Manual Allen-Heath PA-CP Series (page 13 of 36) (English)

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PA-CP User Guide 13

The MONO Channel

MIC INPUT XLR input for connecting microphone level

signals in the range -63 to +5dBu. These are balanced and

wired pin 2 hot. Use low impedance microphones (less than

600 ohms) and professional grade mic cables (2 core with

shield) for best performance. You can also use these inputs

with DI boxes and other low level sources.

48V Phantom Power Press this switch if the

microphone needs phantom power. Some active DI boxes

may also require power. Check the manufacturers

specification regarding power requirements. If phantom power

is not required leave the switch in its up position.

WARNING Do not connect unbalanced sources or

cables to the XLR inputs when phantom power is applied.

No damage will be done to non powered balanced

microphones as long as balanced cables are used.

To avoid loud clicks always mute the channel before

plugging or unplugging phantom powered inputs.

 Phantom Power is so called because the DC voltage

required to power certain microphones is sent down the same

wires as the audio signal. It is applied equally to the + (hot)

and – (cold) signal wires through closely matched 6.8kohm

resistors. The power is tapped off from both signal wires at the

microphone end where it is used to power a little booster

amplifier circuit or energise the transducer. The audio signal

does not ‘see’ the phantom power. This is because the voltage

is the same on both the signal + and – wires and cancels out

at the differential console input. This would not be the case if

an unbalanced cable was used. For this reason phantom

power must only be used with balanced sources.

LINE INPUT TRS input for connecting line level signals in

the range -25 to +10dBu. The input is balanced but can be

used with both balanced or unbalanced sources as shown in

the cable diagrams. Plugging into the line input automatically

overrides the mic input.

Do not use Y-adaptors to combine stereo L and R

signals such as those from a CD player into one input. Use

the stereo or two mono channels for stereo sources.

Do not plug amplifier speaker outputs into the

console line inputs. Use a DI box with speaker level input if

you need to do this.

☺ Working with different sources Choose your

microphones carefully according to their application. Low

impedance balanced types are recommended in all cases.

Dynamic mics are well suited to hand held vocal or general

instrument work. Condensers can provide greater accuracy

but may not be as rugged. Boundary mics work well for

ambient pickup such as front of stage floats or conference

tables. Rifle mics are very directional and best used for distant

pickup such as across a stage. It is best to use a directional

mic pattern such as cardioid in live situations where feedback

may be a problem. Make sure phantom power is not selected

when plugging in radio mic receivers. A guitar can be plugged

in directly only if using a short cable. For long cable runs you

should use a DI box which converts it to balanced mic signal.

A popular practice is to use a microphone placed in front of the

guitar amplifier. This captures the sound heard by the

musician.

 Balanced and unbalanced connections

An unbalanced connection uses two cable wires,

signal and ground (screen). A balanced

connection uses three wires, signal + (hot),

signal - (cold) and ground (screen). The

balanced connection has the advantage that it

rejects noise and interference that may be picked

up on long cable runs. Here is how it works: The

audio signal is sent at equal level but opposite

polarity on the + and – wires. The – signal gets

inverted and adds to the + signal at the receiving

end. However, any interference picked up by the

cable is injected equally into both the + and –

wires and therefore cancels out at the receiving

end where the interference on the - wire is

inverted.

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Allen-Heath PA-CP Series Manual

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