ALLEN & HEATH 42 Series Инструкция 6 онлайн
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ALLEN & HEATH 42 Series Инструкция 6 онлайн

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ALLEN & HEATH 42 Series Инструкция 6 онлайн
Reprinted
from
INTERNATIONAL
MUSICIAN
and Recording
World
October 1981
ON
TEST
ALLEN
&
HEATH
BRENELL
16-4-2 Mixing Console
THERE ARE
TIMES
WHEN
I
become
convinced
that
every
other
person
I
meet
is
engaged
in
making
mixing
consoles.
The
profusion
of
new
models
from
new
names, and
new
models
from
old
names
is
quite
mind-boggling.
Although
the
days
of
custom-built
mixers
are over,
except
for
the
very
wealthy,
the
wide
variety
of
models
available
ought
to
mean
that
you
can
find
more
or
less
exactly
what
you
need.
Unfortunately
this
is
very
far
from
the
truth
as a large
number
appear
to
have
been
designed
either
as
intelligence
tests
for
your
powers
of
reasoning,
or
by
the
advertisement
department
of
the
manufacturer
-
all eye
catching
gimmicks
with
no
real
application.
It
does
seem
to
be a
fact
that
the
last
person
to
be
consulted
is
the
man
who
is
actually
going
to
use
it,
and
most
of
the
designers,
while
usually
making
a
good
job
of
the
electronics,
play
all
kinds
of
mischief
with
the
controls
and
betray
the
fact
that
they
have
never
used a
mixer
in
their
lives.
I
have
felt
for
a
long
time
that
there
would
be
high
demand
for
a
mixer
that
was
simple,
thoughtfully
designed
and
at
a reasonable price.
Allen
&
Heath
obviously
felt
the
same
and
have
produced
the
16:4:2.
They
are
of
course
far
from
new
at
this
sort
of
mixer
but
it
does
present
a
slight
departure
from
their
usual
designs.
The
first
thing
to
say
about
the
16:4:2 is
that
there
are
two
versions,
both
identical
in
electronic
facilities
but
the
Studio
version
has a
smart
cabinet
surround
while
the
Road
version
is
mounted
directly
into
a
flight
case
with
the
case
forming
part
of
the
cabinetry.
I
will
cover
this
more
thoroughly
later
.
The
version
I had
for
review
was
the
Road
version.
It
will
come
as
little
surprise
to
learn
that
the
16:4:2 has 16
input
channels,
four
sub-groups
and
one
stereo
master
output.
All
the
input
channels
are
identical
except
for
channels
13-16
inclusive,
where
the
line
input
arrangement
is
slightly
different.
Starting
at
the
top
of
the
channel,
the
facilities
offered
begin
with
push
button
switches
for
mic!line
selection
and
for
a 20dB pad.
The
Gain
control
adjusts
the
gain
of
the
input
amplifier
on
both
the
mic
and
line
inputs.
Equalisation
consists
of
separate
treble
and
bass
shelving
type
controls
with
fixed
turnovers.
The
mid
range
section
has a
continuously
variable
turnover
frequency
of
60Hz
to
10kHz
.
All
three
controls
-
treble,
bass and
mid
cut
or
boost
are
marked
± 5
but
this
could
be
improved
upon
by
graduating
in
something
approaching
the
dB
value
of
the
control
setting.
Each
channel
has
three
auxiliary
sends
with
1 & 2
pre-fader
and 3
post
.
On
a
desk
of
this
size
it
could
be
argued
that
for
recording
use
it
could
be
preferable
to
have
one
pre·
fade
and
two
post-fade
sends.
However,
it
is
probably
true
that
this
is
actually
the
best
way
for
stage
work
short
of
making
all
three
switcheable
A/B.
The
last
rotary
control
is
the
pan,
which
will
allow
panning
between
any
of
the
three
pairs
of
subgroups
which
can be
selected
on
push
buttons
below
it
- L·R, 1-2, 3-4. A
PFL
control
on
a
latching
switch
ends
the
channel
controls.
One
of
the
important
features
of
this
desk
is
the
use
of
3%in
long
travel
faders.
Most
mixers
in
this
price
range
use
short
travel
faders
but
for
serious
work,
particularly
when
multitrack
mixing,
long
travel
faders
are a
necessity
to
enable
swift
and
precise
adjustments
such
as
when
gain
riding.
The
channel
number
is
quite
clearly
marked
above
the
fader
although
I
would
like
to
see a
more
detailed
graduation
scale
alongside
the
fader
travel
to
take
full
use
of
the
accuracy
achievable
with
this
size fader.
The
sub-group
section
of
the
16:4:2
consists
of
the
four
groups
each
with
identical
facilities
.
The
fader
on
L===========================================~~
October
1981
141
I

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