User manual ALLEN & HEATH ICON DP1000

[. . . ] ALLEN&HEATH USER GUIDE Publication: AP3299 LIMITED ONE YEAR WARRANTY This product has been manufactured in the United Kingdom by Allen & Heath and is warranted to be free from defects, materials and workmanship for a period of one year from the date of purchase by the original owner. To ensure the high level of performance and reliability for which this equipment has been designed and manufactured please read this User Guide before operating. In the event of a failure notify and return the defective unit to Allen & Heath or its authorised agent as soon as possible for repair under warranty subject to the following conditions : 1. The equipment has been installed and operated in accordance with the instructions in this User Guide. [. . . ] For lower level outputs or where longer leads are used, problems with interference pickup can be overcome by plugging the instrument into an active DI (Direct Injection) box which converts it to a low impedance balanced signal less prone to interference and signal degradation. Plugging the guitar into an inline effects box or foot pedal achieves the same. If you are using a separate guitar combo amplifier you could plug into the pre-amp or slave output. Some musicians prefer to use a microphone to capture the `sound' of the amplifier rather than inject it dry into the console. Radio microphones often provide a choice of outputs, either mic or line level. Before adjusting the gain on the console check that the transmitter and receiver levels are correctly adjusted. MIX STEREO LINE INPUTS Channels 7 and 8 each feature two stereo inputs, input 1 on balanced 3-pole TRS jacks, and input 2 on unbalanced RCA phono jacks. This gives you a choice of input connector type to match the source equipment and leads available. The two inputs mix together so that you can plug two stereo sources into the channel at the same time. If the sources have different output levels adjust the channel gain for one source, then match the second source using its own output level control. For example a stereo keyboard can be mixed with an associated MIDI voice module or drum machine. Backing tracks can share the same channel with a CD player used to play intermission music, or two backing track players can be mixed together. Differences in the channel settings for each source can be stored and recalled from the song memories when required. icon SERIES 4-3 LINE OUTPUTS TRS IMPEDANCE BALANCED The console outputs are available on 3-pole TRS impedance balanced ¼" phone jacks. This means that a 3 wire connection is used with signal hot (+), signal cold (-) and ground. Signal hot and cold are at the same impedance and therefore balanced to reject any interference picked up on the cable. This only works if the cable is plugged into a 3 wire balanced input typical of professional amplifiers and audio equipment. These outputs also work perfectly well when plugged into unbalanced (2 wire) equipment such as domestic recorders but without the interference rejection that balanced connections offer. The diagram shows how to wire a jack for 3 wire balanced or 2 wire unbalanced connection. For 2 wire unbalanced connection using a 3-pole TRS jack link the ring to the sleeve in the plug. This is not necessary when using a 2-pole mono jack because the console ring connection is automatically grounded by the jack plug sleeve. Tip Use balanced 3-wire connections when you connect the outputs to balanced equipment with cables longer than 10 meters. Unbalanced connections can be used for short cable runs as these are seldom prone to interference. To reduce interference pickup avoid running the cables near or alongside mains power, lighting or computer equipment and cables. MONO OUTPUT Provides a nominal 0dBu line level mono signal by summing the post-fader stereo LR signal. Typical application is to connect an amplifier to feed a subbass or centre fill loudspeaker. [. . . ] Refer also to the icon User Guide which details the original MIDI functions including MUTE note on/off messages and system exclusive data archive. SONG RECALL Program change in Bank 1 0xBm, 0x00, 0x00, 0xCm, pp Where m is pp is MIDI channel number 0x00 = SONG 1 0x7E = SONG 127 0x7F = PAUSE VENUE RECALL Program change in Bank 2 MIDI channel number 0xBm, 0x00, 0x01, 0xCm, pp Where m is pp is 0x00 = VENUE 1 0x12 = VENUE 19 GLOBAL FUNCTIONS The following global functions are controlled using MIDI system exclusive messages. 127 MIDI channel number Changes mix source to amplifier channels A and B: Where Mode is 0x00 for L R 0x01 for FB M 0x02 for Aux FB 0xF0, 0x00, 0x00, 0x1A, 0x50, 0x07, MV, Mv, 0x0m, 0x03, Mode, 0xF7 AUX PRE/POST Switches all channel aux sends either pre or post fader: 0xF0, 0x00, 0x00, 0x1A, 0x50, 0x07, MV, Mv, 0x0m, 0x05, Pre/Post, 0xF7 Where Pre is 0x00 Post is 0x7F TRIM ON/OFF Enables or disables the channel level trim parameter: 0xF0, 0x00, 0x00, 0x1A, 0x50, 0x07, MV, Mv, 0x0m, 0x04, Off/On, 0xF7 Where Off is 0x00 On is 0x7F icon SERIES 7-9 PARAMETER CONTROL Every console parameter is mapped for independent MIDI control. This is based on the NRPN system with the MSB selecting the channel number, and the LSB selecting the parameter number in that channel (channel type specific). [. . . ]