ALLEN & HEATH 42 Series Инструкция 6 онлайн [2/2] 760997
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ALLEN & HEATH 42 Series Инструкция 6 онлайн [2/2] 760997

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ALLEN & HEATH 42 Series Инструкция 6 онлайн [2/2] 760997
each
group
controls
the
master
level
of
the
input
channels
routed
to
that
sub-group
with
a PFL
button
above
each.
Above
this
is a
monitor
section
.
The
push
button
at
the
top
of
the
strip
is
for
group/tape
monitor
selection.
It
changes
over
the
metering
,
aux
send
and
monitoring
from
sub-group
to
the
line
inputs
of
channels
13-16.
This
gives
full
facilities
for
simple
four
track
monitoring.
Below
this
is
the
aux
send
to
1,
level
and pan
controls
for
feeding
the
selected
monitoring
into
the
main
stereo
master
groups.
The
master
panel is
double
width
and
working
from
the
bottom
up
contains
the
Left
and
Right
master
output
faders,
auxilliary
1 & 2
returns
with
pan
controls
and
the
same
routing
switching
as
the
input
channels.
This
enables
the
outputs
of
the
effects
etc,
to
be
recorded
or
monitored
and
positioned
in
a
stereo
spread
with
no
difficulty.
There
is
also
a PFL
button.
Above
this
lies
the
master
sends
and
PFL
for
each
of
the
auxiliary
sends
,
the
monitor
level
, a
button
to
feed
stereo
tape
to
the
monitors
in place
of
the
master
s~o
output
and a
talkback
level
to
auxiliary
send
1 level.
There
is
no
talkback
provision
on
the
desk
other
than
this
level
control
and a
socket
for
a
suitable
microphone
on
the
rear panel.
The
metering
consists
of
six
illuminated
VU
meters.
The
first
four
follow
the
selection
of
the
subgroup/monitoring
outputs
and
the
other
pair
follow
the
master
stereo
desk
output.
The
meters
are
set
in
an
angled
section
making
it
easy
to
follow
them
while
operating
the
desk
without
having
to
move
your
position.
The
rear panel
of
the
desk
is
packed
with
sockets.
Each
of
the
input
channels
has an XLR balanced
mike
input
and an
unbalanced
jack
socket
for
line
input
.
Allen
&
Heath
are
one
of
the
few
manufacturers
who
still
stick
to
XLR
pin
3
being
'hot',
but
this
will
not
really
cause
problems
as
long
as
this
is
remembered
when
operating
unbalanced
inputs
into
the
desk
,
which
will
give
rise
to
problems
if
the
equipment
is
following
the
pin
2
'hot'
standard
.
Each
of
the
sub-groups
has a
separate
output
and
there
is a
comprehensive
selection
of
auxiliary
sends
and
returns.
There
is
one
surprise
-
there
is
no
dedicated
send
to
studio
monitors
and
you
have
to
use
the
stereo
phones
output
which
is a
stereo
jack
socket.
The
construction
of
the
desk
is
not
142
IM&RW
I~EC:C)I~lltK7
\~(()1~.1)
a very well designed
and
constructed mixer that
presents extremely good
value
modular
-
the
entire
front
panel is
one
piece
.
This
is a
quite
legitimate
technique
to
keep
costs
down
and
still
maintain
the
strength
of
construction.
Internally
the
electronics
are
mounted
on
individual
boards
under
the
relevant
channel.
Construction
is
of
a
good
standard
.
Internal
access
involves
the
removal
of
20
screws
but
there
is
really
no
reason
for
the
user
to
need
access
to
the
i
nsides
as I
think
internal
construction
methods
will
dictate
returning
the
mixer
to
the
manufacturer
or
his agen
ts
,
should
a
fault
occur.
The
flightcase
for
the
Road
version
has
been
designed
so
that
the
mixer
sits
in
the
bottom
half
wh
ile
the
top
hinges
off.
With
the
top
in place
the
entire
mixer
is
cove
red by
the
flightcase
and
very
effectively
too
.
Allen
&
Heath
allowed
me
to
keep
this
review
model
for
several
months
and I
was
able
to
take
it
around
with
me
and
it
has
certainly
taken
a
few
knocks
.
There
is,
however
, a
price
for
this
protection
as
the
weight
of
the
16:4:2 is
over
601b
and
with
the
single
carrying
handle
I
found
it
rather
an
effort
to
carry
beyond
about
100ft,
but
if
I had
to
do
it
more
often
I'd
probably
get
better
.
The
studio
version
also
has a
flightcase
but
this
is
of
a
different
design
.
The
mixer
which
already
has a
cabinet
of
it
's
own
slips
into
a
flight
case and
gives
that
version
a
total
weight
of
over
801b.
In
its
case
the
road
version
has
dimensions
of
34'h x 25 x
6'h
inches
and
so is
really
quite
compact.
Although
intended
for
use as a
stage
and
recording
mi
xer
I
actually
only
attempted
to
use
it
in
a
recording
situation.
I
tried
it
in
both
live
recording
and
studio
use
and
with
two-track
,
four
-
track
and a
16-track
machines,
which
it
was
capable
of
dealing
with
quite
happily.
With
the
16-
track
backing
tracks
could
be
rather
difficult
to
lay
satisfactorily
due
to
the
limited
number
of
outputs
but
mixing
and
overdubbing
are
quite
within
its
capabilities.
With
four
track
work
you
are
in
luxury.
I
sometimes
feel
that
one
of
the
most
limiting
aspects
of
four
track
recording
are
the
mixers
that
are
commonly
used
with
them.
The
16:4:2
really
imposes
no
limits
on
four
track
recording.
With
its
16
input
channels
it's
ideal
for
live
recording
where
a large
number
of
input
channels
is
always
beneficial.
I
found
the
sub-grouping
systems
well
thought
out
and
the
versatility
of
the
auxiliary
sends
and
returns
for
panning,
routing
and
mixing
back
into
the
output
groups
(without
using
channels
inputs)
quite
excellent.
If
this
review
sounds
very
complimentary,
it
is
intended
to
be.
Th
is is
where
the
reviewers
bias
shows
.
The
design
philosophy
of
a
simple
mixer
with
no
frills
but
the
ability
to
do
a
professional
job
fits
exactly
with
mine
so
I'm
bound
to
be
impressed.
There
are,
of
course, a
few
points
that
perhaps
could
be
altered
,
such
as
the
pre/post
distribution
of
the
auxiliary
sends,
but
generally
they
have
got
the
design
just
to
my
taste.
So
much
so
that
I
find
myself
thinking
'If
only
they
had
...
•.
Adding
features
to
the
16:4:2
would
present
rather
a
problem
due
to
the
lack
of
space.
The
provision
of
insert
points
and
direct
recording
outputs
for
each
channel
would
then
make
this
also
the
ideal
small
multitrack
recording
mixer,
and
I
understand
developments
are
in
hand
for
future
versions.
Apparently
some
people
are
actually
modifying
them
for
more
specific
uses,
which
of
course
takes
them
out
of
guarantee
but
must
be
the
mark
of
a
good
product
that
they
modify
rather
than
buy
a
different
mixer.
The
final
good
news
about
this
mixer
has
to
be
the
price
of
£850
plus
VAT
which
represents
very
good
value,
particularly
as
it
includes
a
flight
case as
standard.
Other
versions
have
now
become
available,
identical
except
for
the
number
of
channels
which
are
presently
eight
and 24.
To
sum
up
this
rather
complementary
review
I can
only
say
that
I
think
the
16:4:2 is a
very
well
designed
and
constructed
mixer
that
presents
extremely
good
value and
it
is
certainly
one
of
the
most
professional
mixers
I
have
yet
seen in
it
's
price
range.

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