MackieメーカーM1200/M1400の使用説明書/サービス説明書
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M•1 200/M•1 400 O WN E R’ S MAN U AL ™ OL –3 –6 –9 –20 –3 –6 –9 –20 SIG OL SIG CH 1 30 28 26 20 22 18 24 16 14 8 0 0 1.23v (+4dBu) SENSITIVITY GAIN /dB CH 2 PROTECT COLD HOT SHORT TEMP STATUS INTERNAL STATUS CH 1 CH 2 CH 1& 2 ON OFF POWER 3v 2v 1v 30 28 26 20 22 18 24 16 14 8 0 0 1.
CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
3 Part No. 820-062-00 Rev. A 12/96 ©1996 Mackie Designs, All Rights Reserved. Printed in the U.S.A. Lend Me Y our Ears Exposure to extremely high noise levels may cause per- manent hearing loss.
4 READ THIS P AGE! 6. Determine which AMP MODE is best for your application: • STEREO mode (separate left and right inputs, separate left and right outputs) is the typical setup for amplifying stereo signals.
5 • The 1/4" TRS inputs are wir ed tip = hot (+), ring = cold (–) and sleeve = shield (ground), and can accept either balanced (TRS) or unbalanced (TS) cables. 8. In MONO and BRIDGE modes, connect an input cable to CHANNEL 1 ’s INPUT only , and nothing into CHANNEL 2 ’s INPUT .
6 HOW TO USE THIS MANUAL THE GLOSSAR Y : A HA VEN OF NON- TECHINESS FOR THE NEOPHYTE Just in case you’re new to the audio world, we’ve included a fairly comprehensive dictio- nary of pro audio terms.
7 CONTENTS QUICK ST AR T .......................................................... 4 APPLICA TION DIAGRAMS ......................................... 8 FEA TURE DESCRIPTIONS .............................................. 11 GAIN ......................
8 APPLICA TION DIAGRAMS CHANNEL 2 1 CHANNEL CH 1 CH 2 SPEAKER OUTPUTS + – – + 63Hz 125Hz CONSTANT DIRECTIVITY HORN EQ /AIR EQ CONSTANT DIRECTIVITY HORN EQ /AIR EQ INPUT THRU THRU INPUT AMP MODE FREQUENCY 4.
9 M•1400: MAIN SPEAKERS AND ST AGE MONITORS WITH ONE AMPLIFIER CHANNEL 2 1 CHANNEL CH 1 CH 2 SPEAKER OUTPUTS + – – + 63Hz 125Hz CONSTANT DIRECTIVITY HORN EQ /AIR EQ CONSTANT DIRECTIVITY HORN EQ /AIR EQ INPUT THRU THRU INPUT AMP MODE FREQUENCY 4.
10 M•1200/M•1400: STEREO SYSTEM WITH CD HORNS CHANNEL 2 1 CHANNEL CH 1 CH 2 SPEAKER OUTPUTS + – – + 63Hz 125Hz CONSTANT DIRECTIVITY HORN EQ /AIR EQ CONSTANT DIRECTIVITY HORN EQ /AIR EQ INPUT THRU THRU INPUT AMP MODE FREQUENCY 4.
11 FEA TURE DESCRIPTIONS GAIN These giant knobs control the levels to the output section of the M•1200/M•1400 amplifi- ers. Y ou’ll notice that their travel is detented, meaning there ar e 40 built-in “r esting points” so you can easily set both controls to the same level.
12 tion or sound check, then leave them alone, using your signal source (usually a mixer) to control listening levels as you work. Or play . Y ou may wonder why we didn’t use just one stereo control to control both sides.
13 The M•1200/M•1400 amps draw their ventila- tion air in from the front and out through the side panels. The amp needs plenty of fresh air to stay cool.
14 CH 1 CH 2 SPEAKER OUTPUTS + – – + SERIAL NUMBER MANUFA CTURING DA TE RISK OF ELECTRIC SH OCK DO NO T OPEN REPLACE WITH THE SAME TYPE FUSE AND RA TING.
15 soothing green light adjacent to it glows. T o turn the amp off, push the lower half. It’ll click again and the green light will extinguish. When you power up the M•1200/M•1400, a built-in delay circuit prevents any pops or thumps from being transmitted to the speakers due to turn-on instability in the system.
16 In fact, you can use both the 1/4" jacks and the binding posts simultaneously . Just r emem- ber that doing so creates two parallel loads. Please see “Do The Math: Ohms, Loads and Such” in Appendix E to learn about speaker loads.
17 When connecting a balanced signal using the XLR or 1/4" jacks, they’re wir ed thusly , per AES (Audio Engineering Society) standards: XLR TRS Hot (+) Pin 2 Tip Cold (–) Pin 3 Ring Shield (Ground) Pin 1 Shield Unbalanced TS (tip-sleeve) lines can be ac- commodated via the TRS jack.
18 THRU Someday you’ll do a show at Carnegie Hall and realize that one M•1200 or M•1400 ampli- fier is just not going to do the job — you’ll need a six-foot-high rack full of ’em.
19 CD Frequency Y our compr ession drivers’ spec sheet should have a suggested frequency for compensation boost. If so, just turn the CONST ANT DIREC- TIVITY switch ON and set its knob to match that frequency .
20 The AMP MODE switch determines the in- put signal routing within the M•1200/M•1400 amplifier . Shipped from the factory , the switch is set to STEREO . This is correct for about 90% of the applications using an amp like this (hence the TYPICAL indicator near it).
21 “square off,” and the average power going into the speaker is roughly double that of a sine wave. Square waves sound awful, and could possibly damage your speakers and/or your reputation. The LIMITER is especially handy when you’re working with loud output levels.
22 3. Set the LOW CUT FIL TER frequency control to either 63Hz or 125Hz, depending on the cutoff fr equency selected in the subwoofer amplifier . Since these exact frequencies ar e not la- beled on the amplifier , you can guesstimate the position of the knob.
23 GENERAL PRECAUTIONS AND CONSIDERA TIONS AC POWER CONSIDERA TIONS Be sure the M•1200/M•1400 is plugged into an outlet that is able to supply 120V AC at high current. If the voltage should drop below 116V AC, the M•1200/M•1400 will no longer be able to supply rated power .
24 The extension cord used to supply power to the “amp rack” should have a third wire safety ground to avoid presenting a safety hazard. W e also recommend using a cord that has conduc- tors large enough to avoid severely limiting the amplifier’s ability to supply high curr ents on transients.
25 The thickness of wir e is rated in gauges. Use the chart below to determine the correct gauge of wire to use according to the distance between the speakers and the amplifier , and the impedance of the load the amplifier is driv- ing. This ensures that the power lost across the speaker wire is less than 0.
26 APPENDIX A: Ser vice Info • If the OUTPUT APPLICA TION switch is set to SUBWOOFER , make sure the LOW CUT FIL TER frequency control is set to OFF or nearly OFF . If it is turned up above the subwoofer cutoff frequency , then there will be no output from the amplifier .
27 As soon as the music gets loud, the amp shuts down! • Check the M•1200/M•1400’s meters . Be sure that OL is not lighting up frequently or continuously . • Can the amp breathe? The M•1200/M•1400 amps draw their ventilation air in from the front and out through the side panels.
28 APPENDIX B: Glossar y clipping A cause of severe audio distortion that is the result of excessive gain r equiring the peaks of the audio signal to rise above the capabilities of the amplifier circuit. Seen on an oscillo- scope, the audio peaks appear clipped off.
29 refer enced to 1 VRMS across any impedance. Commonly used to describe signal levels in consumer equipment. T o convert dBV to dBu, add 2.2 dB. decibel (dB) The dB is a ratio of quantities measured in similar terms using a logarithmic scale.
30 (also called a high-pass filter) reduces or eliminates frequencies below its cutoff fr e- quency . There are also high-cut (low-pass) filters, bandpass filters (which cut both high and low frequenc.
31 Maintaining proper circuit impedance rela- tionships is important to avoid distortion and minimize added noise. Mackie input and out- put impedances are designed to work well with the vast majority of audio equipment. knee A knee is a sharp bend in an EQ response curve not unlike the sharp bend in your leg.
32 Q A way of stating the bandwidth of a filter or equalizer section. An EQ with a Q of .75 is broad and smooth, while a Q of 10 gives a nar- row , pointed r esponse curve.
33 APPENDIX C: Connectors • Balanced mono circuits. When wired as a balanced connector , a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to sig- nal low (cold), and sleeve to ground (earth). This is the application used for the inputs to Mackie amplifiers.
34 other . The unbalanced ground (earth) connec- tion should be wired to the low and the ground connections of the balanced input. If there ar e ground-loop problems, try connecting the un- balanced ground connection only to the input low connection, and leaving the input ground connection disconnected.
35 APPENDIX D: Arcane Mysteries Illuminated sleeving on the drain wire (the one that connects to pin 1) to pr event it from contacting the connector shell. 2. Don’t connect the XLR connector shell to pin 1 of the XLR connector . Doing so is an invitation for a ground loop to come visiting.
36 of RF interference and plan for them before you begin construction. Know the frequency , transmitter power , etc. Y ou can get this information by calling the station. Remember that many broadcast stations change the antenna coverage pattern and transmitter power at night.
37 The best way to accomplish this goal is to optimize the input and output levels for each component in the system. It is best to start at the beginning of the chain (the microphone) and work your way to the end (the speakers). The following procedure details how to opti- mize a sound system with 10 dB of headroom.
38 Biamplified and triamplified systems use separate power amplifiers to power each indi- vidual low-frequency and high-fr equency driver . An electronic crossover (a.k.a. active crossover) is located between the signal source and the power amplifier .
39 APPENDIX E: T echnical Info “Parallel” means that the positive amp out- put connects to the positive terminals of all the speakers, and the negative amp output con- nects to the negative terminals of all the speakers. If one speaker fails in a parallel con- figuration, the others will still work, but the load will change.
40 SPECIFICA TIONS Continuous A verage Output Power , both channels driven: M•1200 225 watts per channel into 8 ohms from 20Hz to 20kHz, with no more than 0.025% THD 400 watts per channel into 4 ohms from 20Hz to 20kHz, with no more than 0.050% THD 600 watts per channel into 2 ohms from 20Hz to 20kHz, with no more than 0.
41 OL –3 –6 –9 –20 –3 –6 –9 –20 SIG OL SIG CH 1 30 28 26 20 22 18 24 16 14 8 0 0 1.23v (+4dBu) SENSITIVITY GAIN/dB CH 2 PROTECT COLD HOT SHORT TEMP STATUS INTERNAL STATUS CH 1 CH 2 CH 1& 2 ON OFF POWER 3v 2v 1v 30 28 26 20 22 18 24 16 14 8 0 0 1.
42 CH 1 BALANCED LINE INPUT (TRS) CH 1 BALANCED LINE INPUT (XLR-F) LIMITER LIMITER ON OFF LOW CUT FIL TER LOW P ASS FIL TER (SUBWOOFER) + – 80 VDC + – 90 VDC T OR OID AL P OWER TRANSFORMER LAMP FU.
43 COLOPHON Manual written by Jeff Gilbert and Dave Franzwa, with tidbits borrowed from almost everywhere, including huge chunks of techni- cally baffling text contributed by Rick Chinn.
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