,,4OOO SE,RIES'' USERMANUAL
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INTRODUCTION
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from The D & R 4000seriesis distinguishable w3y9' otherdesks,employingin'linemixing in.vario.us technical such Firslff a woid a6oui h6w we've achiCved exceliencefor such a competitiveprice. We haveemployeda plug and flatcablewiring system whichmeani that the individualchannelsare with eachotherthus making.thedesk inteiCnangeable technicalinnovationwhich helps Another moOfilar. tuffv nol6 the price of the 4000seriesdown is a completely new way'ofroirtingwhicheliminatesthe need for the switchingand wiringcircuitsfound on complic-ated ionventionaldesksleaOingto a savingof 150switches on a 32 channelmixer. n simptepatch'baywhichfacilitatesvery.easy patching is lfs,i thi resutt6f our cost consciousdesignefforts. The consoleitself is of a superbdesign,the are mountedindividuallyin aluminium"U" mod'ules letteringprotectedby a orofileswith clear unerasable profiles.are set into the ioiycarbonatefilm. These wooden attractive has btuiOymetal housingwhich sides. ihe wettdesignedcontrollay'outfacilitqtespleasant miiing witnodtthe confusionthat usuallyarisesfrom i'i6'it?"i 6f knobs and switchesfound on mixing desks in general. itrE mixersin the 4000seriesrank among our f.inest and are the result of 10 years researchinto oroOuCts fiiling desx design which has led to many innovations enablingus to offer you superb inO O-evetopment6 comPetative verY Prices. desksat
DesignHighlighfs
f.e.t. switcningis employedgiving-practically low disiortionand a s-nutotf in excessof unmeasuiable 90 dB. e compfetelynew approachto limiting oj ab.gve. ?-u9i9 trrougn passive{illering (instead.of liigJ irequ6nCies, itreltanOird active filteringigives ihis console as all oui olner designsan incredibletransparancythrough its absenceof transientdistortion.By criticallydamping int"gratedcircuit at 40 KHz squarewaves.wehave "uew icni'eveOdompleteeliminationof overshootand/or ringingand slewing. Atine-mic inputsitt tne amplificationis performed.by discretelow noise transistor'sand throughoutthe signal while the mixlng path by Bi-Fetop'amps(series.TL.0Ig)' low standard industrial imps utitisethe'reknowned AN. NE 5534 oP'amp noi'seaudio We havechbsenfor a minimumaudiopathto achievetotal transParancy. OrJio an excellenicircuitdesignthereis a minimum oiirosstalk, controlinteractionand this combinedwith inssuperOirinted circuit boardlay-outcontributesto a very siableand low noise Product.
PowersuPPlY
The powersupplyis housedin a 19", rack mountingcase and 66n-sistsof three fully independant inO prot6ctedpowersupplieswith very low ripples'
A short rundownof the series4000possibilities - 11 gegmentpositive/negative readingpeak-bargraph meterper in/outputchannel - 4SY.phantom powering,switchableper ch-annel - click free phasereverdeswitch for mic/line and remix signalsenteringthe console - extremelylow noiseelectronicallyR.F.screened, balancedmic amps - simultaneoussync/remixinputs for + 4 dBu as welf as -10 dBV - 100Hz high-passfitter - a bqnd.gweqpeq. of novetdesignwithout interacting controlfunctions - 6.aux sendspre/postsrrrritchabfe and sefectabfefrom cnannetanclmonitorsignal paths - completelynew free floating in/outputsfrom suQgqoqq amps makingsublrouping to any multitrackchannelpossiOtewitfr a irlnimuin ot switches - simultaneousroutingto master,direct output and groupsummingamps possible - sync and effect.inputs.per channel,changing a 24 consoleinto a 48 line input remix consolE - monitormute and p.f.l. - channefmute and p.t.l. - 100mm channelfader,60 mm monitor fader - 2 insertsper channel - simultaneousmultitrackfeed outputs for + 4 dBu and - 10 dBV availabte - mastersectionwith 25 segmentled bars and phase correlationmeter - low distortion1 KHz line up oscillator - talkbackwith built in electiet and routing - communicationsystemswitchablevia thl a.f.l./p.f.l. system - 6 masteraux sendswith individuafselectablea.f.l. switches - comprehensive control room monitorsection with alternativemonitorloudspeakerswitching,mono switch and mute switching - two stereo master recordeis can be played back ' (+ 4 dBu/- 10 dBV inputsavaitabte) - modular64 point patchbaymodules : all connectionsvia XLR and jackplugs
CONFIGURATION DESCRIPTION OF CONSOLE Ledbor The 11 segmentledbar(the first led indicates only that the powersupplyis on) is a peakreading instrumentindicatingboth positiveand negativepeaks which is absolutelynecessaryin modern recording.The levelcalibrationis adjustablefrom the back of the consolewith a multiturnpresetpotentiometer.The ledbarreadsall signalsappearingbeforethe insertion point of the monitor/effect section.Thereforeall signals that are audiblevia monitorp.f.l.This could be the multitrackinput,the multitracksync output,the multitrackremix,or the effect input.lt is also possible to use the monitorsectionas an effect return without havingto decouplethe ledbarfrom the multitrackreplay (remix)output.Do not patchinto the effect input but into the monitorinsertioninput with effect returns.The ledbarcontinuesto registerthe multitrackrecorder.
Mic Belowthe ledbarsectionare the input circuit controlsand switches.The first beingthe, per channel, switchable+48V phantompowersupply.Belowthis is the - 20 dB pad, necessaryfor extremelyhigh input signalson the mic input.
Line The line switchchangesthe XLR input to line levelsensitivityand also changesthe balancedmic inputconnectioninto an unbalancedline input.The input sensitivityrangesfrom - 10 dBu to +20 dBu.
Remix The remixswitch,which also activatesa line levelinput has priolity over the line switch. The remix input is combinedwith the sync input on the back of the console.
Goin The gain controlacts for the mic amplifieras a feedbackcontroland in the line/remixmode as an input attenuator.The mic gain rangesfrom - 20 dB to - 64 dB whilst providingan enormousheadroomwith a mi nim umof 40 dB.
Phose This phasereversalswitch is active on both mic and line/remixinputswhich proveshandy in all sorts of recordingsituations.
HighPqssFilter The high-passfilter is a fixed frequencyfilter with a -3 dB turn overfrequencyat 100 Hz. The slope is 9 dB per octave.
Equolizers Theequalizerstandsout by virtueof its simple yet effectivedesign,with a minimumaudiopath'a which guarantees a goodsignalto noiseratio.lt is of parametric4 banddesignwhich spansthe whole audio spectrum.The high shelvesat 12 KHz and the low at 60 Hz.The high midrangesfrom 1 KHz to 11 KHz and the low midrangesfrom 100Hz to 1 KHz.The lift and cut rangeof all 4 equalizersectionsis + 16 dB. The point of turnoverlrequenciesin this equalizerwill pleasantlysurpriseyou. In the eventualityof still further therefollows an insertion equalisation beingnecessary point whichmakesinsertionof additionale.q. units possible.The wholee.q.sectionis bypassablewith a silent switch.
Aux The4000seriesoffersin total 6 individualaux sendswhicheasilyallowsfor the most extensiveremix sessions.The aux sendsare per pair switchable pre/postthe monitor/channel fader.Basicallythe 6 sendsare wiredpre/postthe monitorfader which makes it possibleto havefoldbackas well as effect pre and post the multitrackmachine.
Aux fo Chqnnel This switchconnectsall the 6 sends pre/postthe channelfaderthis beingnecessaryin the remix mode.
Subgrouping in the 4000consoleis done in a Subgrouping new way and demandsa new way of thinkingfrom the The basicideais to havesubgroupamplifiers engineer. only whereyou needthem.This meansthat there is no groupamplifierpreceeding everymultitrackchannelas you mighthavebeenusedto in conventionalin-line d e signs. In the 4000consolethereare only 4 subgroup amplifiers,only 4? Yes,only4, but these4 subgroups a re fullyfloating.You can switchthem to the inputsas wel! as to the outputsanywherein the console. l ma gine,r outingfr omchannel1 to channel28 witho ut patching,this is possiblein the 4000seriesin the followingway. Thereare 4 switchesfor this novelroutingsyst€m,2 for goingto the subgroupsand2 for comingfrom the called"to sub" and "from sub". subgroups, the signalcoming from the lf you are not subgrouping, channelfadergoesdirectlyto the multitrackmachine. But let's say you want to stereosubgroupchannel1 to channel1 and 2. This meansthat you 8 to multitr ack need2 subgroupsbecauseyou want to do it in stereo. T h e fir stthingyou haveto do is to br ingthe signalsto the subgroupsby pushingthe switch marked"to sub 1/2"(youare usingnow subgroup1 and 2). The pan'pot the signallevelsent to subgroup1 andlor2, determines on its position,left,r ightor centr al. d e p ending T h e signalscomingfr om channel1 to 8 ar e now locatedin th e b ro ughtto subgr oup1 and 2 ( physically . now,you needthem on m ultitrac k ma stersection)But, ch a nnel1 and 2. You onlyhaveto connectthe
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multit.rack inputsto the outputsof the subgroupamps. This is doneby switchingthe "from sub %" switches. As you can see it is veryeasyto bring this signalto any multitrackinput or evenmorethan 1 multitrack channel,if you like. For anotherexampleyou might want to bring channel, l e t' ssay9- 10 to tr ack4. Pushin, in channel9- 10, the "to sub Tz"switch(or "to sub 3/r"switch,which everone pan to the right and push the switch in is available), channel4 called"from sub 72" (or again "from sub 3/" if chosen).You see this is a very flexibleway of routing a signalthroughthe console.In fact it is possibleto route,withoutpatching,from any input to any output. This systemallowsa greatsavingin switches electronicsand labourwhencomparedwith the conventional24 track routingsystem in a standardinline console. Besidessendingthe signalto the subgroupsit is also possibleto feed the mastersection simultaneously.
Pqn-Pot. As alreadydescribedabove,this control (with a -3 dB attenuationwhen set central)pans the'signal betweenthe odd and evensubgroupsas well as left/rightmasterbuss, if selected.
Monifor Section The monitorsection(lightcoloured)takes care of all the monitoringin the channel.
Sync The sync switch in the monitorsection handles the syncswitchingof the multitrackrecorder.In the on position,the monitorsectionin the channelis switched from the inputto the ouputof the multitrackmachine.
Effecl The switch "effect" makesit possible to use the monitorsectionsas effect returns.In this manneryou havecontrolover as many effect returnsas the console has channels.The effect inputsare on the back of the oonsole.
ond Mule (Monitor) P.F.L. The p.f.l.switchenablesyou to prefadelistento the signa!comingfrom the channelor from the multitrackas well as from the effect input.The p.f.l.is of the autotype,it switchesautomaticallythe stereo masterfrom the monitoringand substitutesit for the activatedchannel. the signalcom i ng M utingis doneby cancelling from the channel,sync or effect inputs.The p.f.l.is not affectedby muting.
FoderMonifor This smallfader,58 mm travel,is of the carbontrack type.Thereis a 10 dB gain factor in the amplifierwhich followsthe fader.
P.F.t. ond Mute(ChonneD The p.f.l.and mute switchesin the channelshave the samefunctionsas in the monitorsections.The p.f.l. doesnot interruptthe signalpath.The mute function has a led to indicateits function.
Foder(ChonneD The channel fader is of the carbonlrack type with a 100 mm length. Standard is the Nobte fader. Options are A.L.P.S.and Penny and Giles. There is also a 10 dB g a i n f a c t o r i n t h e a m p l i f i e rw h i c h f o l l o w s t h e c h a n n e l fader.
Mechqnicof Slrenglh Themechanicalstrengthof the individual mo dulesis achieved by usinga speciallym anufactur ed "U" typeprofileto whichthe printedcircuit board is firmlysecured.
Inputs/OutpulsChqnnet On the backof the consoleyou will find the in/outputsof the channels.On top there is the XLR type input connectorfor the mic and line amp.The mic amp is bafancedand the line unbalanced. Next there is the combinedsync/remixinput whichacceptstwo levelsof +4 dBu (theprofessional standard)and the - 10 dBV which is the semi-professional standardnow-a-days. MultitrackFeedis the outputof the channelwhich has to be pluggedinto the inputof the multitrackmachine. On this socketalso thereare +4 dBu and - 10 dBV levelsavailable. We haveusedthe followingwiring configuration. On tip of the jack the - 10 dBV signal is hvailableand on the ring simultaneously the + 4 dBu standard. By connectingto the appropriatesofdertagon the stereojack plug you choosethe tape level you are goingto use.The channelinsertis the jack into which you can insertancillaryequipmentsuch as compressors noisegatesand otherfrequentlyused effectdevices.The tip is the send and the ring is the return. The effectjack is thereas an extraline levelinput in the remixsituation.The monitorinsertis there to make possibleextraequalizingor the insertionof other a n cillar yequipment in the monitor ingsectionof the ch a nnel. The calibrationcontrolis thereto calibratethe levelof the peakreadingledbar.lt is factoryadjustedto i n d i cate6 dB downfr omthe signalwhich is actually measured. This way of calibratinga peak readingledbar is commonpracticenow-a-days.
MosferSeclion
Thefollowingdescribesfrom aboveto belowthe ,se and |unctionof-themastercontro|s.First there are tnJ ettiemelyprecise25 segmentpeak readingledbars ;iih ilth irio'iitive and nelativeieadingdisplav',The jttici and decaycharacterlstics'conform to standards is the ledbars these ;;; iht;rgrtri the world.Below with parall.el in wired is which ;ffi"';;r;Eiaiion meter indicates instrument precision This meters. [ne ieOOar ine exactphaseretitionsnipbetweentwo givensignals' for )i'in-iiJ shitt ot so; oegreesor tess is acceptable into green (out of but-abovethis ;;;;;6paiabilitv a.... reg-isters ;;i t C"bceptaule.The phase-meter When dBu' 20 + and bi#.t t.ioinil oetween 40 dBu below signal a with or witti onli one sign-ql il;;;i.a "- a6 Je;ii-s*ircn6r-itsetf-off,so avoidingany incorrect reading. produces ffre ostiltatoris of the phaseshift type which a low distortion1 KHz sinewave' ilfi;; iGl*itin is lctivated a 1 KHz tone is available dBV lev el ' mt m ultitr aikoutputsat + 4 dBu/- 10 pr oce*r e' sim ple a fi mlfes liningup macnines " i l"in*n at D & R we sectidn' fnii'in"ti is the iommunication ilnOgooOcommuni.ationbetweenthe studio and of a control room an arls-Jrui"necessityfor the success ineiefore the 4000series offers the ;;;ili;s;"siion. 'p-*Ji6iri'i'v communicationf rom the oi Lomprehensive. stages 5troio to'the contiotroom at all times and in all the from speak to possible 6i-" J"ilion-. lt is also by conttof-om to the stu'diovia all outgoinglines outputs' meansof the aux iwitch mar.6sit possibleto put information Ti;|"i" on taPe. attenuated e; lTJbr the talkbackswitchthe.G'R'M'is electret.. in' qualitv, built ;i ifi6. inlt" it a high purposes'A high pass f ilter i;; talkbac''k iii"tiinl.; furtherincreasesthe claritY'
AuxMosfers
with theira'f'l' switches The6 auxmasters levelof the aux sends' ouigoing tot;i controt'in-e
c.R.M.
C.R.M.standsfor ControlRoom Monitorand control
ine reuil? airinl lignatsqgiftst9 tl9 resutateJ switchesis foundin e numoEioi pusn'outlon monitor. switch: of ihe c.R'M' i'nenLignoourhood i*iicn,-tnisswitchmakesit possible Thestereor 2 stereosourcesInsteadof the master i6'i"rldittom"nil mixdown. betweenstereo iiiii monoswitchmakescomparison monitor Mutecancels.the il ;il" possible. monitoring' alternative for .otpi"t"iy. Aft.mon.stands in another bring to switch It-ilfi;iijle withihis monitorsystemif oneis connected' switches .1.. whetherp.f.l./a.f ril; dl.tJi.i.r.reJindicates activated' tne consolehavebeen ;ilil;;in but A'L'P'S' or Penny and Noble faders ate-s-tanOard
optionall}l. areaveilable Giles
MqslerSeclion In/Oufpufs Thereare21 in/outputson the masteroutput section.Therefollows a descriptionof these from top - to bottom,beginningwith the left hand row as iiewed from the rearof the desk. Firstlythere are the Aux outputs 1 - 6. All the aux outputsare unbalancedat + 4 dBu. Then belowthe six aux jack socketsthere is a seventh,which is a balancedmic input for purposes. communication The middlerow of masteroutputs and the row on the right whenviewedfrom the rear areas follows from top to bottom. Firstlythe masterleft/rightoutputswith an output level of - 10 dBV on the tip of the stereoiack and + 4 dBu on the ring. Next we have anothermasteroutput similar to that just described.This secondoutput is intended for use with a secondmastermachine.Below these are the 2 stereoreturnsfor the master master-outputs machine.Thesestereojacks havean input sensitivityof - 10 dBV on the tips and + 4 dBu on the rings. Belowthe stereordturnsare the masterinserts and two aux insertsand finallythe 2 C.R.M.iacks which deliver the C.R.M.outputs. Powersupplyconnectionis by meansof a 5 way XLR connector.The two earth connectors(one below the powersupplyinput socket and one in the patch bay)are to be used whena patchbayis installedin the mainframeto preventearth loopswhen patching. Link the two pointswith a heavyearthing.conductor.
Pofchboy The patchbayis modularand has provisionfor 64 break patch-pointsper module.The connections betweenthe patch-pointsand the socket at the rear ot the consoleare madevia two prlntedcircult boards which haveat the back nlolex pin'connectors. Patchingis done as follows: lt is necessaryto solder a stereojack plug to one end of a twin screenedlead (in which eachof the conductorsis individuallyscreened). To the otherend soldera two pin molex female connector.You now havethe standard4000series internalpatchcord. Now let's say, for instance,you want to wire the channel1 insertionpoint to the patchbay.To do this plug the take a 4000seriespatch cord (Jack-Molex) stereojack into the insertionsocketon channel 1 and connectthe Molexfemale connectorto the pins marked 1 on the Molexstrip connectoron the rear of the desk. In this way you can bring any in/outputjack to the patchbayby meansof simpleexternalwiring and furtherit is an economicalmethodwhich savestime.
A. Singlesource on singlblrqck-Recording Themicrophoneor line signalentersthe in/outputchannel,at the point wherethe mic/linepush bultonwill determinethe input mode.A gain controlfor the microphone and line signalsis providedwith additional- 20 dB pad for the microphonesignal. Phasereversecan be usedon both mic and line signals.lf necessary, the 48 volt phantompoweringcan be switchedon. Firstlythe signalgoesthroughthe high-passfitter which can be switchedin or out. After passingthroughthe high-pass filter it entersthe equalizersectionwhich can also be bypassed.Afterthe e.q.the signal appearsat the ancillaryequipmentjacksocket.This providesa send and returnpath for the introductionof effects or othertreatment_of the signal.The p.f.l.switch monitors afterthe insertionpoint,but beforethe mute switch. Directlyafterthe mute switch(abovethe mute led) is the long travelfader.This fadersendsthe signalvia the channelpan-potto the master/groupbusses if activated. ln case of a singletrack recqrdingit is better to by-pass the pan-potand the group-amps. This is done simply by not activatingany of the "to" and "from" switches.In this way only the post faderchannelamp is directly connectedto the multitrackinput.Thereare two ways of monitoringthe signal,directlyfrom the channel: - by pushingthe masterroutingswitch,which leaves the monitorsectionfree for otherpurposes. - the 2nd way is to use the monitorfader and its associatedpan-potwhichfeedsthe signal directlyto the mastermix busses,if the monitormute is not activated. It is an absolutenecessityto mute everyunused monitorchannelin orderto achievebest overallsignal to noiseratio in the mastermix busses.This muting removesthe mix resistorsfrom the buss and thereby providesa lowernoisegain.In an unusedchannelthe masterswitchhas to be inactiveto achievebest signal to noiseperformance. Whenno effectswitch is activatedthe led bargraphwill readthe signalgoingto the multitrack.Aux sendscan best be usedpre/postfrom the monitorfader.In this configuration the aux sendsare also availablein the sync mode.lf you wish to monitorfrom the channelyou haveto pushthe aux to channelswitch. The standardway to recordin one channelis to drive the multitrackmachineas hardas possibleand to monitorthe signalthroughthe small fader.Both in the recordingmodeand in the sync mode.
B.Multiplesourceson one or two trocks or line sig nal W henmor ethan one micr ophone has to be recordedon a singletrackor on two tracks for stereo,a submixfacilitywill be required. On the 4000seriesthis can be done,simply,without
patcning. willbe 0rlinesignals Themicroph0ne
processedas describedunderA, exceptthat one of the two sub switchesmust be activated.lf you push,for
1?
example,routingswitch"to sub th" in channel1, the signaiwill, dependinguponthe posltionof the channel pan-pot,go to subgroup1 andlor2. channelto To bringthe outputof this subgrouped multitrackchannel1, lt is only necessaryto activatethe switch"from sub 72" In channel1. Now the subgrouped signalreplacesthe channelsignal.In this way you can routeas manychannelsto the subgroupamps as you wish and connectthe outputto any multltrackInput in you llke. lt ls posslbleto make 2 the consolewherever at the sametlme and to brlng these subgroups stereo to 4 multitrackchannels.lf moresubgroupsare required you can use the 2 stereosubgroupsas 4 mono subgroupsby using the pan-Pots. Whentakingsignalfrom the subgroups,note that odd numberedchannelsare fed by subgroupoutputs 1 and 3 and evennumberedchannelsby subgroupoutputs 2 and 4.
Sub lmagineyou havea mix of 12 channelsin perfect bafancerouledto track 1 + 2 and becausethe overall signallevelis to high for the tape machineit becomes necessary to attenuatethe mix. This can be done as follows. the "from sub %" switchesin channel1 + De-activate 2 andactivatethe same numberedswitches in two otherunusedchannels. Fromthese unusedchannelsyou can now patch from the monitorinsertsends into anothertwo unused channels.In thesetwo channelsactivate"to sub 3/" and activatethe "from sub 3/" in channels1 + 2.
Sync Thesync replayis done simplyby activatingthe sync switch.The monitorfadershandlethe sync replay signals.
C. Overdub Whena smallpart of an allreadyrecordedtrack severalcomplicationsarise due has to be re-recorded, to the fact that for monitoringand cueingpurposesthe track has to replayedin the sync mode before and after whilst during the re-recording the part to be re-recorded, the channelshouldfunctionas for normalrecording(as describedunderA).Whenthe recordergivesthe input signalon its outputs(if not in the sync or replaymode), the followingsimpleset-upis preferred. or line signalas underA, but Processthe microphone with the channelin the sync mode.Now the engineer can listento the sync signalcomingfrom the machine w h i chtellShim at whichm omenthe will go into overduband as soon as the multitrackgoes into the recordmodehe hearsthe musicianplayingor singing. wouldliketo hearthe musicianalso l f th e engineer beforeand afterthe dubbinghe only has to push the masterroutingswitch. On the otherhandthe musicianhimselfhas to hearthe
sync signalas a guide as to whereto start dubbinq - ------v and he wantsto hearhimself beforedubbing. The set'up for this situationis as foilor,is.use another inputchanneland give the studio fotdbackfrom foi instanceaux 1. The musiciannow hearshimself (activate"aux to channel"first)via this channel's foldbackfacilities. BoyLgthis signalto the multitrackand place the multitrackssync signalalso on the aux 1 buss.The musicianwill hearhim selfcontinuously befor e,Our i ng and after going into the recordingmod'e.
D. Remix Whenall trackshavebeen recordedto full salisfaction, the final end mix will haveto be made.All the remixswitcheshaveto be activatedand the master switch."Aux to channel"has to be activatedtoo. This is a basicset up for B- 16- 24 tracks into 2. Ensure that unusedchannelshavetheir masterswitchesin the off positionand that the mutingswitchesin the monitoringsectionare in the "mute" mode to optimise signalto noise ratio. Eachchannelmonitorsection(lightcoloured)has an effect return.This can be used.a6an extra iriput in the remix.Thesecan be used in combinationwith the mic/lineinputs.A 24 channeldeskthen provides4g inputs. Subgrouping il the remixis easilydone by removing those signalsfrom the masterbusses(de--activate t[e "masteF"switch)which haveto be subgroupedand routingthem to the subgroups. In thosechannelswhereyou activatethe ',from sub" switchesyou havea pre-mastersubfaderin the monitoringsection. By followingthg signalpath in the btock-diagram the aforementioned situationswill becomeclearl
Servicing Servicinga moduleis very easy. Firsily remove all the in/outputjacks from the bact<6t the channel. Thenunscrewthe back paneland take it out of the consoleafter havingdisconnected the XLR plug. Now removethe 24 conductormolex flatcableanb tne 6 conductorflatcable.Nextstep is to unscrewthe moduleand take it out of the mainframe.ln the master you haveto unplugthe powerXLR plug before sec.tion takingout the mastermodule.
Summory It shouldnow be apparentthat the D & R 4OO0 seriesin'tine-conp.ore? redr'iieni a'noveI appio"cn-t-o desig-n. We.shorid afso tike to Orifi! to t;; 99ls9!e attention the followingfacts. Gonsoleconstructio-n is made from steer which gives an excellentshietdingfrom crosstarkand externlr fi.r.r] o,. E.M.l.(noise). As alreadystated this 4000series is fuily modurar. meansthal anv mainframecan accept t-OmoOui;;;iThis 47 mm width.fhe mastermodureG t*ice this width.As an example1 mainframecan accept: 8 in/outputmodulesanOone ni"rt", 4 in/outputmodures4 brankpJnetsand one master 6 in/outputmodutes1 masteiinab p"i"n'pi"6i-' m odules.' 2 mainframescan accept: - 16in/outputmodelsi master module.2patchpanel modules. 3 mainframescan accept: - 24 inrovtputmodurei 1 master modure4 patchpanel modules. All modulesare fully interchangeable in the mainframe to realizeany cbmbinationyou have in mind.
Oplions Optionalextra'sare availableif desired e.q.on/offleds p.f.l. on/off leds from sub on/off leds monitormute on/off teds l.L.P.S.professlonalcarbontrack faders lgonl, & Gitesconductiv"pi"itic i"i"r, Stands - system -'-'Y"' ,,SCORE,, FO".l and_Mute automation (Studio COmputerREmix).
OrdedngInlormqfion Mainframe subframe channels master blindpanel patchpanel patchcords int. patch cords ext. fadersopt. ledse.q. ledsp.f.l. leds from sub. ledsmute stands systemcosts
SPECIFICATIONS Notes:Nominaloperatinglevelthroughoutthe consoleis 0 dBu (o.775 v) -
Nominaloutput levelis + 4 dBu/-10dBu.
Microphone Preamplifier
eleclronicallybalancedR.F. suppressed. i n p u ti m p e d a n c e 2 kOhm gain +64 dB to +0 dB (44 dB variable gain with 20 dB "pad" headroommin.40 dB. Max rnput + 20 dB. noise - 126 dB (A weighting)
lrequency responsereferred to 0 dB at 1 kHz - 0 . 5 d B a t Z O U z O . Sd B , a l 4 0 k H z _ 3 d B a t 1 1 0 k H z Harmonicdistorlion with - 20 dBu input with _ 20 dBu input 6-Jbu outpuf + 20 dBu output o.ooary" ai 50 Hz 0.0086% ar 50 Hz 0.0081%al 1 kHz 0.006 % at 1 kHz 0 . 0 0 9 5 %a r 1 0 k H z 0 . 0 1 8% a t 1 0 k H z
Line/Remix Amplilier
inputimpedance10 kOhm gain.from-,10 dBu to intinity headroom22 dB Equivalenlinout 6ise .- 96 5 dB (20-20.000 Hz) trequencyresponsereferredlo odBat 1 kHz -0.5 dB at 8 Hz - 0 . 5 d B a t 1 4 0k H z - 3 dB at 400 kHz
Harmonicdistortion 0 dBu outpul O.0074o/o at 50 Hz O.0Q24o/o at I kHz 0 . 0 0 5 8 %a t 1 0 k H z
+ 20 dBu outout 0.0074oh al 50 Hz 0 . 0 0 1 6 %a t 1 k H z O.O048o/o at 10 kHz
Equalizer Seclion
+ 16dB al 12 kHz + 16dB from 1 kHzlo 11kHzwilh Q faclor 1.5 + 16 dB from 100Hz to 1 kHz with O factor 1.5 +16dBat60Hz high pass 100 Hz slope 9 dB per octave
distorlionall tiltersunitygain 0.OQ74o/o at 50 Hz 0.00€.20/o at 1 kHz 0.013 o/oal 10 kl-lz
all filters + 16 dB O.O017o/o al 50 Hz 0.008%atlkHz 0 . 0 0 1 6 %a r 1 0 k H z
Overall Performance
sync/elfeclinput impedance10 kOhm sync sens. +4 dBu/.10dBu. EffectsensO dBu Oulputimpedance100 ohm on all outpuls max output + 22 dB into 1 kohm and above
Record Mode
Test-condition; One channel,assignedto and from groupbussoutput, microphoneinpul loadedwilh a 150 ohm source, mic preamp_ sel for 30 dB gain g r o u p o u l p u +t 4 d B u frequencyresponsereferredto 0 dB at lkHz -0.5 dB at 20 Hz and 2O kHz
Mix Mode
lrequency response -0.5 dB at 17Hz from line inputslo stereomix buss outputs ref lo 0 dB at 1 kHz - 0.5 dB at 40 kHz - 3 d B a t 1 3 5k H z clistortion no more than 0.009% at lkHz headroom+22 dB, outpul arnp + tg dB
Crosstalk
Record mode DirectAssignbelweenlwo channelsbolh at 30 dB gain + 4 dBu outof c h a n n e l1 , 1 5 0o h m s o u r c eo n c h a n n e2l input.
Crosstalkon channel2 (relerredto + 4 dBu) 1 0 0H z b e t t e rt h a n - 8 8 d B 1 kHz betterthan - 90 dB 1 0 k H z b e i l e rt h a n - 7 4 d B
Mix Mode
C h a n n e1 l i s f e d w i t h + 4 d B u ,f a d e r al unily pannedto left. Slereomasler fader at maximum. Channel2 is lerminatedwith a 20 ohm source. Faderat unily,.panned to righl stereo masler.
Crosstalkon right masteroulput. 1 0 0 H z b e l t e rt h a n - 7 7 d B 1 kHz belter than - 70 dB 1 0 k H z b e l t e rt h a n - 6 3 d B
dislortion O.O17o/oat 50 Hz 0.0094o/oat 1 kHz O.O52o/oat 10 kHz
norse - 84 dBu below + 4 dBu outpul (20-20.000 Hz)
noise - 84 dB betow + 4 dBu (20-20.000 Hz) measuredat the slereo buss outputswith stereomasler fader at max. all channel fadersal full attenuationpanpotsat their cenler positions - 83 dB below + 4 dBu (ZO-20.000 Hz) wilh one channelfader at unity gain
15
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product safety Thlr producl lr manufacttrrd wlilr lhr hlgherl .tendit tt and lr doublc chcclGd ln our quallU cofrol dopartnenl for rcllablll$ In tho 'HIGH VOLTAGE'rcc0onCAUTION . Nevet remove any panels, ot oPen lhis equipaent No user servi:ble parts inside. . Equipmant PoYter supply musl be grounded at rll lines. . Only use this product .s described, in user nanual or brochure. . Do not operate thb equipnent in htsh bumldlty ot erP$e it to waler or other U' qulls. . Ched lbe AC powel supply cabhlo assure secilr! contact . Have yout eguipment cheded yearly by a quatrLd deabr rervice center. . Hazardous abclrlcal sbod can be avoided by arefully folbwing tbe above rules. EXTBA GAUTION FOR LIVE SOUND Ground all equlpneni using the ground pin in the AC power supply cable. Never lemove this pin Ground loops should be eliminaled only by use of bolation transforrnersfor dl inpu'ts and outpub. Replace any blown fuse with tbe same type and rating only after equipment has been dbconnected from AC Power. If ploblern persists, teluln eguipnent to qrdlf icd scrvicc tachicluPlcaro cercfulV rcad the followlg lnformailon Especially in sound eguiprnent on stage the f llowing ,information is essential to lnow. An electrical sbod is caused by voltage and curlenl, actually it b lhe anrrent that causes tbe shocl. ln practisethe higber the voltage the bigbet tbe cunenl will be and tbe higher the shod' But lbere b another lbing lo considerand il is resistance.Wben tbe resislance (in Obms) is high belween two poles, the current will be low and vica versa. All lhree of these; vollage, current, and resis' effecl tance ate important in determining tbe of an electricalshocl,. Hcucycr, tle rcvcrily by dctlrnirad i: prinerily of e shct
llrn3l lbvirg crrr;ll rl ll: trnrl p:rrD.l e A person can feel a sboct because tbe musctes in r body respond to electrical surtent and because the beart b a muscle it can at' lecl, when tbe current b btsb enough. Current can also be fatal when it causes lhe cbest muscleslo cpntlacl and stop breathing. At what potential b orlrcnl dangereous.Well the lilst leeling of qtrrent b a tingle at 0'001 Atnp of cullenl; Tbe currenl between 0.1 AmP rnd 0,2 Anp is latal lmagine tbat yout bome fuses of 20 AmP can bandle 200 times mors curtent than is necas' How does resislance affecl lhe 3ary to till resistance between :hoct . a psr$n feels. Atypical 'dry" clndition could one b;nit to the otber in rrG plryirg well over l@,000 Ohn. ll tn prhsapcrspirir3 it brdy lr sh3c t.u lrlersd ls brdy rcsirhrcl ly ud trrr 5OZ. TLb b t sil:etiu llrr by r.rc Current fhlcuily cll srrlcrl ir ilicl 'when tbere b r difference in ground wilt llow potenlial bglween equipment on stage urd in lbe P.A. systen Pbase do cbecf I there b any potentlal be' lween lhe bousing ol tbe miles and tbe guttulsynth amF, which will be linled by your body on 3taga lmaginc, a Suitar ln youl hand urd your [p cbse lo the nile! A ground poten' tial dillerencr ol above l0 volts b nol unusual, in improperly wirad buiHings it can possibly be !s hish as 240 volts. Alltbough removlng the ground wire sometirnescure3 a systern hum, it will creale I Yety buardeous siluation tor the perforning - 'Alvry: musiian. bY cqrlPnalt df :irtl t.rr reir: grirrdirg Phgllc Pir ir trtr bY bc crrcd ulY tbrld lrpr Err irprtfrrtprt erd islletin pr.ptr ririrS lrerstrn:rt. Replace luses always witb the same tyPe and ratin{ after tbe eguipment has been tutned off urd unplugged. lf the luse blows again you bave ar eguipnent failure, do not use it again urd relurn it to your dealer lor repair. And hst but not least Be carefull not to toucb a person being shoded as Vou, yourself could also be sbocled' Once temoved lrom tbe sbocl, have someonesend for medical help in' nediately.
AlwaYs keeP the above mentioned information in mind when using electricallY pdflered equipment-
nederlands
PAN POTDeze knop bepaald per kanaal de plaats van het signaal in het stereo beeld. Dat is van volledig links/rechts tot elke positie ertussen. Het signaal wordt dus verdeeld tussen de even en oneven subgroepen alsmede de links/rechts masteruitgangen. Wanneer de pan pot centraal staat wordt het signaal 4,5 dB verzwakt. M O N I T O RS E C T I E De monitor sectie is wit. Het vergemakkelijkt de bedieninE en maakt het paneel overzichtelijker. De volledige monitoring in een kanaal wordt door deze sectie geregeld. SYNCDe sync-schakelaar in de monitorsectie bepaald het opnemen cq weergeven van de meersporen recorder in de monitorsectie. Wanneer de schakelaar ingedrukt is geeft dit aan, dat de monitor sectie in het kanaal automatisch wordt geschakeld van de ingang naar de uitgang van de recorder. EFFECTDe effect-schakelaar stelt U monitorsectie als effect return Hierdoor heeft U net zoveel effect tafel kanalen heeft. De effect ingangen vindt U op de de mengtafel.
in staat de te gebruiken. returns als de achterzijde van
PFL en MUTE (monitor) Via de pfl schakelaar luistert U v66r de fader naar het signaal dat komt vanaf de kanaalfader of van de meersporen recorder, alsmede de effect ingang. Deze pfl is auto-type, dat betekent dat de pfl automatisch de stereomaster van de monitor afschakelt en deze vervangt door het gekozen kanaal. De mute toets onderbreekt het signaal, komende van de multitrack sync of effect inputs. De pfl wordt niet door de mute beinvloed. F A D E R M O NI T O R In de monitor sectie is een kleine, 58 frh, carbontrack fader gemonteerd. U heeft l0 dB versterking ter beschikking in de versterker die na de monitorfader volgt.
EQUALIZERSDe equalizer van de series 4000 is niet gecompliceerd maar wel uitermate effectief. De signaalweg is minimaal een uistekende ruJs verhouding waardoor signial verkregen wordt. De viervoudige equalizer omvat het hele audiospectrum. De laag cq hoogsectie heeft zijn kantelpunten op resp. 60 Hz en 12 kHz. De high-mid toonregeling loopt van I tot l0 kHz terwijl de low-mid een bereik heeft van 100 Hz tot I kHz. De kantelpunten ziin zeer muzikaal ontworpen; ze zullen U verrassen! Mocht extra toonregeling nodig zijn: een insertie punt is gemonteerd direct na de toonregelsectie. De gehele toonregeling op een kanaal kah d.m.v. een bypass-schakelaar overbrugd worden. Een led geeft aan of zij al dan niet is ingeschakeld. AUXDe series 4000 heeft in totaal 6 effectsends te bieden wetke ruim genoeg zijn voor de meest uitgebreide remixsessies. Ze ziin per paar pre/post de monitor fader schakelbaar. Wanner de aux-to-channel wordt ingedrukt zijn de effectsends pre-post de kanaalfader schakelbaar. Staat deze schakelaar niet ingedrukt dan is het mogelijk pre/post de monitorfader een signaal aan de muzikanten in de studio aan te bieden. (=foldback) Mede is het mogelijk een effectapparaat aan te sturen voor of na het signaal van de multitrack recorder. AUX-TO-CHANNELDeze schakeling zorgt erv(x)r dat alle aux sends pre/post de kanaalfader schakelbaar ziin, iets wat tijdens de remix-sessie noodzakelijk is. SUBGROUPINGHet maken van subgroeperl in de series 4000 gebeurt op een vrij onorthodoxe manier en verlangt een andere manier van denken van de technicus. Het basisidee is om all66n daar subgroepen te hebben waar men ze ook nodig heeft. Dit betekent dat het mogelijk is op ieder gewenst kanaal een subgroep te vormen. DeR noemt dit FSS; Floating Subgroup System! Se series 4000 heeft 4 versterkers. Dat is voldoende omdat de subgroep subgroepen dus overal inzetbaar zijn. U kunt de subgroepen naar de ingangen maar ook naar de uitgangen overal in het mengpaneel schakelen. De routing van het kanaal wordt verder beschreven onder het hoofdstuk I Meerdere Signalen op een of twee Sporenr. Dit zwevendd subgroep systeem bespaart erg veel schakelaars en andere componenten vergeleken met andere in-line mengtafels. De bedrijfszekerheid wordt hierdoor allen maar vergroot. Uiteraard is het mogelijk om naast de subgroepen de mastersectie gelijktijdig aan te sturen.
B E S C H R I J V I N GV A N D E B E D I E N I N G S O R G A N E: N LED BARDe 11 segments led bar (de onderste led geeft aan of de tafel is ingeschakeld) is een peak led bar die zowel positieve als negatieve peaken aangeeft; iets wat absoluut noodzakelijk is in moderne studiotechnieken. De level calibratie is instelbaar aan de achterzijde van het kanaal. De led bar geeft de niveaus van alle signalen weer welke vddr het insertiepunt van de monitorsectie de tafel binnenkomen. Dat zijn dus alle signalen die U kunt beluisteren via de monitor pfl. Dit kunnen zijn: de multitrack input, de multitrack-sync output, de multitrack remix of de effect-input. Het is ook mogelijk monitor de sectie als effectinput te gebruiken zonder dat de led bar wordt losgekoppeld van het recordersignaal. Patch in dat geval niet in de effectinput maar in de monitor insertie jack. Het blijft dan mogelijk het niveau van het recordersignaal af te lezen.
MtcOnder de led bar vindt U de bedieningsorganen van de microfoon ingang. De bovenste schakelaar geeft de mogelijkheid de 48 V phantoomvoeding per kanaal aan/uit te schakelen. Hieronder bevindt zich de -20 dB schakeling welke gebruikt kan worden om oversturing van het microfoonkanaal te voorkomen. LINE_ De line schakelaar schakelt de micrtofooningang om naar line-gevoeligheid en impedantie. (resp. -10 6gu/+20 dBu, 10 kOhm) REMI XIn feite is de remix-schakelaar niets anders dan een line-schakelaar met een prioriteit boven de normale line ingang. De remix input is gecombineerd met de sync-input op de achterzijde van het paneel. G A IN De gain regelaar regelt de mate van versterking of verzwakking van het aangeboden signaal. De microfoongevoeligheid reikt van -20 dB tot -64 dB, met een uitsturingsmarge van meer dan 40 dB. PHASEDe phase omkeerschakelaar werkt microfoon- als de op de line-input.
zowel op
de
HIGH PASS FILTERHet laag df filter heeft een vaste frequentie die ligt op 100 Hz. De afval van het filter is 9 dB per octaaf. Ongewenst laag kan op deze manier effectief worden weggefilterd.
Wii danken U hartelijk voor Uw keuze en het vertrouwen dat U in ons produkt
stelt.
De DgR series 4000 mengtafel is ontworpen door en voor
professionele gebruikers.
Het geeft U een uniek in-line consept in handen met een enorme flexibiliteit. Onze reeds twaalf jaar lange ervaring in het ontwikkelen
en
produceren
van
geluidsmengtafels resulteerde
in
een
betrouwbare en bedrijfszekere mengtafel. Lees de gebruiksaanwijzing eerst aandachtig door om het volle profijt
uit Uw mengtafel te halen. Schroom
niet om de aangewezen mogelijkheden te gebruiken; de megtafel is er voor ontworpen! Een beknopte lijst van de 4000 features: - 1l segment led-bar per kanaal - 48 V phantoom, p€F kanaal aan/uit schakelbaar - phase reverse voor zowel mic- als line ingang per kanaal - extreem ruisarme mikrofoonvoorversterkers - gecombineerde sync- remix inputs op +4 dBu/-10 dBV - 100 Hz high pass filter - 4 bands sweep equalizer - 5 aux sends pre/post fader schakelbaar - floating subgroups - sync- en effectinputs per kanaal waardoor een dubbel aantal kanalen gemixed kan worden. - monitor mute en p.f.l. - kanaal mute en p.f.l. - 100 mm kanaal fader, 60 mm monitor fader - 2 inserts per kanaal - multitrack outputs op +4 dBu of -10 dBV - master sectie met 25 segments led-bar en phasemeter - 1 kHz line up toongenerator - talkback met ingebouwde electret-mikrofoon - communicatie systeem - 6 master aux sends met afl afluistering - uitgebreide monitor sectie: twee paar monitors schakelbaar, mono en mute schakelaars. - twee stereo master recorders kunnen worden afgeluisterd (+4/-10 mogelijk)- 54 jacks modulair patchpanel - alle connectors via xlr of stereo steek (5,3 mm)
