DAPAudio Gig 8 Instrukcja obsługi produktu - Strona 12

Przeglądaj online lub pobierz pdf Instrukcja obsługi produktu dla Mikser muzyczny DAPAudio Gig 8. DAPAudio Gig 8 18 stron. Ordercode d2203

Experience tells us that the cables in a studio environment get tangled very quickly. A patch field will

facilitate patching and repatching considerably.

1. Desk Normalization

All board settings should be set to the normal default condition before or after every session. Usually

volumes are set to zero (minus infinity), EQ's set flat and Aux Sends turned fully counter-clockwise, etc.

2. Selecting Inputs

1) Mono Channels accept Mic or Line Inputs. If you are using the Mic input, make sure nothing is connected

to the Line input (and visa-versa).

Note: The Mic inputs are more sensitive than the Line inputs. Do not connect Mics with Phantom Power

switched on. Never use unbalanced Mic cables with the Phantom Power switched on ever! Shorting

the +48 V to earth can cause serious damage.

2) Stereo Channels accept any line level signals. Any stereo channel can be run in mono simply by

connecting into the left jack socket only. These channels are suitable for a variety of line-levels sources

including MIDI instruments and Tape returns from multi-track.

3) Stereo Aux Returns are primarily designed for returning effects units, though these too may be given over

to tape returns or MIDI instrument outputs.

3. Initializing Channels for Gain Setting

1) Set Gain to minimum and all Aux Sends to off (fully counter-clockwise).

2) Set EQ to flat (all knobs at 10 o'clock)

3) Where applicable, engage the Low Cut switch (3) for most Mics, except for signals with desired very low

frequency content.

4) Set the output level to unity Master (22 set to"0").

4. Auditioning a signal and setting up a channel

1) Turn up channel volume to unity gain (12 set to"0"). All other channel volume controls should be set fully

counter-clockwise (minus infinity).

2) Generate a signal, i.e. a voice through a microphone. There should now be some activity at the peak

meters (16).

3) For Mic channels: Adjust the TRIM control (4) until transient peaks are regularly hitting +6 dB. Continuous

signals should not exceed 0 dB.

4) For Stereo Channels and other stereo line inputs, use the output volume of the source instrument effect

gain adjustment, until transient peaks are regularly hitting + 6db. Continuous signals should not exceed

0 dB.

5) Altering EQ will affect a channel's gain. I f EQ is adjusted at any time, repeat steps 2, 3 or 4.

6) Turn the channel's volume control fully counter-clockwise. Move onto next channel and repeat steps 1

thru 6.

7) Once all channel inputs have been set for level, turn all active channel level controls back to 0 dB. You

are now ready to start mixing.

5. Recording Levels

When recording to digital, it's a good idea to keep the recorder's peak meters below 0 dB. Most (not all esp.

Samplers) read 0 dB with some headroom left. This is because, unlike with analog, the onset of digital

distortion is as sudden as it is horrible. If you really want to take your recording level to the limit (and fully

exploit 16-bit digital's 96 dB dynamic range for example), you'll have to do some calibrating. How to

calibrate? You could run a tone at 0 dB from the mixer and use that as your DAT or ADAT reference. But

your DAT or ADAT may be way under its maximum input limit. Probably a better way to work out just how

hard you can drive your recorder is, to incrementally increase the record level until the onset of digital

distortion. Subtract 5 or 10 dB, and you never exceed that level. Engage "peak hold" on your recorder