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Q II - FOH
Operators Manual
Klark Teknik Building
Walter Nash Road
Kidderminster
Worcestershire
DY11 7HJ
Tel: +44 (0) 1562 741515
Fax: +44 (0) 1562 745371
Email: info@uk.telex.com
Website: www.ddaconsoles.com
Q II - FOH Operators Manual
Telex Communications (UK) Limited
In line with the company’s policy of continual improvement, specifications and function maybe subject
to change without notice. This Operator Manual was correct at the t
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Contents 3 DECLARATION OF CONFORMITY 4 GENERAL INFORMATION 5 THE Q2 IN USE 7 WARRANTY 9 DIMENSIONS 10 SPECIFICATIONS 12 WIRING CONSIDERATIONS 12 GROUNDING 15 ATTENTION 16 MODULE DESCRIPTIONS 18 THE MATRIX SECTION 19 THE 20DB PAD 20 INPUT MODULE 28 VCA INPUT MODULE 31 STEREO EFFECT RETURN MODULE 36 MONO SUBGROUP OUTPUT MODULE 40 STEREO SUBGROUP OUTPUT MODULE 44 LCR SUBGROUP OUTPUT MODULE 48 FOLDBACK MASTER MODULE 49 AUXILIARY MASTER MODULE 50 STEREO MASTER MODULE 56 MASTER CONNECTOR PANEL 57 VCA
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Declaration of Conformity The Manufacturer of the Products covered by this Declaration is Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ. The Directives Covered by this Declaration. 89/336/EEC Electromagnetic Compatibility Directive, amended by 92/31/EEC & 93/68/EEC 73/23/EEC Low Voltage Equipment Directive, amended by 93/68/EEC. The Products Covered by this Declaration. Equipment type Product Name Variants Audio Mixing Console Q2 Q2 VCA Audio Mixing Console Q2
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Three channel or Left, Centre, Right panning differs from the GENERAL normal stereo panning arrangement in that where the conventional INFORMATION left/right pan moves the signal across the stereo image, LCR panning moves the mono signal across three distinct positions. Using LCR panning gives a more spatial effect, offers more control over vocal and effects positioning, and brings theatre performances to life in a way that conventional stereo panning cannot. In the LCR mode, the pan pot acts a
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Providing a hard centre image in addition to left and right speaker THE Q2 IN USE clusters improves localisation, as has already been proven in the cinema industry. Stars and soloists are typically mixed to the centre channel. Back-up vocals and orchestra or band may be wrapped around the vocalist in stereo, or panned across the three channels. In Theatrical performances, LCR panning may be used to follow an actor around the stage. Q2's typical use in the theatre maybe as follows. The main LCR
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Consultants and contractors will be pleased to note that Q2 has balanced inputs and outputs throughout, including inserts. In addition, all inputs and outputs (with the obvious exception of the mic input) operate at a nominal level of +4dBu. This alone means no catering for special levels on inserts, no compensating for unbalanced insert sends which combine with balanced returns. System connection and signal flow is therefore not console dependant. LEFT CENTRE RIGHT F/B (4) EFFECT
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If within a period of twelve months from the date of delivery of the WARRANTY equipment to the End User it shall prove defective by reason only of faulty materials and/or workmanship (but no faulty design) to such an extent that the effectiveness and/or the usability thereof is materially affected, the Equipment or the faulty component shall be returned to the Distributor or DDA and subject to the following conditions the Distributor or DDA will repair or at its option re- place the defective co
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DDA shall not be liable for any damage caused to persons or property due to :- i) Incorrect usage of the Equipment ii) Other equipment attached to the Equipment, which is not approved by DDA iii) Modifications made by non-authorised persons, or by using non-recommended parts, or incorrectly made. In no circumstances shall DDA be liable for any indirect or consequential costs, damages or losses (including loss of business profits, operating time or otherwise) arising out of the use or inab
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Q2 Dimensions DIMENSIONS 24 Input Frame Width : 1255mm / 49.4" Depth : 810mm / 31.9" Height : 368mm / 14.5" 32 Input Frame Width : 1505mm / 59.25" Depth : 810mm / 31.9" Height : 368mm / 14.5" 40 Input Frame Width : 1755mm / 69.1" Depth : 810mm / 31.9" Height :
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SPECIFICATIONS Note : All specifications relate to dBu, ie 0dBu = 0.775V RMS MAXIMUM GAIN Mic Input to Mix Output: 86dB Line Input to Mix Output: 40dB FREQUENCY RESPONSE Mic Input to Mix Output: 20Hz , -0.50dB (gain 55dB) 20kHz, -0.20dB Line Input to Mix Output 20Hz , -0.50dB (gain 0dB) 20kHz, -0.20dB NOISE, DIN Audio Weighted Microphone Input Gain 55dB, EIN Ref 200 Ohm <-127.5dBu Line Input to Mix Output Gain 0dB, 16 inputs routed <-83dBu DISTORTION Microphone Input to Mix Output -50dBu input,
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Q2 Power Supply Specifications AC Mains Voltage selection :- 110V/120V/220V/240V Power Consumption (max) : 750VA AC Mains frequency : 50Hz. - 60Hz Fuse Ratings: 220/230/240V - 6.3A 90/100/120V - 10A Cooling Method: Internal fan DC Power Outputs: +17 Volts, 7A max -17 Volts, 7A max +48 Volts, 0.35A max Q2 OPERATION AND MAINTENANCE MANUAL 9601 11
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To take full advantage of the excellent audio performance of DDA WIRING mixing consoles, it is essential that the installation is carried out CONSIDERATIONS with care and attention. All audio signals are referenced to the system earth, which must be clean and noise-free, and essentially equipotential. In addition, the earth system integrity is absolutely necessary for safety. Do not disconnect the mains earth wire from each piece of equip- ment as this could create a hazardous situation. If in
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Do not install other equipment (lighting, vending machines etc) to the technical earth - only use it for Audio Equipment. If the star point is derived from mains earth, however, and not from a ground stake/plate, install separate clean and dirty mains outlets, wired individually to the mains distribution box. Use the clean supply for all audio equipment, and the dirty supply for all lighting, vending machines etc. Do not mix the two systems. It may be necessary to install an isolating tran
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Rack mounted equipment which has unbalanced inputs and outputs may need to be electrically isolated from the equipment rack and/ or other equipment to avoid earth loops. DO NOT DISCONNECT THE MAINS EARTH. Connect all equipment in a logical sequence, starting with the monitor systems, followed by the multitrack and then the stereo machines and the peripheral devices and isolate any earth loop problems as they occur. It is very difficult to rectify a problematical installation after everything
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ATTENTION CABLES This product should only be used with high quality, screened twisted pair audio cables, terminated with metal bodied 3-pin XLR connectors. The cable shield should be connected to Pin 1. Any other cable type or configuration for the audio signals may result in degraded performance due to electromagnetic interference. ELECTRIC FIELDS Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal (20Hz - 20Khz), the signal to noise
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Before describing the module functions, it is worth looking at some MODULE of the facilities in some depth which would otherwise be too long to DESCRIPTIONS describe within the module texts. Q2's cue system, smart cue, is as flexible as you want it to be. It THE CUE SYSTEM can be operated in several modes, the simplest of which is of course a regular PFL solo system. The three modes of cue listening are PFL (pre-fade), AFL (after- SOLO MODE fade), and SIP (solo-in-place). The overall level of
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If the cue button is held depressed for at least one second, the cue will become momentary, and only active until the cue button is then released. This allows you to listen to a signal for a short period of time and only have to press the button once. CUE INTERLOCK A further method of operation involves a choice of additive or exclusive cues. MODE In normal mode, the cues are additive. That is, any cue button MASTER CUE RESET pressed adds its signal to any cues already pressed, so any number o
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Nowadays, any console destined for theatre or similar live THE MATRIX performance use must have a matrix. This matrix takes the group SECTION signals, and probably other signals, and allows different sub mixes to be created for many uses. Traditionally, matrices have been used to provide backstage mixes, dressing room and foyer feeds where some elements of the mix are not required. For example, you may want to send a different mix of an opera or stage show to the dressing rooms to acentuate ce
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One trend in modern console design that DDA has chosen not to THE 20DB PAD follow is the removal of the traditional 20dB pad in favour of a wide range gain control system. The reason for this is mostly due to the use of microphone input transformers. Their position in the circuit is always before the input amplifier. Without a pad, the risk of saturating the transformer with high level microphone outputs is extreme, unless very large transformers are used. DDA's philosophy places the 20dB pad
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INPUT MODULE The input module is essentially the same for all subgroup versions of Q2, with links selecting whether the buses feed 8 mono, 8 stereo, 4 LCR or 16 mono subgroups. Dedicated LCR input modules have 4 routing buttons marked A, B, C, and D instead of buttons 1-8. MTR This sub-panel preset is for calibration of the external meter output of the module. 48V Provides phantom power for a condenser microphone, or DI box. Optional balancing transformers may be fitted on the Mic input. -20dB
