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An individual monitoring mix is important for best working conditions and especially a good 
intonation.  That  is  why  the  Channel  One  is  equipped  with  a  headphone  monitor  section, 
providing a headphone amplifier and a mixing stage to generate an individual mix for the 
musician with playback and recording signals.

In general, the headphone monitor section can of course always serve for direct monitoring 
of the recording via headphones. Another practical use of the headphone monitor module is 
to monitor the signal quality directly to locate and eliminate possible interference rapidly.

PLAYBACK

The PLAYBACK control regulates the volume of the playback signal which is passed to the 
musician. There are two methods of passing the mono playback signal: The first is to pass 
the music to both ear pieces of the headphone in which case PLAYBACK INPUT LEFT must 
be connected. On the other hand some musicians want to hear the playback signal through 
only one ear piece so they can hear themselves directly with the other ear (playback signal 
only without microphone signal). In this instance connect PLAYBACK INPUT RIGHT and set the 
VOLUME control to off (also see page 10, PLAYBACK INPUTS).

VOLUME

The  VOLUME  control  regulates  the  volume  adjustment  of  the  microphone,  instrument  or 
line signal. The setting is independent to that of the OUTPUT control or MUTE switch, which 
means the volume in the headphones does not alter although the output value of a modula-
tion has changed.

TIP:

 When working with hard disc systems or digital mixing consoles latency may be present. 

Flanging or phasing effects occur if the musician receives the monitor signal with a time lag. 
It is therefore recommended, to obviate latency, that the monitor signal passes directly from 
the  headphone  monitor  to  the  headphones.  It  should  be  remembered  that  the  recording 
signal has not been picked up again by the playback signal because phase quenching can 
occur when the same signal is mixed by both the PLAYBACK and VOLUME controls. 

PHONES

Connect headphones to the standard 1/4" (TRS) stereo jack plug on the front panel. The low-
resistance input allows for connection of all usual headphones. 

The layout is: Tip =left channel, Ring = right channel, Sleeve = ground.

Make sure that the plug is firmly seated  for a solid connection. Reduce volume level before 
you remove or plug in a headphone (or when switching headphones). 

NEVER plug in a mono 

1/4" jack (TS) to the headphone output. The use of a mono 1/4" will lead to a short-circuit 
that will destroy the amplifier stage. Standard headphone connectors always have stereo 
plugs, and thus a correct connection will be assured when you only connect headphones 
directly. Double check that you use stereo 1/4" TRS plugs when you connect headphones via 
patchbays or extension cables etc.

21

Channel One

Headphone Monitor 

Control Elements

Содержание Channel One 2950

Страница 1: ...Manual Channel Strip Channel One Model 2950...

Страница 2: ...40 Fax 49 0 2163 983 420 E Mail info spl info Internet www spl info The construction of the Channel One Model 2950 is in compliance with the stan dards and regulations of the European Community Notes...

Страница 3: ...UCTION SPL De Esser technology 13 Insert 14 Compressor Limiter ON LIMIT 14 COMPRESSION MAKE UP GAIN NOISE GATE 15 SPL compressor technology 16 Equalizer ON EQ PRE COMP 17 LMF LMF MHF MHF Recommendatio...

Страница 4: ...ample near a wash basin or bath in a damp cellar near swimming pools or the like In such cases there is an extremely high risk of fatal electrical shocks Insertion of foreign objects or fluids Never a...

Страница 5: ...s Be sure that any service technician uses original replacement parts or those with identical specifications as the originals Incorrectly substituted parts can lead to fire electrical shock or other d...

Страница 6: ...upported And more time remains for the creative tasks From the outset great value was placed on high flexibility An example are the three separate inputs for microphone line signals or instruments eac...

Страница 7: ...OPTIONS GND LIFT GND LIFT GND GND LIFT VOLTAGE FUSE VOLTAGE FUSE X L R W I R I N G PIN 1 GND PIN 2 HOT PIN 3 COLD T R S J A C K W I R I N G TIP LEFT RING RIGHT SLEEVE GND CONNECTOR WIRING Sound Perfo...

Страница 8: ...in ground potentials between driver and receiver would produce disturbances In balanced connections a reference signal with reversed polarity is transmitted additionally to the audio signal through a...

Страница 9: ...tch on the front panel Please read the important notes in chapters 48V and Activating phantom power on page 11 The microphone input can also be equipped with an optional input transformer see page 29...

Страница 10: ...r is 12dBu 0 dBFS PLAYBACK INPUTS The playback signal is connected to the unbalanced PLAYBACK INPUTS to create a head phone moni toring mix If a mono playback signal is available only the LEFT connect...

Страница 11: ...PHANTOM POWER ALSO WHEN CHANGING MICROPHONES THE INPUT STAGE OF THE CHANNEL ONE CAN BE DAMAGED IF YOU IGNORE THESE PROCEDURES 1 Connect the microphone to the Channel One 2 Now activate phantom power...

Страница 12: ...n connected regardless of which input is selected You can choose the line input as source as long as the instrument input is not being used INSTRUMENT The INSTRUMENT input jack is placed on the front...

Страница 13: ...of operation has distinct advantages because it is unobtrusive and helps retain the original tonal quality Compressor typical side effects such as lisping or nasal tones do not occur Finally its opera...

Страница 14: ...shows the processing intensity see GAIN REDUCT on page 23 Usually the signal flow follows the design of the Channel One and for this reason the input signal normally arises from the de esser or when...

Страница 15: ...eration of the subsequent recording system MAKE UP GAIN With the MAKE UP GAIN control you can restore the overall level reduction caused by compression or limiting With assistance of the GAIN REDUCT d...

Страница 16: ...ignal as far as possible Overall this technique provides the optimal solution between fast unobtrusive control response and the least distortion of the audio signal The result is a natural and transpa...

Страница 17: ...n the switch is pressed the equalizer operates in front of the compressor limiter when not pressed the succession remains unchanged This function permits very flexible operation with the Channel One w...

Страница 18: ...f bass emphasized instru ments during recording or subsequently when mixing etc MHF The center frequency of the semi parametric mid high frequency filter is set with the MHF control The frequency rang...

Страница 19: ...the equalizer so that the newly created spectrums can also be processed with the EQ A more or less over driven field effect transistor forms a part of the distortion circuitry It s characteristic cur...

Страница 20: ...T display does not show any values An instance of a sensible application could possibly be when the output signal of the Channel One together with the playback signal are reproduced via the studio mon...

Страница 21: ...o that of the OUTPUT control or MUTE switch which means the volume in the headphones does not alter although the output value of a modula tion has changed TIP When working with hard disc systems or di...

Страница 22: ...e EQ and behind the output control All possible causes for overload can be directly checked overdriven microphone instrument line gain an excessive make up value in the compressor limiter too much boo...

Страница 23: ...f the AD converter and on page 29 Although the values of the PPM OUTPUT display only cover up to 12 dB sufficient headroom remains internally approximately 6 dB so that the output value can exceed thi...

Страница 24: ...kHz 80 dB 10 kHz 78dB 0dBu LINE IN only THD N Gain A weighted 5dB 99 4 dBu 20 dB 97 2 dBu 42 dB 79 4 dBu Input impedance Line 20 kOhm Instrument 1 MOhm Maximum input level Line 22 dBu Instrument 14dBu...

Страница 25: ...25 Channel One Block diagram...

Страница 26: ...and output Curve B shows the curve charac teristics of the compressor The soft knee characteristic is clearly visible Curve C portrays the limiter s curve characteristics Diagram2 shows various cut an...

Страница 27: ...r at 3kHz The proportional Q characteristic is distinctly visible Diagram 4 displays the curves of the LMF filter Various cut and boost settings at 150Hz Again the proportional Q char acteristic is cl...

Страница 28: ...Copy master recall settings Artist Album Gig Title Engineer Track s Groups Date...

Страница 29: ...synchronization The yellow Sync Lock LED illuminates when a valid sync signal is present at the SYNC INPUT and the converter is automatically synchronized to the external sample rate To prevent inter...

Страница 30: ...Manual Channel One Model 2950...

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