User manual ZECK PD 12.16

[. . . ] Sehr geehrter Kunde, Dear customer, first of all we would like to thank you for purchasing the ZECK PD 8· 12 / PD 12· 16 mixer and we are sure that it will efficiently support you on your way to musical creativity and success. In the following chapters we want to explain to you all the functions of the mixer, one by one, as there are the input section, master section, processor functions, effect units and wiring facilities. 12 channels 5 to 8 are wired stereo while on the PD 12· 16 channels 9 to 16 are stereo. The remaining channels (1-4 and 1-8 respectively) are monaural, just as on any other mixer. [. . . ] The same rules that go with the channel gain settings apply here as well, there is a `range' and `clip' control for each effect. Just set all the `send' controls from the channels as high as you can without the red `clip' LED of the effects getting lit. Recommended settings for the internal effect controls As all digital sound processors produce a quantization noise, the signal-to-noise ratio (S/N ratio) of digital effect units is limited to 55 - 60 dB, depending on the selected program. The S/N ratio of the PD's input channels is better than 70 dB, so if something is hissing, it is most likely one of the effect units. To avoid excessive audible hiss, one should follow these recommendations: - see the gain controls on the channel so that the red 'clip` LED does just not flash - set the channel effect controls between 5 and 9 - operate the channel faders within 75 - 80% of their maximum setting Only with these settings a strong enough input signal is send to the effect units resulting in a reasonable S/N ratio. The effect faders should be pulled up just enough to make the effectsound clearly audible. Settings above half of the fader's range should not be necessary following the rules given above. Their output volume is controlled by the `Line Out Volume' as well as by the master faders. If you want to use the PD's power amplifiers for other equipment you can easily connect these devices through the `Line In' jacks. Useful applications are manifold : any line-level stereo signal that needs no preamplifying will work well in this input, e. A submixers's output or the monitor output from a larger mixer using the PD as a monitor amplifier. The input level is adjusted by the `Line In Volume' control and as the inputs are placed before the master faders in the signal chain they are affected by them as well. the `Tape In' inputs come in the form of two cinch-type RCA phono jacks. They are useful for connecting playback-outputs from stereo home equipment such as tape decks or CD-players to the PD. Similar to the line inputs described above, the signals from this input can be blended into the mix by the `Tape In Volume' control and are also dependent on the master fader settings. A jack for stereo headphones with an own volume control is provided for silent monitoring of the master signal just before it reaches the master faders. Stand-by switch For short program interruptions use the `Stand by' switch on the front to mute the outgoing master signal without having to turn off the whole unit. The `Stand by' mode is indicated by the two lowest red LEDs of the master LED display. Gesamt-Klirrfaktor ohne Effekte Total harmonic distortion (THD) with effects off Intermodulationsverzerrungen IM distortion Äquiv. Input noise @ 200 Ohms Geräuschspannungsabstand Signal to noise ratio Masterfader max. Power switch The whole PD unit is turned on and off with the `Power' mains switch on the rear of the mixer. When the power is turned on or off, the power amplifiers and speaker outputs are always automatically switched with a little delay for a 100% silent performance. [. . . ] Also, program 73 with half of the delay time (110/125ms) could be used, albeit sounding slightly more hectical because of the faster repeats. The next division of 60ms would be almost too short to hear and thus make no musical sense. As a good rule of thumb one should settle with delay times above 120ms. Setting the delay times slightly shorter than the values obtained from the formula creates a `forward' feel in the music, while delay times a bit longer than the `right' ones tend to relax the overall rhythmic feel. [. . . ]