Cloud 46-80 - Setting Up & Operation; Input Configuration

46-80 Installation and User Guide V1.0
22
SETTING UP & OPERATION
Music Inputs
Gain & level
To avoid dramatic changes in volume when switching
between sources, the 46-80’s music inputs are provided
with preset gain trim controls ([3] on page 13). 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 12). This control will not be operative if the
corresponding section of rear panel DIP switch SW2 is set to
REM.
Note that the setting of the music level has no effect on
microphone volume.
The front panel is tted with a green LINE IN DETECT LED
([8] at page 12). which illuminates if a signal is present at
any of the six Line Inputs: note that the signal detection is
post the rear panel GAIN controls. The LED’s threshold level
is -30 dB, with a GAIN control setting of 0 dB. The LINE IN
DETECT LED is a useful aid to system troubleshooting as it
conrms that a music source signal is present at the 46-80.
Each of the four Zones has a front panel PEAK LED ([6] at
page 12), which illuminates if the signal level in the power
stage approaches clip level. This will probably indicate that
either the music level or the microphone level is set too high
and should be reduced.
Local/remote control
If a zone has an RL-1 or RSL-6 Series remote control plate
installed, the two sections of rear panel DIP switch SW2
– LEVEL and SOURCE – for the zone in question must be
set to REM (switches down) 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 LOC
(both switches up).
Note that unlike earlier Cloud host units, remote control
of music level and music source selection can be enabled
independently of each other. There are no internal jumpers
affecting the remote music control conguration.
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, set rear panel
DIP switch SW1/1 (MIC 1) and/or SW1/2 (MIC 2) should be
moved to the ON position (switch down).
Phantom power should NOT be enabled if dynamic
microphones are to be used.
Gain & level
Each microphone input is provided with a rear panel preset
GAIN control ([6] on page 13). 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 relevant
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 preamplier than spoken announcements,
if the gain is not set correctly.
In normal operation, the mic level in each zone is set with
the MIC LEVEL controls on the front panel ([3] and [4] on
page 12).
Each of the four Zones has a front panel PEAK LED ([6] at
page 12), which illuminates if the signal level in the power
stage approaches clip level. This will probably indicate that
either the music level or the microphone level is set too high
and should be reduced.
EQ
Each mic input has associated HF and LF EQ controls ([7] on
page 13) 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 lter
The mic input has a xed 100 Hz high-pass lter to remove
the lowest frequencies. This helps to reduce the effects of
breath blasts and microphone handling noise. The lter is
always in circuit.