Manuel d'utilisation / d'entretien du produit 1601 du fabricant SoundCraft
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2 IMPORT ANT Please read this manual carefull y before using y our mixer f or the first time. © Harman International Industries Ltd. 2005 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0321-01 Soundcraft is a trading division of Harman International Industries Ltd.
3 Contents Contents Contents Contents Contents IMPORT ANT SAFETY INSTR UCTIONS 4 SAFETY SYMBOL GUIDE 6 INST ALLA TION 9 GENERAL PRECA UTIONS 9 MAINS INST ALLA TION 9 INITIAL WIRING CONSIDERA TIONS 10 .
4 IMPOR T ANT SAFETY INSTRUCTIONS Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water . Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
5 NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment.
6 For your o wn safety and to av oid in validation of the warranty please read this section carefully . SAFETY SYMBOL GUIDE For your own safety and to avoid invalidation of the warranty all text marked with these symbols should be read carefully .
7 INTR INTR INTR INTR INTR ODUCTION ODUCTION ODUCTION ODUCTION ODUCTION Thank you for purchasing a UREI 16XX series digital DJ mixing desk. Digital technology is revolutionizing the world around us: digital audio, digital video, digital television, digital radio -in all these fields digital technology is expanding our ideas of what is possible.
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9 GENERAL PRECA UTIONS Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry cloth is ideal.
10 INITIAL WIRING CONSIDERA TIONS For optimum performance, it is essential for the earthing system to be clean and noise free, as all signals are referenced to this earth. A central point should be decided on for the main earth point system, and all earths should be 'star fed' from this poin t.
11 POINTS T O REMEMBER In all cases, use good quality twin screened audio cable. Check for instability at the output. Always connect both conductors at both ends, and ensure that the screen is only connected at one end. Do not disconnect the mains earth from each piece of equipment.
12 INSPECTION AND INST ALLA TION UNP A CKING AND INSPECTION Y our 1601S or 1601 was carefully packed at the factory , and the container was designed to protect the unit from rough handling. Nevertheless, we recommend careful examination of the shipping carton and its contents for any sign of physical damage which could have occurred in transit.
13 CONNECTING T O A TYPICAL SOUND SYSTEM The diagram below shows how to connect the different parts of a typical sound system. The 1601S rear panel is shown.
14 MAKING ADJUSTMENTS AND FITTING SP ARES CA UTION: THE FOLLO WING SECTION IS FOR USE BY QU ALIFIED SER VICE PERSONNEL ONL Y . T O REDUCE THE RISK OF ELECTRIC SHOCK, DO NO T REMO VE THE T OP F ASCIA TO PERFORM ANY SER VICING OR O THER T ASKS, UNLESS Y OU ARE QU ALIFIED T O DO SO.
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16 DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION DESCRIPTION T OP P ANEL (1601S Shown).
17 1. MIC/LINE INPUT (see page 20): This section features [LEVEL], [EQ-HI] and [EQ-LOW] controls for the microphone/line level input stage. The combi-XLR connector accepts XLR connectors for microphone use and 1/4” Jack plugs for mono line level devices (CD/tape players, drum machines, synthesizers etc.
18 REAR CONNECT OR P ANEL 1. FX LOOP [AUX] -RCA Phono Connectors Use these sockets to connect any external effects processor . Alternatively , you can use the [FX RETURN] sockets to connect an additio.
19 FRONT P ANEL 1. CH1: 3 Position curve control and Reverse These controls allow you to change the curve of the input fader and reverse the fader action. See also page 23. 2. X-F ADER: Rotary position curve control and Reverse These controls allow you to change the curve of the x-fader and reverse the fader action.
20 OPERA OPERA OPERA OPERA OPERA TION TION TION TION TION GETTING ST ARTED Before use, please observe the following guidelines: CONNECTIONS: Before making any connections, make sure that the power on all your equipment is turned OFF . Connect the audio cables for a typical system setup as shown on page 13.
21 LEVEL CONTROL This control sets the input level for the microphone or line-level device. At the fully anti-clockwise position there will be no sound. As the control is moved in a clockwise direction the level will be gradually increased until, at the fully clockwise position, the level will be at its maximum.
22 CHANNELS 1 & 2 This section of the mixer features all the main controls for input channels 1 & 2, most of which come under the control of the digital signal processor (DSP).
23 When using high output playback devices it may be necessary to select the -10dB pad or the -20dB pad (or both) to stop the inpu t channel from overloading. The locations of these pads are shown on page 15. TRIM The trim controls allow a +/-15dB trim range to be applied to each channel’s signal.
24 FX SEND & RETURN / A UX This section features controls for the effects send/return loop, which can also be used as an auxiliary input/record output.
25 RETURN / A UX -LEVEL This control sets the amount of signal coming back from the connected effects unit. At the fully anti-clockwise position there will be no sound. As the control is moved in a clockwise direction the input level will be gradually increased until, at the fully clockwise position, the input level will be at its maximum.
26 MASTER / BOO TH OUTPUT This section of the mixer features controls and indications for the master and booth outputs. MASTER LEVEL This control adjusts the level of the master output volume on both the balanced and unbalanced outputs. At the fully anti-clockwise position there will be no sound.
27 THE EXCITER At the fully anti-clockwise position of the [MIX] control 0%, no EXCITER will be applied to the main mix. As the control is rotated clockwise the EXCITER is gradually added to the mix. At the fully clockwise position of the [MIX] control 100%, the amount of the EXCITER added to the mix will be 100%.
28 HEADPHONE MONIT OR This section of the mixer features all the headphone monitoring controls which, again, come under the control of the DSP . This allows the inclusion of a special cue EQ control which filters-out unwanted frequencies, letting you tune-in to defined elements within the sound and create a perfect mix.
29 X-F MONIT OR When the [MASTER/CUE SELECT] is set to CUE the [X-F MONITOR] control adjusts the relative mix balance between CH1 and CH2. When fully over to the LEFT position only CH1 sound will be audible. As the control is moved to the RIGHT CH2 sound will b e gradually introduced until, at half-way , CH1 and CH2 sound will be equal.
30 THE SAMPLER (1601S ONL Y) THE CONTROLS 1 RE-WRITE This button is used to over-record any pre-recorded samples. LOOP-RE-WRITE: If recording over a loop that is currently playing, the old loop will continue to be played until the new loop has finished recording.
31 5 BPM LOCK The LED flashes when searching for the BPM. When the BPM is LOCKED the LED will stay on. If the BPM loses sync the LED will flash again as it searches for the BPM. Note: in disengage mode the LOCK LED is off and the T AP/CLEAR LED stays on to indicate that disengage mode is selected.
32 RECORDING LOOPS This is where you create the loop samples. There is no input level setting as the onboard AGC (Auto Gain Control) takes care of all level adjustments automatically . Y ou can record and play back the 2 individual loops up to 32 beats long.
33 During the sampling process the selected A or B [REC/MUTE] button LED will flash and count the number of beats. The LED on the bank NOT recording will go out. Y ou can select the desired length of loop from 1 though even-numbered beats up to 32 beats: to end the recording of the loop press the [REC/MUTE] again.
34 T o re-sample or record a loop, simply press the desired [REC/MUTE] button (A or B) once (whether it is pre-recorded or empty). If you wish then to RE-SAMPLE the other sample bank (A or B) repeat the above process.
35 BL BL BL BL BL OCK DIA OCK DIA OCK DIA OCK DIA OCK DIA GRAM GRAM GRAM GRAM GRAM Please note: to assist the user in understanding the routing of the signals within the mixer , this block diagram has been drawn as if the mixer is an entirely analogue device.
36 CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS CONNECTING LEADS.
37 TR TR TR TR TR OUBLESHOO OUBLESHOO OUBLESHOO OUBLESHOO OUBLESHOO TING TING TING TING TING Problem: No Power . No sound Check power supply connection. Check position of input controls: SELECTOR / TRIM / LEVEL / EQ CUT . Check input connections. Check crossfader position.
38 SPECIFICA SPECIFICA SPECIFICA SPECIFICA SPECIFICA TIONS TIONS TIONS TIONS TIONS DIGIT AL AUDIO: Sample rate: 96kHz Conversion rate: 24 bit FREQUENCY RESPONSE: CD/Line: 20 Hz to 20 kHz (+/-0.5 dB) Phono: 20 Hz to 20 kHz (+/-1.5 dB/RIAA) MIC [Line]: 20 Hz to 20 kHz (+/-2 dB) [20 Hz to 20 kHz (+/-0.
39 WARRANTY WARRANTY WARRANTY WARRANTY WARRANTY 1 Soundcraft is a trading division of Harman International Industries Ltd. End User means the person who first puts the equipment into regular operation.
40 GL GL GL GL GL OSSAR OSSAR OSSAR OSSAR OSSAR Y Y Y Y Y Amplitude: Another term used for signal level. Attenuate: Reduce the signal level. Auxiliary (Aux): An independent mix derived from the channels for various functions. This can be set pre (before) or post (after) the channel fader .
41 Earth Loop (Ground Loop): The result when the equipment sees more than one path to the system earth. Current flows because a resistive loop susceptible to radio and mains interference is formed. In severe cases this can result in audible hum or buzz in the system.
42 Pre-fade: The signal is taken from a point in the circuit which is before the fader . Post-fade: The signal is taken from a point in the circuit which is after the fader . RIAA: Record Industry of America Association, responsible for the long established equalisation standard that is applied to the signal produced by a turntable cartridge.
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Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté SoundCraft 1601 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du SoundCraft 1601 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation SoundCraft 1601, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le SoundCraft 1601 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le SoundCraft 1601, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du SoundCraft 1601.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le SoundCraft 1601. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei SoundCraft 1601 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
