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OWNER'S MANUAL
MANUEL DE L'UTILISATEUR
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IMPORTANT SAFETY INSTRUCTIONS INSTRUCTIONS PERTAINING TO A INSTRUCTIONS RELATIVES AU RISQUE RISK OF FIRE, ELECTRIC SHOCK, DE FEU, CHOC ÉLECTRIQUE, OU OR INJURY TO PERSONS BLESSURES AUX PERSONNES CAUTION: AVIS: AFIN DE REDUIRE LES RISQUE DE CHOC ELECTRIQUE, TO REDUCE THE RISK OF ELECTRIC SHOCK, DO N’ENLEVEZ PAS LE COUVERT (OU LE PANNEAU ARRIERE) NOT REMOVE COVER (OR BACK). NE CONTIENT AUCUNE PIECE NO USER SERVICEABLE PARTS INSIDE. REPARABLE PAR L’UTILISATEUR. REFER SERVICING TO QUALIFIED CONSULT
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Introduction Your new AP312 Mixer/Amplifier is designed and built to provide long-term trouble free performance. Drawing on over thirty years of experience in the design and manufacture of powered mixing consoles, Yorkville engineers were able to optimize the design of the AP312 to include 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 powering, dual 9
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Master Features • SELECT and MODIFY mas- ters 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 control with it’s own CLIP LED to help prevent overloading the cir- cuitry at this stage. • LEFT and RIGHT MAIN
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Feature Details & User Tips Channnel Strips Inputs Each channel has both a MIC and LINE input (except for channels 9/10 & 11/12 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= Ground, Pin 2 =
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monitor system using the AP312’s EQ2 equalizer or an external EQ patched between the AP312’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 three controls labeled HIGH, MID, and LOW. Each control can either boost or cut the amplitude of its frequency band by 15dB. This is a con- siderable amount of gain chan
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Channel Faders This adjusts the levels of both the post-EQ channel sig- nal headed directly for the LEFT and RIGHT MAIN mas- ter 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 3dB, the CLIP LED circuitry captures and displays this event. See
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The MAIN faders also determine the signal levels destined for the EQ/AMP ASSIGN button where they are directed as follows: 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 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
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natural frequency response does not have to be compromised because of one mic and one speaker. Ideally, a Real-time Frequency Analyzer and Pink Noise would be employed before the audience arrives to help you pre-adjust the EQ(s) to cut obvious system/room response spikes likely to cause feedback later on. Without such devices 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 an
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Digital Effects Processor The internal Digital Effects Processor is a full 16 bit, 20kHz bandwidth DSP-based effects subsystem developed by Applied Research & Technology in Rochester, New York. It has been custom pro- grammed with 255 effects ranging from reverb to echo and special effects. The selection of effects was determined in collaboration with a panel of sound engi- neers experienced in live performance mix- ing. The panel was asked to choose effects, which would be of the most pr
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3. Now connect one 8 ohm subwoofer to the AMP 1 SPEAKER OUTPUT jack and one 8 ohm full-range cabinet to the AMP2 SPEAKER OUTPUT jack. 4. The complete system is now functional, not including monitors. How-ever, if you need to vary the compara- tive volume levels of the subwoofer/s relative to the full-range cabinets, another setup will be required with an exter- nal power amp for the subwoofers or employing powered subwoofers. In that system, AMP 1 would be for full-range speakers
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breaker would open as soon as the AP312’s POWER switch was flipped on. If this breaker opens more than once in a short space of time, try plugging the AP312 into another power outlet. Rack Mounting To rack-mount the AP312 you will need to purchase a pair of the accessory model RK812 rack ears, then simply remove the three screws holding each of the AP-312’s two end mold- ings in place and use the screws to mount the rack ears to the sides of the mixer General Operating Instructions 1. Conne
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channels 9-10 and/or 11-12 as separate inputs perhaps for additional (high Z) mics, instruments or other sources. In this situation, the channel BAL control will regulate the comparative volume levels of any two sources coming into one of these channels. The level fader MON, EFXand EQ controls would then be adjusted to regulate both sources at once b) Set the MAIN faders at 0dB, turn the MONITOR MASTER control up to approx. 8, the MAIN EFX master to around 7 and MONITOR EFX master to 5. c)
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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
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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 yourself to do that, be considerate of your audiences and leave the high-end EQ o
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Introduction Votre n ouveau Mixeur/Amplificateur Yorkville AP312 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 AP312 de caractéristiques tel montage en rack optionnel, ventilateur interne silencieux, deux canaux stéréo avec des boutons cue, monitoring par casque d’écoute des signaux
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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 moniteurs. • Le sous-système interne d’effets, basé sur le processeur numérique d’effets A.R.T. 16 bit, offre une performance claire et définie. • LE CONTRÔLE MASTER EFX vous permet d’insérer l’effet interne rapidement et aisément. • Contrôle MASTER EFX SEND a
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Le Bouton et la DEL d'Alimentation en Duplex Situé au panneau arrière près de la sortie D’HAUT-PARLEUR, ce bouton pous- soir active l’ALIMENTATION EN DUPLEX De 24 volt dont est doté l’AP312. Quand L’ALIMENTATION EN DUPLEX est activé, la DEL +24V sur le panneau avant (juste en des- sous de la prise pour casque d’écoute) s’illuminera. Vous pouvez maintenant Branchez des microphones condensateur à n’importe quel canal sans avoir recourt à une alimentation externe. Vous pouvez aussi relier, avec
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mettre le monitoring de l’égalisation de canal avec le casque d’écoute. Les signaux CUE sont cependant pré-fader. Il sera donc nécessaire de fermer le canal par les con- trôles “mains” et “monitors” lors du “cueing”. Employez le contrôle PHONE LEVEL pour ajuster le niveau du casque d’écoute. Pour employer la fonction cue, suivez simplement ces étapes: a) Branchez un magnétophone à cassette ou un lecteur CD - aux canaux 9/10 ou 11/12 b) Réduisez le fader et le contrôle MON au minimum. c) Appuye
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phone à cassette pour enregistrer la performance. Branchez simplement à la prise de sortie MON OUT un adaptateur en Y (1/4” mâle - à - double 1/4” femelle). Acheminez ensuite à partir de l’adaptateur en Y deux câbles de branchement appropriés (prob- ablement 1/4” mâle à RCA mâle) aux entrées lignes de gauche et droite du magnétophone. Vous aurez maintenant l’avantage d’être capable de contrôler les niveaux du mélange pour enregistrer, indépendam- ment des réglages du mélange principal. Co
