Input Channels; Input Connectors; A Must-Read; Proper Input Gain Setting17 - Zeck Audio Profiler 14.1000 Bedienungsanleitung

1. Input channels

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The Profiler 14.1000 offers two
types of input channels:
Channels 7-10 have full stereo
operation capability while the re-
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maining channels 1-6 are monaural.
There are some distinct differences
regarding the connectors and
equalization, which will be
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described in the following chapters.
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1.1 Input connectors

Each monaural channel (Fig. 2) has
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one balanced XLR input (1) for
microphones (MIC) and one balanced
1/4" phone jack (2) for monaural
line-level signals (LINE IN). The stereo
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channels have one balanced XLR
input connector (1) for micropho-
nes plus two unbalanced 1/4"
phone jack inputs (4/5) for stereo
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signals, e.g. from keyboards or
drum computers, assigned to the
left and right channel (LEFT /
RIGHT LINE IN).
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Any stereo channel can also be
used as a monaural channel by
using the XLR input (1) or by using
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only the LEFT/MONO input phone
jack (4). In this case, the signal will
be send to both left and right
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channels, depending on the PAN
(15) setting (see 1.4).
The monaural channels are addi-
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tionally equipped with a break-type
INSERT jack (3) for direct connection
of external effect devices. This stereo
jack is electronically located after
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the EQ section and has the Send
signal on the tip and the Return
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signal on the ring of a stereo phone
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plug. The INSERT jack can also be
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used as a direct (pre-fade) channel
output, e.g. for multi-track recording,
by simply soldering the tip and
ring contacts of a stereo phone
plug together.
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Fig. 2
Mono-
Input channel
Owner`s manual Profiler 14.1000 © Zeck Audio
PROFILER 14.1000

1.2 A must-read:

proper input gain setting
For getting a clean and noise-free
sound, it is extremely important to
carefully adjust the GAIN control
(7) of every channel to the incoming
signal. It is not seldom that sound
problems with PA systems can be
traced back to incorrect input gain
settings.
The Profiler 14.1000 provides
various help functions for getting
the right input gain setting: the
built-in PFL function, SIGNAL and
CLIP LEDs on every input channel
and the two-row LED chain in the
master section.
Before depressing a channel's PFL
button (16) for input signal gain
adjustments, it is always a good
idea to check the PFL control LED
(39) beneath the master LED chain.
If it is lit, the PFL function has been
previously activated for another
channel and should be disengaged
there before attempting to adjust
the new channel.
If the PFL function is activated, the
input gain of the channel is shown
at the two-row master LED chain
(38). At the same time, the channel
input signal is also sent to the
PHONES output (52) for simulta-
neous ear-control.
One good advice: when making
input gain adjustments, you never
exactly know what's going to hap-
pen level-wise. To avoid embarras-
sing uncontrolled signals in your
PA, keep all fader controllers
down for now. Your ears and
speakers will thank you!
For quickly finding the right input
gain adjustment, first rotate the
GAIN control pot (7) fully counter-
clockwise. Ask the musician on the
other side of the cable to produce
an average-level signal, just like
he/she would during the show.
The green SIGNAL LED (18) shows
that the signal is now at the channel
input, waiting to become adjusted.
Slowly rotate the GAIN control
clockwise until the '0dB' LED in the
master LED chain becomes conti-
nuously lit, but not the '+3dB' LED!
Repeat this procedure for the
remaining channels.
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