Harbinger LVL Seris, Руководство пользователя

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LV7 OWNER’S MANUAL LV7 OWNER’S MANUAL
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MICROPHONE INPUT (MIC)
This XLR combo connector will accept virtually any professional microphone. It is
designed for microphone and line level signals on either XLR or ¼” cables.
Some microphones, mostly condenser mics, need phantom power to operate.
Switch on 48V phantom power. If you’re unsure if your mic needs phantom power,
check the instructions or the manufacturer’s website for information. Phantom
power should not hurt most microphones, except for very old or damaged ribbon
microphones.
For live microphone use (where the microphone signal is amplified through a
PA system) engaging the HPF (high-pass filter) is recommended for reducing
“boominess” and maintaining clarity in the microphone signal.
Use the microphone preamp’s gain control (explained below) to bring the
microphone up to a high enough level to use with the mixer.
LINE INPUT (LINE)
This ¼” input is designed for line-level signals. It accepts either balanced (TRS)
or unbalanced (TS) cables. The level of this input is also controlled by the gain
control, explained below.
Do not use both the microphone and line inputs on the same channel.
The mixer will distort and the noise level will go up.
The line input is not designed to accept an instrument-level signal, such as the
output from an electric or acoustic guitar or bass. If you want to plug your
instrument into the mixer, we suggest a direct box (also called a DI box). Plug
your instrument into the direct box, then plug the output of the direct box into the
microphone input of the mixer.
GUITAR/BASS
Passive guitar or bass signals tend to have the best sound and sensitivity when
they are connected to a high-impedance input (similar to what you would find
on a guitar or bass amp). When connecting a passive guitar or bass signal to
CH 2|3, engaging the GUITAR HI-Z switch is recommended. It is possible to
connect 2 guitar signals to CH 2|3 simultaneously. When both inputs are used,
the signals will be hard-panned left and right. If you wish to have both guitars
panned to the center so that they project from both speakers in PA setup, press
the MONO button next to the MAIN level control.
If connecting an active acoustic guitar signal to CH 1, engaging the HPF is
recommended for rolling-off “boominess”.
GAIN
Gain controls the level of the microphone or line level signal plugged into the
mixer. If the gain is set too low, the output signal will be noisy when you turn it up
at the level control. If gain is set too high, it will distort.
For best performance, set the gain while looking at the meters. Turn the Level
control so that it’s facing straight up. Then turn the gain up until you see the first
or second lights on the meters. Don’t set it too high – although you might not hear
distortion when playing by itself, when all of the channels are playing at that level
they may add together and distort the mixer.
Sidebar: “Why are there two volume controls?”
The Gain and Level controls work together to get the best performance out
of the mixer. A quiet signal may need more gain than a loud guitar amp going into
a sensitive microphone. Set the gain so that the level on each channel is roughly the
same, then use the Level controls to set the balance that you want in your mix.
GAIN STAGING
Gain staging involves setting the serial amplification stages of an audio signal in
a way that achieves best signal to noise ratio. Improper gain staging can result in
more background noise, less clarity and lower sound system efficiency. If your mixer
is connected to a FOH amplifier or powered speakers, you will need to first set the
level of these for an appropriate audience listening level. To set your FOH amplifier
or powered speaker level, connect a full-range line level music source to your
mixer and set the peak level on the channel meters somewhere between -6dB and
0dB. Set your main output level to zero/unity and slowly bring up the amplifier or
powered speaker levels to a volume that makes sense for the venue. With this main
output level set, you can move on to setting levels for the individual inputs. Start with
gain and channel level controls at their minimum positions. For microphone signals,
while speaking or singing into the connected microphone, slowly bring up the
channel GAIN control until only the loudest input briefly triggers the channel CLIP
indicator LED. Reduce the GAIN control slightly from this level. With the main output
level control set to zero/unity, continue speaking or singing into the connected
microphone and slowly bring up the channel LEVEL to a desired listening level.
Follow this process for any microphone signals. When setting relative levels between
channels, best practice is to reduce levels of signals that are too loud, working
subtractively.
The high EQ control is a shelving EQ. What this means is that it boosts or
cuts from 10kHz and everything above that. Turn it up to bring out the breath of a
vocal or the high overtones of the cymbals. Turn it down to reduce finger squeaks on
a guitar or bass.
This low EQ boosts or cuts everything from 100Hz or below. You might bring it up
for more bottom out of your kick or bass guitar, and turn it down to reduce rumble
from a vocal or wind instrument.
EQ LOW
RELATIVE RESPONSE IN dB
FREQUENCY IN HZ
FREQUENCY RESPONSE
APPENDIX LV7 SPECIFICATIONS
Parameter Condition LV7
Frequency Response Mic In to Main Out (Trim at 0 db) 20 Hz – 22kHz
THD Mic In to Main Out (20Hz to 20 kHz) 0.008%
Preamp Noise (EIN) 20 Hz to 20 kHz, (150 ohm sources) –125 dB
Residual Output Noise All level controls @ minimum –91 dB
Common Mode Rejection Ratio (CMRR) Maximum Gain >72dB @ 1 kHz
Crosstalk
Adjacent Channels –63 dB
Same channel (stereo separation) –74 dB
Input Gain Control Range +15dB to +63dB
Phantom Power DC +/–48V
Equalization
Mono Channel, High ±12dB@ 10 kHz
Mono Channel, Low ±12dB@ 100Hz
Output Level Maximum +22 dBu
Maximum Input Levels
Mic +6dBu (with -26dB PAD)
Line Input +21dBu at Unity Gain
Aux Input +6dBu at 15dB Level max
Input Impedance
Mic 2kΩ, balanced
Line Input 10kΩ, balanced
Aux Input 10kΩ, balanced
Output Impedance
Main 120Ω
Control Room, Rec Out 120Ω
Headphones 100Ω
VU Meters 4 Segments +5, 0, –3, –6 dB
AC Power Requirements 3-pin mini XLR connector ±15VDC @ 500 mA
Dimensions L x W x H (shown in Inches) 6.4”L x 5.5”W x 2”H
Weight (net) Without PSU 1.23 lbs