Cloud Electronics Z4ii User Manual

Z4II & Z8II ZONE MIXERS
Installation and User Guide
Contents
Safety Information .................................. 4
Safety Notes Regarding Installation ................... 4
Conformities ......................................................... 4
Safety Considerations and Information ............. 4
Overview .................................................. 5
Introduction .......................................................... 5
Scope of this manual ..........................................................5
What’s in the box ................................................. 5
Main Features ....................................................... 5
Optional System Components ........................... 6
DM-1 Dual Microphone Input Module ..........................6
LM-1 Mic/line input module with remote music
control ..................................................................................6
RL-1 Remote Music Level Control .................................6
RSL-6 Remote Music Level/Source Control .................6
PM Series Paging Microphones ........................................7
PM1 Paging Microphone ....................................................7
Block Diagram ...................................................... 7
Front Panel Description ...................................... 8
Rear Panel Description ........................................ 9
Hardware Considerations ................................. 10
Power Supply ......................................................10
Fuses and ratings .............................................................. 10
System Connections .......................................... 10
Music Sources ................................................................... 10
Mono and stereo sources .......................................... 10
Balanced sources .......................................................... 10
Zone outputs .................................................................... 11
Unbalanced inputs ........................................................ 11
Microphone inputs .......................................................... 12
Facility Ports ..................................................................... 12
Connecting a DM-1 remote input plate ................. 12
Connecting an LM-1 remote input plate ................ 12
Paging System connections ............................................ 13
Connecting a PM4/8/12/16 paging mic .................... 13
Connecting a PM1 paging mic ................................... 14
Music Control .................................................................. 14
Connecting an RL-1 remote control plate ............. 14
Connecting an RSL-6 remote control plate ........... 15
Music Mute ........................................................................ 15
Music Inputs ........................................................ 16
Gain & level ....................................................................... 16
Local/remote control ......................................................16
Microphone Inputs ............................................. 16
Phantom Power ...............................................................16
Gain & level ....................................................................... 16
EQ ....................................................................................... 16
High-pass lter ................................................................. 16
Paging mic input ................................................. 16
Phantom Power ...............................................................16
Gain & level ....................................................................... 17
EQ & high-pass lter ....................................................... 17
Zone Outputs ..................................................... 17
EQ ....................................................................................... 17
Priorities.............................................................. 17
Mic 1/Mic 2 priority ........................................................ 17
Paging mic priority ........................................................... 17
Line 6 priority ................................................................... 17
Microphone priority over input at Facility Port ....... 17
LM-1 and DM-1 active input plates – general
considerations ..................................................... 18
Connecting multiple DM-1s .......................................... 18
Using the Facility Ports as auxiliary zone inputs ...... 19
RL-1 and RSL-6 remote control plates – general
considerations ..................................................... 19
Control of music source and level via external DC 19
Music level ..................................................................... 19
Music source ................................................................. 20
Fitting Bose® Series II EQ cards ...................... 20
Application example .......................................... 22
PCB jumper location and settings .................... 23
PSU capability and optional device current
consumption ....................................................... 25
Ground loops ...................................................... 25
EMC considerations ........................................... 25
General Specications ....................................... 26
Z4II & Z8II Installation and User Manual v1.0 3
Safety Information
Safety Notes Regarding
Installation
• Do not expose the unit to water or moisture.
Do not expose the unit to naked ames.
• Do not block or restrict any air vent.
• Do not operate the unit in ambient temperatures above
35 °C.
• Do not touch any part or terminal carrying the
hazardous live symbol ( ) while power is supplied to
the unit.
• Do not perform any internal adjustments unless you
are qualied to do so and fully understand the hazards
associated with mains-operated equipment.
• The unit has no user-serviceable parts. Refer servicing
to qualied service personnel.
• If the moulded plug is cut off the AC power lead for
any reason, the discarded plug is a potential hazard and
should be disposed of in a responsible manner.
Safety Considerations and
Information
The Z4II and Z8II must be earthed. Ensure that the mains power supply provides an effective earth connection using a three-wire termination.
Caution - High Voltages
Do not touch any part or terminal carrying the hazardous live symbol ( ) while power is supplied to the unit.
Terminals to which the hazardous live symbol refers require
installation by a qualied person.
Caution - Mains Fuse
The internal PSU contains no user-replaceable fuses. Mains over-current protection is provided by the fuse in the IEC receptacle; only replace this fuse with one of an identical type and rating.
Caution - Servicing
The unit contains no user-serviceable parts. Refer servicing
to qualied service personnel. Do not perform servicing unless you are qualied to do so.
Conformities
This product conforms to the following European EMC Standards:
BS EN 55103-1:1997
BS EN 55103-2:1997
This product has been tested for use in commercial and light industrial environments. If the unit is used in controlled EMC environments, the urban outdoors, heavy industrial environments or close to railways, transmitters, overhead power lines, etc., the performance of the unit may be degraded.
The product conforms to the following European electrical safety standard:
BS EN 60065:2002
The Z4II and Z8II were developed and manufactured with high quality materials and components, which can be recycled and/or reused.
Disconnect the power cable from the unit before removing the top panel and do not make any internal adjustments with the unit switched on.
Only reassemble the unit using bolts/screws identical to the original parts.
Z4II & Z8II Installation and User Manual v1.04
Overview
Introduction
Thank you for purchasing this Cloud Zone Mixer. We are
condent that you will be pleased with its performance, features, exibility and reliability.
The Cloud Z4II and Z8II are versatile analogue multizone audio mixers. They are intended to form part of permanent
sound systems in pubs, bars, restaurants, hotels, ofces,
factories and other areas, where multiple audio sources (background music, TV sound, etc.) are in use and need to be easily combined with announcements and/or paging in one or more zones. They have been designed to interface directly with industry-standard paging mic interfaces, and are compatible with Cloud PM Series paging microphones.
Scope of this manual
This manual provides a comprehensive guide to the features and functionality of the Cloud Z4II and Z8II Zone Mixers. The two models are identical in facilities and features, and differ only in the number of zones they support:
Model Z4II – four output zones
Model Z8II – eight output zones
Please read through the manual to become fully acquainted
with the numerous conguration and control functions the
units offer.
The manual is arranged as follows:
• Overview – introduction to the Zone Mixers and their
options.
• Installation – wiring the Zone Mixers in a practical
situation.
• Setting Up & Operation – setting the system up and
user instructions.
• Options and Additional Information – additional
information about system options.
• Appendix – additional technical information. Includes
technical specications.
The Z4II/Z8II manual includes full details of the optional LM-1 and DM-1 remote input panels. Basic information on interfacing Cloud PM Series paging microphones and connecting the RL-1 and RSL-6 remote control plates is also provided. This information is also supplied with each optional item.
What’s in the box
Unpack the Z8II or Z4II and its accessories with care. It is always a good idea to store all packaging (if practical), in case you ever need to return the unit to your Cloud dealer for any reason.
As well as this manual, the shipping carton should contain the items listed below. Please contact your Cloud dealer immediately if any of them are missing or damaged.
• Cloud Z8II or Z4II Zone Mixer
• IEC mains lead (AC cord) with moulded plug
appropriate to the territory
• Set of mating connectors for all rear panel screw-
terminal connectors
Main Features
• 6 stereo line inputs
• 8 (Z8II) or 4 (Z4II) balanced mono line outputs
• 2 microphone inputs (balanced), phantom power
selectable
• Separate paging mic input with contact closure zone
selection
• Per-zone facility port for optional remote line and/or
mic input plates
• Mic routing to all zones with programmable override
logic
• Per-zone front panel control of music level, music source
and mic level
• Supports per-zone remote control of music level and
source
• HF & LF EQ adjustment for each mic input and for
music in each zone music output
• Preset gain trim control for each mic and music input
• Line input 6 may have priority over other music inputs
• Accepts Bose® EQ cards
• External Music Mute input for interfacing with
emergency systems
• 3U 19” rack-mounting unit
Thank you again for placing your condence in Cloud
products.
Z4II & Z8II Installation and User Manual v1.0 5
Optional System Components
The following components may form part of the audio system and may be ordered separately if required. They may
also be retrotted to a system at a later time.
DM-1 Dual Microphone Input Module
control of zone music level and source. The music ducking facility is also provided for the mic input. See page 12 (Connecting an LM-1 remote input plate) and page 18 (LM-1 and DM-1 active input plates) for more information.
RL-1 Remote Music Level Control
g.1: DM-1
The DM-1 is an active input plate which allows one or two microphones to be connected to the Zone Mixers in a remote location. Each microphone has its own level control, and overall preset HF/LF EQ controls are also provided. A Music Ducking button activates the Zone Mixer’s priority circuitry; when enabled, a microphone signal from the DM-1 will reduce the music level in the zone where it is installed.
The DM-1 connects to one of the unit’s Facility Ports, and the microphone signals are fed to that zone only. The mixer’s Mic 1 and Mic 2 inputs remain available. Multiple DM-1s (in the same zone) may be daisy-chained to provide
mic inputs in more than one position. The DM-1 ts a
standard UK-style dual-gang electrical back box. See page 12 (Connecting a DM-1 remote input plate) and page 18 (LM-1 and DM-1 active input plates) for more information.
LM-1 Mic/line input module with remote music control
RL-1
7
8
9
g.3: RL-1
5
4
3
2
1
0
10
MUSIC LEVEL
6
The RL-1 is a small plate with a single control for locally adjusting the music level in a zone. It is connected to one of the mixer’s Music Control Ports. See page 14 (Connecting an
RL-1 remote control plate) and page 19 (RL-1 and RSL-6 Remote control plates) for more information.
RSL-6 Remote Music Level/Source Control
4
3
5
2
6
1
SOURCE SELECT
5
6
4
3
2
1
10
0
MUSIC LEVEL
RSL-6
7
8
9
g.2: LM-1
The LM-1 resembles the DM-1, but has one microphone and one stereo line input, which provides a convenient access point for the connection of a DJ mixer, laptop, MP3 player or similar. The plate also includes the functions of the RSL-6 Remote Control Plate (see below), permitting
Z4II & Z8II Installation and User Manual v1.06
g.4: RSL-6
The RSL-6 is the same size as the RL-1 and connects in a similar way; it allows local music source selection as well as music level control. See page 15 (Connecting an RSL-6 remote
control plate) and page 19 (RL-1 and RSL-6 Remote control plates) for more information.
PM Series Paging Microphones
PM1 Paging Microphone
g.5: PM16
Cloud PM paging microphones may be connected directly to the Z8II and Z4II. Models are available which can page to 4, 8, 12 or 16 zones. Clearly, not all zones on the ‘higher’ models can be addressed with only one zone mixer. See page 13 (Connecting a PM4/8/12/16 paging mic) for more information.
g.6: PM1
The Cloud PM1 paging microphone is also compatible with the Z8II and Z4II. It is a much simpler unit which addresses only one zone. See page 14 (Connecting a PM1 paging mic) for more information.
Block Diagram
The simplied block diagram below illustrates the basic signal architecture of the Z8II. Only the routing and logic for one zone
output is shown. The architecture of the Z4II is identical, the only difference being the number of zone outputs.
g.7: Z8II Block Diagram
Z4II & Z8II Installation and User Manual v1.0 7
1
2
3
4
5
6
7
8
9
10
10
g.8: Z8II Front Panel
Note - The front panel of the Z8II is shown above. The Z4II’s is identical, except that it only has controls for zones 1 - 4.
Front Panel Description
1
MUSIC SOURCE – 6-way rotary switch selecting which Line Input (1 to 6) will be the music source for each zone. See page 16 (Local/remote control)
2
MUSIC LEVEL – adjusts the music level in each zone. See page 16 (Music Gain & Level)
3
MICROPHONE 1 – adjusts the level of the microphone connected at Mic 1 input in each zone. See page 16 (Microphone Inputs Gain & Level)
4
MICROPHONE 2 – adjusts the level of the microphone connected at Mic 2 input in each zone. See page 16 (Microphone Inputs Gain & Level)
5
PAGING MIC LEVEL – adjusts the level of the microphone connected at the Paging Mic input in each zone. This is a preset control and is intended to be set on installation and not readjusted by the user. See page 17 (Paging Mic Gain & EQ)
6
7
8
9
10
POWER – latching push-button switch with integral
green LED
MUTE – red LED which illuminates when an external
Music Mute command is applied (i.e., from re control
panel, etc.) See page 15 (Music Mute)
Zone idents – a space is provided below each zone’s
controls for printed labels identifying the zone by name
Source idents – a space is provided beside Zone 1’s source select control for printed labels identifying each music source by name
Rack mounting ears – the unit may be rack-mounted in a standard 19” equipment rack. It requires 3U of rack height. See page 10 (Hardware considerations)
Z4II & Z8II Installation and User Manual v1.08
10
g.9: Z8II Rear Panel
11
5
4
3
12
6
7
13
8
14
2
Note - The rear panel of the Z8II is shown above. The Z4II’s is identical, except that it only has output connections for zones 1 - 4.
16
1
9
15
Rear Panel Description
1
LINE INPUTS – 6 pairs of RCA (phono) sockets (Line 1 to Line 6) for connection of music sources. Inputs are stereo, summed internally to mono. See page 10 (Music sources)
2
LINE INPUT GAIN – preset trim control for each input, providing ±10 dB of gain adjustment for input level matching. See page 16 (Gain & Level)
3
MIC INPUTS – 2 balanced microphone inputs (Mic 1 & Mic 2) on latching XLR sockets. See page 12 (Microphone inputs)
4
MIC GAIN – preset mic gain control for each input, gain range 10 to 60 dB. See page 16 (Microphone Inputs Gain & Level)
5
MIC EQ – HF & LF preset EQ controls. See page 16 (Microphone Inputs EQ)
6
PAGING MIC INPUT – dedicated balanced input (XLR) for paging mic. See page 16 (Paging mic input)
7
PAGING MIC GAIN – as 4. See page 17 (Paging Mic Gain & level)
8
PAGING MIC EQ – as 5. See page 17 (Paging Mic
EQ & high-pass lter)
PAGING MIC ACCESS PORT – 10-pin 5 mm-pitch
9
screw-terminal connector for per-zone contact closure paging access. See page 13 (Paging system connections)
ZONE OUTPUTS – 8 balanced outputs* for each
10
zone on 3-pin 3.5 mm-pitch screw-terminal connector. See page 11 (Zone outputs)
ZONE EQ – HF & LF music EQ adjustment for each
11
zone output. See page 17 (Zone output EQ)
12
FACILITY PORT – 9-pin female Dsub per-zone, for connection of remote input plates and other functions. See page 12 (Facility Ports)
13
MUSIC CONTROL PORTS – 3-pin 5 mm-pitch screw terminal connector per-zone, for connection of RL-1/RSL-6 remote control plates. See page 14 (Music Control)
14
LOCAL/REMOTE SWITCHES – determine whether front panel music source controls will remain active when remote control plates are connected (per­zone). See page 14 (Music Control)
15
MUSIC MUTE – 2-pin 5 mm-pitch screw terminal connector for connection of external emergency muting relay (e.g. re control panel). See page 15 (Music Mute)
16
MAINS – Fused IEC receptacle for AC mains (includes storage for spare fuse). See page 10 (Power Supply)
* Only 4 zone outputs on Model Z4II (Items 10 to 14)
Z4II & Z8II Installation and User Manual v1.0 9
Balanced outputs (XLRs):
Installation
Hardware Considerations
The Z4II and Z8II Zone Mixers are built in 3U-high 19” rack mount enclosures. It is recommended that the Zone Mixer is installed in a 19” rack wherever possible. The units are approx. 160 mm deep, but 250 mm of rack depth should be available to allow for rear connectors and cabling.
The Z4II and Z8II have low power consumption and there are no thermal considerations other than ensuring that the ventilation grilles are not obstructed once the mixer is installed installed. The ventilation grilles are at the rear (immediately above the AC input connector); in the bottom panel (behind the AC mains switch), and in the side panels. Other equipment may be installed above or below the Z4II/ Z8II within this constraint.
The choice of location will be dictated by the specics of the
system and building layout. It is recommended that wherever possible, the Z4II/Z8II should be mounted in an equipment rack along with as many of the music sources (CD players, music servers, TV receiver boxes, etc.) and audio power
ampliers (driving the zone loudspeakers) as practical.
When deciding the Zone Mixer’s location, bear in mind that access to it will probably be required even if a full
complement of remote controls is being tted as part of the
system, as some adjustments can only be made on the mixer itself.
Power Supply
The European versions of the Z4II and Z8II operate on standard 230 V AC mains; alternative versions are available which operate on 115 V AC. An IEC mains cable with a plug appropriate for each country is supplied with the European unit. The unit’s power consumption is 20 VA (Z4II) or 28 VA (Z8II)
Fuses and ratings
The only user-accessible fuse is an AC mains fuse in the IEC connector housing. Only replace a fuse with one of exactly the same type. The table below gives the correct fuse types.
VERSION RATING FUSE TYPE
230 V 125 mA 20 mm x 5 mm
115 V 250 mA 20 mm x 5 mm
The fuseholder may be accessed by prising the slide below the connector open, using a small screwdriver. The holder has an extra cavity for storing a spare fuse; note that the “active” fuse is that in the inner cavity.
slo-blo T125mA
slo-blo T250mA
System Connections
Music Sources
Connect the system’s various music sources to LINE 1 to LINE 6. All line inputs offer unbalanced connection for stereo sources on a pair of standard RCA jacks (phono sockets). The sensitivity range available should allow most standard items of audio equipment such as CD players, PC-based music servers, TV tuners, etc., to operate at a satisfactory level. Most equipment of this type will have stereo unbalanced outputs, and as long as the source equipment is adjacent to the Zone Mixer, normal phono­phono leads can be used. Always avoid using pre-made leads of an unnecessary length.
Mono and stereo sources
The Z4II and Z8II are mono mixers; the stereo line inputs are summed internally to mono. Stereo sources should be
connected in a normal stereo conguration, using both L
and R inputs. If connecting a mono source with only a single output, it may be connected to either the left or the right input.
Balanced sources
If it is necessary to connect an item of source equipment with a balanced output to the Zone Mixer, a balancing transformer should ideally be connected between the source and the unbalanced input. Suitable audio transformers, which should have a ratio of 1:1, are readily available from major audio component suppliers. The transformer(s) should be mounted as close to the Zone Mixer as practical, and housed in a screened enclosure if they are not individually screened. The preferred connection method is shown in g.10.
pin1 ground pin2 hot pin3 cold
LEFT
3
12
RIGHT
3
12
g.10: Balanced - Unbalanced wiring using transformer
-
+
SCN
-
+
SCN
If transformers are not available, a balanced source may feed an unbalanced input directly as long as care is taken over how the connections are made. A variety of design techniques are in use to implement balanced outputs in audio equipment, and some designs require different wiring protocols to others. Installers are advised to check the
Audio balancing transformers
-
+
SCN
-
+
SCN
SCN
SCN
LEFT
Unbalanced
inputs
RIGHT
Unbalanced
inputs
Z4II & Z8II Installation and User Manual v1.01010
manuals with each item for guidance on how the outputs
Z8II/Z4II Balanced output:
should be connected to an unbalanced input.
However, the wiring methods shown in g.11 and g.12 will work in a large number of cases. If hum or other distortion is found to result, try disconnecting the ‘cold’ leg of the balanced output (pin 3 on XLRs).
When using single-core cable,
join ‘cold’ to screen at the
3
1
LEFT
3
1
RIGHT
Balanced outputs (XLRs):
pin 1 ground pin 2 hot pin 3 cold
+
2
SCN
+
2
SCN
g.11: Balanced - Unbalanced input #1
source
Unbalanced
LEFT RIGHT
SCN
+
input s
SCN
+
Zone outputs
Connect the inputs of the power ampliers feeding the
loudspeakers for each zone to ZONE 1 to 8*. Note that the zone outputs are all mono. All outputs are balanced and
will drive input impedances down to 600 Ω. Nominal output
level is 0 dBu (775 mV). The output is designed to drive
professional/industrial power ampliers with balanced inputs
(typically on XLRs). In this case, wire as the diagram in g.13. Note that the screen can be left unconnected at the source end if earth loops are a problem.
*ZONE 1 to 4 only on Z4II.
Balanced outputs (XLRs):
Z8II/Z4II Balanced output:
pin 1 ground pin 2 cold pin 3 hot
3 2 1
The screen connection at the zone end may be omitted if it helps reduce earth loops
+
-
SCSCN
pin1 ground pin2 hot pin3 cold
3
12
SCN
+
-
3
1
LEFT
3
1
RIGHT
Balanced outputs (XLRs):
pin 1 ground pin 2 hot pin 3 cold
-
+
2
SCN
-
+
2
SCN
g.12: Balanced - Unbalanced input #2
Unbalanced
inputs
LEFT RIGHT
SCN
-
+
When using twin-and-screen cable, join ‘cold’ to screen at
Z8II/Z4II end
SCN
-
+
g.13: Balanced connection
Unbalanced inputs
If audio ampliers with only unbalanced inputs are being used (e.g. hi- ampliers), the following wiring should be
adopted:
Z8II/Z4II Balanced output:
pin 1 ground pin 2 cold pin 3 hot
+
-
SCSCN
+
SCSCN
+
Unbalanced input (e.g. phono)
When using twin-and-screen cable, don’t connect the screen at the amplifier end.
-
Unbalanced input (e.g. phono)
+
3 2 1
When using single-core cable, don’t connect ‘cold’ at the Z8II/Z4II
g.14: Balanced output - Unbalanced input: using single-core screened cable
pin 1 ground pin 2 cold pin 3 hot
3 2 1
g.15: Balanced output - Unbalanced input: using twin-core screened cable
Z4II & Z8II Installation and User Manual v1.0 1111
Microphone inputs
Z4II/Z8IIFACILITY PORT
Mic 1 and Mic 2 inputs are intended for the direct connection of microphones. They are electronically balanced and transformerless with an input impedance of greater than
2 kΩ and optimised for use with microphones of 200 to 600 Ω impedance. Unbalanced microphones may be used by
connecting pins 3 to pin 1 (cable screen) in the XLR plug. 15 V phantom power is available, see page 16 (Phantom Power).
Connecting a DM-1 remote input plate
The DM-1 should be connected to a Facility Port using multicore cable with an overall screen. 7 of the 9 pins are used, so 8-core cable (readily available) is ideal.
The DM-1’s upper PCB is tted with a 10-way screw-
terminal connector block, and this should be wired to the Facility Port as shown in the diagram g.16.
Each mic input may be routed to any of the zones in use,
at any level in each zone. Each zone may be congured so
that any microphone announcements automatically reduce the music level in that zone while the announcement is in progress (see page 17 (Mic1/Mic2 Priority) for more details.)
The Paging Mic input has the same electrical characteristics as Mic 1 and Mic 2, but is intended for the connection of a dedicated paging microphone. Mic signals at this input will route to all zones at a level determined by the front panel preset Paging Level controls, ducking the music while an announcement is in progress. VOX or contact-closure triggering of the paging priority circuit may be selected; see page 17(Paging mic priority) for more details.
Facility Ports
Each zone of the mixer is provided with a Facility Port in the form of a rear panel 9-pin female Dsub connector. The primary use of the Facility Port is for the connection of DM-1 and LM-1 remote active input plates, but it may also be used as a general-purpose, per-zone auxiliary balanced input (see page 19 for more information on this application). Note that audio connected via a Facility Port will only appear at the same-numbered Zone Output, and no other.
The active plates operate on DC power supplied by the mixer. The current consumed by each plate is minimal and in the vast majority of installations there will be no power supply issues. Nevertheless, installers are urged to check the data in the Appendix regarding PSU capacity on page 25 (PSU capability and optional device current consumption).
The pinout of the Facility Port connector is given in the table below:
PIN USE
1 Remote source select 2 Remote level control 3 Balanced audio input hot
(+)
4 Balanced audio input cold
(-) 5 Noise Gate control 6 -15 Vdc 7 +15 Vdc 8 0 Vdc 9 VCA control voltage
1
6
2
7
3
8
4
9
5
CABLE SCREEN
19876543210
DM-1 (uppermost) PCB
g.16: DM-1 Facility port
Note that the cable’s screen should be connected to terminal 3 at the DM-1 end, and to the shell of the Dsub connector at the mixer end. Note also that DM-1 terminals 9 and 10, and Dsub pins 1 and 2 are not used in this connection.
It may be useful for additional DM-1s to be installed in a zone, to allow the connection of microphones at more than one location within a large room, for example. See page 18 (Connecting multiple DM-1s) for details of how to interconnect multiple DM-1s.
Connecting an LM-1 remote input plate
The LM-1 should be connected to a Facility Port using multicore cable with an overall screen. All 9 pins are used, so 10- or 12-core cable (readily available) is ideal. The LM-1 includes controls for local music level and source selection, the wiring for these functions being catered for on the Facility Port. Thus it is not necessary to make any connections to the Zone’s Music Control Port.
The LM-1’s upper PCB is tted with a 10-way screw-
terminal connector block, and this should be wired to the Facility Port as shown in the diagram g.17.
Please also refer to page 18 (LM-1 and DM-1 active input plates – general considerations) for further information regarding installation of remote active input plates.
Z4II & Z8II Installation and User Manual v1.012
Z4II/Z8IIFACILITY PORT
1
6
2
7
3
8
4
9
5
CABLE SCREEN
(either by a local PSU or via the CDPM digital network from another PM unit).
PM8 PAGING MICROPHONE
TERM8TERM2TERM1
Z1 Z2 Z3Z4Z5 Z6 Z7
Z1 Z2 Z3 Z4 Z5 Z6 Z7 Z8
0 V+ V
Z8
HOTCOLDGND
LM-1 (uppermost) PCB
19876543210
g.17: LM-1 Facility port
Note that the cable’s screen should be connected to terminal 3 at the DM-1 end, and to the shell of the Dsub connector at the mixer end.
Before the LM-1’s music source and level controls will operate, the LOCAL/REMOTE push-button switch (14 on page 9 - Rear Panel Description) to REMOTE (i.e., pressing it in). In this setting, the zone’s front panel Music Level and Source Select controls become inoperative.
Paging System connections
Cloud PM Series paging microphones may be connected directly to the Z4II and Z8II.
Two connections are required: the paging mic audio signal should be connected to the Paging Mic Input (6 on page 9- Rear Panel Description) and the control cable to the Zone Access port (9 on page 9).
Connecting a PM4/8/12/16 paging mic
These microphones are equipped with both digital and analogue paging interfaces; the Z4II and Z8II use the analogue interface. PM microphones are available in 4, 8, 12 or 16-zone versions; the installer should be sure he/she understands how paging zones correspond to mixer zones before commencing wiring.
This connection only required if the PM Series microphone is to be powered from the mixer
Z1 Z2 Z3Z4Z5 Z6 Z7
Z1 Z2 Z3 Z4 Z5 Z6 Z7 Z8
0 V + V
Z8II MIXER
Z8
COLD GND
HOT
PAGING MIC INPUTZONE ACCESS
g.18: PM8 - Z8II wiring connections
For individual zone paging as described above, the paging mic priority trigger should be selected to ‘SW’ by moving J5 on each zone sub-board. See page 17 (Paging mic priority) for further information.
Standard two-core screened audio cable may be used for the audio signal, and stranded multicore cable with an overall screen for the control cable. The number of cores required in the latter will be determined by the model of PM microphone being used and whether the mixer is a Z4II or Z8II; however, note that one additional core will be required if the PM Series microphone is to be powered from the Zone Mixer.
Connections on the PM microphone are made via the rear cable access glands and screw terminal blocks on the internal PCB (TERM1, TERM4 and TERM8 in this case). Full connection details and notes on power supply considerations can be found in the PM Series Installation and User Guide.
g.18 shows both the cable connections between a PM8 and a Z8II. Note that DC power supply connection will not be required if the PM microphone is powered independently
Z4II & Z8II Installation and User Manual v1.0 13
Connecting a PM1 paging mic
The PM 1 is a simple, passive paging microphone suitable for situations where announcements are always made to the same zone(s). It can be connected directly to Z8II/Z4II zone mixers, the control cable being wired to the pin(s) of the Zone Access port corresponding to the zone(s) in which announcements are required. Any or all of the zones may be paralleled if multiple zones need to operate from the PM1. An alternative method for achieving paging to all zones is to ignore the control cable altogether and set the paging priority trigger for all zones to VOX. By doing so, it is the presence of an audio signal from the mic itself that triggers the priority circuitry. See page 17 (Paging mic priority) for further information.
Either a single 2-pair individually-screened cable may be
used (this gives the neatest nish), or two separate standard
microphone cables. Full connection details can be found in the PM1 Installation and User Guide. Note that the PM1 does not require DC power.
Connections on the PM1 are made via the rear cable gland in the base and the screw terminal blocks on the internal PCB (U2 and U3). Full connection details can be found in the PM1 Installation and User Guide.
Music Control
Like many other Cloud products, the Z8II and Z4II allow remote control of music level and source selection in each zone. The Cloud remote control plates models RL-1 (music level only) and RSL-6 (music level and source selection) provide an elegant solution, though control via a DC voltage from third-party systems is also possible (see page 19 ­Control of music source and level via DC).
Both types of plate connect via the Music Control Port for the relevant zone (see 13 on page 9 - Rear Panel Description). This connector is a 3-pin 5 mm-pitch screw terminal type. Please refer to page 19 (RL-1 & RSL-6 remote control plates) for additional information regarding cable lengths, etc.
Connecting an RL-1 remote control plate
Wire the remote control plate as shown below. Either single-core screened or twin-and-screen cable may be used; in the case of the latter, ignore one of the cores. Maximum reliable cable run is 100 m.
REMOTE LEVEL CONTROL WIRING
g.19 below shows the connections between a PM1 and a Z8II. Use of 2-pair cable is assumed; the same wiring principle is adopted if separate cables are being used for audio and control.
PAGING MIC INPUTZONE ACCESS CONNECTOR
12
3
U2 AUDIO
Z8II
PM1
Z1 Z2 Z3 Z40 V Z5 Z6 Z7 Z8 + V
GNDN/CN/OHOTCOLDSCN
U3 ACCESS
CONNECT TO
ZONE(S) IN USE
RL-1
123
SINGLE-CORE SCREENED CABLE MAY BE USED
g.19: RL-1 control wiring
REMOTE MUSIC
CONTROL
PORT
123
Before the RL-1 will operate, the zone’s Music Control Port must be enabled by setting the adjacent push-button switch (14 on page 9 - Rear Panel Description) to REMOTE (i.e., pressing it in). In this setting, the zone’s front panel Music Level and Source Select controls become inoperative. As music source selection will still be required from the mixer’s front panel when an RL-1 is in use, the REMOTE setting may be overridden for the source selection control only by moving internal jumper J1 on the sub-board for the zone in question. See page 23 (PCB Jumper location and settings) for location of internal jumpers.
g.19: PM1 - Z8II wiring connections
Z4II & Z8II Installation and User Manual v1.014
Connecting an RSL-6 remote control plate
12
12
Wire the remote control plate as shown below. Twin-and­screen cable should be used. Maximum reliable cable run is 100 m.
REMOTE SOURCE & LEVEL CONTROL WIRING
MUSIC MUTE
INPUT
123
RSL-6
USE TWO-CORE SCREENED CABLE
g.20: RL-6 control wiring
REMOTE MUSIC
CONTROL
PORT
123
Before the RSL-6 will operate, the zone’s Music Control Port must be enabled by setting the adjacent push-button switch (14 on page 9 - Rear Panel Description) to REMOTE (i.e., pressing it in). In this setting, the zone’s front panel Music Level and Source Select controls become inoperative.
Music Mute
External muting of music is available at the MUSIC MUTE connector. National or Local Authority regulations governing such systems may require that normal programme material (i.e., music) should be muted in an emergency, to ensure that any emergency messages are clearly audible.
RELAY
NORMALLY OPEN (NO)
CONNECTION
g.21: Music mute, normally open
MUSIC MUTE
INPUT
RELAY
NORMALLY CLOSED (NC)
CONNECTION
g.22: Music mute, normally closed
The Music Mute input is on a 2-pin 5 mm-pitch screw-terminal connector. It should be connected to the appropriate alarm output on whichever building management system registers the alarm (typically the Fire System). The alarm output must be volt-free; if no such output is available, an intermediate relay or other isolation device must be installed between the alarm output and the Music Mute input.
The Mute input can be set to operate on either normally open (NO) or normally closed (NC) contacts via an internal jumper (see page 23 - PCB Jumper location and settings). The factory default setting is NO, thus requiring a short-circuit to be applied across the two pins of the connector for muting to occur.
Visual indication of muting being activated is given by the Music Mute LED on the front panel.
Z4II & Z8II Installation and User Manual v1.0 15
Setting Up & Operation
Music Inputs
Gain & level
To avoid dramatic changes in volume when switching between sources, the Z8II/Z4II’s music inputs are provided with preset gain trim controls (2 on page 9 - Rear Panel Description). These vary the input sensitivity from -12 dBu (195 mV) to +8 dBu (2.0 V). When setting the system up, play audio from all the sources in use and listen to them one at a time in a convenient zone (preferably that in which the mixer is located) at a reasonable volume. Taking a source of “average” volume as the reference, the gain controls of the others should be adjusted so that there is no appreciable difference in volume between any of the sources. (With a typical CD player as the source, setting the gain on its channel to mid-way is a good starting point.) Note that consideration may need to be given to the type of programme in use, particularly if one or more sources are TV sound.
In normal operation, the music level in each zone is set with the Music Level control on the front panel (2 on page 8 - Front Panel Description). This control will not be operative if the corresponding rear panel LOCAL/REMOTE push­button is set to REMOTE. When setting the audio system
up, set the gain controls (if any) on the power ampliers for
each zone to minimum, then turn the Music Level control on the mixer to maximum. Then increase the zone volume
by turning up the power amplier gain until it is as loud as
will be required in normal use. This method ensures that excessive volumes will not be possible with the mixer’s operational controls.
Note that the setting of the music level has no effect on microphone or paging volume.
Local/remote control
If a zone has an RL-1 or RSL-6 remote control plate or an LM-1 line input plate connected, the rear panel LOCAL/ REMOTE push-button must be set to REMOTE (button in) for the remote controls to be operative and for the corresponding front panel controls to be disabled. Zones without such plates should be set to LOCAL (button out).
The setting of the internal PCB jumper J1 on each zone sub-board is also relevant. The default setting is SW. This means that zone music source selection will be determined by the rear panel switch setting; the front panel control in LOCAL and via a remote plate or other external control in REMOTE. If the jumper is set to FR, the source selection will always be made with the front panel control whatever is connected at the rear panel or the setting of the LOCAL/ REMOTE switch. If external control of music level only (i.e., not source selection) is required, J1 should be set to FR and the LOCAL/REMOTE switch to REMOTE.
Microphone Inputs
Phantom Power
Each microphone input (MIC 1 & MIC 2) has 15 V phantom power available. This will be adequate to power a wide range of condenser microphones. (Some “studio quality” mics may require a higher phantom voltage and thus necessitate an external PSU). To enable phantom power at the mic inputs, internal motherboard jumpers J1 (MIC 1) and/or J2 (MIC
2) should be moved to their ON positions. See page 23 for jumper locations. Phantom power should NOT be enabled if dynamic microphones are to be used.
Gain & level
Each main microphone input (MIC 1 & MIC 2) is provided with a rear panel preset gain control (4 on page 9). A wide range of gain is available and there should be no problem in obtaining a satisfactory level from any normal microphone.
The mic gain control should be adjusted by speaking normally into a microphone of the correct type. Turn the front panel Mic Level control up to maximum and listen in a convenient zone; the rear panel gain control should be carefully advanced until the mic volume is as loud as it is ever likely to be needed, and then reduced slightly. There should be no audible distortion. The use to which the microphone is to be put should be borne in mind – karaoke
is more likely to overload the mic preamplier than spoken
announcements, if the gain is not set correctly.
In normal operation, the mic level in each zone is set with the Mic Level controls on the front panel (3 & 4 on page
8).
EQ
Each mic input has associated HF and LF EQ controls (5 on page 8) These provide 10 dB of cut or boost at 5 kHz and 100 Hz respectively and should be adjusted by listening to achieve a clear mic sound. Again, the application should be borne in mind when making adjustments.
High-pass lter
Each mic input has a xed 100 Hz high-pass lter to remove
the lowest frequencies. This helps to reduce the effects of
breath blasts and microphone handling noise. The lter is
always in circuit.
Paging mic input
Phantom Power
The paging mic input also has 15 V phantom power available. This will NOT be required if a Cloud paging microphone is being used with the mixer, but may be necessary with other manufacturers’ equipment. It is enabled by moving internal motherboard jumper J3 to its ON positions. See page 23 for jumper locations.
Z4II & Z8II Installation and User Manual v1.016
Gain & level
The paging mic input has a rear panel preset gain control (7 on page 9). A wide range of gain is available and there should be no problem in obtaining a satisfactory level from most paging microphones.
The mic gain control should be adjusted by making an announcement. Set the front panel Paging Mic Level preset control at about halfway and listen in a convenient zone; the rear panel gain control should be carefully advanced until the announcement is heard clearly and without distortion. If possible, the person who will normally make paging announcements should speak when making this adjustment.
Following the setting of the paging mic gain, the paging level in all the other zones should be set, by listening in each zone, with the Paging Mic Level controls on the front panel (5 on page 8).
EQ & high-pass lter
The paging mic input has associated HF and LF EQ controls (8 on page 9 - Rear Panel Description) These are identical to the MIC1 & 2 EQ controls and should be adjusted similarly.
A 100Hz xed lter is also included in the circuitry, as with
the other mic inputs.
Zone Outputs
signals will restore smoothly to their former level, over a period of 3, 6 or 12 seconds.
The Mic 1/Mic 2 priority over music can be disabled on a per-zone basis by setting J6 on the relevant zone sub-board to the ‘OFF’ position. The release time may also be set on a per-zone basis to 3S or 6S by moving J3, or to 12S by removing J3 altogether. Note that the release time setting will apply to all music ducking, regardless of which priority setting initiates it.
Paging mic priority
When an announcement is made via the paging mic input, it has full priority over both the music signals and any
microphones in use via Mic 1 and Mic 2 inputs. This is a xed
priority, and cannot be overridden.
The paging mic priority can be triggered either by voice detection or by the grounding of the access contact; the sub-board jumper J5 can be set to ‘VOX’ for voice triggering (the default) or set to ‘SW’ for access contact triggering. If PM Series multi-zone paging microphones form part of the system, J5 should be set to ‘SW’.
When multiple PM Series paging microphones are in use, it is possible for one to have a priority over the others. This is a function of the microphones, not of the mixer; please consult the PM Series User and Guide for more information.
In normal operation, the music level in each zone will be set by the front panel Music Level control, or by a corresponding control on a remote plate. Follow the procedure described in Music Inputs - Gain & level (page 16) to adjust the music level in each zone.
EQ
The various zones in a building often have different acoustic properties, and may also have different models of loudspeaker installed. The Z4II and Z8II are tted with HF and LF EQ adjustments (11 on page 9) for the music signal at each zone output to enable the audio frequency response to be best matched to each zone. The controls should be adjusted by listening; up to 10 dB of cut or boost at 10 kHz (HF) and 50 Hz (LF) is available. Note that these EQ adjustments do not affect the frequency response of microphones or paging.
Priorities
The Z4II and Z8II offer several options for determining what happens to music signals when announcements are made. The options are selected via internal jumpers, and should be set to suit the requirements of the installation when the system is installed. See page 23 for location of the internal jumpers.
Mic 1/Mic 2 priority
By default, fully automatic, voice operated priority is provided for the microphone inputs. When either microphone is used, all music signals will attenuate by approximately 30 dB; after the announcement, the music
Line 6 priority
It may sometimes be necessary for one music input to have priority over all the others; for example, a jukebox in a bar, or a digital sound store programmed to make automatic announcements in a public space. Line input 6 may be set to have priority in any or all zones over whichever source is selected for the zone by its Music Source control. This priority is set by moving jumper J2 to the ‘ON’ position on as many zone sub-boards as required. (The default setting is ‘OFF’.)
When the priority is selected, a signal present at Line 6 will force the zone’s source selection to that input; when the signal disappears, the previously-selected source will be restored over the time constant selected by J3.
Microphone priority over input at Facility Port
If an LM-1 or DM-1 remote input plate is in use in a zone, it is possible to give any microphone connected at the mixer itself (i.e., Mic 1, Mic 2 or a paging mic) priority over input sources connected at the plate. This might be desirable in function rooms, for example, where building-wide announcements may need to to interrupt any local use.
This priority is set by J4 on the zone sub-board. The default setting is ‘OFF’; in this position microphones or other sources connected at remote input plates will be autonomous and will not be overridden by announcements made via the mixer’s mic inputs. Setting J4 to ‘ON’ will give Mic 1, Mic 2 and the paging mic inputs priority.
Note that this priority is independent of the music ducking function which can be selected on the remote plates.
Z4II & Z8II Installation and User Manual v1.0 17
Options and Additional Information
LM-1 and DM-1 active input
plates – general considerations
Cloud DM-1 and LM-1 remote input plates are the same physical size as a double-gang UK electrical socket and can be mounted in the recessed back box provided or in a standard surface-mounting box of 35 mm depth.
The modules should be connected to the facility input of the relevant zone using multi-core screened cable as described at page 12 (Connecting a DM-1 remote input plate and Connecting an LM-1 remote input plate). The module terminations are conventional screw terminals and the Facility Port on the mixer is a 9-pin Dsub type connector. A suitable mating connector is provided.
Great care must be taken when terminating the active input plates; power is derived from the mixer and wiring errors may cause failure of the mixer. Please check all wiring before testing the system.
IMPORTANT: Please refer to page 25 (PSU capability and optional device current consumption) for information regarding
current draw and power supply capability.
Connecting multiple DM-1s
It may be desirable to connect local microphones at more than one location in a zone (in a large function room, for example). DM-1 dual microphone input plates may be “daisy­chained” to achieve this. All DM-1s thus wired will, of course, only be available to the zone to whose Facility Port the chain is connected.
Multiple DM-1s are wired as shown in g.23. Six interconnections are used, including a cable screen; it will generally be convenient to use the same cable type as that
between the mixer and the rst DM-1 in the chain, the extra
cores being ignored.
Z4 II/Z8 II FACILITY PORT
1
6
2
7
3
8
4
9
5
CABLE SCREEN
19876543210
First DM-1 -(uppermost PCB)
19876543210
Second DM-1 - (uppermost PCB)
g.23: Connecting multiple DM-1plates
Remember to consider the current drawn by any additional input plates – see page 25 for details of current consumption and PSU capability.
Z4II & Z8II Installation and User Manual v1.018
Using the Facility Ports as auxiliary zone
12
Balanced output:
inputs
The Facility Port provides a balanced audio input. If a port is not connected to DM-1 or LM-1 remote input plates, it may be used as a direct input to the zone from other equipment forming part of the system (for example, a permanently installed DJ mixer which only ever needs to feed its output to that particular zone.)
Wire an external balanced source to the facility port as shown below:
Z8II/Z4II Facility Port
1
6
2
7
3
8
4
9
5
g.24: Auxiliary zone input
+
-
SCSCN
pin 1 ground pin 2 hot pin 3 cold
3
SCN
+
-
An unbalanced source may also be connected; the use of balancing transformers is recommended.
RL-1 and RSL-6 remote control
plates – general considerations
Cloud RL-1 and RSL-6 remote input plates are the same physical size as a single-gang UK electrical socket and can be
mounted in a standard ush or surface-mounting box of
25 mm depth.
The plates should be connected to the Music Control port of the relevant zone using single- or twin-core screened cable as described at page 14 - Connecting an RL-1 remote
control plate and page 15 - Connecting an RSL-6 remote control plate. The plate terminations are conventional screw
terminals and the Music Control port on the mixer is a 3-pin 5 mm-pitch screw terminal connector.
PIN USE
1 0V ref. 2 Music level control ( 0 to +10 V)
3 Music source selection (0 to +10 V)
CONTROL
SYSTEM
+15 V
4k7
MUSIC SOURCE
SELECT
MUSIC VCA
g.25: External DC control
15k
0 V
CONTROL PORT
3
2
1
MUSIC
SOURCE CONTROL
LEVEL CONTROL
0 V REF
NOTE: If the control voltage source is not isolated from the power earth, there is a small risk of creating a ‘ground loop’ by linking the mixer technical ground (0 V) to the ground (0 V) of the equipment supplying the control voltages. To minimise this risk, we suggest that all pieces of equipment be in close proximity, and supplied from the same power outlet.
Music level
Music level in a zone may be varied over its full range by applying a DC voltage of between 0 and +10 V to pin 2, the 0 V reference being connected to Pin 1. 0 V on pin 2 corresponds to maximum level and +10 V will produce 60 dB of attenuation. The rate of attenuation is approximately 165 mV/dB.
Note that there is an internal 4k7 “pull-up” resistor between
pin 2 and the internal +15 V rail. If pin 2 is left “oating”, this
pull-up will result in full attenuation. The output impedance of the control voltage source should be low enough to overcome the effect of this resistor.
The remote control plates are passive and thus do not draw any current from the mixer.
Control of music source and level via external DC
It may be necessary in some installations to adjust the music level and select music source in one or more zones from an external control system (e.g., Crestron, AMX, etc.). If the Music Control ports are not required for RL-1/ RSL-6 remote control plates, they may be used to input DC voltages from the external system to effect these adjustments.
Both music source selection and level can be controlled over their full ranges with a DC voltage of 0 to +10 V. The pinout of the Music Control port is as follows:
Z4II & Z8II Installation and User Manual v1.0 19
Music source
Music source for a zone may be controlled by applying various DC voltages of between 0 and +10 V to pin 3, the 0 V reference being connected to pin 1. 0 V at pin 3 will select Line input 6 and between +7.5 and +9 V will select Line input 1. The other line inputs will be selected with intermediate voltages. Taking pin 3 above +9 V will deselect all inputs, making the zone effectively ‘off ’ for music.
The table below lists the DC voltages required at pin 3 to select each line input. The third column is the value of a resistor which should be connected between pins 1 and 3 to permanently ‘force’ a zone to a particular line input.
INPUT DC VOLTAGE RESISTOR VALUE
OFF >+9.0 V Line 1 +7.5 V 16k Line 2 +6.0 V 11k Line 3 +4.5 V 6k8 Line 4 +3.0 V 3k9
Line 5 +1.5 V 1k8 Line 6 0 V short-circuit
Note that there is an internal 15k “pull-up” resistor between pin 3 and the internal +15 V rail. If pin 3 is left
“oating”, this pull-up will cause ‘OFF’ to be selected. The
output impedance of the control voltage source should be low enough to overcome the effect of this resistor.
Fitting Bose® Series II EQ cards
The Z4II and Z8II are compatible with Bose® Series II loudspeakers; a single-channel Bose® equalisation module
may be tted to as many Zone outputs as necessary.
Equalisation modules for the following Bose® models are available:
• Panaray MA12
• Panaray 402-II, 502B and 502BEX
• Panaray LT Series: Models 3302, 4402, 9402 and 9702
Other modules are available; please enquire.
To install equalisation modules, rst remove the top cover
from the Z4II/Z8II (6 screws). The modules plug into the white 12-pin connectors labelled CON2 on the vertically­mounted sub-cards; there is one sub-card for each zone output. Note the header connectors on the PCB have two notches on one side only; these engage with lugs on the equalisation module’s mating connector to ensure correct orientation.
See the Appendix section “PCB jumper locations and settings” page 23 for further details. Replace the top cover
with the original screws after tting.
Z4II & Z8II Installation and User Manual v1.020
Z4II & Z8II Installation and User Manual v1.0 21
Appendix
Application example
The Z8II will nd application in many types of premises, including shops, bars, hotels, schools, conference centres, ofces, etc.
A typical example using most of the Zone Mixer’s facilities is given below.
CD PLAYER
FREEVIEW
RECIEVER
PC
RADIO TUNER
LOCAL
MICS
INPUT 1
INPUT 2
INPUT 3
INPUT 4
INPUT 5
INPUT 6
MIC 1
MIC 2
PAGING MIC
PAGING ACCESS
ZONE 1
ZONE 2
FACILTY PORTS
ZONE 3
ZONE 4
ZONE 5
ZONE 6
ZONE 7
ZONE 8
POWER
AMPLIFIERS
ZONE 1
ZONE 2
ZONE 3
ZONE 4
ZONE 5
OUTPUTSMUSIC CONTROL PORTS
ZONE 6
ZONE 7
ZONE 8
ZONE 1
ZONE 2
ZONE 3
ZONE 4
ZONE 5
ZONE 6
ZONE 7
ZONE 8
OTHER AREAS
RSL-6
RL-1
AREA 1
AREA 2
LM-1
AREA 3
PM PAGING
MICROPHONE
DM-1
g.26: Example application
The diagram depicts a system where four possible music (or other audio) sources are made available to three or more zones (areas). Only three are shown for clarity. Points to note:
• Area 1 and Area 3 have remote control plates installed: an RSL-6 (music level and source) in Area 1 and an RL-1 (music
level only) in Area 3. These are wired to the Music Control Ports for their respective zone outputs.
• Area 1 also includes a DM-1 dual mic input plate, permitting microphones to be plugged in locally for PA purposes in that
area. This is wired to Zone 1’s Facility Port.
• Area 2 includes an LM-1 mic/line input plate, wired to Zone 2’s Facility Port. This would allow both a microphone and a
portable stereo music source to be connected in that area. The LM-1 also provides music source and level control; note that the LM-1 does not require a second connection to the Music Control Port to enable this.
• Area 3 has a Cloud PM paging microphone, which would be used to originate voice messages to any of the other areas.
The paging level to Area 3 (if required) would be adjusted on installation to be at a level that does not cause feedback.
Z4II & Z8II Installation and User Manual v1.022
PCB jumper location and settings
The Z4II and Z8II have various internal jumpers, the setting of which may require alteration during installation. Note that there are jumpers on both the motherboard and the individual zone sub-cards. The table below lists each jumper and its purpose, together with the factory default setting. Note that options selectable by jumpers on the zone sub-board are per-zone, and will need to be set on as many zone sub-boards as necessary.
JUMPER NAME EFFECT DEFAULT
MOTHERBOARD JUMPERS
J1 MIC 1
phantom power
J2 MIC 2
phantom power
J3 Paging Mic phantom
power
J4 Music Mute NO/NC N/O: Contact closure required for muting
J1 Music source selection SW: Follows rear panel switch
J2 Line 6 priority OFF: No priority
J3 Music ducking release
time
J4 Mic priority over facility
input
J5 Paging mic priority trig-
ger
J6 MIC 1/MIC 2 priority OFF: No priority – mics mix with music
OFF: MIC 1 phantom power OFF ON: MIC 1 phantom power ON
OFF: MIC 2 phantom power OFF ON: MIC 2 phantom power ON
OFF: Paging mic phantom power OFF ON: Paging mic phantom power ON
N/C: Contact opening required for muting
ZONE SUB-BOARD JUMPERS
FR: Always via front panel only
ON: Line 6 has VOX-triggered priority over other sources 3S: 3 seconds. release time
6S: 6 seconds release time ABSENT: 12 seconds release time
OFF: No priority ON: MIC 1, 2 & paging mic have VOX-triggered priority over signals at facility port
VOX: Paging mic signal triggers priority SW: Contact closure at Access Port enables paging mic priority
ON: Music ducks when mics in use
OFF
OFF
OFF
N/O
SW
OFF
3S
OFF
VOX
OFF
The diagram below shows the locations of the internal jumpers (not to scale) on each of the board types. The jumpers have two possible positions; the black square in the symbol indicates the default setting. If any jumpers need to be changed, turn the Zone Mixer off and disconnect it from the mains. Undo the 6 screws securing the top cover of the unit and remove it. Use a pair of small pliers to gently remove the jumpers from the PCB headers and reposition them. The jumpers on the zone
sub-boards are readily accessible from above; those on the motherboard will require long-nosed pliers. Rex the top cover
using the original screws.
g. 27 and g.28 give the locations of all the jumpers and of the socket for the optional Bose® EQ cards.
Z4II & Z8II Installation and User Manual v1.0 23
FRONT OF UNIT
J2
J1
* Z8 II ONLY
g.27: Jumper locations
ZONE 8*
J6
ZONE 7*
ZONE 6*
ZONE 5*
ZONE 4
ZONE 3
ZONE 2
J3
J3 J4
J2
ZONE 1
J4
POWER TRANSFORMERMOTHERBOARD (at bottom of chassis)ZONE SUB-CARDS
Jumper with two possible positions; black square indicates factory default setting.
J5
KEY:
J1
(COMPONENT SIDE)
g.28: Sub-card jumper locations
Z4II & Z8II Installation and User Manual v1.024
SOCKET FOR
OPTIONAL BOSE® EQ CARD
PSU capability and optional
EMC considerations
device current consumption
In addition to supplying the Zone Mixer’s circuitry, the internal PSU has the capacity to power some additional items which may form part of a complete system. These include LM-1 and DM-1 active remote input plates (via the
Facility Port), Bose® EQ cards (tted internally), and possibly
a PM Series paging microphone (powered via the Access Port). The maximum current capacity of the PSU available for powering external items is 120 mA (Z4II) or 190 mA (Z8II). Current consumption of the various items is listed in the table below.
ITEM CURRENT PER UNIT
DM-1 dual mic input plate 18 mA LM-1 mic/line input plate 12 mA PM-4 or PM-8 paging
microphones Bose® EQ for MA12, 402-II,
502B, 502BEX Bose® EQ for 3302, 4402,
9402, 9702
40 mA
12 mA
17 mA
The Cloud Z4II & Z8II fully conform to the relevant electromagnetic compatibility (EMC) standards and are technically well behaved; you should experience no operational problems and under normal circumstances, no special precautions need to be taken. If the unit is to be used in close proximity to potential sources of HF disturbance such as high power communications transmitters, radar stations and the like, the performance of the mixer may be reduced; we suggest that the microphone cable screen be connected to the shell of the XLR type connector and the line input leads are kept as short as possible.
The installer should ensure that the total current drawn by all the external items in a system does not exceed 120 mA (Z4II) or 190 mA (Z8II).
Note that PSU performance will be degraded at ambient temperatures in excess of 35°C.
Ground loops
If, despite your best efforts, the completed sound system ‘hums’, you probably have a ‘ground loop’. The offending
signal source can often be identied by setting the volume
control to minimum. then disconnecting the input leads (both left & right channels) on each line input until the ‘hum’ disappears. This problem is often caused by terminating a screened input cable into a signal source positioned a
signicant distance from the mixer. A good way of avoiding
this potential problem is to use signal sources (CD players and the like) that are double insulated with no connection to the mains supply earth. If a signal feed were derived from a second mixer (a club or microphone mixer for example) it would be perfectly normal to expect this to be earthed; we suggest that a transformer be used to isolate the signal and prevent a noisy loop (see page 10 - Music Sources).
Z4II & Z8II Installation and User Manual v1.0 25
Technical Specications
Line Inputs
Frequency Response 20 Hz - 20 kHz, ±0.5 dB Distortion <0.05% 20 Hz - 20 kHz Sensitivity 195 mV (-12 dBu) to 2.0 V (+8 dBu) Input Gain Control 20 dB range Input Impedance 47 kΩ Headroom >20 dB Noise -90 dB A-weighted (0 dB gain)
Microphone Inputs
Frequency Response 100 Hz / -3 dB (lter) 20 kHz ±0.5 dB Distortion <0.05% 20 Hz – 20 kHz Gain Range 10 dB – 50 dB Input Impedance >2 kΩ (balanced) Phantom power +15 V (PCB jumper for on/off) Headroom >20 dB Noise -120 dB EIN 22 Hz - 22 kHz (150 Ω) Equalisation HF: ±10 dB @ 5 kHz, LF: ±10 dB @ 100 Hz
Z4II & Z8II
Facility Input
Input Impedance 10 kΩ (balanced); pin 3 (+), pin 4 (-) Sensitivity 0 dBu (775mV) Noise Gate Ground pin 5 to open
Outputs
Balanced Zone Outputs 775 mV (0 dBu), 3 pin screw terminal connector Minimum load impedance 600 Ω Maximum output level +20 dBu (7.75 V) Music Equalisation HF: ±10 dB @ 10kHz, LF: ±10 dB @ 50 Hz
General Specications
Z4II Z8II
Power Input 230 V ±10% 115 V ±10% AC 50 - 60 Hz Fuse Rating 230 V – T100mA H
115 V – T200mA H Fuse Type 20 mm x 5 mm 250 V Dimensions (W x H x D) 482.6 mm x 132.5 mm (3U) x 160.0 mm Weight 3.83 kg net 4.40 kg net
230 V – T125mA H 115 V – T250mA H
Z4II & Z8II Installation and User Manual v1.02626
Notes
Bose® is a registered trademark of The Bose Corporation.
In the interest of continuing improvements Cloud Electronics Limited reserves
the right to alter specications without prior notice.
Z4II & Z8II Installation and User Manual v1.0 2727
Cloud Electronics Limited
140 Staniforth Road
Shefeld S9 3HF
England
Tel: +44 (0)114 244 7051
Fax: +44 (0)114 242 5462
email: info@cloud.co.uk
web: www.cloud.co.uk
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