Broadcast Studio Microphones
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Owner's Manual Contents • I
DIGITAL AUDIO HARD DISK RECORDER OWNER’S MANUAL MODEL DR-2750 SOFTWARE VERSION 3.xx FIRST EDITION SEPTEMBER 2000 P ROFESSIONAL DIGITAL AUDIO www.360systems.com [email protected] Safety Compliance DigiCart/II Plus complies with the following safety standards: • UL 1950, Standard for Safety of Information Technology Equipment, Including Electrical Business Equipment. • EN 60950, Standard for Safety of Information Technology Equipment, Including Electrical Business Equipment. EU Declaration of Conformity Type of Equipment: Professional Use Audio Equipment. Conforms to the Following Standards: • EN55103-1 (1997) (Emissions) Electromagnetic compatibility – Product family standard for audio, video, audio-visual and entertainment lighting control apparatus for professional use. • EN55103-2 (1997) (Immunity) Electromagnetic compatibility – Product family standard for audio, video, audio-visual and entertainment lighting control apparatus for professional use. FCC Compliance This equipment complies with part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses and can radiate radio frequency energy and if not installed and used in accordance with the owners manual, may cause interference to radio communications. Operation of this equipment in a residential area is likely to cause interference in which case the user will be required to correct the interference at his own expense. This device will accept any interference received, including interference that may cause undesired operation. The user is cautioned that changes made to the equipment without the approval of the manufacturer could void the user's authority to operate this equipment. It is suggested that only shielded and grounded cables be used to ensure compliance with FCC rules. -
Concert Avr-4 Home Theater Surround Sound Receiver User Functionality Manual
Home Theater SYSTEM CONCERT AVR-4 Home Theater Surround Sound Receiver User Functionality Manual For those who consider perfection possible® AudioControl ® 22410 70th Avenue West • Seattle, WA 98043 USA Phone 425-775-8461 • Fax 425-778-3166 www.audiocontrol.com ©2012. All Rights Reserved Home Theater SYSTEM Home Theater Surround Sound Receiver User Functionality Manual For those who consider perfection possible® ® 22410 70th Avenue West • Seattle, WA 98043 USA Phone 425-775-8461 • Fax 425-778-3166 www.audiocontrol.com ©2012. All Rights Reserved This page was intentionally left blank. Please enjoy it! 4 ® Phone 425-775-8461 • Fax 425-778-3166 TABLE OF CONTENTS INTRODUCTION . .7 KEY FEATURES AND HIGHLIGHTS . .9 A GUIDED TOUR OF THE CONCERT AVR-4 Front Panel Features .................................12 Rear Panel Features .................................13 SET-UP & CONFIGURATION Unit Placement .....................................15 Speaker Considerations and Placement ..................15 Power Wiring. .16 Audio Connections ..................................16 Video Connections ..................................17 NAVIGATING THE SET-UP MENUS’ Initial Display Configurations ..........................19 Input Configuration .................................21 General Setup ......................................24 Auto Setup ........................................25 Speaker Types ......................................27 Speaker Distance ...................................27 Speaker Levels .....................................28 Video Inputs -
Frequencies for Wireless Microphones
Post Box 68, 91081 Baiersdorf, Germany www.apwpt.org [email protected] Frequencies for wireless microphones This is how it works in Austria, Australia, Belgium, Brazil, Denmark, Finland, France, Germany, Greece, Italy, Japan, Norway, The Netherlands, New Zealand, Norway, Portugal, Romania, Slovenia, Spain, South Korea, Sweden, Switzerland, USA, UAE, Ukraine and UK - June 2018 - Stephen Buckland, Begoña Cordero, Aljo van Dijken, João Duque, Matthias Fehr, Miguel Henriques, Norbert Hilbich, Bryan Lee, Alan March, Anna Nydegger, Markku Laasonen, Bruno Marx, Andrea Molinari, Stella Morabito, Jonas Naesby, Edgar Reihl, Pia Seeger, Pascal Soulé, Ivica Stevanovic, Markus Wahrlich and some more.. 2 Table of contents Australia................................................................................................................................................... 3 Austria ..................................................................................................................................................... 4 Belgium .................................................................................................................................................... 5 Brazil ........................................................................................................................................................ 6 Denmark .................................................................................................................................................. 7 Finland .................................................................................................................................................... -
Wireless Microphones
Kino-Eye.com Wireless Microphones Compiled by David Tamés, [email protected] is document provides a crash-course on wireless microphone technology, concepts, and terminology and is designed as a companion to (not a substitute for) the user’s manual of the Sennheiser Evolution series wireless microphone system. This document might help learning to use this wireless mic kits a little easier. is is a work in progress, therefore, please send me your comments, suggestions, and corrections. I look forward to your feedback. — David. Introduction G3 series of Sennheiser wireless mics (which bagan shipping the summer of 2009) features an adaptive ere is some mystery surrounding wireless microphone diversity system using the audio cable as an antennae. systems and how they work, but the best way to think about them is that you’re operating a small radio station. Compander. A compander is a technique used to e electrical energy from the microphone is modulated improve the dynamic range of the audio signal. It by the transmitter into radio frequency (RF) and then compresses the audio signal in the transmitter to lift it demodulated by the receiver back into an electrical signal above the inherent noise "oor of the radio frequency which is fed into your mixer or camera. link. e signal is then expanded by the receiver. Microphone gain adjustment. Most wireless systems Wireless system features offer adjustable microphone gain on the transmitter in Diversity. Better models have true diversity reception order to accommodate different level sources. is helps (two separate receiver modules each with its own to avoid clipping. -
Wireless Microphone Transmitter
M-216 OPERATOR’S MANUAL M-216 Wireless Microphone Transmitter 357 West 2700 South • Salt Lake City, Utah 84115 • Phone: (800) 496-3463 • Fax: (801) 484-6906 • http://www.comtek.com TABLE OF CONTENTS Introduction ........................................................... 1 Setup ............................................................................... 2 Controls .................................................................. 3 Battery Removal / Replacement ...................................... 4 Battery Charging ...................................................... 5 Auxiliary Audio Input Operation ................................... 6-7 Snap-On Belt Clip ................................................. 7 Frequency Selection .............................................. 8 Frequency Information ......................................... 9-10 Optional Accessories ............................................ 11 Options ................................................................. 12 HH-185 ................................................................... 13 Trouble Shooting .................................................. 14-15 Specifications ......................................................... 16 Warranty and Service .................................................. 17 © 2009 COMTEK® All rights reserved. Printed in the U.S.A. 10-27-2009 INTRODUCTION M-216 Wireless Microphone Transmitter he M-216 wireless microphone Ttransmitter offers the ultimate performance and versatility for assistive listening, language interpretation, -
Universal Wireless Microphone System
S1697 2.4 GHz Universal Digital Wireless Headset/Handheld Microphone 2.4Ghz Digital Headset/Handheld Universal Wireless Microphone System Works as a headset mic The AmpliVox S1697 is an easy to use and affordable Universal digital wireless headset microphone system. Its compact and lightweight -OR- design is a great solution for expanding your audio needs. Plug handheld receiver into any audio device (microphone / line in jack ) with a mic! speaker and amplifier and start talking. Remove the headband and you can use it as a handheld microphone: two microphones in one. Utilizing digital wireless technology, the S1697 operates in the 2.4 GHz range which is completely free of TV and radio interference. The S1697 out performs similarly priced VHF systems with better than CD quality digital audio and delivers dependable operation up to 50' with direct line of sight. SW915 SW725 SW505A Easily add a as Headset microphone to your USE WITH ANY AMPLIFIER! (shown with receiver) existing system! Works with all devices that have a microphone or aux in connector including computers, boom boxes and amplifiers! as Handheld (shown with receiver) Boombox Computer Amplifier www.ampli.com | [email protected] | (800) 267-5486 S1697 2.4 GHz Universal Digital Wireless Microphone Headset FEATURES • Lightweight contemporary design • Unidirectional pick-up pattern to reduce background noise • Flex-Tube Design—lets you adjust its angle to suit your needs • Includes slip-on acoustic foam windscreen for added protection against breath and wind noise • Full range frequency -
UHF Wireless Microphone System 5000 Series
UHF Wireless Microphone System 5000 Series Wireless Convenience with Newly Enhanced Versatility, Reliability and Cost Efficiency Versatile High-Performance Microphone Systems Strive to bring you high-performance, mobility and convenience. TOA is proud to introduce the widened range of 5000 Series wireless microphone system. There is definitely one that suits your need. Product Features • All UHF wireless microphone tuners employs Phase Locked Loop (PLL) synthesis for remarkably stable performance. Reliable wide-area coverage permitting use of up at 16 microphones within a radius of up to 120 meters from the YW-4500 UHF wireless antenna • Powered by rechargeable batteries which enable up to 13 hours of continous usage before recharging • Extensive range of microphone selections to support every application need • A selection of three high-efficiency battery chargers for 2, 6, or 12 batteries and a single-battery microphone add further flexibility to the product line-up • Up to 64 selectable channels for WT-5800 & WT-5805, Up to 16 selectable channels for WT-5810 & WT-4820 wireless tuner. • TOA true diversity (WT-5800) and space diversity (WT-5805) circuitry, a usable frequencies scanning and vacant channel search function. Handheld Microphone Handheld Microphone WM-5270 WM-5265 • Dynamic microphone unit: Unidirectional • Dynamic microphone unit: Unidirectional • 64 selectable channels • 64 selectable channels • Rolling stopper prevents the microphone from rolling • ON/OFF switch prevents the microphone from rolling • Single AA battery operation for more compact and light weight body • WB-2000 rechargeable battery or single AA battery operation • Built-in antenna for compact and lightweight body • Built-in antenna Handheld Microphone Beltpack Transmitter WM-5225 WM-5325 • Electret condenser microphone unit: Unidirectional • 64 selectable channels • 64 selectable channels • Maximum input level: -14 dB to -29 dB • ON/OFF switch prevents the microphone from rolling. -
Digital Audio Standards
Digital Audio Standards MINUTES OF THE MEETING OF THE DIGITAL would consider the possibility of using the 45-kHz fre- AUDIO STANDARDS COMMITTEE quency proposed by Heaslett. 1.5 Mr. Willcocks gave the available technical details of Date: 1977 December 1 und 2 some 14 presently-used digital audio systems. He sub- Time: 1830 hours sequently prepared a report containing this information for Place: Snowbird Resort, Salt Lake City, Utah distribution to the committee (see page 56). 1.6 Several members expressed the urgency for sampling Present: Chairman, John G. McKnight (Magnetic Refer- frequency standardization because of the number of digital ence Laboratory); members, Stanley Becker (Scully/ audio recording systems- both studio and consumer Dictaphone); Gregory Boganz (RCA Records); Vic Goh types- now nearing completion and commercial availa- (Victor Company of Japan (JVC)); Thomas Hay (MCI, bility. Inc .); Alastair Heaslett (Ampex Corporation); M. Carlos Kennedy (Ampex Corporation); William Kinghom (Telex 1.7 The committee was unable to find an acceptable single Communications); K. Kimihira (Akai America); Masahiro frequency, given the conflicting requirements of the pres- Kosaka (Wireless Research Lab, Matsushita Elect. Inc. ent TV-compatible proposal, the 3M studio recorder, and Co.); Alfred H. Moris (3M Company); Thomas G. Stoc- the Japanese consumer recorders. The committee asked kham, Jr. (Soundstream, Inc.); Martin Willcocks Messrs. Heaslett, Youngquist and Kosaka each to prepare (Willcocks Research Consultants); James V. White (CBS a report giving details explaining why they chose the Technology Center); Yoshito Yamagudi (Melco Sales Inc. frequency they did, and what penalties the other frequen- Mitsubishi Electric Corp.); Robert J. Youngquist (3M cies discussed would entail. -
Getting Started with Smaart® V7: Basic Setup and Measuremen T
Updated 8/10/12 for release 7.4 Getting Started with Smaart® v7: Basic Setup and Measurement This guide is an introduction to the basic measurement and operational concepts embodied in Rational Acoustics’ Smaart® v7. While in no way an exhaustive study, this document serves as a starting point for users to familiarize themselves with the fundamentals of Smaart’s single- and dual-channel capabilities, and provide instruction in the configuration and operation of basic measurement setups. Regardless of past measurement experience with previous versions of Smaart, or other analysis systems, users should take the time to familiarize themselves with the process of Configuring Smaart v7 for Measurement detailed in this document. Unlike previous versions which assumed a simple two-channel I/O, Smaart v7 can interface with multiple I/O devices simultaneously, each with multiple input and output channels. Accordingly, Smaart v7 makes no assumptions about a user’s measurement requirements and upon first run, begins its operation un-configured. As in previous versions however, following initial setup, Smaart retains its measurement configuration for subsequent sessions. Please note: in the case of the free/public demo version of the software, the Smaart measurement configuration is not retained from session to session, and must be rebuilt for each new session. Consider it practice. This guide assumes a reader with a basic understanding of professional audio equipment and engineering practices. It concludes with a list of recommended additional sources of information where users can further their understanding of these concepts. Rational Acoustics LLC is not responsible for damage to your equipment resulting from improper use of this product. -
About Us Hi‐Tech Aadioudio Ssstemsystems Pptvt
About Us Hi‐Tech AdioAudio SstemsSystems PtPvt. Ltd. was established in Year 1990 by Mr. P. K. Gupta and Mr. Rajan Gupta as Dealers of Philips CSI for Public Address and Conference Systems. With Strategic thinking, training, investment in new technologies and resources through a clear focus, today the company has a consistent turnover of 100 Crore+ and growing every year in Professional Audio, Video , Communication & Security verticals making it India’s one of the biggest Pro Audio‐Visual Company. About Us OUR MISSION Hi –Tech is committed to provide Quick Optimum Design Solutions & Products, Timely Delivery, Complete Customer Satisfaction & Continuous Improvement of QQyuality Management System. About Us Hi‐Tech Audio Systems has Two Strategic Business operations System Integration ‐ We have been fortunate enough to of bibeing System Integration partner for • Government departments like CPWD, PWD , R&B , NBCC , RajCom , AAI and many more across the country . • We expertise in providing Solutions in the verticals of Auditoriums, Educational Institutions, Conference Rooms, Parliament & Assemblies, Airports, Hospitality , Stadiums and many more. AV Distribution‐ • Importers and Distributors for Internationally acclaimed brands of Professional Audio & Video products • Cater to Entertainment, Rental Industry and Retail through a wide dealer network and SI market segment in PAN India. About Us Strengths – • PAN India Presence with 220+ Professionals with in‐ house Trained Installation and Service team. • Offices in 3 Major States –New Delhi , Uttar Pradesh , Mumbai with GST Registration in 22 States. Techno‐ Sales and service team present in all major States of the country. About Us Strengths – • In‐house team of Engineering & Design team of 25+ professionals including certified Pre‐design Engineers, AutoCAD Engineers, Audio 3D Simulation, AV application & Field Engineers. -
Studio Headphones K 141 Studio K 171 Studio K 240 Studio K 271 Studio New! New! New! New!
STUDIO HEADPHONES K 141 STUDIO K 171 STUDIO K 240 STUDIO K 271 STUDIO NEW! NEW! NEW! NEW! Less Is More. Lower impedance for higher power. STUDIO HEADPHONES Professional Studio Headphones for a host of applications Founded in Vienna, Austria in 1947, AKG has built a legendary reputation in the professional audio industry for products that perform flawlessly. The reputation of AKG and its celebrated quality are built on more than 55 years of experience, incredible design, meticulous craftsmanship and a clear understanding of what truly sounds right. AKG introduced the K 140 in 1974 and the K 240 Monitor in 1975, which became the most widely used headphones in recording studios and broadcast facilities worldwide. Generations of musicians and audio engineers use these AKG products to create great mixes, hit songs and albums cherished by millions around the world. The new AKG Professional Studio headphones carry on the tradition of these audio tools and are a sound investment that will pay handsome returns with years of flawless sonic performance for professional recording engineers and demanding users of high quality home or portable audio equipment. 2-Year Warranty Thanks to the excellent workmanship and high-quality components, AKG headphones come with a 2-year warranty (see our warranty statement for details). AKG Professional Series headphones can stand up to the demands of rough handling, stage use and transportation. XXL transducers with Varimotion diaphragm The new XXL transducers use AKG’s patented Varimotion (PAT. AT 403.751, US 6,185,809) diaphragm to ensure extremely accurate re- sponse at any listening level. -
RC-F82 Fader Controller for HS-P82
RC-F82 Fader Controller for HS-P82 • Dual Compact Flash recording media supports backup, TASCAM’s HS-P82 offers 8 tracks of the highest quality recording, yet mirroring and seamless A/B recording it’s built for the rigors of location recording with reliable solid-state per- • Long battery life through low power usage • Easy to read and operate using pivoting TFT Color Touch formance. The HS-P82 is built for location television and film production Panel interface audio, with eight microphone inputs for big shoots or reality programs. • All-aluminum chassis is rugged yet lightweight The standard XLR microphone inputs include phantom power and analog • 8-track recording plus stereo mix for a total of 10-track limiting, with trims controlled from recessed front-panel controls. In addition recording • 8-track recording at up to 96kHz/24-bit to the eight individual tracks, a stereo mixdown can be recorded for instant • 4-track recording at 192kHz/24-bit use during editing. • Broadcast WAV (BWF) support with iXML metadata • Various power options include AA batteries (x10), NP Audio is recorded at up to 192kHz/24-bit WAV format to a pair of Com- type, AC adaptor, external DC input and optional V- mount adaptor for ENDURA batteries pact Flash cards. This solid state media is completely reliable with no • Up to 5-second pre-record buffer moving parts, and you can record to both cards simultaneously for extra • Internal microphone for slate recording security. The Broadcast WAV files include iXML metadata for quick import • Limiter and low-cut filter per track into nearly any video or audio editing system via the USB 2.0 connection • Auto or manual cue points • Alert signal to headphone output or a standard card reader.