Alto Ghibli-16-FX, Ghibli-16 Owners Manual

Page 1
R
LTO
GHIBLI 16/16FX
16-CHANNEL, MULTI-EFFECT MIXING CONSOLE WITH SURROUND OUTPUT
OWNER'S MANUAL
www.altoproaudio.com
Version 2.0 NOV. 2007
Page 2
IMPORTANT SAFETY INSTRUCTION
CAUTION
RISK OFELECTRIC SHOCK
DO NOTOPEN
TO REDUCE THE RISK OF ELECTRIC SHOCK PLEASE DO NOT REMOVE THE COVER OR THE BACK PANEL OF THIS EQUIPMENT. THERE ARE NO PARTS NEEDED BY USER INSIDE THE EQUIPMENT. FOR SERVICE, PLEASE CONTACT QUALIFIED SERVICE CENTERS.
This symbol, wherever used, alerts you to the
presence of un insulated and dangerous voltages within the product enclosure. These are voltages that may be sufficient to constitute the risk of electric shock or death.
This symbol, wherever used, alerts you to important operating and maintenance instructions.
Please read.
Protective Ground Terminal AC mains (Alternating Current)
Hazardous Live Terminal ON: Denotes the product is turned on. OFF: Denotes the product is turned off.
CAUTION
Describes precautions that should be observed to prevent damage to the product.
1.
Read this Manual carefully before operation. Keep this Manual in a safe place.
2.
Be aware of all warnings reported
3.
with this symbol.
4.
Keep this Equipment away from water and moisture.
5.
Clean it only with dry cloth. Do not use solvent or other chemicals.
6.
Do not damp or cover any cooling opening. Install the equipment only in accordance with the Manufacturer's instructions.
Power Cords are designed for your safety. Do
7.
not remove Ground connections! If the plug does not fit your AC outlet, seek advice from a qualified electrician. Protect the power cord and plug from any physical stress to avoid risk of electric shock. Do not place heavy objects on the power cord. This could cause electric shock or fire.
Unplug this equipment when unused for long
8.
periodsoftimeorduringastorm.
Refer all service to qualified service personnel
9.
only. Do not perform any servicing other than those instructions contained within the User's Manual.
To prevent fire and damage to the product,
10.
use only the recommended fuse type as indicated in this manual. Do not short circuit the fuse holder. Before replacing the fuse, make sure that the product is OFF and disconnected from the AC outlet.
WARNING
To reduce the risk of electric shock and fire, do not expose this equipment to moisture or rain.
Dispose of this product should notbeplacedinmunicipalwaste and should be separate collection.
MovethisEquipmentonlywithacart,
11.
stand, tripod, or bracket, specified by the manufacturer, or sold with the Equipment. When a cart is used, use caution when moving the cart / equipment combination to avoid possible injury from tip over.
12.
Permanent hearing loss may be caused by exposure to \ extremely high noise levels. The US. Government's Occupational Safety and Health Administration (OSHA) has specified the permissible exposure to noise level. These are shown in the following chart:
HOURS X DAY SPL EXAMPLE
Small gig
8 6 4 3 2 1,5 1 0,5 0,25 or less
According to OSHA, an exposure to high SPL in excess of these limits may result in the loss of heat. To avoid the potential damage of heat, it is recommended that Personnel exposed to equipment capable of generating high SPL use hearing protection while such equipment is under operation.
The apparatus shall be connected to a mains socket outlet with a protective earthing connection.
The mains plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.
90
train
92
Subway train
95
High level desktop monitors
97
Classic music concert
100 102 105 110
Rock concert
115
Page 3
IN THIS MANUAL:
1. INTRODUCTION......................................................................1
2. FEATURES.............................................................................1
3. QUICK START.........................................................................4
4. CONTROL ELEMENTS.............................................................5
5. INSTALLATION AND CONNECTION..........................................12
6. PRESET LIST .......................................................................13
7. BLOCK DIAGRAM.................................................................14
8. TECHNICAL SPECIFICATION ..................................................15
9. WARRANTY..........................................................................16
1. INTRODUCTION
Thank you for purchasing the GHIBLI 16(FX), 16-channel mixing console with 24-bit digital multi-effects with five-channel surround output. It is just one of the many Alto products that a talented, multinational Team of Audio Engineers and Musicians have developed with their great passion for music. Your GHIBLI 16(FX) is a remarkable compact mixing desk that doesn't find many equals in the market today. With 4 microphone and 12 stereo Line-level inputs for serious live performances and recording applications, your GHIBLI 16FX also includes a 24-Bit digital multi-effect with 16 Factory Presets and separate level for digital reverb.
There is a three bands EQ with mid frequency sweep on all the microphone channels and separate Main Mix, Control Room and Center/Surround outputs. All the microphone channels are also equipped with a tube-like compressor/ de-esser with automatic threshold control. Use it for small Gigs, for Computer Audio, for 4-tracks recording. GHIBLI 16(FX) also is a flexible tool for your Multimedia Presentations.
Enjoy your GHIBLI 16(FX) and make sure to read this Manual carefully before operation!
2. FEATURES
MIC channels with 3 bands EQ + Mid Frequency sweep and MUTE function. TUBE SOUND COMPRESSOR on all MIC channels + De-esser function. Insert function for all MIC channels. 5-channel surround processor + Stereo Bass Enhancer. Extremely high headroom offering more dynamic range. Balanced ultra low noise microphone inputs with "HIGH END PREAMP". Suitable for live, studio and home applications. 2 AUX Sends on all mono channels for internal/external effects and monitoring. Phantom power on all MIC channels. Rugged construction ensures long life and durability. External power supply design for professional applications.
1
Page 4
SPOTLIGHT
MIC 1 MIC 2 MIC
12
3
MIC IN (BAL) MIC N (BAL) MIC IN (BAL)
LINE IN (UNBAL) L NE IN (UNBAL) LINE IN (UNBAL)
LOW CUT
HARD
100Hz
OFF
SOFT
BYPASS COMP DE ES BYPASS COMP DE ES BYPASS
GAIN GAIN
CLIP CLIP
02050
MIC
0dB 0dB
+30
L NE
0dB
HIGH
15KHz
+1515
0dB
MID MID
+1515
1KHz
MID
freq
600
5K
0dB
LOW
80Hz
+1515
0dB
AUX1
pre
8
+10
0dB
AUX2
D
post
F X
8
+10
center center
PAN PAN
R ghtLeft
CH
MUTE MUTE
ON
0dB
LEVEL LEVEL
12
2
3
INSERTNSERT
100Hz
OFF
02050
MIC
+30
LINE
0dB
+1515
0dB
+1515
1KHz
Hz
600
5K
0dB
+1515
0dB
8
+10
0dB
D F X
8
+10
RightLeft Left
CH ON
0dB
LOW CUT
HARD
SOFT
HIGH
15KHz
LOW
AUX1
AUX2
post
MID
80Hz
pre
OFF
MIC
L NE
freq
Hz
D F X
CH ON
3
COMP DE ES BYPASS COMPDE ES
0
2050+30
0dB
15
0dB
15
1KHz
600
0dB
15
0dB
8
0dB
8
0dB
3
MIC 4
1
3
MIC IN (BAL)
LINE N(UNBAL)
INSERTNSERT
LOW CUT
HARD
100Hz
OFF
SOFT
GAIN GAIN
CLIP CLIP
02050
MIC
0dB 0dB
+30
LINE
0dB
HIGH
15KHz
+15
+15
5K
+15
+10
+10
0dB
MID MID
1KHz
MID
freq
Hz
600
0dB
LOW
80Hz
0dB
AUX1
pre
8
0dB
AUX2
D
post
F X
8
centercenter
PAN PAN
RightLeftRight
CH
MUTE MUTE
ON
0dB
LEVEL LEVEL
CH5 LEFT IN (MONO)
12
CH6 RIGHT IN
CH9 10 IN (LEFT) CH13 14 IN (LEFT)
CH12 11 IN (RIGHT) CH16 15 IN (RIGHT)
LOW CUT
HARD
100Hz
SOFT
HIGH
15KHz
+1515
+1515
MID
freq
Hz
OPERATING
5K
LOW
80Hz
8
+1515
PHONES
AUX1
pre
LEFT
+10
AUX2
RIGHT
post
+10
0dB
20 10010
CH7 LEFT IN (MONO)
BASS ENHANCER
BYPASS ON
+10
CH8 RIGHT IN
14
13
12
15
11
1
16
10
9
PRESETS
8
FX LEVEL
CENTER &
SURROUND OUT
AUX1 OUT
AUX2 OUT
PHONES
2
3
4
5
6
7
8
+10
0 B
8
center center
Left
0dB
8
5-6 7-8
0dB
8
0dB
GHIBLI 16
16 CHANNEL M XING CONSOLE
BALANCED +4dBu
BALANCED +4dBu
VIBRAFLANGE
1
FUNKY
2 3
ROCKABILLY BIGSTAGE
4 5
VIBRATO
8 9
FLANGER
12 13
CHORUS
16
8
REVERB LEVEL
AUX1
pre
+10
PAN
Right
LEVEL
+10
AUX1
pre
+10
LEVEL
LTO
+10
8
Left
8
8
LEFT OUT
RIGHT
OUT
PEAK
0 B
AUX1
pre
+10
PAN
Right
0dB
LEVEL
+10
0dB
AUX1
pre
+10
0dB
LEVEL
8
8
+10
8
+10
8
+10
+10
8
8
+10
+10
2
Page 5
HOOK
GHIBLI 16(FX) IN A LIVE GIG
UP
COMPRESSOR
MIC 1MIC 1 M C 2M C 2 MIC 3MIC
MIC IN (BAL) MIC IN (BAL) MIC IN (BAL)
LNE IN (UNBAL) LINE IN (UNBAL) LINE IN (UNBAL)
GUITAR
HOOK
12 12 2
INSERTNSERT
BASS
UP
MIC 2MIC 1
KEYBOARD 1
POWERED SUBWOOFER
STAGE MONITORS
KEYBOARD 2
3
MIC 4MIC 4
CH5LEFT IN MONO
1
12
3
3
MIC IN (BAL)
LINEIN (UNBAL)
INS RTINS RT
DAT PLAYER
CH7LEFT N (MONO)
CH6RIGHT N
CH8RIGHT N
CH9-10 N LEFT) CH1314 N (LEFT)
CH12 11 N R GHT) CH16-15N R GHT)
SURROUNDOUT
CD PLAYER
CENTER&
AUX1OUT
AUX2OUT
PHO ES
LTO
GHIBLI 16
16CHANNEL MIXNG CONSOLE
BALANCED+4dBu
BALANCED+4dBu
RGHT
LEFT OUT
OUT
DRUM MACHINE
MAIN POWERED SPEAKERS
SECONDARY POWERED SPEAKERS
MIXING IN SURROUND WITH GHIBLI 16(FX)
CENTER CHANNEL
LEFT CHANNEL
SURROUND CHANNEL
MIC 1MIC 1 MIC 2MIC 2 MIC 3MIC
12
12
3
M C IN (BAL) MIC N (BAL) MIC IN (BAL)
L NE IN (UNBAL) LINE N (UNBAL) LINE IN (UNBAL)
2
3
3
NSERTINSERT
3
MIC 4MIC 4
3
M C IN (BAL)
L NE IN (UNBAL)
INSERTINSERT
CH5 LEFT N (MONO)
12
CH6 RIGHT IN
CH9 10 IN (LEFT) CH13-14 N (LEFT)
CH12-11IN (RIGHT) CH16-15 N (RIGHT)
1
CH7 LEFT IN (MONO)
CH8 RIGHT IN
CENTER &
SURROUND OUT
AUX1 OUT
AUX2 OUT
PHONES
LTO
GHIBLI 16
16-CHANNELM XING CONSOLE
BALANCED+4dBu
BALANCED+4dBu
LEFT OUT
RIGHT OUT
RIGHT CHANNEL
SURROUND CHANNEL
3
Page 6
3. QUICK START
This is the fastest way to get something out from your GHIBLI 16(FX) if you have a keyboard and a microphone.
Plug the microphone into Channel 1 MIC IN. Turn down GAIN, AUX and LEVEL controls. Put the EQ controls on center position. Keep MAIN MIX LEVEL control on mid position. Turn on your GHIBLI 16(FX). Sing or speak in to the microphone with normal volume and adjust the GAIN control
so that the Master LED Meter stays around "0" and never exceed 10. Ifyoulike,youcanaddsomeequalizationatthisstage. Connect speakers and amplifiers and turn them ON. Turn up Channel 1 fader to "0" and the LEFT/RIGHT main fader to one quarter Connect your stereo keyboard into channel 5/6 and turn on the channel Level on
mid position.
Here you are. It is your first mix with your GHIBLI 16.
SPOTLIGHT
4. CONTROL ELEMENTS
For your better understanding of the complete operational possibilities of your GHIBLI 16(FX), we have divided this part of the Manual in five different sections:
a. Including all Input and Output sockets
PATCHBAY:
b. Describing the functions of the Microphone input strip
MIC INPUT:
c. Describing the 10 input channels strip
STEREO INPUT:
d.
MASTER SECTION
e.
DSP SECTION
4
MIC 1MIC 1 MIC 2MIC 2 MIC 3MIC
12
3123
MC N BAL) MC N(BAL) MIC IN (BAL)
LNE IN UNBAL) INE N UNBAL)
OWCUT
H RD
1 0Hz
O F
B PASS COMP DE S
GAIN GAIN
02050
MC
+30
INE
0 B
HGH
1 K z
0 B
KHz
6 0
5K
0 B510 B
151
0 B
AUX1
0
0 B
AUX2
D
post
F X
8
0
ce t r cet
PAN PAN
Righteft
CH
MUTE MUTE
ON
0 B
LEVEL LEVEL
8
+10
1
INSERTNSERT
FF
SO T
B PASS COMP DEES YPASS
CLP CL P
02050
MC
0dB 0dB
+30
INE
MID MD
1KHz
MD
feq
Hz
6 0
LOW
0Hz
dB
p e
8
0 B
D F X
8
ON
dB
8
2
3
2
1312
PAT CH BAY
OWCUT
LOWCUT
H RD
H RD
1 0Hz
00 z
OFF
S FT
S FT
COMPDE ES BYPASSCOMP DE ES
GAN GA N
CLP CL P
0
MIC
MIC
0dB 0dB
200+ 00200+ 0
LNE
LI E
HGH
HGH
1 K z
1 K z
+ 515dB15+ 515
+ 5dB1515
dB 0dB
MD MD
+ 515dB+1515
CMIC INPUT
6 0
5K
5K K
dB
LOW
LOW
0Hz
80Hz
1
dB0dB
AUX1
AUX1
pre
pre
8
0
dB10dB
AUX2
AUX2
D
D
post
post
F
F
X
X
8
+ 0
PAN PAN
RghtLeft Le t
CHONCH
CH
MUTE MUTE
ON
dB 0dB
LEVEL LEVEL
8
+ 0 + 0
+10
3
MIC 4MIC 4
MICIN (BAL)
OFF
00
3
IN ER
TINSRT
dB
8
10
8
10
c ntc n e
RghtLeftRight
8
4
CH5L FTIN (MONO
CH 2 1 IN RGHT) CH16 5 IN RIG T)
LOWCUT
ARD
0 Hz
OFT
HGH
5K z
z
OPERATNG
LOW
80Hz
51dB5
AUX1
pre
LEFT
AUX2
RIGHT
post
CH7 EFTIN MONO
15
14
13
12
11
BASSENHANCERBASSENHANCER
0dB
B PASS ON
8
+ 0
PHONES
20 10010
MASTER
MAIN MIX LEVELMAIN MIX LEVEL
RIGHT N
( EFT)
1
16
2
8
10
9
PRESETS
FXLEVEL
CENTER&
SURROUNDOUT
AUX1OUT
AUX2OUT
PHONES
DSP
1 2
3
3 4
4
5
5
8 9
6
2
7
3 6
108+ 0
REVERBLEVEL
STEREO INPUT
0dB
cene ene
L ft
8
0dB
8
8
9-12 13-16
8
0dB
5-6
0dB
VBRAFLANGE
ROCKABLLY BGSTAGE
VBRATO
CHORUS
UNKY
LANGER
AUX1
pre
10
PAN
Rght
EVEL
+ 0
AUX1
pre
10
EVEL
+ 0
GHIBLI 16
16 HANN L IX NG CO SOLE
BALA CED + dBu
BALA CED + dBu
Let
LTO
LEFT
OUT
RGHT
OUT
PEAK
0dB
AUX1
p e
8
10
PAN
Rig t
0dB
EVEL
8
+10
7-8
0dB
AUX1
p e
8
10
0dB
EVEL
8
+10
Page 7
SPOTLIGHT
THE PATCHBAY
4. CONTROL ELEMENTS
3
8
MIC 1 MIC 2 MIC
12
3
1
M C IN (BAL) M C IN (BAL) M C IN (BAL) MIC IN (BAL)
L NE IN (UNBAL) LINE IN (UNBAL) LINE IN (UNBAL) LINEIN (UNBAL)
3
2
3 MIC
12
3
4
CENTER &
CH8 R GHT IN
CENTER &
SURROUND OUT
SURROUND OUT
AUX1 OUT
AUX2 OUT
PHONES
PHONES
7
CH5 LEFT IN (MONO)
12
12
3
INSERTINSERTINSERTINSERT
CH7 LEFT N (MONO)
CH6 R GHT IN
CH9 10 IN (LEFT) CH13 14 IN (LEFT)
CH12 11 IN (RIGHT) CH16 15 IN (RIGHT)
CH12 11 IN (RIGHT) CH16 15 IN (RIGHT)
4
LTO
GHIBLI 16
16-CHANNEL MIXING CONSOLE
WTH D G TALEFFECTS
BALANCED+4dBu
BALANCED+4dBu
5
FX
LEFT
R GHT
OUT
OUT
1 MIC INPUT(1 to 4)
Your GHIBLI 16(FX) is equipped with 4 low-noise microphone preamplifiers with phantompoweralwayson,50dBofGainandover100dBofS/Nratio.Youcan connect almost any type of microphone. Dynamic microphones do not need phantom power. Phantom power will not damage your dynamic microphones but it may damage tube or ribbon microphones, so make sure to read the microphone instructions manual before connecting such types of microphone to your GHIBLI 16(FX). These four channels are also equipped with 1/4" TRS balanced or unbalanced LINE-IN plugs to connect line-level instruments such as keyboards, drum machines and effect devices.
Phantom power is applied only to the XLR MIC socket but not to theNOTE:
LINE IN 1/4" socket. Phantom Power may damage line-level instruments such as keyboards, so never connect such instruments to the XLR socket. Always use the 1/4" socket.
6
2 INSERT
This is where you connect external sound processors such as compressor-limiter, equalizers, etc. The insert point is available on the first 4 MIC channels only. For the other channels, you can always insert the processor in between the sound source (such as keyboard or drum machine) and the GHIBLI input. The Insert sockets can also be used as direct-outs to feed the input of a 4-track tape recorder.
3 STEREO LINE INPUTS (5 to 8)
These are channels 5/6 and 7/8. They are organised in stereo pair and provided with 1/4" TRS phone sockets. If you connect only the left jack, the input will operate in mono mode, that is, the mono signal will appear on both input channels. You can use these inputs with a stereo keyboard, drum machine, etc.
5
Page 8
SPOTLIGHT
4. CONTROL ELEMENTS
4 STEREO LINE INPUTS (9 to 16)
These are channels (9/10-11/12) and (13/14-15/16). They are organised in double stereo pair and provided with 1/4" TRS phone sockets. You can connect either mono or stereo line-level instruments or use them as stereo return for external multi-effects.
5AUXOUT1&2
These 1/4" phone sockets are used to send out the signal from the AUX bus of the input channels into external devices such as effect units and/or stage monitors. YoucanuseAUXOUT2tofeedpoweredstagemonitors.UseAUXOUT2onlyfor internal/external effect since this AUX bus 2 is only post-fader.
6 MAIN MIX OUTPUTS
These low-impedance outputs are fully balanced and can drive +4 dBu lines with very high headroom. You can connect the inputs of a stereo power amplifier of a pair of powered speakers.
7 PHONES
This socket will be used to send the signal to a headphone or to a pair of powered studio monitors.
8 CENTER & SURROUND OUT
Both the CENTER and SURROUND channels are available on this socket. You must useastereoYtypecable.(ThesamecableyouusefortheINSERTsockets).The CENTER signal will appear on the TIP of the jack. The SURROUND channels will appear on the RING.
6
Page 9
SPOTLIGHT
4. CONTROL ELEMENTS
9 LOW-CUT filter
Also regarded as high-pass filter. This filter will cut low frequenciesbelow100Hzwithaslopeof18dBxoctave. You should always activate this filter when using microphones. In this way, you reduce the possibility of feedback and resonance due to stage vibrations. Do not use the filter with bass drums and bass guitar, if you want to preserve the full body of these instruments. There is a creative way to use the low-cut filter with the channel LOW equalization control. You can boost a male vocal track with the channel LOW level control at 80 Hz and immediately after apply the low-cut filter. In this way, you add the wanted colourations to the voice avoiding stage rumble and breath pops.
10 COMPRESSOR/DE-ESSER
Your GHIBLI 16(FX) also includes a flexible and easy to use tube-like compressor and de-esser. It is really a powerful dynamic processor using optical compression just like the best Tube Compressors. Two internal automatic settings are provided, one for smooth compression with a threshold level of 0 dB, and one for hard limiting with a threshold level of around +10 dB. The soft and hard knee curve is automatic and it is shown by the two yellow LEDs, HARD and SOFT. This dynamic processor can also avoid the channel clipping, maintaining the best signal-to-noise ratio. To set the right amount of compression turn up the GAIN control. Higher the gain, higher is the compression ratio. With the switch in BYPASS position the compressor will be sleeping, In COMP position the Compressor is alive while you can activate the de-esser filter with the switch in such position. The de-esser filter is very useful to get rid of vocals sibilances and tape hiss.
LOW CUT
100Hz
OFF
BYPASS COMP DE ES
02050
MIC
+30
LINE
0dB
+1515
0dB
+1515
1KHz
600
5K
0dB
+1515
0dB
8
+10
0dB
D F X
8
+10
center
RightLeft
CH ON
MUTE
0dB
LEVEL
8
+10
1
HARD
SOFT
GAIN
CLIP
0dB
HIGH
15KHz
MID
MID
freq
Hz
LOW
80Hz
AUX1
pre
AUX2
post
PAN
9
10
11
12
13
14
15
16
17
18
11 GAIN
This control is provided with 2 different indications: one is for the MIC and the other for the LINE input. When you use a Microphone you shall read the MIC ring (0~50dB); when you use a line level instrument you shall read the LINE ring (-20~+30dB). For optimum operation you shall set this control in a way that the CLIP LED will light up only occasionally in order to avoid distortion on the input channel.
7
Page 10
SPOTLIGHT
4. CONTROL ELEMENTS
EQUALIZATION
You have three EQ control for each mono and stereo input channel each providing +/-15 dB of boost and cut. The signal will be unaffected when the controls on center position. You may use an external equalizer to make up a mix properly, but a master equalizer will not have effect on a single channel and you may overload the signal easily. Individual EQ will give you a much better control on single tracks.
12 -HI
If you turn this control up, you will boost all the frequencies above 12 kHz (shelving
filter). You will add transparency to vocals and guitar and also make cymbals crispier.
Turn the control down to cut all frequencies above 12 kHz. In such way, you can
reduce sibilances of human voice or reduce the hiss of a Tape player.
13 -MID
This is a peaking filter and it will boost/cut frequencies from 600 to 5000 Hz
depending on the position of the MID freq control. This control will affect especially
upper male and lower female vocal ranges and also the harmonics of most musical
instruments.
14 --LOW
If you turn this control up, you will boost all frequencies below 80 Hz. You will give
more punch to bass drums and bass guitar; and you will make the male vocalist
more"macho".Turnitdownandyouwillcutallthefrequenciesbelow80Hz.Inthis
way, you can avoid low-frequency vibrations and resonance thus preserving the life
of your woofers.
15 AUX sends
These two controls are used to adjust the level of signal sent to AUX 1&2 outputs
(if nothing is connected to AUX2 OUT socket, the signal will be sent to the resident
digital multi-effect ), and such adjustment doesn't affect the main mix output signal
at all. AUX1 is configured pre-fader. It means that the signal is sent to the AUX1
OUT socket before the channel LEVEL control. This Bus is used to feed stage
monitors.
16 PAN
This is the PANORAMA control, or balance control. You can adjust the stereo image
of the signal via this control. Keep this control in center position and your signal will
be positioned in the middle of stage. Turn this control fully counter-clockwise and the
signal will be present only on the left speaker and vice-versa. Of course a large
number of intermediate positions are available.
8
Page 11
SPOTLIGHT
4. CONTROL ELEMENTS
17 MUTE
If you move this switch to the right, you will mute all functions of the channel.
18 LEVEL
It is channel's LEVEL control and it determines the amount of the input signal sent to the main mix (LEFT and RIGHT output) and to the SURROUND and CENTER outputs.
STEREO INPUT CHANNEL STRIP
19 AUX 1
This control will send the input signal to the AUX1 OUT socket. The signal is sent out before the channel LEVEL control and will not be affected by the channel LEVEL control position. This Bus is used to feed stage monitors.
20 PAN
This is the PANORAMA control, or balance control. You can
0dB
0dB
adjust the stereo image of the signal via this control. Keep this control in center position and your signal will be positioned in the middle of stage. Turn this control fully counter-clockwise
8
8
center
center
+10
+10
and the signal will be present only on the left speaker and vice-versa. Of course a large number of intermediate positions are available.
21 LEVEL
It is channel's LEVEL control and it determines the amount of the input signal sent to the MAIN MIX (LEFT and RIGHT
Right
Right
Left
Left
0dB
0dB
LEVEL
LEVEL
8
8
-
-
+10
+10
7-8
7-8
0dB
0dB
Output) and to the SURROUND and CENTER outputs.
You can input a stereo signal on channel 5-6 andNOTE:
7-8. You can adjust the input level the stereo image and
8
8
+10
+10
0dB
0dB
LEVEL
LEVEL
feed stage monitors via the AUX control. In the channels marked 9-12 and 13-16, you can connect a double stereo channel to each single input. In this case, you will have a stereo channel on the LEFT input and another stereo
-
-
8
8
13-16
13-16
+10
+10
channel on the RIGHT input. You will find out that if you do not need a large number of line-level sources, you can use the stereo channels as RETURNS for external multi-effects. Via the AUX1 control, you can also send the processed signal to the stage monitors.
AUX1
AUX1
pre
pre
PAN
PAN
AUX1
AUX1
pre
pre
19
20
21
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SPOTLIGHT
4. CONTROL ELEMENTS
MASTER SECTION
22 INSERT
These large rotary knob controls the level of the signal sent to MAIN OUTPUTS and CENTER/SURROUND outputs. All un-muted channel's signals will be sent to this control.
23 PHONES control
This control adjusts the signal level sent to the PHONES output socket. You can use it to feed a pair of headphones or powered studio monitors.
24 OUTPUT LEVEL METERs
This consists of two column of 4 LEDs each ranging from 20 dB to +10 dB. The 0 (yellow) LED corresponds to a level output of 0 dBu. The 10 ( red ) LEDs come to life when the output reaches +10dBu. Set the MAIN MIX level control so that the 10 LEDs only flash occasionally. In general, you get a good mix level when the Meter LEDs operate in the range -10 to 0. If you exceed 0, you will get distortion. If even 20 LEDs are sleeping, your signal-to-noise ratio will suffer.
OPERATING
0dB
8
-
PHONES
LEFT
RIGHT
BASS ENHANCER
BYPASS ON
+10
-20 100-10
MAIN MIX LEVELMAIN MIX LEVEL
25
26
23
24
22
25 OPERATING LED
This LED indicates when your GHIBLI 16(FX) is switched-on.
26 BASS-ENHANCER
The Main Output Stage of your GHIBLI 16(FX) features a very useful BASS ENHANCER processor that also provides to recover the very low end of the audio band, if you are using a small PA system without big woofer.
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SPOTLIGHT
4. CONTROL ELEMENTS
DSP SECTION
Your GHIBLI 16FX includes a quite unique and innovative digital multi-effects with 24-bit resolution and high dynamic range. Unlike other multi-effects where all the presets are available in a sequence and via a single control, GHIBLI 16FX multi-effect unit is organized with a 16 presets control and relative Level control for vibrato and modulation controls such as chorus and flanger. You can add reverb at any time with a separate Level control or you can just use the reverb keeping the FX level control turned down.
27
27 PRESETS
Adjust this control to select thel desired effect. There are a total of 16 Factory presets available including pitch-variations, vibratos, Flanger, Chorus, etc.
28 FX LEVEL
This control is used to adjust the output
14
13
12
16
15
11
FX LEVEL
1
10
9
PRESETS
8
2
3
4
5
6
7
8
+10
VIBRAFLANGE
1
FUNKY
2 3
ROCKABILLY BIGSTAGE
4 5
VIBRATO
8 9
FLANGER
12 13
CHORUS
16
8
REVERB LEVEL
PEAK
+10
level of FX signal, which can be varied from 0dBto10dB.
29 REVERB LEVEL
28
29
30
This control is used to adjust the output level of the REVERB signal, which can be varied from 0 dB to 10 dB. The digital reverb is independent from the other 16 Factory Presets, so you can add reverb in any amount over chorus, flanger, etc or just use reverb turning down the FX LEVEL control.
30 PEAK LED
This LED lights up when the input signal is too strong.
REAR PANEL
31 POWER SUPPLY
Used to connect the supplied 24VAC adapter.
32 POWER ON/OFF switch
This switch is used to turn the main power ON and OFF.
POWER
POWER
SUPPLY
ON
32
31
MODEL
SERIAL
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5. INSTALLATION AND CONNECTION
OK, you have got to this point and you are now in the position to successfully operate your GHIBLI 16(FX): However, we advise you to read carefully the following section to get the best out of your GHIBLI 16(FX). Not paying enough attention to the input signal level, to the routing of the signal and the assignment of the signal will result in unwanted distortion, a corrupted signal or no sound at all. So you should follow these procedures before operation:
1. Before connecting microphones or instruments, make sure that the power of all
your systems components including the GHIBLI 16(FX) is turned off. Also, make sure that all input and output controls are turned down. This will avoid damage to your speakers and excessive noise.
2. Properly connect all external equipment such as microphone, power amplifier,
speakers etc.
3. Now, turn on the power of any peripheral devices, then connect the 18 VAC power
supply to your GHIBLI 16(FX) and to the AC socket.
NOTE: The power amplifier or powered monitors shall be turned ON after the
GHIBLI 16(FX) and OFF before the GHIBLI 16(FX) is turned OFF.
4. Set the output level of your GHIBLI 16(FX) or the connected power amplifier at no
more than 75%.
5.SetthePHONESlevelatnomorethan50%.
6.SetHI,MIDandLOWEQcontrolsoncenterposition.
7.Setpanoramic(PAN/BAL)controloncenterposition.
8. While speaking into the microphone (or playing the instrument) at normal volume,
adjust the channel gain control until the 0dB LED lights up; in this way, you will maintain good headroom and proper dynamic range.
9. You can shape the tone of each channel by adjusting the equalizer controls as
desired.
10.Now repeat the same sequence for all input channels. The Main LED Meter could
move up into the red section. In this case, you can adjust the overall output level through the MAIN MIX control..
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Page 15
6. PRESET LIST (For Model)GHIBLI 16FX
NO. Preset Description
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
VibraFlange
Rockabilly
Big stage
Vibrato 4
Vibrato 3
Vibrato 2
Vibrato 1
Flanger 4
Flanger 3
Flanger 2
Flanger 1
CHORUS 4
CHORUS 3
CHORUS 2
CHORUS 1
Slight pitch variation with Flanger effect
Large pitch variation with heavy Flanger effectFunky
Simulate a stage space with slight Flanger effect
Simulate a stage space of the sound.
Slight variation of pitch resulting from the free oscillation of the vocal cords.
Slight variation of pitch resulting from the free oscillation of the vocal cords.
Slight variation of pitch resulting from the free oscillation of the vocal cords.
Slight variation of pitch resulting from the free oscillation of the vocal cords.
Simulate to play with another person carrying out same the notes on the same instrument
Simulate to play with another person carrying out same the notes on the same instrument
Simulate to play with another person carrying out same the notes on the same instrument
Simulate to play with another person carrying out same the notes on the same instrument
Recreate the illusion of more than one instrument from a single instrument sound
Recreate the illusion of more than one instrument from a single instrument sound
Recreate the illusion of more than one instrument from a single instrument sound
Recreate the illusion of more than one instrument from a single instrument sound
Parameter
Mod Level: 90%
Mod Level: 68%
Rate:0.1Hz
Decay time:5.4s
Rate: 4.8Hz
Rate: 3.8Hz
Rate: 3.0Hz
Rate: 2.0Hz
Rate: 4.9Hz
Rate: 3.21Hz
Rate: 0.9Hz
Rate: 0.56Hz
Rate: 3.6Hz
Rate: 1.79Hz
Rate: 0.32Hz
Rate: 0.39Hz
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Page 16
7. BLOCK DIAGRAM
A
CH11/CH15 (RIGHT)
1 2 3 4 5 6 78
CH12/CH16 ( LEFT)
CH10/CH14 (RIGHT)
CH9/CH13 (LEFT)
X2
X1
+18V
PHANTOM
POWER
D
MONO INPUT CHANNELS(1-4)
B
CH6/CH8(RIGHT)
CH5 CH7(MONO)
C
LINEGAIN: +30dB~-20dB
MIC GAIN: 0~50dB
LINE N
MC N
213
3c5e1a4d2b
3c5e1a4d2b
RBUS
AUX1PRE
LBUS
3c5e1a4d2b
RBUS
3c5e1a4d2b
LOW CUT SW
LOW CUTSW
LOWCUT 100HZ
LEVEL
PAN
LBUS
AUX1PRE
NSERT
SOFTDE-ES
3c5e1a4d2b
RSRN
TN
T
+/-15db
MUTE
AUX1
PRE
AUX2
POST
MASTER LEVEL
BASS ENAHANCER
LOWCUT 100HZ
GAIN
BYPASS
COMP
LO (FREQ) HI
80 600Hz 5KHz 15K-
MID
3-BAND EQ
LEVEL
PAN
LEFTBUS
RIGHT BUS
AUX 1
MASTER LEVEL
AUX 2
BASS ENAHANCER
14
PHONES LEVEL
PHONES LEVEL
D7
D9
GR
RED
-10dB
10dB
D6
D8
YEL
-20dB
0dB
GR
AUX2(POST)
A
AUX1(P E)R
B
HEADPHONE OUTPUT
CENTER&SURROUNDOUT
MAIN OUTPUTRIGHT
213
C
MAIN LEFT OUTPUT
213
D7
D9
GR
RED
-10dB
10dB
D6
D8
YEL
-20dB
0dB
GR
D
7654321
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Page 17
8. TECHNICAL SPECIFICATION
Mono input channels
Microphone input Bandwidth Distortion (THD & N)
Gain range
SNR (Signal to Noise Ratio)
Line input Bandwidth
Distortion (THD & N) Line level range
Stereo input channels
Max input level Line input Bandwidth Distortion (THD & N)
Electronically balanced 15 Hz to 20 kHz, +/3 dB
0.007% at +4 dBu, 1 kHz, Bandwidth 20 kHz 0 dB to 50 dB (MIC)
unbalanced 15 Hz to 60 kHz, +/3 dB
0.007% at +4 dBu, 1 kHz, Bandwidth 60 kHz 20 dBu to +30 dBu
+10 dBu unbalanced 10 Hz to 55 kHz, +/3 dB
0.007% at +4 dBu, 1 kHz, Bandwidth 80 kHz
Equalization
Hi shelving Mid bell Low shelving
Main Mix Section
Max output AUX Sends max out
Phones Out Center, Surround output
Signal to Noise Ratio
Power Supply (AC/AC Adapter)
Main voltage
Physical
Dimension (W D H) Net weight Shipping weight 2.45 Kg
+/ 15 dB @12 kHz +/ 15 dB @600~5 kHz +/ 15 dB @80 Hz
+26 dBu balanced +22 dBu unbalanced
+22 dBu unbalanced +22 dBu unbalanced 112 dB, all channels at Unity Gain
USA/Canada ~115 VAC, 60 Hz; Europe ~230 VAC, 50 Hz; U.K./Australia ~240 VAC, 50 Hz Japan ~100 VAC, 60 Hz
270 198 43 mm
1.73 Kg
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Page 18
9. WARRANTY
1. WARRANTY REGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the enclosed Warranty Registration Card within 10 days of the Purchase Date. All the information presented in this Warranty Registration Card gives the manufacturer a better understanding of the sales status, so as to provide a more effective and efficient after-sales warranty service. Please fill out all the information carefully and genuinely, miswriting or absence of this card will void your warranty service.
2. RETURN NOTICE
2.1 In case of return for any warranty service, please make sure that the product is well packed in its original shipping carton, and it can protect your unit from any other extra damage.
2.2 Please provide a copy of your sales receipt or other proof of purchase with the returned machine, and give detail information about your return address and contact telephone number.
2.3 A brief description of the defect will be appreciated.
2.4 Please prepay all the costs involved in the return shipping, handling and insurance.
3. TERMS AND CONDITIONS
3.1 warrants that this product will be free from any defects in materials
LT O and/or workmanship for a period of 1 year from the purchase date if you have completed the Warranty Registration Card in time.
3.2 The warranty service is only available to the original consumer, who purchased this product directly from the retail dealer, and it can not be transferred.
3.3 During the warranty service, may repair or replace this product at its own option at no charge to you for parts or for labor in accordance with the right side of this limited warranty.
3.4 This warranty does not apply to the damages to this product that occurred as the following conditions:
Instead of operating in accordance with the user's manual thoroughly, any abuse or misuse of this product. Normal tear and wear. The product has been altered or modified in any way.
Damage which may have been caused either directly or indirectly by another
product / force / etc. Abnormal service or repairing by anyone other than the qualified personnel or technician.
And in such cases, all the expenses will be charged to the buyer.
3.5 In no event shall be liable for any incidental or consequential damages. Some states do not allow the exclusion or limitation of incidental or consequential damages, so the above exclusion or limitation may not apply to you.
3.6 This warranty gives you the specific rights, and these rights are compatible with the state laws, you may also have other statutory rights that may vary from state to state.
LT O
LT O
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Page 19
NO. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan
SEIKAKU TECHNICAL GROUP LIMITED
http://www.altoproaudio.com Tel: 886-4-22313737
email: alto@altoproaudio.com Fax: 886-4-22346757
All rights reserved to ALTO. All features and content might be changed
without prior notice. Any photocopy, translation, or reproduction of part of this
manual without written permission is forbidden. Copyright 2007 Seikaku Group
c
NF01889-1.3
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