Cloud Z4MK3, Инструкция по установке и эксплуатации

Страница: 15 / 32

Z4-8
MK3
Installation and User Guide v1.2 15
SETTING UP & OPERATION
Music Inputs
Gain & level
To avoid dramatic changes in volume when switching between
sources, the Z8
MK3
/Z4
MK3
’s music inputs are provided with
preset gain trim controls ([2] on page 9 ). These vary the
input sensitivity from -12 dBu (195 mV) to +8 dBu (2.0V).
When setting the system up, play audio from all the sources
in use and listen to them one at a time in a convenient zone
(preferably that in which the mixer is located) at a reasonable
volume. Taking a source of “average” volume as the reference,
the gain controls of the others should be adjusted so that
there is no appreciable difference in volume between any of
the sources. (With a typical music source, setting the gain on
its channel to mid-way is a good starting point.) Note that
consideration may need to be given to the type of programme
in use, particularly if one or more sources are TV sound.
In normal operation, the music level in each zone is set with
the Music Level control on the front panel ([2] on page 8
).
This control will not be operative if the corresponding rear
panel MUSIC CONTROL push-button is set to REMOTE.
When setting the audio system up, set the gain controls (if
any) on the power amplifiers for each zone to minimum, then
turn the Music Level control on the mixer to maximum. Then
increase the zone volume by turning up the power amplifier
gain until it is as loud as will be required in normal use. This
method ensures that excessive volumes will not be possible
with the mixer’s operational controls.
Note that the setting of the music level has no effect on
microphone or paging volume.
Local/remote control
If a zone has an RL-1 or RSL-6 Series remote control plate
or an LM-2 line input module connected, the rear panel
MUSIC CONTROL push-button must be set to REMOTE
(button in) for the remote controls to be operative and for
the corresponding front panel controls to be disabled. Zones
without such plates should be set to LOCAL (button out).
The setting of the internal PCB jumper J1 on each zone sub-
board is also relevant. The default setting is SW. This means
that zone music source selection will be determined by the
rear panel switch setting; the front panel control in LOCAL
and via a remote plate or other external control in REMOTE.
If the jumper is set to FR, the source selection will always
be made with the front panel control whatever is connected
at the rear panel or the setting of the MUSIC CONTROL
switch. If external control of music level only (i.e., not source
selection) is required, J1 should be set to FR and the MUSIC
CONTROL switch to REMOTE.
Microphone Inputs
Phantom Power
Each microphone input (MIC 1 & MIC 2) has 15 V phantom
power available. This will be adequate to power a wide range
of condenser microphones. (Some “studio quality” mics may
require a higher phantom voltage and thus necessitate an
external PSU.) To enable phantom power at the mic inputs,
internal motherboard jumpers J1 (MIC 1) and/or J2 (MIC 2)
should be moved to their ON positions. See page 22 for
jumper locations.
Phantom power should NOT be enabled if dynamic
microphones are to be used.
Gain & level
Each main microphone input (MIC 1 & MIC 2) is provided
with a rear panel preset gain control ([4] on page 9 ). A
wide range of gain is available and there should be no problem
in obtaining a satisfactory level from any normal microphone.
The mic GAIN control should be adjusted by speaking
normally into a microphone of the correct type. Turn the
front panel Mic Level control up to maximum and listen in
a convenient zone; the rear panel GAIN control should be
carefully advanced until the mic volume is as loud as it is ever
likely to be needed, and then reduced slightly. There should be
no audible distortion. The use to which the microphone is to
be put should be borne in mind – karaoke is more likely to
overload the mic preamplifier than spoken announcements, if
the gain is not set correctly.
In normal operation, the mic level in each zone is set with the
Mic Level controls on the front panel ([3] & [4] on page 8
).
EQ
Each mic input has associated HF and LF EQ controls ([5]
on page 9
) These provide 10 dB of cut or boost at 5 kHz
and 100 Hz respectively and should be adjusted by listening
to achieve a clear mic sound. Again, the application should be
borne in mind when making adjustments.
High-pass filter
Each mic input has a fixed 100 Hz high-pass filter to remove
the lowest frequencies. This helps to reduce the effects of
breath blasts and microphone handling noise. The filter is
always in circuit.