Bedienungsanleitung Allen-Heath PA-CP Series (Seite 24 von 36) (Englisch)

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24 PA-CP User Guide

The MASTER SECTION Controls

Master Control For accurate control, the main house

and two foldback mixes are controlled using full length faders

and include mute and headphone monitoring functions. These

faders act as volume controls for the mix.

FB1, FB2, LR FADERS 100mm smooth travel faders

adjust the overall level of the mixes. Up to +10dB boost is

provided above the unity gain ‘0’ position, full shut off when

down. Normal operating position with the gain structure

correctly set is typically between ‘-10’ and ‘0’.

FB1, FB2, LR MUTE Press this switch to turn the mix

off. The large red LED lights to warn that the output is muted.

MUTE does not affect the foldback mix AFL function.

FB1, FB2 AFL Press this switch to listen to the foldback

mix signal in the headphones and display its level on the main

meters. AFL is sourced after the fader but before the mute

switch. This lets you check the mix while the output is muted.

 AFL stands for After Fade Listen. It sends the signal

taken after the fader but before the mute switch to the

engineers personal headphones monitor and console meters.

AFL is more useful than PFL for output monitoring as it shows

you exactly how much signal will be sent from the console to

the connected equipment.

 Gain structure is all about getting the signal levels

between the stages in an audio system correctly matched. If a

signal is too low then you are likely to hear the residual hiss

and noise that is present in all electronic circuits. If it is too

high then there is a danger that it will try to exceed the

maximum output and therefore be clipped causing audible

distortion. Get it right and you will achieve a noise floor too low

to be heard and enough headroom to allow for the typical live

sound peaks. You

need to consider the

matching between the

microphones and the

channels (gain),

inserted equipment

(operating level and

trims), channels to the

mix (faders), and

outputs into the

amplifiers (level trims).

The diagram here

illustrates the

principles of signal

dynamics.

☺ Checking the gain structure Start with the master faders

and amplifier level controls fully off. Having first used PFL to

set gain, route a test signal into the mix by bringing up the

channel fader to ‘0’ and raising the FB1 and FB2 sends to their

3 o’clock unity gain positions. Next, raise the master faders to

‘0’ and use AFL and the LR monitor to check each mix for

signal reading around ‘0’ or just below on the console meters.

Only then should you start to turn up the amplifiers until

maximum expected volume is reached. This means that the

console is operating at its optimum level for the desired

speaker volume. You should find yourself mixing with the

master faders between ‘-10’ and ‘0’. If you work with very low

fader settings you may start to hear some background hiss

associated with the console output stage. Correct this by

turning back the amplifier levels and raising the master faders.

POST-LR FADER

MAXMIN

POST-LR

PRE-LR

+6OO

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Allen-Heath PA-CP Series Seite 24

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