ページ1に含まれる内容の要旨
CR-1604 OWNER’S MANUAL
• • • •
–10 –10 –10 –10 –10 • –10 • –10 • –10 • –10 • –10 • –10 –10 –10 –10 –10 –10 SENSITIVITY
ADD 10dB FOR
MIC INPUTS
• • • • • •
+4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40
U U U U U U U U U U U U U U U U
16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
MAINS PHANTOM
+48V
UNBALANCED LINE INPUTS BALANCED/UNBALANCED LINE INPUTS
BAL MAIN OUT MONO AUX OUTPUTS ALT 3/4 OUT BUSS INSERT AUX RETURNS CHANNEL ACCESS TIP
ページ2に含まれる内容の要旨
9. Object and Liquid Entry — Care should be taken so that CAUTION AVIS objects do not fall into and liquids are not spilled into the RISK OF ELECTRIC SHOCK inside of the CR-1604. DO NOT OPEN 10. Damage Requiring Service — The CR-1604 should be RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR serviced only by qualified service personnel when: CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK A. Objects have fallen onto, or liquid has spilled into the DO NOT REMOVE COVER (OR BACK) CR-1604; or NO USER-SERVI
ページ3に含まれる内容の要旨
A CLOSER LOOK VERY IMPORTANT QUICK START IF YOU IGNORE CONTROLS DESCRIPTION OF CONTROLS & FEATURES MANUALS OR ARE JUST BEGINS ON PG. 4 HOT TO GET STARTED… Please at least read the sections marked INPUT INPUT/OUTPUT “POD” with these two icons: Our OUTPUT Engineering Manager POD SECTION DESCRIPTION, PG. 11 thinks this looks like a bomb. But actually it’s a genuine Buck Rogers-style CONNECTION TIPS & HOOK space ship. UP They cover information that is absolutely HOOKUP , PG. 15 critical or is unique
ページ4に含まれる内容の要旨
VERY IMPORTANT VERY IMPORTANT QUICK START AUX U Part1— A GUIDED TOUR OF THE 1 CR-1604’S CONTROLS 00 +15 All the knobs and buttons on the CR-1604’s MON IMPORTANT front panel can be broken down into sixteen U identical input modules (channel strips) plus 2 SENSITIVITY one Master Output section that’s divided into 00 +15 Aux Return and General Output sections (see ADJUSTMENT U 1 nifty diagram at right). 3 5 PROCEDURE Each input channel strip can be divided into four specific sections: 00 +15 To ful
ページ5に含まれる内容の要旨
A CLOSER LOOK OUTPUT SECTION 1 2 34567 8 9 10 11 12 13 14 15 16 PHANTOM MAINS CONTROLS CR1604 16 CHANNEL MIC/LINE MIXER & FEATURES INPUT/OUTPUT “POD” LAMP 12 VAC STEREO AUX RETURNS AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX U U U U U U U U U U U U U U U U U C 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +15 00 +20 L R MON MON MON MON MON MON MON MON MON MON MON MON MON MON MO
ページ6に含まれる内容の要旨
A CLOSER LOOK A CLOSER LOOK • We recommend going into a stereo reverb formation is contained in this range, a little AUX in mono and returning in stereo. We have midrange EQ goes a long way. It can increase U found that most “stereo” reverbs’ second presence of a mix, enhance intelligibility of a 1 input just ties up an extra AUX send and vocal or back off a strident instrument. 00 +15 adds little or nothing to the sound. MON EQ LO • All send buses are isolated from each other U 15dB boost or cu
ページ7に含まれる内容の要旨
VERY IMPORTANT A CLOSER LOOK 4 SOLO • While a channel is in SOLO mode, its AUX U signal level is sent to the CR-1604 Level This control does just what it’s name im- Meters in the Master Output section so 1 plies. By pushing the SOLO button, you can you can observe its working level. This listen in on only that channel while muting 00 +15 allows level setting for each individual MON the rest of the mixer’s output. channel using just one meter pair. U In order to make this function really useful,
ページ8に含まれる内容の要旨
Basically, the OL lights should never blink. AUX Part 2 — THE MAIN If they do, you’re courting the potential of au- U dible distortion. 1 OUTPUT SECTION • If you adjust the channel’s input SENSI- 00 +15 TIVITY too high and compensate by pulling Now that you have become more familiar MON the faders down, the OL light will still flash with the CR-1604’s channel strips, let’s move our U — even though you’re seeing conservative guided tour on to the Master control center. 2 levels on the meters. We
ページ9に含まれる内容の要旨
VERY IMPORTANT VERY IMPORTANT down or click track in your headphones, STEREO AUX RETURNS and then just before the down beat, UN- U C mute the CR-1604. • For live performance intermissions, use 1 1 1 the MAIN OUTPUT MUTE to kill hum and 00 +20 L R noise from the room and prevent drunken 10 U C 2 head bangers from mounting the stage and INPUT screaming the name of a rival band. 2 2 OUTPUT • When recording at home and the tele- POD 00 +20 3 L R phone rings, hit the MAIN mute instead of U C pulling
ページ10に含まれる内容の要旨
VERY IMPORTANT Always turn the SOLO/PHONES LEVEL con- 17 1/LEFT 2/RIGHT trol down before you put the phone on. Then (MAIN OUTPUT LEVEL FADERS) advance it for best levels with a typical sound This gallant team stands source. Engineers who fry their ears find guard over your precious themselves with short careers. main output level. They pre- You can also use the PHONES output to in- fer to be stationed below or dependently drive a separate tape recorder, at the “U” (Unity) setting. INPUT PA syste
ページ11に含まれる内容の要旨
Part 3 — INPUT/OUTPUT POD –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 –10 –10 –10 –10 –10 SENSITIVITY ADD 8dB FOR • • • • • • MIC INPUTS +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –25 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 U U U U 16 15 14 13 U 12 U 11 U 10 U 9 U 8 U 7 U 6 U 5 U 4 U 4 U 4 U 4 MAINS PHANTOM +48V UNBALANCED LINE INPUTS BALANCED/UNBALANCED LINE INPUTS LOW Z BALANCED MICROPHONE INPUTS BAL MAIN OUT MONO AUX OUTPUTS ALT 3/4 OUT BUSS INSERT
ページ12に含まれる内容の要旨
A CLOSER LOOK –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 • –10 –10 –10 –10 –10 –10 SENSITIVITY ADD 8dB FOR • • • • • • MIC INPUTS +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 +4 –40 U U U U U U U U U U U U U U U U 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 PHANTOM 22 23 UNBALANCED LINE INPUTS BALANCED/UNBALANCED LINE INPUTS LOW Z BALANCED MICROPHONE INPUTS 6 5 4 3 2 1 • DC Power is applied to Pins 2 and 3. Maximum current is
ページ13に含まれる内容の要旨
34 BAL MAIN OUT MONO AUX OUTPUTS ALT 3/4 OUT BUSS INSERT AUX RETURNS CHANNEL ACCESS TIP=OUT RING=IN L LEFT 1 2 3 LEFT LEFT 1 2 3 4 1 2 3 4 33 31 R 5 6 7 8 RIGHT MONITOR 4 5 6 RIGHT RIGHT 28 30 29 27 32 INPUT OUTPUT fate befalls the cord, you can use any standard CHANNEL ACCESS jacks For example, a POD mono plug inserted only to the first click does IEC cord like those found on most professional not interrupt the master (main outputs, recorders, musical instruments and computers (for exam
ページ14に含まれる内容の要旨
A CLOSER LOOK 30 ALT 3/4 OUT 33 BAL/UNBAL MAIN OUT – STEREO This is where the outputs appear from the These outputs are electronically balanced channels that have been assigned via the (since they have both polarities available and are MUTE/ALT switch. The post-EQ/post-fader/ capable of driving +4dBu lines with 28dB of head- post-panpot/pre-aux send signals from all of room). They’re also low impedance. the muted channels appear at these outputs. • For most music recording and PA applica- Output
ページ15に含まれる内容の要旨
Part 4 — CONNECTION TIPS It’s now time to begin hooking up all the cool through a Channel Access or Stereo Bus in- stuff you want to mix together. At this point, you sert or before/after the mixer. Processors rack mounters may want to rotate the CR-1604’s include compressors, limiters, filters or exter- input/output pod to its jacks-to-back position. Pod nal equalizers. rotation instructions start on page 20. If you want ODD DUCKS everything in yo’ face, i.e. jacks on the same plane as the contr
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kit via two “sub master faders” (actually input channels 15 & 16 of the mixer). For purposes of MONO PLUG this example, let’s assume that you have already Channel Insert jack hooked up your drum mics or machine inputs to Direct out with no signal interruption to master. Channels 1 through 5. Insert only to first “click” EXAMPLE 1 1. Now press the MUTE ALT 3/4 buttons on these MONO PLUG five input channels (They are no longer part of Channel Insert jack your main mix but are now destined for the
ページ17に含まれる内容の要旨
SUBMIX HOOKUP EXAMPLE 1 SUB-MIX CHANNELS TO BE SUB-MIXED 0 0 0 0 0 0 0 Pan Ch. 16 Pan Ch. 16 hard LEFT hard RIGHT L R L R L R L R L R L R L R PAN PAN PAN PAN PAN PAN PAN SOLO SOLO SOLO SOLO SOLO SOLO SOLO MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE ALT 3/4 ALT 3/4 ALT 3/4 ALT 3/4 ALT 3/4 ALT 3/4 ALT 3/4 these channels 15 OL 16 OL OL OL OL OL OL HOOK UP +20 +20 + 20 +20 +20 +20 +20 16 15 14 13 6 5 4 3 2 1 U U U U U U U UNBALANCED LINE INPUTS BALANCED OR UNBALANCED LINE INPUTS AUX / MONITOR OUTPUTS BU
ページ18に含まれる内容の要旨
A CLOSER LOOK ASSORTED NUGGETS OF MONITORING WISDOM CAN YOU TRUST YOUR EARS? If this has ever happened to you, don’t feel bad. Even if you have perfect You can’t appreciate a color movie if all you have is hearing, your ears will not al- a black and white TV. And just like having a good video ways give you a true idea of what monitor, the key to successful music production is an is being heard. accurate idea of what your mix really sounds like. Expecially if you like to really In order to do thi
ページ19に含まれる内容の要旨
VERY IMPORTANT QUICK START SENSITIVITY/LEVEL ADJUSTMENT — The long version As we noted at the be- 8. If you’ve set PAN hard left, view the level ginning of this manual on the left LED row. If panned hard right, achieving the CR-1604’s im- the level will appear on the right LED row. pressive noise and 9. While the sound source is activated, turn headroom specs, requires the channel’s SENSITIVITY control adjusting channel sensitiv- clockwise until the level on the CR-1604 ity to your particular se
ページ20に含まれる内容の要旨
CHANGING THE POD TO RACK MOUNT POSITION Remove back plate It only takes about five minutes and a Phillips-head screwdriver to change the CR- 1604’s input/output pod from tabletop to Remove screws here on each side. jacks-to-back position. 1. Remove all cords and cables from the Replace back plate mixer, including a lamp if you’ve plugged after rotating 180˚. Thread ribbon cable one in. through slot 2. Place the mixer gently face down on a clean, soft surface such as a blanket or very large do
