Alto Lynx-Mix62-FX, Lynx-Mix62 Users Manual

Page 1
LYNX-MIX62/ LYNX-MIX62FX
6-CHANNEL MIXING CONSOLE WITH DIGITAL EFFECTS
User's Manual
MIC MIC
1 2 3/4 5/6
12
3
LINE LINE
BAL/UNBAL BAL/UNBAL
INE LINE
GAIN GAIN
dB dB
00
50 0
-35 -35
+15 +15
AUX
SEND
1
MO
8
2
FX
8
8
LINE LINE
12
3
L(MONO) L(MONO)
R
GAIN GAIN
dB dB
-20 -20
+20 +20
EQEQ EQ EQ
HIHI HI HI
12kHz12kHz 12kHz 12kHz
+15+15 +15 +15
-15-15 -15 -15
M DMID M D M D
25kHz2 5kHz 2 5kHz 25kHz
+15+15 +15 +15
-15-15 -15 -15
LOWLOW LOW LOW
80Hz80Hz 80Hz 80Hz
+15+15 +15 +15
-15-15 -15 -15
AUX
AUX
SEND
SEND
1
1
MON
-- - -
8
-- - -
8
LEFTLEFT LEFT LEFT
213/45/6
-- - -
8
MON1MON
+10+10 +10 +10
8
2
2
FX
FX
+10+10 +10 +10
8
PANPAN BAL BAL
PEAKPEAK PEAK PEAK
RIGHTRIGHT RIGHT RIGHT
LEVELLEVEL LEVEL LEVEL
+10+10 +10 +10
8
MIC MIC
1 2 3/4 5/6
PHONES
IX
X-
AUXRE URNS
R
CTRLROOM
CD/TAPE
AUXSENDS
N
L
L
1
MON
R
2
R
F
MAINMIX(BAL/UNBA )
LRLR
AUX RETURNS
TO MAIN M X
­+10
8
TO AUX1 MON
­+10
8
AUX
SEND
8
2
FX
8
8
CD/TAPE IN
-
8
-
8
CTRL ROOM
/PHONES
MAIN CD/TAPE
OFF MAIN
CD/TAPE
TOMAIN MIX
+10
+10
MAIN MIX
62
OUT
POWER
PHANTON
48V
OFF ON
CLIP
6
0
-6
12
18
24
30
LR
OUTPUTLEVEL
-
8
PHONES
IX X
X-
62
L
R
3
4
5
6
7
AUXSENDS
AUX RETURNS
CD/TAPE IN
CTRL ROOM
1
MON
2
F
-
8
-
8
-
8
-
8
/PHONES
MAIN CD/TAPE
CD/TAPE
TOMA NM X
L
R
MAINMIX(BAL/UNBAL)
MAIN MIX
+10
AUX1 MON
+10
+10
+10
MAIN MIX
OFF MAIN
CD/TAPE
IN
OUT
L
R
LRLR
TO
POWER
PHANTON
48V
TO
OFF ON
6
0
-6
-12
-18
-24
-30
LR
OUTPUTLEVEL
­+10
8
UXRETURNS
L
CTRLROOM
R
1
16
2
15
4
2
11
8
10
9
PRESETS
PEAK
FXMUTE
1 WARM HALL 2 BRIGHT HALL 3 WARM ROOM 4 BRIGHT ROOM 5 VOCAL 1 6 VOCAL 2 7 VOCAL 3 8 PLATE
9 STEREO DELAY 1 10 STEREO DELAY 2 11 REV+DELAY 1 12 REV+DELAY 2 13 REV+DELAY 3 14 REV+DELAY 4 15 REV+CHORUS 1 16 REV+CHORUS 2
+10
www.altoproaudio.com
Version 1.0 Mar. 2009
English
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.
periods of time or during a storm.
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
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.
EXAMPLE
SPL
Small gig
90
train
92
Subway train
95
High level desktop monitors
97
Classic music concert
100 102 105 110 115
Rock concert
Page 3
IN THIS MANUAL:
1. INTRODUCTION........................................................................1
2. FEATURES...............................................................................1
3. QUICK START...........................................................................2
4. CONTROL ELEMENTS...............................................................4
5. INSTALLATION & CONNECTION................................................11
6. APPENDIX.............................................................................12
7. PRESET LIST.........................................................................13
8. BLOCK DIAGRAM...................................................................14
9. TECHNICAL
SPECIFICATIONS....................................................15
10. WARRANTY.........................................................................16
1. INTRODUCTION
Thank you for purchasing the LTO LYNX-MIX62(FX) 6-channel mixing console with 24-bit digital multi-effect. 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 LYNX-MIX62(FX) is a remarkable compact mixing desk that does not find many equals in the market today. With 2 microphone and 2 stereo Line-level inputs for small live performances, small studio recording and general PA applications, your LYNX-MIX62(FX) also includes a 24-Bit digital multi­effect with 16 Factory Presets . There is a three bands EQ on all input channels and separate Main Mix and Control Room outputs for operation with different volume settings. Use it for small GIGs and RECORDING. Your LYNX-MIX62(FX) also is a flexible tool for your Multi-media presentations.
Enjoy your LYNX-MIX62(FX) and make sure to read this Manual carefully before operation!
2. FEATURES
2 MIC input channels with gold plated XLR and balanced LINE input 2 stereo input channels with balanced TRS jacks Ultra-low noise discrete MIC pre-amps with +48V Phantom power Extremely high headroom offering e xtra dynamic range Balanced inputs for optimal signal integrity W arm, natural 3-band EQ on each channel Built-in 24 bits digital effects processor(F or LYNX-MIX62FX Model) P eak LED on each channel 2 AUX sends pre channel for e xternal effects and monitoring Main output, Control room and headphone outputs 2- Track inputs assignable to main mix, control room/headphone outputs Highly accurate 8-segment bar graph meters
1
Page 4
3. QUICK START
This is the fastest way to get something out from your LYNX-MIX62(FX), if you have a keyboard and a microphone.
a. With the Main switch in OFF position, connect the supplied AC Adapter to your
first and then into the AC outlet, making sure that theLYNX-MIX62(FX)
available voltage is the same with your .LYNX-MIX62(FX)
b. Before turning on the , you shall connect it to a power amplifier
and speakers. Turning off the mixer BEFORE the power amplifier.
c. Plug the microphone into Channel 1 MIC IN.
d. Turn down AUX and LEVEL controls on the input channel.
e. Put the EQ controls on center position.
f. Turn on your .LYNX-MIX62(FX)
g. With LEVEL control on "0" position, sing or speak in to the microphone with
normal volume and adjust the GAIN control so that the PEAK LED only blink occasionally.
h. If you like, you can adjust the equalization at this stage.
i. Turn up MAIN MIX LEVEL until you get a comfortable volume.
j. Connect your stereo keyboard into CH 3/4 and repeat the same sequence.
Here you are. It is your first mix with your .LYNX-MIX62(FX)
Once you have finished your working session you shall turn the mixer off AFTER the power amplifier. Before disconnecting the AC Adapter always turn-off your LYNX-MIX62(FX) LYNX-MIX62(FX) clean cloth will be OK.
.Do not use solvents to clean your . A dry and
LYNX-MIX62(FX)
2
Page 5
3. QUICK START
SMALL GIG
MIC 1
MIC 2
MIC MIC
1 2 3/4 5/6
12
3
LINE LINE
BAL/UNBAL BAL/UNBAL
LINE LINE
GAIN GAIN
dB dB
50 50
00
35 35
+15 +15
DIGITAL EFFECT UNIT
12
3
+20 +20
LINE LINE
dB dB
KEYBOARD
BAR,PUB,RESTAUARNT
WIRELESS MIC
STEREO AUDIO FROM TV
TV SCREEN
L(MONO) L(MON )
R
GAIN GAIN
20 20
DRUM MACHINE
STAGE MONITOR
PHONES
R
CTRL ROOM
AUX SENDS
X-
1
MON
2
FX
AUX RETURNS
R
POWERED STAGE MONITORS
HEADPHONE
IX X
62
CD/TAPE
IN
OUT
L
R
MAIN MIX(BAL/UNBAL)
LRLR
ACTIVE SPEAKERS (ALTO PS4 HA)
CD PLAYER
DAT
DAT OR TAPE RECORDER
MIC MIC
1 2 3/4 5/6
3
D/I BOX
12
LINE LINE
dB dB
+20 20
12
3
LINE LINE
BAL/UNBAL BAL/UNBAL
LINE LINE
GAIN GAIN
dB dB
50 50
00
35 35
+15 15
GUITAR
DRUM MACHINE
L(MONO) L(MONO)
R
GAIN GAIN
20 20
PHO ES
AUX RETURNS
AUX SENDS
L
R
R
CTRL ROOM
ZONE 2 ACTIVE SPEAKERS
X-
1
MON
2
FX
IX X
CD/TAPE
IN
MAIN MIX(BAL/UNBAL)
LRLR
62
OUT
L
R
MAIN ACTIVE SPEAKERS
CD PLAYER
2 TRACK RECORDER
3
Page 6
SPOTLIGHT
4. CONTROL ELEMENTS
MIC MIC
1 2 3/4 5/6
JT JT
12
3
LINE LINE
BAL/UNBAL BAL/UNBAL
LINE LINE
GAIN GAIN
dB dB
00
50 50
35 35
+15 +15
AUX
SEND
1
MON
8
2
FX
8
JT
T
3
1515 15 15
+15+15 +15 +15
1515 15 15
+15+15 +15 +15
1515 15 15
+15+15 +15 +15
-- - -
+10+10 +10 +10
8
-- - -
+10+10 +10 +10
8
LINE LINE
12
L(MONO) L(MONO)
R
GAIN GAIN
dB dB
20 20
+20 +20
EQEQ EQ EQ
HIHI HI HI
12kHz12kHz 12kHz 12kHz
MIDMID MID MID
2.5kHz2.5kHz 2.5kHz 2.5kHz
LOWLOW LOW LOW 80Hz80Hz 80Hz 80Hz
AUX
SEND
1
MON
2
FX
AUX
SEND
1
MON
8
2
FX
8
PANPAN BAL BAL
PEAKPEAK PEAK PEAK
RIGHTRIGHT RIGHT RIGHT
LEFTLEFT LEFT LEFT
213/45/6
LEVELLEVEL LEVEL LEVEL
PHONES
IX X
AUX RETURNS
R
15
14
13
12
11
1. WARM HALL
2. BRIGHT HALL
3. WARM ROOM
4. BRIGHT ROOM
5. VOCAL 1
AUX
6. VOCAL 2
7. VOCAL 3
SEND
8. PLATE
9. STEREO DELAY 1
1
10. STEREO DELAY 2
MON
2
FX
11. REV+DELAY 1
12. REV+DELAY 2
13. REV+DELAY 3
14. REV+DELAY 4
15. REV+CHORUS 1
16. REV+CHORUS 2
8
8
1
16
10
9
PRESETS
PEAK
FX MUTE
L
R
CTRL ROOM
2
3
4
5
6
7
8
AUX SENDS
1
MON
2
FX
AUX RETURNS
-
8
-
8
CD/TAPE IN
-
8
-
8
CTRL ROOM
/PHONES
MAIN CD/TAPE
OFF MAIN
L
R
X-
62
CD/TAPE
IN
OUT
MAIN MIX(BAL/UNBAL)
LRLR
TO
MAIN
POWER
MIX
+10
+10
+10
+10
TO
AUX1
MON
OUTPUT LEVEL
MAIN MIX
PHANTON
OFF ON
LR
L
R
48V
CLIP
6
0
6
12
18
24
30
-- - -
+10+10 +10 +10
8
8
8
8
CD/TAPE
TO MAIN MIX
-
+10
8
4
Page 7
SPOTLIGHT
4. CONTROL ELEMENTS
1
2
5
4
10
MIC MIC
1 2 3/4 5/6
12
3
LINE LINE
BAL/UNBAL BAL/UNBAL
L E E
GAIN GAIN
dB dB
00
50 50
35 35
+15 +15
12
3
LINE LINE
L(MONO) L(MONO)
R
GAIN GAIN
dB dB
20 20
+20 +20
3
PHONES
IX X
X-
62
L
1
MON
R
2
FX
CD/TAPE
IN
OUT
MAIN MIX(BAL/UNBAL)
LRLR
7
L
R
AUX RETURNS
AUX SENDS
L
R
R
CTRL ROOM
6
1 MIC INPUT (1 to 2)
Your is equipped with 2 low-noise microphone preamplifiers
LYNX-MIX62(FX) with optional phantom power, 50 dB of Gain and 115 dB of S/N ratio. You can connect almost any type of microphone. Dynamic microphones do not need phantom power. Use phantom power only with condenser microphones but make sure that the phantom power button is disengaged before connecting the microphone. 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 engaging phantom power. Use switch (24) to activate/deactivatephantom power. These two channels are also equipped with 1/4" TRS balanced/unbalanced LINE-IN plugs to connect line-level instruments such as keyboards, drum machines and effect devices.
NOTE: Never try to connect a line-level signal to the XLR MIC input when the phantom power is engaged or you may seriously damage your equipment.
8
9
2 STEREO LINE INPUTS (3 to 6)
These are channels 3/4, and 5/6. 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.
3 GAIN
This control is provided with 2 different indication rings: one is for 1-2 channels, with a range of 0~50dB when MIC is used and a range of +15~-35dB when LINE is used, the other for 3-6 channels with a range of +20~-20dB. For optimum operation, you shall set this control in a way that the PEAK LED will light up only occasionally in order to avoid distortion on the input channel.
5
Page 8
SPOTLIGHT
4 AUX SENDS
For AUX1(MON) jack, use this to connect the input of an external amplifier or active monitor speaker. For AUX2(FX) jack, use this to output the line level signal of the AUX2 post fader bus. You can use it to feed the inputs of a stereo multi-effects (you will need a Y-type cable ).
5 AUX RETURNS
You can use these stereo 1/4" phone sockets to return the stereo signal of an effect unit to the Main Mix. Alternatively you can use them as an extra auxiliary input and using the AUX RETURN level control as volume control. The signal will be sent directly to MAIN MIX control.
6 CTRL ROOM OUTPUT
These 1/4" phone sockets will be used to send the signal to a pair of powered Studio Monitor speakers or to a second set of PA.
7 MAIN MIX OUTPUTS
This stereo output is controlled by the Main Mix Level on the Master section and will send the audio signal to an amplifier or to a pair of active speakers. The output level can be varied from - to +10 dB.
8 CD/TAPE IN
Use the Tape input to connect a CD Player, Tape, DAT, iPOD or any other line­level source. You can send this signal either to CONTROL ROOM OUTPUT and/ or to the MAIN MIX OUTPUT using the relative CD/TAPE TO select buttons.
9 CD/TAPE OUT
These RCA jacks will route the main mix signal into a tape or DAT recorder.
10 PHONES
This socket will be used to send the signal to a pair of headphones.
4. CONTROL ELEMENTS
CHANNEL STRIP
11 LEVEL
This knob controls the channel's level from - to +10 dB.
12 PEAK LED
This red LED will let you know about the status of the signals processed into
LYNX-MIX62(FX) LYNX-
your .Connect a microphone or an instrument to your MIX62(FX) so that the PEAK LED lights-up only occasionally. If this LED is always on, you are experiencing a lot of distortion and you should turn the GAIN control down or reduce the EQ boosting. If this led never lights up, turn the GAIN control up again.
6
and sing/play at normal volume. Set the level control of that channel
Page 9
SPOTLIGHT
4. CONTROL ELEMENTS
13 PAN/BAL
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 is available.
14 AUX
These two controls are used to adjust the level of the signal sent to AUX buses, and their adjustable range goes from - to +10dB. AUX1 is configured as
EQ
HI
12kHz
15
+15
MID
2.5kHz
15
+15
LOW 80Hz
15
+15
AUX
SEND
1
MON
-
+10
8
15
16
17
14 PRE(MON)-FADER, so, generally, it can be used for monitor application. While AUX2 is configured as POST(FX)-FADER, therefore, most of the times, it will be used for effects and processors input, however, you can also changed it to PRE(MON)-FADER configuration according to the specific application. (For more detail, please see chapter 6.) In this typical compact unit, excluding sending out directly to the external effect or processor equipment, AUX SEND2 will also be sent to the internal onboard effect module.
-
LEFT
1
-
2
FX
+10
8
RIGHT
PAN
PEAK
LEVEL
13
12
11
+10
8
3-BAND EQ
You have three EQ control for each mono and stereo input channel each providing +/-15 dB of boost and cut (MID is +/-12 dB). The signal will be unaffected when the controls are 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.
15 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.
16 MID
This is a peaking filter and it will boost/cuts frequencies with their center at
2.5 kHz. This control will affect especially upper male and lower female vocal ranges and also the harmonics of most musical instruments.
7
Page 10
SPOTLIGHT
4. CONTROL ELEMENTS
17 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". Turn it down and you will cut all the frequencies below 80 Hz. In this way you can avoid low-frequency vibrations and resonance thus preserving the life of your woofers.
MASTER SECTION
18 MAIN MIX LEVEL
This knob controls the level of the signal sent to MAIN OUTPUTS and CD/TAPE OUT. Also AUX RETURNS and CD/TAPE IN signals will be sent to this control.
22
19 PHONES/CONTROL ROOM LEVEL
This knob controls the signal sent to CONTROL ROOM OUTPUT & PHONES
20
OUTPUT.
19
20 CD/TAPE IN
This knob controls the signal sent from
23
CD/TAPE IN.
21 OUTPUT LEVEL METERS
These consist of two column of 8 LEDs
24
each ranging from -30 dB to +18 dB (CLIP). The 0 LED corresponds to a level output of 0 dBu. The CLIP LEDs come to life when the output reaches +18 dBu. Set the MAIN MIX level control so that the CLIP LEDs only flashes occasionally. In general, you get a good mix level when the Meter LEDs operate in the range 0 to +6. If you exceed +6, you will get distortion. If even -30 LEDs are sleeping your signal-to-noise ratio will suffer.
AUX RETURNS
MAIN
MIX
-
+10
8
AUX1 MON
-
+10
8
CD/TAPE IN
-
+10
8
-
+10
8
CTRL ROOM
/PHONES
MAIN CD/TAPE
MAIN MIX
OFF MAIN
CD/TAPE
TO MAIN MIX
TO
TO
POWER
PHANTON
48V
OFF ON
CLIP
6
0
6
12
18
24
30
LR
OUTPUT LEVEL
-
+10
8
27
26
25
21
18
8
Page 11
SPOTLIGHT
4. CONTROL ELEMENTS
22 AUX RETURNS
TO MAIN MIX, This control is used to control the volume of the processed signal sent to Main Mix bus, which can be varied from - to+10 dB. TO AUX1 MON, This control is used to control the volume of the processed signal sent to Monitor Mix, which can be varied from - to +10 dB.
23 MAIN/CD/TAPE
If you push down the CD/TAPE TO CONTROL ROOM button, the CD/TAPE IN signal will be routed into the Control Room output and the level will be adjusted by the Control Room knob nearby the Main MIX LEVEL knob.
24 CD/TAPE TO MAIN MIX
If you push down the CD/TAPE TO MAIN MIX button, the CD/TAPE IN signal will be routed into the MAIN output and will be adjusted by the MAIN MIX LEVEL knob.
25 PHANTOM PWR Switch
This button will apply +48 Volt Phantom Power only to the 2 XLR MIC input sockets. When condenser microphones are not used, please make sure that the Phantom Power is disengaged.
26 PHANTOM LED
This LED indicates when the PHANTOM POWER is engaged.
27 POWER LED
This LED indicates when your is switched on.LYNX-MIX62(FX)
DSP SECTION(For LYNX-MIX62FX Model)
There is a powerful 24-bit/16 preset digital multi-effects included in your MIX62FX
Effects include reverbs, chorus, flanger, delay and combinations of the
above.
28 PRESETS
Adjust this control to select the desired effect. There are a total of 16 Factory presets available
28 including WARM HALL, REV+DELAY, REV+CHORUS, etc.
29
13
12
16
15
11
10
PRESETS
PEAK
FX MUTE
1
9
LY N X -
2
3
7
8
4
5
6
9
Page 12
SPOTLIGHT
29
PEAK LED
4. CONTROL ELEMENTS
This LED lights up when the input signal is too strong.
REAR PANEL
SERIAL
CAUTION:
REPLACE WITH THE SAME TYPE FUSE AND RATING DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
RATED POWER
CONSUMPTION 18W
POWER SWITCH
30
18VAC~
31
POWER
ON
30
MODEL
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
This switch is used to turn the main power ON and OFF.
AC
31
INPUT
This connector is used to connect the supplied AC 18V Adapter.
DESIGNED IN ITALY
10
Page 13
5. INSTALLATION AND CONNECTION
Ok, you have got to this point and you are now in the position to successfully operate your . However, we advise you to read carefully the following section to be the real master of your own mix. Not paying attention enough 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 this procedure for every single channel:
1. Turn down all Input and Output Gain Controls.
2. Connect phantom powered microphones before switching on the +48 Volt phantom power switch.
3. Set the output level of your or the connected power amplifier at no more than 75%.
4. Now, set the CONTROL ROOM/PHONE level at no more than 50%.
5. Position HI, MID and LOW EQ controls on middle position.
6. Position panoramic (PAN/BAL) control on center position.
7. With a pair of headphones or studio monitor speakers connected apply a Line Level input signal so that the PEAK LED does not light up.
8. While speaking into the microphone (or playing the instrument), adjust the channel level control so that the PEAK LED will blink occasionally, in this way You will maintain good headroom and ideal dynamic range.
9. 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.
Audio Connections
You can connect unbalanced equipment to balanced inputs and outputs. Simply follow these schematics.
LYNX-MIX62(FX)
LYNX-MIX62(FX)
Strain Clamp
Strain Clamp
Ring
Sleeve
Tip
Sleeve Ground/Screen
Use for Headphone, Stereo Return
1/4" Stereo (TRS) Jack Plug
Tip
Sleeve
Sleeve Ground/Screen
UseforMonoLineIn,Mono1/4"JackPlugs
1/4" Mono (TS) Jack Plug
Ring Right Signal
Tip Left Signal
Tip Signal
11
Page 14
5. INSTALLATION AND CONNECTION
2
2=Hot(+)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
3 pin XLR Male Plug
(seen from soldering side)
3
3=Cold(-)
1
1=Ground/Screen
2=Hot(+)
(For unbalanced use, leave pin3 unconnected)
3 pin XLR Line Socket
2
1
1=Ground/Screen
3
3=Cold(-)
Use for Main output
(seen from soldering side)
6. APPENDIX
PREFADER AND POSTFADER CONSIDERATIONS
Interesting consideration! Where are the faders in your ?? Actually a fader is usually regarded as a slider, that is a linear potentiometer. All potentiometers in your are of rotary type but we keep the pre-
LYNX-MIX62(FX) fader/post-fader description that is quite industry standard and easily understandable. When your leaves the Alto Factory, the AUX
LYNX-MIX62(FX) bus of all input channels is wired post-fader. In this way, the Aux bus can be used for the internal or external multi-effect. If you want to use the MIX62(FX)
Aux bus for powered stage monitors, you should disconnect the above­indicated POST route track and solder the PRE route track like in this drawing. In this way, the signal is routed to the AUX SENDS output before the Channel Level control.
LYNX-MIX62(FX)
LYNX-
12
(PRE)
POST
AUX
Before
Disconnect the POST route
(PRE)
POST
AUX
Solder the PRE route
After
Page 15
7. PRESET LIST
Preset
NO.
WARM HALL
1
BRIGHT HALL
2
WARM ROOM
3
BRIGHT ROOM
4
5
VOCAL 1
VOCAL 2
6
VOCAL 3
7
PLATE
8
STEREO DELAY 1
9
STEREO DELAY 2
10
REV DELAY 1
11
REV DELAY 2+
12
REV DELAY 3+
13
REV DELAY 4+
14
15
REV CHORUS1+
REV CHORUS2+
16
Descr+iption
Simulate a Small acoustic space of the sound.
Simulate a large acoustic space of the sound.
Simulate a small acoustic space of the sound.
Simulate a studio room with many early reflections.
Simulate a room with without delay time.
Simulate a room with small delay time.
Simulate a small space with slight decay time.
Simulate the transducers sound like classic bright vocal plate.
Recreate the input sound on the stereo output with different time.
Recreate the input sound on the stereo output with different time.
+
Delay with room effect.
Delay with room effect.
Delay with room effect.
Delay with room effect.
Simulate the sound effect achieved by rotating horn speakers and a bass cylinder.
Simulate the sound effect achieved by rotating horn speakers and a bass cylinder.
Parameter
Rev. decay time: 360ms Pre delay:45ms
Rev. decay time: 290ms Pre delay:23ms
Rev. decay time: 210ms Pre delay:45ms
Rev. decay time: 210ms Pre delay:23ms
Rev. decay time: 450ms
Rev. decay time: 240ms Pre delay:25ms
Rev. decay time: 100ms Pre delay:114ms
Rev. decay time: 290ms
Period: 352ms
Period: 238ms
Delay period: 326ms Rev. decay time: 290ms
Delay period: 211ms Rev. decay time: 240ms
Delay period: 375ms Rev. decay time: 210ms
Delay period: 277ms Rev. decay time: 150ms
Chorus rate: 3.67Hz Rev. decay time: 290ms
Chorus rate: 3.02Hz Rev. decay time: 150ms
13
Page 16
8.BLOCK DIAGRAM
14
Page 17
9. TECHNICAL SPECIFICATIONS
Input channels
Microphone input Frequency response Distortion (THD & N) Gain range SNR (Signal to Noise Ratio) Line input Frequency response Distortion (THD & N) Sensitivity range
Impedances
Microphone input All other inputs Tape out All other output
Equalization
Hi shelving Mid bell
Low shelving
DSP Section
A/D and D/A converters DSP resolution Type of effects
Presets Controls
Noise (bus noise)
Main Mix Section
Max output
AUX Returns gain range AUX Sends max out
Power Supply
Main voltage Power consumption
Physical
Dimension(W D H) Net weight
g
Shipping weight
electronically balanced, discrete input configuration 20 Hz to 22 kHz, +/ 1dB <0.005% at +4 dBu, 1 kHz 0dBto50dB(MIC) 115dB
electronically balanced 20 Hz to 22 kHz, +/ 1 dB
0.005% at +4 dBu, 1 kHz +15 dBu to 35 dBu
1.4 k Ohm 10 k Ohm or greater
1 k Ohm 120 Ohm
+/ 15 dB @12 kHz +/ 15 dB @ 2.5 kHz +/ 15dB@80Hz
24 bit 24 bit WARM HALL,BRIGHT HALL,WARM ROOM, BRIGHT ROOM, VOCAL1,VOCAL2,VOCAL3,,PLATE,STEREO DELAY 1, STEREO
DELAY2, REV+DELAY1,REV+DELAY2,REV+DELAY3,REV+ DELAY4,REV+CHORUS1,REV+CHORUS2 16 16 position PRESET Selector, CLIP LED, MUTE SWITCH With LED Indicator Fader 0 dB, channels muted: 94 dBr (ref.:+4 dBu) Fader 0 dB, all input channels assigned and set to UNITY gain: 92 dBr (ref.:+4 dBu)
+22 dBu unbalanced, 1/4" jacks
to +10 dB
+22 dBu
18V~1000mA 18 Watts
202*250*58mm
2.3Kg (5.07lb)
g
12Kg(4pcs) (26.46lb)
15
Page 18
10.WARRANTY
1. WARRANTY REGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the encl­osed Warranty Registration Card All the information presented in this Warranty Registration Card gives the manufacturer a better understanding more effective and efficient after-sales warranty service. 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
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 materialsLT 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 purch-
ased 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 atLT O
its own option at no charge to you for parts or for labor in accordance with the right side of this limited warranty.
within 10 days of the Purchase Date.
of the sales status, so as to purport a
Please fill out all the
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
3.5 In no event shall be liable for any incidental or consequentialdamages.LT O Some states do not allow the exclusion or limitation of incidental or
quential damages, so the above exclusion or limitation may not apply to you.
conse
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.
16
Page 19
NO. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan
SEIKAKU TECHNICAL GROUP LIMITED
www.altoproaudio.com Tel: 886-4-22313737
email: info@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 2008 Seikaku Group
c
NF03278-1.0
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