[. . . ] The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. 1 2 3 4 5 6 7 Read these instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 12 Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. [. . . ] Line in on a single, balanced 1/4' TRS Jack socket. Mic input on a single, balanced XLR female chassis connector. Mic input on a single, balanced XLR female chassis connector. VeniceF Operator Manual 46 Gain (stereo mic inputs) Chapter 6: Dual Stereo Input Channel This section has the same functionality as the gain section of the mono input channels except for the following. · 20dB pad switch On dual stereo input channels the pad switch has no effect upon the left and right line levels. Overloads are indicated on the meter by the red LED at the top (see 'Fader and meter' on page 52). The adjacent left/right symbol informs you that top control knob adjusts the left channel and the bottom one adjusts the right channel. 80Hz switch On dual stereo channels, this switch has no effect upon the left and right line inputs. left Ø switch On dual stereo channels, this microphone phase switch causes a 180-degree phase change (with respect to the input signal) in the left input amplifier only, such that the channel signal will have opposite polarity to the input signal. This switch has no effect upon the left and right line inputs. · · · Mic gain section of the dual stereo input channels FireWire Similarly to the mono input channel, this section lets you select the channel input source as mic/line (analogue) or FireWire (digital) and select the FireWire output signal as pre-EQ or post-EQ (see 'FireWire' on page 35). In addition, this section has an orange firewire out LED that shows you whether or not the FireWire signal is sourced from the local dual stereo input channel (see 'FireWire' on page 58). FireWire section of the dual stereo input channels VeniceF Operator Manual Stereo line inputs 47 Stereo line inputs This section lets you adjust the level of the stereo line input signal, solo the signal and route it to the channel or directly to masters. 1 3 2 Stereo line input section of the dual stereo input channels Item 1 Description stereo line gain control knob Adjusts the stereo line gain, which is continuously variable from 4 (infinity/off) to +20dB with a centre detent at 0dB, thus allowing low level line signals to be trimmed to obtain the optimal signal level. solo switch and yellow LED Sends the channel signal to the AFL stereo and PFL mono buses. The left and right local monitor outputs can be used, for example, when operating from within a booth to hear selected solos and not the whole FOH mix. Note: The LED meter is post-insert and post-EQ, but pre-fader and premute. 2 Fader This channel fader allows for continuous adjustment of the channel level from 4 (infinity/off) to +10dB. At 0dB, the output of the channel to the stereo, mono and group buses will be at unity, that is, no adjustment in level from the input. The meter is especially useful when setting the microphone gain of a channel. Also, as the meter is post-EQ, it is possible to see the effect that the channel equalisation has upon the level. It may be necessary to turn the input gain down when excessive EQ is used to prevent the channel from overloading. The LEDs represent the following: · · · · 18 (red): +18dB, overload (peak) 12 (yellow): +12dB, high level 0 (green): 0dB, normal level -18 (green): -18dB, shows signal is present VeniceF Operator Manual 53 Chapter 7: Output Section This chapter deals with the output section of the VeniceF. It describes the control surface and the related connectors on the rear panel. Output section of the control surface The output section comprises the following main areas: · · · · · · · · · · Group (see 'Groups' on page 57) Matrix (see 'Matrices' on page 61) Stereo return (see 'Stereo returns' on page 63) Monitor (see 'Monitors' on page 64) Aux (see 'Auxes' on page 65) Mono master (see 'Master outputs (mono and stereo)' on page 66) Stereo master (see 'Master outputs (mono and stereo)' on page 66) Talkback (see 'Signal generator and talkback' on page 68) Playback (to masters) (see 'Playback and recording' on page 69) Local monitor (see 'Local monitor and phones' on page 70) VeniceF Operator Manual 54 Rear panel Chapter 7: Output Section The main outputs of the VeniceF are located on the rear of the console. Output connections on rear panel VeniceF Operator Manual Overview of the outputs section 55 Overview of the outputs section The outputs section comprises the following main areas. Faders -- the four blue faders adjust their current assignment (for example, groups), and the red and yellow ones are for the masters. See 'Master outputs (mono and stereo)' on page 66. 6 12 5 11 3 10 2 1 9 9 10 11 12 13 7 13 4 8 VeniceF Operator Manual 56 Output module notes Chapter 7: Output Section Before looking at the function of the output section of the console, it is essential that you are comfortable with a few of the console's features that affect groups, matrices and auxes. Rather than discuss these features in each section (although they will be repeated there), an understanding of their function in a more general context is desirable. Group-aux changeover The VeniceF can be used as a front of house (FOH) console or monitor console. Monitor engineers tend to prefer the output faders on their console to operate the aux outputs (for monitors), whereas FOH engineers would rather use their output faders for groups (either for sub mixes or alternative outputs). [. . . ] If ground isolation is available it should be used so that the screen ground connection from the insert points on the console provide a reference for all signals within the inserted unit, eliminating the possibility for induced noise to corrupt the signal path. Two core cables should be used with one core carrying the signal and the other carrying the ground plus an overall screen (also grounded). The screen can be connected at both ends or, as with balanced systems, it can be broken at one end if that improves performance. Some experimentation may be needed. Source Destination Screen Chassis Chassis Earth lift switch Ground lift connection on destination Source Destination Screen Earth lift switch Chassis Chassis Ground lift connection on source VeniceF Operator Manual XLR shells 109 XLR shells XLR pin 1s should only be used to provide a ground connection for cable screens. [. . . ]