User manual TL AUDIO M4

[. . . ] 4 Insert Point: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Track Output:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Fader: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 L+R Outputs:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] All consoles are 815mm (32") deep, plus at least at rear of console for PSU and audio connections, All consoles are 222mm (8. 75") high. Length of 16 channel console 694mm (27. 3"), Length of 24 channel console 950mm (37. 4"), Length of 32 channel console 1206mm (47. 5"). (Dimensions include wood trim). Dimensions: 100mm (4") Note: 0dB Distortion measured Line Input to Track Output at +4dBu input and gain over a bandwidth of 20Hz to 20KHz. Increasing the "Drive " level by applying more input gain progressively increases the distortion. The above figures are representative of typical production consoles, but are not guaranteed limits for any particular console. These specifications are subject to change without notice. 6 M4 MIXER OPERATION Input Selection You must ensure that the correct input connector, mic or line, is being used from the required source. You can select the type of input by pressing the 'LINE' switch at the top right of each channel strip in or out. In the "up' position the mic input is selected; depressing the 'LINE' switch selects the line input as the source. Note that you can have mic and line inputs connected at the same time but will only be able to select a single input at a time. Input Gain Control The gain control should be set to obtain the best signal to noise ratio, whilst preserving adequate headroom. Any changes in gain level should be gradual to avoid sudden overload or severe distortion. Extra care should be taken with higher level inputs, and high gain settings should be used sparingly to avoid an increase in the noise floor and the introduction of distortion. Line Input A typical line input will require less gain than a microphone signal as it is a 'hotter' source. You should have the gain set to a minimum when connecting a line input, then gradually increase it to achieve the required level. Microphone Input When connecting a microphone to the M4, start with the gain set to a minimum value and gradually increase until the sound source is just tickling 0dB on the meters when the source sound is at average output level. You can than choose how much you would like to drive the valves to produce the required sound. If Phantom power is needed, activate it before setting the gain by depressing the button marked '48V' at the back of the channel strip. Although the M4 provides 48V of phantom power, microphones requiring less than 48V can still be connected without any difficulties. CAUTION: Operation of the phantom power switch, or plugging a microphone in with the phantom power applied, may cause an audible click or thump in your loudspeakers. To avoid this happening, ensure that the channel fader and stereo master faders are set to a minimum before operating the switch or plugging in a microphone. Switching between mic and line with high input gain settings may also cause an audible thump if the level control is not turned down. 7 Phase Reverse The phase reverse switch, located to the bottom left of the gain control and labeled 'PHASE', is used to invert the phase of the input signal. it boosts or cuts a section of the audio spectrum around its selected centre frequency only. ), peaking, sweepable high-mid (HM) and shelving high frequency (HF). The LF shelf operates at a frequency of 80Hz, while the HF shelf is set at 12kHz. The EQ slopes have a second order 12dB/octave response, and an associated gain control on both bands provides up to 15dB of cut or boost on each selected frequency, controlling the full range of frequencies below the LF corner frequency and above the HF corner frequency. Both mid bands have a fixed Q of 0. 7 (which corresponds to a bandwidth of around 1. 5 octaves) allowing +/- 15dB cut or boost over a moderately broad band of frequencies. [. . . ] A pair of red Peak LEDs operate on the stereo buss as a conventional warning that clipping is about to occur. The LEDs illuminate at a threshold of +21dBu, when there is less than 5dB of headroom remaining on the main outputs. Normal operation would be to set the stereo buss fader levels so that occasional illumination of the Peak LEDs occurs on loud transients. Digital Output Option The optional DO8 card can be fitted to the back of the M4 and each card provides 8 channels over ADAT lightpipe. This professional protocol makes for easy connection when conducting computer based recording, and makes the M4 the perfect front-end solution for digital recording set ups. [. . . ]