AC-AUDIO Tube G32 Manual de usuario

CONTENTS

1. OVERVIEW.............................................................................................................................1

2. BEFORE YOU START ..........................................................................................................2

-2.1 Utilizing the User Manual.......................................................................................2

-2.2 Safety Precautions..................................................................................................2

-2.3 FIG 1: FRONT PANEL............................................................................................2

-2.4 FIG 2: REAR PANEL...............................................................................................2

3. INSTALLATION.......................................................................................................................3

-3.1 AC Mains Supply......................................................................................................3

-3.2 Microphone Input.....................................................................................................3

-3.3 Line Inputs................................................................................................................3

-3.4 Instrument Inputs.....................................................................................................4

-3.5 Balanced Line Outputs. ..........................................................................................4

-3.6 Nominal Operating Level........................................................................................4

4. GETTING STARTED.............................................................................................................5

5. OPERATION...........................................................................................................................6

-5.1 Input Source Selection............................................................................................6

-5.2 Mic Gain....................................................................................................................6

-5.3 Input Gain.................................................................................................................6

-5.4 90 Hz Low Cut Filter................................................................................................7

-5.5 Drive and Peak LEDs..............................................................................................7

-5.6 Output Gain..............................................................................................................8

-5.7 Meter..........................................................................................................................8

-5.8 Meter ‘+10dB’...........................................................................................................8

6. SERVICE.................................................................................................................................9

1.OVERVIEW

Welcome to purchase the equipment byAC-audio!

The equipment is a signal processor that utilizes both valve and transistor technology.

The audio processing units of equipment can support high quality signal paths, produce

the particular valve audio peculiarity by adopting low noise solid-state electronic

components and perfect valve circuitry. It has the comprehensive and various functions

on controlling sounds, offering users clear, exquisite and high-quality sound.

There are a single balanced mic input and stereo line inputs/outputs on the rear panel,

and stereo instrument inputs on the front panel. The two channels of the equipment work

in‘linked stereo’ mode, but a mono signal can be applied to channel 1 only, thus can offer

the equipment equally powerful for both mono/stereo tracking and final stereo mix

processing. Two illuminated VU meters monitors the both channels for output level.

To satisfy the requirement of performance that low noise, low distortion and wide

bandwidth should be needed, electronically balanced input amplifier appeared. The

preamp stage utilizes 48V phantom power and a high pass 90Hz filter. ADrive LED gives

a visual indication of the signal level through valve stages, monitors the amount of

‘warming’ taking place. The Peak LED warns that overloading is going to be happened.

The Mic input of equipment is provided on an electronically balanced XLR connector,

and the line inputs are provided on balanced TRS stereo 0.25” jack connectors.

Balanced and unbalanced line outputs can be used at the same time, and they are

provided (again on TRS 0.25” jack connectors). The operating level of both the line input

and outputs can be shifted from -10dB to +4dB via a rear panel switch, allowing the

equipment to integrate into any system easily. On the front panel, without the need for a

separate DI box, a pair of high impedance instrument inputs allows keyboards, guitars

and basses to feed into the equipment directly.

2. BEFORE YOU START

-2.1 Utilizing the User Manual

lBe sure to read the Safety Precautions before using the product.

lRefer to the INSTALLATION when installing your product.

lYou can easily find any information you are looking for by the CONTENTS.

lUsing the SPECIFICATIONS, you can easily find detailed parameters of the product.

lPlease read this manual fully before installing or operating the equipment.

-2.2 Safety Precautions

For your security and to prevent damage, please read the following Safety instructions

carefully.

Warning:

lThis equipment must be earthed.

lAll mains wiring should be installed and checked by a qualified electrician with all

power switched off.

lDo not locate it where it will be subject to external heating.

lDo not expose to rain or moisture, as this may present an electric shock hazard.

lEnsure the correct operating voltage is indicated on the rear panel before

connecting to the mains supply.

lNever operate the unit with any cover removed.

lReplace the fuse with the correct type and rating only.

-2.3 FIG 1: FRONT PANEL

-2.4 FIG 2: REAR PANEL

3. INSTALLATION

-3.1 AC Mains Supply.

The equipment is fitted with a 3-pin IEC connector which is approved internationally. A

mating socket with power cord and mains plug is supplied. Before connecting the unit to

the supply, check that the equipment is set for the correct mains voltage. The unit is set

for 110-120V 60Hz or 220-240V 50Hz operation internally, and should only be changed

by an authorized service centre.

The mains fuse required is 20mm anti-surge, 315mA rated at 250V. Sometimes, if it is

necessary to replace the fuse, please use the same type and rating only. The power

consumption of the equipment is 30VA.

Please note that attempted operation on the wrong voltage setting, or with an incorrect

fuse, will invalidate the warranty.

-3.2 Microphone Input.

The microphone input is a via 3 pin female XLR connector, compatible for balanced

microphones.

The mating connector should be wired appropriately as the following way:

Balanced inputs:

lPin 1 = Ground (screen).

lPin 2 = Signal Phase (also known as “+” or “hot”).

lPin 3 = Signal Non-Phase (“-” or “cold”).

-3.3 Line Inputs.

On the rear panel, every channel has a 3 pin TRS jack socket, which will accept

balanced or unbalanced line inputs providing the mating plug is wired suitably:

Balanced inputs:

lScreen = Ground,

lTip = Signal Phase (“+” or “hot”),

lRing = Signal Non-Phase (“-” or “cold”).

Unbalanced inputs:

lScreen = Ground,

lTip = Signal Phase (“+” or “hot”),

lRing = Ground.

The equipment utilizes good quality screened cable, particularly for microphone or low

level sources, So that hum or noise cannot be picked up.

Refer to Figure 2 for rear panel connector identification.

-3.4 Instrument Inputs.

On the front panel, each channel has a high impedance (1Mohm) 0.25” instrument

jack socket (see Figure 1).A2 pin (mono) jack plug is required, which should be wired as

the following way:

- Tip = Signal Phase (“+” or “hot”),

- Screen = Ground.

-3.5 Balanced Line Outputs.

On the rear panel, the line outputs are via 3 pin TRS jack sockets and may be

configured for balanced or unbalanced connection. Balanced operation is always

preferable to maintain maximum headroom and signal to noise ratio, but can only be

used if the following equipment is also capable of balanced operation:

Balanced outputs:

- Screen = Ground,

- Tip = Signal Phase (“+” or “hot”),

- Ring = Signal Non-Phase (“-” or “cold”).

Unbalanced outputs:

- Screen = Ground,

- Tip = Signal Phase (“+” or “hot”),

- Ring = Ground.

-3.6 Nominal Operating Level.

A switch on the rear panel allows the line inputs and outputs to be matched to

equipment at a nominal operating level of +4dBu or -10dBu. Most professional

equipment requires +4dBu (approximately 1.2V rms), but some small mixing consoles or

portable tape recorders require -10dBu (approximately 225mV rms). If the operating

level is not known, the switch should be set to the position which results in the best signal

to noise ratio, whilst preserving sufficient headroom.

4. GETTING STARTED

Connected ahead of the line inputs of a mixing desk/recording device:

Because of the various functions of the equipment, such as a mic preamp, line level or

instrument front end, you can connect the output(s) of the equipment directly to the line

input of your console, recorder or sound card. We do not suggest you to connect line level

outputs to microphone inputs, because this may affect the quality of signal and may cause

level overload on the mixer. The equipment has balanced line outputs for professional

sound quality, but can connect to an unbalanced line input easily. Once the outputs are

connected, feed your chosen source into the relevant input of the equipment simply (mic

will connect to the XLR input on rear panel, line level signals such as mixer or tape

machine outputs will connect to the equipment line inputs, and keyboards, guitars and

basses will use the equipment front panel instrument inputs).

The input selector switch is at the top left of the equipment front panel. Through it, you

can select the relevant input source. ‘Mic 48V’ is necessary for condenser type

microphones that require 48V phantom power. When using dynamic and ribbon type

microphones the ‘Mic’ position only should be selected. Take care not to select the Mic

48V position when using such microphones as the 48 Volt feed could harm the

microphone probably. The equipment will route the microphone signal to both the left and

right output channels. If a mono instrument (or mono line level source) is connected to the

left input (marked 1/mono) the signal will be routed to both left and right channels.

Connecting a mono signal to the right input will send the signal to the right hand output

only. Nowadays, it is a common technique recording direct to the multitrack recorder (thus

bypassing the console), it can keep the signal path shorter, and get the highest quality.

5.OPERATION

-5.1 Input Source Selection.

The input source and phantom power selection are controlled on a four position rotary

switch. The selections are:

MIC +48V: For condenser mics that require 48V phantom power

MIC: For most dynamic or ribbon mics

LINE: Line inputs

INST: Front panel Instrument inputs

CAUTION: Please connect a microphone you need before phantom power applied. Do

not connect or separate mic and equipment when phantom power applied. Furthermore,

Adjust the Monitor/speaker for silent state before phantom power applied. Please wait for

about one minute after phantom power applied, then regulate the output amplify, to

ensure the system can be stable before this.

-5.2 Mic Gain.

The Mic Gain control sets the level of the microphone input signal prior to the Input

Gain control. There are 4-switched level positions: -20, 0, +20 and +40dB, with a further

+/- 20dB available on the Input Gain control.

For normal operation it is recommended to keep the Mic Gain setting at the +40dB

position, with any fine adjustments to the input signal level made by either boosting or

reducing the Input Gain control. Keeping the Mic Gain at its maximum setting (+40dB)

can help to keep the noise figures as low as possible. In extreme cases, high-level signal

sources such as close-mic’d drums, it may be necessary to reduce the Mic Gain position

to prevent input overload.

-5.3 Input Gain.

The Input Gain control sets the level of the signal is variable between -20dB and +20dB.

This allows a wide range of signals to be fed into the equipment, and also allows the valve

stages to be driven to a variable degree. Each channel of the equipment has a triode valve

stage positioned between the input circuit and the compression stage.

Increasing the input gain pushes more signal level into the valve, thus generating more

harmonic distortion and creating that special “valve sound”. At the same time the output

level can be turned down to preserve the same level at the outputs, so a choice of sounds

is available. For a more pronounced valve sound, turn up the input gain and reduce the

output gain, and vice versa for a cleaner sound.

Increasing the Input Gain control setting will tend to push the signal towards and

possibly over the compression threshold setting, so this control will have a pronounced

effect on the amount of compression taking place.

-5.4 90 Hz Low Cut Filter.

The low cut (high pass) filter switch restricts the low frequency response of the preamp,

to remove rumble or LF noise from the signal effectively. The filter is useful in restricting

“popping” on vocals or even low frequencies caused by contact with microphone stands or

microphone cables.

Popping is an undesirable thump that is caused by close-miking certain spoken or sung

letters, such as “P” or “B”. These particular letters cause a sudden expulsion of air that

result in an audible thump. As this thump has a lot of low frequency content the high pass

filter can help to reduce the problem, as using a bop cover suspended in front of the

microphone. The 90Hz filter is active on mic, line and instrument inputs.

-5.5 Drive and Peak LEDs.

The yellow Drive LED provides a visual indication of the signal level through the valve

stages, and therefore the extent of “warming” or valve character being showed. The Drive

LED will illuminate gradually when the input level or gain is increased, over the range 8dB

to +18dB.

The red Peak LED operates as a conventional warning that clipping is about to occur.

The operating level of the entire signal chain is monitored, and the LED illuminates when

there is less than 6dB of headroom remaining. Normal operation would be to set the input

gain so that the Drive LED is illuminating regularly, with occasional lighting of the Peak

LED on transients.

-5.6 Output Gain.

This controls the level at the equipment outputs, and is variable between -∞ and +15dB.

This control acts like an output fader effectively, and is very useful when recording direct

to tape or hard disc through the equipment. You may find that some digital recorders

require a good deal of input level in order to register a 0dB reading on their meters. This is

normal, since many digital recorders are designed to preserve headroom and keep the

signal well below the 0dB clip point - thus preventing the recorder distorting. The

equipment provides ample gain to drive digital recorders, but you may find the Output

Gain control has to be set to higher levels because of it.

-5.7 Meter.

The equipment is equipped with an illuminated VU meter. The Meter switch enables the

equipment’s VU meter to monitor one of two parameters. The normal mode allows the

meter to read the audio output level, and is calibrated to read 0VU when a +4dBu signal is

produced at the balanced line outputs of the equipment. Your dealer if required may adjust

the reference point internally.

Increasing the Output Level control on the equipment towards the +15dB setting will

cause the equipment’s meter to move further towards the red area and possibly to the end

of the scale if sufficient gain is applied.

-5.8 Meter ‘+10dB’.

Sometimes the output level of the equipment may need to be set to a relatively high

level, particularly when driving a digital recorder. The Meter ‘+10dB’ setting reduces the

normal meter reading by 10dB so that high output levels can be generated without the VU

needle pressing constantly at its end stop. This doesn’t affect the actual output level, but

only the metered reading. This setting also has no effect when the G/R switch is engaged

and the meter is reading the amount of gain reduction.

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