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Cantar-X User Manual v2.44 (r14) 2013 March 21
p.16
p.16
TEST
INPUTS
Audio inputs
(pin allocation p.58)
Analog: F
ive symetrical transformer isolated
mic inputs
, and
four asymetrical
line-inputs
.
AES:
eight sample-rate converted
digi-inputs
(Tascam TD88
standard), AES42 option.
note:
The RF-mic asymetrical output ('headphones') delivers
better quality than the symetrical mic level output going through
a tiny transformer. Preferably connect RF mics to Line-inputs.
Mic-preamps
Cantar's mic-preamps offer such a wide dynamic range in
one single stroke that they don't need any trims. Whenever
you adjust a fader, all inputs for the same kind are displayed
in dBFS on the rectangular screen.
Phantom power
Press [
shift
] [
fil-tom
] (2) to toggle that mic's Phantom 48V
power 'ON/OFF'. The default setting is 'ON'. Turn it 'OFF'
while using a dynamic microphone, the preamp gain will be
boosted by +12dBu, and the triangle below the mic number
will disappear from the right circular screen.
Limiters
Press [
lim-inv
] (button#1) to toggle the limiter 'ON/OFF' (to
protect the limiters from mistaken fingers, a one second pres-
sure must be applied). While the limiter is turned 'ON', a
triangle is displayed below the mic number on the left circular
screen. If the signal level reaches
the limiter zone (–8dBFS), the tri-
angle will start blinking. In 24-bit
recording mode, it is common
practice to adjust the input gain
so that a 'normal' signal does
not go over the -20dBFS level.
Limiter activated, the 32dBu head-room above the –8dBFS
kick-in point gives 24dBu above the 'no-limiter' full scale. The
Operator can count on a 44dBu reserve over the normal
–20dBFS level.
If the signal does reach the –1dBFS level, a '
clip
' icon
appears at the end of the modulometer scale and a beep
can be sent to the headphones (TECHSET.08 'Clip Beep').
To maintain equilibrium between linked channels, the same
limiter command is applied to ganged preamps.
Inversion
Press [
shift
] [
lim-inv
] (1) to invert the mic's phase. A triangle
appears below the mic number on the middle circular screen.
High-pass filters and line attenuators
Click the [
fil-tom
] #2 button of a mic to open the filter selec-
tion screen, another click on any [
fil-tom
] button closes it.
In between these two clicks you can [jog] through the filter
selection screen. Continuously leaving the finger on the
[
fil-tom
] button simulates both clicks, when you remove it,
the filter screen closes itself.
Displayed in the rectangular screen, three
banks
offer corner
frequencies/slopes from 60Hz/–6dB to 180Hz/–12dB
and LFA (see p.58).
To avoid mic preamp saturation by very low frequencies,
always insert a high-pass filter when mics such as an
MKH8050, Shoeps CMIT 5U or Neumann KMR 81 are
installed on a moving boom. An efficient wind jammer is
paramount.
•Mic Level:
default for all mic inputs.
•High Level:
an 8dBu command offset puts the fader knobs
in the same angular position as when a standard sensitivity
mic is used.
•Line Level:
a 24dBu attenuator converts mic to line inputs
(available on SL1 preamplifier, Cantars from #268).
Differential delays
Cantar-X2
Sound speed (0.3 m/ms) or signal processing lag (up to
3.8 ms in some wireless kits) generate 'phasing' between mics
placed around a single source. Close sounds contributing to
the live
mixdown
must wait in buffers for the time it takes for
the 'late-sound' to arrive. Cantar automatically applies the
value entered on the late sound input to all other inputs.
In TEST, press [shift] [silver] to open
LVL&DELAY, [jog] from 'mic1' to
'line4'; press [ok] on the input of
which
the travel time
or electronic
delay must be compensated for (most often the digital wireless
mics and their 3.8ms delay). [jog] from 0 to 85 ms by 0.1 ms
increments
(1 ms increments by [shift] [jog])
. Fine tune its value by
listening to the tracks in 'double-solo' (see
Soloing tracks
, p.22).
An ear protecting mute is applied during modifications.
#2
#3
#1
LVL&DELAY 07
mic5 delay
78.8ms
