Оценок - 4, средний балл: 4.3
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Фрагмент инструкции
1 dB below clip HUM and NOISE* (20 Hz - 20 kHz with 150 ohm input impedance) -128 dB less than 0.05% less than 0.10% less than 0.10% EIN - equivalent input noise Residual at main out (all faders down) Residual at Monitor out Main out with Main, Subs and 1 fader at Nominal (44 dB total gain) Monitor out with Monitor Master and 1 Fader at Nominal (44 dB total gain) INPUT CHANNEL EQUALIZATION -90 dB -90 dB -75 dB -80 dB Unbalanced Maximum Input Level Input Impedance PEAK INDICATORS* Threshold ± 2 dB +34 dB (40.0 V) 100 K ohms + 15 dB MAXIMUM VOLTAGE GAIN ± 3 dB Mic In to Main Out 82 dB Mic In to Monitor Out 73 dB Mic In to Sub Out 65 dB Mic In to Insert Jack 52 dB Mic In to Efx send 82 dB Lme In to Main Out 49 dB Line In to Monitor Out 39 dB Line In to Sub Out 32 dB Line In to Insert Jack 19dB Line In Efx send 49 dB CROSSTALK Adjacent Inputs 1 kHz Input to Output 1 kHz All combinations 20 Hz - 20 kHz LAMP CONNECTOR LEVEL DISPLAY* 10 Segment LED in 3 dB steps Reference "0" Response —75 dB typical —75 dB typical —50 dB minimum BNC connector 12.6 V ac/0.20 amps Max. -18 dB to + 9 dB + 4 dB Full wave, Average Responding DIMENSIONS Model 5208 Model 5212 Model 5216 mm in. mm in. mm in. Height 143 5-5/8 143 5-5/8 143 5-5/8 Depth 480 18-7/8 480 18-7/8 480 18-7/8 Width 528 20-3/4 680 26-3/4 832 32-3/4 Net kg lb kg lb kg lb Weight 10.7 23-1/2 13.8 30-1/2 16.8 37 POWER REQUIREMENT 25 Watts max. Available for 95 — 130 Volts, 50/60 Hz or 190 — 260 Volts, 50/60 Hz as indicated on rear panel. LOW — Shelving at 100 Hz ± 15 dB MID — Peak/notch at 3 kHz ± 12 dB HIGH — Shelving at 10 kHz ± 15 dB HIGH LEVEL INPUTS Max. MICROPHONE INPUTS* Max. Input Source Low Impedance, Pin 2 reference Level* Impedance, Impedance, Balanced. positive Ohms Ohms EIN (20 Hz-20 kHz: -128 dB Left insert +20 dB 100 K — 150 ohm source)** Right insert +20 100 K — Maximum Input Level +8 dB (2.0V) Efx return — >25 K — Input Impedance at 1 kHz 6 K ohms Efx input +40 25 K — CMRR - Common Mode 65 dB typical Monitor input +29 10 K — Rejection Ratio Aux input — >16 K — CMRR- Ratio (60 Hz- 50 dB min. Input chan insert +20 1.8 K flat 100 10 kHz) EQ SLEW RATE (measured 15 V.//isec +5 1 K max at Insert Jack) boost EQ LINE INPUTS* High Impedance - tip positive OUTPUTS Max. level i [± 1 dB) into min. load impedance Max. Min. Internal Level, dB Load, £2 Impedance, Main +20 600 50 Monitor +20 600 50 Left sub +20 600 50 Right sub +20 600 50 Left insert +20 600 50 Right insert +20 600 50 Efx send +20 600 50 Input chan insert +20 2000 100 ’ 0 d3 is referenced to 0.775 Volt. RMS. t ** Theoretical minimum noise is —130.8 dB across 150 ohms. two SERIES 52 TAPCO STEREO MIXERS SIGNAL FLOW DIAGRAM Er SERIES 52 TAPCO STEREO MIXERS 1H - CHANNEL PATCHING INSERT JACK 1A - GAIN 1B1 - HI EQUALIZER 1B2 - MID EQUALIZER 1B3 - LO EQUALIZER 1C - EFFECTS REVERB SEND 1D -MONITOR SEND 1E - PAN POT 1G -PEAK LED -1F - CHANNEL FADER FIGURE 1 — Input Channel Functions SECTION 1.0 1.0 INPUT CHANNEL CONTROLS (Figure 1) The input channel is the beginning of the mixer. Each input channel will accept one signal source which then may be sent to a monitor system, be equalized, have reverb or other effects added, and last but not least, be sent to the main system for the audience to hear. Each input has a low impedance microphone input (the 3 pin XLR or Cannon connector) and a high impedance mike or line input (1/4 in. phone jack). The line input will accept signals from an instrument, high impedance microphone, tape machine, electronic drummer or almost any other audio source. Always make sure that the channel fader (sect. 1F) or master faders (sect. 2G) are down before plugging or unplugging input sources. IA. GAIN RED CONTROLS The GAIN control adjusts the gain or amplification of the input amplifier. This is necessary to accommodate the wide variation in signal strength presented to the mixer by the almost endless variety of signal sources — vocal mics, instrument mics, instruments, tape machines, etc. The GAIN control allows you to optimize the amplification for each input source. This results in the best signal to noise ratio (. . . no hiss) and at the same time, best freedom from overload distortion. The GAIN control is used to match the gain of the first preamp stage to the signal strength of the source being run through the channel. To get the cleanest, quietest operation from the board it is important that the GAIN control be properly set. To set up a mix, first put all the input and sub-group slide faders at "10". Then adjust the GAIN controls for a rough mix. and do the fine tuning with EQ and faders as necessary. Whenever possible, it's best to try to maintain that "straight line" relationship between all faders. When this is done, all the levels within the console are very close to being optimized for the best noise and distortion performance. Once the...