to manual - Audio Developments Ltd
Contents
1. EGUALISATION LF SHELVING 10dB 100Hz VARIABLE TURNOVER MAX 15dB 30 Hz MF PEAK DIP 15dB 2k8Hz Q 1 2 RECIPROCAL HF SHELVING 10dB 10kHz VARIABLE SLOPE MAX 15dB 30kHz HIGH PASS FILTER 3dB 90Hz and 150Hz 12dB OCTAVE SLOPE HARMONIC lt 0 03 1kHz OdBm OUTPUT DISTORTION lt 0 15 40Hz to 20kHz 415dBm OUTPUT CROSSTALK lt 70dB 40Hz to15kHz INTERCHANNEL 8 INTERGROUP lt 55dB 40Hz to15kHz BETWEEN L amp R ON STEREO CHANNEL NOISE MIC lt 126dB 20Hzto 20kHz 200R SOURCE WITH RESPECT TO THE INPUT LINE gt 70dB SIGNAL TO NOISE RATIO 20Hz to 20kHz LIMITER THRESHOLD 8dB RATIO 7 1 ATTACK 2ms SET AT FACTORY VARIABLE VIA INTERNAL PRESET RELEASE 250ms SET AT FACTORY VARIABLE VIA INTERNAL PRESET POWERING EXTERNAL AD100 09 POWER SUPPLY UNIT 14V DC 4 PIN XLR 3W WITHOUT MICROPHONE POWERING TECHNICAL SPECIFICATION MECHANICAL AD146 is supplied with 6 8 10 or 12 input modules A separate meter bridge fitted with 4 VU or PPM meters is supplied to read outputs A B C and D The mixer s meters can then be dedicated to monitor outputs 6IP 8I P 101 P 12 I P A 390 411 472 533 B 325 386 447 508 DIMENSIONS IN MILLIMETRES WEIGHT evP 81 P 10WP 121P L 82 97 112 127 9 7 11 2 12 7 WEIGHTS IN KILOGRAMS 10 SIZE T RETOR PANEL 2 413 0 ht E 2 100 0 B DROP THROUGH VERSION OF MOUNTING 6IV P 8I P_ 101 P 121 P A 318 379 440 501 B 324 385 4462. 15 is calibrated 10dB down from its fully open position allowing the operator to work with 10dB of gain in reserve Faders on adjacent modules can be coupled for stereo operation by the use of standard ganging clips The fader may be calibrated at its fully open position if desired and the scale changed accordingly 21 STEREO LINE MODULE Audto L 5 revi 1 Input changeover toggle COCO jca ka N A 2 Phase change 3 Input balance control a m ali s a m ZU 4 High freguency amplitude O l an z 4 5 Mid frequency amplitude O nin Da 13 EQ selector 6 Low frequency amplitude S LR A E 14 Matrix selector 7 Width h MONO STEREO h 8 L R A B C D e O OO routeing switch R 9 Pre fader 15 Routeing to monitor 1 10 PFL indicator LED ices 11 Overload LED left _ 9 12 Overload LED right ROLA se o 16 Channel fader 0 5 18 20 30 40 58 68 0 22 For optimum performance at line level the stereo module employs RFI suppressed double balanced instrumentation grade input amplifiers The input changeover toggle 1 interchanges the inputs to connectors 1 amp 2 without having to replug The phase change toggle 2 changes the phase of the signal on connector 2 and is unaffected by the position of toggle 1 The module s input stages have fixed u
3. 507 C 369 430 491 552 MEASUREMENTS IN MILLIMETRES WEIGHT AS PREVIOUS EQUALISATION CURVES HPF and Mid Frequency Equaliser AMPL dBr vs FREG Hz 26 JUN 96 15 57 41 AE TT CE N MEH eE T TR HH o d j An Eac Cs a Ve U NATE LAU LE PE High and Low Frequency Equaliser AMPL dBr vs FREQ Hz 26 JUN 96 15 57 41 20 000 E ETE A E PUNES pij a ae a li ee jae ae ie a a a are area io paj a reje ali a Te Will 12 Q O Z Z m O O JU U gt Z m To 10 11 a CD TB SEND RET GH POWER IN f i x DR nna zem i J SS sO mi s mi 2X Z H Li 5 6 Z Ka Li Z z zE h SS es j os i Hu O S st oH V 2 5 z o Lu Vadi wt O Vf s 3 Lu at a A lt 4 m Z b z 5 g 2 EFT INE LINE 2 RIGHT 1 Microphone input or Line 1 of mono input or Left of stereo input 2 Line input or Line 2 of mono input or Right of stereo input 3 Main A B outputs 4 Main C D outputs 5 Monitor 1 Left Right outputs 6 Return 1 Left Right jack sockets 7 8 9 MIC LINE 1 HSNd HSnd HSnd Return 2 Left Right jack sockets Monitor 2 output jack socket Talk send amp return HSNd 10 Subsidiary connector 11 External DC power input 12 Off On switch external amp internal AI input and output impedances are to
4. Adjust levels to achieve a reading of 4dBu at a main output on an AC millivoltmeter measured across pins 2 amp 3 on the output XLR Switch the appropriate meter to the selected output and adjust the preset to give a reading of OVU PPM driver PCB has three calibration controls presets VR1 adjusts the reference level VR2 and VR3 adjust the law of the meter VR2 adjusts the upper sector of the scale and VR3 adjusts the lower sector To initiate calibration set each preset to its mid position BBC Scale using the tone generator and millivoltmeter as described above adjust mixer levels for a reading of OdBu on the millivoltmeter from a main output Switch the appropriate meter to the selected output and adjust VR1 for a reading of 4 Increase the output signal to 8dBu and adjust VR2 for a reading of 6 Decrease the output signal to 8dBu and adjust VR3 for a reading of 2 Repeat this procedure until an accurate set of readings is obtained without further adjustment to any of the presets being required Now check all points 1 to 7 on the scale to determine whether they are within specification N10 Scale for a meter calibration of TEST OdBu With a main output signal of 6dBu adjust VR1 to give a meter reading at 6 Increase the signal to 6dBu and adjust VR2 to obtain a meter reading at 6 Lower the output signal to 18dBu and adjust VR3 to obtain a meter reading at 18 Repeat this procedure to obtain an accurate reading at
5. M S domain in order that the M S relationship can be altered Because the human brain is incapable of unscrambling signals in the M S domain all M S signals must be returned to the L R domain These conversion procedures can be achieved electronically or by the use of a specially designed transformer and are called encoding or is it decoding In order to overcome any possible ambiguity we refer to the encoding and decoding processes as matrixing since they involve a matrix amplifier This matrix amplifier will accept a L R input signal and convert it to an M S output or an M S input signal and convert it to a L R output hence the confusion The matrix is a sum and difference amplifier which adds in phase the two input signals to produce a left signal M S L it also adds the two input signals in anti phase to produce a right signal M S R Similarly L R M and L R S MATRIX AMP Increasing the S signal widens the L R stereo image decreasing the S signal makes the stereo image narrower Changing the phase of an S signal swaps over the left and right outputs of the matrix Thus if an M S microphone is set up with incorrect orientation of the S microphone changing the phase of the S microphone channel will rectify the situation without having to disturb the microphone Mixing in the M S domain is a legitimate technique but X Y microphones will first have to be matrixed to the M S domain 32 Blumlein s microphone tech
6. advantage of these techniques The result is AD146 a four output mixer This was followed by AD148 edit mixer Based on AD146 two comprehensive left and right monitor modules have been added for editing purposes If a mic line module is included for commentary or voice over purposes its input gain switch can be changed to a potentiometer and its gain structure changed to ensure consistent level matching with a fixed mechanical point of reference Unfortunately this way of working does reduce headroom and also compromises a mixer s noise performance After AD146 AD148 it was back to the drawing board Our customers were still demanding a two output mixer as a true replacement for the PICO and with the PICO s simplicity Despite past assurances to the contrary T powering is still required And could we incorporate auxiliaries And could we possibly bring it to market at entry level We have and we have and that s MERCURY AD147 AD149 completes the 140 series of mixers and has a repertoire of party tricks not to be found in any other mixer not even for ready money The design team took as its starting point our list of all the ideas and suggestions presented to us over the past few years Many of these requests came from film sound recordists a sub set of recordists we have unintentionally neglected in the past Since the days of R amp D for AD146 channel insert points suddenly became de rigueur lIt transpires that
7. change 2 precedes the radio frequency interference suppression circuitry Input gain is switched in 2dB steps allowing up to 10dB of gain or attenuation 3 The switch may be replaced with a potentiometer for continuously variable control of input gain The equaliser is identical with that in the microphone line module and is engaged by EQ 12 The clean feed option is also identical with that in the microphone line module The panoramic potentiometer 7 routes the signal proportionately between A and or C outputs L and B and or D outputs R Routeing switches 8 are independent of each other and also act as channel mutes The overload LED 11 illuminates 3dB before clipping at the input to the channel fader equaliser output Should the overload LED operate check for excessive equalisation before reducing the input gain S switch 13 creates a matrix amplifier across an adjacent pair of input modules Refer to M S NOTES PFL 9 with indicator 10 routes the signal at the fader input to monitor 2 ie the headphones output jack PFL overrides any other signal appearing on monitor 2 MON 14 routes the true output from the module to the monitor module This signal is independent of any other routeing and is derived from the output of the panpot and S switch 13 if selected and therefore has Land R components This monitor signal is auditioned by selecting CH 1 on the monitor module The Penny amp Giles fader
8. each of these three points Now check the calibration of all meter points SDR Scale with a main output signal level of 6dBu adjust VR1 to obtain a reading of 12 Increase the output signal to 6dBu and use VR2 to obtain a reading of 0 on the meter Lower the output signal to 18dBu and adjust VR3 to give a reading of 24 Repeat the procedure to obtain an accurate reading at each of these three points Now check the calibration of all meter points 27 Output limiters calibration involves four presets per output however only two are involved with a particular parameter Using A output as the example Biasing and threshold are adjusted as follows VR104 biases the limiter circuit to the point of correct operation and VR103 sets the threshold Labelled SET 0 and TH respectively on the left hand PCB With no signal present VR104 should be adjusted to give a reading in the range 1 5v to 2 5v at PIN 12 of IC7 VR103 should be adjusted to give a reading inthe range 2 5v to 3 5v at PIN 10 of IC7 Apply a signal at 1kHz to the mixer to give a level of OdBu at A output Select the limiter function and adjust VR104 until the output signal starts to fall typically 0 2dB The DC voltage at PIN 12 of IC7 should be approximately 2 0v After setting VR104 adjust the output signal to just greater than 8dBu with the limiter deselected Introduce the limiter and adjust VR103 until the output signal falls to 8dBu This is the THRE
9. many sound engineers have experienced the power of FLEX EQ our industrial strength equaliser and wish to be able to use it when making original recordings Being latter day converts we have included circuitry to take full advantage of all M S techniques even shuffling in both production and post production AD149 is Audio Developments tribute to and celebration of the genius of Alan Blumlein We appeal to all AD149 users to break with tradition and just on this occasion study the manual to reveal all the mixer s secrets THIS IS ESSENTIAL Well we HAD every intention that AD149 would complete the 140 series We d reckoned however without the persistence nay insistence of our customers for a mains operated version of the AD146 with four auxiliaries we ve called it AD144 INTRODUCTION Unpacking If there are any signs of damage to the outside of the carton please notify us or your supplier immediately regardless of the unit s apparent physical condition This is in case a Claim has to be made at a later date because of previously undetected transit damage The packaging material should not be discarded until the mixer has been acceptance tested and a suitable transit storage case is available for secure safe storage Visual Inspection Identification please make a separate note of the serial number for your own capital equipment records Ensure that it agrees with the number on the invoice packing note Th
10. the supply voltage falls below the safe operating level of 10V 14 External powering of the mixer is via a 4 pin XLR 13 XLR Pin 1 OV Pin 3 15V 24V DC Pin 2 Charge Pin 4 12V 15V DC A suitable external power supply is Audio Developments AD100 09 but any external DC source must be capable of delivering 750mA at 12V Note When the chassis size exceeds 12 inputs or when specified by the customer a 5 pin XLR 13 is fitted to accept external powering The internal DC DC Converter is omitted A suitable external power supply is Audio Developments AD 100 10 XLR Pin 1 OV Pin 4 48V DC Pin 2 12V DC Pin 5 NC Pin 3 12V DC D connector 14 provides connection to an optional meter bridge in which case the mixer s meters should be routed to MON CONV IDC CONV IDC Pin 1 1 Chassis Pin 8 15 V voltage rail 2 3 Spare 9 2 OV 3 5 Spare 10 4 PFL left output 4 7 Spare 11 6 PFL right output 5 9 Spare 12 8 Output D 6 11 PFL control 13 10 Output C 7 13 V voltage rail 14 12 Output B 15 14 Output A The 6 pin XLR connector 15 carries all signals to and from an outstation boom operator director etc The return appears only on the headphones output XLR Pini Audio Ground Pin 4 Ret Balanced return Pin 2 Send Pin 5 Ret at line level Pin 3 Send Pin 6 Control The talkback send output has a low output impedance with a capability of driving headphones of 25 ohms impedance or grea
11. will audition the microphone on monitor 1 left but use of MONO 14 will place the signal on both outputs of monitor 1 Similarly MON on an S channel will audition that microphone on monitor 1 right If MON is selected on BOTH channels of an M S microphone the resultant signal M S on monitor 1 will be incomprehensible and must be matrixed to the L R domain by DEC 13 An M S main output A B 4 or C D 7 may be monitored in the L R domain by selecting DEC 13 An M S main mix may be matrixed to the L R domain for the final output from the mixer by DEC 4 for A B and DEC 19 for C D on the output module Signals for output monitoring are taken from the final outputs of the mixer ie after the faders and output matrix amplifiers Monitor 1 left and right outputs may be mixed to mono by selecting MONO 14 an LED indicates when this function is in use The mono signal is fed to both sides of monitor 1 output When mixing in the L R domain without M S microphones X Y A B microphones will be panned hard left X and hard right Y and any spot microphone will be panned to its correct position in the final L R image CH 1 on the monitor module and MON selected on both channels of an X Y pair auditions each stereo microphone MON on a spot microphone is solo in place usage of the monitor system 34 POWER SUPPLY UNIT TYPE AD100 09 The AD100 09 mains POWER SUPPLY UNIT is suitable for driving most of AUDIO DEVELOPMENTS r
12. CONTENTS SCENARIO INTRODUCTION UNPACKING VISUAL INSPECTION SPECIFIC POINTS IMPORTANT SAFETY INSTRUCTIONS POWERING TECHNICAL SPECIFICATION EQUALISATION CURVES CONNECTOR PANEL CONNECTIONS MODULE LAYOUT AND FUNCTIONS MIC LINE INPUT MODULE MONO LINE INPUT MODULE STEREO LINE INPUT MODULE OUTPUT MODULE ADJUSTMENTS AND CALIBRATIONS 26 MONITOR MODULE M S NOTES AD100 09 POWER SUPPLY UNIT CUSTOMER NOTES AND FACTORY MODIFICATIONS TECHNICAL LIBRARY w w uu 28 31 34 35 36 SCENARIO Time was when it became necessary to update the ubiquitous AD145 PICO mixer Our survey showed two main requirements as well as Audio Developments build and audio qualities narrower and shorter modules were required and the simple but effective equaliser from PICO had to be retained By this time 4 track recording equipment had begun to trickle into the marketplace Nagra D etc so we decided to give the new mixer four outputs Because of the lower noise floor of modern digital recorders the level of input signals may be reduced We have taken advantage of this fact and lowered the slope ratio of the limiters to 7 1 By so doing not only is signal distortion greatly reduced but also the artefacts associated with limiters become much less noticeable or objectionable Also sixty years after the event sound engineers have come to realise the potential of Blumlein s M S techniques to this end facilities have been incorporated to take
13. SHOLD setting If a different threshold setting is required alter the signal levels accordingly The DC voltage at PIN 10 of IC7 should be approximately 0 6v different from that at PIN 12 The other outputs can be set using this procedure but the preset and IC numbers change to correspond with the output being calibrated The LINK function has no individual setting of its own To ensure this works within specification it is important that A amp B and C 8 D outputs are set up in pairs After following the above procedure the DC voltages at PINS 10 and PINS 12 of the ICs are identical for each pair of outputs Tolerance 0 05v with typical figures at PIN 10 of 2 6v and PIN 12 of 2 0v The ATTACK time is varied by VR102 The lower the resistance across VR102 counter clockwise the faster the attack The RELEASE time is varied by VR101 The lower the resistance across VR101 counter clockwise the faster the release If appropriate timing or measuring equipment is unavailable VR101s and VR102s should be set in the same position as accurately as possible by eye For correct operation it is essential that the attack times for each pair of outputs and the release times for each pair of outputs be the same ie A 8 B and C amp D The two PAIRS may have different settings 28 MONITOR MODULE Audta 1 Channels to monitor _ cu 2 A output to monitor ja 3 B output to monto
14. airs whether they be in the M S or L R domain ltisa bonus to be able to determine the potential of these various signals in their after life ie in post production The signal s to be auditioned on the left and right outputs of monitor 1 and monitor 2 is are selected from the bank of switches 1 to 9 These switches are not interlocked in order that any desired mix of signals may be achieved Switch 2 selects A output from the mixer to monitor 1 amp 2 left and right outputs Switch 3 selects B output from the mixer to monitor 1 amp 2 left and right outputs Switch 4 selects outputs A amp B as a stereo pair to monitor 1 MONO 14 mixes any two channel signal appearing on monitor 1 path and presents it to both left and right outputs of monitor 1 in this case a mono mixdown of the A B stereo signal A amp B 2 amp 3 produces the same result Switches 6 7 8 provide the same functions for C and D outputs from the mixer Signals for output monitoring are taken from the final mixer outputs ie after the faders output matrix amplifiers and limiters Switches 8 and 9 route the two stereo returns to monitor 1 CH 1 operates in conjunction with the MON switch on the channels The MON signal is the same as that which drives A B C D mix busses If MONO 14 is also selected the monitored signal becomes a true mono AFL after fader listen signal from the channel How does a microphone signal sit in the mi
15. ange of portable audio mixers This PSU is a single rail device providing 500mA of current at 14v DC potential and is used as a substitute for battery power with mixers containing an internal DC DC converter The AD100 09 may be powered from either a 110 120v AC source or a 220v 240v AC source Ensure that the AC Voltage Selector Switch on the front panel is in the correct position for the source in use Operating the equipment at the wrong voltage could be hazardous Care must be taken to connect the LIVE NEUTRAL and EARTH pins of the PSU s IEC mains connector to the corresponding terminals associated with the AC source The ON OFF switch contains an indicator that illuminates when the PSU is operational FOR SAFETY REASONS AD100 09 POWER SUPPLY UNIT MUST BE CONNECTED TO MAINS EARTH Any maintenance to the PSU or its mains cable assembly should be performed by a qualified engineer CHARGING If nickel cadmium cells are fitted in an AD140 series mixer they may be recharged in situ from AD100 09 power supply whether the mixer is in use or not Maximum current is set at 250mA in addition to the 500mA of current supplying the audio electronics The charging circuit has its own ON OFF slide switch and LED indicator DO NOT ACTIVATE THE CHARGE CIRCUIT UNLESS THE MIXER IS FITTED WITH NICKEL CADMIUM CELLS FUSES Two 20mm ANTI SURGE fuses protect AD100 09 against fault conditions Should either fail it is strongly recommended that the cause
16. aring on monitor 2 The Penny amp Giles fader 17 is calibrated 10dB down from its fully open position allowing the operator to work with 10dB of gain in reserve Faders on adjacent modules can be coupled for stereo operation by the use of standard ganging clips The fader may be calibrated at its fully open position if desired and the scale changed accordingly 18 This page is blank MONO LINE MODULE 1 Input selector toggle 2 Phase change toggle 3 Input gain control 4 High frequency amplitude control 5 Mid frequency amplitude control 6 Low frequency amplitude control 7 Panoramic 8 Individual routeing to A B C D outputs 9 Pre fader 10 PFL indicator LED 11 Overload Audto COCO ta m gt A a S N poj z Mu O D l x r CO CO l m K wm L PAN R OO Or O Ox z O Z 6 e r ul z 4 0 58 60 0 20 12 EQ selector 13 Matrix selector 14 Routeing to monitor 1 15 Channel fader For optimum performance at line level this module employs a double balanced instrumentation grade input amplifier 3 x ICs rather than the inferior differentially balanced amplifier 1 x IC Isolation between inputs Line 1 and Line 2 is so high they may remain connected to the mixer simultaneously Line 2 input is selected by switch 1 Phase
17. be found in the TECHNICAL SPECIFICATION All inputs to and outputs from AD146 are to be found on the connector panel Module connector 1 accepts balanced microphones mic line balanced line 1 mono line balanced left stereo line Module connector 2 accepts balanced line mic line balanced line 2 mono line balanced right stereo line XLR Pin 1 Shield Pin 2 Signal Pin 3 Signal In the case of an unbalanced line input pins 1 8 3 should be connected If a post fader balanced channel output clean feed has been included the signal appears on a jack in the centre of XLR 2 Main outputs 3 6 are transformer balanced and are at line level When driving unbalanced loads the mixer outputs may be unbalanced by connecting pins 1 amp 3 This will not lead to a loss of output level XLR Pin 1 Shield Pin 2 Signal Pin 3 Signal The two electronically balanced stereo returns enter the mixer on pairs of standard A type stereo jacks left amp right 7 and 8 BALANCED JACK STEREO UNBALANCED JACK Tip Signal Tip Left Signal Ring Signal Ring Right Signal Sleeve Shield Sleeve Shield The monitor 2 headphones output appears on an A type stereo jack 9 and is capable of driving 25R at OdB A three position rocker switch BATT EXT 12 selects either internal batteries or an external DC power source Power to the mixer is confirmed by the MIX ON LED on the output module The LED flashes when
18. be traced Refer to the TECHNICAL LIBRARY Only suitably qualified personnel should service the power supply unit The fuse holder on the front panel contains the mains fuse 250mA HRC TYPE T 240v AC For continued safety the specified fuse link must be fitted in the mains fuse holder when a replacement is required Ensure it is of a type approved by a National Approved Body DC OUTPUT XLR PIN 1 Ov PIN 3 NOT CONNECTED PIN 2 CHARGE PIN 4 14vDC DO NOT REMOVE THE OUTER COVERS NOTE The power supply unit should be serviced by a suitably qualified engineer Only genuine spare parts with identical specifications must be used 35 It is DANGEROUS to change the specification or modify the product in any way CUSTOMER NOTES AND FACTORY MODIFICATIONS 36 TECHNICAL LIBRARY 37
19. ck Where possible obtain a pre wired mains lead from a reputable supplier with the correctly fitted mains connector for the type of mains outlet in use otherwise one correctly wired and checked by a qualified electrical engineer If your mains lead is not suitable for the mains outlet have the correct plug fitted by qualified personnel The MAINS PLUG of this equipment is the primary disconnect device Therefore in the final application ensure it remains close to the equipment and easily accessible POWERING The mixer may be powered from either internal cells or an external DC power source The integral battery compartment requires a total of 10 size C cells Access is gained via a captive lid which is retained by two 90 degree turn buckles The lid hinges outwards 45 degrees from the back panel When installing new cells the row nearest the hinge should be fitted first Either conventional dry or rechargeable nickel cadmium cells may be used NICADs may be recharged in situ through the 4 pin POWER IN connector The circuit for recharging is already incorporated within the mixer A voltage in the range 15V to 24V DC O 250mA is required on PIN 2 of the POWER IN XLR When driving the mixer from an external power source PIN 1 is the Ov connection and a voltage in the range 12V to 15V DC should be supplied to PIN 4 The power source should be capable of delivering approximately 400mA allowing some capacity for phantom powering I
20. dependent routeing to C and D outputs Stereo PFL 9 overrides any other signal on monitor 2 output MON 15 is identical with MON on the mic line module Should LEDs 11 and 12 red left green right indicate overload the channel should be checked for excessive equalisation If this is not the cause of overload the signal TO the channel should be reduced in level The LEDs illuminate at 3dB before clipping at the input to the stereo fader The stereo Penny amp Giles fader 16 is calibrated 10dB down from its fully open position allowing the operator to work with 10dB of gain in reserve The fader may be calibrated at its fully open position if desired and the scale changed accordingly 23 NOTE It should be realised that a pair of mono input modules will always be more flexible and versatile than a stereo module 24 OUTPUT MODULE AuvaAf Deve Lopments Ltd O N 10 Mixer ON LED B 1 Meter 1 ki 11 Batterv indicator em 12 AorC to meter 1 D Om 13 Mon left to meter 1 or 14 Meter illumination mB er 15 B or D to meter 2 2 Meter 2 C_ 16 Mon riaht to meter 2 mik 18k 17 1kHz or 10kHz line up CON ___ 18 Continuous or interruptec Om line up tone 3 Line up tone to A amp B_ nr 19 Matrix ac
21. e serial number label is on the back cover adjacent to the battery compartment Configuration check that the correct number and combination of input modules have been installed If for any reason you wish to change the positions of the modules do not do so until after completion of any acceptance tests Any tests then made will be to a known configuration and can be compared with our factory records Temperature check the meter glasses for condensation If the package has been in transit during cold weather leave the mixer for at least 12 hours to allow it to return to normal room temperature Any measurements or subjective tests then made will be to a known temperature reference Specific Points Battery compartment the mixer has an integral battery compartment to accept 10 size C cells and is formed as part of the bottom transversal extrusion This helps to lower the centre of gravity as well as adding to the rigidity of the frame DC DC converter is mounted on the top side of the battery housing and is underneath the fader section of the output and last four input modules In order to facilitate the testing and calibration of all modules a set of two extender modules is available from the factory Fuses to protect the mixer and internal power supply are mounted on the power supply converter board Access is gained by removing the output module 20mm 1A ANTI SURGE HRC fuses are used one for the internal battery power su
22. eturn signal is fed to the PFL mix busses which also have their own ganged potentiometer 16 to control the level to the headphones When PEL is engaged on a channel or if the talkback return is in use logic changes the source of monitor 2 from monitor 1 to the PFL mix busses The internal microphone 20 can be routed TB 17 to the 6 pin XLR connector mixed into A amp B outputs 18 and C amp D outputs 19 Microphone level is set by potentiometer 21 When TB 17 is selected the microphone signal replaces any other signal present on TB SEND The normal signal at TB SEND is a mono mix of Monitor 1 This function is set at the factory but may be disabled by the DIL switch on the left hand PCB of the monitor module The return signal from an external source feeds onto the PFL line This is initiated by grounding the control line PIN 6 at the external source Thus for example a two way conversation can take place between mixer and boom operator with the boom operator being able to listen to programme when no communication is taking place 31 M S NOTES The M S techniques proposed by Alan Blumlein in the early nineteen thirties have recently been re discovered These techniques fall into two parts those used during original recordings and those used in post production The way to change the width of the image from an X Y stereo microphone without physically moving it or from an existing L R recording is to convert to the
23. f an external power supply unit PSU is to drive the mixer and simultaneously charge a set of NICADs a current capability of at least 650mA is required It is poor practice to run a PSU at its limit therefore we recommend a minimum of 750mA Audio Developments AD100 09 PSU is a suitable unit WARNING When NOT using the PSU AD100 09 supplied for the mixer ensure your 4 pin XLR is correctly wired to match the POWER IN connector Failure to do so may result in the breakdown of the internal DC DC converter Make this check even if using a PSU which may have been supplied to you in the past eg AD100 06 AD100 05 PSU is NOT suitable for use with an AD146 mixer and must not be used REFERENCE MAX GAIN TECHNICAL SPECIFICATION ELECTRICAL OdB 775mV at 1kHz unless otherwise stated MIC 85 75 65 55 45 35 dB LINE 50 40 30 20 10 0 dB MAX INPUT LEVELMIC 42 32 22 12 2 48 dB LINE 7 3 13 23 33 43 dB RETURNS 24 dB INPUT MIC gt 1k5R IMPEDANCE LINE gt 10kR RETURNS gt 100kR MIC POWERING 48V DC and 12V DC PHANTOM POWER 12V TONADER to order MAX OUTPUT 23 5dBm 600R LOAD A B C D TRANSFORMER BALANCED CLEAN FEED CHANNEL OUT ELECTRONICALLY BALANCED 18dBm 600R LOAD MON 1 L amp R XLR MON 2 UNBALANCED STEREO JACK OUTPUT lt 60R A B C D CLEAN FEED CH OUT IMPEDANCE lt 20R MON1 MON 2 HEADPHONES JACK FREQUENCY 0 1dB 20Hz to 20kHz MAIN SIGNAL PATHS RESPONSE 0 1 5dB 20Hz to 20kHz MONITOR SIGNAL PATHS
24. ins selected when the channel is switched to accept a line input 12 Such is the isolation between signal paths a microphone input Conn 1 and a line input Conn 2 may simultaneously be connected to a channel With line selected 12 input gain switch 3 at 35 and channel fader 17 at OdB the mixer has unity gain with 10dB gain in reserve All output faders must be set at OdB Phase change 2 follows the mic line selector and is therefore active on both inputs 1 is the normal position The high pass filter 13 is also active on both inputs and precedes the input transformer In this position the filter protects the transformer against saturation and overload caused by excessive low frequency content in the input signal The high pass filter has a slope of 12dB octave and is 3dB at 150Hz in position 2 and 3dB at 90Hz in position 3 The filter is independent of the egualiser The EQ selector switch 14 routes the signal through the equaliser section The high frequency control 4 has an amplitude of 10dB at 10kHz with variable slope The mid frequency control 5 has an amplitude of 15dB at 2 8kHz with a proportional Q of 1 2 The low frequency control 6 has an amplitude of 10dB at 100Hz with variable turnover The EQ switch auditions the signal pre and post egualisation without disturbing chosen settings If the balanced post fader channel output clean feed option has been included the signal will appear on a stere
25. n output L R When mixing in the L R domain and using one or more M S microphones the panpots on M and S channels will be centred and the S switch selected on the S channel to create a matrix across the M and S channels With CH 1 selected on the monitor module MON on an M channel will audition the M microphone on monitor 1 L 8 R and headphones L amp R outputs When setting up M S microphones an S microphone may be auditioned in a similar manner BEFORE the S switch 15 is selected After selecting the S switch for S microphones only the complete M S microphone may be monitored automatically in L R stereo The potential of such a microphone may be checked by changing the M S relationship ie by varying the input gain of the S channel To monitor an S channel after the S switch has been selected CH 1 will reveal S on monitor 1 left and S on monitor 1 right not very useful To overcome this difficulty reduce the right output to zero and select MONO 14 in order to isolate the in phase component from the S channel Spot microphones will be panned to their correct position in the final L R image and may be monitored as non destructive solo in place or as true AFL 33 When mixing in the M S domain and using M S microphones M channels will be panned left S channels will be panned right and spot microphones will be panned left to mix with the M channels only With CH 1 selected on the monitor module MON on an M channel
26. niques have advantages over all others X Y and A B such that it is worthwhile using M S microphones even when mixing is to be done ithe L R domain For example the M microphone will be placed in the optimum position for a mono image whereas mixing to mono the signals from an X Y stereo pair introduces phase anomalies When using M S microphones we suggest for convenience that M microphones are inserted in odd numbered channels and the corresponding S microphones are inserted in the next channels above Many are the tricks one can perform in the M S domain but the only one considered here is the possibility of changing the width of a L R stereo signal Should readers wish to investigate further M S techniques they are invited to request a copy of the M S Handbook written for our PORT A FLEX units ADO66 11 M S stereo microphone amplifier and ADO66 12 M S post production matrix amplifier AD146 will accept any combination of M S and X Y microphones and mix them in either the M S domain or the L R domain Therefore the outputs from the mixer may be in either the M S or L R domain The two domains can be combined to produce eight possible mixing paths of these the following three are the most commonly used a M S microphones with or without X Y microphones mixed in the M S domain output M S or L R b M S microphones with or without X Y microphones mixed in the L R domain output L R c X Y microphones mixed in the L R domai
27. nity gain nevertheless it is possible to rebalance the stereo input signal with the OFFSET control 3 10dB variation is available Equalisers identical with those of the microphone line module may be inserted in both left and right signal paths via EQ selector 13 The high mid and low frequency amplitude controls are ganged operating simultaneously on both equalisers When an input is in the M S domain the width may be altered by the OFFSET control 3 and the signal then decoded to the L R domain by L R DEC 14 For a stereo picture the MON ST potentiometer 7 will be fully clockwise counter clockwise rotation will gradually reduce the width of the picture to mono presenting the M input signal only to the L amp R outputs from the module by reducing the ambient content When an input is in the L R domain the following paragraph describes how to perform a mono reduction BUT compare such an operation with the M signal after converting to M S by L R DEC 14 Because of phase cancellations a L R MONO has less vitality than the equivalent M extraction Routeing buttons 8 A B and C D route the channel stereo signal to outputs A amp B and or outputs C amp D L routes the LH input signal to both A and B outputs similarly R routes the RH input signal to both A and B outputs L AND R routes a mix of the stereo signal to both A and B outputs for these mono capabilities A B must also be selected C D remains an in
28. o jack in the centre of XLR CONN 2 Alternatively it may be chosen to replace LINE input on CONN 2 The components associated with the clean feed circuitry appear on the sub board The DIL switch allows the module to drive unbalanced loads without a reduction in signal level Refer to TECHNICAL LIBRARY The overload LED 11 illuminates 3dB before clipping at the input to the channel fader equaliser output S switch 15 creates a matrix amplifier across an adjacent pair of input modules Refer to M S NOTES The panoramic potentiometer 7 routes the signal proportionately between A and or C outputs L and B and or D outputs R Routeing switches 8 are independent of each other and also act as channel mutes The monitor 1 path is the true output from the module independent of any other routeing and is derived from the output of the panpot and S switch 15 if selected MON 16 routes the channel signal to monitor 1 module and is auditioned when CH 1 is selected This monitor 1 output also automatically appears on monitor 2 headphones output MON can also be used as an AFL after fader listen function ie to monitor the mono output of the module In this case select MON 16 and CH 1 and MONO 14 on the monitor module SIP solo in place usage of MON is outlined in the MONITOR MODULE section PFL 9 routes the signal at the fader input to monitor 2 ie the headphones output jack PFL overrides any other signal appe
29. pply and one for the external DC supply FUSES External Battery DC Supply Supply Until the mixer has been acceptance tested we strongly recommend that modules are not removed for adjustment If adjustments are necessary refer to the section on adjustments and calibration All customer functions are external except the following Limiter threshold is set at the factory at 8dBu PPM 6 but an internal preset potentiometer allows adjustment to any other level above OdBu The limiters are to be found on the left hand PCB of the output module Presets are also available for adjusting limiter attack and release times Reverse talkback output is set at the factory to provide a mono mix of monitor 1 left and right outputs rather than mute when the main talkback switch is released This function can be disabled by the DIL switch to be found on the left hand PCB of the monitor module Line up tone at 1kHz and 10kHz is calibrated on the meters to PPM4 giving a line output level of OdBu with L R and AUX 1 2 controls set to maximum NOTE PPM4 refers to the mark on a BBC PPM Scale Other meter scales have a different mark at OdBu level Alternative calibration levels are possible via the internal preset RH output ident as an alternative to continuous tone on all main outputs B amp D outputs can be pulsed with tone for 3 seconds Microphone powering the mixer will remain unconditionally stable if the powering on unterminated inp
30. r _ 8 4 A B output to monitor AB 5 C output to moniter O 6 D output to monitor Q 7 C D output to monitor C D 8 Stereo return 1 to monitor RET 1 9 Stereo return 2 to RET 2 10 Monitor 1 left output level control O L Geo ku 11 Monitor 1 right output level control QO R ST 10 12 Monitor 1 output om 13 Matrix selector amp indicator _ 0 pec 14 Mono of monitor outputs amp indicator eee MON 15 Monitor 2 right output level control Oy TB O io db 16 Reverse talkback 8 PFL REV level control BEE 20 Internal 17 Talk to external SS Ome i __ 1 Internal 18 Talk to A B outputs Cave N microphone 19 Talk to C D outputs Cero TALK BACK 29 The monitor module is associated with all aural monitoring of input and output signals together with communications between the sound operator and an outstation It is necessary to be able to audition in left right stereo ie a form the human brain understands an X Y A B stereo microphone and an M S stereo microphone whether the channel panpots are set centrally or hard left and hard right thus creating conflicting monitor requirements It is also necessary to be able to audition X Y M S in isolation Similarly facilities must be provided to monitor main outputs individually and as stereo p
31. r C amp D 20 it will replace any other signal on those outputs A matrix amplifier may be switched into the A B pair of outputs 4 and the C D pair of outputs 19 See M S NOTES for further information Limiters may be switched into A and B outputs 6 with their actions being monitored by LEDs 7 LINK 5 links the pair of limiters for parallel tracking when A and B are used as a stereo output pair Similar limiters are provided for C and D outputs Limiter threshold is set at the factory to PPM6 8dBm as standard A B C D output faders by Penny amp Giles 8 9 24 25 are calibrated at the top of their travel to PPM4 with a line output level of OdBm Fader ganging clips are available for stereo use NOTE Metering of main outputs is performed at the input of the output transformers Metering of monitor 1 is pre monitor output potentiometer 26 ADJUSTMENTS AND CALIBRATIONS Refer to component location diagrams in TECHNICAL LIBRARY Line up tone oscillator the preset VR1 that adjusts its level at the outputs of the mixer is mounted on the right hand PCB of the output module and can be adjusted from the copper foil side of the board Meters either a VU or a PPM may be selected A choice of 3 scales is available for the PPM BBC N10 SDR VU meter there is one preset on the VU meter PCB for meter adjustment Set an input module for a line input and introduce a 1kHz tone from an audio signal generator
32. r microphone and line level signals No 13 the aforementioned FLEX EQ in its portable guise We wish you many trouble free hours of use from your mixer As a company we are fully committed to BS EN ISO 9001 Should you have any problems or require any further information on FLEX EQ or the M S microphone technique please do not hesitate to contact us on 01543 375351 or by fax on 01543 361051 WARNING IMPORTANT SAFETY INSTRUCTIONS The user of electrical products must be familiar with their potential dangers and fundamental precautions must always be taken Please read the following text carefully Power supply units manufactured by Audio Developments Ltd are not user serviceable There are no user serviceable parts associated with any such power supply unit THE OUTER COVERS MUST NOT BE REMOVED Such a power supply unit is solely for use with audio mixers and sound processors hereafter called the equipment manufactured by Audio Developments Ltd Always use a cord set accepted by a National Approved Body EARTHING GROUNDING When using an external power supply unit that is connected to the mains supply to drive the mixer it must be CONNECTED TO EARTH In certain types of malfunction or breakdown earthing provides a path of least resistance for electric current and considerably reduces the risk of electric shock DANGER Incorrect connection of the equipment grounding earthing conductor can result in the risk of electric sho
33. ross C amp D 4 Matrix across Al amp B gt 20 Line up tone to C RD nja f DEC TONE DEC TONE neh 5 Limiter link of Al amp 21 Limiter in C amp D 6 Limiter in A amp O Q fone 22 Limiter link of C amp D Be eta LIM E LINK LIM LINK St Bt ey 7 Limiter indicator LEDs 23 Limiter indicator LEDs 0 0 9 A output fader ieee 25 D outout fader 8 B outout fader i 24 C outout fader 15 15 20 28 30 38 LA L 58 58 68 68 70 78 0 0 A B C D NG DANS 7 25 The meters are to broadcast specification with switchable functions PPM and VU movements are available to choice The upper meter 1 reads battery status BATT 11 A and C output levels and monitor 1 left output level The lower meter 2 reads B and D output levels and monitor 1 right output level The monitor 1 signal will be the one or mix selected on the monitor module LED 10 illuminates when the mixer is switched ON Should the internal DC voltage fall below the safe operating level this LED will flash Meter illumination is available via switch 14 Line up tone may be selected between 1kHz and 10kHz via switch 17 Tone will be continuous on A B C D unless interrupted tone is selected 18 in which case tone will be continuous on A and or C but will appear in 3 second bursts on B and or D for identification of the right hand signal path When tone is selected to A amp B 3 and o
34. ter Refer to MONITOR MODULE section for a full operation description of this output return MICROPHONE LINE MODULE 1 Phantom power toggle 2 Phase change toggle 3 Input gain selector 4 High frequency amplitude control 5 Mid frequency amplitude cantral 6 Low freguency amplitude control 7 Panoramic potentiometer 8 Individual routeing to A B C D outputs 9 Pre fader listen 10 PFL indicator LED 1 11 Overload LED 16 O o 12 Line input toggle 13 High pass filter 14 EO selector 15 Matrix selector 16 Routeing to monitor 1 17 Channel fader The transformer balanced ultra low noise microphone amplifier does not require an input attenuator as the available 50dB gain change is achieved with a 6 position rotary switch 3 acting on the feedback alone in 10dB steps This has the advantage of not degrading signal to noise performance as the gain is reduced The rotary switch may be replaced with a potentiometer for continuously variable gain control A DC voltage is available for phantom powering either at 48v or 12v condenser microphones 1 If the T tonader powering option has been included in the mixer it will be selected by switch 1 to 12v The line input is isolated from the microphone power and no damage can be done to external equipment if microphone power rema
35. ut channels is switched off this also improves the noise performance and crosstalk Powering 48v phantom or 12v tonader may be selected before or after the microphone is connected to the module Module fix screws Hexagon head screws are used to fix the modules and back cover The size being 1 5mm HEX A F with a 2 5M thread If it becomes necessary to remove modules or back cover it is strongly advised using a good quality hexagonal head driver Use of a screwdriver however desperate is not recommended Surfaces every working surface is covered by a hard plastic membrane which is printed on the reverse side These surfaces may be cleaned by most solvents and without fear of the legends being erased Connectors for convenience the connector panel is labelled for reading from above All connectors are in line with their corresponding module Every input module is mechanically shielded against radio frequency interference Abbreviations PPM peak programme meter VU volume unit VR variable resistor X Y coincident stereo microphone A B spaced apart stereo microphone M S middle side techniques and microphone described by A D Blumlein PCB printed circuit board HPF high pass filter Finally may we draw your attention to our range of portable battery operated audio toys called PORT A FLEX AD066 which will complement your new mixer No 1 broadcast quality compressor limiter Nos 3 7 8 10 distribution amplifiers fo
36. x By alternating CH 1 and STEREO 4 or 7 and routeing the appropriate microphone channel to MON the question is easily answered This is SOLO IN PLACE SIP use of the monitor 1 path The output from the monitor 1 path and to monitor 2 output is controlled by a pair of potentiometers left 10 right 11 If 11 is turned fully counter clockwise 10 controls monitor 1 output as a stereo pair Should the monitor 1 signal be in the M S domain at this point varying R 11 will change the width of the stereo signal after it 30 has been matrixed to the L R domain by DEC 13 Any signal in the L R domain may be matrixed 13 in order to reveal mono capability on monitor 1 left and out of phase components on monitor 1 right These signals may be isolated by selective use of level controls 10 amp 11 and MONO 14 Refer to M S NOTES Operating on monitor 1 output is the dim control 12 which dims the output by 20dB This dim function is automatic when the internal microphone 20 is routed to A B 18 and or C D 19 Dim does not affect a monitor 1 signal that is routed to the headphones Monitor 1 output whether stereo or mono is fed to the headphones ie monitor 2 amplifier which also has its own level control 15 via the headphones logic Once the correct level has been set for monitor 1 output the level of this signal to the headphones can be further adjusted by the monitor 2 level control 15 The talkback r
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