes whenever the program level is -20 dB and stays On when the signal is -7 dB or higher. Thus, the green L.E.D. should be ON continuously when the input channel is under operation. The red L.E.D. flashes when program transients exceed +3dB. At the point where flashing just begins, the input channel has 18 dB of headroom before clipping. The red L.E.D. stays ON if program peaks continuously exceed +60dB. This is a warning that peak distortion could occur, adjust TRIM control so that red L.E.D. just flashes on peaks. 000 mm Red LED ÉLa LEVEL AT INPUT CHANNEL DIRECT OUTPUT RESPONSE OF LEDS +21 dB Clipping distortion begins +6 dB Red LED is ON continuously +3 dB Red LED flashes constantly 0 dB Red LED flashes occasionally -7 dB Green LED is ON continuously (Red LED OFF) -20 dB Green LED flashes constantly -25 dB Green LED flashes occasionally Murter 1642 INPUT CHANNEL L.E.D. INDICATOR CHART ORDED INPUT CHANNEL FADER This straight-line control has a 100mm travel path, and is oil dampened for smoothest feel and precise level adjustments. Normally the faders should be operated at about the "-20" position. In certain live sound reinforcement situations, t may be desirable to use a nominal fader setting of "O" (top position), and to reset the TRIM controls accordingly. Mixing is then done by moving down from maximum, avoiding the possibility of inadvertently pushing a fader up to the point where it might cause feedback during the performance. - 7 LINE CHANNELS (17-18-19-20) The Line channels are located on the upper portion of the four modules that also house the submasters. Each Line channel has two switch-selectable input jacks, and may be used for echo return, tape return, external subgrouping (submixer inputs), slate tone inputs, etc. SOM tíní RECORD/LINE SWITCH With the button up, the channel is fed by the signal from the correspondingly numbered "Line In" phone jack. With the button down, the correspondingly numbered "Record Input" R.C.A. phono jack feeds the channel. AM SOLO This switch is the same as SOLO on input channels 1-16. CC MAIN Engaging the MAIN button bypasses the submasters and sends the signal directly to the L & R mains (the stereo masters). This allows the line input channels to serve as submasters. CHANNEL ASSIGNMENT (1-4) Engaging any combination of pushbuttons l through 4 assigns the channel output from the PAN pot to any or all of the four submasters, just like the input channel assign switches. - CAUTION: If the Main assign switch is down, DO NOT USE the Submaster 1-2-3-4 assign switches. PAN CONTROL This rotary control pans signal between odd and even numbered submasters, or, when the MAIN button is engaged, between the Left and Right mains. LEVEL CONTROL This rotary control adjusts the incoming signal level prior to feeding the PAN and SOLO circuits. -8 SUBMASTERS (1-2-3-4) The Submasters are located on the lower portion of the four modules that also house the Line input channels. The Submasters are fed by signal assigned from input channnels 1-20 and by direct submaster buss inputs via rear-panel jacks. Each submaster in turn feeds the L & R mains, a direct submaster output jack and a sub send jack that has its own level control. (CCCCC SUB SEND This rotary control attenuates the level fed to the sub-send jack on rear panel. The send is post-fader, so submaster fader adjustments also affect the jack's output level. Ccm MUTE SWITCH The Submaster Mute kills the submaster signal going to its pan control, so that the Submaster is disconnected from the Left & Right mains. The Submaster signal is still present at the three output jacks on the rear panel: Sub Out, Sub Send, Rec Out. PROGRAM SOLO (Left & Right) These switches are similar to input channels' 1-20 SOLO switches, but they override engaged SOLO buttons on any of those channels. Engaging LEFT SOLO routes the submaster's signal to the left headphone amp. Engaging RIGHT SOLO routes the submaster's signal to the right headphone amp. Engaging both SOLO buttons feeds both headphones (center mono). wwwxOS BONES PAN This control pans the submaster between the Left and Right mains. SUBMASTER FADER This fader has the same construction as the input faders. It affects the submaster's feed to the mains and the rear-panel submaster output jacks. - UNS -9 MAIN (MASTER) OUTPUT MODULES (Left & Right) AUX BUSS* A rotary Master level control that sets the overall aux mixing buss level at the Aux Buss output phone jack. The adjacent SOLO switch is similar to input channels' 1-20 SOLO switches, but it overrides engaged SOLO buttons on any of those channels. Aux SOLO can be engaged and monitored simultaneously with echo SOLO and any of the submaster SOLO buttons. 2: ECHO* A rotary master level control that sets the overall echo mixing buss level at the Echo Send output phone jack. VA The adjacent SOLO switch is similar to input channels' 1-20 SOLO switches, but it overrides engaged SOLO buttons on any of those channels. Echo SOLO can be engaged and monitored simultaneously with aux SOLO and any of the submaster SOLO buttons. KANSAS GE NOX sistem \MONITOR* A rotary Master level control that sets the overall monitor mixing buss level at the Monitor outputs (balanced XLR and unbalanced phone jack.) The adjacent SOLO switch is similar to input channels' 1-20 SOLO switches, but it overrides engaged SOLO buttons on any of those channels, as well as echo, aux and submaster SOLO. METER 3 ASSIGNMENT* Upper Button Button out - meter displays the Left Main output level. Button engaged - meter display depends on the lower button. Lower Button (active only when upper button is engaged) Button out :- meter displays Submaster 3 output level. Button engaged - meter displays Monitor output level. MAIN SOLO (Left & Right) These switches override all other engaged SOLO switches on the console. The chart below describes how to use these buttons. SET BUTTONS AS SHOWN TO Left Main Right Main HEAR AS LISTED BELOW. L -SOLO- R L -SOLO- R Normal stereo IN OUT OUT IN Reversed stereo OUT IN OUT Left Main as center mono IN IN OUT OUT Right Main as center mono OUT OUT IN IN Left Main in left ear only IN OUT OUT OUT Right Main in right ear only OUT OUT OUT IN IN 5949 *These features are not directly related to the Left and Right Masters, but are located on the Left Master module. -10 MODEL 1642 CONSOLE REAR PANEL ACCES KORS 2002 수 2016 MER 2882800 ASSE LATEGAEA 339588888000 이이이이이이이이이이이 ol010- 001.0 01:01:01 0 0 1 0 100 O 01 | 0l00101 ᄋᄋᄋᄋᄋᄋᄋ이 ᄋ | 이이이 01.01.0 -ol 050] 89 H이이 이 이이이이이 이이이이 ACCO 2865 ACT 이이이이이이이이이이이이이이이이이 아이야 - -13 REAR PANEL FEATURES IM (Refer to photo on page 13) INPUT CHANNELS 1-16 (Mic/Line Inputs) Mic In (Low-Z balanced) This XLR-type connector provides a transformer-isolated balanced input that is optimized for low impedance microphones. When phantom power is On, +48 V DC is applied to pins 2 and 3. The input is "live" only when the channel's Mic/Line switch is in MIC position. Line Input This unbalanced standard phone jack is suitable for low or high impedance inputs from mic to line level (depending on the channel's TRIM control setting). The input is "live" only when the channel's Mic/Line switch is in LINE position. Pre-Fader Input and Output This pair of unbalanced standard phone jacks provide a line-level patch point that comes before the channel's fader and EQ. Together, these jacks are suitable for insertion of a variety of signal processing/special effects devices, including compressor/limiters, echo/reverb units, phasers, noise gates, and so forth. Normally, the signal flows internally from the output to the input. Anything plugged into the Input jack interrupts this internal signal path and feeds the channel Fader and all other channel buss feeds. The Output jack always carries the selected MIC or LINE input signal, affected only by the channel's TRIM control. Thus, the Output jack may be used as a pre-fader, pre-EQ direct output without disturbing normal signal flow thorugh the channel,so long as it is connected to a high impedance (i.e., so long as it is bridged). Direct Out This unbalanced standard phone jack is a line-level output that is derived from the channel's selected MIC or LINE input, but is post-fader and post-EQ. Cumulatively, the Direct Out jacks are handy when doing multi-track tape recording (alone or simultaneously with live sound reinforcement). Individual Direct Out jacks can be used for direct channel feeds to echo or effects units, keeping the aux, monitor and echo busses available for other mixing. MONITOR IN/OUT Monitor Input This unbalanced phone jacks applies a signal directly to the monitor buss. It may be used as a sub input, bringing the output of another mixer into the monitor mix. For more complex monitor mixing, one of the console's sub master channels can be used as a monitor channel, and the submaster output can then be patched to this monitor input. -14 Monitor Outputs An unbalanced phone jack and a balanced XLR-type connector both carry the same mix, the output from the Monitor Master control. This may be fed to a power amplifier and then to headphones (in the studio) or speakers (for stage work). If not used for monitor ing, the output can be used for a mono recording, broadcast feed, etc. P. INPUT CHANNELS 17-20 (For Tape Playback and Line or Echo Return Use) U Record Input These 4 unbalanced RCA-type phono jacks (numbered l through 4) apply signal to the "Record" side of the "Record/Line" switch on input channels 17-20 respectively. Their sensitivity and level are compatible with hi-fi type and creative audio tape machine outputs. By connecting the line (play) output of a 2- or 4 channel tape machine, it is possible to play background music for show intermissions, taped cues for theatrical productions, or to quickly mixdown a tape for reference during a recording session. Record Output These 4 unbalanced RCA-type phono jacks (numbered l through 4) carry the signal from the correspondingly numbered sub master mixing channels. The signal is post- submaster fader, but is not subject to the sub mute switch, so if the console is used for simultaneous reinforcement and recording of a live performance, the program can be muted without affecting the recording. The level and impedance are compatible with most hi-fi and creative audio tape machines, although these jacks also may be used to feed auxiliary mixers, effects units, etc. Line In/Echo Return These unbalanced standard phone jacks are suitable for low impedance line inputs. The signal is applied to the "Line" side of the corresponding line input channels' Line/Record switches. The jacks may be used for auxiliary line inputs to the console and adapter free tape playback from machines that use phone jacks rather than RCA phono jacks. They also may be used to return the processed signal from an echo, reverb or effects device. SUBMASTER IN/OUT 1-4 Sub Input These four unbalanced phone jacks apply signal directly to the four correspondingly numbered sub master mixing busses. They may be used as sub inputs, bringing in the signal from other mixers. If, for instance, one were to link two Model 1642's for double the input capacity, the Sub Master outputs of the first console could be fed to these Sub Input jacks on the next console. -15 ... anrrespondingly numbered mano.y. Sub Send These four unbalanced phone jacks carry the post-Sub Master fader output of the correspondingly numbered mixing channels. The signal is not subject to the mute switch, but it is subject to the Sub Send control. In this way, the Sub Master controls may be used to create one 4:2 mix within the console (for the L & R mains), while the Sub Send controls can be used to obtain a different mix of the sub master channels for feed to external equipment (i.e., a stage monitor system or a 4-channel tape recorder). H Sub Out These four unbalanced phone jacks carry the same mix as the Sub Send jacks, but they are not subject to the Sub Send controls. OTHER CONNECTORS Main Outputs An unbalanced phone jack and a balanced XLR-type connector both carry the same mix, one set of connectors for the Left Main and one for the Right Main. This provides optimum compatiblity with power amplifiers, recorders, broadcast feeds, etc. The outputs are post Main Fader. Main Inputs These two unbalanced phone jacks apply signal directly to the Left and Right Mains mixing busses. They may be used as sub inputs, bringing in the signal from other 2-channel mixers. Echo In/Out These two unbalanced phone jacks serve the echo mixing circuitry. The In jack applies signal directly to the Echo mixing buss and may be used to join the echo mixes when two Model 1642's are linked lor as an echo sub input from any other mixer). The Out jack carries the post Echo Master output for feed to an echo, reverb or effects device. Echo Out may be used for a second monitor mix if desired. Aux Buss In/Out These two unbalanced phone jacks serve the auxilary mixing circuitry. The In jack applies signal directly to the Aux mixing buss and may be used to join the aux mixes when two Model 1642's are linked (or as an aux sub input from any other mixer). The Out jack carries the post Aux Buss Master output for feed to any external device or circuit Aux Out may be used for an extra monitor mix, echo/effects mix, mono recorder feed, lobby/dressing room feed, etc. External Power Supply This multi-pin locking connector accepts the "umbilical" cord from the Model 1642's remote power supply. The connector is keyed to ensure the cord's connector is plugged in properly. A twist-lock ring on the cable side secures the connection. -16 SECTION IV. CONNECTIONS & BASIC SYSTEM SETUP WIRING A BASIC SOUND REINFORCEMENT SYSTEM power supply cable ito house amps* ito monitor amps* mic & instrument inputs from stage ex 90% EN olololo 이이이이 o ololoji 0 001011 lo ooo 0.06 00 Ooooo: 0.01010 01 oloo of •óó ol SU Oo oo oj: olóló o ܘ ܘ ܘܘ ooooo olo o olóó oj 00000" HD out external echo in or reverb compressor, noise gate, out parametric EQ, etc. in CAUTION: When setting up any sound system, the power amplifiers are the last equipment that should be turned ON. 1. Connect low impedance microphones to the 1642 Microphone Inputs. The Line Input jacks will accept high impedance microphones as well as low or high impedance line-level sources. 2. Connect the 1642 Power Supply umbilical cable, and plug the supply into the AC mains, but do not yet turn on the supply. 3. Connect the 1642's Main and monitor outputs to the appropriate power amplifiers (and a tape recorder, if so desired). Use 3 terminal male connectors (XLR-type) for balanced lines, and standard tip-sleeve phone plugs for unblanced lines. (The balanced and unbalanced jacks for a given output can be used simultaneously if desired for multiple outputs). 04 t P 4. If an external echo or reverb unit is used, connect a cable from the 1642's Echo output to input of external effects unit. Connect output of external unit to the Input of any Line/Echo Return channel (i.e., 17-18-19-20 -- see page 16). Push the Main Assign switch on the channel to which you have connected the effects. That channel's Level control will control the amount of effects returned, and the Pan control will adjust the relative balance of effects in the Left and Right Main outputs. ). O 5. C Only after all connections are made, and the system has been "initialized" in terms of basic control settings (see page 20 of this manual), should you turn on the power supply's AC power rocker switch. If you are using microphones that require phantom power, also turn on the supply's Phantom Power toggle switch. -19 *Either the console's balanced connector or unbalanced jack can be used with power amplifiers and signal processing equipment, as required. HOW TO USE TRANSFORMER-BALANCED LINES WITH THE 1642's TRANSFORMERLESS BALANCED OUTPUTS 2 COM 1 GRND <diagram 1 from pg.15 of original manual) 3 HOT WIRING A TIP-RING-SLEEVE PHONE PLUG AND A 3-PIN XLR TYPE CONNECTOR FOR BALANCED CONNECTIONS we + AMD 180° AMD 1 = 2 SCHEMATIC OF 1642 TRANSFORMERLESS BALANCED OUTPUT FEEDING A TRANSFORMER-BALANCED INPUT The 1642's balanced outputs can drive any line transformer that has an actual input impedance of 600 ohms or higher. A true 600-ohm termination is not necessary to preserve proper frequency response in the 1642 because the console has no output transformers. twitter that the 4 Since the 1642 does have a high output level capability of +26 dB (15.5 volts), it is capable of saturating many line input transfor mers, thus creating distortion in the external device's transformers before the 1642's output amplifiers clip. It is a good idea to check the input capability of any transformers which are being driven from the 1642's balanced outputs, and then set the console's output levels accordingly. Driving more than one transformer from a given 1642 output is permissible, so long as the total load does not drop below 600 ohms. Assuming the multiple transformers are driven in parallel, if two identical transformers are driven, they each must have an actual input impedance of at least 1,200 ohms (if three transformers, each must be at least 1,800 ohms, and so forth). USING TRANSFORMERLESS BALANCED LINES Transformerless balanced lines have become ever more popular in professional audio systems. This new system does not have the loss and distortion inherent in many transformer designs. Transfor -20 U O 02 merless lines are capable of excellent noise rejection and improved transient response, and they permit a high-quality audio system to be assembled at a considerably lower cost than would be possible using transformers. A ID 0 n O 0 When a device utilizes output transformers, they must operate into the proper impedance or the device will not have a flat frequency response, and in some cases there can be an increase in distortion and/or an impairment of signal-to-noise ratio. Thus, a transformer output that is rated at "600 ohms" may actually require you to connect a 600-ohm resistor across the line (available 'values would actually be 604-ohms for a precision resistor or 620-ohms for a standard part). Interconnecting transformerless balanced lines is simple; just plug them together. Impedance matching (or termination) is not critical, so the output will work into high or low impedance inputs. (so long as the output is not overloaded by too low an input impedance). O AY 0 2 HD 0 . 3 O Uu. P. . HOW TO USE UNBALANCED LINES WITH THE 1642's TRANSFORMERLESS BALANCED OUTPUTS U U2 Generally, there is no reason to use an unbalanced line with the 1642's balanced outputs because each balanced output has a companion unbalanced output. However, a transformerless balanced output can feed an unbalanced line, if necessary. Just connect the "low" side of the output to the shield ground (i.e., ring to sleeve on a phone plug or pin 2 to pin lon an XLR). Since only half of the dual output amplifier is connected to the load in this unbalanced mode, the maximum output drive capability is 6 dB lower. 0 O INITIAL SETUP OF UP THE 1642 CONSOLE Mic/Line Input Channels (1-16) 1. For microphone inputs, set the Mic/Line switch to "mic" position. For line inputs, set the switch to "line" position. OWS. O 2. Preset the Trim control as follows: Calibration (dB of atten.) Input Source -50 to -40 line inputs. -40 to - 45 "hot" microphones (high output mics). -20 to -30 average-level microphones. -10 to -15 l ow output microphones (or mics with weak signals). (The final Trim setting is estabilshed during the sound check.) O un O 41 t in 3. Preset the four EQ controls. The choice of frequencies (low, low mid, high mid and/or high) and the amount of boost or cut will vary with the sound source, overall program, personal preferences and acoustics. As a rule, it is best to use as little EQ as possible, and use cut in preference to boost (i.e., cut the treble rather than boosting the bass). . -21 4. Set the Pan control to center position. 5. Set the channel Fader to -20 position. 6. Assign the channel to one or more of the four submasters, or direct to L and/or R mains, if so desired, on channels 13-16. NOTE: The 1642 has been designed to simplify live mixing. Very complex and sophisticated setups can be handled more easily by setting up subgroups, where a single fader controls several channels at once. In essence, the ability to set up four different subgroups makes the 1642 four mixers in one. Assigning several channels to a given subgroup allows you to balance the mix of those channels with their individual faders, and to control the overall "group" mix level with the submaster fader. See below and page 24 for additional information on subgroups. 7. Make sure the Mute and Solo buttons are up (disengaged). 8. Leave the Aux Buss, Echo and Monitor controls at zero until the main mix has been established. (Pre/Post switch position makes no difference at this time.) Line Input Channels (17-20) (Use this procedure only if the line or record inputs are in use.) 1. Set the Record/Line switch to pick up the input jack being used ("Record" for the phono jack, or "Line" for the phone jack). 2. Set the Pan control to center position. 3. Set the level control to approximately #7. بی ها 4. Assign the channel to one or more of the four submasters, or direct to L and/or R mains. 5. Make sure the solo button is up (disengaged). Submaster Modules (1-4) 1. Set the submaster Faders to the shaded zone. 2. Set all Pan controls to center position. 3. Make sure the Mute and Solo buttons are up (disengaged). 4. The Sub Send control may be left at zero unless the corresponding output is being used. ero -22 Main (Master) Modules (Left and Right) 1. Pull left and right main faders DOWN. 2. Turn the Aux Buss, Echo and Monitor master controls DOWN. 3. Set the meter buttons as follows: upper button engaged (reassign mode), and lower button disengaged (submaster mode). 4. Make sure the solo buttons are disengaged (up). 5. If using headphones, turn the headphone level up about half way. 6. Turn on the rest of the equipment in the sound system (i.e., equalizers, electronic crossovers, and power amplifiers). NOTE: If the sound system is monaural, it can be fed from either the Left or Right main output; the corresponding left or right Main fader is then used for house sound level adjustments. The other main output can be used to feed a remote location, a broadcast or monaural recording feed, a lobby/dressing room feed, etc. In this instance, the Submaster Pan controls (and the Pan controls on any inputs that are assigned directly to the mains) determine the program content. If the sound system is stereo, the Left and Right Main faders adjust the house sound level, and the Pan controls determine the stereo balance. SOUND CHECK FOR A LIVE PERFORMANCE 1. Set the Trim controls for each microphone input, using the LED's above the faders as a guide. The green LED should be On so long as there is any sound present at the mic, and the red LED should just flash when the voice or instrument is at its highest level. a) .If the red LED stays On, lower the Trim setting, and b) If the green LED does not stay On, increase the Trim setting. c) Optimum performance is achieved when the red L.E.D. is just flashing. Hно 2. Now that all the Trim controls are set, the channel gains are optimized for wide headroom and low noise, and the channel faders all have the same sensitivity. This makes it easy to know how far to move a fader. -23 3. When the input Pan controls are in center position, they feed the full channel output level to any selected Submaster channel or channels. If, however, you wish to feed more of the signal to one submaster than another, see explanation below: a) Pan Left to feed more level to Submaster l and/or 3 than to Submaster 2 and/or 4. b) Pan right to feed more level to Submaster 2 and/or 4 than to Submaster i and/or 3. 4. Set the Submaster Faders for nominal VU meter readings of from -10 to 0 VU, with peaks no higher than +3 VU. 5. When the Submaster Pan controls are in center position, they feed the full submaster output level to both the Left and Right Mains. If, however, you wish to feed more of the signal to one mains than the other, set the pan control accordingly. 6. Disengage the upper meter buttons from "Reassign" mode to "L Main" and "R Main" mode; the #3 and #4 meters now display left and right mains levels. 7. Adjust the Left and Right Main Faders for nominal VU meter readings of from -10 VU to 0 VU, with peaks no higher than +3 V. If the sound level gets too high during this procedure, turn down the volume at the power amplifiers (and/or at the electronic crossover network of a bi- or tri-amplified system). 4 U The system is now basically set up and ready for mixing. You can adjust the various effects, aux and monitor send controls, set the effects, aux and monitor master output controls, adjust the Line Input/Effects Return levels, and fine-tune the balance and equalization of the overall program. You will find the SOLO and MUTE functions are invaluable during setup and system checkout, and well as during the program. A thorough understanding of SUBMASTER assignment is also very helpful. Refer to subsequent sections of this manual for further information. - 24 SECTION V. SUBMASTERS AND DIRECT-MAINS ASSIGNMENT SUBMASTERS Submasters, or "submaster channels" as they are sometimes called, can be used in either of two basic ways. 1 Submasters for Groups of Related Inputs Most often, a Submaster is used to control the level of a group of related input channels with a single fader (a "subgroup). For example, all drum and percussion inputs might be assigned to Sub 1, all guitar and bass inputs to Sub 2, all keyboards to Sub 3, and all backup vocal mics to sub 4. The relative level, echo/effects send, and the specific equalization required for each keyboard would be set on individual input channels, while the Submaster 3 Fader would bring the total keyboard level up or down. In this way you can balance a complex live program by moving just four controls (the submaster faders) instead of 16 (the channel faders). + PO In the preceeding example, you may notice that there were no provisions for lead vocals or for an announcer microphone. For tunately, the Model 1642 console really provides the equivalent of 8 subgroups, not four... if you consider that Input channels 13-16 can be assigned directly to the L & R mains. Doing so bypasses the subgroups and makes them single-input subgroups. Thus, a lead vocal mic and a lead vocal double mic could be connected to channels 13 & 14, panned as desired and assigned directly to the L & R Mains. Channel 15 might be reserved for the announcer's microphone, while channel 16 is kept "open" as a spare. D Submasters for Different Setups, Acts, or "Scenes" Sometimes two or more groups of performers (or stage acts) will be scheduled for a given show. This might necessitate a major change the way the mix is set up, and the time or effort required to completely readjust the console would be a great strain on the soundman. Along the same lines, a given act might change instrumen tation or stage arrangement sufficiently that the mixing requirements would need a sudden change. In these instances, the Submasters can be used for presets. C . Suppose the first act is a comedian with his own small backup group. This act needs two "lead mics" (a wireless mic and one on a stand), and 3 instrument mic inputs. All are assigned to Sub 1.. The grand piano also will be used for the next act, so it is assigned to Sub 1 and Sub 4. When this act is on-stage, only the Sub 1 Fader is up, and all other submasters are down. The announcer mic, of course, can be assigned direct-to-mains on Input channel 15. Following through with this example, the next act is the featured pop music act. That act, however, has two different setups, one -25 A that is largely "electronic," and one that has some electronic instruments but features acoustic instruments. The "electronic" instruments are assigned mostly to Sub 2, with a few also assigned to Sub 3. The acoustic instruments are all assigned to Sub 4. When this act first comes out, the soundman does not have to scramble two dozen faders; he merely brings down Sub 1 and brings up Sub 2. Later, at the "acoustic" cue, he brings up Sub 3 and Sub 4, and brings down Sub 2. (Instead of using the Submaster Faders, the Submaster Mute buttons can be used for instantaneous switching from one mix to the next.) DO Additional signals from external mixers or tape machines can be applied directly to the submasters, without using any of the .. regular input channels, via the unbalanced Submaster Input jacks. Where Signal Can Be Assigned from the Submasters Signals from each Submaster (1, 2, 3, and 4) are sent to 4 destina tions: 1. The Left and/or Right Mains. The Submaster feed to the Mains is subject to the Submaster Fader, Mute switch, and Pan control. The signal level is adjusted with the Fader, and the proportion of signal fed to the Left and Right Mains is set with Pan. The Mute switch can be used in different ways (see below). 0 02 NOTE: The following three outputs are not affected by the setting of the Submaster's Pan control or Mute switch. 2. The rear-panel unbalanced phone jack labeled "Sub Out." output's level is subject only to the Submaster Fader. This 3. To rear-panel unbalanced R.C.A. phono jack labeled "Record Out." This output's level is subject only to the Submaster Fader. Because you have both the phono jack "Record Outs" and the phone jack "Sub Outs", it is easy to feed a wide variety of 4-track tape recorders without special adapter cables, or to feed two devices simultaneously. To rear-panel unbalanced phone jack labeled "Sub Send." This output's level is subject to both the Submaster Fader and the rotary Sub Send control. It can be used to feed a different balance of the Submasters to a tape machine, an external signal processor (i.e., an echo chamber), or a separate stage monitor mixer. Using the Submaster Mute Switch The Mute switch serves as an On-Off switch for signal fed to the Mains; even if the Fader is up, the mute switch can kill the submaster's feed to the Mains. This feature can be used for either of two functions. U 02 U 2 1. Muting and unmuting the Submasters facilitates presets or quick "scene changes." When the Submasters are used for grouping or -26 different scenes, the Fader levels can be preset, and the Mute switch then instantly turns On the entire group. For example, suppose all backup vocal mics are asigned to Sub 4. The lead vocalist soloes during the beginning of the song, so Sub 4 is muted to prevent leakage or extraneous noise. When the backup vocal cue comes in, the soundman needs only to unmute Sub 4. 40 2. Because it turns Off the feed to the Mains, the Mute switch allows the Submaster to be used for group control of feeds to external effects or signal processing such as reverb, echo, limiting, noise reduction, etc. Muting the Submaster does not affect the signal to be sent to the rear panel jacks. The externally processed audio can be returned to the Left and/or Right Mains via the Line channels (17, 18, 19, and/or 20) -- or directly to the console's Left and Right Main input jacks. If a combination of direct and externally processed audio is desired, do not mute the Submaster. DIRECT-TO-MAINS ASSIGNMENT In order to assign a signal from Mic/Line Input Channels 1-12 to the the Lor R Mains, that signal must first be assigned to a Submaster, and from there it can be panned Left - Right. Mic/Line Inputs 13-16, and the Line Input Channels 17-20 provide the user with the option of "direct to mains" assignment; that is, instead of sending the signal through the submasters, it can be sent directly to the L & R mains (via the channel Pan control and Mains Switch). N The "direct to mains" feature on inputs 13-16 can be used for a variety of functions, especially those where it is useful to have equalization, and sends for effects, Aux and Echo. For example: a) Extra lead performer microphones. b) Effects returns that require equalization, solo, monitor feeds, etc. c) Line inputs from auxiliary mixers that require equalization. d) Talkback (communications). e) Remote feeds. f) 4-track tape machine playback for integration with a live program or for stereo mixdown (where EQ, echo/effects, and monitor sends are needed). The "direct to mains" feature on line inputs 17-20 can be used for a variety of functions where EQ and spare mixing buss sends are not necessary. For example: a) Effects returns. b) Adding auxiliary (outboard) mixers for additional input channel capability or from on-stage keyboard mixers. c) 4-track tape machine playback for integration with a live program or for stereo mixdown. Stereo tape machine playback for integration with a live program or for intermissions. -27 SECTION VI. MAINS & MASTERS, MONITOR & EFFECTS MIXING, SOLO LEFT & RIGHT MAINS The Left and Right Mains can each receive signals from four sources: 1. The 4 Submasters. 2. The Mic/Line Input channels (13, 14, 15 and/or 16) if their Main assign switch is down. 3. The Line Input channels (17, 18, 19 and/or 20) if their Main assign switch is down. 4. The unbalanced phone jacks labeled "Left Main Input" and "Right Main Input." These jacks are useful for applying the signal from external mixers or tape machines directly to the Mains, without using any of the regular Input channels or Submasters All of the above 4 sources apply signal to the Left and Right Main Busses. Each Main Fader controls the level from the cor responding Buss (left or right), and feeds that signal to the balanced and unbalanced Main outputs (for Left or Right). MONITOR, ECHO & AUX BUSS MASTERS Separate rotary "Master" level controls are provided for the Monitor, Echo and Aux Mixing Busses. These controls work essentially like the Left and Right Main Faders, serving as overall output level controls for their respective outputs. The Monitor Master affects both the unbalanced and balanced Monitor output jacks. The Echo Master and Aux Buss Master each feed one unbalanced output phone jack. MONITOR MIXING 0 (1) Monitor mixing (also known as "foldback") is essential so that performers can hear themselves and/or their fellow performers. The monitor mix is nearly always different from the main mix. In live performances, the monitor inix is usually fed to a separate amplifier and on-stage speakers. In recording, the monitor mix may be fed to a headphone amplifier (a small power amp) and a headphone distribu tion system. P. A separate monitor mix can be established by using the Monitor level control of each Input channel, plus the Master Monitor level control located on the Left Main module. The monitor mix derives its signal from each channel ahead of the fader and equalizer (i.e., it is pre-fader, pre-EQ). This means that any changes in your main house mix will not affect the monitors. -28 If you desire a second monitor mix, this can be established using the Aux Buss level control of each input channel, plus the Master Aux Buss level control located above the Left Main Fader. Set the input channels' Pre-Post switch to pre position, and this auxiliary Monitor mix will then be identical to the Monitor mix on the Monitor Buss. wwwww O U w K wart If you want to take advantage of the Input channel equalization for the monitors, use the auxiliary monitor mix described above, but set the channel(s Pre-Post switch to post. Be aware that this also causes the monitor (Aux) mix to be subject to the channel's Fader. In general, it is a good idea to use as little EQ as possible for the stage monitors, except perahps for some low frequency roll-off. Cutting bass frequencies helps avoid acoustic feedback, and there is usually plenty of bass on stage without reinforcement from the monitor speakers. Usually it is best to use an external EQ for the monitors rather than the console's channel EQ. For one thing, the requirements of monitor EQ seldom match that of the house, so a compromise would be necessary. For another thing, an external graphic EQ (such as the Biamp Model EQ 270A) is a much better tool for notching out narrow feedback modes without taking out adjacent program frequencies unnecessarily. EFFECTS MIXING Effects mixing refers to any mix that is fed to a reverb chamber, electro-mechanical reverb or echo, purely electronic reverb or echo, phaser, flanger, compressor/limiter (used for sustain), and so forth. Some inputs may be fed "straight" to the main mix and also to the effects unit. Other inputs may be fed to the main mix only via the effects unit. Other inputs may not be subject to any effects. A separate echo (effects) mix can be established by using the Echo level control of each Input channel, plus the Master Echo level, control located above the Left Main Fader. The echo mix derives its signal from each channel after the Fader and Equalizer (i.e., it is post-fader, post-EQ). This means that the Echo (effects) mix is receiving the benefit of any level and EQ adjustments you make in the feed to the main house mix. N The output of your effects device(s) can be returned to one or more of the Line Input channels (17, 18, 19 or 20). You adjust the amount of return with the Line channel's rotary Level control, and assign the signal to either the Submasters or, more often, directly to the Left and Right Mains. Alternately, you could connect the effects return to the Submaster Input or Main Input jacks. If you desire a second effects mix, this can be established using the Aux Buss level control of each input channel, plus the Master -29 Aux Buss level control located above the Left Main Fader. Set the input channels' Pre-Post Switch to post position, and this auxiliary effects mix will then operate identical to the Echo mix. In the event you are using an echo effect and wish to fade the main program but have the echo linger, you can switch the appropriate channel(s) to pre position; bring down the channel Fader first, then bring down the Aux control later to kill the echo. . po Individual Channel Effects Patching If a special effect is desired on just one input channel, such as compression, limiting, phasing, etc., you do not use the Echo. or Aux controls, Instead, connect the channel's Pre-Fader Output jack to the input of the effects device, and return the output of that device to the channel's Pre-Fader Innput jack. The level sent to effect is adjusted by the channel's Trim control, and the return level is set by the channel's Fader. The Submasters can be individually processed for effects by connec ting a submaster output (Sub Out, Sub Send or Record Out) to the input the effects device, and returning the device's output via a Line Input channel (17-20). Use the Submaster Mute button if you want only the externally processed sound. 02.0, THE HEADPHONE SOLO SYSTEM The headphone solo system is designed to permit listening and evaluating with headphones any desired input channel, Submaster, the Monitor, Aux and Echo output, or the Mains -- without affecting any other console functions. All Solo switches are locking type, so you can press Solo and then have both hands free to make adjust ments. The Model 1642 includes a priority system that automatically overrides "less important" solo circuits for quick evaluation of "more important" solo functions, making it unnecessary to release the Solo buttons on those secondary circuits. O Solo can be used to check an input channel to determine which mic or line source it controls, to look for a malfunction, or to "fine-tune" the EQ without distraction from other sounds. Solo of several related channels, or of a Submaster, lets you adjust the balance between these inputs, and to check for the proper phase relationship between channels. You can also solo a muted channel to preview the signal prior to assigning it to the program. The priority system operates as described below. Priority I - Left and Right Mains (Highest Priority) Pressing a Left or Right Main Solo switch automatically overrides any other Solo swith that is in engaged. As soon as all Priority I (Main) Solo switches are released, the headphone signal will automatically return to your previously selected solo status lor you will hear nothing if no Solo buttons are engaged). - 30 C Observe that the Left and Right Mains outputs have two solo switches each. Engaging both switches on a given output, the Left Main, for instance, sends the Left main signal to both headphones, for "center mono" checking of that main. By Pressing the Left Main output's Left Solo switch and the Right Main output's Right Solo switch, you will be listening to the same stereo mix fed to the console's Left and Right outputs. (Pressing the Left Main output's Right Solo Switch, and vice-versa, gives you a reversed stereo monitor). Pressing the Left and Right Solo switches on both the Main outputs lets you check mono-compatibility of the stereo mix. Priority II - Monitor Pressing the Monitor Solo switch places the monitor mix in both headphones (unless one of the Main Solo switches is On). The Monitor Solo switch automatically overrides any Submaster, Effects, Aux or Input channel Solo switches that might be engaged. As soon as the Monitor Solo switch is released, the headphone signal will automatically return to your previously selected solo status (or you will hear nothing if no Solo buttons are engaged.) Priority III - Submasters 1-4, Effects and Aux Buss The four Submasters can be Soloed in mono or stereo; just like the Left and Right Mains, any combination is possible. Pressing even any one Submaster Solo switch automatically overrides any Input channel Solo switches that might be engaged. If more than one Submaster solo switch is depressed for the left or right headphones, those solo signals will add together. (If you are using the Model 1642 as a 4 output mixer, the Left and Right Mains can be used as stereo monitors.) Pressing the Echo or Aux Buss Solo buttons will override all input channel solo switches, placing the Echo or Aux signal equally in the Left and right headphones. If an Echo or Aux Buss Solo switch is engaged at the same time as any Submaster Solo button(s), you will hear the combined Submaster and Echo/Aux signal. Priority IV - Mic/Line Inputs (1-16) & Line/Return Inputs (17-20) Any combination of Input channel Solo switches may be Pressed; the signal from such channels will be added together and heard equally in both headphones (center mono). Solo Levels The Headphone Level control simultaneously adjusts the left and right headphone volume. A pair of red LEDs (L & R) flash On whenever the signal level is high enough to clip the output ampli fiers. By adjusting the headphone volume so these LEDs seldom (if ever) flash, you can assume that any audible distortion is coming from the soloed source and not the headphone amps. You can observe the level of any solo signals by pressing the #4 VU meter's two switches (reassign it to solo). meter will then display solo levels. This -31 SECTION VII. RECORDING AND OTHER INFORMATION RECORDING The Model 1642 is primarily a live performance sound reinforcement mixing console. However, its features make it very useable for recording work, especially location recording that is done simul taneously during a live performance. Stereo recordings can be made using two Submaster outputs, or using the Mains Outputs. Stereo recordings can be played back using any of the Input channels or the Mains Inputs (make sure your recorder is not feeding the Mains Inputs while you are making the recording). Four-track recordings can be made using the Submaster outputs (Sub Out, Sub Send or Record Out), and can be played back via the Line Input channels (17-20), the Mic/Line Input channels (1-16), or even via the Submaster Inputs (make sure your recorder is not feeding the Submaster Inputs while you are making the recording). You can make multi-track recordings by successively plugging the four Submaster outputs into different input channels of the recorder, and playback or mix down these recordings by connecting them to the line inputs on channels 1-16 and 17-20 if necessary). The multi-track procedure above would not, however, be useful during a live performance. Instead, you can make up to a 16-track recording all at once by feeding the recorder from the input. channels' Pre-Fader Output jacks, and plugging the machine's output into the console's line input jackson channels 1-16. Since the Pre-Fader outputs can drive 600 ohm loads, no tape machine will affect the signal in the console. (Remember, signal flow through the input channel is not disturbed until you plug something into the Pre-Fader Input). After the performance, you can monitor or mix down the 8- or 16-channel tape by switching the mic/line inputs from Mic to Line position. COMPLEX MONITOR MIXING The Model 1642 lets you establish two monitor mixes (Monitor and Aux Buss). If you wish, you can get a third monitor mix (albeit post-fader) by using the Echo output. In some complex stage productions, you may require more monitor mixes. In that instance, you can use the Pre-Fader Output from each input channel to feed another mixer whose sole function is stage monitor mixing -- a console which can be set up with different EQ than the house and with many mixes from the same inputs to suit the various performers' needs. -32 S S SS LIMITED WARRANTY BIAMP SYSTEMS, INC. warrants to the original consumer purchaser of each BIAMP product that the unit is free from defects in materials and workmanship. This express warranty commences on the date of purchase from an authorized BIAMP dealer and extends for one year. Completion and return of the warranty registration card enclosed with each unit within ten days of the date of purchase is a condition precedent to coverage and performance under this express warranty. Installation contre handles, feet, ana warranty of MERCHANTS if the EXCLUSIONS AND LIMITATIONS: This warranty will be VOIDED if the serial number has been removed or defaced, or if the unit has been subjected to abuse, alterations, attempted repair by any person not authorized by warrantor to make repairs, accident, or installation contrary to the warrantor's instructions. Cosmetic blemishes, such as handles, feet, and knobs are not warranted. All implied warranties, including the warranty of MERCHANTABILITY are limited to the duration of this express warranty, and, if the registration card is not promptly returned, the implied warranties are limited to the duration of the express warranty if it had been effective. In no event wil1 BIAMP SYSTEMS, INC. be responsible for incidental or consequential damages, except for injury to the person. HOW TO OBTAIN REMEDY: Carefully pack your BIAMP product and return it to one of the BIAMP Authorized Service Centers or write the BIAMP Customer Service Department at the address below for instructions on how to return your unit to the factory. · Pack a letter with the unit explaining the nature of the problem and giving your name and address. You are responsible for freight and insurance charges to the Authorized Service Center or the factory. WHAT BIAMP WILL DO: BIAMP will repair or, at its option, replace each unit covered by this warranty. Units sent to the factory will be returned to the owner freight collect. Units brought to Authorized Service Centers will be held for pickup by the owner for a period of time established by the individual Authorized Service Center, or, at the owner's option, returned to the owner freight collect. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state. For instance, some states do not allow limitations on how long an implied warranty lasts, or the exclusion or limitation of incidental or consequential damages, so the above limitations or exclusions may not apply to you. BIAMP SYSTEMS, INC. 11000 SW llth Beaverton, OR 97005 P.O. Box 728 Beaverton, OR 97075 -33 MIXING BUSSES SUB MASTERS 1 2 3 4 MONITOR AUX ECHO SOLO L MAIN A MAIN PHANTOM POWER +48 V GAIN CONTROL AMPLIFIER RED & GREEN LED DISPLAY LEFT SOLO DRIVE MIXER AMP HEADPHONE LEFT & RIGHT GAIN CONTROL MON SOLO ma MONITOR S LEVEL AUX POST BALANCED MICROPHONE INPUT CHANNEL MUTE MAINS LB LEFT POWER AMPLIFIER ECHO & AUX MIXERS PRIORITY 3 N DRIVE AMP AUX LEVEL MUTE CONTROL LINE INPUT SOLO BUSS DEFEAT PAIORITY 4 INPUT CHANNELS 1-12 ASSIGN SWITCHES LED OVERLOAD 1 INDICATOR HEADPHONE OUTPUT SUB SOLO MIXER MUTE CONTROL SUR 2 1 LEFT PAN CONTROL TO SUB A/ SOLO VU METER RIGHT SOLO ORIVE MIXER AMP PRE-FADER OUTPUT SUB MASTERS 1-4 PRIORITY 3 - DRIVE RIGHT POWER AMPLIFIER AMP SUB 3 SUB 4 MONITOR MIXER PRIORITY 2 LEFT MAIN MIXER PRIORITY 1 AIGHT MAIN MIXER PRIORITY 1 RIGHT 1 EQUALIZATION : CONTROLS PRE-FADER INPUT CHANNEL FADER ECHO LEVEL SUB MASTER RECORD OUTPUT DIRECT OUTPUT SUB MASTER MIXER 1-4 DRIVE AMP SOLO LEFT MAIN SUB MASTER OUTPUT SUB MUTE NOTE: METER DAIVE AMPLIFIEAS AND CALIBRATION CONTROLS ARE NOT ILLUSTAATED. RIGHT MAIN PAN CONTROL SUB SEND CONTROL SUB SEND PHANTOM POWER +48V GAIN CONTROL AMPLIFIER RED & GREEN LED DISPLAY MONITOR LEVEL AUX POST VU METER SUB MASTER VU METER SUB MASTER 2 VU METER VU METER BALANCED MICROPHONE INPUT LEFT MAIN RIGHT MAIN 2 LINE AUX LEVEL 1 FROM SOLO ASSIGN DRIVE AMP ASSIGN SUB 4 SUB 3 MONITOA SOLO LINE INPUT L MAIN LEFT MAIN INPUT CHANNELS 13-16 R MAIN SUB 1 SUB 2 LEFT MIXER OUTPUT (UNBALANCED} PRE-FADER OUTPUT LEFT PAN CONTROL LEFT MASTER MIXER (AIGHT MASTER IS IDENTICAL) ORIVE AMP DRIVE AMP SUB 3 LEFT MIXER OUTPUT (BALANCED) EQUALIZATION CONTROLS RIGHT SUB 4 PRE-FADER INPUT CHANNEL FADER ECHO LEVEL MONITOR MASTEA EEνει DIRECT OUTPUT MONITOR MIXER OUTPUT (UNBALANCED) MONITOR MIXER DRIVE AMP MONITOR MIXER OUTPUT (BALANCED) INPUT CHANNELS 17-20 RL MAIN R MAIN GAIN CONTROL AMPLIFIER RECORD/LINE SWITCH SUB 1 LINE INPUT LINE SUB 2 LEFT PAN CONTROL ECHO MASTER LEVEL SUB 3 AECORD RIGHT SU8 4 ECHO MIXEA OUTPUT RECORD INPUT DRIVE AMP SOLO ECHO MIXER UNBALANCED SUBMASTER INPUT AUX MASTER LEVEL LEFT MAIN INPUT AUX MIXER OUTPUT AIGHT MAIN INPUT AVX MIXER DRIVE AMP MONITOR INPUT ECHO INPUT AUX INPUT nun c a masa sa s a ... .. ...... . . .. * PHANTOM POWER** When the Phantom switch on the remote power supply is on, a green L.E.D. on the console front panel turns On, and +48 volts DC is applied to pins 2 & 3 of the microphone XLRS on input channels l-16 for operation of condenser microphones. Normal (dynamic) and condenser microphones may be used simultaneously when the phantom power is On, so long as the microphones are all balanced or floating. Unbalanced mics should be connected to the "Line In" jacks, or used with the XLR7s only when the phantom power is off. . .. . HEADPHONE LEVEL** This rotary control simultaneously adjusts the output level of the L & R headphone amplifiers. Left and Right overload L.E.D.'s flash On to indicate when the respective headphone amps are clipping. Vua METER 4 ASSIGNMENT (Upper Button Button out - meter displays the Right Main output level. Button engaged - meter display depends on the lower button. Lower Button (active only when upper button is engaged) Button out - meter displays Submaster 4 output level. Button engaged - meter displays Solo buss level. OLDER MAIN FADER This fader has the same construction as the input faders. It controls the corresponding Main's feed (Left or Right) to the Main Outputs (balanced and unbalanced). Together the two Main Faders serve as stereo master controls. D UV **These features are not directly related to the Left and Right Masters, but are located on the Right Master module. 11 POWER SUPPLY SC WW WWW SNS AN 49 WINS 900 DC POWER CONECTOR This 16-pin female connector mates with the umbilical cable that feeds power to the console. When installing the cable, lne up the male connector with this keyed socket (there is only one way to do it so the connectors fit one another). Push the connectors together, and twist the locking ring 1/2 turn clockwise to secure the connection. PHANTOM POWER SWITCH This toggle switch turns On the 48 volt DC power which is connected, through a resistor, to the center tap of each balanced mic input transformer. The green Phantom power L.E.D. on the console front panel turns on when this switch is On. The maximum supply current available is 0.15 amps, and 48 V to 24 V condenser microphones may be used. The phantom supply turns on and off at a slow rate under any conditions, so all types of microphones can be used with the 1642, and in any combination. AC POWER SWITCH This illuminated rocker switch glows orange when the AC power is On. IMPORTANT NOTE: The power supply is designed so it operates at a fairly warm temperature. This condition is normal, and no special cooling fans are required. However, an adequate space must be provided for air to circulate around the supply. When rack mounting the supply, be sure to allow at least one empty rack space (1-3/4") above and below the unit, and preferably fill these blank rack spaces with ventilated panels. Never mount the 16 42 power supply abové a source of heat, such as a power amplifier. -12 ACTUAL LOAD Z INPUT CHARACTERISTICS SENSITIVITY @ INPUT LEVEL FOR USE WITH MAXIMUM GAIN NOMINAL MAX. DESIGNATION TYPE OF CONNECTOR CHANNELS 1-16 Low-Z Mic Line/Hi-Z Pre Fader 600 ohms 150 ohm mics | -53 dB** 20 kohms 15 kohm mics T-33 dB 10 kohms T 600 ohms & up 0 dB -33 dB +8 db 3-pin femalet Toto -14 dB +24 dB Phone jacktt 0 dB +18 dB Phone jacktt 20 kohms 1 600 ohms & up 20 kohms 1600 ohms & up -12 dB Oto -10 dB +18 dB Phone jacktt -10 dB +18 dB RCA type phono jack -12 dB CHANNELS 17-20 Line In Rec In Sub In 1-4 Monitor In Echo In Aux In 33 kohms 1 600 ohms & up -18 dB o to -10 dB/+18 dB Phone jackt? ONS OUTPUT CHARACTERISTICS MINIMUM RATED LOAD NOMINAL LEVEL -18 ACTUAL SOURCE Z DESIGNATION MAXIMUM LEVEL CONNECTOR IN MIXER C .. A. BALANCED OUT Main L&R Monitor 200 ohms 600 ohms 200 ohms 600 ohms +4 dB +4 QB..... +26 dB +26 dB 3-pin malet T.R.S. Phone jack VILLA... CLArab 0 dB +18 dB UNBALANCED OUT Main L&R Monitor Echo 100 ohms 600 ohms Aux Buss Sub Out 1-4 Sub Send 1-4 12.5 kohm 15 kohms Direct Out 1-16 100 ohms 1600 ohms Pre Fader 1-16 Record 1-4 100 ohms 600 ohms Phone jacktt ader 1-136100 ohohm 15 k -10 dB o dB +18 dB +18 dB Phone jacktt Phone jacktt -10 dB +18 dB . . - - - RCA type phono jack Stereo Phone jack HEADPHONES (L&R) 2.2 ohms 8 ohms & up 0.5V RMS 8V RMS ( 4W L&R total) ** 0 dB in these specifications is referenced to 0.775 volts RMS. † 3-pin XLR type connector. tt Tip-Ring-Sleeve (stereo type) phone jack, but ring is not used. SECTION III. SPECIFICATIONS GENERAL SPECIFICATIONS FREQUENCY RESPONSE +1 dB, 15 Hz to 33 kHz TOTAL HARMONIC DISTORTION Below 0.02% IM DISTORTION Below 0.05% SLEW RATE Greater than 10 volts per microsecond SIGNAL-TO-NOISE RATIO Better than 82 dB (referenced to l volt output, -50 dB input, 100 kHz low pass filter) RESIDUAL OUTPUT NOISE -98 dB (all faders down) CROSSTALK (@ 1 kHz) U Below -65 dB, channel-to-channel Below -65 dB, buss-to-buss (incl. solo) Below -80 dB, buss-to-buss (excl. solo) 1 EQUALIZATION High: +15 dB @ 12.5 kHz, shelving High Mid: +15 dB @ 3.3 kHz, peaking Low Mid: +15 dB @ 250 Hz, peaking Low: +15 dB @ 80 Hz, shelving MAXIMUM VOLTAGE GAIN 77 dB, LOW-2 Mic In to Main Balanced Out* 62 dB, High-2 Mic In to Main Balanced Out* 25 dB, Line Ch. In to Main Balanced Out 15 dB, Submaster In to Submaster Out 15 dB, Main In to Main Balanced Out POWER SUPPLY Remote rack mountable supply plugs into 115 V AC, 50 or 60 Hz mains. Umbilical cable (supplied) carries DC to console: separate switch turns On +48 V phantom power to center-tap of each input transformer (via resistor) DIMENSIONS Console: 36-1/4" W x 9-1/2" H x 31-1/2" D (921 cm X 241 cm X 800 cm) Power Supply: 19" W x 1-3/4" H x 5-1/2" D (483 cm x 44.5 cm x 140 cm) WEIGHT Console: 75 pounds (34 kg) Power Supply: 10 pounds (4.5 kg) * Front panel Trim control Range is 50 dB; input channel voltage gain is also internally adjustable. -17


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