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Input Module 

1. MIC 

These  are  to  be  connected  with  microphone  XLR 

jack  are  used  for  the  balanced  signal

+48V 

phantom power available on each input Mic socket

 

2. LINE 

The unbalanced mic input is provided for the use of 

a  un-balance  mic  and  is  designed  to  accept  a 

unbalanced high impedance input signal

(This used 

for connection Deck, Turntable, Keyboard etc.) 

3. INSERT 

The  INSERT  is  a  bread  point  the  input  channel 
signal path

It allows the signal to be taken out from 

the mixer

Through an external equipment such as 

a compressor and the back to continue the final mix 
output

 

4. GAIN 

This  rotary  knob  adjusts  the  channel  signal 

level

Too high: the signal will distort as it overloads 

the channel

Too low: the level if back hiss will be 

more  noticeable  and  you  may  not  be  able  to  get 

enough  signal  level  to  the  output  of  the 
mixer

Proper trim setting allows the mixer to work 

in the best operating level

Adjusts the trim when 

signal  presents  to  the  highest  level  without 
triggering  the  peak  LED

That  is  the  most 

appropriate position

 

5. EQUALIZERS 

These  equalizers  are  designed  to  suit  different 
room acoustics

feedback control and improve the   

                                      live  PA  sound

No  amount  of  equalization  will 

correct  the  frequency  response  curve  of  a  poor 
loudspeaker

Always begin with all control in the “O” 

position  and  avoid  excessively  cutting/boosting 

large  segments  of  the  peculiar  frequency  which 

would limit the system dynamic range or increase 
the possibility of the unpleasant feedback sound

 

HIGH 

Turn to the right to boost high frequency

adding crispness to cymbals, vocals and 

electronic instruments

Turn to the left to cut this frequency

reducing sibilance or 

hiss

The control has a shelving response that gives 15dB of boost or cut at 12KHz

 

MID 
The knob provides 15dB of boost or cut at 2.5kHz

just like the HF EQ knob

The 

mid band covers the range of most vocals

listen carefully when you use this control   

to find how particular characteristics of vocal or guitar signal can be enhanced 
or reduced

Set the upper knob in the “O” position when not required

 

 

Summary of Contents for H-F12/2

Page 1: ...OWNER S MANUAL H F12 2 PROFESSIONAL MIXER ...

Page 2: ...ct 7 Output Connectors 8 RCA And Power 9 Usually Set Up 11 Safety Precautions 11 Specifications Maximum Output Level 19dBm 1KHz THD 0 5 Residual Noise 75dB Signal to Noise Ratio 71dB Equivalent Input Noise 120dBm Headphone Power 40mw 1 KHz THD 0 5 200Ω Equalization Low 80Hz 15dB Mid 2 5KHz 15dB High 12KHz 15dB Gain Control Mono 55dB 0dB Stereo 10dB 0dB Frequency Response 20Hz 20 KHz 1dB 3dB THD N ...

Page 3: ...signal presents to the highest level without triggering the peak LED That is the most appropriate position 5 EQUALIZERS These equalizers are designed to suit different room acoustics feedback control and improve the live PA sound No amount of equalization will correct the frequency response curve of a poor loudspeaker Always begin with all control in the O position and avoid excessively cutting bo...

Page 4: ... simultaneously adjust the level of the processed signal 8 PAN This rotary control determined the assignment of signal forth the channel to left and right or 1 and 2 groups When the pan pot is set centrally signal is sent equally to all selected groups and master Turning the control anticlockwise send relatively more signal to the left master and to the SUB1 Turning the pot clockwise sends relativ...

Page 5: ...to groups 1 and 2 is disconnected 12 PFL Pressing this Pre Fader listen switch routes pre fader signal from the channel to the headphone monitor outputs on the front and rear panels of the console At the same time all other signals are automatically disconnected from the monitor Section allowing the PFL signal s to be listened to in isolation This feature allows the operator to listen to a signal ...

Page 6: ...ut level of 4dB This switch allows you to match the sources connected to the stereo input channel to either standard which is important to ensure the best possible sound quality start with the switch 4 if you can t achieve an enough signal level select to 10dB 16 HIGH The control has shelving response that giving 15dB of boost or cut at 80Hz Adding warmth to vocals or extra punch to guitars drums ...

Page 7: ...e aux master to the headphone monitor outputs on the front and rear panels of the console At the same time all other signals are automatically disconnected form the monitor section allowing the A Fled signal to be listened to in isolation 19 PHANTOM 48V This slide switch turns the master phantom power on and off 1 2 3 4 is applies 48V DC across I 2 and 3 4 each microphone input channels connectors...

Page 8: ...e time interval of echo repeat The middle position 5 may be most effective 27 PAN Using by this control you fan adjust echo sound and external effectors sound between left and right 28 MAIN This switch routes signal form the effect to the stereo master when the switch is depressed signal from the channel is sent to masters 29 SUB This switch routes signal form the effect to groups 1 and 2 When the...

Page 9: ... outputs 33 SUBI SUB2 These 10 element barograph displays monitor the output levels of the two group outputs 34 POWER Indicator LEDs This LED illuminates whim the console is switched in and indicates the status often and 17 volt DC power rails of the console 35 PHANTOM 1 2 3 4 This LED illuminated whim the phantom power is switched on Phantom power is switched on and offers all channels collective...

Page 10: ...nput jack of monitor amplifier when using separate monitor amplifier 41 AUX IN This jack is to be connected with various external auxiliary signal 42 PHONES JACK This is used for monitoring the master signal and individually monitoring each channel with PEL AFL switch 43 EFFECT SENG This is used for adjusting volume of echo sound when sending echo sound to send jack 44 RETURN This is used for adju...

Page 11: ...in is set too low you will not get enough gain on the faders to push the signal up to adequate level if the input gain is set too high the channel fader will need to be pulled down in compensation but leave the greater risk of feedback because a small fader movements will have a very significant effect on output level Certainly the limited fader travel path will not successful in the mixing proced...

Page 12: ...For 10 sources slide the 4 10 swatch to 10 For microphone source the gain control adjustment will depend on what kind of the microphone you use normally turn the gain clockwise around 2 3 o clock But please ask the singer to perform alive do not whisper If they did not wake up while you are doing the sound check when they are back to alive you might drive the mixer overload or produce the feedback...

Page 13: ... voltage before connecting the AC plug This product is equipped with a 3 wire grounding type plug this is a safety feature and should not be defeated Proper grounding is a must practice to prevent electric shock hazard to the operator the microphone user and the musicians who wired to this unit 2 Before switch on the main power keep all the output fader all the way down to prevent damaging or exce...

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