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™
RQ 1606M
Reference Quality Console
®
OWNER’S MANUAL
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Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. CAUTION: Risk of electrical shock — DO NOT OPEN! CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside.
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ENGLISH ™ RQ 1606M Monitor Console GENERAL DESCRIPTION: ™ The RQ 1606M compact mixer was designed to be used as a monitor console in sound rein- forcement applications; it will complement any house console by expanding its monitor capabilities. The mixer’s six monitor sends and left/right outputs make it possible to use it as a house mixer with six equalized monitor sends—two can be used as effect sends by setting the pre/post switch to post. CHANNELS: This console has 16 input channels. All in
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CHANNEL FUNCTIONS: ® ® 1. FLS (Feedback Locator System ) These LEDs illuminate to indicate the channel with the highest energy which is often the channel countributing to feedback. This function is pre-fader. (NOTE: These LEDs illuminate with any audio signal, not just during feedback.) 2. GAIN: Varies the input gain to allow for a wide dynamic range. Proper 1 adjustment of the input gain will maximize the signal-to-noise ratio. It should 2 be set by depressing the PFL switch (#11) and adjust
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22 21 26 24 15 27 23 27 16 25 17 28 18 19 20 that gain or EQ boost should be reduced. There is roughly 3 dB of headroom remaining when it lights. If the mute switch (#12) is depressed, it lights continuously to indicate that this channel has been muted. 14. FADER: Left/right channel output level control. The level of the channel can be adjusted from off to +10 dB of gain. This slider also adjusts the relative level of monitors 5 and 6 if they are set to the post-fader signal. The optimum settin
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CAUTION! When phantom power is switched on, make sure that any channel you are plugging a mic into is muted and all monitors and auxs are at minimum. Otherwise there will be a loud pop in the PA. This is normal. It is best to plug all mics into their respective channels with the phantom power switched off. This reduces noise in the PA and reduces the chances of the mic being damaged. 16. LOW CUT: A low cut filter with an adjustable corner frequency (10 to 300 Hz). It is used to filter out rumb
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32 33 39 38 37 31 43 36 30 35 42 29 34 41 40 BACK PANEL INPUT AND OUTPUT JACKS: 29. THRU: This is a pass-through jack wired in parallel with the input jack (non-solated and has the same signal level). This jack also has the same phantom power that the other connector has, so use caution when connecting other equipment that could be damaged by 48 V DC. (#15) 30. LOW-Z INPUT: XLR balanced input optimized for a microphone or other low-impedance source. Pin 2 is the positive input. Because of the
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39. PFL LINK: This is a port that makes it possible to parallel two RQ 1606M mixers, increasing the number of inputs. A shielded stereo (TRS) cord connected between them will cause the two mixer’s PFL circuits to merge. Then any PFL switch pressed will take over the right meter of the unit supplying the signal and change the headphone/wedge source on both units. 40. MAIN OUTPUTS: 1/4" unbalanced and XLR balanced outputs of the left and right mixes. The output level is set by the master left an
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™ USING THE RQ 1606M AS A HOUSE MIXER: 1. Connect the low-impedance microphones to the XLR inputs. Any mic that requires an external effect processor or compressor should be connected to one of the first eight inputs which have insert jacks. 2. High-impedance inputs (synth, CD, tape, etc.) should be connected to the 1/4" Hi-Z inputs on channels 9-16. These are balanced (TRS) and have the same gain as the XLR inputs, but do not have phantom power available. High level signals will require act
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10 ™ RQ 1606M LEVELS DIAGRAM
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11 ™ RQ 1606M BLOCK DIAGRAM
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™ RQ 1606M LOW CUT ADJUST dB ™ RQ 1606M MID SWEEP dB 12
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13 ™ RQ 1606M HOOK-UP DIAGRAM Wedge for side- stage monitoring Right wedge Left wedge In Ch. A In Ch. B ® CS 800S ™ Out Ch. A Out Ch. B SP 112M ™ Cirrus out in Hi-Z ™ DeltaFex out in ™ DeltaFex To PFL Link of a second ™ RQ 1606M In - Ch. A In - Ch. B ® CS 800S Mic Out - Ch. B Out - Ch. A ® SRC 6024 ™ SP 112M
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® RQ 1606M Monitor Console Specifications: Input Specifications: Function Input z Input Gains Input Levels^ Bal./ Connector (ohms) Setting Min** Nominal* Max UnBal. Min XLR Input 2.2 k Max gain -77 dBu -57 dBu -35 dBu Bal. XLR: Pin 1 Gnd (150 ohms) (57 dB) Pin 2 (+), Pin 3 (-) Min. gain -30 dBu -10 dBu +12 dBu (10 dB) Hi-Z 10 k Max. gain -77 dBu -57 dBu -35 dBu Bal. 1/4" TRS: Tip (+), (10 k ohms) (57 dB) Ring (-), Sleeve Ground Min. gain -30 dBu -10 dBu +12 dBu (10 dB) Insert
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™ RQ 1606M Output Specifications: Function Minimum Load Z Output Level Bal./Unbal. Connector (Ohms) Nominal Max. Main L/R 600 0 dBu +22 dBu Unbal. 1/4" Phono Monitor +4 dBu +26 dBu Bal XLR: Pin 1 Gnd, Pin 2 (+), Pin 3 (-) (Bal) Channel 600 0 dBu +22 dBu Unbal. 1/4" TRS: Tip Send, Insert Send Ring Return, Sleeve Ground Wedge 600 0 dBu +22 dBu Unbal. 1/4" Phone Headphone 8 0 dBu +22 dBu Unbal. 1/4" TRS: Tip Left, (no load) Ring Right, Sleeve Ground 0 dBu = 0.775V (RMS) ™ RQ 1606M Hum and
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™ RQ 1606M Specifications: Gain: Input gain adj. range: -10 dB to 57 dB (includes pad) Input to any bal. output: 81 dB (max. gain) Monitor Aux in to monitor bal. output: 10 dB (max. gain) Frequency Response: Mic Input to L-R output: 20 Hz to 64 kHz + 0 dB / -1 dB Total Harmonic Distortion (THD): <0.003% 20 Hz to 20 kHz Mic to L-R output: (10 Hz to 80 kHz BW) Equivalent Input Noise (EIN): -129 dBu (Input terminated with 150 ohms) Crosstalk: >80 dB adjacent input channels: (20 Hz to 20 kHz) >70 dB
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ESPAÑOL ™ Consola de Monitoreo RQ 1606M Consulte los diagramas del panel delantero en la sección de inglés de est manual. DESCRIPCIÓN GENERAL: ™ La consola RQ 1606M es un mezclador compacto que se puede usar como consola de monitoreo en aplicaciones de refuerzo de sonido. Resulta útil como complemento de la consola del estudio porque expande sus capacidades de monitoreo. Esta consola mezcladora tiene seis señales de muestra de monitoreo y salidas derecha e izquierda. Se puede usar también como m
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El nivel de PFL maestro se configura con su propio control. La señal del bus de AFL corre- sponde a la salida seleccionada y no tiene ajuste independiente. Si no se pulsa ningún interruptor de AFL o PFL, no hay señal en los circuitos de auriculares o en las salidas de monitoreo de grabación. El conector del micrófono de intercomunicador tiene alimentación fantasma en todo momento, independientemente de la posición del interruptor de alimentación fantasma (esta carac- terística es necesaria si la
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9. MON 5,6 PRE/POST (PREATENUACIÓN/POSTATENUACIÓN DE MONITOR 5 y 6): Establece la señal que estará presente en las señales de muestra de monitoreo 5 y 6 (Nº 8). En la posición hacia afuera, toma la señal después de la ecualización de tonos y antes del atenuador del canal (Nº 14). En la posición hacia adentro, toma la señal después del atenuador. 10. PAN (BALANCE): Configura la posición del canal en el campo estereofónico izquierdo/ derecho. No afecta las señales de muestra de monitoreo. 11.
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sus canales respectivos con la alimentación fantasma desconectada. De esa forma, se reduce el ruido del amplificador de potencia y disminuye la probabilidad de dañar el micrófono. 16. LOW CUT (CORTE DE BAJA FRECUENCIA): Filtro de corte de baja frecuencia con frecuencia de transición ajustable (10 a 300 Hz). Se utiliza para filtrar retumbos, ruidos de viento, golpes de soplido, ruidos del escenario y otros componentes de baja frecuencia que quitan potencia a los amplificadores y ensucian la seña
