User manual PRESONUS DIGIMAX

[. . . ] PreSonus reserves the right to change or improve the design of the product at any time without prior notice. This warranty does not cover claims for damage due to abuse, neglect, alteration or attempted repair by unauthorized personnel, and is limited to failures arising during normal use that are due to defects in material or workmanship in the product. Any implied warranties, including implied warranties of merchantability and fitness for a particular purpose, are limited in duration to the length of this limited warranty. Some states do not allow limitations on how long an implied warranty lasts, so the above limitation may not apply to you. [. . . ] This has a smoothing effect on mid-range heavy signals and gives a flatter response characteristic. The Digimax has a switch on the front panel that lets the operator choose the sample rate. It provides selectable rates of 32k, 44. 1k and 48k. When the External clock switch is engaged the Digimax goes into "chase" mode and automatically recognizes 6 OVERVIEW which of the three sampling rates is required for optimum synchronization. Each channel of the DigiMax has a dual concentric rotary control for adjusting the channel's gain (inner) and for selecting the dual domain limiter's threshold (outer). The rear panel of the DigiMax contains analog impedance balanced outputs for each channel. These outputs provide an analog duplicate of the digital output of the unit. This duplication of the digital output allows the user to monitor the analog output with a mixing console and overcoming the "latency" problem (time delay) that may be encountered when trying to record in "digital". The DigiMax has a adatTM lightpipe output that can be used with any commercially available digital optical cable. This cable can supply eight simultaneous outputs. The DigiMax has a chassis mounted 9 pin connector which can provide either AES/EBU or SP/DIF outputs depending on which model of cable is used as well as the internal configuration of the jumpers on the output card of the unit. 7 2 CONTROLS & CONNECTIONS 2. 1 FRONT PANEL BASIC LAYOUT Eight Preamplifier sections, Sample Rate Selector with Indicators and External Clock Switch. Notice that the front panel is divided into Channel One and Channel Two each have a Hi-Z input (Channel Three through Channel Eight do not have a Hi-Z input). Both Channels One and Two contain: · · · · · Phase Reverse Switch -20dB Pad Enhancement Switch Hi-Z Input Dual Concentric Control (Inner-Gain / Outer-Limiter Threshold) · -20/Clip/Limit LED's Channels Three through Eight contain: · PAD 8 · · ENH Dual Concentric Control (Inner-Gain/Outer-Limiter Threshold) · -20/Clip/Limit LED's Dual Concentric Control: Gain. The inner concentric control provides 60dB of gain to the processed signal. The amplifier has inherent gain of 12dB thus delivering a total gain possibility of 72dB. The outer concentric control sets the Threshold of the dual domain limiter. -20 / Clip / Limit LED's The three LED's found on each channel are provided to serve different functions: -20. The LED farthest to the left is labeled ­20 and serves to monitor whether or not signal is present at the channel output. The LED labeled Clip activates at a pre limiter signal level of +24 dB. Care should be taken to avoid using signal levels that cause this LED to become active. Signal levels that reach or exceed this amount of output will cause undesirable artifacts (distortion) in the channel output signal that is being indicated by this LED. The signal level is reduced by rotating the channel's inner concentric control, counter-clockwise. The LED farthest to the right is labeled LIMIT. [. . . ] These instrument inputs are ultra high impedance amplifiers designed to allow the audio potential of an acoustic or electric instrument pickup to be fully realized. Care should be taken not to overdrive these inputs with the signals from instruments with on-board preamplifiers. 3. 4 ENHANCEMENT The Enhancement function of the DigiMax gives the processed signal a 3dB cut from 250 Hz to 5kHz. The slope of this frequency cut has a smoothing effect on the signal that is being processed. For certain voices and microphones, which may tend to possess a characteristic mid-range rise, this feature will have the effect of flattening the mids. [. . . ]