AMR 64 Manuale di istruzioni per l'uso - Pagina 3

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insert: This jack supplies an insert point (between

the microphone preamp output and line input) on

the front panel for the purpose of doing "insert"

patching on any input channel. By this method, a

microphone level signal is brought up to line level so

it can be routed to the input of a line level piece of

auxiliary equipment. The output of the auxiliary

equipment is then routed back into the line input of

the I nsert Jack. The insert jack is a three-circuit (tip/

ring/sleeve) type with the sleeve acting as ground,

the microphone preamp output signal on the tip and

the line level input on the ring. A special "insert"

patch cable is required for this purpose, such as the

AMR CAL™ 32/YP cable.

A Word About Insert Patching

Insert patching is a process of inserting a piece of auxiliary

line level equipment into the signal path of a given input

channel. Signals from such equipment are best inserted

early on in the input channel prior to the level controls,

equalization, auxiliary sends, etc. This insertion point must

come after the microphone preamplifier (which brings the

microphone level up to a line level signal).

The Insert Jack provides the input signal to the piece of

auxiliary equipment (from the mixer mic preamplifier out¬

put), in addition to a return or input back to the input channel

(from the output of the auxiliary equipment). This Insert Jack

is normalled (connected) together internally, until some¬

thing is inserted into the jack (which breaks the normal). A

special cord must be used for insert patching (AMR CAL™

32/YP).

Gain: Adjusts input gain to suit the various input

signal levels (either microphone or line level sig¬

nals). Clockwise rotation increases sensitivity for

weaker signals such as microphone level signals.

Counter-clockwise rotation decreases the input

sensitivity for stronger line level signals such as tape

recorder outputs, electronic keyboards, etc.

Auxiliary Send: A send level control for the use of

external reverberation, echo, delay or other signal

processing. This sends the signal after the equalizer

(post EQ), thereby allowing the signals sent to any

signal processing gear to be equalized along with

the main signal. The Auxiliary Send Control is also

prior to the Input Fader (pre fader), which will not

allow the auxiliary signal level to be changed by the

level settings of the Input Fader.

Pan Pot: This control adjusts the signal level

between channels. Rotated full counter-clockwise

will route full signal level to one channel; rotated full

clockwise, full signal level will be routed to another

channel. In the center position the signal will be

divided equally between the two channels. Varying

degrees in between are available by rotating the Pan

Pot in either direction (either left or right of the

center position). The actual signal routing is done

by a combination of the Pan Pot and the Output

Assignment Switch.

Input Level (Channel Fader): Once the Input Chan¬

nel sensitivity has been adjusted with the Gain Con¬

trol, the Input Channel Fader is used to make level

adjustments of microphone, line or tape input

signals.

GAIN

0 3

-15

15+

HIGH

0 3

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-1 5

15+

MID

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200

MID SHIFT

0 3

-15 .

15+

LOW

AUX

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1.3.1/ PAN

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Microphone Input: This input is a balanced, XLR-

type input for connection of low impedance (low Z)

signals from microphones. This microphone input

has the ability to accommodate a wide range of

input signal levels with the use of the Input Gain

Control.

Line In: This input will accommodate any line level

signal, such as the output of an individual tape track

or an output signal from a piece of auxiliary equip¬

ment (compressor/limiter, delay line, reverb, etc.).

Mic/Line-Mute-Tape Switch: Selects the input sig¬

nal for a given input channel (in either the mic/line

or tape position on Inputs 1-4). Keep in mind that

Inputs 1-4 are dedicated to Tape Recorder Outputs

1-4 (which appear at the AMR 64's tape inputs).

Inputs 5 and 6 have this switch labeled Mic-Mute-

Line to indicate that there are no tape output signals

normalled into those inputs. When this switch is in

the Mute position, that input channel is discon¬

nected from any input. This is handy when doing

mixdowns and there are only parts of a track that

you desire to use: just turn the Input Channel on by

placing it in the Mic/Line or Tape position; when you

want it off, place in the Mute position.

Output Assignment Switch: Routes the output of the

Pan Pot to one of three channel pairs (1-2, 3-4 or

L-R). Positions 1-2 or 3-4 will route the signal to the

corresponding tape track of the multi-track recorder,

while the L-R position will route signals to the L and

R stereo bus (typically used in mixdown for making

a stereo master tape).

Peak LED Indicator: This LED indicates an overload

condition of a given input. It will flash when the input

levels are excessive (+10 dBV). The signal level is

measured post EQ and post Input Gain Control. It is

all right for this indicator to flash on occasion; how¬

ever, excessive flashing of this indicator warns of an

overload condition that will cause audible distor¬

tion. There is a 4 dB difference between the level

that will cause the Peak Indicator to glow and the

level that will cause audible distortion. Thereby, the

Peak Indicator is a warning that you are very close to

an overload condition (which will cause audible dis¬

tortion). The Peak LED Indicator can also beaguide

in adjusting the input signal levels via the Input Gain

Control.