Studiomaster Powerhouse 300 Скачать руководство пользователя страница 20

Powerhouse 300

19

6:1 GLOSSARY OF TERMS

AC POWER INPUT 

Local electrical supply.

ATTENUATE 

To reduce a signal, or reduce gain.

AUTO-PANNER 

A device which automatically moves an instrument between left and right. Can be
triggered manually, or by another instrument connected to its sidechain.

AUXILIARY SEND 

Extra output from the console, normally used for sending a mix of various instruments
to effects or foldback systems.

BUSS 

This carries a signal, or sum of signals through the console eg "left" buss.

COLD 

The negative phase of a signal. With 2 signal wires, one is positive (hot), and the other
is negative (cold).

COMPRESSOR 

A device which literally compresses a signal so that its level can fit onto media which
have a narrow dynamic range. Compression is often needed before recording onto
cassette tape, and is very useful for vocals.

CONDENSER MICROPHONES High quality microphones, generally best suited to recording work. To use with

POWERHOUSE, switch on the +48V Phantom Power.

dB (DECIBEL) 

A logarithmic ratio used to represent voltage or power gain. The reference to which
the ratio is being made is usually stated.

DIGITAL DELAY

A device which samples a piece of sound, stores it digitally, then converts it back into
sound a short time later.

DRY

A signal which has not been sent to an effect (see also WET).

EFFECT 

A general term used to refer to an external piece of equipment which can be used to
"fix" signals which sound wrong (noise gating for example), or used creatively to
produce an "effect" (reverb for example).

EFFECTS SEND 

See AUXILIARY SEND

EFFECTS RETURN 

Any place where effects may be returned to the console for mixing; on the
POWERHOUSE consoles there are LINE inputs and STEREO RETURN which are
suitable for this purpose.

EQ (EQUALISATION) 

Refined tone controls. Each "band" of EQ can adjust a particular frequency to make it
more or less prominent.

FADER 

A slider, rather than rotary, volume control.

FEEDBACK 

This is normally caused by a microphone being too close to a speaker. Feedback is an
"endless loop" in which an "output" (from a speaker) gets accidentally fed back into an
"input" (microphone). This can be a deafening howl, or sometimes in headphones a
whining noise will be added to the sound.

FLAT EQ 

Equalisation has been set so that no frequencies have been boosted or cut - every
frequency is at the same level.

FOLDBACK 

A separate mix for the performers to hear consisting of live instruments, pre-recorded
backing tracks and sometimes effects returns. The MON system of the
POWERHOUSE consoles is designed for this purpose.

FREQUENCY SPECTRUM 

The entire range of frequencies from very low (sub-bass and bass) to very high
(treble).

Содержание Powerhouse 300

Страница 1: ......

Страница 2: ...9 3 3 How to get the input sound through to the headphones 9 3 4 The equalisation section on the input channels 10 3 5 REV AUX and MON 10 3 6 The graphic equalisers 12 3 7 Tape record and playback so...

Страница 3: ...ctions 1 2 IMPORTANT AC POWER INFORMATION PLUG WIRING INFORMATION As the colours of the wires in the AC Power Lead of this apparatus may npt correspond with the coloured markings identifying the termi...

Страница 4: ...the selector round until the pointer is pointing to the correct voltage then press it back in You will have noticed a fuse while the selector was out This is the console s AC fuse It is a 20x5mm T2A...

Страница 5: ...with 16dB of boost cut at 2kHz 4c Low Frequency control is a shelving type with 16dB of boost cut at 60Hz 5 REV Turning this control clockwise sends the input channel signal to the 127 program DIGITAL...

Страница 6: ...y for each type effect selected The time is selected by using the SPECIAL TIME button in the same way as the TYPE button When SPECIAL has been selected the SPECIAL TIME button is used to select any of...

Страница 7: ...red Sleeve Ground Tip Signal These are the main outputs from the POWERHOUSE mixing console for connecting to an external amplifier P A system They allow a signal to leave the POWERHOUSE before the bui...

Страница 8: ...r the MON buss are routed to the PHONES socket 23 PHONES This is the output volume control for the headphones 24 PHONES socket For stereo headphones 0 25 stereo jack wired Sleeve Ground Ring Right Tip...

Страница 9: ...eaker systems Effects can also be connected here if required 4 OUTPUTS These XLRs are the amplifier outputs and connect directly to loudspeakers min impedance 4ohms 5 COOLING FAN This vent MUST NOT be...

Страница 10: ...ust this control until it reads about 20 on its scale The signal within the input channel has its level determined by this control 2 The CLIP indicator Check that this LED is not lit This LED will onl...

Страница 11: ...an EQ network that when mastered can make mediocre sounds good and good sounds excellent Practise is recommended 3 5 REV AUX MON The POWERHOUSE consoles have three controls on each input channel whic...

Страница 12: ...l For a mono effect use only the LEFT jack of the STEREO RETURN The other place the effect can be returned is a LINE input The effect return would then be treated like any other input signal and route...

Страница 13: ...n be individually sent via the GRAPHIC EQUALISERS to the left and right busses The TRIM FADER on each equaliser allows the signal level into the equaliser to be adjusted This is only required when exc...

Страница 14: ...L R MON button below the TO AMP level control must be released However more power may be required for the P A system in which case amplifiers may be connected to the LINE OUTS The built in power ampl...

Страница 15: ...alculations every second necessary to synthesise the many echoes found in natural reverberation The results of these calculations are then converted back to analogue sound The versatile digital reverb...

Страница 16: ...ROOM TYPES are slightly less smooth and are useful for a more intimate sound on vocals and guitar The PLATE TYPES are very smooth and slightly shrill ideal for vocals or percussion Selecting DARK simu...

Страница 17: ...TIME control 4 5 SPECIFICATIONS Frequency Response 20Hz to 10kHz 4 1dB Effect 11Hz to 25kHz 1dB Dry T H D 0 1 1kHz 0dBm effect Output Noise 71dBm DIN Audio 4dBm mode 82dBm DIN Audio 10dBV mode 98dBm...

Страница 18: ...RANGE MIC Gain Range 15 to 60dB LINE Gain Range 5 to 40dB SIGNAL TO NOISE RATIO MIC Input to Master Output 77dB ref to 0dBm output MIC Gain 50dB Output Faders at O CROSSTALK Input to Adjacent Input Be...

Страница 19: ...3dB 4Hz to 100kHz TOTAL HARMONIC DISTORTION At rated power output 1kHz test signal 0 02 INPUT IMPEDANCE 10kohm INPUT SENSITIVITY 0dBm RESIDUAL HUM NOISE 70dB SIGNAL TO NOISE RATIO Greater than 100dBm...

Страница 20: ...ound a short time later DRY A signal which has not been sent to an effect see also WET EFFECT A general term used to refer to an external piece of equipment which can be used to fix signals which soun...

Страница 21: ...the FOLDBACK speakers on stage as well as THE MONITORS NOISE GATE A device which can remove the noise content from a signal or be used to remove low level noise present when an instrument is not bein...

Отзывы: