Cloud Electronics 46-50 - Manual (Page 18)

46-50 Installation and User Guide V1.0 18
SETTING UP & OPERATION
Music Inputs
Gain & level
To avoid dramatic changes in volume when switching between
sources, the 46-50’s music inputs are provided with preset
gain trim controls ([2] on page 12). These vary the input
sensitivity from -12 dBu (195 mV) to +8 dBu (2.0 V). When
setting the system up, play audio from all the sources in use
and listen to them one at a time in a convenient zone (ideally
that in which the mixer is located) at a reasonable volume.
Taking a source of “average” volume as the reference, the gain
controls of the others should be adjusted so that there is no
appreciable difference in volume between any of the sources.
(With a typical music source, setting the gain on its channel
to mid-way is a good starting point.) Note that consideration
may need to be given to the type of programme in use,
particularly if one or more sources are TV sound.
In normal operation, the music level in each primary zone
is set with the
MUSIC LEVEL control on the front panel
([2] on page 11). This control will not be operative if the
corresponding rear panel
LOCAL/REMOTE push-button is
set to REMOTE.
Note that the setting of the music level has no effect on
microphone volume.
Local/remote control
If a zone has an RL-1 or RSL-6 Series remote control plate
connected in any zone(s), the corresponding rear panel
LOCAL/REMOTE push-button(s) must be set to REMOTE
(button in) for the remote controls to be operative and for
the corresponding front panel controls to be disabled. Zones
without such plates should be set to LOCAL (button out).
The setting of the internal jumpers J3 to J6 (on the main PCB)
is also relevant. The default setting is SW. This means that the
method of zone music source selection will be determined by
the rear panel switch setting; the front panel control will make
the selection if
LOCAL/REMOTE is set to LOCAL and via
a remote plate or other external control if set to REMOTE.
If a jumper is set to FR, the source selection will always be
made with the front panel control whatever is connected at
the rear panel or the setting of the LOCAL/REMOTE switch.
If external control of music level only (i.e., not source
selection) is required, J3 (Zone 1), J4 (Zone 2), J5 (Zone
3) and/or J6 (Zone 4) should be set to FR and the
LOCAL/REMOTE switch to REMOTE.
See page 24 for location of internal jumpers.
Microphone input
Phantom power
Both microphone inputs have 15 V phantom power available.
This will be adequate to power a wide range of condenser
microphones. (Some “studio quality” mics may require
a higher phantom voltage and thus necessitate an external
PSU.) To enable phantom power at a mic input, internal
motherboard jumpers J1 (
MIC 1) and/or J2 (MIC 2) should
be moved to their ON position. See page 24 for jumper
location.
Phantom power should NOT be enabled if dynamic
microphones are to be used.
Gain & level
Both microphone inputs are provided with a rear panel
preset GAIN control ([5] on page 12). A wide range of
gain is available and there should be no problem in obtaining a
satisfactory level from any normal microphone.
The
GAIN controls should be adjusted by speaking
normally into a microphone of the correct type. Turn the
front panel
MIC LEVEL control up to maximum and listen
in a convenient zone; the rear panel gain control should be
carefully advanced until the mic volume is as loud as it is ever
likely to be needed, and then reduced slightly. There should be
no audible distortion. The use to which the microphone is to
be put should be borne in mind – karaoke is more likely to
overload the mic preamplifier than spoken announcements, if
the gain is not set correctly.
In normal operation, the mic level in each primary zone is set
with the
MIC LEVEL controls on the front panel ([3] on
page 11).
EQ
The mic input has associated HF and LF EQ controls ([6] on
page 12) These provide 10 dB of cut or boost at 5 kHz
and 100 Hz respectively and should be adjusted by listening
to achieve a clear mic sound. Again, the application should be
borne in mind when making adjustments.
High-pass filter
The mic input has a fixed 100 Hz high-pass filter to remove
the lowest frequencies. This helps to reduce the effects of
breath blasts and microphone handling noise. The filter is
always in circuit.