USER GUIDE - The Snowfields
Contents
1. ee M E 1 MASTER TE Faner INSERT 1 i 2 TRACK T gt RETURN L 0 lt SIS 0 i INSERT R amet RI A pn cA lt d H HEADPHONE TEES GROUND p COMPENSATED PFL MIX AMPLIFIERS AMP 508 lt CRMON q B R OP xx CR MONITOR lt LEVEL METER L SOCKET Za PEL DRIVE LOGIC 5992952 2 11 Dimensions Delta Desk Outline Dimensions Y 38 A 8 42 gt 16 722 185798 24 972 24 1048 32 1222 7 38 Y A 208 Y is 89 X ki 606 55 Delta Rack Outline Dimensions 76 88 Yi ve i Y 375 21 Y 502 577 lt 41 gt y All measurements shown 375 Ll U in millimetres mm 465 et 483 gt Configurations ter uum E unn n 18 elolelolejejelelelolele o ff 12 2 Rack Above only show2. 4 Stereo input module LIT Channel input 1 The GAIN control adjusts the sensitivity of the line inputs of both channels from 10dBu to 20dBu 2 The B switch selects the alternative B line inputs These may be fitted with an RIAA preamplifier to enable the direct connection of magnetic phono cartridges to the mixing desk see appendix for ordering details 3 The MONO switch sums Left Right inputs and feeds the channel with the resultant mono signal The BAL control will then act as a pan control 4 The LEFT Switch reverses the phase of the left channel for situations where a phasing error has occurred Equaliser 5 The stereo line input channel is provided with a 3 band equaliser comprising shelving HF and LF controls and a peaking MID control with a frequency control that allows the selection of centre frequencies between 300Hz and 3KHz Centre detents on the controls indicate the positions for a flat response Auxiliaries 6 Four auxiliary send controls are provided AUX 1 and AUX 2 are factory linked to be fed from a post EQ prefade mono sum signal which can be changed to a post EQ post fade mono signal if desired see the 200 Delta technical manual for details AUX 3 and AUX 4 are factory linked to be fed a post EQ post fade mono sum but this can be changed so that the left channel feeds Aux 3 Aux
3. RIAA option Input impedance Signal to noise ratio Sensitivity Headroom Crosstalk Response accuracy General Mute rejection Fader rejection Balance pot rejection Routing rejection UR crosstalk THD 15dB HF 12KHz shelving MF 0 3 3KHz peaking with Q 1 0 min LF 60Hz shelving 47Kohms 220pF 86dB below 5mV I P 5mV at 1KHz at max gain 2108 40dB at 1KHz 0 50B with IEC amendment to LF response and subsonic filter gt 90db at 1KHz gt 85db at 10KHz gt 800 at 1KHz gt 80dB at 10KHz gt 850 at 1KHz gt 80dB at 10KHz gt 900 at 1KHz gt 850 at 10KHz lt 7508 at 1KHz 65dB at 10KHz 0 004 at 1KHz 0 015 at 10KHz Refer to appendix for measurement notes and conditions 22 Group output module HE z 2 11 2 E 8 27 8 3 f 2 s s a 5 TE gt e s PES 5 e S ca B2 D 5 gau amp iN L ho Return 21 Upper return this input feeds an external signal onto the stereo mix bus 12 Lower return this input is fed from the group output or if the RET switch is pressed an external return signal It feeds the stereo mix bus The LED bargraph meter 11 follows the lower return source peak or average ballistics see the 200 Delta technical manual for details The SUB switch converts the group mix signal directly to the stereo mix v
4. Deluxe input module i ah on 4 L In E a lolo lo Channel input 1 The 48V switch switches 48V input for use with phantom powered condenser microphones and DI boxes 2 The GAIN control adjusts the sensitivity of both the mic and line inputs The microphone input is adjustable from 2dBu to 70dBu and the line from 10dBu to 20dBu 3 The LINE switch selects the line input to the channel the default is mic 4 The 2 switch reverses the phase of the selected input to compensate for different wiring standards and conflicting micro phone placement 5 The highpass filter switch inserts a 100Hz second order 12dB octave highpass filter in the signal path immediately after the input amplifier This is especially t useful for counteracting the proximity effect experienced with i directional microphones and eliminating low frequency spill and interference Equaliser 6 The deluxe input channel is phantom power to the microphone provided with a 4 band equaliser comprising shelving HF control a shelving LF control with a VLF rolloff and two peaking mid frequency controls LO MID with a frequency control that allows the selection of centre frequencies between 150Hz and 2 5KHz and MID with a frequency control giving centre frequencies between 600Hz and 10 2 Centre detents on the controls indicate the positions for a flat response The wh
5. ae Ad 5 x dard Dual Line Group Master prac tical restrictio rete pote nany 4 frames using puts Outputs the individual group modu des pe eds m pens nputs Module descriptions specifications and operation 14 e benl RGAN ose r i lt beat kd AG gee 125 9 i gt 5 a 3i Or No ate ate o xt nun 17 gt Standard input module 1 Channel input 1 The 48V switch switches 48V 2 phantom power to the microphone input for use with phantom powered condenser microphones DI boxes 2 The GAIN control adjusts the sensitivity of both the mic and line inputs The microphone input is adjustable from 2dBu to 70dBu and the line from 10dBu to 200Bu 4 3 The LINE switch selects the line input to the channel the default is MIC Equaliser 4 The standard input channel is provided with a 3 band equaliser 5 comprising shelving HF and LF controls and a peaking MID control with a frequency control that allows the selection of centre frequencies between 300Hz and 5KHz Centre detents on the controls indicate the positions for flat response Immediately after the insert point This jack on the rear connector panel allows the routing of the channel signal through an external processing device Auxiliaries 5 Fou
6. run in the top 10dB of their range If the stereo output is feeding a Master Outputs 2 Insert points are provided in the stereo mix signal path to enable the insertion of external processing devices in the signal path device which requires a lower input level e g a domestic tape recorder the reference level of the output and 2 track return level should be changed using the internal switch see the 200 Delta technical manual Monitoring 4 Provision is made to monitor the stereo mix output the PFL signal and the 2 track return see Ancillary Connector Panel The CR MON jacks on this panel are available to drive on external power amplifier loudspeakers alternatively stereo headphones be plugged into the front panel jack this will mute the CR MON outputs The level is set by the i MONITOR LEVEL control Selection of the two switch routes the 2 track tape return inputs to the monitors Selecting a PFL switch on any input will automatically switch the monitoring to the PFL signal overriding the Mix 2 track selection Output meters 5 The stereo output meters automatically follow the monitor selection of mix 2 track PFL though the meter reading is independent of the MONITOR LEVEL The meter reading is relative to the operating level selected see 3 above Oscillator 6 A 1KHz oscillator is provided which feeds a sine wave output of up to 16dBu to all groups t
7. to prevent unwanted noise being added to any parts of the mix 7 The rotary channel fader VOL is the main level control of the channel When mixing you ll get optimum headroom and signal to noise ratios by keeping the fader at about the unity gain 7 mark avoid running the input GAIN too high and the fader commensu rately low since this gives very little headroom Similarly running the input GAIN very low and the fader fully up 10dB of gain will increase noise levels and does not give any available increase in gain on the fader should the source signal level drop unexpectedly Rear Connector Panel OO Tip Hot Ring Cold Sleeve Ground Screen 19 Dual line input module Pi A Specification Line Input Electronically balanced Input impedance gt 10Kohms Maximum input before clipping 270 Sensitivity range 20 to 10dBu for 4 O P CMRR gt 40dB at 1KHz Equivalent input noise 20 to 10dBu for 4dBu otput Equalisation Boost cut range 150B Break frequencies HF 12KHz shelving MF 0 3 5KHz peaking with Q 1 5 LF 60Hz shelving General Mute switch rejection 90dB at 1KHz gt 85dB at 10KHz Fader rejection 85dB at 1KHz gt 80dB at 10KHz Panpot rejection 60dB at 1KHz gt 80dB at 10KHz Aux send rejection 80dB at 1KHz gt 75dB at 10KHz THD 0 005 at 1KHz 0 03 at 10KHz Refer to appendix for measurement notes and conditions e e D
8. 5 and the right channel feeds aux 4 Aux 6 Their output is normally routed to Aux sends 3 and 4 but can be changed to Aux sends 5 and 6 by the 5 6 switch Routing 7 The BAL control determines the relative level of the L and R channels In the centre the equal levels are sent to both sides with a 4 508 level drop relative to fully clockwise or anticlockwise Rotation fully anticlockwise sends full level to the left odd buses cutting the send to the right even buses and rotation fully clockwise does the opposite 11 The routing switches select which buses the post fade post pan signal is fed to Each switch enables one Left Right pair of buses hence the 1 2 switch sends the signal to groups 1 and 2 the 3 4 switch to groups 3 and 4 and the MIX switch to the stereo mix outputs It is recommended that any unused channels are unrouted to maximise the audio performance of the console Channel status _8 The PEAK LED indicator lights when the post EQ signal reaches a level of 4dB below the clipping severe distortion point of the channel If this lights any more than momentarily on transients in the signal the input GAIN should be reduced 9 The red illuminated PFL switch i feeds the post EQ pre fade mono sum to the CR monitor outputs or headphones jack via the CR Monitor level control replacing the signal currently feeding those outputs T
9. EFFECTS PROCESSORS AUX 3 AUX 4 MIDI 7 TO FRONT OF HOUSE CONSOLE SYNTH 1 FROM FRONT OF gt HOUSE OR MONITOR CONSOLE EXPANDER 1 EXPANDER 2 MONITOR SPEAKERS 10 Module block diagrams STANDARD o INPUT ous MICALINE AMP alga 3300 SEEI 2672 INPUT TRANSFORMER OPTION DELUXE FADER PAPO gt AMP cha An at el t OUTPUT Zu NA 1 06 ec 5 gt MIC 4 4 d 4 HIGHPASS 1 gt ae 4 BAND EQ d 3 G2 FADER PANPOT DUAL LINE ov INPUT ONE INPUT SHOWN INPUT AMP 3 BAND c c c STEREO LINE INPUT INPUT A LEFT D gt 51 gt 0 5 A INPUT 8 LEFT D _ i i 5 gt d 29 i POST FADE INPUT A RIGHT 0 SOL INPUT B RIGHT INPUT 3BANO STEREO gt c gt UF HF GROUP OUTPUT ssh 1 t d ROTARY Y Y FADER PANPOT 0 2 UPPER TAPE gt Ep RETURN T 2 a gt lt 2BAND EO AUX LF HF LOWER TAPE RETURN GROUP A OUTPUT 0 p GROUND COMPENSATED AMP AUX MASTER 1 of 6 shown LEVEL
10. and AUX 2 are factory linked to be fed from a post EQ pre fader signal which can be changed to a post EQ post fade signal if desired see the 200Delta technical manual for details AUX 3 and AUX 4 are fed post EQ post fader so their levels follow the channel output level set by the fader Their output is normally routed to Aux sends 3 and 4 but can be changed to Aux sends 5 and 6 by internal switches again see the technical manual for details Routing 4 The PAN control determines the relative levels sent to the L and R outputs In the centre equal levels are sent to both sides with a 4 5 dB level drop relative to fully clock wise or anticlockwise Rotation fully anticlockwise sends full level to the left odd buses cutting the send to the right even buses rotation fully clockwise does the opposite Channel status 5 The red illuminated PFL switch feeds the post EQ pre fader signal to the CR monitor outputs or headphones jack via the CR Monitor level control replacing the signal currently feeding those outputs The red PFL LED adjacent to the monitor control on the master module will light to indicate the monitoring status PFL signals from different sources will be summed 6 The ON switch enables the post EQ signal path when off all auxiliary sends and L R outputs are muted We recommend that you switch all unused channels off
11. following are not covered by this Warranty faulty or negligent handling chemical or electro chemical or electrical influences accidental damage Acts of God neglect deficiency in electrical power air conditioning or humidity control The benefit of this Warranty may not be assigned by the End User 7 Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment Glossary auxiliary send balance Clipping CR control room monitors dB decibel DI direct injection equaliser foldback frequency response sub group headroom highpass filter line level signals pan pot peaking PFL pre fade listen rolloff an output from the console comprising a mix of signals from channels and groups derived independently of the main stereo group mixes Typically the feeds to the mix are implemented on rotary level controls the relative levels of the left and right channels of a stereo signal the onset of severe distortion in the signal path usually caused by the peak signal voltage being limited by the circuits s power supply voltage loudspeakers used by the operator engineer in the control room to listen to the mix a ratio of two voltages or signal levels expressed by the equation dB 20Log10 V1 V2 Adding the suffix u denotes the ratio is r
12. in a foam lined flight case At all times avoid applying excessive force to any knobs switches or connectors Power supplies and cabling A Always make sure that the power supply has been set to the same source voltage as the mains supply Consoles with up to 28 channel slots up to 24 input are powered by the Soundcraft CPS150 PSU and are fitted with a 5 way SRC DC power input connector Consoles with 36 channel slots 32 input and 24 input consoles with 16 or more stereo inputs are powered by the Soundcraft CPS450 PSU and are fitted with a 10 way SRC DC power input connector Always use the power supply and power cable supplied with the mixer use of alternative supplies may cause damage and voids the _ warranty the extension of power cables may result in malfunction of the mixing console A Always switch the power supply off before connecting or disconnecting the console power cable removing or installing modules and servicing In the event of an electrical storm or large mains voliage fluctuations immediately switch off the PSU and unplug from the mains Connections y 1 Wiring conventions The standard 200 Delta console uses two different types of audio connector pi XLR diagram 1 and three pole A gauge or stereo jacks The latter are used in two different configurations see diagrams 2 and 3 The rear frame of the console has standard apertures fitte
13. manual If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and or workmanship but not faulty design to such an extent that the effectiveness and or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or at its option replace the defective components Any components replaced will become the property of Soundcraft Any Equipment or component returned will be at the risk of the End User whilst in transit both to and from the Dealer or Soundcraft and postage must be prepaid This warranty shall only be available if a the Equipment has been properly installed in accordance with instructions contained in Soundcraft s manual and b the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing and no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment and d the End User has used the Equipment only for such purposes as Soundcraft recommends with only such operating supplies as meet Soundcraft s specifications and otherwise all respects in accordance with Soundcraft s recommendations Defects arising as a result of the
14. output Insert return impedance Direct output nominal level Direct output maximum output 2dBu unbalanced 21dBu into gt 5Kohms 10Kohms 2dBu unbalanced 21dBu into gt 5Kohms Mute switch rejection gt 900 at 1KHz gt 90dB at 10KHz Fader rejection 80dB at 1KHz gt 750 at 10KHz Panpot rejection 85dB at 1KHz gt 80dB at 10KHz Routing rejection gt 930 at 1KHz gt 85dB at 10KHz Aux send rejection gt 850 at 1KHz gt 80dB at 10KHz THD 0 005 at 1KHz 0 015 at 10KHz Refer to appendix for measurement notes and conditions e The dual line input module comprises two identical channels each outputting to the stereo mix bus OF 24 x n J 8 amp GO La l gt gt lt A a SS 1 The GAIN control adjusts the sensitivity of the line input from 10dBu to 20dBu Channel input Equaliser 2 Each dual line input channel is provided with a 3 band equaliser comprising shelving HF and LF controls and a peaking MID control with a frequency control that allows the selection of centre frequencies between 300Hz and 5KHz Centre detents on the controls indicate the positions for a flat response EQ Plot diagram Frequency Response Curves of the Equaliser Frequency Hz Auxiliaries 3 Four auxiliary send controls are provided AUX 1
15. 775V RMS The microphone input is designed for use with balanced low impedance 150 or 200 ohm microphones A DO NOT use unbalanced microphones or battery powered condenser microphones with the 48V phantom power switched on degraded performance or damage to the microphone may result The sensitivity of the microphone input is variable from 2dBu to 70dBu for 4dBu at the Stereo Mix outputs and the maximum input level balanced is 20dB above the set sensitivity that is with the gain control at minimum the maximum input level is 18dBu Although the microphone input can thus handle some line level signals we don t recommend this since the source may be unduly loaded by the low 2Kohm input impedance or be damaged by the 48V phantom power The line input has a sensitivity variable between 20dBu and 10dBu and can also handle a maximum input level up to 2008 above the set value Note that the maximum input level for unbalanced inputs is 4 or 5 dB less than that for balanced signals so very high level unbalanced signals e g loudspeaker outputs of power amplifiers may cause distor tion The input impedance is approximately 20Kohms and thus high impedance sources e g electric guitars may be loaded too heavily Such sources are best fed through an external DI Direct Inject box to the microphone input The main outputs of the console e g Stereo mix group outputs aux sends have a nominal
16. AK LED indicator lights when the post EQ signal reaches a level of 4dB below the clipping severe distortion point of the channel If this lights any more than momentarily on transients in the signal the input GAIN should be reduced 8 The red illuminated PFL switch feeds the post EQ pre fader signal to the CR monitor outputs or headphones jack via the CR Monitor level control replacing the signal currently feeding those outputs The red PFL LED adjacent to the monitor control on the master module will light to indicate the monitoring status PFL signals from different sources will be summed 9 The ON switch enables the post EQ post insert channel signal path when off all auxiliary sends i and routing outputs are muted We recommend that you switch all unused channels off to prevent unwanted noise being added to any parts of the mix 11 The channel fader is the main level control of the channel andis along throw type to enable rapid and accurate control of the channel output level When mixing you ll get optimum headroom and signal at about the unity gain 0 mark avoid running the input GAIN too high and the fader commensu rately low since this gives very little headroom Similarly running the input GAIN very low and the fader fully up 10dB of gain will increase noise levels and does not give any available increase in gain on the fader should the source
17. AUX 5 feed effects processors The stereo mix outputs feed the main power amplifiers for the house speaker System EFFECTS UNITS AUX R SEND 3 i AUX SEND 4 AUX SEND 5 MICROPHONES D Ad a ie ao SEND 2 SEND 1 CROSSOVER m eee STAGE MONITOR SPEAKERS MAIN SPEAKER SYSTEM STEREO KEYBOARDS MIX Eight Track Recording AAA AA Mixer in an eight track recording system Microphones and line sources keyboards Direct Injected instruments etc are fed to the input channels which are routed to group outputs 1 4 as required The group outputs feed tracks 1 to 4 and 5 to 8 in parallel and the outputs from the multitrack machine are monitored through the returns on the groups The stereo mix outputs feed the 2 track mastering recorder which can be monitored through the 2 track return AUX 1 feeds an amplifier driving artistes headphones whilst AUX 3 to 6 are used as effects sends 8 TRACK TAPE MACHINE MICROPHONES CONTROL ROOM LINE LEVEL SOURCES MONITOR SPEAKERS 9 Keyboard mixer installation On stage rack mounting keyboard mixer Two synthesisers two expanders a sampler a foldback send from the main PA and two stereo effects processors are connected to the inputs AUX 3 and AUX 4 outputs feed the inputs of the effects devices The stereo MIX outputs are fed to the front of house console the contro room outputs feeding the local monitor amplifiers
18. Level into 600 Q Group Insert Nominal Level Group Output Nominal Levels Aux Output Max Level into 600 Q Aux Output Nominal Level Mix Output Max Level into 600 Q Mix Insert Nominal Level Mix Output Nominal Levels Internal Operating Levels Oscillator Max Level Group Output Headphones Output Max Level into 600 Q INPUT amp OUTPUT IMPEDANCES Mic Inputs Electronically Balanced Transformer Option i Line Inputs Electronically Balanced R 1 A A Inputs Insert Sends Insert Returns Outputs METERING 20 Segment LED Bargraph 2 dBu 21 dBu 2 dBu 21 dBu 8 dBu 10 dBV or 4 dBu 21 dBu 4 dBu 27 dBu 8 dBu 10 dBV or 4 dBu 2 dBu 16 dBu 20 dBu gt 2kQ gt 10k Q 220 pF 47 750 10k e 750 Selectable Peak or Average Reading Calibration Range Accuracy Relative to 0 dB 0 dB 2 dBu to 20 dBu 108 For full details of measurement conditions and further specifications please contact your local Soundcraft dealer Warranty 27 Soundcraft means Soundcraft Electronics Ltd End User means the person who first puts the equipment into regular operation Dealer means the person other than Soundcraft if any from whom the End User purchased the Equipment provided such a person is authorised for this purpose by Soundcraft or its accredited Distrubutor Equipment means the equipment supplied with this
19. USER GUIDE oundcra CO DELTA Contents Introduction Introducing the 200 Delta 2 Precautions and safety instructions 3 Connections 4 Installation 6 Module block diagrams 10 Dimensions 11 Configurations 12 Module descriptions specifications and operation Standard input 14 Deluxe input 16 7 Dual line input 18 Stereo input 20 Group output mm 22 Master output 24 Delta Specification 26 Warranty 27 Glossary 28 Soundcraft 1989 Issue 4 Introduction Introducing the 200 Delta 200 Delta series comprises a range of input module output module and frame options that lets you configure the console for a wide variety of applicaticns The only constraint on the selection and positioning of modules is that any console must have a master module 2 channels width which must be fitted at the right hand side of the console and that any group output modules fitted have to be positioned immediately to the left of this A Should you wish to replace or add extra modules please contact your authorised Soundcraft dealer who can supply the modules and change the configuration without voiding warranty The system has four group mixing buses allowing the inclusion of up to four group output modules together with the main stereo mix bus which gives the L R outputs from the master section Six Auxiliary send buses are provided giving
20. d with blanking panels Your Soundcraft dealer can supply a variety of mount ing plates to fit these with EDAC ELCO multiway connectors together with looms to link them to the modules Refer to options list on page 26 for details and part numbers MICROPHONE INPUTS GROUP AND MIX OUTPUTS GROUND SCREEN COLD OUT OF PHASE SIGNAL HOT IN PHASE SIGNAL Socket Female Plug Male Stereo Jack Plug used as balanced input line inputs and tape returns Tip HOT IN PHASE SIGNAL Ring COLD OUT OF PHASE SIGNAL MS Sleeve GROUND SCREEN 2b Stereo Jack Plug used as ground compensated or unbalanced output direct outputs auxiliary send outputs and control room monitor outputs Tip HOT SIGNAL lt Ring GROUND SENSE Sleeve GROUND SCREEN 3 Stereo Jack Plug used as insert send return Tp RETURN FROM lt EXTERNAL DEVICE Ring SEND TO EXTERNAL DEVICE i Sleeve GROUND SCREEN Connections 5 Connections LE ae te ood E m Signal leveis It is important to supply the correct input levels to the console otherwise signal to noise ratio or distortion performance may be degraded and in extreme cases damage to the internal circuitry may result Likewise on all balanced inputs avoid sources with large common mode DC AC or RF voltages as these will reduce the available signal range on the inputs Note that OdBu 0
21. e fed signal 80dBu at 1KHz THD 0 00396 at 1KHz 0 006 at 10KHz Mix L amp R Outputs Electronically balanced Insert send nominal level unbal 8dBu Insert send maximum output 21dBu into gt 1Kohms Insert return impedance 10Kohms Master fader rejection gt 8008 at 1KHz 4dBu 10dBV selectable 27dBu into gt 6000hms Stereo mix output Nom level Stereo mix maximum output Output impedance 75ohms CMRR 40dB at 1KHz UR crosstalk lt 800B at 1KHz THD 0 003 at 1KHz 0 006 at 10KHz Mono output level unbal 1dBu Mono maximum output level 21dBu into gt 6000hms Monitor outputs and switching CR Mon nominal output level 4dBu Maximum output level 150Bu into gt 5Kohms Output impedance 2500hms Headphone nominal output level 10dBu 20dBu into 6000 5 15dBu into 50ohms 4 dBu into 8ohms Headphone output maximum level 2 track return nominal level 4dBu 10dBV switchable 2 track return maximum level 25dBu 2 track return to mix crosstalk lt 85dB at 1KHz Oscillator Max level at group mix O P 16dBu Frequency 1KHz 10 Distortion lt 1 THD Meter 20 segment LED bargraph Response Peak or average reading Rise time to 1dB 150msec average 4msec Peak Decay time to 20 dB 250msec average 1 2 sec Peak Accuracy relative to 0dB 1dB 0dB 2dBu 20dBu output nom level 4 Calibration range Delta Specifications Typical Performance Figures Measured On 16 Channel C
22. elative to 0 775V RMS the practice of connecting an electric musical instrument directly to the input of the mixing console rather than to an amplifier and loudspeaker which is covered by a microphone feeding the console a device that allows the boosting or cutting of selected bands of frequencies in the signal path a feed sent back to the artistes via loudspeakers or headphones to enable them to monitor the sounds they are producing the variation in gain of a device with frequency an output into which a group of signals can be mixed the available signal range above the nominal level before clipping occurs a filter that rejects low frequencies signals at a nominal level of 10 to 6 dBu coming from a low impedance source abbreviation of panorama controls levels sent to left and right outputs an equaliser response curve affecting only a band of frequencies i e based on a bandpass response a function that allows the operator to monitor the pre fade signal in a channel independently of the main mix a fall in gain at the extremes of the frequency response Glossary shelving spill talkback transient 29 an equaliser response affecting all frequencies above or below the break frequency i e a highpass or lowpass derived response acoustic interference from other sources the operator speaking to the artistes or to tape via the auxiliary or group outputs a momentary rise in the si
23. es hence the 1 2 switch sends i the signal to groups 1 and 2 3 4 switch to groups 3 and 4 and the MIX switch to the stereo mix outputs It is recommended that any unused channels are unrouted to maximise the audio performance of the console Channel status 9 The PEAK LED indicator lights when the post EQ signal reaches a level of 4dB below the clipping severe distortion point of the channel If this lights any more than momentarily on transients in the signal the input GAIN should be reduced 10 The red illuminated PFL switch feeds the post EQ pre fader signal to the CR monitor outputs or headphones jack via the CR Monitor level control replacing the signal currently feeding those outputs The red PFL LED adjacent to the monitor control on the master module will light to indicate the monitoring status PFL signals from different sources will be summed 11 The ON switch enables post EQ post insert channel signal path when off all auxiliary sends except those selected pre EQ and all routing outputs are muted We recommend that you switch all unused channels off to prevent unwanted noise being added to any parts of the mix 13 The channel fader is the main level control of the channel and is a long throw type to enable rapid and accurate control of the channel output level When mixing you ll get optimum headroom and signal to noise ratios b
24. gnal level
25. he stereo mix and aux buses at a level set by the OSC LEVEL control The oscillator is enabled by the ON switch and is overrid den by the selection of the talkback Switch Talkback 7 Talkback can be routed to either aux send 1 and 2 1 2 switch or to all buses ALL switch An integral mic is provided flush mounted behind the front panel with an associated gain control TB GAIN In order to avoid acoustic feedback the CR monitor outputs are attenuated Dimmed by approximately 20dB when talkback to Aux 1 2 is selected and muted when talkback to ALL is selected Rear Connector Panel MX INSERT Master Fascia Rear Connections 5 AUX O P s Pini Ground i Screen Pin2 Hot Pin3 Cold Mon Hot Aux O P s Ring Ground Sense Cold Sleeve Ground Screen Mix Inserts Tip Return Ring Send Sleeve Ground Screen 4 4 9 9 0 2 TAPE L TAPER CRMONR Ancillary Connector Panel CR MON O P s Tip Hot Ring Ground sense Cold Sleeve Ground Screen 2 TRK Tip Hot TAPE Ring Returns Sleeve Ground Screen 25 Master output module Specification Auxiliary Send Outputs Unbalanced ground compensated Nominal level 4dBu Maximum output level 21dBu into gt 600R Output impedance 75ohms Master gain control range 10 85 dB Mix bus noise 80dBu Aux Aux crosstalk all but on
26. he red PFL LED adjacent to the monitor control on the master module will light to indicate the monitoring status PFL signals from different sources will be summed 10 The ON switch enables the post EQ signal path when off all auxiliary sends and L R outputs are muted We recommend that you switch all unused channels off to prevent unwanted noise being added to any parts of the mix 12 The stereo 100mm fader is the main level control of the channel giving rapid control of the levels of both channels simultaneously When mixing you ll get optimum headroom and signal to noise ratios by keeping the fader at about the unity gain 0 mark avoid running the input GAIN too high and the fader commensu rately low since this gives very little headroom Similarly running the input GAIN very low and the fader fully up 10dB of gain will increase noise levels and does not give any available increase in gain on the fader should the source signal level drop unexpectedly Rear Connector Panel All Inputs Tip Ring Sleeve Hot Cold Ground Screen Specification 21 Stereo input module Line Inputs Electronically balanced Input impedance Maximum input before clipping Sensitivity range CMRR gt 10Kohms 27dBu 20 to 10dBu for 4 O P 40dB at 1KHz Equivalent input noise 408 source lt 93dBu at unity gain Equalisation Boost cut range Break frequencies
27. ia the return PAN control If the SUB and RET switches are both pressed then return signal is routed to the group mix which is in turn routed to the stereo mix thus the return signal is under control of the group fader i selection and is link selectable for the group into a sub group feeding Equaliser 4 Each return is provided with a 2 band equalizer the centre detented controls giving shelving characteristics at 8KHz HF and 60Hz LF NORMAL OPERATION meten RETURN SIGNAL GROUP SUM AMP FADER GROUP OUTPUT METER RET SELECTED RETURN SIGNAL GROUP SUM FADER GROUP OUTPUT SUB SELECTED SUM AMP GROUP OUTPUT GROUP OUTPUT RETURN SIGNAL Auxiliary 5 The AUX 1 control gives a pre fade feed to Auxiliary send 1 enabling the return signals to be sent to a foldback mix Routing 6 The PAN control sets the position of the return signal across the stereo mix METER GROUP FADER GROUP OUTPUT SUB amp RET SELECTED METER GROUP OUTPUT GROUP OUTPUT Frequency Response Curves of the Equaliser RETURN SIGNAL gt sumamp GROUP FADER MIXR GROUP OUTPUT Channel status 3 Group fader this 100mm fader controls the level of the group mix amp Group output The nominal output level may be set at either 4dBu or 10dBV by an internal swi
28. ole EQ section can be switched into the signal path by the EQ switch Immediately after the EQ section in the signal path comes the insert point This jack on the rear connector panel allows the routing of the channel signal through an external processing device Frequency Response Curves of the Equaliser 1K Frequency Hz Auxiliaries 7 Four auxiliary send controls are provided AUX 1 and AUX 2 are factory fitted with a link selecting a post EQ pre fader signal This can be changed to either a pre EQ pre fade or post fade sourcing if desired see i the 200 Delta technical manual for details AUX and AUX 4 are fed post EQ post fader hence their level follows the channel output level set by the fader Their output can be routed to Aux sends 5 and 6 instead of 3 and 4 by using the 5 6 switch Routing 8 The PAN control determines the relative levels sent to the L group1 group3 and R group2 group4 buses In the centre equal levels are sent to both sides with a 4 5dB level drop relative to fully clockwise or anticlockwise Rotation fully anticlockwise sends full level to the left odd buses cutting the send to the right even buses and rotation fully clockwise does the opposite 12 The routing switches select which buses the post fade post i pan signal is fed to Each switch enables one Left Right pair of bus
29. onsole TOTAL HARMONIC DISTORTION Measured O 20 dBu 10 Hz to 80Khz Bandwith Unweighted Group Output 1 kHz 0 003 Mix Output 1 kHz 0 003 Aux Output 1 kHz 0 003 Standard Input j to Mix Output 1 kHz 0 00896 Deluxe Input to Line Output 1 kHz 0 005 Oscillator to Group Output 16 dBu CROSSTALK Measured 1 kHz Channel Muting Maximum Fader Attenuation Panpot Isolation Active Pan Routing Channel to Groups Maximum Aux Send Attenuation Mic Input Max Gain CMRR Line Input Unity Gain CMRR NOISE 10 kHz 0 007 10 kHz 0 006 10 kHz 0 006 10 kHz 0 04 10 kHz 0 015 1 kHz 196 gt 90dB gt 80dB gt 85dB gt 90dB gt 80dB gt 80dB 40dB Measured 22 Hz to 22 kHz Bandwidth Unweighted Mix Input Max Gain EIN with 200 Q Source Line Input Unity Gain EIN with 40 Q Source Mix Bus Noise M Channels Routed Faders Down Typical Mix Output Noise 16 Channels Routed Aux Bus Noise 16 Inputs FREQUENCY RESPONSE Mic or Line Input to Any Output 20 Hz to 20 kHz INPUT amp OUTPUT LEVELS i Mic Input Max Level Line Input Max Level Insert Send Max Level i into 5K Q 127 5 dBu 93 dBu 80 dBu 75 dBu 78 dBu 0 0 5 dB 18 dBu 27 dBu 21 dBu INPUT amp OUTPUT LEVELS continued Insert Send Nominal Level Direct Output Max Level into 5K Direct Output Nominal Level Group Output Max
30. output level of 4dBu and an impedance of 75ohms The Stereo mix and Group outputs also have the facility to Switch the operating level to 10dBV to allow easy interface to domestic and semi professional equipment These outputs will deliver full level 21dBu unbalanced 27dBu balanced into loads of greater than 600ohms Secondary outputs such as channel insert sends and channel direct outputs all unbalanced have a nominal output level of 2dBu and a slightly higher output impedance of 200ohms and will only deliver the full output level of 21dBu into load impedances of greater than 5Kohms Installation Examples of use The diagrams opposite and overleaf show typical applications of a 16 i input 200 Delta PA recording and keyboard mixing situations Such examples are of course only an indication of possible systems the exact setup being determined by your own system requirements and the configuration of the console eu 3007655 Installation Use as the front of house console in a sound reinforcement system Microphones covering drums guitars vocals and a DI box for the bass guitar are fed to mic inputs 1 to 12 Stereo input modules are fitted to positions 13 to 16 and receive the outputs from an on stage keyboard mixer and three stereo effects devices The output from AUX 1 and AUX 2 feed power amplifiers to provide on stage monitoring whereas the outputs from AUX 3 through
31. r auxiliary send controls are provided AUX 1 and AUX 2 fed from a post EQ pre fader signal so that the send level is not affected by the channel fader allowing the easy creation of for example foldback mixes unaffected by changes in the main mix AUX 3 and AUX 4 are fed post EQ post fader so their level follows the channel output level set by the fader Their output can be routed to Aux sends 5 and 6 instead of 3 and 4 by using the 5 6 switch EQ section in the signal path is the Frequency Response Curves of the Equaliser Routing 6 The PAN control determines the relative levels sent to the L group1 group3 and R group2 group4 buses In the centre equal levels are sent to both sides with a 4 508 level drop relative to fully clockwise or anticlockwise Rotation fully anticlockwise sends full level to the left odd buses cutting the send to the right even buses rotation fully clockwise does the opposite 10 The routing switches select i which buses the post fade post pan signal is fed to Each switch enables one Left Right pair of buses hence the 1 2 switch sends the signal to groups 1 and 2 the 3 4 switch to groups 3 and 4 and the MIX switch to the stereo mix outputs We recommend that any unused channels are unrouted to maximise the audio performance of the console Channel status 7 The PE
32. signal level drop unexpectedly to noise ratios by keeping the fader Rear Connector Panel MIC Pin 1 Line Tip Insert Tip Ring Sleeve Screen Hot Cold Hot Cold Screen Return Send Ground Screen 15 Standard input module AAA a a A LN C RN Kj Specification Microphone Input Electronically balanced transformer option Input impedance gt 2Kohms Maximum input before clipping 18dBu Sensitivity range 2 to 70dBu for 4dBu O P CMRR gt 80dB at max gain Equivalent input noise 200R source lt 127 50 at full gain Line Input Electronically balanced Input impedance gt 10Kohms Maximum input before clipping 27dBu Sensitivity range 20 to 10dBu for 4dBu O P CMRR gt 400 at 1KHz Equivalent input noise 40 source lt 93dBu at unity gain Equalisation Boost cut range 15dB Break frequencies HF 12KHz shelving MF 0 3 5KHz peaking with Q 1 5 LF 60Hz shelving General Insert send nominal level 2dBu unbalanced Insert send maximum output 21dBu into 5Kohms Insert return impedance 10Kohms Mute switch rejection gt 900 at 1KHz gt 90dB at 10KHz Fader rejection gt 800 at 1KHz gt 75dB at 10KHz Panpot rejection 85dB at 1KHz gt 80dB at 10KHz Routing rejection gt 93dB at 1KHz gt 85dB at 10KHz Aux send rejection 85dB at 1KHz gt 800 at 10KHz THD 0 008 at 1KHz 0 04 at 10Khz Refer to appendix for measurement notes and conditions
33. six independent outputs with master level controls The master section also contains a monitor switcher which lets you monitor the desk output an external stereo 2 Track return or a Pre Fade Listen solo signal accessing all inputs and groups Precautions and safety instructions 3 Precautions and safety instructions General precautions Avoid storing or using the mixing console in conditions of excessive heat or cold or in positions where it is likely to be subject to vibration dust or moisture Do not use any liquids to clean the fascia of the unit a soft dry brush is ideal Use only water or ethyl alcohol to clean the trim and scribble strips Other solvents may cause damage to paint or plastic parts Avoid using the console close to strong sources of electromagnetic radiation e g video monitors high power electric cabling this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis For the same reason always site the console power supply away from the unit In all cases refer servicing to qualified personnel Handling and transport The console is supplied in a rugged cardboard box If it is necessary to move it any distance after installation it is recommended that this packing is used to protect it Be sure to disconnect all cabling before moving If the console is to be regularly moved e g for touring we recommend that it is installed
34. tch see the 200 Delta Technical manual for details 7 The VOL control determines the level of the return signal 8 The red illuminated PFL switch i feeds the post EQ pre fader signal to the CR monitor outputs or headphones jack via the CR Monitor level control replacing the signal currently feeding those outputs The red PFL LED adjacent to the monitor control on the master module will light to indicate the monitoring status PFL _ Signals from different sources will be summed 9 The ON switch enables the return signal If the return is not _ being used it should be switched off to obtain the best noise performance from the console Rear Connector Panel 10 IMSERT 10 An insert point is provided in the signal path of the group so that an external processing device can be inserted Group Pin Ground Screen Pin2 Hot Pin3 Ground sense cold Tape Returns Tip Hot Ring Sleeve Ground Screen Insert Tip Return Ring Send Sleeve Ground Screen 23 Group output module Specification Group Output Unbalanced ground compensated Insert send nominal level Insert send maximum output Insert return impedance Nominal output level Maximum output level Output impedance Group group crosstalk Fader rejection Bus residual noise Mix bus noise Typical mix noise THD 8dBu 210Bu into 1Kohms 10Kohms 4dBu 10dBV selectable 21dBu in
35. to gt 6000hms 75ohms lt 800 at 1KHz 80dB at 1KHz lt 93dBu lt 80dBu lt 750Bu 0 003 at 1KHz 0 007 at 10KHz Tape effects returns Electronically balanced Input impedance Nominal input level Maximum input leve gt 10Kohms 4dBu 10dBV selectable 21 above nominal Equalisation 15 dB boost cut range HF 8KHz shelving LF 60Hz shelving Meter 20 segment LED bargraph Response Peak or average reading Rise time to 1dB 150msec average 4msec Peak Decay time to 200B Accuracy relative to 0dB Calibration range 250msec average 1 2 sec Peak 1dB 00 2dBu 20dBu output nom level 4 Refer to appendix for measurement notes and conditions Master output module ia Auxiliaries 1 The auxiliary send master level controls set the output level of the auxiliary send mixes the output level can be conveniently moni tored using the aux send AFL ance will be obtained with the send controls on the input channels turned up far enough to give a i peak output level metered using i the aux send AFL switch of 16 with the output level control at unity gain 7 on the scale The output level should then be turned down to suit the input level of the device the send is driving switches Optimum noise perform 3 The master output faders control the level of the stereo mix output In order to preserve headroom they should normally be
36. y keeping the fader at about the unity gain 0 mark avoid running the input GAIN too high and the fader commensu rately low since this gives very little headroom Similarly running the input GAIN very low and the fader fully up 10dB of gain will increase noise levels and does not give any available increase in gain on the fader should the source signal level drop unexpectedly Rear Connector Panel MIC Line I P Tip Insert Tip Direct O P Tip Sleeve Screen Hot Cold Hot Cold Screen Return Send Ground Screen Hot Signal Ground Ground Screen 17 Deluxe input module Specification Microphone Input Electronically balanced transformer option Input impedance gt 2Kohms Maximum input before clipping 18dBu Sensitivity range 2 to 70dBu for 4dBu O P CMRR gt 800 at max gain Equivalent input noise 200R source lt 127 5dBu at full gain Line Input Electronically balanced Input impedance gt 10Kohms Maximum input before clipping 27dBu Sensitivity range 20 to 10dBu for 4dBu O P CMRR 40dB at 1KHz Equivalent input noise 40R source lt 93dBu at unity gain Equalisation Boost cut range 150B Break frequencies HF 12KHz shelving HMF 0 6 10KHz peaking with Q 1 5 LMF 0 15 2 5KHz peaking with Q 1 5 LF 60Hz shelf with VLF rolloff at 30 Hz Highpass filter 30B at 100Hz 2nd order General Insert send nominal level Insert send maximum
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