94
Appendix C: Application Notes
VeniceF
Operator Manual
There are a number of solutions to this problem:
• Reduce the amplifier’s input attenuators to a level where the amplifier and console
clip at the same point.
For example, the input sensitivity is 0dBu, setting the input attenuator on the
amplifier to -21dB would mean that the console would clip at the same time as the
amplifier. So, operating the console sensibly the amplifier should never be clipped.
The console LED meters will also accurately show the available headroom left in the
entire system.
-21dB may not be a sensible level to set as many operators choose not to run the
output of the console so high. That is personal choice.
• Run the output of the console at a level below 0dBu.
This solution means that you won’t get full benefit of the console, and may suffer a
reduced signal to noise ratio, especially when running over long signal cables. But
the amplifiers should be saved from clipping.
As with many things in the audio world, use your ears. If something sounds distorted,
do the following:
Routing
The flexible routing of the Venice
F
allows the console to operate as both a FOH and
monitor console, or as a combination of both. For operators that haven’t got a great
deal of experience, here are a few helpful guidelines.
FOH mode
The group-aux changeover switch on each group (see “Group-aux changeover” on
page 56) should be released (in the off position) so that the group fader controls the
group bus signal.
Uses for groups vary, but include:
•
Submixes
Submixes are a common way of saving time (and possibly
embarrassment) when using a large number of microphones at once. For example,
multiple microphones for choirs, drum kits/percussion, orchestras, etc.
The channel to be submixed should be routed to the group and any aux sends ONLY
(that is, not to the master L-M-R). The fader is, as normal, used to set the relative
level between the channels in the submix. The group chosen for the submix should
then be routed to the master L-M-R and panned as required.
Problem
Action
Input gain is too high
Lower input gain
EQ has too much boost
Disable EQ
EQ has too much cut and has a high
input gain
Disable EQ
There is too high a level entering the
inserted processor
Disable insert
The loudspeaker controller or amplifiers
are clipping
Check clipping indicators on amplifiers
etc.
Summary of Contents for Venice F16
Page 2: ......
Page 8: ...viii Contents VeniceF Operator Manual...
Page 38: ...30 Chapter 4 Working With The Console VeniceF Operator Manual...
Page 50: ...42 Chapter 5 Mono Input Channel VeniceF Operator Manual...
Page 80: ...72 Chapter 7 Output Section VeniceF Operator Manual...
Page 82: ...74 Appendix A Functional Block Diagrams VeniceF Operator Manual Overview...
Page 83: ...Mono input module 75 VeniceF Operator Manual Mono input module...
Page 84: ...76 Appendix A Functional Block Diagrams VeniceF Operator Manual Stereo input module...
Page 85: ...Stereo return 77 VeniceF Operator Manual Stereo return...
Page 86: ...78 Appendix A Functional Block Diagrams VeniceF Operator Manual Group...
Page 87: ...Aux 79 VeniceF Operator Manual Aux...
Page 88: ...80 Appendix A Functional Block Diagrams VeniceF Operator Manual Monitor...
Page 89: ...Stereo master 81 VeniceF Operator Manual Stereo master...
Page 90: ...82 Appendix A Functional Block Diagrams VeniceF Operator Manual Mono master...
Page 91: ...Matrix 83 VeniceF Operator Manual Matrix...
Page 92: ...84 Appendix A Functional Block Diagrams VeniceF Operator Manual Solo and comms...
Page 93: ...Digital 85 VeniceF Operator Manual Digital...
Page 94: ...86 Appendix A Functional Block Diagrams VeniceF Operator Manual...
Page 104: ...96 Appendix C Application Notes VeniceF Operator Manual...
Page 106: ...98 Appendix D Crib Sheets VeniceF Operator Manual Mono input channels Notes...
Page 107: ...Dual stereo input channels 99 VeniceF Operator Manual Dual stereo input channels Notes...
Page 108: ...100 Appendix D Crib Sheets VeniceF Operator Manual...
