User manual
15
ULTRADRIVE PRO DCX2496
4. MENU STRUCTURE AND EDITING
Fig. 4.30: PC -> LINK mode
Please use this mode on the first unit when several
ULTRADRIVE PROs are linked to each other via LINK A and B,
and the first unit in the chain is connected to a computer via the
RS-232 interface. In this configuration, the last AND the first unit
in the chain must have their TERM switch ON, since both are
integrated into the system via only one LINK interface.
+ General rule: Whenever one device within a chain has
been connected to the system via only one LINK
interface, its TERM switch must be pressed (ON) to avoid
data reflections and hence transmission errors. In PC
(RS-232) mode this switch is not needed because the
LINK interfaces are not used.
The parameter DELAY UNIT determines the units of both
measurement and temperature used for the delay settings in the
corresponding menus. You can choose between m / mm / C° and
ft / in / F°. When you change from meters/millimeters to feet/inch,
the temperature will be changed automatically from °Celsius to
°Fahrenheit. These settings cannot be made independently of each
other.
The MUTE OUTS WHEN POWER ON function is used to protect
connected equipment such as power amps and loudspeakers.
When it is on (YES), all outputs of the ULTRADRIVE PRO are
muted during power-up. To restore the output configuration of your
presets, you will have to activate the respective outputs individually
or call up the preset again using RECALL (see chapter 4.7). Using
RECALL to switch from one preset to another automatically mutes
all outputs, as soon as a preset has a different output
configuration. However, if the output configurations are the same,
the muted outputs of the new preset will be loaded.
When MUTE OUTS WHEN POWER ON is disabled (NO), the
last output configuration used will be recalled during power-up.
4.3 IN A/B/C menu
On these pages you can define the EQ, delay and similar values
for the individual input signals, and hence optimize the overall
sound.
4.3.1 GAIN
Press one of the buttons IN A, IN B or IN C to enter the INPUT
menu of the corresponding input. On the first page, you can adjust
the input gain for the signal (GAIN). The setting range is from
-15 to +15 dB.
Fig. 4.31: In A ß Gain
Below this parameter you can see a graphic representation of
the current IN-OUT configuration (OUTPUT CONFIG).
Additionally, the display shows whether or not the input is used
for the SUM signal (see chapter 4.4). This is just a message.
You cannot edit anything here! OUT configurations are shown
on the SETUP page 1/6. The input source selection for SUM and
for the various OUTs is determined on page 1 in the corresponding
menus (SUM, OUT).
4.3.2 DELAY/NAME
Fig. 4.32: In A ß Delay/Name
You can delay either the IN A, B or C signal to compensate for
arrival time differencesresulting from offset stereo signals or
so-called delay lines (delay towers). Activate the function with
DELAY (ON) and select the delay time of your choice with
DISTANCE/TIME. The values DISTANCE and TIME are linked to
each other, i.e. both values are edited simultaneously when you
turn the data wheel. IN A (B/C) NAME allows you to enter a name
with a maximum of 8 characters for the input signal selected.
4.3.3 EQ
Fig.4 .33: In A ß EQ
On this page you can process the sound of the input signals
with the help of various equalizer settings.
The EQ parameter determines whether this function is generally
ON or OFF. In the adjacent NR field you can select the number of
EQs. There are various filters available, which can be used and
edited. Their number depends on the current processor capacity,
which is shown as a percentage next to the number of the filter.
The free capacity of the processor is directly dependent upon the
number and type of the filter selected (e.g. >FREE: 33%).
Use TYPE to define the filter type you wish to use. You can
choose from low-pass (LP), high-pass (HP) and band-pass (BP)
filters. Description:
The low-pass filter raises (positive gain) or lowers (negative gain)
the level of the frequency band below the adjusted frequency.
The high-pass filter raises (positive gain) or lowers (negative gain)
the level of the frequency band above the adjusted frequency.
Use TYPE to set a slope of 6 or 12 dB/oct. for the high-pass or
low-pass filter, or to determine the quality (Q) of the band-pass
filter.
The band-pass filter raises or lowers the level of the frequency
range around the adjusted frequency. The quality parameter Q
determines the width of the resulting bell-shaped filter curve.