ページ1に含まれる内容の要旨
OWNER'S MANUAL
MANUEL DE L'UTILISATEUR
ページ2に含まれる内容の要旨
IMPORTANT SAFETY INSTRUCTIONS This lightning flash with arrowhead symbol, within The exclamation point within an equilatereal triangle is an equilateral triangle, is intended to alert the user to intended to alert the user to the presence of important the presence of uninsulated “dangerous voltage” operating and maintenance (servicing) instructions in within the product’s enclosure that may be of sufficient the literature accompanying the appliance. magnitude to constitute a risk of electric
ページ3に含まれる内容の要旨
Introduction Your new AP812/818 Mixer/Amplifier is designed and built to provide long-term trouble free performance. Drawing on over thirty years of experience in the design and manufac- ture of powered mixing consoles, Yorkville engineers were able to optimize the design of the AP812/818. Including comprehensive features such as rack-mountability, quiet internal fan cooling, two stereo input-channels with cue buttons, headphone monitoring (of both the cue and monitor busses), phantom poweri
ページ4に含まれる内容の要旨
Master Features • SELECT and MODIFY masters provide up 255 presets of reverb, delay and other effects. • Separate EFX TO MAIN and EFX TO MONitor masters. • internal effects subsystem, based on the A.R.T. 16-bit digital effects processor, delivers crystal clear performance. • MASTER EFFECTS fader lets you insert the internal effect quickly and easily. • MASTER EFX SEND con- trol with it’s own CLIP LED to help prevent overloading the circuitry at this stage. • LEFT and RIGHT MAIN fader
ページ5に含まれる内容の要旨
Feature Details & User Tips Channel Strips Inputs Each channel has both a MIC and LINE input (except for channels 9/10 & 11/12 (15/16 & 17/18) which have RCA type inputs as well as 1/4-inch TRS inputs). The LINE input will accept either balanced or unbalanced signals from all types of sources and the MIC input is optimized for low-impedance microphones. The LINE input is Tip-Ring-Sleeve balanced, with the Tip in phase, the Ring reverse phase and the sleeve, Ground. The XLR is wired Pin 1= G
ページ6に含まれる内容の要旨
This means that you custom-equalize for the monitor system using the AP812/818’s EQ2 equalizer or an external EQ patched between the AP812/818’s MON OUT jack and the external power amp you are using for monitors. User tip: In order to shut a channel off completely, it will be necessary to turn down the MON send, as well as the channel fader. 3-Band EQ Equalization is varied by four controls labeled HIGH, MID, SWEEPABLE MID (variable from 80 Hz to 8 kHz), and LOW. Each control can either boos
ページ7に含まれる内容の要旨
Channel Faders This adjusts the levels of both the post-EQ channel signal headed directly for the LEFT and RIGHT MAIN master bus (via the PAN/BAL pot), and the EFX send signal headed for the master EFX bus. The channel fader does not control the MONitor send level. Clip LED The channel CLIP LED watches all the active electronic stages in the channel circuit. Whenever any stage’s signal peak approaches clipping to within 6 dB, the CLIP LED circuitry captures and displays this event. See u
ページ8に含まれる内容の要旨
a) Up in the L & R position, the ASSIGN button directs the Left & Right MAIN master signals to EQ1 and EQ2 respectively. Thereafter, they go in two direc- tions at once to the L & R (AMP 1 and AMP 2) inputs of the built-in power amplifier and to the L & R POST EQ LINE OUTPUT jacks. b) Down in the MAIN/MON position, the ASSIGN button also does two things. First, it sums some of the LEFT and RIGHT MAIN signals into a single mono signal and directs it to the input of EQ1, the output of which
ページ9に含まれる内容の要旨
you can achieve a vaguely similar result by simply turning up the level until a mic feeds back, then reacting accordingly (this may or may not involve the EQ’s). In any case, the prime suspect whenever feedback starts is always a monitor. A graphic EQ with a MIC level input can be inserted between the offending mic and the mixer input to solve that channel’s problem without altering the whole monitor system response. Effects Bus Routing Overview The AP812/818’s effects bus receives and mixes
ページ10に含まれる内容の要旨
on and off. Optionally, this jack may be employed to feed the EFX signal to an external effects unit the output of which could be returned via an input channel - perhaps channel 9/10 or 11/12 (15/16,17/18) if the effects unit is stereo. In this mode, the channel fader would become the master effects return control, therefore be sure to set that fader fairly low and adjust to desired levels. Be sure to turn the EFX send control off in order to avoid creating a loop. Also, be sure to pull the
ページ11に含まれる内容の要旨
Power Amplifier - General The AP812/818 has a built-in 800 watt stereo power amplifier. Each channel has an input sensitivity of +4 dBv (1.4 volts RMS) for full-power output and each can deliver over 400 watts into a 4 ohm speaker load. These amplifiers incorporate computer designed internal heatsinks and a variable-speed fan which automatically provides quiet operation consistent with cooling requirements. Cool air is drawn into the front of the mixer, and heated air is expelled along the
ページ12に含まれる内容の要旨
The AP812/818’s power amplifier also features speaker protection in case of DC-offset. This is a very unlikely occurrence given the amp’s inherently stable design, but should it happen, the output power is instantly shorted to ground and the speak- ers are saved. The AC mains breaker on the back panel will blow in response to this condition (among others). If your breaker blows more than once in a short space of time and the problem does not appear to be AC overload (see below), switch the
ページ13に含まれる内容の要旨
7. Position your main PA speakers at the front of the stage, pointing directly out at the audience and position your monitor speakers on the stage floor, in front of the mic stands, pointing up at the backs of the mics (remember to use cardioid or uni-directional mics to reduce the threat of monitor feedback). 8. During a sound check with the band playing or other sources feeding the mixer inputs, make the following control adjustments: a) Set the channel LOW, MID & HIGH EQ controls and P
ページ14に含まれる内容の要旨
Tips on Getting a Good Mix If you’ve never mixed at high power levels before, the following suggestions may help you to get a consistently good sound. • When you have live microphones, don’t run the volume level right up to the point of feedback! This is the most common mistake made by people mixing live events. We’ve all heard systems on the verge of feedback and they sounded terrible, even when no feedback was actually occurring! This happens because working at the feedback point warps
ページ15に含まれる内容の要旨
scar tissue causing permanent hearing loss, you can return to hear your mix with fresh ears. The mix should sound invitingly loud, but not painful. • In basic terms, if you find that you’ve turned up the high end since the night began and it still sounds the same to you as it did at the beginning, watch out. That’s not “fatigued horns” or “changing room acoustics” rolling off the high end, it’s your ears. Please do yourself and your audiences a favor - USE EARPLUGS! And if you can’t bring
ページ16に含まれる内容の要旨
Addendum EQ Sweep Control Although frequency sweep controls have graced the channel-EQs of recording mixers for many years, they are only found on the more upscale PA mixers. As a result many PA users, even veterans, are unfamiliar with their function. The SWEEP control determines what range of frequencies is affected by the MID cut/boost. It moves or sweeps the MID control's peak or notch in response all the way up to several thousand Hertz or down to below 100Hz. As a result it
ページ17に含まれる内容の要旨
Introduction Votre nouveau Mixeur/Amplificateur Yorkville AP 812 / 818 a été conçu et construit de façon à offrir une performance fiable pour plusieurs années à venir. Tirant sur trente années d’expérience dans la conception et la fabrication de mixeurs amplifiés, les ingénieurs de Yorkville ont été capables de doter le mixeur AP 812 / 818 de caractéristiques tel montage en rack optionnel, ventilateur interne silencieux, deux canaux stéréo avec des boutons cue, monitoring par casque d’écout
ページ18に含まれる内容の要旨
• Contrôle de balance • Les boutons DE SIGNAL CUE vous permettent d’écouter, à l’aide d’un casque d’écoute, ces canaux indépendamment du réglage de niveau du fader. Caracteristiques de la Section Maitresse • Les contrôles SELECT et MODIFY fournissent un assortiment de 255 effets pré réglés de reverb, délais et autres effets. • Contrôles séparés pour effets au mixe principal et effets aux moni- teurs. • Le sous-système interne d’effets, basé sur le processeur numérique d’effets
ページ19に含まれる内容の要旨
Details des Caractéristiques & Conseils à l’Utilisateur Bandes de Canal Entrées Chaque canal est doté de prises d’entrée MIC et LIGNE (à l’exception de des canaux 9/10 & 11/12 (15/16 & 17/18) qui a sont dotés d’entrées RCA et 1/4 TRS). L’entrée LIGNE acceptera des signaux symétriques ou asymétriques de tous types de sources. L’entrée MIC est optimisée pour les microphones basse impédance. L’entrée LIGNE est du type TRS symétrique, avec la Pointe en phase, l’anneau hors phase et le corps
ページ20に含まれる内容の要旨
après le circuit d’égalisateur , et avant le fader de niveau. Le fader de niveau donc aucun effet sur le signal destiné aux moniteurs. A l’aide de l’égalisateur EQ2 de votre AP 812 / 818, vous pouvez maintenant obtenir une égalisation sur mesure pour le système de moniteur. Il est aussi possible de raccorder un égalisateur externe entre la prise DE SORTIE MON de L’ AP 812 / 818 et l’amplificateur de puissance externe utilisé pour les moniteurs. Conseil: Pour fermer un canal complètement, i
