Assessments - 4, GPA: 4.8
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TROUBLESHOOTING WARRANTY one Specifications SECTION 1.0 GENERAL SPECIFICATIONS FREQUENCY RESPONSE — Mic Input to Any Output. EQ Flat. All Faders Nominal 20-20.000 Hz ± 1 dB TOTAL HARMONIC DISTORTION — <0.05% at +4 dBu'. 20-20.000 Hz <0.10% at +24 dBu. 20-20.000 Hz HUM AND NOISE — Measured with a DIN audio filter (22-22 kHz) -128 dBu EIN-equivalent input noise, mic input terminated 150 G. Mixer signal-to-notse ratio measured with masters at nominal and all inputs off. 79 dB CROSSTALK — - 65 dB typical at 1 kHz adjacent inputs to outputs - 40 dB minimum, all combinations 20-20,000 Hz MAXIMUM VOLTAGE GAIN ±3 dB — 86 dB — Me In to Mam Out 76 dB — Me In to Sub, and Monitor Out 60 dB — Line In to Main Out 50 dB — Line In to Sub. and Monitor Out MICROPHONE INPUTS — Low impedance, balanced — pin 2 reference positive Maximum input level +6 dBu (1.5 V) Input impedance at 1 kHz: 4400 Q Common Mode Rejection Ratio. Typical: -75 dS Minimum, 20-20,000 Hz: -55 dB LINE INPUTS — High impedance, balanced tip positive Maximum input level: +24 dBu (12 V) Input impedance: 60 kO INPUT CHANNEL EQUALIZATION — ±15 dB shelving at 100 Hz ±15 dB peak/dip sweeping from 350-5,000 Hz ± 15 dB shelving at 10 kHz PEAK INDICATOR THRESHOLD — +16 dB on input channel (4 dB before dipping) +14 dBu on VU meter (10 dB before clipping) VU METER CALIBRATION — 0 VU » +4 dBu (1 228 V) HEADPHONE OUTPUT — Output 20 mW into 8Q Frequency response. 50-15,000 Hz at ±2 dB LAMP CONNECTOR — 12 V ac 375 mA maximum PHANTOM POWER — 48 V dc at pin 2 and 3 on mic connector. 6.8 <0 source impedance POWER REQUIREMENTS — 100. 120. 220 or 240 V ac 50/60 Hz. 40 watts (120 V ac) PFL (pre-fader listen) — Switchable for input and output channels AUX 2 SEND (Input channels) — Switchable pre- or post-fader LINE LEVEL INPUTS OUTPUTS MAXIMUM LEVEL INPUT IMPEDANCE MAXIMUM LEVEL MINIMUM LOAD INTERNAL IMPEDANCE Left & Right Insert + 20 dBu 10 kO Main (balanced) +24 dBu 600 n 75 n Left & riignt Tape Return 5 kO Monitor (balanced) + 24 dBu 600 n 75 O Aux Input 1 & 2 + 20 dBu 51 kn Left Sub (balanced) + 24 dBu 600 o 75 D Monitor Input + 20 dBu 75 kO Right Sub (balanced) + 24 dBu 600 n 75 O Input Channel Insert + 20 dBu 5 kQ Left & Right Insert + 20 dBu 2000 O 100 O Aux 1 & 2 Out + 20 dBu 600 o ioo a Input Channel Insert + 20 dBu 2000 Q 100 n - two Signal Flow Diagram SECTION 2.0 I SIGNAL FLOW DIAGRAM three Input Channel Controls SECTION 3.0 3.0 INPUT CHANNEL CONTROLS (Figure 1) 3A - TRIM CONTROL — 3B - EQ CONTROLS 3C - MONITOR SEND 3D - AUXILIARY SEND The input channel is the beginning of the signal amplification chain of the mixer. Each input channel will accept one signal source which may be equalized, have effects added and sent to the monitor and main system for the audience to hear. Each input has a low-impedance microphone input (the 3-pin XLR connector) and a high-impedance mic or line input (1A-inch phone jack). The line input will accept signals from an instrument, high-impedance microphone, tape/CD player, keyboard or electronic drums or almost any other audio source. Always make sure that the channel fader (see illustration) or master faders are down before plugging or unplugging input sources. 3A. TRIM CONTROL The TRIM control adjusts the gain of the input amplifier. This is necessary to accommodate the wide variation in signal strength presented to the mixer by the endless variety of signal sources — vocal mics, instruments, CD players, etc. The TRIM control allows you to optimize the amplification for each individual input source. Correct setting of the TRIM control results in the best signal-to-noise ratio (... no hiss) and the greatest dynamic range and freedom from overload distortion. 3E - PAN CONTROL 3F - PFL 3G - CHANNEL CLIP LED 3H - CHANNEL FADER TO GET THE CLEANEST, QUIETEST OPERATION FROM THE BOARD, IT IS IMPORTANT THAT THE TRIM CONTROL BE PROPERLY SET. To set up a mix. first set all TRIM controls at "0" (minimum). Start at the output stage of the mixer and work back towards the input. Set the subgroup controls and the channel faders at "O" (nominal level). Set the EQ. Use as little gain from the TRIM control as possible to achieve balance. To achieve the lowest noise and widest dynamic range, you want to run the output section hard and use little or no TRIM adjustment. Work with the output section of the mixer and the level controls on your amplifier to achieve the necessary playback level. 3B. EQ CONTROLS Equalization can be more simply described as sophisticated tone control. The EQ circuits used in the BK-42 series have a substantial amount of sound shaping capability. This wide range can be a bonus when dealing with widely-varying instrument signals, poor acoustics EQ Controls 3B. EQ CONTROLS (continued) or other problems. The EQ should be used sparingly, however, for the best results. Too liberal use of the EQ can cause phasing problems, add noise and use up a lot amplifier power. 3B-1....