Allen & Heath Xone:464 XONE 464 ユーザーズマニュアル
製品コード
XONE 464
20
XONE:464 User Guide
Mono Input Channel
PAD Affects both the XLR (if no TRS jack is plugged in) and the TRS jack
input to attenuate the input signal by 30dB. Press PAD when plugging in line
level sources, or when the signal is too high with the GAIN control turned down.
input to attenuate the input signal by 30dB. Press PAD when plugging in line
level sources, or when the signal is too high with the GAIN control turned down.
GAIN Adjusts the input sensitivity to match the connected source to the
console 0dB operating level. This provides a wide 70dB range with continuous
adjustment for signals from –60dBu to –20dBu with PAD switched off, and –
30dBu to +10dBu with PAD on. Use the Cue system to correctly set the gain
using the console meters.
console 0dB operating level. This provides a wide 70dB range with continuous
adjustment for signals from –60dBu to –20dBu with PAD switched off, and –
30dBu to +10dBu with PAD on. Use the Cue system to correctly set the gain
using the console meters.
100HZ FILTER Switches in the high pass filter to cut frequencies below 100Hz
with a slope of 12dB/octave. Use this to clean up vocals by reducing
microphone proximity popping and low frequency ambient pickup, and to filter
out hum and rumble. The filter is post-insert and pre-EQ so that it affects the
signal returned from any inserted equipment by removing the unwanted low
frequencies before equalisation.
with a slope of 12dB/octave. Use this to clean up vocals by reducing
microphone proximity popping and low frequency ambient pickup, and to filter
out hum and rumble. The filter is post-insert and pre-EQ so that it affects the
signal returned from any inserted equipment by removing the unwanted low
frequencies before equalisation.
EQUALISER
The channel equaliser is a powerful tool to creatively tailor the
sound within the mix, or to deal with source problems such as poor microphone
characteristics, noise and feedback. Start with the EQ controls set to their mid
(flat) position and make sure you have chosen the best type and position of
microphone for the source. Then adjust the EQ to achieve the sound you want.
Take time to experiment with the controls so you get to learn the effect the
equaliser can have on the sound.
characteristics, noise and feedback. Start with the EQ controls set to their mid
(flat) position and make sure you have chosen the best type and position of
microphone for the source. Then adjust the EQ to achieve the sound you want.
Take time to experiment with the controls so you get to learn the effect the
equaliser can have on the sound.
The
XONE:464 mono channel provides separate tone control over four
frequency bands including two swept frequency (parametric) mids. The
frequencies in each band may be boosted or cut by up to 15dB. The centre flat
position is detented for quick resetting.
frequencies in each band may be boosted or cut by up to 15dB. The centre flat
position is detented for quick resetting.
HI Turn this control clockwise to boost and anticlockwise to cut the high
(treble) frequencies. This has a shelving response with all frequencies above
the 12kHz turning point affected. Note that frequencies below 12kHz are
affected by a decreasing amount. Use HI boost to brighten up the sound by
adding sparkle, and cut to reduce source hiss or ambient high frequency pickup.
(treble) frequencies. This has a shelving response with all frequencies above
the 12kHz turning point affected. Note that frequencies below 12kHz are
affected by a decreasing amount. Use HI boost to brighten up the sound by
adding sparkle, and cut to reduce source hiss or ambient high frequency pickup.
MID 1 Turn the +/- control clockwise to boost and anticlockwise to cut the
higher mid frequencies. This has a bell shaped peak/dip response that has
maximum boost or cut at the selected frequency. Use the upper control to
select this centre frequency between 500Hz and 15kHz. Boosting around 3kHz
can enhance the intelligibility of vocals helping them to cut through the mix.
Cutting to notch out a ringing frequency can help to increase the gain before
feedback.
higher mid frequencies. This has a bell shaped peak/dip response that has
maximum boost or cut at the selected frequency. Use the upper control to
select this centre frequency between 500Hz and 15kHz. Boosting around 3kHz
can enhance the intelligibility of vocals helping them to cut through the mix.
Cutting to notch out a ringing frequency can help to increase the gain before
feedback.
MID 2 This is similar to MID 1 but affects the lower mid frequencies selectable
from 35Hz to 1kHz. Boosting can enhance the warmth of the sound while
cutting can reduce the effect of resonant or boomy frequencies.
from 35Hz to 1kHz. Boosting can enhance the warmth of the sound while
cutting can reduce the effect of resonant or boomy frequencies.
LO Turn this control clockwise to boost and anticlockwise to cut the low (bass)
frequencies. This has a shelving response with all frequencies below the 60Hz
turning point affected. Note that frequencies above 60Hz are affected but by a
decreasing amount. Use LO boost to enhance low end punch, and cut to
further reduce source hum and rumble.
frequencies. This has a shelving response with all frequencies below the 60Hz
turning point affected. Note that frequencies above 60Hz are affected but by a
decreasing amount. Use LO boost to enhance low end punch, and cut to
further reduce source hum and rumble.