Studiomaster_Powerhouse_300_user_man 电路图.pdf

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1、RadioFans.CN 收音机爱 好者资料库 Powerhouse 300 1 INTRODUCTION 1:1General introduction to POWERHOUSE consoles2 1:2IMPORTANT AC Power Information2 1:3IMPORTANT Cooling Information3 1:4IMPORTANT To Protect-Your Loudspeakers3 CONTROL IDENTIFICATION 2:1The input channel 4 2:2The output section 5 2:3The rear pane

2、l 8 USING THE POWERHOUSE 3:1First things first9 3:2The input channel connectors9 3:3How to get the input sound through to the headphones 9 3:4 The equalisation section on the input channels 10 3:5REV, AUX and MON 10 3:6The graphic equalisers 12 3:7Tape record and playback sockets 12 3:8Phantom power

3、ing 12 3:9The SEND/RET jacks 13 REVERB 4:1Digital Reverberation 14 4:2The controls 14 4:3Technical data 15 4:4In Use15 4:5Specifications 16 SPECIFICATIONS 5:1Mixing console specifications 17 5:2Amplifier specifications 18 5:3Graphic equaliser specifications 18 5:4Dimensions and weights 18 GLOSSARY O

4、F TERMS 6:1Glossary of Terms .19 RadioFans.CN 收音机爱 好者资料库 Powerhouse 300 2 1:1 GENERAL INTRODUCTION TO POWERHOUSE CONSOLES Please read this manual thoroughly from front to back and keep it close at hand during operation. The Studiomaster POWERHOUSE consoles have, in one compact box, a comprehensive m

5、ixing console, built- in 127 program Stereo Digital Reverb, dual graphic equalisers, and a 2x300W power amplifier. It will come as no surprise that the POWERHOUSE is extremely versatile; it can be used as a complete P.A. system for small bands, or as a self-contained sub-system in larger application

6、s. All of the features of the POWERHOUSE can be used in a variety of ways, for ultimate flexibility. This manual will introduce you to the many and varied ways of using it. DO NOT switch on the console before reading the following sections. 1:2 IMPORTANT! AC POWER INFORMATION PLUG WIRING INFORMATION

7、 As the colours of the wires in the AC Power Lead of this apparatus may npt correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The GREEN the letter L or coloured RED. WARNING: THIS APPARATUS MUST BE EARTHED BEFORE PROCEEDING: DO NOT CONNECT THE AC SUPPL

8、Y LEAD TO THE CONSOLE The following section relating to the power input assembly fitted to the rear panel of console MUST be read before switching on. The consoles are fitted with this voltage selector/AC input/AC fuse assembly: pointer (indicates voltage selected) RadioFans.CN 收音机爱 好者资料库 Powerhouse

9、 300 3 The voltage selector (the square shaped part which can be levered out) contains the AC fuse. This is the voltage selection procedure. Check that the pointer (see diagram above) is pointing at the local AC supply voltage (100, 120, 220 and 240V are stamped on the voltage selector). If it is, t

10、hen go ahead and connect AC power to the console. If the voltage indicated is wrong, then lever out the voltage selector (there is a small notch for this purpose between the selector and the AC power input). Turn the selector round until the pointer is pointing to the correct voltage, then press it

11、back in. You will have noticed a fuse while the selector was out. This is the consoles AC fuse. It is a 20 x5mm T2A 250V in all units. The console is now ready to have the power lead connected and be switched on. 1:3 IMPORTANT! COOLING INFORMATION There is a cooling vent in the base of the POWERHOUS

12、E consoles. This MUST NOT be obstructed in any circumstance, as overheating of the unit will occur. If the POWERHOUSE is transported in a flightcase, it should be lifted completely from the flightcase before use. 1:4 IMPORTANT! TO PROTECT YOUR LOUDSPEAKERS Always turn the TO AMP control to 0 before

13、turning the console on or off. Powerhouse 300 4 2:1 INPUT CHANNEL NOTE: Use either the MIC or LINE input and NOT both together as this could damage the MIC input circuitry or the equipment connected to it. 1 MIC INPUTFemale XLR wired Pin 1 = Ground, Pin 2 = +ve phase. Pin 3 = -ve phase. The channel

14、may be driven with a low impedance balanced microphone. Input impedance 2kohm, gain range 15 to 60dB. 2 LINE INPUTStereo 0.25 jack wired Tip = +ve phase, Ring = -ve phase, sleeve = ground. For unbalanced use, connect a mono jack wired Tip = Signal, Sleeve = Ground. 3 GAINcontrol with 45dB range. Ope

15、rates both LINE and MIC level inputs to ensure that the input signal is at a suitable level to drive the channel. It determines the nominal channel signal level by varying the pre-amp gain, preserving maximum headroom and minimum noise without loading the input signal. 4 EQUALISATIONA 3-band design

16、comprising of: 4a High Frequency control is a shelving type with 16dB of boost/cut at 12kHz. 4b MID Frequency control is a peak/dip type with 16dB of boost/cut at 2kHz. 4c Low Frequency control is a shelving type with 16dB of boost/cut at 60Hz. 5 REVTurning this control clockwise sends the input cha

17、nnel signal to the 127 program DIGITAL REVERB built in to the POWERHOUSE. The REV control is post-fade. 6 AUXThis control is post-fade, like the REV control, but sends the input channel signal to the AUX SEND jack. The AUX SEND would normally be connected to an effect. 7 MONThe MON control is pre-fa

18、de, and turning it clockwise sends the input channel signal to the MON SEND jack. The MON SEND would normally be connected to an amplifier for foldback purposes. 8 PANcontrol allows a left-right stereo balance of the channel between the left and right busses. 9 CLIPindicator. This LED illuminates wh

19、enever the signal approaches the maximum running level. It monitors all stages within the input channel, and illuminates at 3dB prior to clipping. 10 L-R/GRAPHIC button. When released, (L-R selected), the channel will be connected to the left and right busses directly. To mix the input channel signa

20、l onto the left and right busses via the GRAPHIC EQUALISER, depress this button. 11 FADER60mm channel fader with 10dB of gain. Powerhouse 300 5 2:2 OUTPUT SECTION 1 DIGITAL REVERB The POWERHOUSE consoles have a built in reverb with a total of 127 programs. The various programs are clearly labelled,

21、on the front panel, for rapid accessing of the desired effect. The reverb is stereo, and its outputs are connected to the left and right busses. The ON/OFF button switches the DIGITAL REVERB on or off. When it is not required, it should be switched off. Depress for ON, and the adjacent LED will ligh

22、t. There are six reverb types (each of which can be DARK or BRIGHT and have any of eight reverb times), three reverb effects (which can also have any of eight preset reverb times) plus seven SPECIAL EFFECTS. The reverb types are selected by the TYPE button. Each tiroe this button is depressed, the l

23、it LED above it moves down the row to indicate the type selected. The bank SELECT button selects whether the reverb type is BRIGHT or DARK. The DARK/BRIGHT selection is shown by the two LEDs adjacent to the BANK SELECT button. The TYPE and BANK SELECT buttons also select the three reverb effects and

24、 gain access to the 7 SPECIAL EFFECTS (GATED, DELAY, REVERSE MON selected by the AMP L-R/MON button. The LINE OUTS would then drive the Front-of-House amplifier/P.A. system. 13 MON SEND0.25 mono jack wired Sleeve = Ground, Tip = Signal. 14 AUX SEND0.25 mono jack wired Sleeve = Ground, Tip = Signal.

25、15 RECORDPhono sockets for connection to the inputs of a 2-track recorder. They are wired parallel with the LINE OUTS and allow the stereo mix (from the left and right busses) to be recorded conveniently during a performance. Nominal level -10dBV. Minimum load 5kohm. 16 PLAYBACKPhono sockets for con

26、nection to the outputs of a 2-track recorder. When the PLAYBACK button is depressed, they are routed to both the left and right busses (remaining stereo) and also to the MON buss (as mono). Input impedance 5kohm. 17 LEVELThis controls the level of the stereo PLAYBACK signal onto the left and right b

27、usses. 18 TO MONThis controls the level of the mono sum of the stereo PLAYBACK signal onto the MON buss. Powerhouse 300 7 19 AUX SENDThis controls the overall output level at the AUX SEND jack, of the mix of signals derived from the AUX controls on the input channels. 20 TO AMPThis is the master vol

28、ume control for the built-in stereo 2x300W power amplifier. The LEFT the REV, AUX and MON controls. THE REV CONTROL Turning this control clockwise sends the input channel signal to the built-in DIGITAL REVERB. By using several REV controls on the input channels a mix is created at the REVERB FADER.

29、The setting of this fader controls the level of signal fed to the REVERB. When adjusting it, check that the REVERB O/LOAD LED does not light. THE AUX CONTROL The AUX control is just like the REV control, but allows an external effect processor to be used. Adjusting several AUX controls creates a sig

30、nal mix at the AUX SEND control which sets the level of the output from the AUX SEND jack. This would be connected to the input of an effect processor such as delay, enhancer, compressor etc. Like the REVERB FADER, the AUX SEND control alters the signal level fed IN to the effect, so check the overl

31、oad indicator of the external effect to avoid clipping or distortion. REV the LINE OUTS, and the amplifier OUTPUTS. The amplifier OUTPUTS in most cases would be used to drive the main P.A. loudspeakers (the L-R/MON button below the TO AMP level control must be released). However, more power may be r

32、equired for the P.A. system in which case amplifiers may be connected to the LINE OUTS. The built-in power amplifier may then be used to drive the MON (foldback) system (the L-R/MON button below the TO AMP level control must be depressed). NOTE: When the amplifier is assigned to MON both channels ar

33、e driven by the same signal (because the MON system is mono). Powerhouse 300 14 4:1 DIGITAL REVERBERATION When live music is played in a concert hall, the sounds of the instruments and vocalists become sustained and blend into one another. This is due to the sounds being reflected from the walls, ce

34、iling and floor of the hall and bouncing between these surfaces many times until the echoes die away. This effect is called REVERBERATION. Many performance venues have poor acoustics; often caused by their internal surfaces not being reflective to sound. The performance may sound- unnatural and synt

35、hetic. Devices for creating artificial concert hall reverberation have been used for many years in the forms of electro-mechanical spring or metal plate based systems. Apart from being bulky and prone to external noise and vibration, these devices were invariably noisy, had a poor frequency response

36、, a very limited range of reverb sounds, and in particular an unconvincing and unnatural sound. High-speed computer technology has changed all that, allowing acoustic environments to be simulated with breathtaking accuracy by digital signal processing techniques. In a DIGITAL REVERB, the sound signa

37、ls are represented as strings of digital numbers, just like in a compact disc player. A very fast arithmetic processor continuously performs the millions of calculations every second necessary to synthesise the many echoes found in natural reverberation. The results of these calculations are then co

38、nverted back to analogue sound. The versatile digital reverberator built in to POWERHOUSE consoles not only provides facilities for recreating various acoustic environments, but also has some special effects in its 127 program memory. 4:2 THE CONTROLS 1The TYPE button, and the 8 LEDs above it, are u

39、sed to select the type of acoustic environment (top 6 LEDs), or various effects (bottom 2 LEDs). 2The BANK SELECT button. This button is used to toggle between two banks, indicated by the two LEDs next to it. When the right LED is lit DARK is selected for the first 6 reverb TYPES. The selection of D

40、ARK brings a digital filter into operation, resulting in a more mellow sound. Selecting DARK also selects the DELAY and SPECIAL EFFECT modes when one of the bottom two TYPE LEDs is lit. Selecting the left LED for BRIGHT reproduces the first 6 reverb types without the filter, and is used to select GA

41、TED and REVERSE reverb types. 3The TIME button, and the 8 LEDs above it, are used to select the decay time of the reverb sound, the delay time in DELAY mode, or the type of effect in SPECIAL EFFECT mode. 4 The O/LOAD LED indicator gives an impression of the input level and warns of any possible over

42、load condition. 5The ON/OFF button allows the reverb to be in-circuit or bypassed. When depressed, the reverb is in-circuit (ON), and the adjacent LED will light. Powerhouse 300 15 4:3 TECHNICAL DATA TABLE 1 - TIME SETTINGS DECAY/GATE/DELAY TIME (Seconds): TYPE TIME SETTING SMALL HALL LARGE HALL SMA

43、LL ROOM LARGE ROOM PLATE 1 PLATE 2 GATEDREV- ERSE DELAY 10.51.20.31.50.21.00.20.10.05 20.82.00.52.50.31.50.30.20.1 31.03.50.83.00.52.00.40.250.18 41.25.01.04.00.82.50.60.30.2 51.56.01.24.51.03.00.150.350.35 61.87.01.55.01.25.00.250.40.4 72.58.01.87.01.55.50.350.450.5 83.015.02.08.51.87.50.450.50.65

44、TABLE 2 - SPECIAL EFFECT PROGRAMS TIME SETTING EFFECT 1Regenerative Reverb 2Room Ambience 3Echo and Reverb 4Stereo Crossing Echo 52-Tap Stereo 63-Tap Panning 7Multitap 8Reverb Bypass 4:4 IN USE The HALL TYPES tend to be useful for general purpose overall reverberation, and in particular for strings

45、and brass instruments. The ROOM TYPES are slightly less smooth, and are useful for a more intimate sound on vocals and guitar. The PLATE TYPES are very smooth and slightly shrill; ideal for vocals or percussion. Selecting DARK simulates the more mellow effect of a room filled with a sound-deadening

46、audience or carpets, curtains, soft furnishings etc. This can be useful for making the reverberation sound less cutting, allowing more of it to be used. On these normal reverb settings, the SPECIAL/TIME button selects the decay time as shown in TABLE 1. The GATED TYPE simulates the effect of a plate

47、 reverberator treated with a noise gate so that the reverberation tail ends abruptly rather than decaying gradually. This is very effective on percussion such as snare or bass drum. The REVERSE TYPE simulates the effect of playing a tape backwards, which can be useful as a special effect on vocals o

48、r guitar for instance. The build-up time is varied using the SPECIAL/TIME button (see TABLE 1). The GATED and REVERSE reverb TYPES (or algorithms) have no corresponding dark setting. Powerhouse 300 16 When the right BANK is selected, the GATED position becomes DELAY, with a range of normal digital d

49、elays as shown in TABLE 1. The REVERSE position becomes SPECIAL. When SPECIAL is selected, the various effects listed in TABLE 2 become available on the various positions of the TIME control. 4:5 SPECIFICATIONS Frequency Response20Hz to 10kHz +4-1dB * (Effect) , 11Hz to 25kHz +/-1dB (Dry) T.H.D. 0.1% (1kHz 0dBm, effect) Output Noise-71dBm (DIN Audio) +4dBm mode, -82dBm (DIN Audio) -10dBV mode, -98dBm (DIN Audio) Dry Maximum Output Level+14dBm (1kHz, 600ohm) +4dBm mode, +2dBm (1kHz, 600ohm) -10dBV mode Stereo Separation 100dB (1kHz), 92dB (10kHz) Input Impedanc